statutory authority: strategic priority summary · adam watkins alicia weber fine arts 6-12 work...

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MISSOURI STATE BOARD OF EDUCATION AGENDA ITEM: April 2019

CONSIDERATION OF FINE ARTS LEARNING STANDARDS

STATUTORY AUTHORITY:

Sections 160.514 and 161.092, RSMo

Consent

Item

Action Item

Report Item

STRATEGIC PRIORITY Access, Opportunity, Equity – Provide all students access to a broad range of high-quality educational opportunities from early learning into post-high school engagement. SUMMARY Section 160.514, RSMo addresses learning standards for Missouri’s students and outlines a process which must be followed whenever the State Board of Education develops, evaluates, modifies, or revises learning standards. In accordance with the law, the State Board convened two separate work groups (K-5 and 6-12) to develop and recommend new learning standards for Fine Arts. The law also states that the State Board of Education shall solicit comments and feedback on the academic performance standards or learning standards from the Joint Committee on Education and from academic researchers. The Department received comments from these sources, as well as from educators and the general public, which have been incorporated into the work group product where appropriate. PRESENTERS Blaine Henningsen, Assistant Commissioner; and Tom Tobias, Director, Fine Arts, Office of College and Career Readiness, will assist with the presentation and discussion of this agenda item. RECOMMENDATION The Department recommends that the State Board of Education approve the Fine Arts Learning Standards as presented.

K-12 Fine Arts Learning Expectations

April 2019

State Board of Education

• One credit in Fine Arts courses is required for graduation.

• The Grade-Level Expectations (GLEs) for Theatre classes were last revised in 2006, in Visual Arts and Music classes in 2007.

• The State Board of Education authorized the organization of work groups to review, and possibly revise, Fine Arts learning standards at its February 21, 2017 Board meeting.

Update

2

K-5 Fine Arts Work Group Members3

NAME NOMINATED BYBenz, Kimberly President Pro Tem of the SenateBrashers, Paula Missouri State Teachers AssociationBuschere, Stefanie Governor of MissouriConell, Dixie President Pro Tem of the SenateHerrell, Kaye Speaker of the House of RepresentativesHolland, Jo Missouri School Board's AssociationKeene, Teresa President Pro Tem of the SenateLamme, Cheryl Speaker of the House of RepresentativesManaeval, Tresa Lieutenant Governor of MissouriMincks, Leigh Missouri Council of Education DeansParks, Brian President Pro Tem of the SenateRidlen, Michelle Speaker of the House of RepresentativesSchmitz, Michelle Missouri Elementary Principals AssociationStraughn, Rachel Speaker of the House of RepresentativesWatkins, Adam Commissioner of Higher EducationWeber, Alicia Missouri Council of Career and Technical Administrators

6-12 Fine Arts Work Group Members4

NAME NOMINATED BYBean, Vicki Speaker of the House of RepresentativesBelcher-Shields, Mary President Pro Tem of the SenateChapman, Lucas Future Business Leaders of AmericaCorbin, Debra President Pro Tem of the SenateGlendenning, Jennifer Speaker of the House of RepresentativesHartley-Pirtie, Kim Missouri School Board's AssociationHelland, Erin Missouri Association of School AdministratorsHorst, Carl Missouri Council of Education DeansJensen, Scott Speaker of the House of RepresentativesMintert, Amber President Pro Tem of the SenateMustoe, Barbara President Pro Tem of the SenateNeher, Janis Missouri Council of Career and Technical AdministratorsPurdon, Baker Speaker of the House of RepresentativesSetser, Patrica Commissioner of Higher EducationShoemaker, Connie Lieutenant Governor of MissouriSwearingin, Laura Governor of MissouriWrolstad, James Missouri National Education Association

• December 11, 2017 – work groups first meeting to begin work

• State Board held three public hearings to receive public testimony:

January 9, 2018 August 14, 2018 December 6, 2018

The Process5

• We solicited comments and received feedback from: the Joint Committee on Education, and Academic Researchers

• Posted on the department’s website at https://dese.mo.gov/college-career-readiness/curriculum/fine-arts/fine-arts-standards-comments

Seeking Feedback6

https://dese.mo.gov/college-career-readiness/curriculum/fine-arts/fine-arts-standards-comments

• Public comment solicited

Anonymous survey on DESE website Comment period open December 6, 2018 – January 31,

2019

Seeking Feedback

7

• Comments shared with work group members

• Work groups edited the proposed standards

Reviewed the public comments

Revised based on work group reflection

Edited for clarity and uniformity

Response to Public Comments

8

• Revised existing GLEs Dance Music Theatre Visual Arts

• New Media Arts GLEs

What’s Different?

9

• Broadens the definition of arts Animation Film Gaming

• Interactive and computer-based art-making

New Media Arts GLEs

10

• For each course: Dance, Media Arts, Music, Theatre, and Visual Arts

Grade-by-grade performance expectations for PK-Grade 8

Three levels of expectations for high school courses

High School Proficient

High School Accomplished

High School Advanced

What’s Different?11

Revised 4/10/2019

• All Fine Arts areas unified through four artistic processes: Creating Performing/Presenting Responding Connecting

• Eleven “Big Ideas” emphasizing artistic literacy in all five art forms

What’s Different?

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Supporting Documents

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• Revised Grade-Level Expectations

• “Crosswalks” comparing the current Missouri Learning Standards and the proposed Grade-Level Expectations

• Glossary and Frequently Asked Questions

• All documents posted on the DESE Missouri Learning Standards website

We recommend the State Board of Education approve the

proposed Fine Arts Learning Standards as presented.

Recommendation

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• K-5 Work group leaders Michelle Ridlen Brian Parks

• 6-12 Work group leaders Debra Corbin Connie Shoemaker

Special Thanks15

Districts should begin preparing local curriculum based on

the new standards for implementation in the 2019-2020

school year.

Next Steps16

EXECUTIVE SUMMARY Fine Arts Work Groups Grade-Level Expectations Revisions & Recommendations March 2019

"Art helps us see connections & brings a more coherent meaning to our world." - Earnest Boyer, president, Carnegie Foundation

For the past year and a half, 32 fine arts education professionals and community members have come together to review and recommend updates to the Missouri fine arts Grade-Level Expectations (GLEs) in the existing areas of dance, music, theatre, and visual arts for kindergarten through grade 12. Through discussions about current implementation across the state and research into evolving and best practices, the work group members revised the existing dance, music, theatre and visual art GLEs with the addition of prekindergarten and the inclusion of media arts GLEs PK–grade 12.

Within the work group meetings, content area experts worked on providing grade-by-grade performance expectations from PK–grade 8, and three levels for high school in each area: dance, media arts, music, theatre, and visual arts. Music was also specifically broken out into discrete strands that address common high school music classes, such as Ensembles and Music Composition/Theory. The five fine arts areas are then unified through the inclusion of four shared artistic processes: creating, performing/presenting, responding, and connecting as well as 11 common big ideas that work together to emphasize developing artistic literacy in all five art forms.

The addition of media arts GLEs reflects a broadened definition of arts-making that includes contemporary forms such as animation, film, gaming or interactive and computer-based art-making.

Media arts is a developing field and has already been included as a fine art in 25 states that have adopted media arts standards. Educators of Missouri and our work group see the need for a specially designated task force to continue the work around the inclusion and promotion of media arts as a fine art subject area.

Along with the revised GLEs for each fine arts content area, included in this document are tools to assist arts teachers in their transition to the new GLEs: a crosswalk to the previous GLEs, a glossary of terms used within the GLEs to clarify meaning and intent, an analysis of feedback and revisions rationale, and a frequently asked questions page. We submitted the draft of each content area for comments via a survey on the Department of Elementary and Secondary Education website for an extended period of two months. We solicited comments and feedback during the Missouri Thespians Conference, Missouri Music Educators Association Conference, and Missouri Art Education Association winter meeting as well as contacting the Missouri Dance Organization for feedback. Survey results including specific comments were all read by work group members during an in-person work group meeting. We carefully considered the feedback as we determined revisions, created crosswalks and answered frequently asked questions.

What we heard most often from teachers offering feedback was a need for more professional development and resources that would elevate and propel our practice forward. We heard a strong desire for assistance and support for implementing instruction. Therefore, our revisions also include a list of five recommendations for the future (details included in the additional work group recommendations section of the document):

1. Convene a Fine Arts Advisory Committee:

● Develop a conceptual framework as well as item specifications and descriptors for each fine arts content area.

● Develop crosswalks between fine arts and other content areas establishing strong arts integration support.

2. Establish a media arts task force:

● Develop media arts course descriptions that define what media arts looks like from the fine arts perspective.

● Examine certification and higher education learning opportunities.

● Model how to create a truly interdisciplinary course of study.

3. Create a professional development plan and network of professional connections and resources.

4. Recognize and support the fine arts as a part of a well-rounded education and part of the core to Missouri students' learning:

● Take steps to ensure students are receiving fine arts instruction

Early childhood Junior high/middle school

5. Promote the arts and communication creative pathway with the development of a Missouri diploma seal of artistic literacy.

In summary, the revisions to the fine arts GLEs have been carefully crafted and evaluated with input from educators and community members across the state. These revisions will ensure a focus on the development of student skills that are greatly needed in college and career by assessing student development in creativity, critical thinking, communication, and collaboration.

https://www.springfieldarts.org/

Fine Arts Work Groups Grade Level Expectations

Revisions & Recommendations

Fine Arts K-5 Work Group

Brian Parks Michelle Ridlen John Beaudoin Kimberly Benz Paula Brashers

Stefanie Buscher Dixie Connell Kate Herrell Jo Holland

Teresa Keene Sheryl Lamme Tresa Maneval Leigh Mincks

Michelle Schmitz Adam Watkins

Alicia Weber

Fine Arts 6-12 Work Group

Debra Corbin Connie Shoemaker

Vicki Bean Lucas Chapman

Jennifer Glendenning Erin Helland Carol Horst Scott Jensen

Amber Mintert CJ Maples

Barbara Mustoe Janis Neher Kim Pirtle

Alex Kolster Mary Shields

Laura Swearngin James Wrolstad

April 2019

1 (Draft Mar 2019)

Table of Contents

Grade Level Expectation Revisions 3

Dance……………………………………………………………………………... 7-21Media Arts………………………………………………………………………… 22-33Music……………………………………………………………………………… 34-108Theatre…………………………………………………………………………… 109-120

Visual Arts………………………………………………………………………… 121-135Fine Arts Glossary 136

Dance……………………………………………………………………………… 137-141Media Arts………………………………………………………………………… 142-148Music……………………………………………………………………………… 149-166Theatre…………………………………………………………………………… 167-169

Visual Arts……………………………………………………………………….. 170-175Crosswalks 176

Dance……………………………………………………………………………… 177-265Music………………………………………………………………………………. 266-384Theatre……………………………………………………………………………. 385-452

Visual Arts………………………………………………………………………… 453-598

Comments, Feedback, & Revisions 599

Comment Period Feedback…………………………………………………….. 600

Revisions Rationale……………………………………………………………… 601-603

Frequently Asked Questions 604

Dance……………………………………………………………………………… 606Media Arts…………………………………………………………………………. 607Music……………………………………………………………………………… 608Theatre……………………………………………………………………………. 610

Visual Arts………………………………………………………………………… 611

Additional Work Group Recommendations 616

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FINE ARTS AREAS:DA: Dance Secondary Music Areas:MA: Media Arts E – Traditional and Emerging EnsemblesMU: Music T – Music TechnologyTH: Theatre C – Composition & Music TheoryVA: Visual Arts H – Harmonizing Instruments

The following coding system should be used to reference the GLEs:STRANDS:

Cr = CreatePr = Perform (Dance, Music, Theatre)/

Present (Media Arts, Visual Arts)Re = RespondCn = Connect

BIG IDEAS:Use the numeral preceding the Big Idea

CONCEPTS/PROCESS COMPONENT:Use the capital letter designation

Relating artistic ideas and work with personal meaning and external context.

FINE ARTS GRADE LEVEL EXPECTATIONS

Conceiving and developing new artistic ideas and work.Realizing artistic ideas and work through interpretation and presentation.Realizing, interpreting and sharing artistic work.Understanding and evaluating how the arts convey meaning

Example: The Music GLE “Improvise rhythmic and melodic patterns and musical ideas for a specific purpose,” can be found in the Create strand (Cr), under the first Big Idea – Generate and conceptualize artistic ideas and work (1), in the concept/process component Imagine (A), in grade 2. Therefore,

the code for that particular GLE is: MU:Cr1A.2a.

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1. Use a variety of artistic media, symbols and metaphors to independently create and perform work that expresses and communicates theirown ideas, and are able to respond by analyzing and interpreting the artistic communications of others.

2. Find at least one arts discipline in which they develop sufficient competence to continue active involvement in creating, performing, andresponding to art as an adult.

3. Know and understand artwork from varied historical periods and cultures, and actively seek and appreciate diverse forms and genres ofartwork of enduring quality/significance. They also seek to understand relationships among the arts, and cultivate habits of searching for andidentifying patterns, relationships between the arts and other knowledge.

4. Find joy, inspiration, peace, intellectual stimulation, meaning, and other life‐enhancing qualities through participation in all of the arts.

Foundations of Artistic Literacy

Artistic literacy is the knowledge and understanding required to participate authentically in the arts. Fluency in the language(s) of the arts is the ability to create, perform/present, respond, and connect through symbolic and metaphoric forms that are unique to the arts. It is embodied in specific

philosophical foundations and lifelong goals that enable an artistically literate person to transfer arts knowledge, skills, and capacities to other subjects, settings, and contexts.

What it means to be artistically literateArtistic Literacy is a necessary life and learning skill for all the citizens of our increasingly complex global society. Through the process of engaging the arts, students may develop “Artistic Literacy”––the ability to encode and decode (“read” and “write”) aesthetic wisdom that is expressed and received in symbolic and metaphoric forms that are unique to the arts. Artistic Literacy is not limited only to appreciating and practicing the arts; it is a vital life skill for citizens of our 21st Century world. Artistic Literacy allows us to read, write, and understand the symbols and metaphors in which so many current messages are encoded—messages that run the gamut of human activity from advertising, to politics, to religion. In doing this, the language of the arts helps to break down cultural barriers to knowledge and allows us to cross personal and cultural borders leading to better understanding of our self and others.

5. Seek artistic experience and support the arts in their local, state, national, and global communities.

Artistically Literate Citizens will:

4 (Draft Mar 2019)

Philosophical foundations and lifelong goals

These grade level expectations are conceptual in nature, based on artistic processes, and provide the structure to support literacy in Dance, Media Arts, Music, Theatre and Visual Arts over the course of a lifetime. Philosophical Foundations and Lifelong Learning Expectations frame learning in the arts beyond school experiences to work

and life experiences.

Things to consider:

The Arts as Communication

The Arts as Creative Personal Realization

The philosophical foundations and lifelong goals establish the basis for the new GLEs and illuminate artistic literacy by expressing the overarching common values and expectations for learning in arts education across the five arts disciplines.

Philosophical Foundation Lifelong Goals

The arts provide means for individuals to collaborate and connect with others in an enjoyable inclusive environment as they create, prepare, and share artwork that bring

communities together

Artistically literate citizens seek artistic experience and support the arts in their local, state, national, and global communities.

Arts as Means to Wellbeing

The Arts as Culture, History, and ConnectorsThroughout history the arts have provided essential means for individuals and

communities to express their ideas, experiences, feelings, and deepest beliefs. Each discipline shares common goals, but approaches them through distinct media and

techniques. Understanding artwork provides insights into individuals’ own and others’ cultures and societies, while also providing opportunities to access, express, and

integrate meaning across a variety of content areas.

Artistically literate citizens know and understand artwork from varied historical periods and cultures, and actively seek and appreciate diverse forms and genres of artwork of enduring

quality/significance. They also seek to understand relationships among the arts, and cultivate habits of searching for and identifying patterns, relationships between the arts and

other knowledge.

The Arts as Community Engagement

Artistically literate citizens find at least one arts discipline in which they develop sufficient competence to continue active involvement in creating, performing, and responding to art

as an adult.

Participation in each of the arts as creators, performers, and audience members enables individuals to discover and develop their own creative capacity, thereby

providing a source of lifelong satisfaction.

Artistically literate citizens use a variety of artistic media, symbols and metaphors to independently create and perform work that expresses and communicates their own ideas,

and are able to respond by analyzing and interpreting the artistic communications of others.

In today’s multimedia society, the arts are the media, and therefore provide powerful and essential means of communication. The arts provide unique symbol systems and metaphors that convey and inform life experience (i.e., the arts are ways of knowing).

Participation in the arts as creators, performers, and audience members (responders) enhances mental, physical, and emotional wellbeing.

Artistically literate citizens find joy, inspiration, peace, intellectual stimulation, meaning, and other life‐enhancing qualities through participation in all of the arts

Portions of this work are based on the National Core Arts Standards (http://nationalartsstandards.org/). Copyright © 2015 National Coalition for Core Arts Standards/All Rights Reserved—Rights Administered by SEADAE. Sections highlighting anchor and performance standards, enduring understandings, and essential questions.

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Create:Imagine ‐ Generate musical ideas for various purposes and contextsPlan and Make ‐ Select and develop musical ideas for defined purposes and contextsEvaluate and Refine ‐ Evaluate and refine selected musical ideas to create musical work that meets appropriate criteriaPresent ‐ Share creative musical work that conveys intent, demonstrates craftsmanship, and exhibits originality

Perform:Select ‐ Select varied musical works to present based on interest, knowledge, technical skill, and context.Analyze ‐ Analyze the structure and context of varied musical works and their implications for performance.Interpret ‐ Develop personal interpretations that consider creators’ intentRehearse, Evaluate and Refine ‐ Evaluate and refine personal and ensemble performances, individually or in collaboration with others.Present ‐ Perform expressively, with appropriate interpretation and technical accuracy, and in a manner appropriate to the audience and context

Respond: Select ‐ Choose music appropriate for a specific purpose or context.Analyze ‐ Analyze how the structure and context of varied musical works inform the responseInterpret ‐ Support interpretations of musical works that reflect creators’/performers’ expressive intent.Evaluate ‐ Support evaluations of musical works and performances based on analysis, interpretation, and established criteria

Connect:Making Connections ‐ sSynthesize and relate knowledge and personal experiences to make musicUnderstanding Connections ‐ Relate musical ideas and works to varied contexts and daily life to deepen understanding

Each big idea is supported by a process component, an enduring understanding, and an essential question. These additional features should benefit educational leaders and teachers as they consider curricular models and structure lessons aligned to the GLEs. Grade Level Expectations describe more specifically what students should

know and be able to do in each area of the fine arts and are expressed as measurable outcomes across the grades pre‐kindergarten to eighth grade and into high school at three levels of proficiency.

Music Process Components

Process Components

Process components are the actions artists carry out as they complete each artistic process. Students’ ability to carry out these operational verbs empowers them to work through the artistic process independently. The process components played a key role in generating enduring understandings and performance standards, and serve as the action verbs that collectively build toward the artistic processes. Process components and their definitions are presented among supplemental resources. In the final presentation of standards individual arts disciplines have placed differing levels of emphasis on the process components. Music standards, in particular, place process components in a central role. Visual arts standards, on the other hand, place greater emphasis on enduring understandings and essential questions.

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Fine Arts - DANCE

Enduring Understanding: Choreographers use a variety of sources as inspiration and transform concepts and ideas into movement for artistic expression.

Essential Question(s): Where do choreographers get ideas for dances?

A. Grade pK Grade K Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8 HS Proficient HS Accomplished HS Advanced

DA:Cr1A.pK DA:Cr1A.K DA:Cr1A.1 DA:Cr1A.2 DA:Cr1A.3 DA:Cr1A.4 DA:Cr1A.5 DA:Cr1A.6 DA:Cr1A.7 DA:Cr1A.8 DA:Cr1A.I DA:Cr1A.II DA:Cr1A.III

a. Respond in

movement to a

variety of sensory

stimuli (for

example,

music/sound,

visual, tactile).

a. Respond in

movement to a

variety of stimuli

(for example,

music/sound, text,

objects, images,

symbols, observed

dance).

a. Explore

movement

inspired by a

variety of stimuli

(for example,

music/sound, text,

objects, images,

symbols, observed

dance,

experiences) and

identify the source

a. Explore

movement

inspired by a

variety of stimuli

(for example,

music/sound, text,

objects, images,

symbols, observed

dance,

experiences) and

suggest additional

sources for

movement ideas.

a. Experiment with

a variety of

selfidentified

stimuli (for

example,

music/sound, text,

objects, images,

notation, observed

dance,

experiences) for

movement.

a. Identify ideas

for choreography

generated from a

variety of stimuli

(for example,

music/sound, text,

objects, images,

notation, observed

dance,

experiences).

a. Build content for

choreography

using several

stimuli (for

example,

music/sound, text,

objects, images,

notation, observed

dance,

experiences,

literary forms,

natural

phenomena,

current news,

social events).

a. Relate similar or

contrasting ideas

to develop

choreography

using a variety of

stimuli (for

example, music,

observed dance,

literary forms,

notation, natural

phenomena,

personal

experience/recall,

current news or

social events).

a. Compare a variety

of stimuli (for

example, music,

observed dance,

literary forms,

notation, natural

phenomena,

personal

experience/recall,

current news or

social events) and

make selections to

expand movement

vocabulary and

artistic expression.

a. Implement

movement from a

variety of stimuli

(for example, music,

observed dance,

literary forms,

notation, natural

phenomena,

personal

experience/recall,

current news or

social events) to

develop dance

content for an

original dance study

or dance.

a. Explore a variety

of stimuli for

sourcing

movement to

develop an

improvisational or

choreographed

dance study.

Analyze the

process and the

relationship

between the

stimuli and the

movement.

a. Synthesize

content generated

from stimulus

materials to

choreograph

dance studies or

dances using

original or codified

movement

a. Synthesize

content generated

from stimulus

material.

Experiment and

take risks to

discover a

personal voice to

communicate

artistic intent.

b. Find a different

way to do several

basic locomotor

and non-

locomotor

movements.

b. Explore

different ways to

do basic locomotor

and nonlocomotor

movements by

changing at least

one of the

elements of dance.

b. Explore a variety

of locomotor and

non-locomotor

movements by

experimenting

with and changing

the elements of

dance.

b. Combine a

variety of

movements while

manipulating the

elements of dance.

b. Explore a given

movement

problem. Select

and demonstrate a

solution.

b. Develop a

movement

problem and

manipulate the

elements of dance

as tools to find a

solution.

b. Construct and

solve multiple

movement

problems to

develop

choreographic

content.

b. Explore various

movement

vocabularies to

transfer ideas into

choreography.

b. Explore various

movement

vocabularies to

express an artistic

intent in

choreography.

Explain and discuss

the choices made

using genre-

specific dance

terminology.

b. Identify and

select personal

preferences to

create an original

dance study or

dance. Use

genrespecific

dance terminology

to articulate and

justify choices

made in

movement

development to

communicate

intent

b. Experiment with

the elements of

dance to explore

personal

movement

preferences and

strengths, and

select movements

that challenge

skills and build on

strengths in an

original dance

study or dance.

b. Apply personal

movement

preferences and

strengths with the

movement

vocabulary of

several dance styles

or genres to

choreograph an

original dance study

or dance that

communicates an

artistic intent.

Compare personal

choices to those

made by wellknown

choreographers.

b. Expand personal

movement

preferences and

strengths to discover

unexpected

solutions that

communicate the

artistic intent of an

original dance.

Analyze the

unexpected

solutions and

explain why they

were effective in

expanding artistic

intent

National

Standards

DA:Cr1.1.PK DA:Cr1.1.K DA:Cr1.1.1 DA:Cr1.1.2 DA:Cr1.1.3 DA:Cr1.1.4 DA:Cr1.1.5 DA:Cr1.1.6 DA:Cr1.1.7 DA:Cr1.1.8 DA: Cr1.1.I DA: Cr1.1.II DA: Cr1.1.III

Content

Standards

FA1, FA2, FA4 FA1, FA2, FA4 FA1, FA2, FA4 FA1, FA2, FA4 FA1, FA2, FA4 FA1, FA2, FA4 FA1, FA2, FA4, FA5 FA3, FA4, FA5 FA3, FA4, FA5 FA3, FA4, FA5 FA2, FA3, FA4, FA5 FA3, FA4, FA5 FA3, FA4, FA5

Process

Standards

1.1, 1.6 1.1, 1.6, 2.5 1.1, 1.6, .2.5 1.1, 1.6, 2.5, 2.7 1.1, 1.6, 2.5, 2.7 1.1, 1.6, 1.9, 2.5,

2.7

1.1, 1.6, 1.9, 2.1,

2.5, 2.7, 4.1, 4.5,

4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

CREATE

1. Generate and conceptualize artistic ideas and work.Ex

plo

re

7 (Draft Mar 2019)

Fine Arts - DANCE



a. Improvise dance

that starts and

stops on cue.

a. Improvise dance

that has a

beginning, middle,

and end.

a. Improvise a

series of

movements that

have a beginning,

middle, and end,

and describe

movement choices

a. Improvise a

dance phrase with

a beginning, a

middle that has a

main idea, and a

clear end

a. Identify and

experiment with

choreographic

devices to create

simple movement

patterns and

dance structures

(for example, AB,

ABA, theme and

development).

a. Manipulate or

modify

choreographic

devices to expand

movement

possibilities and

create a variety of

movement

patterns and

structures. Discuss

movement

choices.

a. Manipulate or

modify a variety of

choreographic

devices to expand

choreographic

possibilities and

develop a main

idea. Explain

reasons for

movement

choices.

a. Explore

choreographic

devices and dance

structures to

develop a dance

study that

supports an artistic

intent. Explain the

goal or purpose of

the dance.

a. Use a variety of

choreographic

devices and dance

structures to

develop a dance

study with a clear

artistic intent.

Articulate reasons

for movement and

structural choices.

a. Collaborate to

select and apply a

variety of

choreographic

devices and dance

structures to

choreograph an

original dance

study or dance

with a clear artistic

intent. Articulate

the group process

for making

movement and

structural choices.

a. Collaborate to

design a dance

using

choreographic

devices and dance

structures to

support an artistic

intent. Explain

how the dance

structures clarify

the artistic intent.

a. Work

individually and

collaboratively to

design and

implement a

variety of

choreographic

devices and dance

structures to

develop original

dances. Analyze

how the structure

and final

composition

informs the artistic

intent.

a. Demonstrate

fluency and

personal voice in

designing and

choreographing

original dances.

Justify

choreographic

choices and

explain how they

are used to

intensify artistic

intent.

b. Engage in dance

experiences

moving alone or

with a partner.

b. Express an idea,

feeling, or image,

through

improvised

movement moving

alone or with a

partner.

b. Choose

movements that

express an idea or

emotion, or follow

a musical phrase.

b. Choose

movements that

express a main

idea or emotion, or

follow a musical

phrase. Explain

reasons for

movement choices

b. Develop a dance

phrase that

expresses and

communicates an

idea or feeling.

Discuss the effect

of the movement

choices.

b. Develop a dance

study that

expresses and

communicates a

main idea. Discuss

the reasons and

effectiveness of

the movement

choices.

b. Develop a dance

study by selecting

a specific

movement

vocabulary to

communicate a

main idea. Discuss

how the dance

communicates

nonverbally

b. Determine

artistic criteria to

choreograph a

dance study that

communicates

personal or

cultural meaning.

Based on the

criteria, evaluate

why some

movements are

more or less

effective than

others.

b. Determine

artistic criteria to

choreograph a

dance study that

communicates

personal or

cultural meaning.

Articulate how the

artistic criteria

serve to

communicate the

meaning of the

dance.

b. Define and

apply artistic

criteria to

choreograph a

dance that

communicates

personal or

cultural meaning.

Discuss how the

criteria clarify or

intensify the

meaning of the

dance.

b. Develop an

artistic statement

for an original

dance study or

dance. Discuss

how the use of

movement

elements,

choreographic

devices and dance

structures serve to

communicate the

artistic statement.

b. Develop an

artistic statement

that reflects a

personal aesthetic

for an original

dance study or

dance. Select and

demonstrate

movements that

support the artistic

statement.

b. Construct an

artistic statement

that

communicates a

personal, cultural

and artistic

perspective.

National

Standards


Content

Standards

FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3, FA5

Process

Standards

1.1, 1.6 1.1, 1.6, 2.5 1.1, 1.6, .2.5 1.1, 1.6, 2.5, 2.7 1.1, 1.6, 2.5, 2.7 1.1, 1.6, 1.9, 2.5,

2.7

1.1, 1.6, 1.9, 2.1,

2.5, 2.7, 4.1, 4.5,

4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

CREATE

2. Organize and develop artistic ideas and work.P

lan

Enduring Understanding: The elements of dance, dance structures, and choreographic devices serve as both a foundation and a departure point for choreographers.

Essential Question(s): What influences choice-making in creating choreography?

8 (Draft Mar 2019)

Fine Arts - DANCE



a. Respond to

suggestions for

changing

movement

through guided

improvisational

experiences.

a. Apply

suggestions for

changing

movement

through guided

improvisational

experiences.

a. Explore

suggestions to

change movement

from guided

improvisation

and/or short

remembered

sequences

a. Explore

suggestions and

make choices to

change movement

from guided

improvisation

and/or short

remembered

sequences.

a. Revise

movement choices

in response to

feedback to

improve a short

dance study.

Describe the

differences the

changes made in

the movements.

a. Revise

movement based

on peer feedback

and selfreflection

to improve

communication of

artistic intent in a

short dance study.

Explain choices

made in the

process

a. Explore through

movement the

feedback from

others to expand

choreographic

possibilities for a

short dance study

that

communicates

artistic intent.

Explain the

movement choices

and refinements.

a. Revise dance

compositions using

collaboratively

developed artistic

criteria. Explain

reasons for

revisions and how

choices made

relate to artistic

intent.

a. Evaluate

possible revisions

of dance

compositions and,

if necessary,

consider revisions

of artistic criteria

based on self-

reflection and

feedback of

others. Explain

reasons for choices

and how they

clarify artistic

intent

a. Revise

choreography

collaboratively or

independently

based on artistic

criteria,

selfreflection, and

the feedback of

others. Articulate

the reasons for

choices and

revisions and

explain how they

clarify and

enhance the

artistic intent.

a. Clarify the

artistic intent of a

dance by

manipulating

choreographic

devices and dance

structures based

on established

artistic criteria and

feedback from

others. Analyze

and evaluate

impact of choices

made in the

revision process.

a. Clarify the


dance by refining

choreographic

devices and dance

structures,

collaboratively or

independently

using established

artistic criteria,

selfreflection and

the feedback of

others. Analyze

and evaluate

impact of choices

made in the

revision process.

a. Clarify the


dance by

manipulating and

refining

choreographic

devices, dance

structures, and

artistic criteria

using self-

reflection and

feedback from

others. Document

choices made in

the revision

process and justify

how the

refinements

support artistic

intent.

b. Identify parts of

the body and

document a body

shape or position

by drawing a

picture.

b. Depict a dance

movement by

drawing a picture

or using a symbol.

b. Depict several

different types of

movements of a

dance by drawing

a picture or using a

symbol (for

example, jump,

turn, slide, bend,

reach).

b. Depict the levels

of movements in a

variety of dance

movements by

drawing a picture

or using symbols

(for example, high,

middle, low).

b. Depict

directions or

spatial pathways in

a dance phrase by

drawing a picture

map or using a

symbol.

b. Depict the

relationships

between two or

more dancers in a

dance phrase by

drawing a picture

or using symbols

(for example, next

to, above, below,

behind, in front

of).

b. Record changes

in a dance

sequence through

writing, symbols,

or a form of media

technology.

b. Explore or

invent a system to

record a dance

sequence through

writing, symbols,

or a form of media

technology

b. Investigate a

recognized system

to document a

dance sequence by

using words,

symbols, or media

technologies.

b. Experiment with

aspects of a

recognized system

to document a

section of a dance

by using words,

symbols, or media

technologies.

b. Compare

recognized

systems to

document a

section of a dance

using writing,

symbols, or media

technologies.

b. Develop a

strategy to record

a dance using

recognized

systems of dance

documentation

(for example,

writing, a form of

notation symbols,

or using media

technologies).

b. Document a

dance using

recognized

systems of dance

documentation

(for example,

writing, a form of

notation symbols,

or using media

technologies).

National

Standards


Content

Standards

FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3

Process

Standards

1.1, 1.6 1.1, 1.6, 2.5 1.1, 1.6, .2.5 1.1, 1.6, 2.5, 2.7 1.1, 1.6, 2.5, 2.7 1.1, 1.6, 1.9, 2.5,

2.7

1.1, 1.6, 1.9, 2.1,

2.5, 2.7, 4.1, 4.5,

4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

Rev

ise

CREATE

3. Refine and complete artistic work.Enduring Understanding: Choreographers analyze, evaluate, refine, and document their work to communicate meaning.

Essential Question(s): How do choreographers use self-reflection, feedback from others, and documentation to improve the quality of their work?

9 (Draft Mar 2019)

Fine Arts - DANCE


DA:Pr4A.pK DA:Pr4A.K DA:Pr4A.1 DA:Pr4A.2 DA:Pr4A.3 DA:Pr4A.4 DA:Pr4A.5 DA:Pr4A.6 DA:Pr4A.7 DA:Pr4A.8 DA:Pr4A.I DA:Pr4A.II DA:Pr4A.III

a. Identify and

demonstrate

directions for

moving the body

in general space

(for example,

forward,

backwards,

sideways, up,

down, and turning)

and finding and

returning to a

place in space.

a. Make still and

moving body

shapes that show

lines (for example,

straight, bent, and

curved), changes

levels, and vary in

size (large/small).

Join with others to

make a circle

formation and

work with others

to change its

dimensions.

a. Demonstrate

locomotor and

nonlocomotor

movements that

change body

shapes, levels, and

facings. Move in

straight, curved,

and zigzagged

pathways. Find

and return to place

in space. Move

with others to

form straight lines

and circle

a. Demonstrate clear

directionality and

intent when

performing

locomotor and

nonlocomotor

movements that

change body shapes,

facings, and

pathways in space.

Identify symmetrical

and asymmetrical

body shapes and

examine

relationships

between body parts.

Differentiate

between circling and

turning as two

separate ways of

continuous

directional change

a. Judge spaces as

distance traveled

and use space

threedimensionall

y. Demonstrate

shapes with

positive and

negative space.

Perform

movement

sequences in and

through space

with intentionality

and focus.

a. Make static and

dynamic shapes

with positive and

negative space.

Perform elevated

shapes (jump

shapes) with soft

landings and

movement

sequences alone

and with others,

establishing

relationships with

other dancers

throug

a. Integrate static

and dynamic

shapes and floor

and air pathways

into dance

sequences.

Establish

relationships with

other dancers

through focus of

eyes and other

body parts.

Convert inward

focus to outward

focus for

projecting out to

far space.

a. Refine partner

and ensemble

skills in the ability

to judge distance

and spatial design.

Establish diverse

pathways, levels,

and patterns in

space. Maintain

focus with partner

or group in near

and far space.

a. Expand

movement

vocabulary of floor

and air pattern

designs.

Incorporate and

modify body

designs from

different dance

genres and styles

for the purpose of

expanding

movement

vocabulary to

include differently

designed shapes

and movements

for interest and

contrast.

a. Sculpt the body

in space and

design body

shapes in relation

to other dancers,

objects, and

environment. Use

focus of eyes

during complex

floor and air

patterns or direct

and indirect

pathway

a. Develop partner

and ensemble skills

that enable

contrasting level

changes through

lifts, balances, or

other means while

maintaining a sense

of spatial design and

relationship. Use

space intentionally

during phrases and

through transitions

between phrases.

Establish and break

relationships with

others as

appropriate to the

choreography

a. Dance alone and

with others with

spatial intention.

Expand partner

and ensemble

skills to greater

ranges and skill

level. Execute

complex floor and

air sequences with

others while

maintaining

relationships

through focus and

intentionality

a. Modulate and

use the broadest

range of

movement in

space for artistic

and expressive

clarity. Use inward

and outward focus

to clarify

movement and

intent. Establish

and break

relationships with

other dancers and

audience as

appropriate to the

dance.

b. Identify speed

of dance as fast or

slow. Move to

varied rhythmic

sounds at different

tempi.

b. Demonstrate

tempo contrasts

with movements

that match to

tempo of sound

stimuli.

b. Relate quick,

moderate and

slow movements

to duration in

time. Recognize

steady beat and

move to varying

tempi of steady

beat.

b. Identify the

length of time a

move or phrase

takes (for

example, whether

it is long or short).

Identify and move

on the downbeat

in duple and triple

meter. Correlate

metric phrasing

with movement

phrasing

b. Fulfill specified

duration of time

with improvised

locomotor and

nonlocomotor

movements.

Differentiate

between “in time”

and “out of time”

to music. Perform

movements that

are the same or of

a different time

orientation to

accompaniment.

Use metric and

kinesthetic

phrasing.

b. Accompany

other dancers

using a variety of

percussive

instruments and

sounds. Respond

in movement to

even and uneven

rhythms.

Recognize and

respond to tempo

changes as they

occur in dance and

music.

b. Dance to a

variety of rhythms

generated from

internal and

external sources.

Perform

movement

phrases that show

the ability to

respond to

changes in time.

b. Use

combinations of

sudden and

sustained timing

as it relates to

both the time and

the dynamics of a

phrase or dance

work. Accurately

use accented and

unaccented beats

in 3/4 and 4/4

meter

b. Vary durational

approach in dance

phrasing by using

timing accents and

variations within a

phrase to add

interest

kinesthetically,

rhythmically, and

visually.

b. Analyze and

select metric,

kinetic, and breath

phrasing and apply

appropriately to

dance phrases.

Perform dance

phrases of

different lengths

that use various

timings within the

same section. Use

different tempi in

different body

parts at the same

time.

b. Use syncopation

and accent

movements

related to different

tempi. Take

rhythmic cues

from different

aspects of

accompaniment.

Integrate breath

phrasing with

metric and

kinesthetic

phrasing.

b. Perform dance

studies and

compositions that

use time and

tempo in

unpredictable

ways. Use internal

rhythms and

kinetics as

phrasing tools.

Dance “in the

moment.”

b. Modulate time

factors for artistic

interest and

expressive acuity.

Demonstrate time

complexity in

phrasing with and

without musical

accompaniment.

Use multiple and

complex rhythms

(for example,

contrapuntal

and/or

polyrhythmic) at

the same time.

Work with and

against rhythm of

accompaniment or

sound

environments.

Enduring Understanding: Space, time, and energy are basic elements of dance.

Essential Question(s): How do dancers work with space, time and energy to communicate artistic expression?

PERFORM

4. Select, Analyze, and interpret artistic work for presentation.Ex

pre

ss

10 (Draft Mar 2019)

Fine Arts - DANCE



c. Move with

opposing

characteristics (for

example,

loose/tight,

light/heavy,

jerky/smooth).

c. Identify and

apply different

characteristics to

movements (for

example, slow,

smooth, or wavy).

c. Demonstrate

movement

characteristics

along with

movement

vocabulary (for

example, use

adverbs and

adjectives that

apply to

movement such as

a bouncy leap, a

floppy fall, a jolly

jump, and joyful

spin)

c. Select and apply

appropriate

characteristics to

movements (for

example, selecting

specific adverbs

and adjectives and

apply them to

movements).

Demonstrate

kinesthetic

awareness while

dancing the

movement

characteristics

c. Change use of

energy and

dynamics by

modifying

movements and

applying specific

characteristics to

heighten the effect

of their intent.

c. Analyze

movements and

phrases for use of

energy and

dynamic changes

and use adverbs

and adjectives to

describe them.

Based on the

analysis, refine the

phrases by

incorporating a

range of

movement

characteristics.

c. Contrast bound

and free-flowing

movements.

Motivate

movement from

both central

initiation (torso)

and peripheral

initiation (distal)

and analyze the

relationship

between initiation

and energy.

c. Use the internal

body force created

by varying

tensions within

one’s musculature

for movement

initiation and

dynamic

expression.

Distinguish

between bound

and freeflowing

movements and

appropriately

apply them to

technique

exercises and

dance phrases.

c. Compare and

contrast

movement

characteristics

from a variety of

dance genres or

styles. Discuss

specific

characteristics and

use adverbs and

adjectives to

describe them.

Determine what

dancers must do

to perform them

clearly.

c. Direct energy

and dynamics in

such a way that

movement is

textured.

Incorporate

energy and

dynamics to

technique

exercises and

dance

performance. Use

energy and

dynamics to

enhance and

project

movements.

c. Connect energy

and dynamics to

movements by

applying them in

and through all

parts of the body.

Develop total body

awareness so that

movement

phrases

demonstrate

variances of

energy and

dynamics.

c. Initiate

movement

phrases by

applying energy

and dynamics.

Vary energy and

dynamics over the

length of a phrase

and transition

smoothly out of

the phrase and

into the next

phrase, paying

close attention to

its movement

initiation and

energy.

c. Modulate

dynamics to clearly

express intent

while performing

dance phrases and

choreography.

Perform

movement

sequences

expressively using

a broad dynamic

range and employ

dynamic skills for

establishing

relationships with

other dancers and

projecting to the

audience.

National

Standards

DA:Pr4.1.PK DA:Pr4.1.K DA:Pr4.1.1 DA:Pr4.1.2 DA:Pr4.1.3 DA:Pr4.1.4 DA:Pr4.1.5 DA:Pr4.1.6 DA:Pr4.1.7 DA:Pr4.1.8 DA: Pr4.1.I DA: Pr4.1.II DA: Pr4.1.III

Content

Standards

FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4

Process

Standards

1.1, 1.6 1.1, 1.6, 2.5 1.1, 1.6, .2.5 1.1, 1.6, 2.5, 2.7 1.1, 1.6, 2.5, 2.7 1.1, 1.6, 1.9, 2.5,

2.7

1.1, 1.6, 1.9, 2.1,

2.5, 2.7, 4.1, 4.5,

4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6

Enduring Understanding: Space, time, and energy are basic elements of dance.

Essential Question(s): How do dancers work with space, time and energy to communicate artistic expression?

4. Select, Analyze, and interpret artistic work for presentation. (Con't)Ex

pre

ss

11 (Draft Mar 2019)

Fine Arts - DANCE



a. Demonstrate

basic full body

locomotor, non-

locomotor

movement, and

body patterning

with spatial

relationships

a. Demonstrate

sameside and

cross-body

locomotor and

nonlocomotor

movements, body

patterning

movements, and

body shapes.

a. Demonstrate

sameside and

cross-body

locomotor and

nonlocomotor

movements, body

patterning

movements, and

body shapes.

a. Demonstrate a

range of

locomotor and non-

locomotor

movements, body

patterning, and

dance sequences

that require

moving through

space using a

variety of

pathways.

a. Replicate body

shapes, movement

characteristics,

and movement

patterns in a dance

sequence with

awareness of body

alignment and

core support

a. Demonstrate

fundamental

dance skills (for

example,

alignment,

coordination,

balance, core

support,

kinesthetic

awareness) and

movement

qualities when

replicating and

recalling patterns

and sequences of

locomotor and

nonlocomotor

movements.

a. Recall and

execute a series of

dance phrases

using fundamental

dance skills (for

example,

alignment,

coordination,

balance, core

support,

kinesthetic

awareness, clarity

of movement).

a. Embody

technical dance

skills (for example,

alignment,

coordination,

balance, core

support,

kinesthetic

awareness, clarity

of movement) to

accurately execute

changes of

direction, levels,

facings, pathways,

elevations and

landings,

extensions of

limbs, and

movement

transitions.

a. Apply body-use

strategies to

accommodate

physical

maturational

development to

technical dance


functional

alignment,

coordination,

balance, core

support,

kinesthetic

awareness, clarity

of movement,

weight shifts,

flexibility/range of

motion).

a. Embody

technical dance


functional

alignment,

coordination,

balance, core

support, clarity of

movement, weight

shifts,


motion) to

replicate, recall,

and execute

spatial designs and

musical or rhyth

a. Embody

technical dance


functional

alignment,

coordination,

balance, core

support, clarity of

movement, weight

shifts,


motion) to retain

and execute dance

choreography.

a. Dance with

sensibility toward

other dancers

while executing

complex spatial,

rhythmic and

dynamic

sequences to meet

performance goals

a. Apply body-

mind principles to

technical dance

skills in complex

choreography

when performing

solo, partnering, or

dancing in

ensemble works in

a variety of dance

genres and styles.

Self-evaluate

performances and

discuss and

analyze

performance

ability with others

b. Move in general

space and start

and stop on cue

while maintaining

personal space.

b. Move safely in

general space and

start and stop on

cue during

activities, group

formations, and

creative

explorations while

maintaining

personal space.

b. Move safely in

general space

through a range of

activities and

group formations

while maintaining

personal space.

b. Move safely in a

variety of spatial

relationships and

formations with

other dancers,

sharing and

maintaining

personal space.

b. Adjust body-use

to coordinate with

a partner or other

dancers to safely

change levels,

directions, and

pathway designs

b. Execute

techniques that

extend movement

range, build

strength, and

develop

endurance. Explain

the relationship

between

execution of

technique, safe

body-use, and

healthful nutrition.

b. Demonstrate

safe body-use

practices during

technical exercises

and movement

combinations.

Discuss how these

practices, along

with healthful

eating habits,

promote strength,

flexibility,

endurance and

injury prevention.

b. Apply basic

anatomical

knowledge,

proprioceptive

feedback, spatial

awareness, and

nutrition to

promote safe and

healthful

strategies when

warming up and

dancing.

b. Utilize healthful

practices and

sound nutrition in

dance activities

and everyday life.

Discuss benefits of

practices and how

choices enhance

performance.

b. Evaluate

personal healthful

practices in dance

activities and

everyday life

including nutrition

and injury

prevention.

Discuss choices

made, the effects

experienced, and

methods for

improvement.

b. Develop a plan

for healthful

practices in dance

activities and

everyday life

including nutrition

and injury

prevention.

Discuss

implementation of

the plan and how

it supports

personal

performance

goals.

b. Apply

anatomical

principles and

healthful practices

to a range of

technical dance

skills for achieving

fluency of

movement. Follow

a personal

nutrition plan that

supports health for

everyday life.

b. Research

healthful and safe

practices for

dancers and

modify personal

practice based on

findings. Discuss

how research

informs practice.

Enduring Understanding: Dancers use the mind-body connection and develop the body as an instrument for artistry and artistic expression.

Essential Question(s): What must a dancer do to prepare the mind and body for artistic expression?

5. Develop and refine artistic teachniques and work for presentation.

PERFORMEm

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12 (Draft Mar 2019)

Fine Arts - DANCE



c. Identify and

move body parts

and repeat

movements upon

request.

c. Move body

parts in relation to

other body parts

and repeat and

recall movements

upon request.

c. Modify

movements and

spatial

arrangements

upon request

c. Repeat

movements, with

an awareness of

self and others in

space. Selfadjust

and modify

movements or

placement upon

request.

c. Recall

movement

sequences with a

partner or in group

dance activities.

Apply constructive

feedback from

teacher and

selfcheck to

improve dance

skills

c. Coordinate

phrases and timing

with other dancers

by cueing off each

other and

responding to

stimuli cues (for

example, music,

text, or lighting).

Reflect on

feedback from

others to inform

personal dance

performance

goals.

c. Collaborate with

peer ensemble

members to

repeat sequences,

synchronize

actions, and refine

spatial

relationships to

improve

performance

quality. Apply

feedback from

others to establish

personal

performance goals

c. Collaborate as

an ensemble to

refine dances by

identifying what

works and does

not work in

executing complex

patterns,

sequences, and

formations. Solve

movement

problems to

dances by testing

options and

finding good

results. Document

selfimprovements

over time

c. Collaborate with

peers to practice

and refine dances.

Develop group

performance

expectations

through

observation and

analyses (for

example, view live

or recorded

professional

dancers and

collaboratively

develop group

performance

expectations

based on

information gained

from

observations).

c. Collaborate with

peers to discover

strategies for

achieving

performance

accuracy, clarity,

and

expressiveness.

Articulate personal

performance goals

and practice to

reach goals.

Document

personal

improvement over

time (for example,

journaling,

portfolio, or

timeline).

c. Collaborate with

peers to establish

and implement a

rehearsal plan to

meet performance

goals. Use a

variety of

strategies to

analyze and

evaluate

performances of

self and others (for

example, use

video recordings of

practice to analyze

the difference

between the way

movements look

and how they feel

to match

performance with

visual affect).

Articulate

performance goals

and justify reasons

for selecting

particular practice

strategies.

c. Plan and

execute

collaborative and

independent

practice and

rehearsal

processes with

attention to

technique and

artistry informed

by personal

performance

goals. Reflect on

personal

achievements.

c. Initiate, plan,

and direct

rehearsals with

attention to

technical details

and fulfilling


Use a range of

rehearsal

strategies to

achieve

performance

excellence.

National

Standards


Content

Standards

FA1 FA1 FA1 FA1 FA1 FA1, FA3, FA4 FA1, FA3, FA4 FA1, FA3, FA4 FA1, FA3, FA4 FA1, FA3, FA4 FA1, FA3, FA4 FA1, FA3, FA4 FA1, FA3, FA4

Process

Standards

1.1, 1.6 1.1, 1.6, 2.5 1.1, 1.6, .2.5 1.1, 1.6, 2.5, 2.7 1.1, 1.6, 2.5, 2.7,

4.6, 4.7

1.1, 1.6, 1.9, 2.5,

2.7

1.1, 1.6, 1.9, 2.1,

2.5, 2.7, 4.1, 4.5,

4.6, 4.7

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6, 4.7

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6, 4.7

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6, 4.7

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6, 4.7

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6, 4.7

1.1, 1.2, 1.6, 2.1,

2.3, 2.4, 2.5, 3.6,

4.1, 4.5, 4.6, 4.7

Enduring Understanding: Dancers use the mind-body connection and develop the body as an instrument for artistry and artistic expression.

Essential Question(s): What must a dancer do to prepare the mind and body for artistic expression?

5. Develop and refine artistic teachniques and work for presentation. (Con't)Em

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13 (Draft Mar 2019)

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a. Dance for others

in a designated

area or space.

a. Dance for and

with others in a

designated space.

a. Dance for others

in a space where

audience and

performers occupy

different areas.

a. Dance for and

with others in a

space where

audience and

performers occupy

different areas.

a. Identify the

main areas of a

performance

space using

production

terminology (for

example, stage

right, stage left,

center stage,

upstage, and

downstage).

a. Consider how to

establish a formal

performance

space from an

informal setting

(for example,

gymnasium or

grassy area).

a. Demonstrate

the ability to adapt

dance to

alternative

performance

venues by

modifying spacing

and movements to

the performance

space.

a. Recognize needs

and adapt

movements to

performance area.

Use performance

etiquette and

performance

practices during

class, rehearsal

and performance.

Postperformance,

accept notes from

choreographer and

make corrections

as needed and

apply to future

performances.

a. Recommend

changes to and

adapt movements

to performance

area. Use

performance

etiquette and

performance

practices during

class, rehearsal

and performance.

Maintain journal

documenting

these efforts.

Postperformance,

accept notes from

choreographer and

apply corrections

to future

performances

a. Demonstrate

leadership

qualities (for

example

commitment,

dependability,

responsibility, and

cooperation) when

preparing for

performances. Use

performance

etiquette and

performance

practices during

class, rehearsal

and performance.

Document efforts

and create a plan

for ongoing

improvements.

Postperformance,

accept notes from

choreographer and

apply corrections

to future

performances.

a. Demonstrate

leadership

qualities (for

example

commitment,

dependability,

responsibility, and

cooperation) when

preparing for

performances.

Demonstrate

performance

etiquette and

performance

practices during

class, rehearsal

and performance.

Postperformance,

accept notes from

choreographer and

apply corrections

to future

performances.

Document the

rehearsal and

performance

process and

evaluate methods

and strategies

using dance

terminology and

production

terminology.

a. Demonstrate

leadership

qualities (for

example

commitment,

dependability,

responsibility, and

cooperation) when

preparing for

performances.

Model

performance

etiquette and

performance

practices during

class, rehearsal

and performance.

Implement

performance

strategies to

enhance

projection.

Postperformance,

accept notes from

choreographer and

apply corrections

to future

performances.

Document the

rehearsal and

performance

process and

evaluate methods

and strategies

using dance

terminology and

production

a. Demonstrate

leadership

qualities (for

example

commitment,

dependability,

responsibility, and

cooperation) when

preparing for

performances.

Model

performance

etiquette and

performance

practices during

class, rehearsal

and performance.

Enhance

performance using

a broad repertoire

of strategies for

dynamic

projection.

Develop a

professional

portfolio (resume,

head shot, etc.)

that documents

the rehearsal and

performance

process with

fluency in

professional dance

terminology and

production

terminology.

Enduring Understanding: Dance performance is an interaction between performer, production elements, and audience that heightens and amplifies artistic expression.

Essential Question(s): How does a dancer heighten artistry in a public performance?

PERFORM

6. Convey meaning through the presentation of artistic work.P

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14 (Draft Mar 2019)

Fine Arts - DANCE



b. Use a

simple prop

as part of a

dance.

b. Select a

prop to use as

part of a

dance.

b. Explore the

use of simple

props to

enhance

performance

b. Use limited

production

elements (for

example,

hand props,

simple

scenery, or

media

projections).

b. Explore

simple

production

elements

(costumes,

props, music,

scenery,

lighting, or

media) for a

dance

performed for

an audience

in a

designated

specific

performance

space.

b. Identify,

explore, and

experiment

with a variety

of production

elements to

heighten the

artistic intent

and audience

experience.

b. Identify,

explore, and

select

production

elements that

heighten and

intensify the

artistic intent

of a dance

and are

adaptable for

various

performance

spaces.

b. Compare

and contrast

a variety of

possible

production

elements that

would

intensify and

heighten the

artistic intent

of the work.

Select choices

and explain

reasons for

the decisions

made using

production

terminology.

b. Explore

possibilities of

producing

dance in a

variety of

venues or for

different

audiences

and, using

production

terminology,

explain how

the

production

elements

would be

handled in

different

situations.

b. Collaborate

to design and

execute

production

elements that

would

intensify and

heighten the

artistic intent

of a dance

performed on

a stage, in a

different

venue, or for

different

audiences.

Explain

reasons for

choices using

production

terminology.

b. Evaluate

possible

designs for

the

production

elements of a

performance

and select

and execute

the ideas that

would

intensify and

heighten the

artistic intent

of the dances.

b. Work

collaborativel

y to produce

a dance

concert on a

stage or in an

alternative

performance

venue and

plan the

production

elements that

would be

necessary to

fulfill the

artistic intent

of the dance

works

b. Work

collaborativel

y to produce

dance

concerts in a

variety of

venues and

design and

organize the

production

elements that

would be

necessary to

fulfill the

artistic intent

of the dance

works in each

of the venues.

National

Standards


Content

Standards

FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2, FA3 FA1, FA2 FA1, FA2 FA1, FA2, FA3 FA1, FA3 FA1, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3

Process

Standards

1.6, 2.5, 4.5 1.6, 2.5, 4.5 2.5, 4.5 2.5, 3.1, 4.5 2.5, 3.1, 3.3, 4.5 2.3, 2.4, 2.5, 3.3,

3.4, 4.5, 4.7

2.3, 2.4, 2.5, 3.3,

3.4, 4.5, 4.7

2.3, 2.4, 2.5, 3.3,

3.4, 4.1, 4.3, 4.5,

4.7

2.3, 2.4, 2.5, 3.3,

3.4, 4.1, 4.3, 4.5,

4.7

2.3, 2.4, 2.5, 3.3,

3.4, 4.1, 4.3, 4.5,

4.7

2.3, 2.4, 2.5, 3.3,

3.4, 3.6, 3.7, 3.8,

4.1, 4.3, 4.5, 4.6,

4.7

2.3, 2.4, 2.5, 3.3,

3.4, 3.6, 3.7, 3.8,

4.1, 4.3, 4.5, 4.6,

4.7

2.3, 2.4, 2.5, 3.3,

3.4, 3.6, 3.7, 3.8,

4.1, 4.3, 4.5, 4.6,

4.7, 4.8

Essential Question(s): How does a dancer heighten artistry in a public performance?

Enduring Understanding: Dance performance is an interaction between performer, production elements, and audience that heightens and amplifies artistic expression.

6. Convey meaning through the presentation of artistic work. (Con't)P

rese

nt

15 (Draft Mar 2019)

Fine Arts - DANCE


DA:Re7A.pK DA:Re7A.K DA:Re7A.1 DA:Re7A.2 DA:Re7A.3 DA:Re7A.4 DA:Re7A.5 DA:Re7A.6 DA:Re7A.7 DA:Re7A.8 DA:Re7A.I DA:Re7A.II DA:Re7A.III

a. Identify a

movement in a

dance by repeating

it.

a. Find a

movement that

repeats in a dance.

a. Find a

movement that

repeats in a dance

to make a pattern.

a. Find movements

in a dance that

develop a pattern.

a. Find a

movement pattern

that creates a

movement phrase

in a dance work

a. Find patterns of

movement in

dance works that

create a style or

theme.

a. Find meaning or

artistic intent from

the patterns of

movement in a

dance work.

a. Describe or

demonstrate

recurring patterns

of movement and

their relationships

in dance.

a. Compare,

contrast, and

discuss patterns of

movement and

their relationships

in dance.

a. Describe,

demonstrate and

discuss patterns of

movement and

their relationships

in dance in context

of artistic intent.

a. Analyze

recurring patterns

of movement and

their relationships

in dance in context

of artistic intent.

a. Analyze dance

works and provide

examples of

recurring patterns

of movement and

their relationships

that create

structure and

meaning in dance.

a. Analyze dance

works from a

variety of dance

genres and styles

and explain how

recurring patterns

of movement and

their relationships

create

wellstructured and

meaningful

choreography.

b. Demonstrate an

observed or

performed dance

movement.

b. Demonstrate or

describe observed

or performed

dance movements

b. Demonstrate

and describe

observed or

performed dance

movements from a

specific genre or

culture

b. Demonstrate

and describe

movements in

dances from

different genres or

cultures.

b. Demonstrate

and explain how

one dance genre is

different from

another, or how

one cultural

movement

practice is

different from

another.

b. Demonstrate

and explain how

dance styles differ

within a genre or

within a cultural

movement

practice.

b. Describe, using

basic dance

terminology, the

qualities and

characteristics of

style used in a dance

from one’s own

cultural movement

practice. Compare

them to the qualities

and characteristics

of style found in a

different dance

genre, style, or

cultural movement

practice, also using

basic dance

terminology.

b. Explain how the

elements of dance

are used in a

variety of dance

genres, styles, or

cultural movement

practices. Use

genrespecific

dance

terminology.

b. Compare and

contrast how the

elements of dance

are used in a

variety of genres,

styles, or cultural

movement

practices. Use

genrespecific

dance

terminology.

b. Explain how the

elements of dance

are used in a

variety of genres,

styles, or cultural

movement

practices to

communicate

intent. Use

genrespecific

dance

terminology.

b. Analyze the use

of elements of

dance in a variety

of genres, styles,

or cultural

movement

practices within its

cultural context to

communicate

intent. Use

genrespecific

dance terminology

b. Analyze and

compare the

movement patterns

and their

relationships in a

variety of genres,

styles, or cultural

movement practices

and explain how

their differences

impact

communication and

intent within a

cultural context. Use

genre-specific dance

terminology.

b. Explain how

dance

communicates

aesthetic and

cultural values in a

variety of genres,

styles, or cultural

movement

practices. Use

genrespecific

dance terminology

National

Standards

DA:Re7.1.PK DA:Re7.1.K DA:Re7.1.1 DA:Re7.1.2 DA:Re7.1.3 DA:Re7.1.4 DA:Re7.1.5 DA:Re7.1.6 DA:Re7.1.7 DA:Re7.1.8 DA: Re7.1.I DA: Re7.1.II DA: Re7.1.III

Content

Standards

FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA3, FA5 FA2, FA3, FA5 FA2, FA3, FA5 FA2, FA3, FA5 FA2, FA3, FA5 FA2, FA3, FA5 FA2, FA3, FA5

Process

Standards

1.1, 1.6, 2.1, 4.1 1.1, 1.6, 2.1, 4.1 1.1, 1.6, 2.1, 4.1 1.1, 1.6, 2.1, 4.1 1.1, 1.6, 2.1, 2.3,

2.4, 3.3, 4.1

1.1, 1.6, 2.1, 2.3,

2.4, 3.3, 4.1

1.1, 1.5, 1.6, 1.7,

1.9, 2.1, 2.3, 2.4,

3.3, 4.1

1.1, 1.5, 1.6, 1.7,

1.9, 2.1, 2.3, 2.4,

3.3, 4.1

1.1, 1.5, 1.6, 1.7,

1.9, 2.1, 2.3, 2.4,

3.3, 4.1

1.1, 1.5, 1.6, 1.7,

1.9, 2.1, 2.3, 2.4,

3.3, 3.6, 4.1, 4.6

1.1, 1.5, 1.6, 1.7,

1.9, 2.1, 2.2, 2.3,

2.4, 3.3, 3.6, 3.7,

4.1, 4.4, 4.5, 4.6

1.1, 1.5, 1.6, 1.7,

1.9, 2.1, 2.2, 2.3,

2.4, 3.3, 3.6, 3.7,

4.1, 4.4, 4.5, 4.6

1.1, 1.5, 1.6, 1.7,

1.9, 2.1, 2.2, 2.3,

2.4, 3.3, 3.6, 3.7,

4.1, 4.4, 4.5, 4.6

Enduring Understanding: Dance is perceived and analyzed to comprehend its meaning.

Essential Question(s): How is a dance understood?

RESPOND

7. Perceive and analyze artistic work.A

nal

yze

16 (Draft Mar 2019)

Fine Arts - DANCE



a. Observe a

movement and

share impressions.

a. Observe

movement and

describe it using

simple dance

terminology.

a. Select

movements from a

dance that suggest

ideas and explain

how the

movement

captures the idea

using simple dance

terminology.

a. Use context

cues from

movement to

identify meaning

and intent in a

dance using simple

dance

terminology.

a. Select specific

context cues from

movement.

Explain how they

relate to the main

idea of the dance

using basic dance

terminology.

a. Relate

movements, ideas,

and context to

decipher meaning

in a dance using

basic dance

terminology.

a. Interpret

meaning in a

dance based on its

movements.

Explain how the

movements

communicate the

main idea of the

dance using basic

dance

terminology.

a. Explain how the

artistic expression

of a dance is

achieved through

the elements of

dance, use of

body, dance

technique, dance

structure, and

context. Explain

how these

communicate the

intent of the dance

using genre

specific dance

terminology.

a. Compare the

meaning of

different dances.

Explain how the

artistic expression

of each dance is

achieved through

the elements of

dance, use of

body, dance

technique, and

context. Use genre

specific dance

terminology.

a. Select a dance

and explain how

artistic expression

is achieved

through

relationships

among the

elements of dance,

use of body, dance

technique and

context. Cite

evidence in the

dance to support

your interpretation

using genre

specific dance

terminology.

a. Select and

compare different

dances and discuss

their intent and


Explain how the

relationships

among the

elements of dance,

use of body, dance

technique, and

context enhance

meaning and

support intent

using genre

specific dance

terminology.

a. Analyze and

discuss how the

elements of dance,

execution of dance

movement

principles, and

context contribute

to artistic

expression. Use

genre specific

dance

terminology.

a. Analyze and

interpret how the

elements of dance,

execution of dance

movement

principles, and

context contribute

to artistic

expression across

different genres,

styles, or cultural

movement

practices. Use

genre specific

dance

terminology.

National

Standards


Content

Standards

FA3 FA3 FA3 FA3 FA3 FA3 FA3 FA2, FA3 FA2, FA3 FA2, FA3 FA2, FA3 FA2, FA3 FA2, FA3, FA5

Process

Standards

1.1, 2.3, 2.4, 4.1 1.5, 1.6, 2.3, 2.4,

4.1

1.5, 1.6, 2.3, 2.4,

4.1

1.5, 1.6, 2.3, 2.4,

4.1

1.5, 1.6, 2.3, 2.4,

4.1

1.5, 1.6, 2.3, 2.4,

4.1

1.5, 1.6, 2.3, 2.4,

4.1

1.5, 1.6, 2.3, 2.4,

2.7, 4.1

1.5, 1.6, 2.3, 2.4,

2.7, 4.1

1.5, 1.6, 2.3, 2.4,

2.7, 3.2, 3.3, 4.1

1.5, 1.6, 2.3, 2.4,

2.7, 3.2, 3.3, 3.5,

3.6 4.1

1.5, 1.6, 2.3, 2.4,

2.7, 3.2, 3.3, 3.5,

3.6, 4.1

1.5, 1.6, 2.3, 2.4,

2.7, 3.2, 3.3, 3.5,

3.6, 4.1

Enduring Understanding: Dance is interpreted by considering intent, meaning, and artistic expression as communicated through the use of the body, elements of dance, dance technique, dance structure,

and context.

Essential Question(s): How is dance interpreted?

RESPOND

8. Interpret intent and meaning in artistic work.In

terp

ret

17 (Draft Mar 2019)

Fine Arts - DANCE



a. Find a

movement in a

dance that was fun

to watch. Repeat it

and explain why it

is fun to watch and

do.

a. Find a

movement that

was noticed in a

dance.

Demonstrate the

movement that

was noticed and

explain why it

attracted

attention.

a. Identify and

demonstrate

several

movements in a

dance that

attracted

attention.

Describe the

characteristics that

make the

movements

interesting and

talk about why

they were chosen.

a. Observe or

demonstrate

dances from a

genre or culture.

Discuss

movements and

other aspects of

the dances that

make the dances

work well, and

explain why they

work. Use simple

dance

terminology.

a. Select dance

movements from

specific genres,

styles, or cultures.

Identify

characteristic

movements from

these dances and

describe in basic

dance terminology

ways in which they

are alike and

different.

a. Discuss and

demonstrate the


make a dance

artistic and apply

those

characteristics to

dances observed

or performed in a

specific genre,

style, or cultural

movement

practice. Use basic

dance

terminology.

a. Define the

characteristics of

dance that make a

dance artistic and

meaningful. Relate

them to the

elements of dance

in genres, styles,

or cultural

movement

practices. Use

basic dance

terminology to

describe


make a dance

artistic and

meaningful.

a. Discuss the

characteristics and


dance from a

genre, style, or

cultural movement

practice and

develop artistic

criteria to critique

the dance using

genre-specific

dance terminology

a. Compare artistic

intent, content

and context from

dances to examine

the characteristics

of genre, style, or

cultural movement

practice. Based on

the comparison,

refine artistic

criteria using

genrespecific

dance

terminology.

a. Use artistic

criteria to

determine what

makes an effective

performance.

Consider content,

context, genre,

style, or cultural

movement

practice to

comprehend


Use genre-specific

dance

terminology.

a. Analyze the

artistic expression

of a dance. Discuss

insights using

evaluative criteria

and dance

terminology

a. Compare and

contrast two or

more dances using

evaluative criteria

to critique artistic

expression.

Consider societal

values and a range

of perspectives.

Use genre-specific

dance

terminology.

a. Define personal

artistic

preferences to

critique dance.

Consider societal

and personal

values, and a

range of artistic

expression.

Discuss

perspectives with

peers and justify

views.

National

Standards


Content

Standards

FA1, FA3 FA1, FA3 FA1, FA3 FA1, FA3 FA1, FA3, FA5 FA1, FA3, FA5 FA2, FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA5 FA2, FA3 FA2, FA3, FA5 FA2, FA3, FA5

Process

Standards

1.1, 2.3, 2.4, 4.1 1.5, 1.6, 2.3, 2.4,

4.1

1.5, 1.6, 2.3, 2.4,

4.1

1.5, 1.6, 2.3, 2.4,

4.1

1.5, 1.6, 2.3, 2.4,

4.1

1.5, 1.6, 2.3, 2.4,

4.1

1.5, 1.6, 2.3, 2.4,

4.1

1.5, 1.6, 2.3, 2.4,

2.7, 4.1

1.5, 1.6, 2.3, 2.4,

2.7, 4.1

1.5, 1.6, 2.3, 2.4,

2.7, 3.2, 3.3, 4.1

1.5, 1.6, 2.3, 2.4,

2.7, 3.2, 3.3, 3.5,

3.6 4.1

1.5, 1.6, 2.3, 2.4,

2.7, 3.2, 3.3, 3.5,

3.6, 4.1

1.5, 1.6, 2.3, 2.4,

2.7, 3.2, 3.3, 3.5,

3.6, 4.1

Enduring Understanding: Criteria for evaluating dance vary across genres, styles, and cultures.

Essential Question(s): What criteria are used to evaluate dance?

RESPOND

9. Apply criteria to evaluate artistic work.C

riti

qu

e

18 (Draft Mar 2019)

Fine Arts - DANCE


DA:Cn10A.pK DA:Cn10A.K DA:Cn10A.1 DA:Cn10A.2 DA:Cn10A.3 DA:Cn10A.4 DA:Cn10A.5 DA:Cn10A.6 DA:Cn10A.7 DA:Cn10A.8 DA:Cn10A.I DA:Cn10A.II DA:Cn10A.III

a. Recognize an

emotion expressed

in dance

movement that is

watched or

performed

a. Recognize and

name an emotion

that is experienced

when watching,

improvising, or

performing dance

and relate it to a

personal

experience.

a. Find an

experience

expressed or

portrayed in a

dance that relates

to a familiar

experience.

Identify the

movements that

communicate this

experience.

a. Describe, create,

and/or perform a

dance that

expresses personal

meaning and

explain how

certain

movements

express this

personal meaning.

a. Compare the

relationships

expressed in a

dance to

relationships with

others. Explain

how they are the

same or different.

a. Relate the main

idea or content in

a dance to other

experiences.

Explain how the

main idea of a

dance is similar to

or different from

one’s own

experiences,

relationships,

ideas or

perspectives.

a. Compare two

dances with

contrasting

themes. Discuss

feelings and ideas

evoked by each.

Describe how the

themes and

movements relate

to points of view

and experiences.

a. Observe the

movement

characteristics or

qualities observed

in a specific dance

genre. Describe

differences and

similarities about

what was

observed to one’s

attitudes and

movement

preferences.

a. Compare and

contrast the

movement

characteristics or

qualities found in a

variety of dance

genres. Discuss

how the

movement

characteristics or

qualities differ

from one’s own

movement

characteristics or

qualities and how

different

perspectives are

communicated.

a. Relate

connections found

between different

dances and discuss

the relevance of

the connections to

the development

of one’s personal

perspectives.

a. Analyze a dance

to determine the

ideas expressed by

the

choreographer.

Explain how the

perspectives

expressed by the

choreographer

may impact one’s

own

interpretation.

Provide evidence

to support one’s

analysis.

a. Analyze a dance

that is related to

content learned in

other subjects and

research its

context.

Synthesize

information

learned and share

new ideas about

its impact on one’s

perspective.

a. Review original

choreography

developed over

time with respect

to its content and

context and its

relationship to

personal

perspectives.

Reflect on and

analyze the

variables that

contributed to

changes in one’s

personal growth.

Enduring Understanding: As dance is experienced, all personal experiences, knowledge, and contexts are integrated and synthesized to interpret meaning.

10. Synthesize and relate knowledge and personal experiences to make art.

CONNECTSy

nth

esiz

e

Essential Question(s): How does dance deepen our understanding of ourselves, other knowledge, and events around us?

19 (Draft Mar 2019)

Fine Arts - DANCE



b. Observe a dance

work. Identify and

imitate a

movement from

the dance, and ask

a question about

the dance

b. Observe a work

of visual art.

Describe and then

express through

movement

something of

interest about the

artwork, and ask

questions for

discussion

concerning the

artwork.

b. Observe

illustrations from a

story. Discuss

observations and

identify ideas for

dance movement

and demonstrate

the big ideas of the

story.

b. Respond to a

dance work using

an inquiry-based

set of questions

(for example, See,

Think, Wonder).

Create movement

using ideas from

responses and

explain how

certain

movements

express a specific

idea.

b. Ask and

research a

question about a

key aspect of a

dance that

communicates a

perspective about

an issue or event.

Explore the key

aspect through

movement. Share

movements and

describe how the

movements help

to remember or

discover new

qualities in these

key aspects.

Communicate the

new learning in

oral, written, or

movement form.

b. Develop and

research a

question relating

to a topic of study

in school using

multiple sources of

references. Select

key aspects about

the topic and

choreograph

movements that

communicate the

information.

Discuss what was

learned from

creating the dance

and describe how

the topic might be

communicated

using another form

of expression.

b. Choose a topic,

concept, or

content from

another discipline

of study and

research how

other art forms

have expressed

the topic. Create a

dance study that

expresses the

idea. Explain how

the dance study

expressed the idea

and discuss how

this learning

process is similar

to, or different

from, other

learning situations.

b. Conduct

research using a

variety of

resources to find

information about

a social issue of

great interest. Use

the information to

create a dance

study that

expresses a

specific point of

view on the topic.

Discuss whether

the experience of

creating and

sharing the dance

reinforces

personal views or

offers new

knowledge and

perspectives.

b. Research the

historical

development of a

dance genre or

style. Use

knowledge gained

from the research

to create a dance

study that evokes

the essence of the

style or genre.

Share the study

with peers as part

of a lecture

demonstration

that tells the story

of the historical

journey of the

chosen genre or

style. Document

the process of

research and

application.

b. Investigate two

contrasting topics

using a variety of

research methods.

Identify and

organize ideas to

create

representative

movement

phrases. Create a

dance study

exploring the

contrasting ideas.

Discuss how the

research informed

the choreographic

process and

deepens

understanding of

the topics.

b. Collaboratively

identify a dance

related question or

problem. Conduct

research through

interview,

research database,

text, media, or

movement.

Analyze and apply

information

gathered by

creating a group

dance that

answers the

question posed.

Discuss how the

dance

communicates

new perspectives

or realizations.

Compare orally

and in writing the

process used in

choreography to

that of other

creative,

academic, or

scientific

procedures.

b. Use established

research methods

and techniques to

investigate a topic.

Collaborate with

others to identify

questions and

solve movement

problems that

pertain to the

topic. Create and

perform a piece of

choreography.

Discuss orally or in

writing the insights

relating to

knowledge gained

through the

research process,

the synergy of

collaboration, and

the transfer of

learning from this

project to other

learning situations

b. Investigate

various dance

related careers

through a variety

of research

methods and

techniques. Select

those careers of

most interest.

Develop and

implement a

Capstone Project

that reflects a

possible career

choice

National

Standards

DA:Cn10.1.PK DA:Cn10.1.K DA:Cn10.1.1 DA:Cn10.1.2 DA:Re10.1.3 DA:Re10.1.4 DA:Re10.1.5 DA:Re10.1.6 DA:Re10.1.7 DA:Re10.1.8 DA: Cn10.1.I DA: Cn10.1.II DA: Cn10.1.III

Content

Standards

FA3, FA4 FA3, FA4 FA3, FA4 FA3, FA4 FA3, FA4 FA3, FA4 FA3, FA4 FA3, FA4 FA3, FA4, FA5 FA3, FA4 FA3, FA4 FA3, FA4 FA3, FA4

Process

Standards

1.1, 2.3, 2.4, 4.1 1.5, 1.6, 2.3, 2.4,

4.1

1.5, 1.6, 2.3, 2.4,

4.1

1.5, 1.6, 2.3, 2.4,

4.1

1.5, 1.6, 2.3, 2.4,

4.1

1.5, 1.6, 2.3, 2.4,

4.1

1.5, 1.6, 2.3, 2.4,

4.1

1.5, 1.6, 2.3, 2.4,

2.7, 4.1

1.5, 1.6, 2.3, 2.4,

2.7, 4.1

1.5, 1.6, 2.3, 2.4,

2.7, 3.2, 3.3, 4.1

1.9, 1.10, 2.6, 3.7,

4.1, 4.5, 4.6, 4.8

1.9, 1.10, 2.6, 3.7,

4.1, 4.5, 4.6, 4.8

1.9, 1.10, 2.6, 3.7,

4.1, 4.5, 4.6, 4.8

10. Synthesize and relate knowledge and personal experiences to make art. (Con't)Sy

nth

esiz

eEnduring Understanding: As dance is experienced, all personal experiences, knowledge, and contexts are integrated and synthesized to interpret meaning.

Essential Question(s): How does dance deepen our understanding of ourselves, other knowledge, and events around us?

20 (Draft Mar 2019)

Fine Arts - DANCE



a. Show a dance

movement

experienced at

home or

elsewhere.

a. Describe or

demonstrate the

movements in a

dance that was

watched or

performed.

a. Watch and/or

perform a dance

from a different

culture and discuss

or demonstrate

the types of

movement

danced.

a. Observe a dance

and relate the

movement to the

people or

environment in

which the dance

was created and

performed.

a. Find a

relationship

between

movement in a

dance from a

culture, society, or

community and

the culture from

which the dance is

derived. Explain

what the

movements

communicate

about key aspects

of the culture,

society, or

community.

a. Select and

describe

movements in a

specific genre or

style and explain

how the

movements relate

to the culture,

society, historical

period, or

community from

which the dance

originated.

a. Describe how

the movement

characteristics and

qualities of a

dance in a specific

genre or style

communicate the

ideas and

perspectives of the

culture, historical

period, or

community from

which the genre or

style originated.

a. Interpret and

show how the

movement and

qualities of a

dance

communicate its

cultural, historical,

and/or community

purpose or

meaning.

a. Compare,

contrast, and

discuss dances

performed by

people in various

localities or

communities.

Formulate possible

reasons why

similarities and

differences

developed in

relation to the

ideas and

perspectives

important to each

social group.

a. Analyze and

discuss, how

dances from a

variety of cultures,

societies, historical

periods, or

communities

reveal the ideas

and perspectives

of the people.

a. Analyze and

discuss dances

from selected

genres or styles

and/or historical

time periods, and

formulate reasons

for the similarities

and differences

between them in

relation to the

ideas and

perspectives of the

peoples from

which the dances

originate

a. Analyze dances

from several

genres or styles,

historical time

periods, and/or

world dance

forms. Discuss

how dance

movement

characteristics,

techniques, and

artistic criteria

relate to the ideas

and perspectives

of the peoples

from which the

dances originate.

a. Analyze dances

from several

genres or styles,

historical time

periods, and/or

world dance

forms. Discuss

how dance

movement

characteristics,

techniques, and

artistic criteria

relate to the ideas

and perspectives

of the peoples

from which the

dances originate,

and how the

analysis has

expanded one’s

dance literacy.

National

Standards

DA:Cn11.1.PK DA:Cn11.1.K DA:Cn11.1.1 DA:Cn11.1.2 DA:Cn11.1.3 DA:Cn11.1.4 DA:Cn11.1.5 DA:Cn11.1.6 DA:Cn11.1.7 DA:Cn11.1.8 DA: Cn11.1.I DA: Cn11.1.II DA: Cn11.1.III

Content

Standards

FA5 FA5 FA5 FA5 FA5 FA5 FA5 FA5 FA5 FA5 FA5 FA5 FA5

Process

Standards

2.4, 3.6 2.4, 3.6 2.4, 3.6 2.4, 3.6 2.4, 3.6, 4.1, 4.3,

4.6

2.4, 3.6, 4.1, 4.3,

4.6

2.4, 3.6, 4.1, 4.3,

4.6

1.9, 2.4, 3.6, 4.1,

4.3, 4.6

1.9, 1.10, 2.4, 3.6,

4.1, 4.3, 4.6

1.9, 1.10, 2.4, 3.6,

4.1, 4.3, 4.6

1.4, 1.5, 1.8, 1.9,

3.6, 4.1, 4.3, 4.6

1.4, 1.5, 1.8, 1.9,

3.6, 4.1, 4.3, 4.6

1.4, 1.5, 1.8, 1.9,

3.6, 4.1, 4.3, 4.6

CONNECT

11. Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding.R

elat

e

Enduring Understanding: Dance literacy includes deep knowledge and perspectives about societal, cultural, historical, and community contexts.

Essential Question(s): How does knowing about societal, cultural, historical and community experiences expand dance literacy?

21 (Draft Mar 2019)

Fine Arts - MEDIA ARTS


MA:Cr1A.pK MA:Cr1A.K MA:Cr1A.1 MA:Cr1A.2 MA:Cr1A.3 MA:Cr1A.4 MA:Cr1A.5 MA:Cr1A.6 MA:Cr1A.7 MA:Cr1A.8 MA:Cr1A.I MA:Cr1A.II MA:Cr1A.III

Engage in

exploration

and

imaginative

play with

materials. .

Discover and

share

ideas for

media

artworks

using play

and

experimentati

on.

Express and

share ideas

for media

artworks

through

sketching and

modeling.

Discover

multiple ideas

for media

artworks

through

brainstorming

and

improvising.

Develop

multiple ideas

for media

artworks

using a

variety of

tools,

methods

and/or

materials.

Conceive of

original

artistic goals

for media

artworks

using a

variety of

creative

methods,

such as

brainstorming

and

modeling.

Envision

original ideas

and

innovations

for media

artworks

using

personal

experiences

and/or the

work of

others.

Formulate

variations of

goals and

solutions for

media

artworks by

practicing

chosen

creative

processes,

such as

sketching,

improvising

and

brainstorming

.

Produce a

variety of

ideas and

solutions for

media

artworks

through

application of

chosen

inventive

processes,

such as

concept

modeling and

prototyping.

Generate

ideas, goals,

and solutions

for original

media

artworks

through

application of

focused

creative

processes,

such as

divergent

thinking and

experimenting

.

Use identified

generative

methods to

formulate

multiple

ideas,

develop

artistic goals,

and problem

solve in

media arts

creation

processes.

Strategically

utilize generative

methods to

formulate

multiple ideas,

refine artistic

goals, and

increase the

originality of

approaches in

media arts

creation

processes.

Integrate

aesthetic

principles

with a variety

of generative

methods to

fluently form

original ideas,

solutions, and

innovations in

media arts

creation

processes.

National

Standards

MA:Cr1.1.1.pK MA:Cr1.1.1.K MA:Cr1.1.1 MA:Cr1.1.2 MA:Cr1.1.3 MA:Cr1.1.4 MA:Cr1.1.5 MA:Cr1.1.6 MA:Cr1.1.7 MA:Cr1.1.8 MA:Cr1.1.I MA:Cr1.1.II MA:Cr1.1.III

Process

Standards

1.1,1.2 2.3;1.3 1.8;2.3 2.3 1.4;2.5 1.6;3.3;3.6 1.6;3.3;3.6 1.1;3.3;3.6 2.1 3.3 3.5 3.5 3.5

Content

Standards

FA1 FA1 FA1 FA1, FA2 FA1 FA1 FA1, FA2 FA1 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2

Enduring Understanding: Media arts ideas, works, and processes are shaped by the imagination, creative processes, and by expriences, both within and outside of the arts.

Essential Question: How do media artists generate ideas? How can ideas for media arts productions be formed and developed to be effective and original?

CREATE1. Generate and conceptualize artistic ideas and work.

Co

nce

ive

22 (Draft Mar 2019)




With

guidance,

form ideas

into plans or

models for

media arts

productions.

With

guidance, use

ideas to form

plans or

models for

media arts

productions.

With

guidance, use

identified

ideas to form

plans and

models for

media arts

productions.

Choose ideas

to create

plans and

models for

media arts

productions.

Form, share,

and test

ideas, plans,

and models

to prepare for

media arts

productions.

Discuss, test,

and assemble

ideas, plans,

and models

for media arts

productions,

considering

the artistic

goals and the

presentation.

Develop,

present, and

test ideas,

plans,

models, and

proposals for

media arts

productions,

considering

the artistic

goals and

audience.

Organize,

propose, and

evaluate

artistic ideas,

plans,

prototypes,

and

production

processes for

media arts

productions,

considering

purposeful

intent.

Design,

propose, and

evaluate

artistic ideas,

plans,

prototypes,

and

production

processes for

media arts

productions,

considering

expressive

intent and

resources.

Structure and

critique ideas,

plans,

prototypes,

and

production

processes for

media arts

productions,

considering

intent,

resources,

and the

presentation

context.

Apply

aesthetic

criteria in

developing,

proposing,

and refining

artistic ideas,

plans,

prototypes,

and

production

processes for

media arts

productions,

considering

original

inspirations,

goals, and

presentation

context.

Apply a personal

aesthetic in

designing,

testing, and

refining original

artistic ideas,

prototypes, and

production

strategies for

media arts

productions,

considering

artistic

intentions,

constraints of

resources, and

presentation

context.

Integrate a

sophisticated

personal

aesthetic and

knowledge of

systems

processes in

forming,

testing, and

proposing

original

artistic ideas,

prototypes,

and

production

frameworks,

considering

complex

constraints of

goals, time,

resources,

and personal

limitations.

National

Standards

MA:Cr2.1.pK MA:Cr2.1.K MA:Cr2.1.1 MA:Cr2.1.2 MA:Cr2.1.3 MA:Cr2.1.4 MA:Cr2.1.5 MA:Cr2.1.6 MA:Cr2.1.7 MA:Cr2.1.8 MA: Cr2.1.I MA: Cr2.1.II MA: Cr2.1.III

Process

Standards

1.1 1.1 1.1;3.1 1.1;1.2;3.1 1.2;2.3 2.3;3.1;3.3 2.1 1.6;3.7 1.8 1.8;2.3 2.1;3.3 2.2;3.3;4.5 2.2;3.3;4.5

Content

Standards

FA1 FA 1 FA1 FA1

FA2

FA1

FA2

FA1

FA3

FA1

FA2

FA3

FA1

FA2

FA3

FA1

FA2

FA3

FA1

FA2

FA3

FA1

FA2

FA3

FA1

FA2

FA3

FA1

FA2

FA3, FA4

Enduring Understanding: Media artists plan, organize, and develop creative ideas, plans, and models into process structures that can effectively realize the artistic idea.

Essential Question: How do media artists organize and develop ideas and models into process structures to achieve the desired end product?

Dev

elo

pCREATE

2. Organize and develop artistic ideas and work.

23 (Draft Mar 2019)




a. Make and

capture media arts

content, freely and

in guided practice,

in media arts

productions.

a. Form and

capture media arts

content for

expression and

meaning in media

arts productions.

a. Create, capture,

and assemble

media arts content

for media arts

productions,

identifying basic

principles, such as

pattern and

repetition.

a. Construct and

assemble content

for unified media

arts productions,

identifying and

applying basic

principles, such as

positioning and

attention.

a. Construct and

order various

content into

unified, purposeful

media arts

productions,

describing and

applying a defined

set of principles,

such as movement

and force.

a. Structure and

arrange various

content and

components to

convey purpose

and meaning in

different media

arts productions,

applying sets of

associated

principles, such as

balance and

contrast.

a. Create content

and combine

components to

convey expression,

purpose, and

meaning in a

variety of media

arts productions,

utilizing sets of

associated

principles, such as

emphasis and

exaggeration.

a. Experiment with

multiple

approaches to

produce content

and components

for determined

purpose and

meaning in media

arts productions,

utilizing a range of

associated

principles, such as

point of view and

perspective.

a. Coordinate

production

processes to

integrate content

and components

for determined

purpose and

meaning in media

arts productions,

demonstrating

understanding of

associated

principles, such as

narrative

structures and

composition.

a. Implement

production

processes to

integrate content

and stylistic

conventions for

determined

meaning in media

arts productions,

demonstrating

understanding of

associated

principles, such as

theme and unity.

a. Consolidate

production

processes to

demonstrate

deliberate choices

in organizing and

integrating

content and

stylistic

conventions in

media arts

productions,

demonstrating

understanding of

associated

principles, such as

emphasis and

tone.

a. Consolidate

production processes

to demonstrate

deliberate choices in

organizing and

integrating content

and stylistic

conventions in media

arts production,

demonstrating

understanding of

associated principles,

such as continuity and

juxtaposition.

a. Synthesize

content,

processes, and

components to

express compelling

purpose, story,

emotion, or ideas

in complex media

arts productions,

demonstrating

mastery of

associated

principles, such as

hybridization.

b. Attempt and

share expressive

effects, freely and

in guided practice,

in creating media

artworks.

b. Make changes

to the content,

form, or

presentation of

media artworks

and share results.

b. Practice and

identify the effects

of making changes

to the content,

form, or

presentation, in

order to refine and

finish media

artworks.

b. Test and

describe

expressive effects

in altering,

refining, and

completing media

artworks.

b. Practice and

analyze how the

emphasis of

elements alters

effect and purpose

in refining and

completing media

artworks.

b. Demonstrate

intentional effect

in refining media

artworks,

emphasizing

elements for a

purpose.

b. Determine how

elements and

components can

be altered for clear

communication

and intentional

effects, and refine

media artworks to

improve clarity

and purpose.

b. Appraise how

elements and

components can

be altered for

intentional effects

and audience, and

refine media

artworks to reflect

purpose and

audience.

b. Improve and

refine media

artworks by

intentionally

emphasizing

particular

expressive

elements to reflect

an understanding

of purpose,

audience, or place.

b. Refine and

modify media

artworks,

improving technical

quality and

intentionally

accentuating

selected expressive

and stylistic

elements, to reflect

an understanding

of purpose,

audience, and

place.

b. Refine and

modify media

artworks, honing

aesthetic quality

and intentionally

accentuating

stylistic elements,

to reflect an

understanding of

personal goals and

preferences.

b. Refine and elaborate

aesthetic elements

and technical

components to

intentionally form

impactful expressions

in media artworks for

specific purposes,

intentions, audiences

and contexts.

b. Intentionally

and consistently

refine and

elaborate

elements and

components to

form impactful

expressions in

media artworks,

directed at specific

purposes,

audiences, and

contexts.

National

Standards

MA:Cr3.1.pK MA:Cr3.1.K MA:Cr3.1.1 MA:Cr3.1.2 MA:Cr3.1.3 MA:Cr3.1.4 MA:Cr3.1.5 MA:Cr3.1.6 MA:Cr3.1.7 MA:Cr3.1.8 MA: Cr3.1.I MA: Cr3.1.II MA: Cr3.1.III

Process

Standards

2.2 2.2 4.5 4.5 2.2 3.6 4.6 4.6 3.6 2.3 3.3 3.7 2.4

Content

Standards

FA1 FA1 FA1, FA2 FA1, FA2 FA1. FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2

CREATEC

on

stru

ct

Enduring Understanding: The forming, integration, and refinement of aesthetic components, principles, and processes creates purpose, meaning, and artistic quality in

media artworks.

3. Refine and complete artistic work.

Essential Question: What is required to produce a media artwork that conveys purpose, meaning, and artistic quality? How do media artists improve/refine their

work?

24 (Draft Mar 2019)



MA:Pr4A.pK MA:Pr4A.K MA:Pr4A.1 MA:Pr4A.2 MA:Pr4A.3 MA:Pr4A.4 MA:Pr4A.5 MA:Pr4A.6 MA:Pr4A.7 MA:Pr4A.8 MA:Pr4A.I MA:Pr4A.II MA:Pr4A.III

a. With

guidance,

combine

different

forms and

content, such

as image and

sound, to

form media

artworks.

a. With

guidance,

combine arts

forms and

media

content, such

as dance and

video, to form

media

artworks.

a. Combine

varied

academic,

arts, and

media

content in

media

artworks,

such as an

illustrated

story,

a. Practice

combining

varied

academic,

arts, and

media

content into

unified media

artworks,

such as a

narrated

science

animation.

a. Practice

combining

varied

academic,

arts, and

media forms

and content

into unified

media

artworks,

such as

animation,

music, and

dance.

a.

Demonstrate

how a variety

of academic,

arts, and

media forms

and content

may be mixed

and

coordinated

into media

artworks,

such as

narrative,

dance, and

media.

a. Create

media

artworks

through the

integration of

multiple

contents and

forms, such

as a media

broadcast.

a. Validate

how

integrating

multiple

contents and

forms can

support a

central idea in

a media

artwork, such

as media,

narratives,

and

performance.

a. Integrate

multiple

contents and

forms into

unified media

arts

productions

that convey

consistent

perspectives

and

narratives,

such as an

interactive

video game.

a. Integrate

multiple

contents and

forms into

unified media

arts

productions

that convey

specific

themes or

ideas, such as

interdisciplina

ry projects, or

multimedia

theatre.

a. Integrate

various arts,

media arts

forms, and

content into

unified media

arts

productions,

considering

the reaction

and

interaction of

the audience,

such as

experiential

design.

a. Integrate

various arts,

media arts

forms, and

academic

content into

unified media

arts productions

that retain

thematic

integrity and

stylistic

continuity, such

as transmedia

productions.

a. Synthesize

various arts,

media arts

forms and

academic

content into

unified media

arts

productions

that retain

artistic fidelity

across

platforms,

such as

transdisciplin

ary

productions.

National

Standards

MA:Pr4.1.pK MA:Pr4.1.K MA:Pr4.1.1 MA:Pr4.1.2 MA:Pr4.1.3 MA:Pr4.1.4 MA:Pr4.1.5 MA:Pr4.1.6 MA:Pr4.1.7 MA:Pr4.1.8 MA: Pr4.1.I MA: Pr4.1.II MA: Pr4.1.III

Process

Standards

1.6 1.6 1.6 1.6 1.6 1.6 2.5 3.5 3.2 3.2 2.3 3.6 3.6

Content

Standards

FA1, FA2 FA1, FA3 FA1, FA3 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4

PRESENTIn

tegr

ate

4. Select, Analyze, and interpret artistic work for presentation.

Essential Question: How are complex media arts experiences constructed?

Enduring Understanding: Media artists integrate various forms and contents to develop complex, unified artworks.

25 (Draft Mar 2019)




a. Use identified

skills, such as

manipulating

tools, making

choices, and

sharing in

creating media

artworks.

a. Identify and

demonstrate

basic skills, such

as handling

tools, making

choices, and

cooperating in

creating media

artworks.

a. Describe and

demonstrate

various artistic

skills and roles,

such as

technical steps,

planning, and

collaborating in

media arts

productions.

a. Enact roles to

demonstrate

basic ability in

various

identified

artistic, design,

technical, and

soft skills, such

as tool use and

collaboration in

media arts

productions

a. Exhibit

developing

ability in a

variety of

artistic, design,

technical, and

organizational

roles, such as

making

compositional

decisions,

manipulating

tools, and group

planning in

media arts

productions.

a. Enact

identified roles

to practice

foundational

artistic, design,

technical, and

soft skills, such

as formal

technique,

equipment

usage,

production, and

collaboration in

media arts

productions.

a. Enact various

roles to practice

fundamental

ability in artistic,

design,

technical, and

soft skills, such

as formal

technique,

production, and

collaboration in

media arts

productions

a. Develop a

variety of

artistic, design,

technical, and

soft skills

through

performing

various

assigned roles

in producing

media artworks,

such as

invention,

formal

technique,

production,

selfinitiative,

and problem-

solving

a. Exhibit an

increasing set of

artistic, design,

technical, and

soft skills

through

performing

various roles in

producing

media artworks,

such as creative

problemsolving

and organizing.

a. Demonstrate

a defined range

of artistic,

design,

technical, and

soft skills,

through

performing

specified roles in

producing media

artworks, such

as strategizing

and

collaborative

communication

a. Demonstrate

progression in

artistic, design,

technical, and

soft skills, as a

result of

selecting and

fulfilling

specified roles

in the

production of a

variety of media

artworks.

a. Demonstrate

effective command

of artistic, design,

technical and soft

skills in managing

and producing

media artworks.

a. Employ

mastered

artistic, design,

technical, and

soft skills in

managing and

producing

media artworks

PRESENTP

ract

ice

5. Develop and refine artistic teachniques and work for presentation.

Essential Question: What skills are required for creating effective media artworks and how are they improved? How are creativity and innovation developed within and

through media arts productions? How do media artists use various tools and techniques?

Enduring Understanding: Media artists require a range of skills and abilities to creatively solve problems within and through media arts productions.

26 (Draft Mar 2019)




b. Use identified

creative skills,

such as

imagining freely

and in guided

practice, within

media arts

productions.

b. Identify and

demonstrate

creative skills,

such as

performing,

within media

arts

productions.

b. Describe and

demonstrate

basic creative

skills within

media arts

productions,

such as varying

techniques.

b. Demonstrate

use of

experimentatio

n skills, such as

playful practice,

and trial and

error, within

and through

media arts

productions.

b. Exhibit basic

creative skills to

invent new

content and

solutions within

and through media

arts productions.

b. Practice

foundational

innovative

abilities, such as

design thinking, in

addressing

problems within

and through media

arts productions.

b. Practice

fundamental

creative and

innovative

abilities, such as

expanding

conventions, in

addressing

problems within

and through media

arts productions.

b. Practice

fundamental

creative and

innovative

abilities, such as

expanding

conventions, in

addressing

problems within

and through media

arts productions.

b. Exhibit an

increasing set of

creative and

adaptive

innovation

abilities, such as

exploratory

processes, in

developing

solutions within

and through media

arts productions

b. Demonstrate a

defined range of

creative and

adaptive

innovation abilities,

such as divergent

solutions and

bending

conventions, in

developing new

solutions for

identified problems

within and through

media arts

productions.

b. Develop and

refine a

determined range

of creative and

adaptive

innovation

abilities, such as

design thinking,

and risk taking, in

addressing

identified

challenges and

constraints within

and through media

arts productions.

b. Demonstrate

effective ability in

creative and adaptive

innovation abilities,

such as resisting

closure, and

responsive use of

failure, to address

sophisticated

challenges within and

through media arts

productions.

b. Fluently employ

mastered creative

and innovative

adaptability in

formulating lines

of inquiry and

solutions, to

address complex

challenges within

and through media

arts productions.

c. Use media

arts creation

tools freely and

in guided

practice.

c. Practice,

discover, and

share how

media arts

creation tools

work.

c. Experiment

with and share

different ways

to use tools and

techniques to

construct media

artworks.

c. Demonstrate

and explore

identified

methods to use

tools to capture

and form media

artworks.

c. Exhibit

standard use of

tools and

techniques

while

constructing

media artworks.

c. Demonstrate

use of tools and

techniques in

standard and

novel ways

while

constructing

media artworks.

c. Examine how

tools and

techniques

could be used in

standard and

experimental

ways in

constructing

media artworks.

c. Demonstrate

adaptability

using tools and

techniques in

standard and

experimental

ways in

constructing

media artworks.

c. Demonstrate

adaptability

using tools and

techniques in

standard and

experimental

ways to achieve

an assigned

purpose in

constructing

media artworks.

c. Demonstrate

adaptability

using tools,

techniques and

content in

standard and

experimental

ways to

communicate

intent in the

production of

media artworks.

c. Demonstrate

adaptation and

innovation

through the

combination of

tools,

techniques and

content, in

standard and

innovative

ways, to

communicate

intent in the

production of

media artworks

c. Demonstrate the

skillful adaptation

and combination of

tools, styles,

techniques, and

interactivity to

achieve specific

expressive goals in

the production of a

variety of media

artworks.

c.

Independently

utilize and

adapt tools,

styles, and

systems in

standard,

innovative, and

experimental

ways in the

production of

complex media

artworks.

National

Standards

VA:Pr5.1.pK VA:Pr5.1.K VA:Pr5.1.1 VA:Pr5.1.2 VA:Pr4.1.3 VA:Pr4.1.4 VA:Pr4.1.5 VA:Pr4.1.6 VA:Pr4.1.7 VA:Pr4.1.8 VA: Pr5.1.I VA: Pr5.1.II VA: Pr5.1.III

Process

Standards

1.4 2.7 2.7 2.2;2.3;2.5 2.5 3.1 2.7 2.3;2.7 2.4 3.2;3.3;4.3 3.4;4.3 2.5;2.7;3.6 2.5;4.5

Content

Standards

FA1 FA1, FA3 FA1, FA3 FA1 FA1 FA1 FA1 FA1 FA1, FA3 FA1, FA3 FA3, FA3 FA1, FA3 FA1, FA2, FA3

5. Develop and refine artistic teachniques and work for presentation. (Con't)P

ract

ice

Enduring Understanding: Media artists require a range of skills and abilities to creatively solve problems within and through media arts productions.

Essential Question: What skills are required for creating effective media artworks and how are they improved? How are creativity and innovation developed within and

through media arts productions? How do media artists use various tools and techniques?

27 (Draft Mar 2019)




a. With

guidance, share

roles and

discuss the

situation for

presenting

media artworks

a. With

guidance,

identify and

share roles and

the situation in

presenting

media artworks

a. With

guidance,

discuss

presentation

conditions and

perform a task

in presenting

media artworks.

a. Identify and

describe

presentation

conditions and

perform task(s)

in presenting

media artworks.

a. Identify and

describe the

presentation

conditions, and

take on roles

and processes

in presenting or

distributing

media artworks.

a. Explain the

presentation

conditions, and

fulfill a role and

processes in

presenting or

distributing

media artworks.

a. Compare

qualities and

purposes of

presentation

formats, and

fulfill a role and

associated

processes in

presentation

and/or

distribution of

media artworks.

a. Analyze

various

presentation

formats and

fulfill various

tasks and

defined

processes in the

presentation

and/or

distribution of

media artworks.

a. Evaluate

various

presentation

formats in order

to fulfill various

tasks and

defined

processes in the

presentation

and/or

distribution of

media artworks.

a. Design the

presentation

and distribution

of media

artworks

through multiple

formats and/or

contexts.

a. Design the

presentation

and distribution

of collections of

media artworks,

considering

combinations of

artworks,

formats, and

audiences.

a. Curate and

design the

presentation and

distribution of

collections of

media artworks

through a variety of

contexts, such as

mass audiences,

and physical and

virtual channels.

a. Curate, design,

and promote the

presentation and

distribution of

media artworks

for intentional

impacts, through

a variety of

contexts, such as

markets and

venues.

b. With

guidance, share

reactions to the

presentation of

media artworks.

b. With

guidance,

identify and

share reactions

to the

presentation of

media artworks.

b. With

guidance,

discuss the

experience of

the

presentation of

media artworks.

b. Identify and

describe the

experience and

share results of

presenting

media artworks.

b. Identify and

describe the

experience, and

share results of

and

improvements

for presenting

media artworks.

b. Explain

results of and

improvements

for presenting

media artworks.

b. Compare

results of and

improvements

for presenting

media artworks.

b. Analyze

results of and

improvements

for presenting

media artworks.

b. Evaluate the

results of and

improvements

for presenting

media artworks,

considering

impacts on

personal

growth.

b. Evaluate the

results of and

implement

improvements

for presenting

media artworks,

considering

impacts on

personal growth

and external

effects.

b. Evaluate and

implement

improvements

in presenting

media artworks,

considering

personal and

local impacts,

such as the

benefits for self

and others.

b. Evaluate and

implement

improvements in

presenting media

artworks,

considering

personal, local, and

social impacts such

as changes that

occurred for

people, or to a

situation.

b. Independently

evaluate,

compare, and

integrate

improvements in

presenting media

artworks,

considering

personal to

global impacts,

such as new

understandings

that were gained

by artist and

audience.

National

Standards

VA:Pr6.1.pK VA:Pr6.1.K VA:Pr6.1.K VA:Pr6.1.K VA:Pr6.1.K VA:Pr6.1.K VA:Pr6.1.K VA:Pr4.1.6 VA:Pr4.1.7 VA:Pr4.1.8 VA: Pr5.1.I VA: Pr5.1.II VA: Pr5.1.III

Process

Standards

1.1 1.1 2.3 2.3 1.8 1.8 1.6;3.7 1.8:3.5 3.6;3.7 2.5;3.6 2.1;4.5 2.1;2.5;4.5 3.5;4.5

Content

Standards

FA1, FA3 FA1, FA3 FA1, FA3 FA1, FA3 FA1, FA3 FA1, FA3 FA1, FA3 FA1, FA3 FA1, FA3, FA5 FA2, FA3, FA5 FA2, FA3, FA4, FA5 FA2, FA3, FA4, FA5 FA2, FA3, FA4, FA5

PRESENT

Essential Question: How does time, place, audience, and context affect presenting or performing choices for media artworks? How can presenting or sharing media

artworks in a public format help a media artist learn and grow?


rese

nt

Enduring Understanding: Media artists purposefully present, share, and distribute media artworks for various contexts.

28 (Draft Mar 2019)



MA:Re7A.pK MA:Re7A.K MA:Re7A.1 MA:Re7A.2 MA:Re7A.3 MA:Re7A.4 MA:Re7A.5 MA:Re7A.6 MA:Re7A.7 MA:Re7A.8 MA:Re7A.I MA:Re7A.II MA:Re7A.III

a. With

guidance,

explore and

discuss

components

and messages

in a variety of

media

artworks.

a. Recognize

and share

components

and messages

in media

artworks.

a. Identify

components

and messages

in media

artworks.

a. Identify

and describe

the

components

and messages

in media

artworks.

a. Identify

and describe

how

messages are

created by

components

in media

artworks.

a. Identify,

describe, and

explain how

messages are

created by

components

in media

artworks.

a. Identify,

describe, and

differentiate

how message

and meaning

are created by

components in

media

artworks.

a. Identify,

describe, and

analyze how

message and

meaning are

created by

components in

media

artworks.

a. Describe,

compare, and

analyze the

qualities of

and

relationships

between the

components in

media

artworks.

a. Compare,

contrast, and

analyze the

qualities of and

relationships

between the

components

and style in

media

artworks.

a. Analyze the

qualities of and

relationships

between the

components,

style, and

preferences

communicated

by media

artworks and

artists.

a. Analyze and

synthesize the

qualities and

relationships of the

components in a

variety of media

artworks, and

feedback on how

they impact

audience.

a. Analyze and

synthesize the

qualities and

relationships of

the components

and audience

impact in a

variety media

artworks.

b. With

guidance,

explore

media

artworks and

discuss

experiences.

b. Recognize

and share

how a variety

of media

artworks

create

different

experiences.

b. With

guidance,

identify how

a variety of

media

artworks

create

different

experiences.

b. Identify

and describe

how a variety

of media

artworks

create

different

experiences

b. Identify

and describe

how various

forms,

methods, and

styles in

media

artworks

manage

audience

experience.

b. Identify,

describe, and

explain how

various

forms,

methods, and

styles in

media

artworks

manage

audience

experience.

b. Identify,

describe, and

differentiate

how various

forms,

methods, and

styles in media

artworks

manage

audience

experience.

b. Identify,

describe, and

analyze how

various forms,

methods, and

styles in media

artworks

manage

audience

experience.

b. Describe,

compare, and

analyze how

various forms,

methods, and

styles in media

artworks

interact with

personal

preferences in

influencing

audience

experience.

b. Compare,

contrast, and

analyze how

various forms,

methods, and

styles in media

artworks

manage

audience

experience and

create

intention.

b. Analyze how

a variety of

media

artworks

manage

audience

experience

and create

intention

through

multimodal

perception.

b. Analyze how a

broad range of

media artworks

manage audience

experience,

create intention

and persuasion

through

multimodal

perception.

b. Survey an

exemplary

range of media

artworks,

analyzing

methods for

managing

audience

experience,

creating

intention and

persuasion

through

multimodal

perception, and

systemic

communication

s.

National

Standards

MA:Re7.1.pK MA:Re7.1.K MA:Re7.1.1 MA:Re7.1.2 MA:Re7.1.3 MA:Re7.1.4 MA:Re7.1.5 MA:Re7.1.6 MA:Re7.1.7 MA:Re7.1.8 MA: Re7.1.I MA: Re7.1.II MA: Re7.1.III

Process

standards

1.1 1.1 3.6 3.1 2.3 2.3 3.6 3.1 1.6;3.4;3.7 1.6;3.4;3.7 1.9 1.9;3.7;4.1 2.3;4.1

Content

Standards

FA3 FA3 FA3 FA3 FA1, FA3 FA1, FA3 FA1, FA3 FA1, FA3 FA1, FA2, FA3, FA5 FA1, FA2, FA3, FA5 FA1, FA2, FA3, FA5 FA1, FA2, FA3, FA5 FA1, FA2, FA3, FA5

Enduring Understanding: Identifying the qualities and characteristics of media artworks improves one's artistic appreciation and production.

Essential Question: How do we 'read' media artworks and discern their relational components? How do media artworks function to convey meaningand manage

audience experience?

RESPOND

7. Perceive and analyze artistic work.P

erce

ive

29 (Draft Mar 2019)




a. With

guidance,

share

reactions to

media

artworks.

a. With

guidance,

share

observations

regarding a

variety of

media

artworks.

a. With

guidance,

identify the

meanings of a

variety of

media

artworks.

a. Determine

the purposes

and meanings

of media

artworks,

considering

their context.

a. Determine

the purposes

and meanings

of media

artworks

while

describing

their context

a. Determine

and explain

reactions and

interpretation

s to a variety

of media

artworks,

considering

their purpose

and context.

a. Determine

and compare

personal and

group

interpretation

s of a variety

of media

artworks,

considering

their

intention and

context.

a. Analyze the

intent of a

variety of

media

artworks,

using given

criteria.

a. Analyze the

intent and

meaning of a

variety of

media

artworks,

using

selfdeveloped

criteria.

a. Analyze the

intent and

meanings of a

variety of

media

artworks,

focusing on

intentions,

forms, and

various

contexts.

a. Analyze the

intent,

meanings,

and reception

of a variety of

media

artworks,

focusing on

personal and

cultural

contexts.

a. Analyze the

intent,

meanings, and

influence of a

variety of media

artworks, based

on personal,

societal,

historical, and

cultural contexts.

a. Analyze the

intent,

meanings and

impacts of

diverse media

artworks,

considering

complex

factors of

context and

bias.

National

Standards


Process

Standards

2.3 2.3 2.3 3.5 3.1;3.5 2.3 2.3;3.6 1.5;3.7 1.5;3.3;3.7 4.1 1.9;4.1;4.3 1.9;4.1;4.3 1.9;3.6;4.1

Content

Standards

FA 3 FA3 FA3 FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA4, FA5 FA3 FA3 FA3, FA5 FA3, FA5 FA3, FA4, FA5 FA3, FA4, FA5

RESPOND


terp

ret

Enduring Understanding: Interpretation and appreciation require consideration of the intent, form, and context of the media and artwork.

Essential Question: How do people relate to and interpret media artworks?

30 (Draft Mar 2019)




With

guidance,

examine and

share

appealing

qualities in

media

artworks.

Share

appealing

qualities and

possible

changes in

media

artworks.

Identify the

effective

parts of and

possible

changes to

media

artworks,

considering

viewers.

Discuss the

effectiveness

of and

improvement

s for media

artworks,

considering

their context.

Identify basic

criteria for

and evaluate

media

artworks,

considering

possible

improvement

s and context.

Identify and

apply basic

criteria for

evaluating

and

improving

media

artworks and

production

processes,

considering

context.

Determine

and apply

criteria for

evaluating

media

artworks and

production

processes,

considering

context, and

practicing

constructive

feedback.

Determine

and apply

specific

criteria to

evaluate

various media

artworks and

production

processes,

considering

context and

practicing

constructive

feedback.

Develop and

apply criteria

to evaluate

various media

artworks and

production

processes,

considering

context, and

practicing

constructive

feedback.

Evaluate

media art

works and

production

processes

with

developed

criteria,

considering

context and

artistic goals.

Evaluate

media art

works and

production

processes at

decisive

stages, using

identified

criteria, and

considering

context and

artistic goals.

Form and apply

defensible

evaluations in

the constructive

and systematic

critique of media

artworks and

production

processes.

Independentl

y develop

rigorous

evaluations

of, and

strategically

seek feedback

for media

artworks and

production

processes,

considering

complex goals

and factors.

National

Standards


Process

Standards

1.5;2.3 1.5;2.3 3.5;3.6 2.3 3.7 2.2 2.2;3.5;4.5 2.2;3.5;4.5 2.3;3.5;4.5 3.5;3.7 3.4;4.1 3.4;4.1

Content

Standards

FA3 FA3 FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA4, FA5 FA3, FA4, FA5

9. Apply criteria to evaluate artistic work.Ev

alu

ate

Enduring Understanding: Skillful evaluation and critique are critical components of experiencing, appreciating, and producing media artworks.

Essential Question: How and why do media artists value and judge media artworks? When and how should we evaluate and critique media artworks to improve them?

RESPOND

31 (Draft Mar 2019)



MA:Cn10A.pK MA:Cn10A.K MA:Cn10A.1 MA:Cn10A.2 MA:Cn10A.3 MA:Cn10A.4 MA:Cn10A.5 MA:Cn10A.6 MA:Cn10A.7 MA:Cn10A.8 MA:Cn10A.I MA:Cn10A.II MA:Cn10A.III

a. Use

personal

experiences

in making

media

artworks.

a. Use

personal

experiences

and choices in

making media

artworks.

a. Use

personal

experiences,

interests, and

models in

creating

media

artworks.

a. Use

personal

experiences,

interests,

information,

and models in

creating

media

artworks.

a. Use

personal and

external

resources,

such as

interests,

information,

and models,

to create

media

artworks.

a. Examine and

use personal

and external

resources, such

as interests,

research, and

cultural

understanding,

to create media

artworks

a. Access and

use internal and

external

resources to

create media

artworks, such

as interests,

knowledge, and

experiences.

a. Access,

evaluate, and

use internal and

external

resources to

create media

artworks, such

as knowledge,

experiences,

interests, and

research.

a. Access,

evaluate and

use internal and

external

resources to

inform the

creation of

media artworks,

such as

experiences,

interests,

research, and

exemplary

works.

a. Access,

evaluate, and

use internal and

external

resources to

inform the

creation of

media artworks,

such as cultural

and societal

knowledge,

research, and

exemplary

works.

a. Access,

evaluate, and

integrate

personal and

external

resources to

inform the

creation of

original media

artworks, such

as experiences,

interests, and

cultural

experiences.

a. Synthesize

internal and

external resources

to enhance the

creation of

persuasive media

artworks, such as

cultural

connections,

introspection,

research, and

exemplary works.

a.

Independently

and proactively

access relevant

and qualitative

resources to

inform the

creation of

cogent media

artworks.

b. With

guidance,

share

experiences

of media

artworks.

b. Share

memorable

experiences

of media

artworks.

b. Share

meaningful

experiences

of media

artworks.

b. Discuss

experiences

of media

artworks,

describing

their meaning

and purpose.

b. Identify

and show

how media

artworks

form

meanings,

situations,

and/or

culture, such

as popular

media.

b. Examine

and show

how media

artworks

form

meanings,

situations,

and/or

cultural

experiences,

such as online

spaces.

b. Examine

and show

how media

artworks

form

meanings,

situations,

and cultural

experiences,

such as news

and cultural

events.

b. Explain and

show how

media

artworks

form new

meanings,

situations,

and cultural

experiences,

such as

historical

events

b. Explain and

show how

media artworks

form new

meanings and

knowledge,

situations, and

cultural

experiences,

such as

learning, and

new

information.

b. Explain and

demonstrate

how media

artworks expand

meaning and

knowledge, and

create cultural

experiences,

such as local and

global events.

b. Explain and

demonstrate

the use of

media artworks

to expand

meaning and

knowledge, and

create cultural

experiences,

such as learning

and sharing

through online

environments

b. Explain and

demonstrate the

use of media

artworks to

synthesize new

meaning and

knowledge, and

reflect and form

cultural

experiences, such

as new connections

between themes

and ideas, local and

global networks,

and personal

influence.

b. Demonstrate

and expound on

the use of

media artworks

to consummate

new meaning,

knowledge, and

impactful

cultural

experiences.

National

Standards

MA:Cn10.1.pK MA:Cn10.1.K MA:Cn10.1.1 MA:Cn10.1.2 MA:Cn10.1.3 MA:Cn10.1.4 MA:Cn10.1.5 MA:Cn10.1.6 MA:Cn10.1.7 MA:Cn10.1.8 MA:Cn10.1.I MA:Cn10.1.II MA:Cn10.1.III

Process

Standards

2.3;3.3 2.3;3.3 2.3;3.3 1.8;2.3 1.8 1.8;2.1 1.8;2.1;3.6 1.7;2.4 1.7;2.4;2.7 1.5;2.1;3.6 2.1;3.6 1.6;4.1 1.7;4.1

Content

Standards

FA1 FA1 FA4, FA5 FA1, FA5 FA4, FA5 FA1, FA4, FA5 FA1, FA3, FA5 FA1, FA3, FA4, FA5 FA1, FA2, FA3,

FA4, FA5

FA1, FA2, FA3, FA4,

FA5

FA1, FA2, FA3,

FA4, FA5

FA1, FA2, FA3, FA4,

FA5

FA1, FA2, FA3,

FA4, FA5

CONNECT

10. Synthesize and relate knowledge and personal experiences to make art.Sy

nth

esiz

e

Enduring Understanding: Media artworks synthesize meaning and form cultural experience.

Essential Question: How do we relate knowledge and experiences to understanding and making media artworks? How do we learn about and create meaning through producing media

artworks?

32 (Draft Mar 2019)



MA:Cn11A.pK MA:Cn11A.K MA:Cn11A.1 MA:Cn11A.2 MA:Cn11A.3 MA:Cn11A.4 MA:Cn11A.5 MA:Cn11A.6 MA:Cn11A.7 MA:Cn11A.8 MA:Cn11A.I MA:Cn11A.II MA:Cn11A.III

a. With guidance,

relate media

artworks and

everyday life.

a. With guidance,

share ideas in

relating media

artworks and

everyday life, such

as daily activities.

a. Discuss and

describe media

artworks in

everyday life, such

as popular media,

and connections

with family and

friends.

a. Discuss how

media artworks

and ideas relate to

everyday and

cultural life, such

as media

messages and

media

environments.

a. Identify how

media artworks

and ideas relate to

everyday and

cultural life and

can influence

values and online

behavior.

a. Explain verbally

and/or in media

artworks, how

media artworks

and ideas relate to

everyday and

cultural life, such

as fantasy and

reality, and

technology use.

a. Research and

show how media

artworks and ideas

relate to personal,

social and

community life,

such as exploring

commercial and

information

purposes, history,

and ethics.

a. Research and

show how media

artworks and ideas

relate to personal

life, and social,

community, and

cultural situations,

such as personal

identity, history,

and entertainment

a. Research and

demonstrate how

media artworks

and ideas relate to

various situations,

purposes and

values, such as

community,

vocations, and

social media.

a. Demonstrate

and explain how

media artworks

and ideas relate to

various contexts,

purposes, and

values, such as

democracy,

environment, and

connecting people

and places.

a. Demonstrate

and explain how

media artworks

and ideas relate to

various contexts,

purposes, and

values, such as

social trends,

power, equality,

and

personal/cultural

identity.

a. Examine in depth

and demonstrate the

relationships of media

arts ideas and works to

various contexts,

purposes, and values,

such as markets,

systems, propaganda,

and truth.

a. Demonstrate

the relationships

of media arts ideas

and works to

personal and

global contexts,

purposes, and

values, through

relevant and

impactful media

artworks.

b. With guidance,

interact safely and

appropriately with

media arts tools

and environments

b. With guidance,

interact safely and

appropriately with

media arts tools

and environments.

b. Interact

appropriately with

media arts tools

and environments,

considering safety,

rules, and fairness.

b. Interact

appropriately with

media arts tools

and environments,

considering safety,


b. Examine and

interact

appropriately with

media arts tools

and environments,

considering safety,

rules, and fairness

b. Examine and

interact

appropriately with

media arts tools

and environments,

considering ethics,


b. Examine,

discuss and

interact

appropriately with

media arts tools

and environments,

considering ethics,

rules, and media

literacy.

b. Analyze and

interact

appropriately with

media arts tools

and environments,

considering fair

use and copyright,

ethics, and media

literacy.

b. Analyze and

responsibly

interact with

media arts tools

and environments,

considering

copyright, ethics,

media literacy, and

social media.

b. Analyze and

responsibly

interact with media

arts tools,

environments,

legal, and

technological

contexts,

considering ethics,

media literacy,

social media, and

virtual worlds.

b. Critically

evaluate and

effectively interact

with legal,

technological,

systemic, and

vocational

contexts of media

arts, considering

ethics, media

literacy, social

media, virtual

worlds, and digital

identity.

b. Critically investigate

and ethically interact

with legal,

technological,

systemic, and

vocational contexts of

media arts, considering

ethics, media literacy,

digital identity, and

artist/audience

interactivity

b. Critically

investigate and

strategically

interact with legal,

technological,

systemic, and

vocational

contexts of media

arts.

National

Standards

MA:Cn11.1.pK MA:Cn11.1.K MA:Cn11.1.1 MA:Cn11.1.2 MA:Cn11.1.3 MA:Cn11.1.4 MA:Cn11.1.5 MA:Cn11.1.6 MA:Cn11.1.7 MA:Cn11.1.8 MA: Cn11.1.I MA: Cn11.1.II MA: Cn11.1.III

Process

Standards

1.1;1.10;4.7 1.10;4.7 1.9;4.7 1.10;4.7 1.6;4.4;4.7 2.1;4.3;4.4 1.9;4.2;4.3; 1.8;1.9;4.4 1.10;2.6;4.4 4.3;4.4 2.1;3.3;4.3 2.1;4.1;4.3;4.4 2.4;2.5;4.5

Content

Standards

FA1, FA5 FA1, FA5 FA1, FA4, FA5 FA1, FA4, FA5 FA1, FA4, FA5 FA1, FA2, FA4, FA5 FA1, FA4, FA5 FA1, FA4, FA5 FA1, FA4, FA5 FA1, FA3, FA4, FA5 FA1, FA2, FA3,

FA4, FA5

FA1, FA2, FA3, FA4,

FA5

FA1, FA2, FA3,

FA4, FA5

Rel

ate

CONNECT

11. Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding.

Essential Question: How does media arts relate to its various contexts, purposes, and values? How does investigating these relationships inform and deepen the media artist's

understanding and work?

Enduring Understanding: Media artworks and ideas are better understood and produced by relating them to their purposes, values, and various contexts.

33 (Draft Mar 2019)

Fine Arts - MUSIC

A. Grade PK Grade K Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

MU: Cr1A.PKa MU: Cr1A.Ka MU: Cr1A.1a MU: Cr1A.2a MU: Cr1A.3a MU: Cr1A.4a MU: Cr1A.5a MU: Cr1A.6a MU: Cr1A.7a MU: Cr1A.8a

a With substantial

guidance, explore

and experience a

variety of music.

a With guidance,

explore and

experience music

concepts (such as

beat and melodic

contour).

a With limited

guidance, create

musical ideas

(such as

answering a

musical question)

for a specific

purpose.

a Improvise

rhythmic and

melodic patterns

and musical ideas

for a specific

purpose.

a Improvise

rhythmic and

melodic ideas,

and describe

connection to

specific purpose

and context (such

as personal and

social).

a Improvise

rhythmic, melodic

and harmonic

ideas, and explain

connection to

specific purpose

and context (such

as social and

cultural).

a Improvise

rhythmic, melodic

and harmonic

ideas, and explain

connection to

specific purpose

and context (such

as social, cultural,

and historical).

a Generate simple

rhythmic, melodic

and harmonic

phrases within AB

and ABA forms

that convey

expressive intent.

a Generate

rhythmic, melodic

and harmonic

phrases and

variations over

harmonic

accompaniments

within AB, ABA,

or theme and

variation forms

that convey

expressive intent.

a Generate

rhythmic, melodic

and harmonic

phrases and

harmonic

accompaniments

within expanded

forms (including

introductions,

transitions, and

codas) that

convey expressive

intent.

MU: Cr1A.Kb MU: Cr1A.1b MU: Cr1A.2b MU: Cr1A.3b MU: Cr1A.4b MU: Cr1A.5b

b With guidance,

generate musical

ideas (such as

movements or

motives).

b With limited

guidance,

generate musical

ideas in multiple

tonalities (such as

major and minor)

and meters (such

as duple and

triple).

b Generate

musical patterns

and ideas within

the context of a

given tonality

(such as major

and minor) and

meter (such as

duple and triple).

b Generate

musical ideas

(such as rhythms

and melodies)

within a given

tonality and/or

meter.

b Generate

musical ideas

(such as rhythms,

melodies, and

simple

accompaniment

patterns) within

related tonalities

(such as major

and minor) and

meters.

b Generate

musical ideas

(such as rhythms,

melodies, and

accompaniment

patterns) within

specific related

tonalities, meters

and simple chord

changes.

National

Standards

MU:Cr1.1.PK MU:Cr1.1.K MU:Cr1.1.1 MU:Cr1.1.2 MU:Cr1.1.3 MU:Cr1.1.4 MU:Cr1.1.5 MU:Cr1.1.6 MU:Cr1.1.7 MU:Cr1.1.8

Content

Standards

FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2

Process

Standards

1.1, 2.4, 2.5 1.1, 2.4, 2.5 1.1, 2.1, 2.3, 2.5 1.5, 1.6, 2.5 1.5, 1.6, 2.1, 2.4, 2.5, 4.1 1.5, 1.6, 1.9, 2.1, 2.3,

2.4, 2.5, 2.7, 4.1

1.5, 1.6, 1.9, 2.1, 2.3,

2.4, 2.5, 2.7, 4.1

1.5, 1.6, 2.1, 2.3, 2.5, 2.7 1.5, 1.6, 2.1, 2.3, 2.5, 2.7 1.5, 1.6, 2.1 2.3, 2.5, 2.7

Create - General Music

1. Generate and conceptualize artistic ideas and work.

Essential Question: How do musicians generate creative ideas?

Enduring Understanding: The creative ideas, concepts, and feelings that influence musicians’ work emerge from a variety of sources.

Imag

ine

34 (Draft Mar 2019)

Fine Arts - MUSIC

A. Grade pK Grade K Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8


a With substantial

guidance, explore

favorite musical

ideas (such as

movements,

vocalizations or

instrumental

accompaniments)

.

a With guidance,

demonstrate and

choose favorite

musical ideas.

a With limited

guidance,

demonstrate and

discuss personal

reasons for

selecting musical

ideas that

represent

expressive intent.

a Demonstrate

and explain

personal reasons

for selecting

patterns and

ideas for music

that represent

expressive intent.

a Demonstrate

selected musical

ideas for a simple

improvisation or

composition to

express intent ,

and describe

connection to a

specific purpose

and context.

a Demonstrate

selected and

organized musical

ideas for an

improvisation,

arrangement, or

composition to

express intent,

and explain

connection to

purpose and

context.

a Demonstrate

selected and

developed

musical ideas for

improvisations,

arrangements, or

compositions to

express intent,

and explain

connection to

purpose and

context.

a Select, organize,

construct, and

document personal

musical ideas for

arrangements and

compositions within

AB or ABA form that

demonstrate an

effective beginning,

middle, and ending,

and convey

expressive intent.

a Select, organize,

develop and

document personal

musical ideas for

arrangements,

songs, and

compositions within

AB, ABA, or theme

and variation forms

that demonstrate

unity and variety and

convey expressive

intent.

a Select, organize,

and document

personal musical

ideas for

arrangements,

songs, and

compositions within

expanded forms that

demonstrate tension

and release , unity

and variety, balance,

and convey

expressive intent.

MU: Cr2A.PKb MU: Cr2A.Kb MU: Cr2A.1b MU: Cr2A.2b MU: Cr2A.3b MU: Cr2A.4b MU: Cr2A.5b MU: Cr2A.6b MU: Cr2A.7b MU: Cr2A.8b

b. With substantial

guidance, select and

keep track of the

order for performing

original musical

ideas, using iconic

notation and/or

recording

technology.

b. With guidance,

organize personal

musical ideas using

iconic notation

and/or recording

technology.

b With limited

guidance, use iconic

or standard notation

and/or recording

technology to

document and

organize personal

musical ideas.

b Use iconic or

standard notation

and/or recording

technology to

combine, sequence,

and document

personal musical

ideas.

b Use standard

and/or iconic

notation and/or

recording

technology to

document personal

rhythmic and

melodic musical

ideas.

b Use standard

and/or iconic

notation and/or

recording

technology to

document personal

rhythmic, melodic,

and simple harmonic

musical ideas.

b Use standard

and/or iconic

notation and/or

recording

technology to

document personal

rhythmic, melodic,

and two chord

harmonic musical

ideas.

b Use standard

and/or iconic

notation and/or

audio/ video

recording to

document personal

simple rhythmic

phrases, melodic

phrases, and two

chord harmonic

musical ideas.

b Use standard

and/or iconic

notation and/or

audio/ video

recording to

document personal

simple rhythmic

phrases, melodic

phrases, and

harmonic

sequences.

b Use standard

and/or iconic

notation and/or

audio/ video

recording to

document personal

rhythmic phrases,

melodic phrases,

and harmonic

sequences.

National

Standards


Content

Standards

FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3

Process

Standards

1.1, 1.4, 2.1, 2.5, 2.7 1.1, 1.4, 2.1, 2.5, 2.7 1.1, 1.4, 2.1, 2.3, 2.4,

2.5, 2.7

1.1, 1.4, 4.1, 2.1, 2.2,

2.3, 2.4, 2.5, 2.7

1.1, 1.4, 4.1, 2.1, 2.5, 2.7 1.1. 1.4, 4.1, 2.1, 2.5, 2.7 1.1, 1.4, 4.1, 2.1, 2.5, 2.7 1.1, 1.4, 1.6, 2.1, 2.2,

2.5, 2.7

1.1, 1.4, 1.6, 2.1, 2.2,

2.5, 2.7

1.1, 1.4, 1.6, 2.1, 2.2,

2.5, 2.7

Create - General MusicP

lan

an

d M

ake

Enduring Understanding: Musicians’ creative choices are influenced by their expertise, context, and expressive intent.

Essential Question: How do musicians make creative decisions?


35 (Draft Mar 2019)

Fine Arts - MUSIC



a With substantial

guidance,

consider

personal, peer

and teacher

feedback when

demonstrating

and refining

personal musical

ideas.

a. With guidance,

apply personal,

peer and teacher

feedback in

refining

personal musical

ideas.

a With limited

guidance, discuss

and apply

personal, peer

and teacher

feedback to refine

personal musical

ideas.

a Interpret and

apply personal,

peer and teacher

feedback to revise

personal music.

a Evaluate, refine,

and document

revisions to

personal musical

ideas, applying

teacher provided

and

collaboratively

developed criteria

and feedback.

a Evaluate, refine,

and document

revisions to

personal music,

applying teacher-

provided and

collaboratively

developed criteria

and feedback to

show

improvement

over time.

a Evaluate, refine,

and document

revisions to

personal music,

applying teacher-

provided and

collaboratively

developed criteria

and feedback,

and explain

rationale for

changes.

a. Evaluate their

own work,

applying teacher-

provided criteria

such as

application of

selected elements

of music, and use

of sound sources.

a Evaluate their

own work,

applying selected

criteria such as

appropriate

application of

elements of music

including style,

form, and use of

sound sources.

a Evaluate their

own work by

selecting and

applying criteria

including

appropriate

application of

compositional

techniques, style,

form, and use of

sound sources.

MU: Cr3A.6b MU: Cr3A.7b MU: Cr3A.8b

b Describe the

rationale for

making revisions

to the music

based on

evaluation criteria

and feedback

from their

teacher.

b Describe the

rationale for

making revisions

to the music

based on

evaluation criteria

and feedback

from others

(teacher and

peers).

b Describe the

rationale for

refining works by

explaining the

choices, based on

evaluation

criteria.

National

Standards


Content

Standards

FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3

Process

Standards

1.1, 2.1, 2.2, 2.3, 2.4,

2.5, 3.2, 4.5

1.1, 2.1, 2.2, 2.3, 2.4,

2.5, 3.2, 4.5

1.1, 3.2, 4.5, 2.1, 2.2,

2.3, 2.4, 2.5

1.1, 3.3, 4.5, 2.1, 2.2,

2.3, 2.4, 2.5

1.1, 1.5, 3.3, 4.5, 4.6,

2.1, 2.2, 2.3, 2.4, 2.5

1.1, 1.5, 3.3, 4.5, 4.6,

2.1, 2.2, 2.3, 2.4, 2.5

1.1, 1.5, 3.3, 4.5, 4.6,

2.1, 2.2, 2.3, 2.4, 2.5

1.1, 1.5, 1.7, 3.3, 4.1,

2.1, 2.2, 2.3, 2.4, 2.5, 2.7

1.1, 1.5, 1.7, 3.3, 4.1,

2.1, 2.2, 2.3, 2.4, 2.5, 2.7

1.1, 1.5, 1.7, 3.3, 4.1,

2.1, 2.2, 2.3, 2.4, 2.5, 2.7


Create - General MusicEv

alu

ate

and

Re

fin

e

Enduring Understanding: Musicians evaluate, and refine their work through openness to new ideas, persistence, and the application of appropriate criteria.

Essential Question: How do musicians improve the quality of their creative work?

36 (Draft Mar 2019)

Fine Arts - MUSIC

B. Grade PK Grade K Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

MU: Cr3B.PKa MU: Cr3B.Ka MU: Cr3B.1a MU: Cr3B.2a MU: Cr3B.3a MU: Cr3B.4a MU: Cr3B.5a MU: Cr3B.6a MU: Cr3B.7a MU: Cr3B.8a

a With substantial

guidance, share

revised personal

musical ideas

with peers.

a With guidance,

demonstrate a

final

version of

personal

musical ideas to

peers

a.With limited

guidance, convey

expressive intent

for a specific

purpose by

presenting a final

version of

personal musical

ideas to peers or

informal

audience.

a Convey

expressive intent

for a specific

purpose by

presenting a final

version of

personal musical

ideas to peers or

informal

audience.

a Present the final

version of

personal created

music to others,

and describe

connection to

expressive intent .

a Present the final

version of

personal created

music to others,

and explain

connection to

expressive intent.

a Present the final

version of

personal created

music to others

that

demonstrates

craftsmanship ,

and explain

connection to

expressive intent.

a Present the final

version of their

documented

personal

composition or

arrangement,

using

craftsmanship

and originality to

demonstrate an

effective

beginning,

middle, and

ending, and

convey expressive

intent.

a Present the final

version of their

documented

personal

composition,

song, or

arrangement,

using

craftsmanship

and originality to

demonstrate

unity and variety,

and convey

expressive intent.

National

Standards


Content

Standards

FA1 FA1 FA1 FA1 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3

Process

Standards

1.1, 1.2, 2.1 1.1, 1.2, 2.1 1.1, 1.2, 1.8, 2.1, 2.5 1.1, 1.2, 1.8, 2.1, 2.5 1.1, 1.2, 1.8, 2.1, 2.4, 2.5 1.1, 1.2, 1.6, 1.8, 2.1,

2.4, 2.5

1.1, 1.2, 1.6, 1.8, 2.1,

2.4, 2.5

1.1, 1.2, 1.6, 1.8, 2.1,

2.4, 2.5

1.1, 1.2, 1.6, 1.8, 2.1,

2.4, 2.5

1.1, 1.2, 1.6, 1.8, 2.1,

2.4, 2.5

Pre

sen

t 3. Refine and complete artistic work.

a Present the final

version of their

documented

personal

composition,

song, or

arrangement,

using

craftsmanship

and originality to

demonstrate the

application of

compositional

techniques for

creating unity and

variety, tension

and release , and

balance to convey

expressive intent.

Enduring Understanding: Musicians’ presentation of creative work is the culmination of a process of creation and communication.

Essential Question: When is creative work ready to share?

Create - General Music

37 (Draft Mar 2019)

Fine Arts - MUSIC


MU: Pr4A.PKa MU: Pr4A.Ka MU: Pr4A.1a MU: Pr4A.2a MU: Pr4A.3a MU: Pr4A.4a MU: Pr4A.5a MU: Pr4A.6a MU: Pr4A.7a MU: Pr4A.8a

a With substantial

guidance,

demonstrate and

state preference

for varied musical

selections.

a. With guidance,

demonstrate and

state personal

interest in varied

musical

selections.

a With limited

guidance,

demonstrate and

discuss personal

interest in,

knowledge about,

and purpose of

varied musical

selections.

a Demonstrate

and explain

personal interest

in, knowledge

about, and

purpose of varied

musical

selections.

a Demonstrate

and explain how

the selection of

music to perform

is influenced by

personal interest,

knowledge,

purpose and

context.

a Demonstrate

and explain how

the selection of

music to perform

is influenced by

personal interest,

knowledge,

context and

technical skill .

a Demonstrate

and explain how

the selection of

music to perform

is influenced by

personal interest,

knowledge, and

context, as well as

their personal and

others’ technical

skill.

a Apply teacher

provided criteria

for selecting

music to perform

for a specific

purpose and/or

context, and

explain why each

was chosen.

a Apply

collaboratively

developed criteria

for selecting

music of

contrasting styles

for a program

with a specific

purpose and/or

context and, after

discussion,

identify

expressive

qualities,

technical

challenges and

reasons for

choices.

a Apply

personally

developed criteria

for selecting

music of

contrasting styles

for a program

with a specific

purpose and/or

context, and

explain expressive

qualities,

technical

challenges and

reasons for

choices.

National

Standards

MU:Pr4.1.PK MU:Pr4.1.K MU:Pr4.1.1 MU:Pr4.1.2 MU:Pr4.1.3 MU:Pr4.1.4 MU:Pr4.1.5 MU:Pr4.1.6 MU:Pr4.1.7 MU:Pr4.1.8

Content

Standards

FA1 FA1 FA1 FA1 FA1 FA1 FA1 FA1 FA1 FA1

Process

Standards

1.1, 1.5, 4.1, 2.1 1.1, 1.5, 4.1, 2.1 1.1, 1.5, 4.1, 2.1, 2.5,

2.2, 2.3, 2.4

1.1, 1.5, 4.1, 2.1, 2.2,

2.3, 2.4, 2.5

1.1, 1.5, 4.1, 2.1, 2.2,

2.3, 2.4, 2.5

1.1, 1.5, 4.1, 2.1, 2.2,

2.3, 2.4, 2.5

1.1, 1.5, 3.1, 2.1, 2.2,

2.3, 2.4, 2.5

1.1, 1.5, 1.7, 3.2, 4.1,

2.1, 2.2, 2.3, 2.5, 2.4

1.1, 1.5, 1.6, 1.7, 3.3,

4.1, 4.6, 2.1, 2.2, 2.3,

2.4, 2.5

1.1, 1.5, 1.6, 1.7, 3.3,

4.1, 2.1, 2.2, 2.3, 2.4, 2.5

4. Select, analyze, and interpret artistic work for presentation.

Perform - General MusicSe

lect

Enduring Understanding: Performers’ interest in and knowledge of musical works, understanding of their own technical skill, and the context for a performance influence the

selection of repertoire.

Essential Question: How do performers select repertoire?

38 (Draft Mar 2019)

Fine Arts - MUSIC


MU: Pr4B.PKa MU: Pr4B.Ka MU: Pr4B.1a MU: Pr4B.2a MU: Pr4B.3a MU: Pr4B.4a MU: Pr4B.5a MU: Pr4B.6a MU: Pr4B.7a MU: Pr4B.8a

a With substantial

guidance, explore

and demonstrate

awareness of

musical contrasts.

a. With guidance,

explore and

demonstrate

awareness of music

contrasts (such as

high/low, loud/soft,

same/different) in a

variety of music

selected for

performance

a With limited

guidance,

demonstrate

knowledge of music

concepts (such as

beat and melodic

contour ) in music

from a variety of

cultures selected for

performance.

a Demonstrate

knowledge of

music concepts

(such as tonality

and meter) in

music from a

variety of cultures

selected for

performance.

a Demonstrate

understanding of

the structure in

music selected for

performance

a Demonstrate

understanding of

the structure and

the elements of

music (such as

rhythm , pitch ,

and form ) in

music selected for

performance.

a Demonstrate

understanding of

the structure and

the elements of

music (such as

rhythm, pitch,

form, and

harmony) in

music selected for

performance

a Explain how

understanding

the structure and

the elements of

music are used in

music selected for

performance.

a Explain and

demonstrate the

structure of

contrasting pieces

of music selected

for performance

and how

elements of music

are used.

a Compare the

structure of

contrasting pieces

of music selected

for performance,

explaining how

the elements of

music are used in

each.

MU: Pr4B.PKb MU: Pr4B.Kb MU: Pr4B.1b MU: Pr4B.2b MU: Pr4B.3b MU: Pr4B.4b MU: Pr4B.5b MU: Pr4B.6b MU: Pr4B.7b MU: Pr4B.8b

b When analyzing

selected music, read

and perform

rhythmic patterns

using iconic or

standard notation.

b When analyzing


and perform

rhythmic and

melodic patterns

using iconic or

standard notation.

b When analyzing


and perform

rhythmic patterns

and melodic phrases

using iconic and

standard notation.

b When analyzing

selected music, r

ead and perform

using iconic and/or

standard notation.

b When analyzing

selected music,

read and perform

using standard

notation.

b When analyzing


and identify by name

or function standard

symbols for rhythm,

pitch, articulation,

and dynamics.

b When analyzing


and identify by name

or function standard

symbols for rhythm,

pitch articulation,

dynamics, tempo,

and form.

b When analyzing

selected music,

sightread in treble or

bass clef simple

rhythmic, melodic,

and/or harmonic

notation.

MU: Pr4B.3c MU: Pr4B.4c MU: Pr4B.5c MU: Pr4B.6c MU: Pr4B.7c MU: Pr4B.8c

c Describe how

context (such as

personal and social)

can inform a

performance.

c Explain how

context (such as

social and cultural)

informs a

performance.

c Explain how

context (such as

social, cultural, and

historical ) informs

performances.

c Identify how

cultural and

historical context

inform

performances.

c Identify how

cultural and

historical context

inform

performances and

result in different

music

interpretations.

c Identity how

cultural and

historical context

inform

performances and

result in different

musical effects.

National

Standards


Content

Standards

FA1 FA1 FA1 FA1, FA2, FA5 FA1, FA2, FA5 FA1, FA2, FA5 FA1, FA2, FA5 FA1, FA2, FA5 FA1, FA2, FA5 FA1, FA2, FA5

Process

Standards

1.1, 1.5, 2.1, 2.5 1.1, 1.5, 2.1, 2.5 1.1, 1.2, 1.5, 1.6, 1.9,

2.1, 2.5, 2.3, 2.4

1.1, 1.2, 1.5, 1.6, 1.9,

2.1, 2.3, 2.4, 2.5

1.1, 1.2, 1.5, 1.6, 1.9,

2.1, 2.3, 2.4, 2.5

1.1, 1.2, 1.5, 1.6, 1.9,

4.1, 2.1, 2.3, 2.4, 2.5

1.1, 1.2, 1.5, 1.6, 1.9,

4.1, 2.1, 2.3, 2.4, 2.5

1.1, 1.2, 1.5, 1.6, 1.9,

4.1, 2.1, 2.3, 2.4, 2.5

1.1, 1.2, 1.5, 1.6, 1.9,

4.1, 2.1, 2.3, 2.4, 2.5

1.1, 1.2, 1.5, 1.6, 1.9,

3.3, 4.1, 2.1, 2.3, 2.4, 2.5

An

alyz

ePerform - General Music


Essential Question: How does understanding the structure and context of musical works inform performance?

Enduring Understanding: Analyzing creators’ context and how they manipulate elements of music provides insight into their intent and informs performance.

39 (Draft Mar 2019)

Fine Arts - MUSIC

C. Grade PK Grade K Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

MU: Pr4C.PKa MU: Pr4C.Ka MU: Pr4C.1a MU: Pr4C.2a MU: Pr4C.3a MU: Pr4C.4a MU: Pr4C.5a MU: Pr4C.6a MU: Pr4C.7a MU: Pr4C.8a

a With

substantial

guidance,

explore music’s

expressive

qualities (such

as voice quality,

dynamics, and

tempo).

a With

guidance,

demonstrate

awareness of

expressive

qualities (such

as voice quality,

dynamics, and

tempo) that

support the

creators’

expressive

intent.

a Demonstrate

and describe

music’s

expressive

qualities (such

as dynamics

and tempo).

a Demonstrate

understanding

of expressive

qualities (such

as dynamics

and tempo) and

how creators

use them to

convey

expressive

intent.

a Demonstrate

and describe

how intent is

conveyed

through

expressive

qualities (such

as dynamics

and tempo).

a Demonstrate

and explain

how intent is

conveyed

through

interpretive

decisions and

expressive

qualities (such

as dynamics,

tempo, and

timbre).

a Demonstrate

and explain

how intent is

conveyed

through

interpretive

decisions and

expressive

qualities (such

as dynamics,

tempo, timbre,

and

articulation/styl

e).

a Perform a

selected piece

of music

demonstrating

how their

interpretations

of the elements

of music and

the expressive

qualities (such

as dynamics,

tempo, timbre,

articulation/styl

e, and phrasing)

convey intent.

a Perform

contrasting

pieces of music

demonstrating

their

interpretations

of the elements

of music and

expressive

qualities (such

as dynamics,

tempo, timbre,

articulation/styl

e, and phrasing)

convey intent.

a Perform

contrasting

pieces of music

, demonstrating

as well as

explaining how

the music’s

intent is

conveyed by

their

interpretations

of the elements

of music and

expressive

qualities (such

as dynamics,

tempo, timbre,

articulation/styl

e, and

phrasing).

National

Standards


Content

Standards


Process

Standards

1.2, 1.6, 2.4, 2.5 1.2, 1.6, 2.4, 2.5 1.2, 1.5, 1.6, 2.4, 2.5 1.2, 1.5, 1.6, 2.4, 2.5,

2.1, 2.3

1.2, 1.5, 1.6, 2.1, 2.3,

2.4, 2.5

1.2, 1.5, 1.6, 4.1, 2.1,

2.3, 2.4, 2.5

1.2, 1.5, 1.6, 4.1, 2.1,

2.3, 2.4, 2.5

1.2, 1.5, 1.6, 2.5, 2.1,

2.3, 2.4

1.2, 1.5, 1.6, 2.1, 2.3,

2.4, 2.5

1.2, 1.5, 1.6, 2.1, 2.3,

2.4, 2.5, 3.6, 4.1,

Perform - General MusicIn

terp

ret

4. Select, analyze, and interpret artistic work for presentation.Enduring Understanding: Performers make interpretive decisions based on their understanding of context and expressive intent.

Essential Question: How do performers interpret musical works?

40 (Draft Mar 2019)

Fine Arts - MUSIC



MU: Pr5A.PKb MU: Pr5A.Kb MU: Pr5A.1b MU: Pr5A.2b MU: Pr5A.3b MU: Pr5A.4b MU: Pr5A.5b

b With substantial

guidance, apply

personal, peer, and

teacher feedback to

refine performances.

b With guidance ,

use suggested

strategies in

rehearsal to improve

the expressive

qualities of music

b With limited

guidance, use

suggested strategies

in rehearsal to

address interpretive

challenges of music.

b Rehearse, identify

and apply strategies

to address

interpretive,

performance, and

technical challenges

of music.

b Rehearse to refine

technical accuracy,

expressive qualities,

and identified

performance

challenges.


technical accuracy

and expressive

qualities, and

address

performance

challenges.


technical accuracy

and expressive

qualities to address

challenges, and

show improvement

over time.

National

Standards


Content

Standards


Process

Standards

1.5, 3.2, 4.5, 2.5, 2.3, 2.4 1.5, 3.2, 4.5, 2.5, 2.3, 2.4 1.5, 3.2, 4.5, 2.3, 2.4, 2.5 1.5, 3.2, 4.5, 2.1, 2.2, 2.5 1.5, 3.2, 4.5, 4.6, 2.5,

2.2, 2.3, 2.1

1.5, 3.2, 4.5, 4.6, 2.1,

2.2, 2.3, 2.5

1.5, 3.2, 4.5, 2.1, 2.2,

2.3, 2.5

1.5, 1.8, 3.2, 4.5, 2.1,

2.2, 2.3, 2.5, 2.7

1.5, 1.8, 3.2, 4.5, 4.6,

2.1, 2.2 2.3, 2.5, 2.7

1.5, 1.8, 3.3, 4.5, 2.1,

2.2, 2.3, 2.5, 2.7

a Identify and apply

personally developed

criteria (such as

demonstrating correct

interpretation of

notation, technical

skill of performer,

originality, emotional

impact, variety , and

interest) to rehearse,

refine, and determine

when the music is

ready to perform.

PerformR

ehea

rse,

Eva

luat

e, &

Re

fin

e5. Develop and refine artistic techniques and work for presentation.

a With substantial

guidance, practice

and demonstrate

what they like

about their own

performances.

a. With guidance,

apply personal,

teacher, and peer

feedback to refine

performances.

a With limited

guidance, apply

personal, teacher,

and peer

feedback to refine

performances.

a Apply

established

criteria to judge

the accuracy,

expressiveness

and effectiveness

of performances.

a - Apply teacher

provided and

collaboratively -

developed criteria

and feedback to

evaluate accuracy

of ensemble

performances.

a Apply teacher

provided and

collaboratively

developed criteria

and feedback to

evaluate accuracy

and

expressiveness of

ensemble and

personal

performances.

a Apply teacher

provided and

established

criteria and

feedback to

evaluate the

accuracy and

expressiveness of

ensemble and

personal

performances.


teacher-provided

criteria (such as

correct

interpretation of

notation, technical

accuracy, originality,

and interest) to

rehearse, refine, and

determine when a

piece is ready to

perform.


collaboratively

developed criteria

(such as

demonstrating correct

interpretation of

notation, technical

skill of performer,

originality, emotional

impact, and interest)

to rehearse, refine,

and determine when

the music is ready to

perform.

Enduring Understanding: To express their musical ideas, musicians analyze, evaluate, and refine their performance over time through openness to new ideas, persistence, and the

application of appropriate criteria.

Essential Question: How do musicians improve the quality of their performance?

41 (Draft Mar 2019)

Fine Arts - MUSIC



a With substantial

guidance,

perform music

with expression.

a With guidance,

perform music

with expression.

a With limited

guidance,

perform music for

a specific purpose

with expression.

a Perform music

for a specific

purpose with

expression and

technical

accuracy.

a Perform music

with expression

and technical

accuracy.

a Perform music,

alone or with

others, with

expression and

technical accuracy

and appropriate

interpretation.

a Perform music,

alone or with

others, with

expression,

technical accuracy

and appropriate

interpretation.

a Perform the

music with

technical accuracy

to convey the

creator’s intent.

a Perform the

music with

technical accuracy

and stylistic

expression to

convey the

creator’s intent.

a Perform the

music with

technical

accuracy, stylistic

expression, and

culturally

authentic

practices in music

to convey the

creator’s intent.

MU: Pr6A.Kb MU: Pr6A.1b MU: Pr6A.2b MU: Pr6A.3b MU: Pr6A.4b MU: Pr6A.5b MU: Pr6A.6b MU: Pr6A.7b MU: Pr6A.8b

b Perform

appropriately for

the audience.

b Perform

appropriately for

the audience and

purpose .

b Perform

appropriately for

the audience and

purpose.

b Demonstrate

performance

decorum and

audience

etiquette

appropriate for

the context and

venue .

b Demonstrate

performance

decorum and

audience

etiquette

appropriate for

the context,

venue, and genre

.

b Demonstrate

performance

decorum and

audience

etiquette

appropriate for

the context,

venue, genre, and

style .

b Demonstrate

performance

decorum (such as

stage presence,

attire, and

behavior) and

audience

etiquette

appropriate for

venue and

purpose.

b Demonstrate

performance

decorum (such as

stage presence,

attire, and

behavior) and

audience

etiquette

appropriate for

venue, purpose,

and context .

b Demonstrate

performance

decorum (such as

stage presence,

attire, and

behavior) and

audience

etiquette

appropriate for

venue, purpose,

context, and

style.

National

Standards


Content

Standards

FA1 FA1 FA1 FA1 FA1 FA1 FA1, FA3 FA1, FA3 FA1, FA3 FA1, FA3

Process

Standards

1.5, 1.8, 2.1, 2.5 1.5, 1.8, 2.1, 2.5 1.5, 1.8, 2.1, 2.5 1.5, 1.8, 2.1, 2.5 1.5, 1.8, 2.1, 2.5, 4.3 1.5, 1.8, 2.1, 2.5, 4.3 1.5, 1.8, 4.3, 2.1, 2.5 1.5, 1.8, 4.3, 2.1, 2.3,

2.4, 2.5

1.5, 1.8, 4.3, 2.1, 2.3,

2.4, 2.5

1.5, 1.8, 4.3, 2.1, 2.3,

2.4, 2.5


rese

ntPerform - General Music

Enduring Understanding: Musicians judge performance based on criteria that vary across time, place, and cultures. The context and how a work is presented influence the

audience response.

Essential Question: When is a performance judged ready to present? How do context and the manner in which musical work is presented influence audience response?

42 (Draft Mar 2019)

Fine Arts - MUSIC


MU: Re7A.PKa MU: Re7A.Ka MU: Re7A.1a MU: Re7A.2a MU: Re7A.3a MU: Re7A.4a MU: Re7A.5a MU: Re7A.6a MU: Re7A.7a MU: Re7A.8a

a With substantial

guidance, state

personal interests

and demonstrate

why they prefer

some music

selections over

others.

a With guidance,

list personal

interests and

experiences and

demonstrate why

they prefer some

music selections

over others.

a With limited

guidance, identify

and demonstrate

how personal

interests and

experiences

influence musical

selection for

specific purposes.

a Explain and

demonstrate how

personal interests

and experiences

influence musical

selection for

specific purposes.

a Demonstrate

and describe how

selected music

connects to and is

influenced by

specific interests,

experiences, or

purposes.

a Demonstrate

and explain how

selected music

connects to and is

influenced by

specific interests,

experiences,

purposes, or

contexts.

a Demonstrate

and explain, citing

evidence, how

selected music

connects to and is

influenced by

specific interests,

experiences,

purposes, or

contexts.

a Select or choose

music to listen to

and explain the

connections to

specific interests

or experiences for

a specific

purpose.

a Select or choose

contrasting music

to listen to and

compare the

connections to

specific interests

or experiences for

a specific

purpose.

a Select programs

of music (such as

a CD mix or live

performances)

and demonstrate

the connections

to an interest or

experience for a

specific purpose.

National

Standards

MU:Re7.1.PK MU:Re7.1.K MU:Re7.1.1 MU:Re7.1.2 MU:Re7.1.3 MU:Re7.1.4 MU:Re7.1.5 MU:Re7.1.6 MU:Re7.1.7 MU:Re7.1.8

Content

Standards

FA1, FA3 FA1, FA3 FA1, FA3 FA1, FA3 FA1, FA3 FA1, FA3 FA1 FA3 FA3 FA3

Process

Standards

1.1, 1.7, 3.3, 4.1, 2.5, 2.1 1.1, 1.7, 3.3, 4.1, 2.5, 2.1 1.1, 1.2, 1.7, 3.3, 4.1,

2.1, 2.5

1.1, 1.2, 1.7, 3.3, 4.1,

2.1, 2.5

1.1, 1.2, 1.7, 3.3, 4.1,

2.1, 2.5, 2.3

1.1. 1.2, 1.7, 3.3, 4.1,

2.1, 2.5, 2.3

1.1, 1.2, 1.7, 3.6, 4.1,

2.1, 2.3, 2.5

1.1, 1.2, 1.7, 3.6, 4.1,

2.1, 2.3, 2.5

1.1, 1.2, 1.7, 3.6, 4.1,

2.1, 2.3, 2.5

1.1, 1.2, 1.7, 3.6, 4.1,

2.1, 2.3, 2.5, 2.7

Sele

ctRespond - General Music

7. Perceive and analyze artistic workEnduring Understanding: Individuals' selection of musical works is influenced by their interests, experiences, understandings, and purposes.

Essential Question: How do individuals choose music to experience?

43 (Draft Mar 2019)

Fine Arts - MUSIC


MU: Re7B.pKa MU: Re7B.Ka MU: Re7B.1a MU: Re7B.2a MU: Re7B.3a MU: Re7B.4a MU: Re7B.5a MU: Re7B.6a MU: Re7B.7a MU: Re7B.8a

a With substantial

guidance, explore

musical contrasts

in music.

a With guidance,

demonstrate how

a specific music

concept (such as

beat or melodic

direction) is used

in music.

a With limited

guidance,

demonstrate and

identify how

specific music

concepts (such as

beat or pitch) are

used in various

styles of music for

a purpose .

a Describe how

specific music

concepts are used

to support a

specific purpose

in music.

a Demonstrate

and describe how

a response to

music can be

informed by the

structure , the use

of the elements

of music , and

context (such as

personal and

social).

a Demonstrate

and explain how

responses to

music are

informed by the

structure, the use

of the elements

of music, and

context (such as

social and

cultural).

a Demonstrate

and explain, citing

evidence , how

responses to

music are

informed by the

structure, the use

of the elements

of music, and

context (such as

social, cultural,

and historical).

a Describe how

the elements of

music and

expressive

qualities relate to

the structure of

the pieces.

a Classify and

explain how the

elements of music

and expressive

qualities relate to

the structure of

contrasting

pieces.

a Compare how

the elements of

music and

expressive

qualities relate to

the structure

within programs

of music.

MU: Re7B.6b MU: Re7B.7b MU: Re7B.8b

b Identify the

context of

music from a

variety of

genres,

cultures, and

historical

periods.

b Identify and

compare the

context of

music from a

variety of

genres,

cultures, and

historical

periods.

b Identify and

compare the

context of

programs of

music from a

variety of

genres,

cultures, and

historical

periods.

National

Standards


Content

Standards

FA1, FA3 FA1, FA3 FA1, FA3 FA1, FA3 FA1, FA3 FA2 FA2, FA3, FA5 FA2, FA3, FA4, FA5 FA2, FA3, FA4, FA5 FA3, FA5

Process

Standards

1.6, 2.1, 2.5 1.6, 2.1, 2.5 1.6, 2.1, 2.5, 2.4 1.6, 2.1, 2.5, 2.4 1.6, 2.1, 2.4, 2.5, 2.3 1.6, 4.1, 2.1, 2.3, 2.4, 2.5 1.6, 4.1, 2.1, 2.3, 2.4, 2.5 1.6, 1.9, 2.1, 2.3, 2.4, 2.5 1.6, 1.9, 2.1, 2.3, 2.4,

2.5, 4.1

1.6, 1.9, 2.1, 2.3, 2.4,

2.5, 4.1

Respond - General Music

7. Perceive and analyze artistic workA

nal

yze

Enduring Understanding: Response to music is informed by analyzing context(social, cultural, and historical) and how creators and performers manipulate the elements of music.

Essential Question: How does understanding the structure and context of music inform a response?

44 (Draft Mar 2019)

Fine Arts - MUSIC



a With substantial

guidance, explore

music’s

expressive

qualities (such as

dynamics and

tempo).

a With guidance,

demonstrate

awareness of

expressive

qualities (such as

dynamics and

tempo) that

reflect

creators’/perform

ers’ expressive

intent

a With limited

guidance,

demonstrate and

identify

expressive

qualities (such as

dynamics and

tempo ) that

reflect creators’/

performers’

expressive intent.

a Demonstrate

knowledge of

music concepts

and how they

support creators’/

performers’

expressive intent.

a Demonstrate

and describe how

the expressive

qualities (such as

dynamics and

tempo ) are used

in performers’

interpretations to

reflect expressive

intent.

a Demonstrate

and explain how

the expressive

qualities (such as

dynamics, tempo,

and timbre ) are

used in

performers’ and

personal

interpretations to

reflect expressive

intent.

a Demonstrate

and explain how

the expressive

qualities (such as

dynamics, tempo,

timbre, and

articulation ) are

used in

performers’ and

personal

interpretations to

reflect expressive

intent.

a Describe a

personal

interpretation of

how creators’ and

performers’

application of the

elements of music

and expressive

qualities, within

genres and

cultural and

historical context,

convey expressive

intent.

a Describe a

personal

interpretation of

contrasting works

and explain how

creators’ and

performers’

application of the

elements of music

and expressive

qualities, within

genres, cultures,

and historical

periods, convey

expressive intent.

a Support

personal

interpretation of

contrasting

programs of

music and explain

how creators’ or

performers’ apply

the elements of

music and

expressive

qualities, within

genres, cultures,

and historical

periods to convey

expressive intent.

National

Standards


Content

Standards

FA1, FA3 FA1, FA3 FA1, FA2, FA3, FA1 FA1, FA2, FA3, FA4 FA1, FA4 FA1, FA3, FA4 FA1, FA3, FA5 FA3, FA5 FA1, FA3, FA5

Process

Standards

1.5, 1.6, 2.1, 2.5 1.5, 1.6, 2.1, 2.5 1.5, 1.6, 2.1, 2.5 1.5, 1.6, 2.1, 2.3, 2.5 1.5, 1.6, 2.1, 2.3, 2.5 1.5, 1.6, 4.1, 2.1, 2.3,

2.4, 2.5

1.5, 1.6, 4.1, 2.1, 2.3,

2.4, 2.5

1.5, 1.6, 2.1, 2.3, 2.4, 2.5 1.5, 1.6, 4.1, 2.1, 2.3,

2.4, 2.5

1.5, 1.6, 4.1, 2.1, 2.3,

2.4, 2.5, 2.7

Inte

rpre

t

Enduring Understanding: Through their use of elements and structures of music, creators and performers provide clues to their expressive intent.

Essential Question: How do we discern the musical creators’ and performers’ expressive intent?


8. Interpret intent and meaning in artistic work.

45 (Draft Mar 2019)

Fine Arts - MUSIC



a With substantial

guidance, talk

about personal

and expressive

preferences in

music.

a. With guidance,

apply personal

and

expressive

preferences in the

evaluation of

music.

a With limited

guidance, apply

personal and

expressive

preferences in the

evaluation of

music for specific

purposes.

a Apply personal

and expressive

preferences in the

evaluation of

music for specific

purposes.

a Evaluate

musical works

and

performances,

applying

established

criteria , and

describe

appropriateness

to the context .

a Evaluate

musical works

and

performances,

applying

established

criteria, and

explain

appropriateness

to the context.

a Evaluate

musical works

and

performances,

applying

established

criteria, and

explain

appropriateness

to the context,

citing evidence

from the

elements of music

.

a Apply teacher

provided criteria

to evaluate

musical works or

performances.

a Select from

teacher-provided

criteria to

evaluate musical

works or

performances.

a Apply

appropriate

personally

developed criteria

to evaluate

musical works or

performances.

National

Standards


Content

Standards

FA1 FA1 FA3 FA4 FA2, FA3, FA4 FA3 FA3 FA3 FA3

Process

Standards

1.5, 1.6, 3.3, 2.1, 2.5 1.5, 1.6, 3.3, 2.1, 2.5 1.5, 1.6, 1.7, 3.3, 2.1, 2.5 1.5, 1.6, 1.7, 3.3, 2.1, 2.5 1.5, 1.6, 1.7, 2.1, 2.5, 2.4 1.5, 1.6, 1.7, 4.1, 2.1,

2.4, 2.5

1.5, 1.6, 1.7, 4.1, 2.1,

2.5, 2.4

1.5, 1.6, 1.7, 3.2, 2.5,

2.3, 2.4

1.5, 1.6, 1.7, 3.2, 2.3,

2.4, 2.5

1.5, 1.6, 1.7, 3.3, 2.3,

2.4, 2.5

9. Apply criteria to evaluate artistic workEv

alu

ate

Enduring Understanding: The personal evaluation of musical work(s) and performance(s) is informed by analysis, interpretation, and established criteria.

Essential Question: How do we judge the quality of musical work(s) and performance(s)?


46 (Draft Mar 2019)

Fine Arts - MUSIC


MU: Cn10A.PKa MU: Cn10A.Ka MU: Cn10A.1a MU: Cn10A.2a MU: Cn10A.3a MU: Cn10A.4a MU: Cn10A.5a MU: Cn10A.6a MU: Cn10A.7a MU: Cn10A.8a

a Demonstrate

how interests,

knowledge, and

skills relate to

personal choices

and intent when

creating,

performing, and

responding to

music

a.Demonstrate

how interests,

knowledge, and

skills relate to

personal choices

and

intent when

creating,

performing, and

responding to

music.

a Demonstrate

how interests,

knowledge, and

skills relate to

personal choices

and intent when

creating,

performing, and

responding to

music.

a.Demonstrate

how interests,

knowledge, and

skills relate to

personal choices

and

intent when

creating,

performing, and

responding to

music.

a Demonstrate

how interests,

knowledge, and

skills relate to

personal choices

and intent when

creating,

performing, and

responding to

music.

a.Demonstrate

how interests,

knowledge, and

skills relate to

personal choices

and

intent when

creating,

performing, and

responding to

music.

a Demonstrate

how interests,

knowledge, and

skills relate to

personal choices

and intent when

creating,

performing, and

responding to

music.

a.Demonstrate

how interests,

knowledge, and

skills relate to

personal choices

and

intent when

creating,

performing, and

responding to

music.

a Demonstrate

how interests,

knowledge, and

skills relate to

personal choices

and intent when

creating,

performing, and

responding to

music.

a.Demonstrate

how interests,

knowledge, and

skills relate to

personal choices

and

intent when

creating,

performing, and

responding to

music.

National

Standards

MU:Cn10.1.PK MU:Cn10.1.K MU:Cn10.1.1 MU:Cn10.1.2 MU:Cn10.1.3 MU:Cn10.1.4 MU:Cn10.1.5 MU:Cn10.1.6 MU:Cn10.1.7 MU:Cn10.1.8

Content

Standards

FA1, FA3 FA1, FA3 FA1, FA3 FA1, FA3 FA1, FA4, FA5 FA1, FA4, FA5 FA1, FA4, FA5 FA1, FA4, FA5 FA1, FA4, FA5 FA1, FA4, FA5

Process

Standards

1.1, 1.5, 1.6, 1.8, 3.3,

2.1, 2.5, 2.3, 2.4

1.1, 1.5, 1.6, 1.8, 3.3,

2.1, 2.5, 2.3, 2.4

1.1, 1.5, 1.6, 1.8, 3.3,

2.1, 2.3, 2.4, 2.5

3.3,1.1, 1.5, 1.6, 1.8, 2.1,

2.3, 2.4, 2.5

1.1, 1.5, 1.6, 1.8, 3.3,

2.1, 2.3, 2.4, 2.5

1.1, 1.5, 1.6, 1.8, 3.3,

2.1, 2.3, 2.4, 2.5

1.1, 1.5, 1.6, 1.8, 3.3,

2.1, 2.3, 2.4, 2.5

1.1, 1.5, 1.6, 1.8, 3.3,

2.1, 2.3, 2.4, 2.5

1.1, 1.5, 1.6, 1.8, 3.3,

2.1, 2.3, 2.4, 2.5

1.1,1.5, 1.6, 1.8, 3.3, 2.1,

2.3, 2.4, 2.5

Connect - General Music

10. Synthesize and relate knowledge and personal experiences to make art.M

akin

g C

on

nec

tio

ns

Essential Question: How do musicians make meaningful connections to creating, performing, and responding?

Enduring Understanding: Musicians connect their personal interests, experiences, ideas, and knowledge to creating, performing, and responding.

47 (Draft Mar 2019)

Fine Arts - MUSIC


MU: Cn11A.PKa MU: Cn11A.Ka MU: Cn11A.1a MU: Cn11A.2a MU: Cn11A.3a MU: Cn11A.4a MU: Cn11A.5a MU: Cn11A.6a MU: Cn11A.7a MU: Cn11A.8a

a Demonstrate

understanding of

relationships

between music

and the other

arts, other

disciplines, varied

contexts, and

daily life.

a Demonstrate

understanding of

relationships

between music

and the other

arts, other

disciplines, varied

contexts, and

daily life.

a Demonstrate

understanding of

relationships

between music

and the other

arts, other

disciplines, varied

contexts, and

daily life.

a Demonstrate

understanding of

relationships

between music

and the other

arts, other

disciplines, varied

contexts, and

daily life.

a Demonstrate

understanding of

relationships

between music

and the other

arts, other

disciplines, varied

contexts, and

daily life.

a Demonstrate

understanding of

relationships

between music

and the other

arts, other

disciplines, varied

contexts, and

daily life.

a Demonstrate

understanding of

relationships

between music

and the other

arts, other

disciplines, varied

contexts, and

daily life.

a Demonstrate

understanding of

relationships

between music

and the other

arts, other

disciplines, varied

contexts, and

daily life.

a Demonstrate

understanding of

relationships

between music

and the other

arts, other

disciplines, varied

contexts, and

daily life.

a Demonstrate

understanding of

relationships

between music

and the other

arts, other

disciplines, varied

contexts, and

daily life.

National

Standards

MU:Cn11.1.PK MU:Cn11.1.K MU:Cn11.1.1 MU:Cn11.1.2 MU:Cn11.1.3 MU:Cn11.1.4 MU:Cn11.1.5 MU:Cn11.1.6 MU:Cn11.1.7 MU:Cn11.1.8

Content

Standards

FA1, FA3, FA4, FA5 FA1, FA3, FA4, FA5 FA1, FA3, FA4, FA5 FA1, FA3, FA4, FA5 FA1, FA3, FA4, FA5 FA1, FA3, FA4, FA5 FA1, FA3, FA4, FA5 FA1, FA3, FA4, FA5 FA1, FA3, FA4, FA5 FA1, FA3, FA4, FA5

Process

Standards

1.6, 1.9, 1.10, 3.3, 4.3,

2.1, 2.3, 2.4, 2.5, 2.7

1.6, 1.9, 1.10, 3.3, 4.3,

2.1, 2.3, 2.4, 2.5, 2.7

1.6, 1.9, 1.10, 3.3, 4.3,

2.1, 2.3, 2.4, 2.5, 2.7

1.6, 1.9, 1.10, 3.3, 4.3,

2.1, 2.3, 2.4, 2.5, 2.7

1.6, 1.9, 1.10, 3.3, 4.3,

2.1, 2.3, 2.4, 2.5, 2.7

1.6, 1.9, 1.10, 3.3, 4.3,

2.1, 2.3, 2.4, 2.5, 2.7

1.6, 1.9, 1.10, 3.3, 4.3.

2.1, 2.3, 2.4, 2.5, 2.7

1.6, 1.9, 1.10, 3.3, 4.3,

2.1, 2.3, 2.4, 2.5, 2.7

1.6, 1.9, 1.10, 3.3, 4.3,

2.1, 2.3, 2.4, 2.5, 2.7

1.6, 1.9, 1.10, 3.3, 4.3,

2.1, 2.3, 2.4, 2.5, 2.7

11. Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding

Connect - General MusicU

nd

erst

and

ing

Co

nn

ecti

on

s

Enduring Understanding: Understanding connections to varied contexts and daily life enhances musicians’ creating, performing, and responding.

Essential Question: How do the other arts, other disciplines, contexts, and daily life inform creating, performing, and responding to music?

48 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS Advanced

MU:Cr1A.E.5a MU:Cr1A.E.8 MU:Cr1A.E.I MU:Cr1A.E.II MU:Cr1A.E.III

a. Compose and improvise

melodic and rhythmic

ideas or motives that

reflect characteristic(s) of

music or text(s) studied in

rehearsal.


ideas for melodie s and

rhythmic passages based

on characteristic(s) of

music or text(s) studied in

rehearsal.


ideas for melodies,

rhythmic passages, and

arrangements for specific

purposes that reflect

characteristic(s) of music

from a variety of historical

periods studied in

rehearsal.


ideas for arrangements,

sections, and short

compositions for specific

purposes that reflect

characteristic(s) of music

from a variety of cultures

studied in rehearsal.


musical ideas for a variety

of purposes and contexts.

National

Standards

MU:Cr1.1.E.5 MU:Cr1.1.E.8 MU:Cr1.1.E.I MU:Cr1.1.E.II MU:Cr1.1.E.III

Content

Standards

FA1, FA2 FA1, FA2 FA1, FA2, FA5 FA1, FA2, FA5 FA1, FA2, FA5

Process

Standards

1.9, 1.10, 2.1, 2.3, 2.5, 2.7 1.9, 1.10, 2.1, 2.3, 2.5, 2.7 1.9, 1.10, 2.1, 2.3, 2.5, 2.7 1.9 1.10, 3.6, 2.1, 2.3, 2.5, 2.7 1.9, 1.10, 2.1, 2.3, 2.5, 2.7

Create - Ensembles




Imag

ine

- G

ener

ate

mu

sica

l id

eas

for

vari

ou

s p

urp

ose

s an

d c

on

text

s.

49 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Cr2A.E.5a MU:Cr2A.E.8 MU:Cr2A.E..I MU:Cr2A.E.II MU:Cr2A.E..III

a Select and develop draft

melodic and rhythmic ideas or

motives that demonstrate

understanding of

characteristic(s) of music or

text(s) studied in rehearsal.


melodies and rhythmic passages

that demonstrate understanding

of characteristic(s) of music or

text(s) studied in rehearsal.


melodies, rhythmic passages,

and arrangements for specific

purposes that demonstrate

understanding of

characteristic(s) of music from a

variety of historical periods

studied in rehearsal.

a Select and develop

arrangements, sections, and

short compositions for specific

purposes that demonstrate

understanding of

characteristic(s) of music from a

variety of cultures studied in

rehearsal.

a Select and develop composed

and improvised ideas into draft

musical works organized for a

variety of purpose s and

contexts.

MU:Cr2A.E.5b MU:Cr2A.E.8b MU:Cr2A.E..Ib MU:Cr2A.E.Iib MU:Cr2A.E..IIIb

b Preserve draft compositions

and improvisations through

standard notation and audio

recording.




recording.




recording.



standard notation, audio, or

video recording.

b Preserve draft musical works

through standard notation,

audio, or video recording.

National

Standards

MU:Cr2.1.E.5 MU:Cr2.1.E.8 MU:Cr2.1.E.I MU:Cr2.1.E.II MU:Cr2.1.E.III

Content

Standards

FA1, FA2 FA1, FA2 FA1, FA2, FA5 FA1, FA2, FA3, FA5 FA1, FA2, FA3, FA5

Process

Standards

1.1, 1.4, 1.6, 2.1, 2.3, 2.4, 2.5, 2.7 1.1, 1.4, 1.6, 2.1, 2.5, 2.7, 2.3, 2.4 1.1, 1.4, 1.6, 1.9, 2.1, 2.5, 2.7, 2.3, 2.4 1.1, 1.4, 1.6, 1.9, 2.1, 2.3, 2.4, 2.5, 2.7, 3.6 1.1, 1.4, 1.6, 1.9, 2.1, 2.3, 2.4, 2.5, 2.7, 3.6

Create - Ensembles


lan

an

d M

ake



50 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Cr3A.E.5a MU:Cr3A.E.8 MU:Cr3A.E..I MU:Cr3A.E.II MU:Cr3A.E..III

a Evaluate and refine draft

compositions and

improvisations based on

knowledge, skill, and

teacher-provided criteria.


compositions and


knowledge, skill, and

collaboratively-developed

criteria .


melodies, rhythmic

passages, arrangements,

and improvisations based

on established criteria ,

including the extent to

which they address

identified purposes.


arrangements, sections,

short compositions, and


personally-developed

criteria, including the

extent to which they

address identified

purposes.

a Evaluate and refine

varied draft musical works

based on appropriate

criteria, including the

extent to which they

address identified

purposes and contexts.

National

Standards

MU: Cr3.1.E.5a MU:Cr3.1.E.8a MU:Cr3.1.E.Ia MU:Cr3.1.E.IIa MU:Cr3.1.E.IIIa

Content

Standards

FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3

Process

Standards

1.1, 1.5, 1.7, 1.8, 3.3, 4.5, 2.1, 2.5, 2.2, 2.7 1.1, 1.5, 1.7, 1.8, 3.3, 4.5, 4.6, 2.1, 2.5, 2.2, 2.7 1.1, 1.5, 1.7, 1.8, 3.3, 4.5, 2.1, 2.5, 2.2, 2.7 1.1, 1.5, 1.7, 1.8, 3.3, 4.5, 2.1, 2.5, 2.2, 2.7 1.1, 1.5, 1.7, 1.8, 3.3, 4.5, 2.1, 2.5, 2.2, 2.7

Create - EnsemblesEv

alu

ate

and

Re

fin

e3. Refine and complete artistic work.Enduring Understanding: Musicians evaluate, and refine their work through openness to new ideas, persistence, and the application of appropriate criteria.


51 (Draft Mar 2019)

Fine Arts - MUSIC

B. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Cr3B.E.5a MU:Cr3B.E.8 MU:Cr3B.E..I MU:Cr3B.E.II MU:Cr3B.E..III

a Share personally-developed

melodic and rhythmic ideas or

motives – individually or as an

ensemble – that demonstrate

understanding of characteristics

of music or texts studied in

rehearsal.


melodies and rhythmic passages

– individually or as an ensemble

– that demonstrate

understanding of characteristics

of music or texts studied in

rehearsal.


melodies, rhythmic passages,

and arrangements – individually

or as an ensemble – that address



arrangements, sections, and

short compositions – individually

or as an ensemble – that address


a Share varied, personally-

developed musical works –

individually or as an ensemble –

that address identified purposes

and contexts.

National

Standards

MU:Cr3.2.E.5a MU:Cr3.2.E.8a MU:Cr3.2.E.Ia MU:Cr3.2.E.IIa MU:Cr3.2.E.IIIa

Content

Standards


Process

Standards

1.1, 1.2, 1.6, 1.8, 2.1, 2.5, 2.3, 2.4 1.1, 1.2, 1.6, 1.8, 2.1, 2.5, 2.3, 2.4 1.1, 1.2, 1.6, 1.8, 2.1, 2.5, 2.3, 2.4 1.1, 1.2, 1.6, 1.8, 2.1, 2.5, 2.3, 2.4 1.1, 1.2, 1.6, 1.8, 2.1, 2.5, 2.3, 2.4

3. Refine and complete artistic work.P

rese

nt

- Create - Ensembles



52 (Draft Mar 2019)

Fine Arts - MUSIC


MU:Pr4A.E.5a MU:Pr4A.E.8a MU:Pr4A.E.Ia MU:Pr4A.E.IIa MU:Pr4A.E.IIIa

a Select varied repertoire

to study based on

interest, music reading

skills (where appropriate),

an understanding of the

structure of the music,

context, and the technical

skill of the individual or

ensemble.

a Select a varied

repertoire to study based

on music reading skills

(where appropriate), an

understanding of formal

design in the music,

context, and the technical

skill of the individual and

ensemble.

a Explain the criteria used

to select a varied

repertoire to study based

on an understanding of

theoretical and structural

characteristics of the

music, the technical skill

of the individual or

ensemble, and the

purpose or context of the

performance .

a Develop and apply

criteria to select a varied

repertoire to study and

perform based on an

understanding of


characteristics and

expressive challenges in

the music , the technical

skill of the individual or

ensemble, and the

purpose and context of

the performance.

a Develop and apply

criteria to select

varied programs to study

and perform based on an

understanding of


characteristics and

expressive challenges in

the

music, the technical skill

of the individual or

ensemble, and the

purpose and context of

the

performanceNational

Standards

MU:Pr4.1.H.5a MU: Pr4.1.H.8a MU: Pr4.1.H.Ia MU: Pr4.1.H.IIa MU: Pr4.1.H.IIIa

Content

Standards

FA1, FA2 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3

Process

Standards

2.4, 4.1 2.4, 4.1 2.4, 4.1 2.4, 4.1, 5.10 2.4, 4.1, 5.10

Perform - Ensembles

4. Select, analyze, and interpret artistic work for presentation.Se

lect

Enduring Understanding: Performers’ interest in and knowledge of musical works, understanding of their own technical skill, and the context for a performance influence the



53 (Draft Mar 2019)

Fine Arts - MUSIC

B. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Pr4B.E.5a MU:Pr4B.E.8a MU:Pr4B.E.Ia MU:Pr4B.E.IIa MU:Pr4B.E.IIIa

a Demonstrate, using music

reading skills where appropriate,

how knowledge of formal

aspects in musical works inform

prepared or improvised

performances.



how the setting and formal

characteristics of musical works

contribute to understanding the

context of the music in prepared

or improvised performances.



how compositional devices

employed and theoretical l and

structural aspects of musical

works impact and inform


performances.

a Document and demonstrate,

using music reading skills where

appropriate, how compositional

devices employed and


aspects of musical works may

impact and inform prepared and

improvised performances.

a Examine, evaluate, and

critique, using music reading

skills where appropriate, how

the structure and context impact

and inform prepared and


National

Standards

MU:Pr4.3.E.5a MU:Pr4.3.E.8a MU:Pr4.3.E.Ia MU:Pr4.3.E.IIa MU:Pr4.3.E.IIIa

Content

Standards


Process

Standards

1.1, 1.2, 1.5, 1.6, 1.9, 2.5 1.1, 1.2, 1.5, 1.6, 1.9, 2.5, 2.3, 2.4 1.1, 1.2, 1.5, 1.6, 1.9, 2.5, 2.3, 2.4 1.1, 1.2, 1.5, 1.6, 1.9, 2.5, 2.3, 2.4 1.1, 1.2, 1.5, 1.6, 1.9, 3.3, 2.5, 2.3, 2.4

An

alyz

ePerform - Ensembles

4. Select, analyze, and interpret artistic work for presentation.Enduring Understanding: Analyzing creators’ context and how they manipulate elements of music provides insight into their intent and informs performance.


54 (Draft Mar 2019)

Fine Arts - MUSIC

C. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Pr4C.E.5a MU:Pr4C.E.8a MU:Pr4C.E.Ia MU:Pr4C.E.IIa MU:Pr4C.E.IIIa

a Identify expressive

qualities in a varied

repertoire of music that

can be demonstrated

through prepared and


a Demonstrate

understanding and

application of expressive

qualities in a varied

repertoire of music



a Demonstrate an

understanding of context

in a varied repertoire of

music through prepared

and improvised

performances.

a Demonstrate how

understanding the style ,

genre , and context of a

varied repertoire of music

influences prepared and

improvised performances

as well as performers’

technical skill to connect

with the audience.

a Demonstrate how

understanding the style,

genre, and context of a


informs prepared and


as well as performers’

technical skill to connect

with the audience.

National

Standards

MU: Pr4.3.E.5a MU: Pr4.3.E.8a MU: Pr4.3.E.Ia MU: Pr4.3.E.IIa MU: Pr4.3.E.IIIa

Content

Standards


Process

Standards

1.2, 1.5, 1.6, 2.1, 2.5 1.2, 1.5, 1.6, 2.1, 2.5 1.2, 1.5, 1.6, 2.1, 2.5 1.2, 1.5, 1.6, 2.1, 2.3, 2.4, 2.5 1.2, 1.5, 1.6, 2.1, 2.3, 2.4, 2.5

Perform - Ensembles

4. Select, analyze, and interpret artistic work for presentation.Enduring Understanding: Performers make interpretive decisions based on their understanding of context and expressive intent.


Inte

rpre

t

55 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Pr5A.E.5a MU:Pr5A.E.8a MU:Pr5A.E.Ia MU:Pr5A.E.IIa MU:Pr5A.E.IIIa

a Use self-reflection and

peer feedback to refine

individual and ensemble

performances of a varied

repertoire of music.

National

Standards

MU: Pr5.3.E.5a MU:Pr5.1.E.8a MU:Pr5.1.E.Ia MU:Pr5.1.E.IIa MU:Pr5.1.E.IIIa

Content

Standards


Process

Standards

1.5, 1.8, 2.1, 2.2, 2.3, 2.4, 2.5, 3.3, 4.5, 4.6 1.5, 1.8, 3.6, 4.5, 4.6, 2.1, 2.2, 2.3, 2.4, 2.5 1.5, 1.8, 3.6, 4.5, 4.6, 2.1, 2.2, 2.3, 2.4, 2.5 1.5, 1.8, 3.6, 4.5, 2.1, 2.2, 2.3, 2.4, 2.5, 2.7 1.5, 1.8, 3.6, 4.5, 2.1, 2.2, 2.3, 2.4, 2.5, 2.7

a Develop strategies to

address technical

challenges in a varied

repertoire of music and

evaluate their success

using feedback from

ensemble peers and other

sources to refine

performances.

a Develop strategies to

address expressive


repertoire of music, and

evaluate their success

using feedback from

ensemble peers and other

sources to refine

performances.

a Develop and apply

appropriate rehearsal

strategies to address

individual and ensemble


repertoire of music, and

evaluate their success.

a Develop, apply, and

refine appropriate

rehearsal strategies to

address individual and

ensemble challenges in a

varied repertoire of music.

PerformR

ehea

rse,

Eva

luat

e, &

Re

fin

e5. Develop and refine artistic techniques and work for presentation.Enduring Understanding: To express their musical ideas, musicians analyze, evaluate, and refine their performance over time through openness to new ideas, persistence, and

the application of appropriate criteria.


56 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Pr6A.E.5a MU:Pr6A.E.8a MU:Pr6A.E.Ia MU:Pr6A.E.IIa MU:Pr6A.E.IIIa

a Demonstrate attention to

technical accuracy and

expressive qualities in prepared

and improvised performances of

a varied repertoire of music.





a varied repertoire of music

representing diverse cultures

and styles.






representing diverse cultures,

styles, and genres.

a Demonstrate mastery of the

technical demands and an

understanding of expressive

qualities of the music in

prepared and improvised


repertoire representing diverse

cultures, styles, genres, and

historical periods.

a Demonstrate an understanding

and mastery of the technical

demands and expressive

qualities of the music through



repertoire representing diverse

cultures, styles, genres, and

historical periods in multiple

types of ensembles.

b Demonstrate an awareness of

the context of the music through


performances.

b Demonstrate an understanding

of the context of the music




of expressive intent by

connecting with an audience




of intent as a means for

connecting with an audience



b Demonstrate an ability to

connect with audience members

before and during the process of

engaging with and responding to

them through prepared and


National

Standards

MU:Pr6.1.E.5a MU:Pr6.1.E.8a MU:Pr6.1.E.Ia MU:Pr6.1.E.IIa MU:Pr6.1.E.IIIa

Content

Standards

FA1, FA2, FA3, FA5 FA1, FA2, FA3, FA5 FA1, FA2, FA3, FA5 FA1, FA2, FA3, FA5 FA1, FA2, FA3, FA5

Process

Standards

1.5, 1.8, 2.1, 2.5, 2.7 1.5, 1.8, 2.1, 2.5, 2.7 1.5, 1.8, 2.1, 2.5, 2.7 1.5, 1.8, 2.1, 2.5, 2.7, 2.3 1.5, 1.8, 2.1, 2.5, 2.7, 2.3

6. Convey meaning through the presentation of artistic work.

Perform - EnsemblesP

rese

nt


audience response.


57 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Re7A.E.5a MU:Re7A.E.8a MU:Re7A.E.Ia MU:Re7A.E.IIa MU:Re7A.E.IIIa

a Identify reasons for

selecting music based on

characteristics found in

the music, connection to

interest, and purpose or

context.

a Explain reasons for

selecting music citing


the music and connections

to interest, purpose, and

context.

a Apply criteria to select

music for specified

purposes, supporting

choices by citing


the music and connections

to interest, purpose, and

context.

a Apply criteria to select

music for a variety of

purposes, justifying

choices citing knowledge

of the music and the

specified purpose and

context.

a Use research and

personally developed

criteria to justify choices

made when selecting

music, citing knowledge of

the music, and individual

and ensemble purpose

and context

National

Standards

MU:Re7: 1.E.5a MU:Pr6.1.E.8a MU:Pr6.1.E.Ia MU:Pr6.1.E.IIa MU:Pr6.1.E.IIIa

Content

Standards

FA2, FA3 FA2, FA3 FA2, FA3 FA2, FA3 FA2, FA3

Process

Standards

1.1, 1.2, 1.7, 3.6, 4.1, 2.3, 2.4 1.1, 1.2, 1.7, 3.6, 4.1, 2.3, 2.4 1.1, 1.2, 1.7, 3.6, 4.1, 2.3, 2.4 1.1, 1.2, 1.7, 3.6, 4.1, 2.3, 2.4 1.1, 1.2, 1.7, 3.6, 4.1, 2.3, 2.4, 2.7

Sele

ctRespond - Ensembles

Enduring Understanding: Individuals' selection of musical works is influenced by their interests, experiences, understandings, and purposes.


7. Perceive and analyze artistic work

58 (Draft Mar 2019)

Fine Arts - MUSIC

B. Novice Intermediate HS Proficient HS Accomplished HS Advanced

MU:Re7B.E.5a MU:Re7B.E.8a MU:Re7B.E.Ia MU:Re7B.E.IIa MU:Re7B.E.IIIa

a Identify how knowledge

of context and the use of

repetition, similarities,

and contrasts inform the

response to music.

a Describe how

understanding context

and the way the elements

of music are manipulated

inform the response to

music.

a Explain how the analysis

of passages and

understanding the way

the elements of music are

manipulated inform the

response to music.

a Explain how the analysis

of structures and contexts


music.

a Demonstrate and justify

how the analysis of

structures, contexts, and

performance decisions


music.

National

Standards

MU:Re7.2.E.5a MU:Pr6.1.E.8a MU:Pr6.1.E.Ia MU:Pr6.1.E.IIa MU:Pr6.1.E.5a

Content

Standards

FA2, FA3 FA2, FA3 FA2, FA3 FA2, FA3 FA1, FA2, FA3

Process

Standards

1.6, 1.9, 2.1, 2.4 1.6, 1.9, 2.1, 2.4 1.6, 1.9, 4.1, 2.1, 2.4 1.6, 1.9, 4.1, 2.1, 2.4 1.6, 1.9, 3.6, 4.1, 2.1, 2.4

7. Perceive and analyze artistic workA

nal

yzeRespond - Ensembles

Enduring Understanding: Response to music is informed by analyzing context(social, cultural, and historical) and how creators and performers manipulate the elements of music.


59 (Draft Mar 2019)

Fine Arts - MUSIC


MU:Re8A.E.5a MU:Re8A.E.8a MU:Re8A.E.Ia MU:Re8A.E.IIa MU:Re8A.E.IIIa

a Identify interpretations

of the expressive intent

and meaning of musical

works, referring to the

elements of music,

contexts, and (when

appropriate) the setting of

the text.

a Identify and support

interpretations of the

expressive intent and

meaning of musical works,

citing as evidence the

treatment of the elements

of music, contexts, and

(when appropriate) the

setting of the text.

a Explain and support

interpretations of the

expressive intent and

meaning of musical works,

citing as evidence the


of music, contexts, (when


the text, and personal

research.

a Support interpretations

of the expressive intent

and meaning of musical

works citing as evidence

the treatment of the

elements of music,

contexts, (when


the text, and varied

researched sources.

a Justify interpretations of

the expressive intent and

meaning of musical works

by comparing and

synthesizing varied

researched sources,

including reference to

other art forms.

National

Standards

MU:Re8.1.E.5 MU:Re8.1.E.8 MU:Re8.1.E.I MU:Re8.1.E.II MU:Re8.1.E.III

Content

Standards

FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3, FA4

Process

Standards

1.5, 1.6, 2.1, 2.4, 2.3 1.5, 1.6, 3.6, 2.1, 2.3, 2.4 1.5, 1.6, 3.6, 4.1, 2.1, 2.3, 2.4, 2.7 1.5, 1.6, 3.6, 4.1, 2.1, 2.3, 2.4, 2.7 1.5, 1.6, 3.6, 4.1, 2.1, 2.3, 2.4, 2.7


terp

ret

Respond - Ensembles



60 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Re9A.E.5a MU:Re9A.E.8a MU:Re9A.E.Ia MU:Re9A.E.IIa MU:Re9A.E.IIIa

a Identify and describe the

effect of interest,

experience, analysis, and

context on the evaluation

of music.

a Explain the influence of

experiences, analysis, and

context on interest in and

evaluation of music.

a Evaluate works and

performances based on

personally- or

collaboratively developed

criteria , including analysis

of the structure and

context.

a Evaluate works and


research as well as

personally- and

collaboratively-developed

criteria, including analysis

and interpretation of the

structure and context.

a Develop and justify

evaluations of music,

programs of music, and


criteria, personal decision-

making, research, and

understanding of

contexts.

National

Standards

MU:Re9.1.E.5 MU:Re9.1.E.8 MU:Re9.1.E.I MU:Re9.1.E.II MU:Re9.1.E.III

Content

Standards


Process

Standards

1.5, 1.6, 1.7, 2.3, 2.4 1.5, 1.6, 1.7, 1.8, 2.3, 2.4 1.5, 1.6, 1.7, 1.8, 4.5, 2.3, 2.4 1.5, 1.6, 1.7, 1.8, 4.5, 2.3, 2.4, 2.7 1.5, 1.6, 1.7, 1.8, 3.3, 3.6, 4.5, 2.3, 2.4, 2.7

Eval

uat

e9. Apply criteria to evaluate artistic work

Respond - Ensembles



61 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Cn10A.E.5a MU:Cn10A.E.8a MU:Cn10A.E.Ia MU:Cn10A.E.IIa MU:Cn10A.E.IIIa

a Demonstrate how

interests,

knowledge, and skills

relate to personal choices

and intent when creating,

performing, and

responding to music.

a Demonstrate how

interests,




performing, and


a Demonstrate how

interests,




performing, and


a Demonstrate how

interests,




performing, and


a Demonstrate how

interests,




performing, and


National

Standards

MU:Cn10.1.E.5 MU:Cn10.1.E.8 MU:Cn10.1.E.I MU:Cn10.1.E.II MU:Cn10.1.E.III

Content

Standards


Process

Standards

1.1, 1.5, 1.6, 1.8, 3.3, 2.1, 2.5, 2.3, 2.7 1.1, 1.5, 1.6, 1.8, 3.3, 2.1, 2.3, 2.5, 2.7 1.1, 1.5, 1.6, 1.8, 3.3, 2.1, 2.3, 2.5, 2.7 1.1, 1.5, 1.6, 1.8, 3.3, 2.1, 2.3, 2.5, 2.7 1.1, 1.5, 1.6, 1.8, 3.3, 2.1, 2.3, 2.5, 2.7

Connect - Ensembles


akin

g C

on

nec

tio

ns



62 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Cn11A.E.5a MU:Cn11A.E.8a MU:Cn11A.E.Ia MU:Cn11A.E.IIa MU:Cn11A.E.IIIa

a Demonstrate

understanding of

relationships between music

and the other arts, other

disciplines, varied contexts,

and daily life.

a Demonstrate

understanding of




and daily life.

a Demonstrate

understanding of




and daily life.

a Demonstrate

understanding of




and daily life.

a Demonstrate

understanding of




and daily life.

National

Standards

MU:Cn11.0.E.5a MU:Cn11.1.E.8 MU:Cn11.1.E.I MU:Cn11.1.E.II MU:Cn11.1.E.III

Content

Standards


Process

Standards

1.6, 1.9, 1.10, 3.3, 4.3, 2.7, 2.1, 2.3, 2.4, 2.5 1.6, 1.9, 1.10, 3.3, 4.3, 2.7, 2.1, 2.3, 2.4, 2.5 1.6, 1.9, 1.10, 3.3, 4.3, 2.1, 2.3, 2.4, 2.5, 2.7 1.6, 1.9, 1.10, 3.3, 4.3, 2.1, 2.3, 2.4, 2.5, 2.7 1.6, 1.9, 1.10, 3.3, 4.3, 2.1, 2.3, 2.4, 2.5, 2.7


Connect - EnsemblesU

nd

erst

and

ing

Co

nn

ecti

on

s



63 (Draft Mar 2019)

Fine Arts - MUSIC


MU:Cr1A.T.I MU:Cr1A.T.II MU:Cr1A.T.III

a Generate melodic,

rhythmic, and harmonic

ideas for compositions or

improvisations using

digital tools.

a Generate melodic,


ideas for compositions

and improvisations using

digital tools and

resources.

a Generate melodic,


ideas for compositions

and improvisations that

incorporate digital tools,

resources, and systems.

National

Standards

MU:Cr1.1.T.I MU:Cr1.1.T.II MU:Cr1.1.T.III

Content

Standards

FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3

Process

Standards

2.7, 2.1, 2.3, 2.4, 2.5 2.7, 2.1, 2.3, 2.4, 2.5 2.7, 2.1, 2.3, 2.4, 2.5

Imag

ine

Create - Music Technology




64 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Cr2A.T.I MU:Cr2A.T.II MU:Cr2A.T.III

a. Select melodic,


ideas to develop into a

larger work using digital

tools and resources.

a. Select melodic,



larger work that exhibits

unity and variety using

digital and analog tools.

a. Select, develop, and

organize multiple melodic,

rhythmic and harmonic


larger work that exhibits

unity, variety, complexity,

and coherence using

digital and analog tools,

resources, and systems.

National

Standards


Content

Standards


Process

Standards

1.2,1.4,1.6,3.1,2.2,2.4,2.5,2.7,4.4,4.5,4.6 1.2,1.4,1.6,3.1,2.2,2.4,2.5,2.7,4.4,4.5,4.6 1.2,1.4,1.6,3.1,2.2,2.4,2.5,2.7,4.4,4.5,4.6



lan

an

d M

ake



65 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Cr3A.T.I MU:Cr3A.T.II MU:Cr3A.T.III

a. Drawing on feedback

from teachers and peers,

develop and implement

strategies to improve and

refine the technical and

expressive aspects of draft

compositions and

improvisations.

a. Develop and implement

varied strategies to

improve and refine the

technical and expressive

aspects of draft

compositions and

improvisations.


varied strategies and

apply appropriate criteria

to improve and refine the


aspects of draft

compositions and

improvisations

National

Standards


Content

Standards


Process

Standards

1.1,1.2,1.4,1.6,1.7,2.2,2.3,2.5,2.7,3.1,3.4,3.5,4.1,4

.4,4.5,4.6

1.1,1.2,1.4,1.6,1.7,2.2,2.3,2.5,2.7,3.1,3.4,3.5,4.1,4

.4,4.5,4.6

1.1,1.2,1.4,1.6,1.7,2.2,2.3,2.5,2.7,3.1,3.4,3.5,4.1,4

.4,4.5,4.6


3. Refine and complete artistic work.Ev

alu

ate

and

Re

fin

e



66 (Draft Mar 2019)

Fine Arts - MUSIC

B. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Cr3B.T.I MU:Cr3B.T.II MU:Cr3B.T.III

a. Share compositions or

improvisations that

demonstrate a proficient

level (based on teacher

developed rubric) of

musical and technological

craftsmanship as well as

the use of digital tools and

resources in developing

and organizing musical

ideas.

a Share compositions and

improvisations that

demonstrate an

accomplished level (based

on teacher developed

rubric) of musical and

technological


the use of digital and

analog tools and

resources in developing


ideas.

National

Standards


Content

Standards

FA1.1, FA1.2, FA1.3 FA1.1, FA1.2, FA1.3 FA1.1, FA1.2, FA1.3

Process

Standards

1.4,1.5,1.8,2.3,2.5,2.7,3.1,4.1,4.4,4.5 1.4,1.5,1.8,2.3,2.5,2.7,3.1,4.1,4.4,4.5 1.4,1.5,1.8,2.3,2.5,2.7,3.1,4.1,4.4,4.5

Pre

sen

t3. Refine and complete artistic work.

a. Share a portfolio of

musical creations

representing varied styles

and genres that

demonstrates an

advanced level (based on

teacher developed rubric)

of musical and

technological


the use of digital and

analog tools, resources

and systems in developing


ideas.




67 (Draft Mar 2019)

Fine Arts - MUSIC


MU:Pr4A.T.I MU:Pr4A.T.II MU:Pr4A.T.III

a. Develop and explain the

criteria used

for selecting a varied

repertoire of music based

on interest, music reading

skills, and an

understanding

of the performer’s

technical and

technological skill.

a. Develop and apply

criteria to select a

varied repertoire to study

and perform based on

interest; an understanding

of theoretical and

structural characteristics

of the music; and the

performer’s technical skill

using digital tools and

resources.

a.Develop and apply

criteria to select

varied programs to study

and perform based on

interest, an understanding

of the theoretical and

structural characteristics,

as well as expressive

challenges in the music,

and the performer’s

technical skill using digital

tools, resources, and

systems.

National

Standards

MU:Pr4.I.T.I MU:Pr4.I.T.II MU:Pr4.I.T.III

Content

Standards

FA1, FA3, FA4, FA5 FA1, FA3, FA4, FA5 FA1, FA3, FA4, FA5

Process

Standards

1.1,1.2,2.2,2.4,2.5,2.7,3.5,3.8,4.1,4.4,4.5,4.6 1.1,1.2,2.2,2.4,2.5,2.7,3.5,3.8,4.1,4.4,4.5,4.6 1.1,1.2,2.2,2.4,2.5,2.7,3.5,3.8,4.1,4.4,4.5,4.6

Perform - Music TechnologySe

lect

4. Select, analyze, and interpret artistic work for presentation.Enduring Understanding: Performers’ interest in and knowledge of musical works, understanding of their own technical skill, and the context for a performance influence the



68 (Draft Mar 2019)

Fine Arts - MUSIC

B. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Pr4B.T.I MU:Pr4B.T.II MU:Pr4B.T.III

a. Describe how context,

structural

aspects of the music, and

digital media/tools inform


performances.

a. Describe and

demonstrate how

context, theoretical and

structural aspects of the

music and digital

media/tools inform and

influence


performances.

a. Examine, evaluate and

critique how

context, theoretical and

structural aspects of the

music and digital

media/tools inform and

influence


performances.

National

Standards

MU:Pr4.2.T.I MU:Pr4.2.T.II MU:Pr4.2.T.IIIa

Content

Standards


Process

Standards

1.1,1.2,1.4,1.8,2.1,2.5,2.7,4.1 1.1,1.2,1.4,1.8,2.1,2.5,2.7,4.1 1.1,1.2,1.4,1.8,2.1,2.5,2.7,4.1

An

alyz

ePerform - Music Technology




69 (Draft Mar 2019)

Fine Arts - MUSIC

C. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Pr4C.T.I MU:Pr4C.T.II MU:Pr4C.T.III

a. Demonstrate how

understanding the

context, expressive

challenges, and use of

digital

tools in a varied repertoire

of music influence


performances.

a. Demonstrate how

understanding the

style , genre , context, and

use of digital tools and

resources in a varied

repertoire of music

influences


performances and

performers’ ability to

connect with audiences.

a. Demonstrate how

understanding

the style, genre, context,

and integration of digital

technologies in a varied

repertoire of music

informs

and influences prepared

and improvised

performances and their

ability to connect with

audiences.

National

Standards

MU:Pr4.3.T.I MU:Pr4.3.T.II MU:Pr4.3.T.III

Content

Standards

FA1, FA2 FA1, FA2, FA1, FA2, FA3, FA4

Process

Standards

1.4, 1.6, 2.5, 2.7, 4.1 1.4, 1.6, 2.5, 2.7, 4.1 1.4, 1.6, 2.5, 2.7, 4.1


Perform - Music Technology

Enduring Understanding: Performers make interpretive decisions based on their understanding of context and expressive intent.

Inte

rpre

t


70 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Pr5A.T.I MU:Pr5A.T.II MU:Pr5A.T.III

National

Standards


Content

Standards


Process

Standards

1.1,1.4,2.5,3.3,4.5,4.6 1.1,1.4,2.5,3.3,3.4,4.5,4.6 1.1,1.4,2.5,3.3,3.4,4.5,4.6


rehearsal

strategies to improve and


expressive aspects of


performances in a varied

repertoire of music.

a. Identify and implement

rehearsal

strategies to improve the


aspects of prepared and


in a varied repertoire of

music.

a. Apply appropriate criteria

as well

as feedback from multiple

sources and develop and

implement varied strategies

to improve and refine

the technical and expressive

aspects of prepared

and improvised

performances in varied

programs

of music.

Perform - Music TechnologyR

ehea

rse,

Eva

luat

e, &

Re

fin




71 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Pr6A.T.I MU:Pr6A.T.II MU:Pr6A.T.III

a. Using digital tools,

demonstrate

attention to technical accuracy

and expressive

qualities in prepared and


of a varied repertoire of music.

a. Using digital tools and

resources ,

demonstrate technical accuracy

and expressive

qualities in prepared and


of a varied repertoire of music

representing diverse

cultures , styles , and genres .

a. Integrating digital and analog

tools and resources , demonstrate an

understanding and attention to

technical accuracy

and expressive qualities of the music

in prepared

and improvised performances of a

varied repertoire

of music representing diverse

cultures,

b. Demonstrate an

understanding of the

context of music through


performances.

b. Demonstrate an

understanding of

the expressive intent when

connecting with an

audience through prepared and

improvised

performances.

b. Demonstrate an ability to

connect

with audience members before,

and engaging with

and responding to them during

prepared and


National

Standards


Content

Standards

FA1 FA1, FA5 FA1, FA5

Process

Standards

1.4, 2.1, 2.5, 2.7 1.4, 2.1, 2.2, 4, 2.5 1.4, 2.1, 2.2, 4, 2.5, 2.8, 2.9


Perform - Music TechnologyP

rese

nt


audience response.


72 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Re7A.T.I MU:Re7A.T.II MU:Re7A.T.III

a. Cite reasons for

choosing music

based on the use of the

elements of music, digital

and electronic aspects,

and connections to

interest

or purpose.

a. Select and critique

contrasting

musical works , defending

opinions based on

manipulations of the

elements of music, digital

and

electronic aspects, and

the purpose and context

of the works.

a. Select, describe and

compare a

variety of musical

selections based on

characteristics and

knowledge of the music,

understanding of digital

and electronic aspects,

and the purpose and

context of the works.

National

Standards

MU:Re7.I.T.I MU:Re7.I.T. MU:Re7.I.T.III

Content

Standards

FA1, FA2, FA4 FA2, FA3, FA4, FA5 FA2, FA3, FA4, FA5

Process

Standards

1.4, 1.7, 2.4, 2.7 1.4, 1.7, 2.4, 2.7, 4.1, 1.4, 1.7,1.9, 2.4, 2.7, 4.1,

Sele

ctRespond - Music Technology



73 (Draft Mar 2019)

Fine Arts - MUSIC


MU:Re7B.T.I MU:Re7B.T.II MU:Re7B.T.III

a. Explain how knowledge

of the structure

(repetition, similarities,

contrasts), technological

aspects, and purpose of

the music informs the

response.

a. Explain how an analysis

of the

structure, context , and

technological aspects of

the music informs the

response.

a. Demonstrate and justify

how an

analysis of the structural

characteristics, context,

and technological and

creative decisions, informs

interest in and response

to the music .

National

Standards

MU:Re7.2.T.I MU:Re7.2.T.I MU:Re7.2.T.I

Content

Standards

FA1, FA2, FA4, FA5 FA1, FA2, FA4, FA5 FA1, FA2, FA4, FA5

Process

Standards

1.6,1.9,1.10,2.1,2.2,2.3,2.5,3.6,4.4 1.6,1.9,1.10,2.2,2.3,2.5,3.6,4.4 1.6,1.9,1.10,2.2,2.3,2.5,3.6,4.4


Respond - Music Technology

Enduring Understanding: Response to music is informed by analyzing context(social, cultural, and historical) and how creators and performers manipulate the elements of

music.


An

alyz

e

74 (Draft Mar 2019)

Fine Arts - MUSIC


MU:Re8A.T.I MU:Re8A.T.II MU:Re8A.T.III

a. Explain and support an

interpretation of the

expressive intent of

musical

selections based on


of

music, digital and

electronic features, and

purpose.

a. Connect the influence

of the


of music, digital and

electronic features,

context , purpose, and

other

art forms to the


musical

works.

a. Examine, cite research

and

multiple sources to

connect the influence of

the


of music, digital and

electronic features,

context, purpose, and

other

art forms to the


musical

works.

National

Standards

MU:Re8.1.T.I MU:Re8.1.T.II MU:Re8.1.T.III

Content

Standards


Process

Standards

1.1,1.2,1.4,1.8,2.1,2.3,2.7 1.1,1.2,1.4,1.8,2.1,2.3,2.7,3.2,3.3,3.6,4.1,4.4,4.5 1.1,1.2,1.4,1.8,1.10,2.1,2.3,2.4,2.7,3.2,3.3,

3.6,4.1,4.4,4.5,4.6

Inte

rpre

t8. Interpret intent and meaning in artistic work.




75 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Re9A.T.I MU:Re9A.T.II MU:Re9A.T.III

a. Evaluate music using

criteria based

on analysis,

interpretation, digital and

electronic

features, and personal

interests.

a. Apply criteria to

evaluate music

based on analysis,

interpretation, artistic

intent ,

digital, electronic, and

analog features, and

musical qualities .

a. Develop and justify the

evaluation

of a variety of music

based on established and


criteria , digital, electronic

and analog features, and

understanding of

purpose and context .

National

Standards

MU:Re9.1.T.I MU:Re9.1.T.II MU:Re9.1.T.III

Content

Standards


Process

Standards

1.5, 2.4 1.5, 2.4 1.5, 2.4, 4.1


alu

ate




76 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Cn10A.T.I MU:Cn10A.T.II MU:Cn10A.T.III

a. Demonstrate how

interests, knowledge, and

skills relate to personal

choices


performing, and


a. Demonstrate how

interests,




performing, and


a. Demonstrate how

interests,




performing, and


National

Standards

MU:Cn10.0.T.I MU:Cn10.0.T.II MU:Cn10.0.T.III

Content

Standards


Process

Standards

1.5, 1.6, 1.8,2.1, 2.4,2.5, 3.3, 4.1 1.5, 1.6, 1.8,2.1, 2.4,2.5, 3.3, 4.1 1.5, 1.6, 1.8,2.1, 2.4,2.5, 3.3, 4.1

Connect - Music Technology


akin

g C

on

nec

tio

ns



77 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Cn11A.T.I MU:Cn11A.T.II MU:Cn11A.T.III

a. Demonstrate

understanding of

relationships between

music and the other arts,

other disciplines, varied

contexts, and daily life.

a. Demonstrate

understanding of





a. Demonstrate

understanding of





National

Standards

MU:Cn11.0.T.I MU:Cn11.0.T.II MU:Cn11.0.T.III

Content

Standards

FA3, FA5 FA3, FA5 FA3, FA5

Process

Standards

1.9, 1.10, 2.3, 2.4 1.9, 1.10, 2.3, 2.4 1.9, 1.10, 2.3, 2.4


Connect - Music TechnologyU

nd

erst

and

ing

Co

nn

ecti

on

s



78 (Draft Mar 2019)

Fine Arts - MUSIC


MU:Cr1A.C.I MU:Cr1A.C.II MU:Cr1A.C.III

a. Describe how sounds

and short musical ideas

can be used to represent

personal experiences,

moods, visual images

and/or storylines.

a .Describe and

demonstrate how sounds

and musical ideas can be

used to represent sonic

events, memories, visual

images, concepts, texts or

storylines.

a. Describe and

demonstrate multiple

ways in which sounds and

musical ideas can be used

to represent extended

sonic experiences or

abstract ideas.

National

Standards

MU:Cr1.1.C.Ia MU:Cr1.1.C.IIa MU:Cr1.1.C.IIIa

Content

Standards

FA3 FA3 FA3

Process

Standards

1.5 1.5, 1.8, 2.5 1.5, 1.8, 1.10, 2.5

Imag

ine

Create - Composition & Music Theory




79 (Draft Mar 2019)

Fine Arts - MUSIC



Assemble and organize sounds

or short musical ideas to create

initial expressions of selected

experiences, moods, images, or

storylines

Assemble and organize multiple

sounds or musical ideas to

create initial expressive

statements of selected sonic

events, memories, images,

concepts, texts, or storylines.

Assemble and organize multiple

sounds or extended musical

ideas to create initial expressive

statements of selected

extended sonic experiences or

abstract ideas.

National

Standards


Content

Standards

FA1 FA1 FA1

Process

Standards

1.6 1.6 1.6, 1.10



lan

an

d M

ake



80 (Draft Mar 2019)

Fine Arts - MUSIC



a Identify, describe, and

apply teacher provided

criteria to assess and



evolving drafts leading to

final versions.

a Identify, describe, and

apply selected teacher-

provided or personally-

developed criteria to

assess and refine the


aspects of evolving drafts

leading to final versions.

a Research, identify,

explain , and apply


criteria to assess and



evolving drafts leading to

final versions.

National

Standards


Content

Standards

FA3 FA3 FA3

Process

Standards

3.2 3.2 3.3


Create - Composition & Music TheoryEv

alu

ate

and

Re

fin

e



81 (Draft Mar 2019)

Fine Arts - MUSIC



a Share music through the use

of notation, performance, or

technology, and demonstrate

how the elements of music have

been employed to realize

expressive intent.


of notation, solo or group

performance, or technology,

and demonstrate and describe

how the elements of music and

compositional techniques have

been employed to realize

expressive intent.


of notation, solo or group

performance, or technology,

and demonstrate and explain

how the elements of music,

compositional techniques and

processes have been employed

to realize expressive intent.


b Describe the given context

and performance medium for

presenting personal works, and

how they impact the final

composition and presentation.

b Describe the selected contexts and

performance mediums for


explain why they successfully impact

the final composition and

presentation.

b Describe a variety of possible

contexts and mediums for


explain and compare how each

could impact the success of the final

composition and presentation.

National

Standards

MU:Cr3.2.C.Ia

MU:Cr3.2.C.Ib

MU:Cr3.2.C.IIa

MU:Cr3.2.C.IIb

MU:Cr3.2.C.IIIa

MU:Cr3.2.C.IIIb

Content

Standards


Process

Standards

2.1, 2.4, 2.5, 2.7 2.1, 2.4, 2.5, 2.7 2.1, 2.4, 2.5, 2.7

Pre

sen

t3. Refine and complete artistic work.Enduring Understanding: Musicians’ presentation of creative work is the culmination of a process of creation and communication.



82 (Draft Mar 2019)

Fine Arts - MUSIC



a Identify and select

specific excerpts,

passages, or sections in

musical works that

express a personal

experience, mood, visual

image, or storyline in

simple forms (such as one-

part, cyclical, binary).


specific passages,

sections, or movements in

musical works that

express personal

experiences and interests,

moods, visual images,

concepts, texts, or

storylines in simple forms

(such as binary , ternary ,

rondo ) or moderately

complex forms.


specific sections,

movements, or entire

works that express

personal experiences and

interests, moods, visual

images, concepts, texts,

or storylines in

moderately complex or

complex forms.

National

Standards

MU:Pr4.1.C.Ia MU:Pr4.1.C.IIa MU:Pr4.1.C.IIIa

Content

Standards


Process

Standards

1.5 1.5, 1.10 1.5, 1.10

Perform - Composition & Music TheorySe

lect




83 (Draft Mar 2019)

Fine Arts - MUSIC



a Analyze how the

elements of music

(including form) of

selected works relate to

style and mood, and

explain the implications

for rehearsal or

performance.

a Analyze how the

elements of music

(including form) of

selected works relate to

the style, function , and

context , and explain the

implications for rehearsal

and performance.

National

Standards


Content

Standards


Process

Standards

3.1 3.1 3.1, 3.7

An

alyz

e

a Analyze how the

elements of music

(including form), and

compositional techniques

of selected works relate

to the style, function, and

context, and explain and

support the analysis and

its implications for

rehearsal and

performance.

Perform - Composition & Music Theory




84 (Draft Mar 2019)

Fine Arts - MUSIC

C. Novice Intermediate HS Proficient HS Accomplished HS Advanced


a Develop interpretations

of works based on an

understanding of the use

of elements of music,

style, and mood,

explaining how the

interpretive choices

reflect the creators’

intent.




of elements of music,

style, mood, function ,

and context , explaining

and supporting how the



intent.




of elements of music

(including form ) ,

compositional techniques,

style, function, and

context, explaining and

justifying how the



intent.

National

Standards


Content

Standards


Process

Standards

3.2 3.2 3.2, 4.1


Perform - Composition & Music TheoryIn

terp

ret



85 (Draft Mar 2019)

Fine Arts - MUSIC



a Create rehearsal plans for works,

identifying repetition and variation

within the form.


identifying the form , repetition and

variation within the form, and the

style and historical or cultural

context of the work .


identifying the form, repetition and

variation within the form,

compositional techniques, and the

style and historical or cultural

context of the work.

c Identify and implement strategies

for improving the technical and

expressive aspects of multiple

works.

c Identify and implement strategies

for improving the technical and

expressive aspects of varied works.

c Identify, compare , and implement

strategies for improving the

technical and expressive aspects of

multiple contrasting works.

National

Standards

MU:Pr5.1.C.Ia

MU:Pr5.1.C.Ib

MU:Pr5.1.C.Ic

MU:Pr5.1.C.IIa

MU:Pr5.1.C.IIb

MU:Pr5.1.C.IIc

MU:Pr5.1.C.IIIa

MU:Pr5.1.C.IIIb

MU:Pr5.1.C.IIIc Content

Standards

FA1 FA1, FA5 FA1, FA5

Process

Standards

1.5, 3.2, 3.3 1.5, 3.2, 3.3 1.5, 3.2, 3.3

b Using established criteria and

feedback, identify the way(s) in

which performances convey the

elements of music, style, and mood.


feedback, identify the ways in which

performances convey the formal

design , style, and historical/cultural

context of the works


feedback, identify the ways in which

performances use compositional

techniques and convey the formal

design, style, and historical/cultural

context of the works.

Perform - Composition & Music TheoryR

ehea

rse,

Eva

luat

e, &

Re

fin




86 (Draft Mar 2019)

Fine Arts - MUSIC



a Share live or recorded

performances of works

(both personal and

others’), and explain how


used to convey intent.



(both personal and

others’), and explain how

the elements of music

and compositional

techniques are used to

convey intent.



(both personal and

others’), and explain

and/or demonstrate

understanding of how the

expressive intent of the

music is conveyed.

b Identify how

compositions are

appropriate for an

audience or context, and

how this will shape future

compositions.

b Explain how

compositions are

appropriate for both

audience and context,

and how this will shape

future compositions.

b Explain how

compositions are

appropriate for a variety

of audiences and

contexts, and how this

will shape future

compositions.

National

Standards

MU:Pr6.1.C.Ia

MU:Pr6.1.C.Ib

MU:Pr6.1.C.IIa

MU:Pr6.1.C.IIb

MU:Pr6.1.C.IIIa

MU:Pr6.1.C.IIIb

Content

Standards


Process

Standards

1.5, 2.1, 2.4 1.5, 2.1, 2.4 1.5, 2.1, 2.4


Perform - Composition & Music TheoryP

rese

nt


audience response.


87 (Draft Mar 2019)

Fine Arts - MUSIC



a. Apply teacher-provided

criteria to

select music that

expresses a personal

experience,

mood, visual image, or

storyline in simple forms

(such as one-part, cyclical,

binary), and describe

the choices as models for

composition.

a. Apply teacher-

provided or personally-

developed criteria to

select music that

expresses personal

experiences and interests,

moods, visual images,

concepts, texts, or

storylines in simple or

moderately complex

forms,

and describe and defend

the choices as models for

composition

a. Apply researched or

personallydeveloped

criteria to select music

that expresses

personal experiences and

interests, visual images,

concepts, texts, or

storylines in moderately

complex or complex

forms, and describe and

justify the choice as

models for composition

National

Standards

MU:Re7.1.C.I MU:Re7.1.C.II MU:Re7.1.C.III

Content

Standards


Process

Standards

3.2 3.2, 3.3 1.2, 3.2, 3.3

Sele

ctRespond - Composition & Music Theory



88 (Draft Mar 2019)

Fine Arts - MUSIC



National

Standards


Content

Standards


Process

Standards

3.3, 3.7 3.3., 3.7 3.1, 3.3, 3.7

An

alyz

eRespond - Composition & Music Theory


a. Analyze aurally the

elements of

music (including form) of

musical works, relating

them to style, mood, and

context, and describe

how the analysis provides

models for personal

growth as composer,

performer, and/or

listener.

a. Analyze aurally and/or

by reading

the scores of musical

works the elements of

music (including form ) ,

compositional

techniques and

procedures, relating them

to

style, mood, and context;

and explain how the

analysis provides models

for personal growth as

composer, performer,

and/or listener.

a. Analyze aurally and/or

by reading

the scores of musical

works the elements of

music

(including form),


and

procedures, relating them

to aesthetic

effectiveness, style,

mood, and context; and

explain how the analysis

provides models for

personal growth as

composer, performer,

and/or

listener.

Enduring Understanding: Response to music is informed by analyzing context(social, cultural, and historical) and how creators and performers manipulate the elements of

music.


89 (Draft Mar 2019)

Fine Arts - MUSIC



a. Develop and explain

interpretations of varied

works, demonstrating an


composers’ intent by

citing


aspects as well as the

style/genre of each work.

a. Develop and support





citing

the use of elements of

music (including form ),


and the style/genre

and context of each work.

a. Develop, justify and

defend





citing

the use of elements of

music (including form),


and the style/genre

and context of each work.

National

Standards


Content

Standards


Process

Standards

1.2, 2.4 1.2, 2.4 1.2, 2.4

Inte

rpre

tRespond - Composition & Music Theory




90 (Draft Mar 2019)

Fine Arts - MUSIC



a. Describe the effectiveness

of the


aspects of selected music

and performances,

demonstrating

understanding

of fundamentals of music

theory.

a. Explain the effectiveness

of the



and performances,

demonstrating

understanding

of music theory as well as

compositional

techniques and procedures.

a. Evaluate the effectiveness

of the



and performances,

demonstrating

understanding

of theoretical concepts and

complex


and procedures.

b. Describe the way(s) in

which

critiquing others’ work and

receiving feedback

from others can be applied

in the personal creative

process.

b. Describe ways in which

critiquing

others’ work and receiving

feedback from others

have been specifically

applied in the personal

creative process.

b. Describe and evaluate

ways in

which critiquing others’ work

and receiving

feedback from others have

been specifically

applied in the personal

creative process.

National

Standards


Content

Standards


Process

Standards

2.3, 2.4, 4.6 2.3, 2.4, 4.6 2.3, 2.4, 4.6

Respond - Composition & Music Theory


alu

ate



91 (Draft Mar 2019)

Fine Arts - MUSIC



a. Demonstrate how



choices and intent when

creating, performing, and


a. Demonstrate how






a. Demonstrate how






National

Standards

MU:Cn10.0.C. MU:Cn10.0.C.II MU:Cn10.0.C.III

Content

Standards


Process

Standards

3.3 3.3 3.3

Connect - Composition & Music Theory


akin

g C

on

nec

tio

ns



92 (Draft Mar 2019)

Fine Arts - MUSIC



a. Demonstrate

understanding of




and daily life.

a. Demonstrate

understanding of




and daily life.

a. Demonstrate

understanding of




and daily life.

National

Standards

MU:Cn11.0.C.Ia MU:Cn11.0.C.IIa MU:Cn11.0.C.IIIa

Content

Standards


Process

Standards

1.10, 2.4 1.10, 2.4 1.10, 2.4


Connect - Composition & Music TheoryU

nd

erst

and

ing

Co

nn

ecti

on

s



93 (Draft Mar 2019)

Fine Arts - MUSIC


MU:Cr1A.H.5a MU:Cr1A.H.8 MU:Cr1A.H.I MU:Cr1A.H.II MU:Cr1A.H.III

Generate melodic, rhythmic,

and harmonic ideas for simple

melodies (such as two phrase)

and chordal accompaniments for

given

melodies.

Generate melodic, rhythmic and

harmonic ideas for melodies

(created over specified chord

progressions or AB / ABA forms)

and two-to three-chord

accompaniments for given

melodies.


harmonic ideas for

improvisations, compositions

(forms such as theme and

variation or 12-bar blues), and

three-or-more- chord

accompaniments in a variety of

patterns (such as arpeggio,

country and gallop strumming,

finger picking patterns).


harmonic ideas for compositions

(forms such as rounded binary

or rondo), improvisations,

accompaniment patterns in a

variety of styles, and

harmonizations for given

melodies.


harmonic ideas for a collection

of compositions (representing a

variety of forms and styles),

improvisations in several

different styles, and stylistically

appropriate harmonizations for

given melodies.

National

Standards

MU:Cr1.1.H.5 MU:Cr1.1.H.8 MU:Cr1.1.H.I MU:Cr1.1.H.II MU:Cr1.1.H.III

Content

Standards

FA1 FA1 FA1 FA1 FA1

Process

Standards

2.1, 2.5, 2.7 2.1, 2.5, 2.7 2.1, 2.5, 2.7 2.1, 2.5, 2.7 2.1, 2.5, 2.7

Imag

ine

Create - Harmonizing Instruments




94 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Cr2A.H.5a MU:Cr2A.H.8 MU:Cr2A.H.I MU:Cr2A.H.II MU:Cr2A.H.III

Select, develop, and use

standard notation or

audio/video recording to

document melodic, rhythmic,

and harmonic ideas for drafts of

simple melodies (such as two-

phrase) and chordal


melodies.


standard notation and




melodies (created over specified

chord progressions or AB / ABA

forms) and two-to-three -chord


melodies.






improvisations, compositions (

forms such as theme and

variation or 12-bar blues) , and

three-ormore- chord










compositions (forms such as

rounded binary or rondo ),

improvisations, accompaniment

patterns in a variety of styles,

and harmonizations for given

melodies


standard

notation and audio/video

recording to document

melodic, rhythmic, and

harmonic ideas for drafts of

compositions (representing a

variety of forms and

styles), improvisations in several

different styles,

and stylistically appropriate

harmonizations for

given melodies.

National

Standards

MU:Cr2.1.H.5a MU:Cr2.1.H.8a MU:Cr2.1.H.Ia MU:Cr2.1.H.IIa MU:Cr2.1.H.IIIa

Content

Standards


Process

Standards

2.5, 2.7 2.5, 2.7 2.5, 2.7 2.5, 2.7 2.5, 2.7



lan

an

d M

ake



95 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Cr3A.H.5a MU:Cr3A.H.8 MU:Cr3A.H.I MU:Cr3A.H.II MU:Cr3A.H.III

Apply teacher-provided criteria

to critique, improve, and refine

drafts of simple melodies (such

as two-phrase) and chordal


melodies.


to critique, improve, and refine

drafts of simple melodies (such

as two-phrase) and chordal


melodies.

Develop and apply criteria to

critique, improve, and refine

drafts of improvisations,


theme and variation or 12-bar

blues) and three-ormore -chord







drafts of compositions (forms

such as rounded binary or rondo

), improvisations,

accompaniment patterns in a

variety of styles, and


melodies.



drafts of compositions

(representing a variety of forms

and styles) , improvisations in a

variety of styles, and stylistically

appropriate harmonizations for

given melodies.

National

Standards


Content

Standards


Process

Standards

1.5, 2.2 1.5, 2.2 1.5, 2.2 1.5, 2.2 1.5, 2.2


3. Refine and complete artistic work.Enduring Understanding: Musicians evaluate, and refine their work through openness to new ideas, persistence, and the application of appropriate criteria.


Eval

uat

e an

d R

efi

ne

96 (Draft Mar 2019)

Fine Arts - MUSIC

B. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Cr3B.H.5a MU:Cr3B.H.8 MU:Cr3B.H.I MU:Cr3B.H.II MU:Cr3B.H.III

Share final versions of simple

melodies (such as two-phrase)

and chordal accompaniments for

given melodies, demonstrating

an understanding of how to

develop and organize personal

musical ideas.

Share final versions of melodies

(created over specified chord

progressions or AB / ABA forms)

and two-to-three -chord


melodies, demonstrating an

understanding of how to

develop and organize personal

musical ideas.

Perform final versions of


rounded binary or rondo ),

improvisations, accompaniment

patterns in a variety of styles,

and harmonizations for given

melodies, demonstrating

technical skill in applying

principles of

composition/improvisation and

originality in developing and

organizing musical ideas

Perform final versions of a

collection of compositions

(representing a variety of forms

and styles), improvisations in

several different styles, and

stylistically appropriate


melodies, demonstrating

technical skill in applying

principles of



organizing musical ideas.

National

Standards


Content

Standards

FA1 FA1 FA1 FA1 FA1

Process

Standards

2.5 2.5 2.5 2.5 2.5

Pre

sen

t3. Refine and complete artistic work.Enduring Understanding: Musicians’ presentation of creative work is the culmination of a process of creation and communication.



Perform final versions of

improvisations, compositions

(forms such as theme and

variation or 12-bar blues) , and

three-ormore -chord




finger picking patterns),

demonstrating technical skill in

applying principles of



organizing musical ideas.

97 (Draft Mar 2019)

Fine Arts - MUSIC


MU:Pr4A.H.5a MU:Pr4A.H.8 MU:Pr4A.H.I MU:Pr4A.H.II MU:Pr4A.H.III

Describe and demonstrate how

a varied repertoire of music that

includes melodies, repertoire

pieces, and chordal

accompaniments is selected,

based on personal interest,

music reading skills, and

technical skill, as well as the

context of the performances.

Describe and demonstrate how

a

varied repertoire of music that

includes melodies,

repertoire pieces, and chordal

accompaniments is

selected, based on personal

interest, music reading

skills, and technical skill (citing

technical challenges

that need to be addressed) , as

well as the context of

the performances.

Explain the criteria used when

selecting a varied repertoire of

music for individual or small

group performances that include

melodies, repertoire pieces,

improvisations, and chordal





Develop and apply criteria for

selecting a varied repertoire of

music for individual and small

group performances that include




styles.

Develop and apply criteria for

selecting a varied repertoire for

a program of music for

individual and small group

performances that include



accompaniments, and

improvisations in a variety of

contrasting styles.

National

Standards

MU:Pr4.1.H.5a MU:Pr4.1.H.8a MU:Pr4.1.H.Ia MU:Pr4.1.H.IIa MU:Pr4.1.H.IIIa

Content

Standards


Process

Standards

2.4, 4.1 2.4, 4.1 2.4, 4.1 2.4, 4.1, 5.10 2.4, 4.1, 5.10

Perform - Harmonizing InstrumentsSe

lect




98 (Draft Mar 2019)

Fine Arts - MUSIC

B. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Pr4B.H.5a MU:Pr4B.H.8 MU:Pr4B.H.I MU:Pr4B.H.II MU:Pr4B.H.III

Identify prominent melodic and

harmonic characteristics in a

varied repertoire of music that


pieces, and chordal

accompaniments selected for

performance, including at least

some based on reading standard

notation.

Identify and describe important


characteristics and context

(social, cultural, and historical) in



pieces, improvisations, and

chordal accompaniments in a

variety of styles.

National

Standards


Content

Standards


Process

Standards

1.6, 2.4, 4.1 1.6, 2.4, 4.1 1.6, 2.4, 4.1 1.6, 2.4, 4.1 1.6, 2.4, 4.1

An

alyz

ePerform - Harmonizing Instruments

Identify prominent melodic,

harmonic, and structural


(social , cultural , or historical )

in a varied repertoire of music

that includes melodies,

repertoire pieces, and chordal

accompaniments selected for

performance, including at least

some based on reading standard

notation.







(social, cultural, or historical) in





variety of patterns (such as

arpeggio, country and gallop

strumming, finger picking

patterns).




(social, cultural, and historical) in


selected for performance

programs that includes



accompaniments, and


contrasting styles.

99 (Draft Mar 2019)

Fine Arts - MUSIC

C. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Pr4C.H.5a MU:Pr4C.H.8 MU:Pr4C.H.I MU:Pr4C.H.II MU:Pr4C.H.III

Demonstrate and describe in

interpretations an

understanding of the context

and expressive intent in a varied

repertoire of music selected for

performance that includes

melodies, repertoire pieces, and

chordal accompaniments.

Demonstrate and describe in

interpretations an


(social , cultural , or historical )

and expressive intent in a varied

repertoire of music selected for

performance that includes


chordal accompaniments.

Describe in interpretations the

context (social, cultural, or

historical) and expressive intent


selected for performance that







patterns) .

Explain in interpretations the

context (social, cultural, and

historical) and expressive intent


selected for performance that




variety of styles.

Explain and present

interpretations that

demonstrate and describe the

context (social, cultural, and

historical) and an understanding

of the creator’s intent in

repertoire for varied programs

of music that include melodies,

repertoire pieces, stylistically

appropriate accompaniments,

and improvisations in a variety

of contrasting styles.

National

Standards


Content

Standards

FA1, FA2, FA3 FA1, FA2, FA3, FA5 FA1, FA2, FA3, FA5 FA1, FA2, FA3, FA5 FA1, FA2, FA3, FA5

Process

Standards

1.6, 2.4 1.6, 2.4 1.6, 2.4 1.6, 2.4 1.6, 2.4

4. Select, analyze, and interpret artistic work for presentation.In

terp

ret

Perform - Harmonizing Instruments



100 (Draft Mar 2019)

Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Pr5A.H.5a MU:Pr5A.H.8 MU:Pr5A.H.I MU:Pr5A.H.II MU:Pr5A.H.III

National

Standards

MU:Pr5.1.H.5a MU:Pr5.1.H.8a U:Pr5.1.H.Ia MU:Pr5.1.H.IIa MU:Pr5.1.H.IIIa

Content

Standards


Process

Standards

2.4, 2.5, 3.2, 3.3 2.4, 2.5, 3.2, 3.3 2.4, 2.5, 3.2, 3.3 2.4, 2.5, 3.2, 3.3 2.4, 2.5, 3.2, 3.3

Reh

ears

e, E

valu

ate

, & R

efi

ne

5. Develop and refine artistic techniques and work for presentation.


to critique individual


repertoire of music that includes


chordal accompaniments

selected for performance, and

apply practice strategies to

address performance challenges

and refine the performances.


to critique individual




chordal accompaniments

selected for performance, and

identify practice strategies to




critique individual and small

group performances of a varied







finger picking patterns), and

create rehearsal strategies to




critique individual and small

group performances of a varied





styles, and create rehearsal

strategies to address

performance challenges and

refine the performances.

Develop and apply criteria,

including feedback from multiple

sources , to critique varied

programs of music repertoire

(melodies, repertoire pieces,


accompaniments,


contrasting styles ) selected for


performance, and create

rehearsal strategies to address

performance challenges and

refine the performances.

Perform - Harmonizing Instruments

Enduring Understanding: To express their musical ideas, musicians analyze, evaluate, and refine their performance over time through openness to new ideas, persistence, and




Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Pr6A.H.5a MU:Pr6A.H.8 MU:Pr6A.H.I MU:Pr6A.H.II MU:Pr6A.H.III

National

StandardsMU:Pr6.1.H.5a MU:Pr6.1.H.8a MU:Pr6.1.H.Ia MU:Pr6.1.H.IIa MU:Pr6.1.H.IIIa

Content

StandardsFA1 FA1, FA5 FA1, FA5 FA1, FA5 FA1, FA5

Process

Standards2.3, 2.5 2.3, 2.5 2.3, 2.5 2.3, 2.5 2.3, 2.5


Perform with expression and

technical accuracy in

individual performances of a



repertoire pieces, and

chordal accompaniments,

demonstrating


audience and the context.


technical accuracy in

individual performances of a



repertoire pieces, and

chordal accompaniments,

demonstrating sensitivity to

the audience and an


(social , cultural , or historical

) .


technical accuracy, in


performance s, a varied








patterns), demonstrating

sensitivity to the audience

and an understanding of the


historical).




performances, a varied





variety of styles,


the audience and an


(social, cultural, and

historical).




performances, a varied

repertoire for programs of

music that includes melodies,

repertoire pieces, stylistically

appropriate

accompaniments, and


contrasting styles,


the audience and an



historical).

Pre

sen

tPerform - Harmonizing Instruments


audience response.



Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Re7A.H.5a MU:Re7A.H.8 MU:Re7A.H.I MU:Re7A.H.II MU:Re7A.H.III

Demonstrate and describe

reasons for selecting music,

based on characteristics found in

the music and connections to

interest, purpose or personal

experience.

Explain reasons for selecting

music citing characteristics

found in the music and

connections to interest,

purpose, and context.

Apply criteria to select music for

a variety of purposes, justifying

choices citing knowledge of the

music and the specified purpose

and context

Apply criteria to select music for

a variety of purpose, justifying

choices citing knowledge of

music and specified purpose and

context

Select, describe, and compare a

variety of individual and small

group musical programs from

varied cultures, genres, and

historical periods.

National

Standards

MU:Re7.1.H.5a D MU:Re7.1.H.8a MU:Re7.1.H.Ia MU:Re7.1.H.IIa MU:Re6.1.H.IIIa

Content

Standards


Process

Standards

4.1, 1.10 4.1, 1.10 4.1, 1.10 4.1, 1.10 4.1, 1.10

Sele

ctRespond - Harmonizing Instruments




Fine Arts - MUSIC


MU:Re7B.H.5a MU:Re7B.H.8 MU:Re7B.H.I MU:Re7B.H.II MU:Re7B.H.III

Demonstrate and explain,

citing evidence, the use of

repetition, similarities and

contrasts in musical

selections and how these and

knowledge of the context

(social or cultural) inform the

response

Describe how the way that


manipulated and knowledge

of the context (social and

cultural) inform the

response.

Compare passages in musical

selections and explain how

the elements of music and


historical ) inform the

response.

Explain how the analysis of

the structures and context


historical) of contrasting

musical selections inform the

response.

Demonstrate and justify how

the structural characteristics

function within a variety of

musical selections, and

distinguish how context


historical) and creative

decisions inform the

response

National

Standards

MU:Re7.2.H.5a MU:Re7.2.H.8a MU:Re7.2.H.Ia MU:Re7.2.H.IIa MU:Re7.2.H.IIIa

Content

Standards


Process

Standards

4.1, 1.6, 1.10 4.1, 1.6, 1.10 4.1, 1.6, 1.10 4.1, 1.6, 1.10 4.1, 1.6, 1.10

Respond - Harmonizing Instruments

7. Perceive and analyze artistic workEnduring Understanding: Response to music is informed by analyzing context(social, cultural, and historical) and how creators and performers manipulate the elements of music.


An

alyz

e


Fine Arts - MUSIC


MU:Re8A.H.5a MU:Re8A.H.8 MU:Re8A.H.I MU:Re8A.H.II MU:Re8A.H.III

Identify interpretations of the

expressive intent and meaning

of musical selections, referring

to the elements of music,

context (personal or social), and

(when appropriate) the setting

of the text.

Identify and support

interpretations of the expressive

intent and meaning of musical

selections, citing as evidence the

treatment of the elements of

music, context, and (when

appropriate) the setting of the

text.

Explain and support





music, context (personal, social,

and cultural ), and (when


text, and outside sources.

Explain and support





music, context (personal, social,

and cultural), and (when


text, and varied researched

sources.

Establish and justify



selections by comparing and

synthesizing varied researched

sources, including reference to

examples from other art forms.

National

Standards

MU:Re8.1.H.5a MU:Re8.1.H.8a MU:Re8.1.H.Ia MU:Re8.1.H.IIa MU:Re8.1.H.IIIa E

Content

Standards


Process

Standards

2.4, 4.1, 1.10 2.4, 4.1, 1.10 2.4, 4.1, 1.10 2.4, 4.1, 1.10 2.4, 4.1, 1.10

Inte

rpre

tRespond - Harmonizing Instruments





Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Re9A.H.5a MU:Re9A.H.8 MU:Re9A.H.I MU:Re9A.H.II MU:Re9A.H.III

Identify and describe how

interest, experiences, and

contexts (personal or social)

effect the evaluation of music.

Explain the influence of

experiences and contexts

(personal, social, or cultural ) on

interest in and the evaluation of

a varied repertoire of music.

Develop and apply

teacherprovided and established

criteria based on personal

preference, analysis, and context

(personal, social, and cultural) to

evaluate individual and small

group musical selections for

listening.

Apply personally-developed and

established criteria based on

research , personal preference,

analysis, interpretation,

expressive intent , and musical

qualitie s to evaluate contrasting


musical selections for listening.

Develop and justify evaluations

of a variety of individual and

small group musical selections

for listening based on

personallydeveloped and

established criteria, personal

decision making, and knowledge

and understanding of context .

National

Standards

MU:Re9.1.H.5a MU:Re9.1.H.8a MU:Re9.1.H.Ia MU:Re9.1.H.IIa MU:Re9.1.H.IIIa

Content

Standards


Process

Standards

1.5, 1.6, 2.3, 2.4 1.5, 1.6, 2.3, 2.4 1.5, 1.6, 2.3, 2.4 1.5, 1.6, 2.3, 2.4 1.5, 1.6, 2.3, 2.4

9. Apply criteria to evaluate artistic work

Respond - Harmonizing InstrumentsEv

alu

ate




Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Cn10A.H.5a MU:Cn10A.H.8 MU:Cn10A.H.I MU:Cn10A.H.II MU:Cn10A.H.III

Demonstrate how interests,

knowledge, and skills relate to

personal choices and intent

when creating, performing, and

responding to music





















National

Standards

MU:Cn10.H.5a MU:Cn10.0.H.8a MU:Cn10.0.H.Ia MU:Cn10.0.H.IIa MU:Cn10.0.H.IIIa

Content

Standards


Process

Standards

1.10, 2.3, 2.4 1.10, 2.3, 2.4 1.10, 2.3, 2.4 1.10, 2.3, 2.4 1.10, 2.3, 2.4

Connect - Harmonizing Instruments


akin

g C

on

nec

tio

ns




Fine Arts - MUSIC

A. Novice Intermediate HS Proficient HS Accomplished HS AdvancedMU:Cn11A.H.5a MU:Cn11A.H.8 MU:Cn11A.H.I MU:Cn11A.H.II MU:Cn11A.H.III


knowledge, and skills relate

to personal choices and

intent when creating,

performing, and responding

to music.






to music






to music.






to music.



to personal choices


performing, and


National

Standards

MU:Cn11.0.H.5a MU:Cn11.0.H.8a MU:Cn11.0.H.Ia MU:Cn11.0.H.IIa MU:Cn11.0.H.IIIa

Content

Standards


Process

Standards

1.9, 1.10, 2.3, 2.4 1.9, 1.10, 2.3, 2.4 1.9, 1.10, 2.3, 2.4 1.9, 1.10, 2.3, 2.4 1.9, 1.10, 2.3, 2.4


Connect - Harmonizing InstrumentsU

nd

erst

and

ing

Co

nn

ecti

on

s




Fine Arts - THEATRE

A. PreK Grade K Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8 HS Proficient HS Accomplished HS Advanced

a. With prompting

and support,

transition between

imagination and

reality in dramatic

play or a guided

drama experience

(e.g., process

drama, story drama,

creative drama).

a. With prompting and

support, invent and

inhabit an imaginary

elsewhere in dramatic

play or a guided

drama experience

(e.g., process drama,

story drama, creative

drama).

a. Propose potential

choices characters

could make in a

guided drama

experience (e.g.,

process drama, story

drama, creative

drama). a. Propose

potential new details

to plot and story in a

guided drama

experience (e.g.,


drama, creative

drama).

a. Propose potential

new details to plot

and story in a guided

drama experience



drama).

a. Create roles,

imagined worlds, and

improvised stories in a

drama/theatre work.

a. Articulate the visual

details of imagined

worlds, and

improvised stories

that support the given

circumstances in a

drama/theatre work.

a. Identify physical

qualities that might

reveal a character’s

inner traits in the

imagined world of a

drama/theatre work.

a. Identify possible

solutions to staging

challenges in a

drama/theatre work.

a. Investigate multiple

perspectives and


challenges in a

drama/theatre work

a. Imagine and

explore multiple

perspectives and


problems in a drama/

theatre work.

a. Apply basic

research to construct

ideas about the visual

composition of a

drama/theatre work.

a. Investigate historical and

cultural conventions and

their impact on the visual

composition of a

drama/theatre work.

a. Synthesize

knowledge from a

variety of dramatic

forms, theatrical

conventions, and

technologies to create

the visual composition

of a drama/ theatre

work.

b. With prompting

and support, use

nonrepresentational

materials to create

props, puppets, and

costume pieces for

dramatic play or a

guided drama

experience (e.g.,


drama, creative

drama).

b. With prompting

and support, use

nonrepresentational

materials to create

props, puppets, and

costume pieces for

dramatic play or a

guided drama

experience (e.g.,


drama, creative

drama).

b. Collaborate with

peers to conceptualize

costumes and props in

a guided drama

experience (e.g.,


drama, creative

drama).

b. Collaborate with

peers to conceptualize

scenery in a guided

drama experience



drama).

b. Imagine and

articulate ideas for

costumes, props and

sets for the

environment and

characters in a

drama/theatre work.

b. Visualize and design

technical elements

that support the story

and given

circumstances in a

drama/theatre work.

b. Propose design

ideas that support the

story and given

circumstances in a

drama/theatre work.

b. Identify solutions to

design challenges in a

drama/theatre work.

b. Explain and present

solutions to design

challenges in a drama/

theatre work.

b. Imagine and

explore solutions to

design challenges of a

performance space in

a drama/theatre work

b. Explore the impact

of technology on

design choices in a

drama/theatre work.

b. Understand and apply

technology to design

solutions for a

drama/theatre work

b. Create a complete

design for a

drama/theatre work

that incorporates all

elements of

technology.

c. Identify ways in

which gestures and

movement may be

used to create or

retell a story in guided

drama experiences



drama).

c. Identify ways in

which voice and

sounds may be used

to create or retell a

story in guided drama

experiences (e.g.,


drama, creative

drama).

c. Collaborate to

determine how

characters might

move and speak to

support the story and

given circumstances in

drama/theatre work.

c. Imagine how a

character might move

to support the story

and given

circumstances in a

drama/theatre work.

c. Imagine how a

character’s inner

thoughts impact the

story and given

circumstances in a

drama/ theatre work

c. Explore a scripted

or improvised

character by

imagining the given

circumstances in a

drama/theatre work.

c. Envision and

describe a scripted or

improvised character’s

inner thoughts and

objectives in a

drama/theatre work.

c. Develop a scripted

or improvised

character by

articulating the

character’s inner

thoughts, objectives,

and motivations in a

drama/theatre work.

c. Use script analysis

to generate ideas

about a character that

is believable and

authentic in a

drama/theatre work.

c. Use personal experiences

and knowledge to develop

a character that is

believable and authentic in

a drama/theatre work.

c. Integrate cultural

and historical contexts

with personal

experiences to create

a character that is

believable and

authentic, in a

drama/theatre work

National

Standards

TH:Cr1.1.PK TH:Cr1.1.K TH:Cr1.1.1 TH:Cr1.1.2 TH:Cr1.1.3 TH:Cr1.1.4 TH:Cr1.1.5 TH:Cr1.1.6 TH:Cr1.1.7 TH:Cr1.1.8 TH: Cr1.1.I TH: Cr1.1.II TH: Cr1.1.III

Content

Standards

FA1, FA2, FA3 FA1, FA2, FA3, FA5 FA1, FA2 FA1, FA4 FA1, FA4, FA5 CA 1 FA1, FA3 CA5, CA7 FA1, FA2 CA2,CA5

FA1, FA2, FA4

CA1, CA2, CA6

FA1, FA3

CA4, CA7 FA1, FA5 CA 2 FA2, FA3 CA1, CA2, CA3, CA7

FA1, FA2, FA3, FA4

CA1, CA2, CA3, CA4, CA5, CA6, CA7FA1, FA2, FA3, FA4, FA5

Process

Standards

2.1, 2.5 2.1, 2.4, 2.5 2.1, 2.4, 2.5, 4.6 1.1, 2.3, 3.1, 3.2, 4.6 1.1, 2.1, 2.3, 2.4 1.1, 2.1, 2.2, 3.1 2.1, 2.3, 2.4 1.2, 2.1, 3.1, 3.2, 3.3,

3.4, 3.6

1.1, 1.4, 1.6, 1.7, 2.3,

2.4, 3.1, 3.2, 3.3, 3.4,

3.5, 3.6, 3.7, 3.8, 4.1,

4.5

1.2, 1.4, 1.9, 2.1, 3.1,

3.2

1.1, 1.2, 2.1, 2.2, 3.1,

3.2, 4.1

1.1, 1.2, 1.4, 1.5, 1.6, 2.1,

2.2, 2.3, 2.4, 2.5, 2.7, 3.1,

3.2, 3.3, 3.4, 3.5, 4.1

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 2.1, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 3.8, 4.1, 4.3,

4.4, 4.5, 4.6, 4.7, 4.8

CREATE

1. Generate and conceptualize artistic ideas and work.En

visi

on

/Co

nce

ptu

aliz

e

Enduring Understanding: Theatre artists rely on intuition, curiosity, and critical inquiry.

Essential Question: What happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?


Fine Arts - THEATRE



support, contribute

through gestures and

words to dramatic

play or a guided

drama experience



drama).


support, interact with

peers and contribute

to dramatic play or a

guided drama

experience (e.g.,


drama, creative

drama).

a. Contribute to the

development of a

sequential plot in a

guided drama

experience (e.g.,


drama, creative

drama).

a. Collaborate with

peers to devise

meaningful dialogue

in a guided drama

experience (e.g.,


drama, creative

drama).

a. Participate in

methods of

investigation to devise

original ideas for a

drama/theatre work.

a. Collaborate to

devise original ideas

for a drama/theatre

work by asking

questions about

characters and plots

a. Devise original

ideas for a

drama/theatre work

that reflect collective

inquiry about

characters and their

given circumstances.

a. Use critical analysis

to improve, refine,

and evolve original

ideas and artistic

choices in a devised or

scripted

drama/theatre work

a. Examine and justify

original ideas and

artistic choices in a

drama/theatre work

based on critical

analysis, background

knowledge, and

historical and cultural

context.

a. Articulate and apply

critical analysis,

background

knowledge, research,

and historical and

cultural context to the

development of

original ideas for a

drama/theatre work.

a. Explore the function

of history and culture

in the development of

a dramatic concept

through a critical

analysis of original

ideas in a

drama/theatre work.

a. Refine a dramatic

concept to demonstrate a

critical understanding of

historical and cultural

influences of original ideas

applied to a drama/theatre

work.

a. Develop and

synthesize original

ideas in a

drama/theatre work

utilizing critical

analysis, historical and

cultural context,

research, and western

or nonwestern theatre

traditions.

b. With prompting

and support, express

original ideas in

dramatic play or a

guided drama

experience (e.g.,


drama, creative

drama).

b. With prompting

and support, express

original ideas in

dramatic play or a

guided drama

experience (e.g.,

creative drama,


drama).

b. With prompting

and support,

participate in group

decision making in a

guided drama

experience (e.g.,


drama, creative

drama).

b. Contribute ideas

and make decisions as

a group to advance a

story in a guided

drama experience



drama).

b. Compare ideas with

peers and make

selections that will

enhance and deepen

group drama/theatre

work.

b. Make and discuss

group decisions and

identify

responsibilities

required to present a

drama/theatre work

to peers.

b. Participate in

defined

responsibilities

required to present a

drama/theatre work

informally to an

audience.

b. Contribute ideas

and accept and

incorporate the ideas

of others in preparing

or devising

drama/theatre work.

b. Demonstrate

mutual respect for self

and others and their

roles in preparing or

devising

drama/theatre work.

b. Share leadership

and responsibilities to

develop collaborative

goals when preparing

or devising

drama/theatre work

b. Share leadership

and responsibilities to

develop collaborative

goals when preparing

or devising

drama/theatre work.

b. Cooperate as a creative

team to make interpretive

choices for a

drama/theatre work.

b. Collaborate as a

creative team to

discover artistic

solutions and make

interpretive choices in

a devised or scripted

drama/theatre work

National

Standards


Content

Standards

FA1, FA2, FA3 FA1, FA2, FA3, FA5 FA1, FA2 FA1, FA4, FA1, FA4, FA5 CA1 FA1, FA3 CA5, CA7 FA1, FA2 CA2, CA5

FA1, FA2, FA4

CA1, CA2, CA6

FA1, FA3

CA4, CA7 FA1, FA5 CA2 FA2, FA3 CA1, CA2, CA3, CA7

FA1, FA2, FA3, FA4CA1, CA2, CA3, CA4, CA5, CA6, CA7

FA1, FA2, FA3, FA4, FA5

Process

Standards

2.1, 2.5 2.1, 2.4, 2.5 2.1, 2.4, 2.5, 4.6 1.1, 2.3, 3.1, 3.2, 4.6 1.1, 2.1, 2.3, 2.4 1.1, 2.1, 2.2, 3.1 2.1, 2.3, 2.4 1.2, 2.1, 3.1, 3.2, 3.3,

3.4, 3.6

1.1, 1.4, 1.6, 1.7, 2.3,

2.4, 3.1, 3.2, 3.3, 3.4,

3.5, 3.6, 3.7, 3.8, 4.1,

4.5

1.2, 1.4, 1.9, 2.1, 3.1,

3.2

1.1, 1.2, 2.1, 2.2, 3.1,

3.2, 4.1

1.1, 1.2, 1.4, 1.5, 1.6, 2.1,

2.2, 2.3, 2.4, 2.5, 2.7, 3.1,

3.2, 3.3, 3.4, 3.5, 4.1

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 2.1, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 3.8, 4.1, 4.3,

4.4, 4.5, 4.6, 4.7, 4.8

CREATE

2. Organize and develop artistic ideas and work.D

evel

op

Enduring Understanding: Theatre artists work to discover different ways of communicating meaning

Essential Question: How, when, and why do theatre artists' choices change?


Fine Arts - THEATRE



support, answer

questions in dramatic

play or a guided

drama experience



drama).


support, ask and

answer questions in

dramatic play or a

guided drama

experience (e.g.,


drama, creative

drama).


adaptation of the plot

in a guided drama

experience (e.g.,


drama, creative

drama).


adaptation of dialogue

in a guided drama

experience (e.g.,


drama, creative

drama).

a. Collaborate with

peers to revise, refine,

and adapt ideas to fit

the given parameters

of a drama theatre

work.

a. Revise and improve

an improvised or

scripted

drama/theatre work

through repetition

and collaborative

review.

a. Revise and improve

an improvised or

scripted

drama/theatre work

through repetition

and self-review.

a. Articulate and

examine choices to

refine a devised or

scripted

drama/theatre work.

a. Demonstrate focus

and concentration in

the rehearsal process

to analyze and refine

choices in a devised or

scripted

drama/theatre work.

a. Use repetition and

analysis in order to

revise devised or

scripted

drama/theatre work

a. Practice and revise

a devised or scripted

drama/theatre work

using theatrical

staging conventions.

a. Use the rehearsal

process to analyze the

dramatic concept and

technical design elements

of a devised or scripted

drama/theatre work.

a. Refine, transform,

and re-imagine a

devised or scripted

drama/theatre work

using the rehearsal

process to invent or re-

imagine style, genre,

form, and

conventions.

b. Identify similarities

and differences in

sounds and

movements in a

guided drama

experience (e.g.,


drama, creative

drama).

b. Use and adapt

sounds and

movements in a

guided drama

experience (e.g.,


drama, creative

drama).

b. Participate and

contribute to physical

and vocal exploration

in an improvised or

scripted

drama/theatre work.

b. Develop physical

and vocal exercise

techniques for an

improvised or scripted

drama/theatre work.

b. Use physical and

vocal exploration for

character

development in an


drama/theatre work.

b. Identify effective

physical and vocal

traits of characters in

an improvised or

scripted

drama/theatre work

b. Develop effective

physical and vocal

traits of characters in

an improvised or

scripted

drama/theatre work

b. Refine effective

physical, vocal, and

physiological traits of

characters in an


drama/ theatre work.

b. Explore physical,

vocal and

physiological choices

to develop a

performance that is

believable, authentic,

and relevant to a

drama/theatre work.

b. Use research and script

analysis to revise physical,

vocal, and physiological

choices impacting the

believability and relevance

of a drama/ theatre work.

b. Synthesize ideas

from research, script

analysis, and context

to create a

performance that is

believable, authentic,

and relevant in a

drama/theatre work.

c. Collaborate to

imagine multiple

representations of a

single object in a

guided drama

experience (e.g.,


drama, creative

drama).

c. Generate

independently

multiple

representations of a

single object in a

guided drama

experience (e.g.,


drama, creative

drama.

c. Practice and refine

design and technical

choices to support a

devised or scripted

drama/theatre work.

c. Collaborate on

solutions to design

and technical

problems that arise in

rehearsal for a

drama/theatre work.

c. Create innovative

solutions to design

and technical

problems that arise in

rehearsal for a

drama/theatre work.

c. Explore a planned

technical design

during the rehearsal

process for a devised

or scripted

drama/theatre work

c. Consider multiple

planned technical

design elements


process for a devised

or scripted

drama/theatre work.

c. Implement and

refine a planned

technical design using

simple technology


process for devised or

scripted drama/

theatre work

c. Refine technical

design choices to

support the story and

emotional impact of a

devised or scripted

drama/ theatre work

c. Re-imagine and revise

technical design choices

during the course of a

rehearsal process to

enhance the story and

emotional impact of a

devised or scripted

drama/theatre work.

c. Apply a high level of

technical proficiencies

to the rehearsal

process to support the

story and emotional

impact of a devised or

scripted

drama/theatre work.

National

Standards


Content

Standards

FA1, FA2, FA3 FA1, FA2, FA3, FA5 FA1, FA2 FA1, FA4 FA1, FA4, FA5 CA1 FA1, FA3, CA5, CA7 FA1, FA2 CA2, CA5

FA1, FA2, FA4

CA1, CA2, CA6

FA1, FA3CA4, CA7 FA1, FA5 CA2 FA2, FA3 CA1, CA2, CA3, CA7

FA1. FA2, FA3, FA4


Process

Standards

2.1, 2.5 2.1, 2.4, 2.5 2.1, 2.4, 2.5, 4.6 1.1, 2.3, 3.1, 3.2, 4.6 1.1, 2.1, 2.3, 2.4 1.1, 2.1, 2.2, 3.1 2.1, 2.3, 2.4 1.2, 2.1, 3.1, 3.2, 3.3,

3.4, 3.6

1.1, 1.4, 1.6, 1.7, 2.3,

2.4, 3.1, 3.2, 3.3, 3.4,

3.5, 3.6, 3.7, 3.8, 4.1,

4.5

1.2, 1.4, 1.9, 2.1, 3.1,

3.2

1.1, 1.2, 2.1, 2.2, 3.1,

3.2, 4.1

1.1, 1.2, 1.4, 1.5, 1.6, 2.1,

2.2, 2.3, 2.4, 2.5, 2.7, 3.1,

3.2, 3.3, 3.4, 3.5, 4.1

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 2.1, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 3.8, 4.1, 4.3,

4.4, 4.5, 4.6, 4.7, 4.8

CREATE

3. Refine and complete artistic work.R

ehea

rse

Enduring Understanding: Theatre artists refine their work and practice their craft through rehearsal.

Essential Question: How do theatre artists transform and edit their initial ideas?


Fine Arts - THEATRE

A. PreK Grade K Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8 HS Proficient HS Accomplished HS Advanceda. With prompting and

support, identify

characters in dramatic

play or a guided

drama experience



drama).


support, identify

characters and setting

in dramatic play or a

guided drama

experience (e.g.,


drama, creative

drama).

a. Describe a story’s

character actions and

dialogue in a guided

drama experience



drama).

a. Interpret story

elements in a guided

drama experience



drama).

a. Apply the elements

of dramatic structure

to a story and create a

drama/theatre work.

a. Modify the dialogue

and action to change

the story in a

drama/theatre work.

a. Describe the

underlying thoughts

and emotions that

create dialogue and

action in a

drama/theatre work.

a. Identify the

essential events in a

story or script that

make up the dramatic

structure in a

drama/theatre work.

a. Consider various

staging choices to

enhance the story in a

drama/theatre work.

a. Explore different

pacing to better

communicate the

story in a

drama/theatre work.

a. Examine how

character

relationships assist in

telling the story of a

drama/theatre work

a. Discover how unique

choices shape believable

and sustainable drama/

theatre work.

a. Apply reliable

research of directors’

styles to form unique

choices for a

directorial concept in

a drama/theatre

work.

b. Use body, face,

gestures, and voice to

communicate

character traits and

emotions in a guided

drama experience



drama).

b. Alter voice and

body to expand and

articulate nuances of a

character in a guided

drama experience

(e.g., (e.g., process

drama, story drama,

creative drama).

b. Investigate how

movement and voice

are incorporated into

drama/theatre work.

b. Make physical

choices to develop a

character in a

drama/theatre work.

b. Use physical

choices to create

meaning in a

drama/theatre work.

b. Experiment with

various physical

choices to

communicate

character in a

drama/theatre work.

b. Use various

character objectives in


b. Use various

character objectives

and tactics in a

drama/theatre work

to overcome an

obstacle

b. Shape character

choices using given

circumstances in a

drama/theatre work.

b. Identify essential text

information, research from

various sources, and the

director’s concept that

influence character choices

in a drama/theatre work.

b. Apply a variety of

researched acting

techniques as an

approach to character

choices in a

drama/theatre work

National

Standards

TH:Pr4.1.PK TH:Pr4.1.K TH:Pr4.1.1 TH:Pr4.1.2 TH:Pr4.1.3 TH:Pr4.1.4 TH:Pr4.1.5 TH:Pr4.1.6 TH:Pr4.1.7 TH:Pr4.1.8 TH: Pr4.1.I TH: Pr4.1.II TH: Pr4.1.III

Content

Standards

FA1, FA2 CA5, FA1, FA2 CA5, FA1, FA3, FA4 CA5 CA5 CA5, CA2, CA3, CA5 CA2, CA3, CA5, CA6, CA7FA1, FA2, FA3, FA4, FA5

CA1, CA2, CA3, CA5, CA6, CA 7FA1, FA2, FA3, FA4, FA5

CA1, CA2, CA3, CA5, CA6, CA7FA1, FA2, FA3, FA4, FA5


CA1, CA2, CA3, CA4, CA5,CA6, CA7


CA1, CA2, CA3, CA4, CA5, CA6, CA7


Process

Standards

2.1, 2.3 1.6, 2.1, 2.4 1.5, 1.6, 2.1, 2.4, 2.5 1.6, 2.1, 2.2, 2.4, 2.5 1.6, 2.1, 2.2, 2.3, 2.4,

2.5, 2.7

1.6, 2.1, 2.2, 2.3, 2.4,

2.5, 2.7, 3.1

1.1, 1.5, 1.6, 2.1, 2.2,

2.3, 2.4, 2.5, 2.7, 3.1,

3.2

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.10, 2.1, 2.2, 2.3,

2.4, 2.5, 2.7, 3.1, 3.2,

3.3, 3.4

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.9, 1.10, 2.1, 2.2,

2.3, 2.4, 2.5, 2.7, 3.1,

3.2, 3.3, 3.4, 3.6, 3.7,

4.1

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.1,

2.2, 2.3, 2.4, 2.5, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.4

1.1, 1.2, 1.3, 1.4, 1.5,

1.6, 1.7, 1.8, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

2.6, 2.7, 3.1, 3.2, 3.3,

3.4, 3.5, 3.6, 3.7, 3.8,

4.1, 4.3, 4.4, 4.5, 4.6,

4.7

1.1, 1.2, 1.3, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.1, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7, 3.1,

3.2, 3.3, 3.4, 3.5, 3.6, 3.7,

3.8, 4.1, 4.3, 4.4, 4.5, 4.6,

4.7, 4.8

1.1, 1.2, 1.3, 1.4, 1.5,

1.6, 1.7, 1.8, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

2.6, 2.7, 3.1, 3.2, 3.3,

3.4, 3.5, 3.6, 3.7, 3.8,

4.1, 4.3, 4.4, 4.5, 4.6,

4.7, 4.8

PERFORM

4. Select, Analyze, and interpret artistic work for presentation.Se

lect

Enduring Understanding: Theatre artists make strong choices to effectively convey meaning.

Essential Question: Why are strong choices essential to interpreting a drama or theatre piece?

FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4, FA5


Fine Arts - THEATRE



support, understand

that imagination is

fundamental to

dramatic play and

guided drama

experiences (e.g.,


drama, creative

drama).


support, understand

that voice and sound

are fundamental to

dramatic play and

guided drama

experiences (e.g.,


drama, creative

drama).


support, identify and

understand that

physical movement is

fundamental to

guided drama

experiences (e.g.,


drama, creative

drama).

a. Demonstrate the

relationship between

and among body,

voice, and mind in a

guided drama

experience (e.g.,


drama, creative

drama).

a. Participate in a

variety of physical,

vocal, and cognitive

exercises that can be

used in a group

setting for

drama/theatre work.

a. Practice selected


used in a group

setting for

drama/theatre work

a. Choose acting


applied to a

drama/theatre work.

a. Recognize how

acting exercises and

techniques can be

applied to a

drama/theatre work.

a. Participate in a

variety of acting

exercises and

techniques that can

be applied in a

rehearsal or

drama/theatre

performance.

a. Use a variety of

acting techniques to

increase skills in a

rehearsal or

drama/theatre

performance.

a. Practice various

acting techniques to

expand skills in a

rehearsal or

drama/theatre

performance.

a. Refine a range of acting

skills to build a believable

and sustainable

drama/theatre

performance.

a. Use and justify a

collection of acting

exercises from reliable

resources to prepare a

believable and

sustainable

performance.

b. With prompting

and support, explore

and experiment with

various technical

elements in dramatic

play or a guided

drama experience



drama).

b. With prompting

and support, explore

and experiment with

various technical

elements in dramatic

play or a guided

drama experience



drama).

b. With prompting

and support, identify

technical elements

that can be used in a

guided drama

experience (e.g.,


drama, creative

drama).

b. Explore technical

elements in a guided

drama experience



drama).

b. Identify the basic

technical elements

that can be used in

drama/theatre work.

b. Propose the use of

technical elements in

a drama/theatre

work.

b. Demonstrate the

use of technical

elements in a

drama/theatre work.

b. Articulate how

technical elements are

integrated into a

drama/ theatre work

b. Choose a variety of

technical elements

that can be applied to

a design in a

drama/theatre work.

b. Use a variety of

technical elements to

create a design for a

rehearsal or

drama/theatre

production.

b. Use researched

technical elements to

increase the impact of

design for a

drama/theatre

production.

b. Apply technical elements

and research to create a

design that communicates

the concept of a

drama/theatre production.

b. Explain and justify

the selection of

technical elements

used to build a design

that communicates

the concept of a

drama/theatre

production.

c. With prompting and

support, demonstrate

audience ettiquette

for the venue.



audience ettiquette

for the venue.



appropriate audience

ettiquette for the

venue and purpose.




ettiquette for the

venue and purpose.




ettiquette for the

venue and purpose.




ettiquette for the

venue and purpose.

c. Demonstrate


ettiquette for the

venue, purpose, and

style.

c. Demonstrate


ettiquette for the

venue, purpose, and

style.

c. Demonstrate


ettiquette for the

venue, purpose, and

style.

c. Demonstrate


ettiquette for the

venue, purpose, and

style.

c. Demonstrate


ettiquette for the

venue, purpose, and

style.

c. Demonstrate appropriate

audience ettiquette for the

venue, purpose, and style.

c. Demonstrate


ettiquette for the

venue, purpose, and

style.

National

Standards


Content

Standards

FA1, FA2, FA4 CA5, FA1, FA2 CA5 CA 5 CA5 CA5 CA2, CA3, CA5 CA2, CA3, CA5, CA6, CA7




CA1, CA2, CA3, CA5, CA6, CA7 FA1, FA2, FA3, FA4, FA5

CA1, CA2, CA3, CA4, CA5,CA6, CA7



Process

Standards

2.1, 2.3, 2.4 1.6, 2.1, 2.4 1.5, 1.6, 2.1, 2.4, 2.5 1.6, 2.1, 2.2, 2.4, 2.5 1.6, 2.1, 2.2, 2.3, 2.4,

2.5, 2.7

1.6, 2.1, 2.2, 2.3, 2.4,

2.5, 2.7, 3.1

1.1, 1.5, 1.6, 2.1, 2.2,

2.3, 2.4, 2.5, 2.7, 3.1,

3.2

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.10, 2.1, 2.2, 2.3,

2.4, 2.5, 2.7, 3.1, 3.2,

3.3, 3.4

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.9, 1.10, 2.1, 2.2,

2.3, 2.4, 2.5, 2.7, 3.1,

3.2, 3.3, 3.4, 3.6, 3.7,

4.1

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.1,

2.2, 2.3, 2.4, 2.5, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.4

1.1, 1.2, 1.3, 1.4, 1.5,

1.6, 1.7, 1.8, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

2.6, 2.7, 3.1, 3.2, 3.3,

3.4, 3.5, 3.6, 3.7, 3.8,

4.1, 4.3, 4.4, 4.5, 4.6,

4.7

1.1, 1.2, 1.3, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.1, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7, 3.1,

3.2, 3.3, 3.4, 3.5, 3.6, 3.7,

3.8, 4.1, 4.3, 4.4, 4.5, 4.6,

4.7, 4.8

1.1, 1.2, 1.3, 1.4, 1.5,

1.6, 1.7, 1.8, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

2.6, 2.7, 3.1, 3.2, 3.3,

3.4, 3.5, 3.6, 3.7, 3.8,

4.1, 4.3, 4.4, 4.5, 4.6,

4.7, 4.8

5. Develop and refine artistic techniques and work for presentation.P

rep

are

Enduring Understanding: Theatre artists develop personal processes and skills for a performance or design.

Essential Question: What can I do to fully prepare a performance or technical design?

PERFORM

FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4, FA5


Fine Arts - THEATRE


Shar

e, P

rese

nt

a. With prompting

and support,

engage in dramatic

play or a guided

drama experience

(e.g., process

drama, story

drama, creative

drama).

a. With prompting

and support, use

voice and sound in

dramatic play or a

guided drama

experience (e.g.,

process drama,

story drama,

creative drama).

a. With prompting

and support, use

movement and

gestures to

communicate

emotions in a

guided drama

experience (e.g.,

process drama,

story drama,

creative drama).

a. Contribute to

group guided

drama experiences

(e.g., process

drama, story

drama, creative

drama) and

informally share

with peers.

a. Practice

drama/theatre

work and share

reflections

individually and in

small groups

a. Share small-

group

drama/theatre

work, with peers

as audience.

a. Present

drama/theatre

work informally to

an audience.

a. Adapt a

drama/theatre

work and present

it informally for an

audience.

a. Participate in

rehearsals for a

drama/theatre

work that will be

shared with an

audience.

a. Perform a

rehearsed

drama/theatre

work for an

audience.

a. Perform a

scripted

drama/theatre

work for a specific

audience.

a. Present a

drama/theatre work

using creative

processes that shape

the production for a

specific audience.

a. Present a

drama/theatre

production for a

specific audience

that employs

research and

analysis grounded

in the creative

perspectives of the

playwright,

director, designer,

and dramaturg.

National

Standards


Content

Standards

FA1, FA2 CA5, FA1, FA2 CA5, FA1, FA3, FA4 CA5 CA5 CA 5 CA2, CA3, CA5 CA2, CA3, CA5, CA6, CA7

FA1,FA2, FA3, FA4, FA5

CA1, CA2, CA3, CA5, CA6, CA7










Process

Standards

2.1, 2.3 1.6, 2.1, 2.4 1.5, 1.6, 2.1, 2.4, 2.5 1.6, 2.1, 2.2, 2.4, 2.5 1.6, 2.1, 2.2, 2.3, 2.4,

2.5, 2.7

1.6, 2.1, 2.2, 2.3, 2.4,

2.5, 2.7, 3.1

1.1, 1.5, 1.6, 2.1, 2.2,

2.3, 2.4, 2.5, 2.7, 3.1,

3.2

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.10, 2.1, 2.2, 2.3,

2.4, 2.5, 2.7, 3.1, 3.2,

3.3, 3.4

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.9, 1.10, 2.1, 2.2,

2.3, 2.4, 2.5, 2.7, 3.1,

3.2, 3.3, 3.4, 3.6, 3.7,

4.1

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.1,

2.2, 2.3, 2.4, 2.5, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.4

1.1, 1.2, 1.3, 1.4, 1.5,

1.6, 1.7, 1.8, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

2.6, 2.7, 3.1, 3.2, 3.3,

3.4, 3.5, 3.6, 3.7, 3.8,

4.1, 4.3, 4.4, 4.5, 4.6,

4.7

1.1, 1.2, 1.3, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.1, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7, 3.1,

3.2, 3.3, 3.4, 3.5, 3.6, 3.7,

3.8, 4.1, 4.3, 4.4, 4.5, 4.6,

4.7, 4.8

1.1, 1.2, 1.3, 1.4, 1.5,

1.6, 1.7, 1.8, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

2.6, 2.7, 3.1, 3.2, 3.3,

3.4, 3.5, 3.6, 3.7, 3.8,

4.1, 4.3, 4.4, 4.5, 4.6,

4.7, 4.8


PERFORM

Enduring Understanding: Theatre artists share and present stories, ideas, and envisioned worlds to explore the human experience.

Essential Question: What happens when theatre artists and audiences share a creative experience?

FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4 FA1, FA2, FA3, FA4, FV5


Fine Arts - THEATRE


a. With prompting

and support, recall

an emotional

response in

dramatic play or a

guided drama

experience (e.g.,

process drama,

story drama,

creative drama).

a. With prompting

and support,

express an

emotional

response to

characters in

dramatic play or a

guided drama

experience (e.g.,

process drama,

story drama,

creative drama).

a. Recall choices

made in a guided

drama experience

(e.g., process

drama, story

drama, creative

drama).

a. Recognize when

artistic choices are

made in a guided

drama experience

(e.g., process

drama, story

drama, creative

drama).

a. Understand why


made in a

drama/theatre

work.

a. Understand why


made in a

drama/theatre

work.

a. Understand why


made in a

drama/theatre

work.

a. Understand why


made in a

drama/theatre

work.

a. Compare

recorded personal

and peer reactions

to artistic choices

in a drama/

theatre work.

a. Apply criteria to

the evaluation of

artistic choices in a

drama/theatre

work.

a. Respond to

what is seen, felt,

and heard in a

drama/theatre

work to develop

criteria for artistic

choices.

a. Demonstrate an

understanding of

multiple

interpretations of

artistic criteria and

how each might be

used to influence

future artistic choices

of a drama/theatre

work.

a. Use historical

and cultural

context to

structure and

justify personal

responses to a

drama/theatre

work. R

National

Standards

TH:Re7.1.PK TH:Re7.1.K TH:Re7.1.1 TH:Re7.1.2 TH:Re7.1.3 TH:Re7.1.4 TH:Re7.1.5 TH:Re7.1.6 TH:Re7.1.7 TH:Re7.1.8 TH: Re7.1.I TH: Re7.1.II TH: Re7.1.III

Content

Standards

CA5, CA6, CA7

FA1, FA3

CA5, CA6, CA7

FA1, FA3

CA5, CA6, CA7

FA1, FA2, FA3

CA1, CA5, CA6, CA7

FA1, FA2, FA3


FA1, FA2, FA 3, FA4, FA5

















Process

Standards

1.1, 1.5, 1.6, 1.7, 2.1,

2.4,

1.1, 1.5, 1.6, 1.7, 2.1,

2.4

1.1, 1.5, 1.6, 1.7, 2.1,

2.4

1.1, 1.5, 1.6, 1.7, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

3.1, 3.2, 3.3, 4.1

1.1, 1.2, 1.5, 1.6, 1.7,

1.9, 2.2, 2.3, 2.4, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.4

1.1, 1.2, 1.5, 1.6, 1.7,

1.9, 2.2, 2.3, 2.4, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.4

1.1, 1.2, 1.5, 1.6, 1.7,

1.9, 2.2, 2.3, 2.4, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.4

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.3, 4.4,

4.6, 4.7

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.3, 4.4,

4.6, 4.7

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.3, 4.4,

4.6, 4.7

1.1, 1.4, 1.5, 1.6, 1.7,

1.8, 1.9, 1.10, 2.1, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 3.8, 4.1, 4.4,

4.5, 4.6, 4.7

1.1, 1.2, 1.3, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.1, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7, 3.1,

3.2, 3.3, 3.4, 3.5, 3.6, 3.7,

3.8, 4.1, 4.3, 4.4, 4.5, 4.6,

4.7, 4.8

1.1, 1.2, 1.3, 1.4, 1.5,

1.6, 1.7, 1.8, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

2.6, 2.7, 3.1, 3.2, 3.3,

3.4, 3.5, 3.6, 3.7, 3.8,

4.1, 4.2, 4.3, 4.4, 4.5,

4.6, 4.7, 4.8

RESPOND

7. Perceive and analyze artistic work.R

efle

ct

Enduring Understanding: Theatre artists reflect to understand the impact of drama processes and theatre experiences.

Essential Question: How do theatre artists comprehend the essence of drama processes and theatre experiences?


Fine Arts - THEATRE



support, explore

preferences in

dramatic play, guided

drama experience



drama), or age-

appropriate theatre

performance.


support, identify

preferences in

dramatic play, a

guided drama

experience (e.g.,


drama, creative

drama), or age-

appropriate theatre

performance.

a. Explain preferences

and emotions in a

guided drama

experience (e.g.,


drama, creative

drama), or age-

appropriate theatre

performance.

a. Explain how

personal preferences

and emotions affect

an observer’s

response in a guided

drama experience



drama), or age-

appropriate theatre

performance.

a. Consider multiple

personal experiences

when participating in

or observing a

drama/theatre work.

a. Compare and

contrast multiple

personal experiences


or observing a

drama/theatre work.

a. Justify responses

based on personal

experiences when

participating in or

observing a

drama/theatre work.

a. Explain how artists

make choices based

on personal

experience in a

drama/theatre work.

a. Identify the artistic

choices made based

on personal

experience in a

drama/theatre work.

a. Recognize and

share artistic choices


or observing a

drama/theatre work.

a. Analyze and

compare artistic

choices developed

from personal

experiences in

multiple

drama/theatre works.

a. Develop detailed

supporting evidence and

criteria to reinforce artistic

choices, when participating

in or observing a

drama/theatre work.

a. Use detailed

supporting evidence

and appropriate

criteria to revise

personal work and

interpret the work of

others when

participating in or

observing a drama/

theatre work.

b. With prompting

and support, name

and describe

characters in dramatic

play or a guided

drama experience



drama).

b. With prompting

and support, name

and describe settings


guided drama

experience (e.g.,


drama, creative

drama).

b. Identify causes of

character actions in a

guided drama

experience (e.g.,


drama, or creative

drama).

b. Identify causes and

consequences of

character actions in a

guided drama

experience (e.g.,


drama, or creative

drama).

b. Consider multiple

ways to develop a

character using

physical

characteristics and

prop or costume

design choices that

reflect cultural

perspectives in

drama/theatre work.

b. Compare and

contrast the qualities

of characters in a

drama/theatre work

through physical

characteristics and

prop or costume

design choices that

reflect cultural

b. Explain responses

to characters based on

cultural perspectives


or observing

drama/theatre work.

b. Identify cultural

perspectives that may

influence the

evaluation of a

drama/theatre work.

b. Describe how


can influence the

evaluation of

drama/theatre work.

b. Analyze how


influence the

evaluation of a

drama/theatre work.

b. Identify and

compare cultural

perspectives and

contexts that may

influence the

evaluation of a

drama/theatre work.

b. Apply concepts from a

drama/theatre work for

personal realization about

cultural perspectives and

understanding.

b. Use new

understandings of

cultures and contexts

to shape personal

responses to

drama/theatre work

c. Explain or use text

and pictures to

describe how personal

emotions and choices

compare to the


of characters in a

guided drama

experience (e.g.,


drama, creative

drama).

c. Explain or use text

and pictures to

describe how others’


may compare to the


of characters in a

guided drama

experience (e.g.,


drama, creative

drama).

c. Examine how

connections are made

between oneself and a

character’s emotions

in drama/theatre

work.

c. Identify and discuss

physiological changes

connected to

emotions in drama/

theatre work.

c. Investigate the

effects of emotions on

posture, gesture,

breathing, and vocal

intonation in a

drama/theatre work.

c. Identify personal

aesthetics,

preferences, and

beliefs through

participation in or

observation of drama/

theatre work.

c. Interpret how the

use of personal

aesthetics,

preferences, and

beliefs can be used to

discuss drama/theatre

work

c. Apply personal

aesthetics,

preferences, and

beliefs to evaluate a

drama/theatre work.

c. Justify personal

aesthetics,

preferences, and

beliefs through

participation in and

observation of a

drama/theatre work.

c. Debate and distinguish

multiple aesthetics,

preferences, and beliefs

through participation in

and observation of

drama/theatre work.

c. Support and explain

aesthetics,

preferences, and

beliefs to create a

context for critical

research that informs

artistic decisions in a

drama/theatre work.

National

Standards


Content

Standards

CA5, CA6, CA7

FA1, FA3

CA5, CA6, CA7

FA1, FA3

CA5, CA6, CA7

FA1, FA2, FA3

CA1, CA5, CA6, CA7

FA1, FA2, FA3,



CA1, CA2, CA3, CA5, CA6, 7CA




CA1, CA2, CA3, CA4,CA5, CA6, 7CA












Process

Standards

1.1, 1.5, 1.6, 1.7, 2.1,

2.4,

1.1, 1.5, 1.6, 1.7, 2.1,

2.4

1.1, 1.5, 1.6, 1.7, 2.1,

2.4

1.1, 1.5, 1.6, 1.7, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

3.1, 3.2, 3.3, 4.1

1.1, 1.2, 1.5, 1.6, 1.7,

1.9, 2.2, 2.3, 2.4, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.4

1.1, 1.2, 1.5, 1.6, 1.7,

1.9, 2.2, 2.3, 2.4, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.4

1.1, 1.2, 1.5, 1.6, 1.7,

1.9, 2.2, 2.3, 2.4, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.4

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.3, 4.4,

4.6, 4.7

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.3, 4.4,

4.6, 4.7

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.3, 4.4,

4.6, 4.7

1.1, 1.4, 1.5, 1.6, 1.7,

1.8, 1.9, 1.10, 2.1, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 3.8, 4.1, 4.4,

4.5, 4.6, 4.7

1.1, 1.2, 1.3, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.1, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7, 3.1,

3.2, 3.3, 3.4, 3.5, 3.6, 3.7,

3.8, 4.1, 4.3, 4.4, 4.5, 4.6,

4.7, 4.8

1.1, 1.2, 1.3, 1.4, 1.5,

1.6, 1.7, 1.8, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

2.6, 2.7, 3.1, 3.2, 3.3,

3.4, 3.5, 3.6, 3.7, 3.8,

4.1, 4.2, 4.3, 4.4, 4.5,

4.6, 4.7, 4.8

Inte

rpre

tRESPOND


Essential Question: How can the same work of art communicate different messages to different people?

Enduring Understanding: Theatre artists' interpretations of drama/theatre work are influenced by personal experiences and aesthetics.


Fine Arts - THEATRE


a. With prompting

and support, actively

engage in dramatic

play or a guided

drama experience


story drama,

creative drama)

a. With prompting

and support, actively

engage with others


guided drama

experience ((e.g.,


drama, creative

drama).

a. Build on others’

ideas in a guided

drama experience


story drama,

creative drama).

a. Collaborate on a

scene in a guided

drama experience


story drama,

creative drama).

a. Understand how

and why groups

evaluate

drama/theatre

work.

a. Propose a plan to

evaluate

drama/theatre

work.

a. Develop and

implement a plan to

evaluate

drama/theatre

work.

a. Use supporting

evidence and

criteria to evaluate

drama/theatre

work.

a. Explain

preferences, using

supporting evidence

and criteria to

evaluate

drama/theatre

work.

a. Respond to a

drama/ theatre

work using

supporting

evidence, personal

aesthetics, and

artistic criteria.

a. Examine a drama/

theatre work using

supporting evidence

and criteria, while

considering art

forms, history,

culture, and other

disciplines.

a. Analyze and assess a

drama/theatre work by

connecting it to art

forms, history, culture,

and other disciplines

using supporting

evidence and criteria.

a. Research and

synthesize cultural

and historical

information related

to a drama/theatre

work to support or

evaluate artistic

choices.

b. Identify props and

costumes that might

be used in a guided

drama experience


story drama,

creative drama).

b. Use a prop or

costume in a guided

drama experience


story drama,

creative drama) to

describe characters,

settings, or events.

b. Consider and

analyze technical

elements from

multiple

drama/theatre

works.

b. Investigate how

technical elements

may support a

theme or idea in a

drama/theatre

work.

b. Assess how

technical elements

represent the theme

of a drama/theatre

work.

b. Apply the

production elements

used in a

drama/theatre work

to assess aesthetic

choices

b. Consider the

aesthetics of the

production elements

in a drama/theatre

work.

b. Apply the

production elements

used in a

drama/theatre work

to assess aesthetic

choices.

b. Consider the

aesthetics of the

production elements

in a drama/theatre

work.

b. Construct meaning in a

drama/theatre work,

considering personal

aesthetics and

knowledge of production

elements while

respecting others’

interpretations.

b. Analyze and

evaluate varied

aesthetic

interpretations of

production elements

for the same

drama/theatre

work.

c. Compare and

contrast the

experiences of

characters in a

guided drama

experience (e.g.,


drama, creative

drama).

c. Describe how

characters respond

to challenges in a

guided drama

experience (e.g.,


drama, creative

drama).

c. Evaluate and

analyze problems

and situations in a

drama/theatre work

from an audience

perspective.

c. Observe how a

character’s choices

impact an

audience’s

perspective in a

drama/theatre

work.

c. Recognize how a

character’s

circumstances

impact an

audience’s

perspective in a

drama/theatre

work.

c. Identify a specific

audience or purpose

for a drama/theatre

work.

c. Identify how the

intended purpose of

a drama/theatre

work appeals to a

specific audience.

c. Assess the impact

of a drama/theatre

work on a specific

audience.

c. Formulate a

deeper

understanding and

appreciation of a

drama/ theatre

work by considering

its specific purpose

or intended

audience.

c. Verify how a

drama/theatre work

communicates for a

specific purpose and

audience.

c. Compare and

debate the

connection between

a drama/theatre

work and

contemporary issues

that may impact

audiences.

National

Standards


Content

Standards

CA5, CA6, CA7

FA1, FA3CA5, CA6, CA7FA1, FA3

CA5, CA6, CA7

FA1, FA2, FA3

CA1, CA5, CA6, CA7

FA1, FA2, FA3,











Process

Standards

1.1, 1.5, 1.6, 1.7, 2.1,

2.4

1.1, 1.5, 1.6, 1.7, 2.1,

2.4, 2.5

1.1, 1.5, 1.6, 1.7, 2.1,

2.4

1.1, 1.5, 1.6, 1.7, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

3.1, 3.2, 3.3, 4.1

1.1, 1.2, 1.5, 1.6, 1.7,

1.9, 2.2, 2.3, 2.4, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.4

1.1, 1.2, 1.5, 1.6, 1.7,

1.9, 2.2, 2.3, 2.4, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.4

1.1, 1.2, 1.5, 1.6, 1.7,

1.9, 2.2, 2.3, 2.4, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.4

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.3, 4.4,

4.6, 4.7

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.3, 4.4,

4.6, 4.7

1.1, 1.2, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 4.1, 4.3, 4.4,

4.6, 4.7

1.1, 1.4, 1.5, 1.6, 1.7,

1.8, 1.9, 1.10, 2.1, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7,

3.1, 3.2, 3.3, 3.4, 3.5,

3.6, 3.7, 3.8, 4.1, 4.4,

4.5, 4.6, 4.7

1.1, 1.2, 1.3, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.1, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7, 3.1,

3.2, 3.3, 3.4, 3.5, 3.6, 3.7,

3.8, 4.1, 4.3, 4.4, 4.5, 4.6,

4.7, 4.8

1.1, 1.2, 1.3, 1.4, 1.5,

1.6, 1.7, 1.8, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

2.6, 2.7, 3.1, 3.2, 3.3,

3.4, 3.5, 3.6, 3.7, 3.8,

4.1, 4.2, 4.3, 4.4, 4.5,

4.6, 4.7, 4.8

RESPOND


alu

ate

Enduring Understanding: Theatre artists apply criteria to investigate, explore, and assess drama and theatre work.

Essential Question: How are the theatre artist's processes and the audience's perspectives impacted by analysis and synthesis?


Fine Arts - THEATRE


Emp

ath

ize

a. With prompting

and support,

identify similarities

between a story

and personal

experience in

dramatic play or a

guided drama

experience (e.g.,

process drama,

story drama,

creative drama).

a. With prompting

and support,

identify similarities

between

characters and

oneself in dramatic

play or a guided

drama experience

(e.g., process

drama, story

drama, creative

drama).

a. Identify

character

emotions in a

guided drama

experience (e.g.,

process drama,

story drama,

creative drama)

and relate it to

personal

experience.

a. Relate character

experiences to

personal

experiences in a

guided drama

experience (e.g.,

process drama,

story drama,

creative drama)

a. Use personal

experiences and

knowledge to

make connections

to community and

culture in a

drama/theatre

work.

a. Identify the

ways

drama/theatre

work reflects the

perspectives of a

community or

culture.

a. Explain how

drama/theatre

connects oneself

to a community or

culture.

a. Explain how the

actions and

motivations of

characters in a

drama/theatre

work impact

perspectives of a

community or

culture.

a. Incorporate

multiple

perspectives and

diverse community

ideas in a

drama/theatre

work.

a. Examine a

community issue

through multiple

perspectives in a

drama/theatre

work.

a. Investigate how

cultural

perspectives,

community ideas

and personal

beliefs impact a

drama/theatre

work.

a. Choose and interpret


to reflect or question

personal beliefs.

a. Collaborate on a

drama/theatre

work that

examines a critical

global issue using

multiple personal,

community, and

cultural

perspectives.

National

Standards

TH:Cn10.1.PK TH:Cn10.1.K TH:Cn10.1.1 TH:Cn10.1.2 TH:Re7.1.3 TH:Re7.1.4 TH:Re7.1.5 TH:Re7.1.6 TH:Re7.1.7 TH:Re7.1.8 TH: Cn10.1.I TH: Cn10.1.II TH: Cn10.1.III

Content

Standards

CA1, CA5, CA6, CA7

FA3, FA4, FA5

CA1, CA5, CA6, CA7

FA1, FA2

CA1, CA5, CA6, CA7

FA2, FA3, FA4

CA1, CA5, CA6, CA7


CA1, CA5, CA6, CA7


CA1, CA2, CA5, CA6, CA7


CA 7 FA4, FA5 CA1, CA6, CA7

FA3, FA4, FA5

CA6, CA7 SS6

FA3, FA4, FA5

CA2, CA3, CA6, CA7

SS6 FA5


CA1, CA2, CA3, CA4, CA5, CA6,CA 7FA1, FA2, FA3, FA4, FA5


Process

Standards

1.1, 1.5, 1.6, 1.7, 1.8,

1.9, 1.10, 2.1, 2.2, 3.2,

3.3. 4.1

1.1, 1.6, 1.9, 1.10, 2.4,

3.2, 3.3, 4.1

1.1, 1.6, 1.7, 1.9, 1.10,

2.3, 2.4, 3.2, 3.6, 4.1

1.1, 1.6, 1.7, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

3.1, 3.2, 3.3, 3.6, 4.1

1.1, 1.6, 1.7, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

3.1, 3.2, 3.6, 4.1

1.1, 1.5, 1.6, 1.7, 1.9,

1.10, 2.3, 2.4, 3.1, 3.2,

3.3, 3.4, 3.5, 3.6, 4.1

1.9, 1.10, 2.3, 2.4, 3.6,

4.1

1.9, 1.10, 2.3, 2.4, 3.6,

4.1

1.9, 1.10, 2.3, 2.4, 2.6,

2.7, 3.6, 3.7, 3.8, 4.1,

4.6

1.9, 1.10, 2.3, 2.4, 3.3,

3.5, 3.6, 3.7, 4.1, 4.6

1.1, 1.2, 1.3, 1.4, 1.5,

1.6, 1.7, 1.8, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

2.6, 2.7, 3.1, 3.2, 3.3,

3.4, 3.5, 3.6, 3.7, 3.8,

4.1, 4.3, 4.4, 4.5, 4.6,

4.7, 4.8

1.1, 1.2, 1.3, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.1, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7, 3.1,

3.2, 3.3, 3.4, 3.5, 3.6, 3.7,

3.8, 4.1, 4.3, 4.4, 4.5, 4.6,

4.7, 4.8

1.1, 1.2, 1.3, 1.4, 1.5,

1.6, 1.7, 1.8, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

2.6, 2.7, 3.1, 3.2, 3.3,

3.4, 3.5, 3.6, 3.7, 3.8,

4.1, 4.3, 4.4, 4.5, 4.6,

4.7, 4.8


CONNECT

Enduring Understanding: Theatre artists allow awareness of interrelationships between self and others to influence and inform their work.

Essential Question: What happens when theatre artists foster understanding between self and others through critical awareness, social responsibility, and the exploration of empathy?


Fine Arts - THEATRE


a. With prompting

and support, use

skills and

knowledge from

other areas in

dramatic play or a

guided drama

experience (e.g.,

process drama,

story drama,

creative drama).

a. With prompting

and support,

identify skills and

knowledge from

other areas in

dramatic play or a

guided drama

experience (e.g.,

process drama,

story drama,

creative drama).

a. Apply skills and

knowledge from

different art forms

and content areas

in a guided drama

experience (e.g.,

process drama,

story drama,

creative drama).

a. Determine

appropriate skills

and knowledge

from different art

forms and content

areas to apply in a

guided drama

experience (e.g.,

process drama,

story drama,

creative drama).

a. Identify

connections to

community, social

issues and other

content areas in

drama/theatre

work.

a. Respond to

community and

social issues and

incorporate other

content areas in

drama/theatre

work.

a. Investigate

historical, global

and social issues

expressed in

drama/theatre

work.

a. Identify

universal themes

or common social

issues and express

them through a

drama/theatre

work.

a. Incorporate

music, dance, art,

and/or media to

strengthen the

meaning and

conflict in a

drama/theatre

work with a

particular cultural,

global, or historic

context.

a. Use different

forms of

drama/theatre

work to examine

contemporary

social, cultural, or

global issues.

a. Explore how

cultural, global,

and historic belief

systems affect

creative choices in

a drama/theatre

work.

a. Integrate

conventions and

knowledge from

different art forms and

other disciplines to

develop a crosscultural

drama/theatre work.

a. Develop a

drama/theatre

work that

identifies and

questions cultural,

global, and historic

belief systems.

National

Standards

TH:Cn11.1.PK TH:Cn11.1.K TH:Cn11.1.1 TH:Cn11.1.2 TH:Cn11.1.3 TH:Cn11.1.4 TH:Cn11.1.5 TH:Cn11.1.6 TH:Cn11.1.7 TH:Cn11.1.8 TH: Cn11.1.I TH: Cn11.1.II TH: Cn11.1.III

Content

Standards

CA1, CA5, CA6, CA7

FA3, FA4, FA5

CA1, CA5, CA6, CA7

FA1, FA2

CA1, CA5, CA6, CA7

FA2, FA3, FA4

CA1, CA5, CA6, CA7


CA1, CA5, CA6, CA7




CA7 FA4, FA5 CA1, CA6, CA7

FA3, FA4, FA5

CA6, CA7 SS6

FA3, FA4, FA5


SS5, SS6 FA2, FA3, FA5







Process

Standards

1.1, 1.5, 1.6, 1.7, 1.8,

1.9, 1.10, 2.1, 2.2, 3.2,

3.3. 4.1

1.1, 1.6, 1.9, 1.10, 2.4,

3.2, 3.3, 4.1

1.1, 1.6, 1.7, 1.9, 1.10,

2.3, 2.4, 3.2, 3.6, 4.1

1.1, 1.6, 1.7, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

3.1, 3.2, 3.3, 3.6, 4.1

1.1, 1.6, 1.7, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

3.1, 3.2, 3.6, 4.1

1.1, 1.5, 1.6, 1.7, 1.9,

1.10, 2.3, 2.4, 3.1, 3.2,

3.3, 3.4, 3.5, 3.6, 4.1

1.9, 1.10, 2.3, 2.4, 3.6,

4.1

1.9, 1.10, 2.3, 2.4, 3.6,

4.1

1.9, 1.10, 2.3, 2.4, 2.6,

2.7, 3.6, 3.7, 3.8, 4.1,

4.6

1.1, 1.4, 1.5, 1.6, 1.7,

1.9, 2.3, 2.4, 3.1, 3.2,

3.3, 3.6, 3.7, 4.1, 4.6

1.1, 1.2, 1.3, 1.4, 1.5,

1.6, 1.7, 1.8, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

2.6, 2.7, 3.1, 3.2, 3.3,

3.4, 3.5, 3.6, 3.7, 3.8,

4.1, 4.3, 4.4, 4.5, 4.6,

4.7, 4.8

1.1, 1.2, 1.3, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.1, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7, 3.1,

3.2, 3.3, 3.4, 3.5, 3.6, 3.7,

3.8, 4.1, 4.3, 4.4, 4.5, 4.6,

4.7, 4.8

1.1, 1.2, 1.3, 1.4, 1.5,

1.6, 1.7, 1.8, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

2.6, 2.7, 3.1, 3.2, 3.3,

3.4, 3.5, 3.6, 3.7, 3.8,

4.1, 4.3, 4.4, 4.5, 4.6,

4.7, 4.8

Inte

rrel

ate

CONNECT

11. Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding.Enduring Understanding: Theatre artists understand and can communicate their creative process as they analyze the way the world may be understood.

Essential Question: What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?


Fine Arts - THEATRE

B. PreK Grade K Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8 HS Proficient HS Accomplished HS Advanced

a. With prompting


stories that are

similar to one

another in dramatic

play or a guided

drama experience


story drama,

creative drama).

a. With prompting


stories that are

different from one

another in dramatic

play or a guided

drama experience


story drama,

creative drama).

a. Identify

similarities and

differences in stories

from one’s own

community in a

guided drama

experience (e.g.,


drama, creative

drama).

a. Identify

similarities and

differences in stories

from multiple

cultures in a guided

drama experience


story drama,

creative drama).

a. Explore how

stories are adapted

from literature to

drama/theatre

work.

a. Investigate

crosscultural

approaches to

storytelling in

drama/theatre

work.

a. Analyze

commonalities and

differences between

stories set in

different cultures in

preparation for a

drama/theatre

work.

a. Research and

analyze two

different versions of

the same

drama/theatre story

to determine

differences and

similarities in the

visual and aural

world of each story

a. Research and

discuss how a

playwright might

have intended a

drama/theatre work

to be produced.

a. Research the story

elements of a staged

drama/theatre work

and compare them

to another

production of the

same work.

a. Research how

other theatre artists

apply creative

processes to tell

stories in a devised

or scripted

drama/theatre

work, using theatre

research methods.

a. Formulate creative

choices for a devised or

scripted drama/theatre

work based on theatre

research about the

selected topic.

a. Justify the

creative choices

made in a devised or

scripted

drama/theatre

work, based on a

critical

interpretation of

specific data from

theatre research.

b. With prompting

and support, tell a

short story in

dramatic play or a

guided drama

experience (e.g.,


drama, creative

drama).

b. With prompting

and support, tell a

short story in

dramatic play or a

guided drama

experience (e.g.,


drama, creative

drama).

b. Collaborate on

the creation of a

short scene based

on a fictional literary

source in a guided

drama experience


story drama,

creative drama).

b. Collaborate on

the creation of a

short scene based

on a non-fiction

literary source in a

guided drama

experience (e.g.,


drama, creative

drama)

b. Examine how

artists have

historically

presented the same

stories using

different art forms,

genres, or

drama/theatre

conventions.

b. Compare the

drama/theatre

conventions of a

given time period

with those of the

present.

b. Identify historical

sources that explain

drama/theatre

terminology and

conventions.

b. Investigate the

time period and

place of a

drama/theatre work

to better understand

performance and

design choices.

b. Examine artifacts

from a time period

and geographic

location to better

understand

performance and

design choices in a

drama/theatre

work.

b. Identify and use

artifacts from a time

period and place to

develop

performance and

design choices in a

drama/theatre

work.

b. Use basic theatre

research methods to

better understand

the social and

cultural background

of a drama/theatre

work.

b. Explore how personal

beliefs and biases can

affect the interpretation

of research data applied

in drama/theatre work.

b. Present and

support an opinion

about the social,

cultural, and

historical

understandings of a

drama/theatre

work, based on

critical research.

National

Standards

TH:Cn11.2.PK TH:Cn11.2.K TH:Cn11.2.1 TH:Cn11.2.2 TH:Cn11.2.3 TH:Cn11.2.4 TH:Cn11.2.5 TH:Cn11.2.6 TH:Cn11.2.7 TH:Cn11.2.8 TH: Cn11.2.I TH: Cn11.2.II TH: Cn11.2.III

Content

Standards

CA1, CA5, CA6, CA7

FA3, FA4, FA5

CA1, CA5, CA6, CA7

FA1, FA2

CA1, CA5, CA6, CA7FA2, FA3, FA4

CA1, CA5, CA6, CA7


CA1, CA5, CA6, CA7




CA7 FA4, FA5 CA1, CA6, CA7

FA3, FA4, FA5

CA6, CA7 SS6

FA3, FA4, FA5


SS5, SS6

FA2, FA3, FA5







Process

Standards

1.1, 1.5, 1.6, 1.7, 1.8,

1.9, 1.10, 2.1, 2.2, 3.2,

3.3. 4.1

1.1, 1.6, 1.9, 1.10, 2.4,

3.2, 3.3, 4.1

1.1, 1.6, 1.7, 1.9, 1.10,

2.3, 2.4, 3.2, 3.6, 4.1

1.1, 1.6, 1.7, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

3.1, 3.2, 3.3, 3.6, 4.1

1.1, 1.6, 1.7, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

3.1, 3.2, 3.6, 4.1

1.1, 1.5, 1.6, 1.7, 1.9,

1.10, 2.3, 2.4, 3.1, 3.2,

3.3, 3.4, 3.5, 3.6, 4.1

1.9, 1.10, 2.3, 2.4, 3.6,

4.1

1.9, 1.10, 2.3, 2.4, 3.6,

4.1

1.9, 1.10, 2.3, 2.4, 2.6,

2.7, 3.6, 3.7, 3.8, 4.1,

4.6

1.1, 1.4, 1.5, 1.6, 1.7,

1.9, 2.3, 2.4, 3.1, 3.2,

3.3, 3.6, 3.7, 4.1, 4.6

1.1, 1.2, 1.3, 1.4, 1.5,

1.6, 1.7, 1.8, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

2.6, 2.7, 3.1, 3.2, 3.3,

3.4, 3.5, 3.6, 3.7, 3.8,

4.1, 4.3, 4.4, 4.5, 4.6,

4.7, 4.8

1.1, 1.2, 1.3, 1.4, 1.5, 1.6,

1.7, 1.8, 1.9, 1.10, 2.1, 2.2,

2.3, 2.4, 2.5, 2.6, 2.7, 3.1,

3.2, 3.3, 3.4, 3.5, 3.6, 3.7,

3.8, 4.1, 4.3, 4.4, 4.5, 4.6,

4.7, 4.8

1.1, 1.2, 1.3, 1.4, 1.5,

1.6, 1.7, 1.8, 1.9, 1.10,

2.1, 2.2, 2.3, 2.4, 2.5,

2.6, 2.7, 3.1, 3.2, 3.3,

3.4, 3.5, 3.6, 3.7, 3.8,

4.1, 4.3, 4.4, 4.5, 4.6,

4.7, 4.8

Res

ear

ch11. Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding.

CONNECT

Enduring Understanding: Theatre artists critically inquire into the ways others have thought about and created drama processes and productions to inform their own work.

Essential Question: In what ways can research into theatre histories, theories, literature, and performances alter the way a drama process or production is understood?


Fine Arts - VISUAL ARTS

A. Grade PreK Grade K Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8 HS Proficient HS Accomplished HS Advanced

VA:Cr1A.pk VA:Cr1A.k VA:Cr1A.1 VA:Cr1A.2 VA:Cr1A.3 VA:Cr1A.4 VA:Cr1A.5 VA:Cr1A.6 VA:Cr1A.7 VA:Cr1A.8 VA:Cr1A.I VA:Cr1A.II VA:Cr1A.III

Engage in self-

directed play

with

materials

Engage in

exploration

and

imaginative

play with

materials.

Engage

collaborativel

y in

exploration

and

imaginative

play with

materials.

Brainstorm,

collaborativel

y, multiple

approaches

to an art or

design

problem.

Elaborate on

an

imaginative

idea

Brainstorm

multiple

approaches

to a creative

art or design

problem

Combine

ideas to

generate an

innovative

idea for art-

making.

Combine

concepts

collaborativel

y to generate

innovative

ideas for

creating art.

Apply

methods to

overcome

creative

blocks.

Document

early stages

of the

creative

process

visually

and/or

verbally in

traditional or

new media.

Use multiple

approaches

to begin

creative

endeavors.

Individually or

collaboratively

formulate new

creative

problems based

on student's

existing artwork.

Visualize and

hypothesize

to generate

plans for

ideas and

directions for

creating art

and design

that can

affect social

change.

National

Standards

VA:Cr1.1.PKa VA:Cr1.1.K VA:Cr1.1.1 VA:Cr1.1.2 VA:Cr1.1.3 VA:Cr1.1.4 VA:Cr1.1.5 VA:Cr1.1.6 VA:Cr1.1.7 VA:Cr1.1.8 VA: Cr1.1.I VA: Cr1.1.II VA: Cr1.1.III

Process

Standards

2.5 1.1 1.1 1.2 1.2 4.5 1.1 1.1 3.1 4.5 1.1:1.2 3.1 4.2

Content

Standards

FA1 FA1 FA1 FA1, FA2 FA1 FA1 FA1, FA2 FA1 FA1, FA2 FA1, FA2 FA1 FA1, FA2 FA1, FA2

CREATE

1. Generate and conceptualize artistic ideas and work.P

lay

& Id

eati

on

Enduring Understanding: Creativity and innovative thinking are essential life skills that can be developed.

Essential Question: What conditions, attitudes, and behaviors support creativityand innovative thinking? What factors prevent or encourage people to take creative risks? How

does collaboration expand the creative process?



B. Grade PreK Grade K Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8 HS Proficient HS Accomplished HS Advanced

VA:Cr1B.pk VA:Cr1B.k VA:Cr1B.1 VA:Cr1B.2 VA:Cr1B.3 VA:Cr1B.4 VA:Cr1B.5 VA:Cr1B.6 VA:Cr1B.7 VA:Cr1B.8 VA:Cr1B.I VA:Cr1B.II VA:Cr1B.III

Engage in self-

directed,

creative

making

Engage

collaborativel

y in creative

art-making in

response to

an artistic

problem.

Use

observation

and

investigation

in

preparation

for making a

work of art.

Make art or

design with

various

materials and

tools to

explore

personal

interests,

questions,

and curiosity.

Apply

knowledge of

available

resources,

tools, and

technologies

to investigate

personal

ideas through

the art-

making

process.

Collaborativel

y set goals

and create

artwork that

is meaningful

and has

purpose to

the makers.

Identify and

demonstrate

diverse

methods of

artistic

investigation

to choose an

approach for

beginning a

work of art.

Formulate an

artistic

investigation

of personally

relevant

content for

creating art.

Develop

criteria to

guide making

a work of art

or design to

meet an

identified

goal.

Collaborativel

y shape an

artistic

investigation

of an aspect

of present-

day life using

a

contemporar

y practice of

art or design.

Shape an

artistic

investigation

of an aspect

of present-

day life using

a

contemporar

y practice of

art or design.

Choose from a

range of

materials and

methods of

traditional

contemporary

artistic practices

to plan works of

art and design.

Choose from

a range of

materials and

methods of

traditional

and

contemporar

y artistic

practices,

following or

breaking

established

conventions,

to plan the

making of

multiple

works of art

and design

based on a

theme, idea,

or concept.

National

Standards

VA:Cr1.2.PKa VA:Cr1.2.K VA:Cr1.2.K VA:Cr1.2.K VA:Cr1.2.K VA:Cr1.2.K VA:Cr1.2.K VA:Cr1.2.6 VA:Cr1.2.7 VA:Cr1.2.8 VA:Cr1.2.l VA:Cr1.2.ll VA:Cr1.2.III

Process

Standards

2.5 3.1 3.1 1.2 1.2 2.3:2.5 1.1 1.2 4.5; 3.7 1.3 1.3 1.1:1.2 1.1:1.2

Content

Standards

FA1 FA1 FA1 FA1, FA2 FA1 FA1 FA1, FA2 FA1 FA1, FA2 FA1, FA2 FA1 FA1, FA2 FA1, FA2

CREATE

1. Generate and conceptualize artistic ideas and work.In

vest

igat

ion

Enduring Understanding: Artists and designers shape artistic investigations, following or breaking with traditions in pursuit of creative artmaking goals.

Essential Question: How does knowing the contexts histories, & traditions of art forms help us create works of art & design? Why do artists follow or break from established traditions?

How do artists determine what resources are needed to formulate artistic investigations.





Usa a variety

of art-making

tools

Through

experimentati

on, build skills

in various

media and

approaches

to art-

making.

Explore uses

of materials

and tools to

create works

of art or

design.

Experiment

with various

materials and

tools to

explore

personal

interests in a

work of art or

design

Create

personally

satisfying

artwork using

a variety of

artistic

processes and

materials.

Explore and

invent art-

making

techniques

and

approaches.

Experiment

and develop

skills in

multiple art-

making

techniques

and

approaches

through

practice.

Demonstrate

openness in

trying new

ideas,

materials,

methods, and

approaches in

making works

of art and

design.

Demonstrativ

e persistence

in developing

skills with

various

materials,

methods, and

approaches in

creating

works of art

or design.

Demonstrate

willingness to

experiment,

innovate, and

take risks to

pursue ideas,

forms and

meanings

that emerge

in the process

of art-making

or designing.

Engage in

making a

work of art or

design

without

having

preconceived

plan.

Through

experimentation,

practice and

persistence,

demonstrate

acquisition of

skills and

knowledge in a

chosen art form.

Experiment,

plan, and

make

multiple

works of art

and design

that explore a

personally

meaningful

theme, idea,

or concept.

National

Standards


Process

Standards

2.5, 3.1 1.1 1.1 1.1:1.2 1.2 1.2 1.2 1.2 1.2 1.2 1.1 1.1 1.2:1.3

Content

Standards

FA1 FA1 FA1 FA1, FA2 FA1 FA1 FA1 FA1, FA2 FA1, FA2 FA1, FA2 FA1 FA1, FA2 FA1, FA2

CREATE2. Organize and develop artistic ideas and work.

Skill

Acq

uis

itio

n

Enduring Understanding: Artists and designers experiment with forms, structures, materials, concepts, media, and art-making approaches.

Essential Question: How do artists work? How do artists and designers determine whether a particular direction in their work is effective? How do artists and designers learn from trial

and error?




VA:Cr2B.pk VA:Cr2B.k VA:Cr2B.1 VA:Cr2B.2 VA:Cr2B.3 VA:Cr2B.4 VA:Cr2B.5 VA:Cr2B.6 VA:Cr2B.7 VA:Cr2B.8 VA:Cr2B.I VA:Cr2B.II VA:Cr2B.III

Share

materials

with others

Identify safe

and non-toxic

art materials,

tools and

equipment.

Demonstrate

safe and

proper

procedures

for using

materials,

tools and

equipment

while making

art.

Demonstrate

safe

procedures

for using and

cleaning art

tools,

equipment,

and studio

spaces.

Demonstrate

an

understandin

g of the safe

and proficient

use of

materials,

tools, and

equipment

for a variety

of artistic

processes.

When making

works of art,

utilize and

care for

materials,

tools, and

equipment in

a manner

that prevents

danger to

oneself and

others.

Demonstrate

quality

craftsmanship

through care

for and use of

materials,

tools, and

equipment.

Explain

environmenta

l implications

of

conservation,

care, and

clean-up of

art materials,

tools and

equipment.

Demonstrativ

e awareness

of ethical

responsibility

to oneself

and others

when posting

and sharing

images and

other

materials

through the

Internet,

social media,

and other

communicati

on formats.

Demonstrate

awareness of

practices,

issues, and

ethics of

appropriation

, fair use,

copyright,

open source,

and creative

commons as

they apply to

creating

works of art

and design.

Explain how

traditional

and non-

traditional

materials may

impact

human health

and the

environment

and

demonstrate

safe handling

of materials,

tools and

equipment.

Demonstrate

awareness of

ethical

implications of

making and

distributing

creative work.

Demonstrate

understandin

g of the

importance of

balancing

freedom and

responsibility

in the use of

images,

materials,

tools, and

equipment in

the creation

and

circulation of

creative work.

National

Standards


Process

Standards

2.5 4.7 4.7 4.7 4.7 4.7 4.7 4.7 4.4:4.7 4.4:4.7 4.7 4.4 4.4

Content

Standards


CREATESa

fety

& E

thic

s

Essential Question: How do artists and designers care for & maintain materials, tools, & equipment? Why is it important for safety & health to understand & follow correct procedures

in handling materials & tools? What responsibilities come with the freedom to create?

Enduring Understanding: Artists and designers balance experimentation and safety, freedom and responsibility while developing and creating artworks.




C. Grade PreK Grade K Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8 HS Proficient HS Accomplished HS Advanced

VA:Cr2C.pk VA:Cr2C.k VA:Cr2C.1 VA:Cr2C.2 VA:Cr2C.3 VA:Cr2C.4 VA:Cr2C.5 VA:Cr2C.6 VA:Cr2C.7 VA:Cr2C.8 VA:Cr2C.I VA:Cr2C.II VA:Cr2C.III

Create and

tell about art

that

communicate

s a story

about a

familiar place

or object

Create art

that

represents

natural and

constructed

environments

.

Identify and

classify uses

of everyday

objects

through

drawings,

diagrams,

sculptures, or

other visual

means.

Repurpose

objects to

make

something

new.

Individually or

collaborativel

y construct

representatio

ns, diagrams,

or maps of

places that

are part of

everyday life.

Document,

describe, and

represent

regional

constructed

environments

.

Identify,

describe, and

visually

document

places and/or

objects of

personal

significance.

Design or

redesign

objects,

places, or

systems that

meet the

identified

needs of

diverse users.

Apply visual

organizational

strategies to

design and

produce a

work of art,

design, or

media that

clearly

communicate

s information

or ideas.

Select,

organize, and

design images

and words to

make visually

clear and

compelling

presentations

.

Collaborativel

y develop a

proposal for

an

installation,

artwork, or

space design

that

transforms

the

perception

and

experience of

a particular

place.

Redesign a

object, system,

place, or design

in response to

contemporary

issues.

Demonstrate

in works of

art or design

how visual

and material

culture

defines,

shapes,

enhances,

inhibits,

and/or

empowers

people's lives.

National

Standards


Process

Standards

2.1, 2.5 1.3 1.2:1.8 1.10 1.8 1.3 1.2:3.3 1.10 1.10 1.8 2.4 4.7 4.7

Content

Standards


CREATE

2. Organize and develop artistic ideas and work.C

reat

ing

Inte

ract

ion

s w

ith

Art

Enduring Understanding: People create and interact with objects, places, and design that define, shape, enhance, and empower their lives.Essential Question: How do objects, places, and design shape lives and communities? How do artists and designers determine goals for designing or redesigning objects, places, or systems? How do artists and designers create works of art or design that effectively communicate?





Share and

talk about

personal

artwork

Explain the

process of

making art

while

creating.

Use art

vocabulary to

describe

choices while

creating art.

Discuss and

reflect with

peers about

choices made

in creating

artwork.

Elaborate

visual

information

by adding

details in an

artwork to

enhance

emerging

meaning.

Revise

artwork in

progress on

the basis of

insights

gained

through peer

discussion.

Create artist

statements

using art

vocabulary to

describe

personal

choices in

artmaking.

Reflect on

whether

personal

artwork

conveys the

intended

meaning and

revise

accordingly.

Reflect on

and explain

important

information

about

personal

artwork in an

artist

statement or

another

format.

Apply

relevant

criteria to

examine,

reflect on,

and plan

revisions for a

work of art or

design in

progress.

Apply

relevant

criteria from

traditional

and

contemporar

y cultural

contexts to

examine,

reflect on,

and plan

revisions for

works of art

and design in

progress.

Engage in

constructive

critique with

peers, then

reflect on, re-

engage, revise,

and refine works

of art and design

in response to

personal artistic

vision.

Reflect on,

reengage,

revise, and

refine works

of art or

design

considering

relevant

traditional

and

contemporar

y criteria as

well as

personal

artistic vision.

National

Standards


Process

Standards

2.3, 2.5, 3.3 2.4 2.4 2.3 1.1 1.1:2.3 2.1:2.4 2.2 2.2 1.1 1.10 1.1:2.3 1.1:2.3

Content

Standards

FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3 FA1, FA2, FA3

3. Refine and complete artistic work.R

efle

ct -

Re

fin

e -

Co

nti

nu

e

Enduring Understanding: Artist and designers develop excellence through practice and constructive critique, reflecting on, revising, and refining work over time.

Essential Question: What role does persistence play in revising, refining, and developing work? How do artists grow and become accomplished in art forms? How

does collaboratively reflecting on a work help us experience it more completely?

CREATE




VA:Pr4A.pk VA:Pr4A.k VA:Pr4A.1 VA:Pr4A.2 VA:Pr4A.3 VA:Pr4A.4 VA:Pr4A.5 VA:Pr4A.6 VA:Pr4A.7 VA:Pr4A.8 VA:Pr4A.I VA:Pr4A.II VA:Pr4A.III

Itentify

reasons for

saving and

displaying

objects,

artifacts, and

artwork.

Select art

objects for

personal

portfolio and

display,

explaining

why they

were chosen.

Explain why

some objects,

artifacts, and

artwork are

valued over

others.

Categorize

artwork

based on a

theme or

concept for

an exhibit.

Investigate

and discuss

possibilities

and

limitations of

spaces,

including

electronic, for

exhibiting

artwork.

Analyze how

past, present,

and emerging

technologies

have

impacted the

preservation

and

presentation

of artwork.

Define the

roles and

responsibilitie

s of a curator,

explaining the

skills and

knowledge

needed in

preserving,

maintaining,

and

presenting

objects,

artifacts, and

artwork.

Analyze

similarities

and

differences

associated

with

preserving

and

presenting

two-

dimensional,

three-

dimensional,

and digital

artwork.

Compare and

contrast how

technologies

have changed

the way

artwork is

preserved,

presented

and

experienced.

Develop and

apply criteria

for evaluating

a collection of

artwork for

presentation.

Analyze,

select, and

curate

artifacts

and/or

artworks for

presentation

and

preservation.

Analyze, select,

and critique

personal artwork

for a collection

or portfolio

presentation.

Critique,

justify, and

present

choices in the

process of

analyzing,

selecting,

curating, and

presenting

artwork for a

specific

exhibit or

event.

National

Standards

VA:Pr4.1.PKa VA:Pr4.1.K VA:Pr4.1.1 VA:Pr4.1.2 VA:Pr4.1.3 VA:Pr4.1.4 VA:Pr4.1.5 VA:Pr4.1.6 VA:Pr4.1.7 VA:Pr4.1.8 VA: Pr4.1.I VA: Pr4.1.II VA: Pr4.1.III

Process

Standards

1.6, 1.8, 2.4 1.8 2.4 2.4 2.4 2.4 4.3 1.6:3.6 3.6 1.8:4.1 1.8:4.1 1.8:4.1 1.8:4.1; 3.8

Content

Standards

FA2, FA3 FA2, FA3 FA2, FA3 FA2, FA3 FA2, FA3 FA1, FA3, FA5 FA2,FA3, FA5 FA2, FA3, FA5 FA2, FA3, FA5 FA2, FA3 FA2, FA3, FA5 FA2, FA3 FA2, FA3, FA5

PRESENT4. Select, Analyze, and interpret artistic work for presentation.

Sele

ct

Enduring Understanding: Artists and other presenters consider various techniques, methods, venues, and criteria when analyzing, selecting, and curating objects artifacts, and artworks

for preservation and presentation.

Essential Question: How are artworks cared for and by whom? What criteria, methods, and processes are used to select work for preservation or presentation? Why do people value

objects, artifacts, and artworks, and select them for presentation?





Identify

places where

art may be

displayed or

saved.

Explain the

purpose of a

portfolio or

collection.

Ask and

answer

questions

such as

where, when,

why and how

artwork

should be

prepared for

presentation

or

preservation.

Distinguish

between

different

materials or

artistic

techniques

for preparing

artwork for

presentation.

Identify

exhibit space

and prepare

works of art

including

artists'

statements,

for

presentation.

Analyze the

various

consideration

s for

presenting

and

protecting art

in various

locations,

indoor or

outdoor

settings, in

temporary or

permanent

forms, and in

physical or

digital

formats.

Develop a

logical

argument for

safe and

effective use

of materials

and

techniques

for preparing

and

presenting

artwork.

Individually or

collaborativel

y, develop a

visual plan for

displaying

works of art,

analyzing

exhibit space,

the needs of

the viewer,

and the

layout of the

exhibit.

Based on

criteria,

analyze and

evaluate

methods for

preparing and

presenting

art.

Collaborativel

y prepare and

present

selected

theme-based

artwork for

display, and

formulate

exhibition

narratives for

the viewer.

Analyze and

evaluate the

reasons and

ways an

exhibition is

presented.

Evaluate, select

and apply

methods or

processes

appropriate to

display artwork

in a specific

place.

Investigate,

compare, and

contrast

methods for

preserving

and

protecting

art.

National

Standards


Process

Standards

2.4, 3.6, 4.1 1.8 4.1 1.6 1.8 : 2.1 3.6 2.4 1.8:2.1 4.1 2.4:3.6 2.4 4.1 4.1; 3.8

Content

Standards

FA1, FA3 FA1, FA3 FA3 FA2, FA3 FA1, FA3, FA5 FA1, FA4, FA5 FA1, FA2, FA3,

FA4, FA5

FA1, FA2 FA1, FA3, FA5 FA1, FA5 FA3, FA4, FA5 FA1, FA3, FA5 FA1, FA2, FA3

PRESENT5. Develop and refine artistic techniques and work for presentation.

An

alyz

e

Enduring Understanding: Artists, curators and others consider a variety of factors and methods including evolving technologies when preparing and refining artwork for display and or

when deciding if and how to preserve and protect it.

Essential Question: What methods and processes are considered when preparing artwork for presentation or preservation? How does refining artwork affect its meaning to the viewer?

What criteria are considered when selecting work for presentation, a portfolio, or a collection?





Identify

where art is

displayed

both inside

and outside

of school

Explain what

an art

museum is

and

distinguish

how an art

museum is

different from

other

buildings.

Identify the

roles and

responsibilitie

s of people

who work in

and visit

museums and

other art

venues.

Analyze how

art exhibited

inside and

outside of

schools (such

as in

museums,

galleries,

virtual spaces,

and other

venues)

contributes to

communities.

Identify and

explain how

and where

different

cultures

record and

illustrate

stories and

history of life

through art.

Compare and

contrast

purposes of

art museums,

art galleries,

and other

venues, as

well as the

types of

personal

experiences

they provide.

Cite evidence

about how an

exhibition in a

museum or

other venue

presents

ideas and

provides

information

about a

specific

concept or

topic

Assess,

explain, and

provide

evidence of

how

museums or

other venues

reflect history

and values of

a community.

Compare and

contrast

viewing and

experiencing

collections

and

exhibitions in

different

venues.

Analyze why

and how an

exhibition or

collection

may influence

ideas, beliefs,

and

experiences.

Analyze and

describe the

impact that

an exhibition

or collection

has on

personal

awareness of

social,

cultural, or

political

beliefs and

understandin

gs.

Make, explain,

and justify

connections

between artists

or artwork and

social, cultural,

and political

history.

Curate a

collection of

objects,

artifacts, or

artwork to

impact the

viewer’s

understandin

g of social,

cultural,

and/or

political

experiences.

National

Standards


Process

Standards

1.6, 2.4 1.6, 2.4 2.4 4.1 2.1, 2.4 1.6, 1.8 2.4 2.4 1.6, 1.8 4.1 2.4, 4.1 3.4, 3.6, 4.1 3.4, 3.6, 4.1

Content

Standards

FA3, FA5 FA3, FA5 FA4, FA5 FA3, FA4, FA5 FA3, FA5 FA3, FA4, FA5 FA3, FA4, FA5 FA3, FA4, FA5 FA3, FA4, FA5 FA3, FA4, FA5 FA3, FA4, FA5 FA3, FA4, FA5 FA1, FA2, FA3,

FA4, FA5

PRESENT6. Convey meaning through the presentation of artistic work.

Shar

e

Enduring Understanding: Objects, artifacts, and artworks collected, preserved, or presented either by artists, museums, or other venues communicate meaning and a record of social,

cultural, and political experiences resulting in the cultivating of appreciation and understanding.

Essential Question: What is an art museum? How does the presenting & sharing of objects, artifacts, & artworks influence & shape ideas, beliefs, & experiences? How do objects,

artifacts, & artworks collected, preserved, or presented, cultivate appreciation & understanding?




VA:Re7A.pk VA:Re7A.k VA:Re7A.1 VA:Re7A.2 VA:Re7A.3 VA:Re7A.4 VA:Re7A.5 VA:Re7A.6 VA:Re7A.7 VA:Re7A.8 VA:Re7A.I VA:Re7A.II VA:Re7A.III

Recognize art

in one's

environment.

Identify uses

of art within

one's

personal

environment.

Select and

describe

works of art

that illustrate

daily life

experiences

of one's self

and others.

Perceive and

describe

aesthetic

characteristic

s of one’s

natural world

and

constructed

environments

.

Speculate

about

processes an

artist uses to

create a work

of art.

Compare

responses to

a work of art

before and

after working

in similar

media.

Compare

one's own

interpretation

of a work of

art with the

interpretation

of others

Identify and

interpret

works of art

or design that

reveal how

people live

around the

world and

what they

value.

Explain how

the method

of display, the

location, and

the

experience of

an artwork

influence how

it is perceived

and valued.

Explain how a

person's

aesthetic

choices are

influenced by

culture and

environment

and impact

the visual

image that

one conveys

to others.

Hypothesize

ways in which

art influences

perception

and

understandin

g of human

experiences.

Recognize and

describe

personal

aesthetic and

empathic

responses to the

natural world

and constructed

environments.

Analyze how

responses to

art develop

over time

based on

knowledge of

and

experience

with art and

life.

National

Standards

VA:Re.7.1.PKa VA:Re7.1.K VA:Re7.1.1 VA:Re7.1.2 VA:Re7.1.3 VA:Re7.1.4 VA:Re7.1.5 VA:Re7.1.6 VA:Re7.1.7 VA:Re7.1.8 VA: Re7.1.I VA: Re7.1.II VA: Re7.1.III

Process

Standards

1.5 1.5 1.5 1.5 3.4 3.4 1.4 1.4 1.5 3.5 1.5 1.5 3.4

Content

Standards

FA3 FA3 FA3 FA3 FA3 FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA5

RESPOND7. Perceive and analyze artistic work.Enduring Understanding: Individual aesthetic and empathetic awareness developed through engagement with art can lead to understanding and appreciation of self, others, the natural

world, and constructed environments.

Essential Question: How do life experiences influence the way you relate to art? How does learning about art impact how we perceive the world? What can we learn from our responses

to art?

Per

ceiv

e




VA:Re7B.pk VA:Re7B.k VA:Re7B.1 VA:Re7B.2 VA:Re7B.3 VA:Re7B.4 VA:Re7B.5 VA:Re7B.6 VA:Re7B.7 VA:Re7B.8 VA:Re7B.I VA:Re7B.II VA:Re7B.III

Distinguish

between

images and

real objects

Describe

what an

image

represents.

Compare

images that

represent the

same subject.

Categorize

images based

on expressive

properties.

Determine

messages

communicate

d by an

image.

Analyze

components

in visual

imagery that

convey

messages.

Identify and

analyze

cultural

associations

suggested by

visual

imagery.

Analyze ways

that visual

components

and cultural

associations

suggested by

images

influence

ideas,

emotions,

and actions.

Analyze

multiple ways

that images

influence

specific

audiences.

Compare and

contrast

contexts and

media in

which viewers

encounter

images that

influence

ideas,

emotions,

and actions.

Analyze how

one's

understandin

g of the world

is affected by

experiencing

visual

imagery.

Evaluate the

effectiveness of

an image or

images to

influence ideas,

feelings and

behaviors of

specific

audiences.

Determine

the

commonalitie

s within a

group of

artists or

visual images

attributed to

a particular

type of art,

timeframe, or

culture.

National

Standards

VA:Re.7.2.Pka VA:Re7.2.K VA:Re7.2.1 VA:Re7.2.2 VA:Re7.2.3 VA:Re7.2.4 VA:Re7.2.5 VA:Re7.2.6 VA:Re7.2.7 VA:Re7.2.8 VA: Re7.2.I VA: Re7.2.II VA: Re7.2.III

Process

Standards

1.7 1.7 3.5 3.5 2.2 1.7 1.5 1.5 3.4 3.5 3.4 3.4 4.6

Content

Standards

FA 3 FA3 FA3 FA3 FA3 FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA5 FA3, FA5

Enduring Understanding: Visual imagery influences understanding of and responses to the world.

Essential Question: What is an image? Where and how do we encounter images in our world? How do images influence our views of the world?

RESPOND

7. Perceive and analyze artistic work.A

nal

yze





Interpret art

by identifying

and

describing

subject

matter.

Interpret art

by identifying

subject

matter and

describing

relevant

details.

Interpret art

by

categorizing

subject

matter and

identifying

the

characteristic

s of form.

Interpret art

by identifying

the mood

suggested by

a work of art

and

describing

relevant

subject

matter and

characteristic

s of form.

Interpret art

by analyzing

use of media

to create

subject

matter,

characteristic

s of form and

mood.

Interpret art

by referring

to contextual

information

and analyzing

relevant

subject

matter,

characteristic

s of form, and

use of media.

Interpret art

by analyzing

characteristic

s of form and

structure,

contextual

information,

subject

matter, visual

elements,

and use of

media to

identify ideas

and mood

conveyed

Interpret art

by

distinguishing

between

relevant and

non-relevant

contextual

information

and analyzing

subject

matter,

characteristic

s of form and

structure, and

use of media

to identify

ideas and

mood

conveyed.

Interpret art

by analyzing

art-making

approaches,

the

characteristic

s of form and

structure,

relevant

contextual

information,

subject

matter, and

use of media

to identify

ideas and

mood

conveyed.

Interpret art

by analyzing

how the

interaction of

subject

matter,

characteristic

s of form and

structure, use

of media, art-

making

approaches,

and relevant

contextual

information

contributes to

understandin

g messages or

ideas and

mood

conveyed.

Interpret an

artwork or

collection of

works,

supported by

relevant and

sufficient

evidence

found in the

work and its

various

contexts.

Identify types of

contextual

information

useful in the

process of

constructing

interpretations

of an artwork or

collection of

works.

Analyze

differing

interpretation

s of an

artwork or

collection of

works in

order to

select and

defend a

plausible

critical

analysis.

National

Standards

VA:Re8.1.Pka VA:Re8.1.K VA:Re8.1.1 VA:Re8.1.2 VA:Re8.1.3 VA:Re8.1.4 VA:Re8.1.5 VA:Re8.1.6 VA:Re8.1.7 VA:Re8.1.8 VA: Re8.1.9 VA: Re8.1.I0 VA: Re8.1.11

Process

Standards

1.5 1.5 1.5 1.5;2.2 1.5; 2.2 1.4 1.4 1.4;1.7 1.4;1.5 1.4; 1.5; 1.7 1.5 3.4; 3.5 2.2; 3.5

Content

Standards

FA 3 FA3 FA3 FA3 FA3 FA3 FA3 FA3 FA3 FA3 FA3 FA3 FA3


terp

ret

Enduring Understanding: People gain insights into meanings of artworks by engaging in the process of art criticism.

RESPOND

Essential Question: What is the value of engaging in the process of artcriticism? How can the viewer "read" a work of art as text? How does knowing and using visual art vocabularies

help us understand and interpret works of art?





Select a

preferred

artwork.

Explain

reasons for

selecting a

preferred

artwork.

Classify

artwork

based on

different

reasons for

preferences.

Use learned

art

vocabulary to

express

preferences

about

artwork.

Evaluate an

artwork

based on

given criteria.

Apply one set

of criteria to

evaluate

more than

one work of

art.

Recognize

differences in

criteria used

to evaluate

works of art

depending on

styles, genres,

and media as

well as

historical and

cultural

contexts.

Develop and

apply

relevant

criteria to

evaluate a

work of art.

Compare and

explain the

difference

between an

evaluation of

an artwork

based on

personal

criteria and

an evaluation

of an artwork

based on a

set of

established

criteria.

Create a

convincing

and logical

argument to

support an

evaluation of

art.

Establish

relevant

criteria in

order to

evaluate a

work of art or

collection of

works.

Determine the

relevance of

criteria used by

others to

evaluate a work

of art or

collection of

works.

Construct

evaluations of

a work of art

or collection

of works

based on

differing sets

of criteria.

National

Standards

VA:Re9.1.Pka VA:Re9.1.K VA:Re9.1.1 VA:Re9.1.2 VA:Re9.1.3 VA:Re9.1.4 VA:Re9.1.5 VA:Re9.1.6 VA:Re9.1.7 VA:Re9.1.8 VA: Re9.1.I VA: Re9.1.II VA: Re9.1.III

Process

Standards

1.4 1.5 3.5 3.5 1.7 1.7 3.5 1.7 2.2 2.2;3.5 3.4 4.6 3.5;4.6

Content

Standards

FA3 FA3 FA3 FA3 FA3 FA3 FA3, FA5 FA3 FA3, FA5 FA3 FA3 FA3, FA5 FA3

Enduring Understanding: People evaluate art based on various criteria.

Essential Question: How does one determine criteria to evaluate a work of art? How and why might criteria vary? How is a personal preference different from an evaluation?

RESPOND


alu

ate




VA:Cn10A.pk VA:Cn10A.k VA:Cn10A.1 VA:Cn10A.2 VA:Cn10A.3 VA:Cn10A.4 VA:Cn10A.5 VA:Cn10A.6 VA:Cn10A.7 VA:Cn10A.8 VA:Cn10A.I VA:Cn10A.II VA:Cn10A.III

Explore the

world using

descriptive

and

expressive

words and art-

making.

Create art

that tells a

story about a

life

experience.

Identify

times, places

and reasons

by which

students

make art

outside of

school.

Create works

of art about

events in

home, school,

or community

life.

Develop a

work of art

based on

observations

of

surroundings.

Create works

of art that

reflect

community

cultural

traditions.

Apply formal

and

conceptual

vocabularies

of art and

design to

view

surroundings

in new ways

through

artmaking.

Generate a

collection of

ideas

reflecting

current

interests and

concerns that

could be

investigated

in art-making.

Individually or

collaborativel

y create visual

documentatio

n of places

and times in

which people

gather to

make and

experience

art or design

in the

community.

Make art

collaborativel

y to reflect on

and reinforce

positive

aspects of

group

identity.

Document

the process of

developing

ideas from

early stages

to fully

elaborated

ideas.

Utilize inquiry

methods of

observation,

research, and

experimentation

to explore

unfamiliar

subjects through

artmaking.

Synthesize

knowledge of

social,

cultural,

historical, and

personal life

with art-

making

approaches

to create

meaningful

works of art

or design.

National

Standards

VA:Cn10.1.PKa VA:Cn10.1.K VA:Cn10.1.1 VA:Cn10.1.2 VA:Re7.1.3 VA:Re7.1.4 VA:Re7.1.5 VA:Cn10.1.6 VA:Cn10.1.7 VA:Cn10.1.8 VA:Cn10.1.I VA:Cn10.1.II VA:Cn10.1.III

Process

Standards

1.6, 2.7 2.7 1.6, 1.10 1.9, 2.3, 4.3 1.3, 1.9 1.9, 2.3, 4.3 1.6 1.6, 1.9 1.10:4.8 2.3, 4.1 3.2, 3.3 1.3,4.1 1.10, 2.7

Content

Standards

FA5 FA5 FA4, FA5 FA5 FA4, FA5 FA5 FA3, FA5 FA4, FA5 FA4, FA5 FA4, FA5 FA3, FA3, FA4 FA3, FA4, FA5

CONNECT

10. Synthesize and relate knowledge and personal experiences to make art.Sy

nth

esiz

e

Enduring Understanding: Through art-making, people make meaning by investigating and developing awareness of perceptions, knowledge, and experiences.

Essential Question: How does engaging in creating art enrich people's lives? How does making art attune people to their surroundings? How do people contribute to awareness and

understanding of their lives and the lives of their communities through art-making?




VA:Cn11A.pk VA:Cn11A.k VA:Cn11A.1 VA:Cn11A.2 VA:Cn11A.3 VA:Cn11A.4 VA:Cn11A.5 VA:Cn11A.6 VA:Cn11A.7 VA:Cn11A.8 VA:Cn11A.I VA:Cn11A.II VA:Cn11A.III

Recognize

that people

make art.

Identify a

purpose of an

artwork.

Understand

that people

from different

places and

times have

made art for

a variety of

reasons.

Compare and

contrast

cultural uses

of artwork

from different

times and

places.

Recognize

that

responses to

art change

depending on

knowledge of

the time and

place in which

it was made.

Through

observation,

infer

information

about time,

place, and

culture in

which a work

of art was

created.

Identify how

art is used to

inform or

change

beliefs,

values, or

behaviors of

an individual

or society.

Analyze how

art reflects

changing

times,

traditions,

resources,

and cultural

uses.

Analyze how

response to

art is

influenced by

understandin

g the time

and place in

which it was

created, the

available

resources,

and cultural

uses.

Distinguish

different

ways art is

used to

represent,

establish,

reinforce, and

reflect group

identity.

Describe how

knowledge of

culture,

traditions,

and history

may influence

personal

responses to

art.

Compare uses of

art in a variety of

societal, cultural

and historical

contexts and

make

connections to

uses of art in

contemporary

and local

contexts.

Appraise the

impact of an

artist or a

group of

artists on the

beliefs,

values, and

behaviors of a

society.

National

Standards

VA:Cn11.1.Pka VA:Cn11.1.K VA:Cn11.1.1 VA:Cn11.1.2 VA:Cn11.1.3 VA:Cn11.1.4 VA:Cn11.1.5 VA:Cn11.1.6 VA:Cn11.1.7 VA:Cn11.1.8 VA: Cn11.1.I VA: Cn11.1.II VA: Cn11.1.III

Process

Standards

1.3 4.1 1.9:4.8 1.9 2.3 1.9 2.3 1.9 1.6:1.9 1.9:2.3 1.9 1.6 4.1

Content

Standards

FA5 FA5 FA4, FA5 FA4, FA5 FA4, FA5 FA4, FA5 FA4, FA5 FA4, FA5 FA4, FA5 FA4, FA5 FA4, FA5 FA4, FA5 FA4, FA5

CONNECT

11. Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding.R

elat

e

Enduring Understanding: People develop ideas and understandings of society, culture, and history through their interactions with and analysis of art.

Essential Question: How does art help us understand the lives of people of different times, places, and cultures? How is art used to impact the views of a society? How

does art preserve aspects of life?


Fine Arts Grade Level Expectations

GLOSSARY

March 2019


DANCE GLOSSARY To be literate in the arts, students need specific knowledge and skills in a particular arts discipline to a degree that allows for fluency and deep understanding. In dance, this means discovering the expressive elements of dance; knowing the terminology that is used to comprehend dance; having a clear sense of embodying dance; and being able to reflect, critique, and connect personal experience to dance.

Aesthetic: a set of principles concerned with the nature and appreciation of beauty.

Alignment: the process of adjusting the skeletal and muscular system to gravity to support effective functionality.

Alternative performance venue: a performance site other than a standard Western style theater (for example, classroom, site specific venue, or natural environment).

Anatomical: principles the way the human body's skeletal, muscular and vascular systems work separately and in coordination artistic criteria aspects of craft and skill used to fulfill artistic intent.

Artistic expression: the manifestations of artistic intent though dance, drama music, poetry, fiction, painting, sculpture or other artistic media. In dance, this involves the dance and the dancers within a context. artistic intent the purpose, main idea, and expressive or communicative goals(s) of a dance composition study, work, or performance.

Artistic statement: an artist’s verbal or written introduction of their work from their own

perspective to convey the deeper meaning or purpose.

Body patterning: neuromuscular patterns (for example, core-distal, head-tail, homologous [upper-lower], homo-lateral [same-side], cross-lateral [crossing the body midline]).

Body-mind principles: concepts explored and/or employed to support body-mind connections (for example, breath, awareness of the environment, grounding, movement initiation, use of imagery, intention, inner-outer, stability-mobility).

Body-use: the ways in which movement patterns and body parts are used in movement and dance practice; descriptive method of identifying patterns bound movement an “effort element”

Choreographic devices: from Laban Movement Analysis in which energy flow is constricted.

Capstone Project: a culminating performance-based assessment that determines what 12th graders should know and be able to do in various educational disciplines; usually based on research and the development of a major product or project that is an extension of the research.


Choreographic Devices: manipulation of dance movement, sequences or phrases (repetition, inversion, accumulation, cannon, retrograde, call and response).

Codified movement: common motion or motions set in a particular style that often have specific names and expectations associated with it.

context cues: information obtained from the dance that helps one understand or comprehend meaning and intent from a movement, group of movements, or a dance as a whole; requires seeing relationships between movements and making inferences about the meaning or intent often gleaned from visual, auditory, or sensory stimuli.

Contrapuntal: an adjective that describes the noun counterpoint; music that has at least two melodic lines (voices) played simultaneously against each other; in dance, at least two movement patterns, sequences or phrases danced simultaneously using different body parts or performed by different dancers.

cultural movement: practice physical movements of a dance that are associated with a particular country, community, or people.

dance literacy: the total experience of dance learning that includes the doing and knowing about dance: dance skills and techniques, dance making, knowledge and understanding of dance vocabulary, dance history, dance from different cultures, dance genres, repertory, performers and choreographers, dance companies, and dance notation and preservation.

dance movement principles: fundamentals related to the craft and skill with which dance movement is performed (for example, the use of dynamic alignment, breath support, core support, rotation, initiation and sequencing, and weight shift).

dance phrase: a brief sequence of related movements that have a sense of continuity and artistic or rhythmic completion.

dance structures: the organization of choreography and movement to fulfill the artistic intent of a dance or dance study (for example, AB, ABA or theme and variation); often referred to as choreographic form.

dance study: a short dance that is comprised of several dance phrases based on an artistic idea.

dance techniques: the tools and skills needed to produce a particular style of movement.

Dance terminology: Vocabulary used to describe dance and dance experiences: Simple dance terminology (Tier 1/PreK-2): Basic pedestrian language (for example,

locomotor words walk, run, tip-toe, slither, roll, crawl, jump, march, and gallop; and non-locomotor words, bend, twist, turn, open and close).


Basic dance terminology (Tier 2/grades 3-5): Vocabulary used to describe dance movement techniques, structures, works, and experiences that are widely shared in the field of dance (for example, stage terminology, compositional vocabulary, language defining dance structures and devices, anatomical references, dance techniques such as alignment or “line”).

Genre-specific dance terminology (Tier 3/grades 6 up): Words used to describe movement within specific dance forms ballet, contemporary, culturally-specific dance, funk, hip-hop, jazz, modern, tap, and others (for example, in Polynesian dance (Hula), auwana, kahiko, halau, kaholo, uwehe, ami); in ballet: glissade, pas de bouree, pas de chat, arabesque; in jazz: kick ball change, pencil turn, jazz walk, jazz run; in modern: contraction, triplets, spiral, pivot turn; and in tap: shufflestep, cramp roll, riff, wing, time step.

Dance work: A complete dance that has a beginning, middle (development), and end .

Dynamics: The qualities or characteristics of movement which lend expression and style; also called “efforts,” or “energy (for example, lyrical, sustained, quick, light, or strong) .

Elements of dance: The key components of movement; movement of the body using space, time, and energy; often referred to as the elements of movement; see Elements of Dance Organizer by Perpich Center for Arts Education (used with permission).

Embody: To physicalize a movement, concept, or idea throughout the body .

Energy: The dynamic quality, force attach, weight, and flow of movement.

Evaluative Criteria: The definition of values and characteristics with which dance can be assessed; factors to be considered to attain an aesthetically satisfying dance composition or performance.

Explore: Investigate multiple movement possibilities to learn more about an idea.

Free flowing movement: An “effort element” from Laban Movement Analysis in which energy

is continuous.

Functional alignment: The organization of the skeleton and musculature in a relationship to gravity that supports safe and efficient movement while dancing.

General Space: Spatial orientation that is not focused towards one area of a studio or stage .

Genre: A category of dance characterized by similarities in form, style, purpose, or subject matter (for example, ballet, hip hop, modern, ballroom, cultural practices).

Kinesthetic awareness: Pertaining to sensations and understanding of bodily movement.


Locomotor: Movement that travels from one location to another or in a pathway through space (for example, in PreK, walk, run, tip-toe, slither, roll, crawl, jump, march, gallop; in Kindergarten, the addition of prance, hop, skip, slide, leap) .

Movement Characteristics: The qualities, elements, or dynamics that describe or define a movement.

Movement phrase: A brief sequence of related movements that have a sense of continuity and artistic or rhythmic completion.

Movement problem: A specific focus that requires one find a solution and complete a task; gives direction and exploration in composition.

Movement vocabulary: Codified or personal movement characteristics that define a movement style.

Negative space: The area (space) around and between the dancer(s) or dance images(s) in a dance.

Non-locomotor: Movement that remains in place; movement that does not travel from one location to another or in a pathway through space for example, in PreK, bend, twist, turn, open, close; in Kindergarten, swing, sway, spin, reach, pull).

Performance etiquette: Performance values and expected behaviors when rehearsing or performing (for instance, no talking while the dance is in progress, no chewing gum, neat and appropriate appearance, dancers do not call out to audience members who are friends).

Personal space: The area of space directly surrounding one’s body extending as far as a

person can reach; also called the kinesphere.

Polyrhythmic: In music, several rhythms layered on top of one another and played simultaneously; in dance, embodying several rhythms simultaneously in different body parts.

Production elements: Aspects of performance that produce theatrical effects (for example, costumes, make up, sound, lighting, props).

Production terminology: Words commonly used to refer to the stage, performance setting, or theatrical aspects of dance presentation.

Rhythm: The patterning or structuring of time through movement or sound.

See.Think.Wonder: An inquiry-based instructional strategy used for critical analysis from Harvard Project Zero, in which children respond to simple questions (What do you see? What


do you think? What do you wonder?) which enable a child to begin make meaning from an observed (dance) work of art .

Sound Environment: Sound accompaniment for dancing other than music (for example, street noise, ocean surf, bird calls, spoken word).

Space: Components of dance involving direction, pathways, facings, levels, shapes, and design; the location where a dance takes place; the element of dance referring to the cubic area of a room, on a stage, or in other environments.

Spatial design: Pre-determined use of directions, levels, pathways, formations, and body shapes.

Stimuli: A thing or event that inspires action, feeling, or thought.

Style: Dance that has specific movement characteristics, qualities, or principles that give it distinctive identity (for example, Graham technique is a style of Modern Dance; rhythm tap is a style of Percussive Dance; Macedonian folk dance is a style of International Folk dance; Congolese dance is a style of African Dance).

Technical dance skills: Is the degree of physical proficiency a dancer achieves within a dance style or technique (for example, coordination, form, strength, speed and range).

Tempi: Different paces or speeds of music, or underlying beats or pulses, used in a dance work or composition (singular: tempo).

Tempo: The pace or speed of a pulse or beat underlying music or movement (plural: tempi or tempos).

Theme: A dance idea that is stated choreographically.


MEDIA ARTS GLOSSARY

The media arts include cinematic arts (film/video), animation, imaging, sound design, graphic design, virtual design, interactive design, as well as multimedia and intermedia. Elements of Media Arts include image, sound, space, motion, time, and sequence. By creating, presenting, responding, and connecting within media arts, students engage in critical media literacy. Media Arts allow students to understand and respond to visual representations, and think critically about bias, perspective and intent. Media Arts embolden students to responsibly participate in media environments (i.e. social media, gaming, radio, mass communications, virtual reality, augmented reality, etc.). Lastly, Media Arts grant students the necessary fluencies to read/decode media art works, as well as to create/encode new original stories that are executed in a range of media art formats.

Aesthetic Criteria: Standards upon which judgements are made about the artistic merit of a work of art.

Attention: Principle of directing perception through sensory and conceptual impact

Audience: Listeners and viewers of an “event”

Augmented Reality: A technology that superimposes a computer-generated image on a user's view of the real world, thus providing a composite view. It is the integration of added digital information with the user’s environment in real time. Unlike virtual reality, which creates a totally artificial environment, augmented reality uses the existing environment and overlays new information on top of it.

Balance: Principle of the equitable and/or dynamic distribution of items in a media arts composition or structure for aesthetic meaning, as in a visual frame, or within game architecture

Components: The discrete portions and aspects of media artworks, including: elements, principles, processes, parts, assemblies, etc., such as: light, sound, space, time, shot, clip, scene, sequence, movie, narrative, lighting, cinematography, interactivity, etc.

Composition: Principle of arrangement and balancing of components of a work for meaning and Message

Constraints: Limitations on what is possible, both real and perceived

Contrast: Principle of using the difference between items, such as elements, qualities and components, to mutually complement them


Continuity: The maintenance of uninterrupted flow, continuous action or self-consistent detail across the various scenes or components of a media artwork, i.e. game components, branding, movie timeline, series, etc.

Context: The situation surrounding the creation or experience of media artworks that influences the work, artist or audience. This can include how, where, and when media experiences take place, as well as additional internal and external factors (personal, societal, cultural, historical, physical, virtual, economic, systemic, etc)

Convention: An established, common, or predictable rule, method, or practice within media arts production, such as the notion of a ‘hero’ in storytelling

Copyright: The exclusive right to make copies, license, and otherwise exploit a produced work

Digital Identity: How one is presented, perceived and recorded online, including personal and collective information and sites, e-communications, commercial tracking, etc

Distribution: Is the action of sharing, delivering, or transferring media content such as audio, video, software and video games across a variety of platforms. The term is generally used to describe distribution over an online delivery platform, such as the Internet, but it could also include print media, servers, compact discs, and videocassettes.

Divergent Thinking: Unique, original, uncommon, idiosyncratic ideas; thinking “outside of the

box”

Design Thinking: A cognitive methodology that promotes innovative problem solving through the prototyping and testing process commonly used in design

Emphasis: Principle of giving greater compositional strength to a particular element or component in a media artwork

Ethics: Moral guidelines and philosophical principles for determining appropriate behavior within media arts environments

Exaggeration: Principle of pushing a media arts element or component into an extreme for provocation, attention, contrast, as seen in character, voice, mood, message, etc.

Experiential Design: Area of media arts wherein interactive, immersive spaces and activities are created for the user; associated with entertainment design

Fairness: Complying with appropriate, ethical and equitable rules and guidelines

Fair Use: Permits limited use of copyrighted material without acquiring permission from the rights holders, including commentary, search engines, criticism, etc.


Force: Principle of energy or amplitude within an element, such as the speed and impact of a character’s motion

Generative Methods: Various inventive techniques for creating new ideas and models, such as brainstorming, play, open exploration, experimentation, inverting assumptions, rule bending, etc.

Hybridization: Principle of combining two existing media forms to create new and original forms, such as merging theatre and multimedia

*Image: Image refers to what we view within a given frame, in either the natural or constructedenvironment. Composition, light and color are important aspects of the image that can bedeliberately manipulated for specific expressive and communication purposes. Changes inattributes of color, such as hue, saturation, brightness, contrast and type of light (natural orartificial), influence emotions or perceptions. Attributes of light that affect the image includecontrast, hardness or softness, direction and amount. The composition of the image is definedby the elements of visual arts (line, shape, form, texture, depth). In addition, the characteristic ofthe lens affects the composition through focal length, depth of field and focus.

Imaging: Refers to the electronic form of capturing and displaying images through the single or combined used of computers, digital cameras, scanners, editing software, drawing and painting software, electronic tablets, printers, new media, and emerging technologies.

Interactivity: A diverse range of articulating capabilities between media arts components, such as user, audience, sensory elements, etc, that allow for inputs and outputs of responsive connectivity via sensors, triggers, interfaces, etc., and may be used to obtain data, commands, or information and may relay immediate feedback, or other communications; contains unique sets of aesthetic principles.

Juxtaposition: Placing greatly contrasting items together for effect.

Legal:The legislated parameters and protocols of media arts systems, including user agreements, publicity releases, copyright, etc.

Manage Audience Experience: The act of designing and forming user sensory episodes through multi-sensory captivation, such as using sequences of moving image and sound to maintain and carry the viewer’s attention, or constructing thematic spaces in virtual or experiential design.

Markets: The various commercial and informational channels and forums for media artworks, such as T.V., radio, internet, fine arts, non-profit, communications, etc.

Media Arts Contexts: The diverse locations and circumstances of media arts, including its markets, networks, technologies and vocations.


Media Environments: Spaces, contexts and situations where media artworks are produced and experienced, such as in theaters, production studios and online.

Media Literacy: A series of communication competencies, including the ability to access, analyze, evaluate, and communicate information in a variety of forms, including print and non-print messages.

Media Messages: The various artistic, emotional, expressive, prosaic, commercial, utilitarian and informational communications of media artworks.

Meaning: The formulation of significance and purposefulness in media artworks

Modeling or Concept Modeling: Creating a digital or physical representation or sketch of an idea, usually for testing; prototyping.

*Motion: Motion is articulated by action in front of the camera, the camera itself, editing,transitions, lens zoom or focus, and animation. In photography, the illusion of motion isconstructed with the shutter speed to blur the image or stop the action.

Movement: Principle of motion of diverse items within media artworks.

Multimodal Perception: The coordinated and synchronized integration of multiple sensory systems (vision, touch, auditory, etc.) in media artworks.

Multimedia Theatre: The combination of live theatre elements and digital media (sound, projections, video, etc.) into a unified production for a live audience.

Narrative Structure: The framework for a story, usually consisting of an arc of beginning, conflict and resolution.

Personal Aesthetic: An individually formed, idiosyncratic style or manner of expressing oneself; an artist’s “voice”.

Perspective: Principle pertaining to the method of three-dimensional rendering, point-of-view, and angle of composition.

Pitching: A proposal for a media art work, such as a film.

Point of View: The position from which something or someone is observed; the position of the narrator in relation to the story, as indicated by the narrator's outlook from which the events are depicted and by the attitude toward the characters.

Positioning: The principle of placement or arrangement.


Production Processes: The diverse processes, procedures, or steps used to carry out the construction of a media artwork, such as prototyping, playtesting, and architecture construction in game design.

Prototyping: Creating a testable version, sketch or model of a media artwork, such as a game, character, website, application, etc.

Resisting Closure: Delaying completion of an idea, process or production, or persistently extending the process of refinement, towards greater creative solutions or technical perfection.

Responsive Use of Failure: Incorporating errors towards persistent improvement of an idea, technique, process or product.

Rules (see legal): The laws, or guidelines for appropriate behavior; protocols.

Safety: Maintaining proper behavior for the welfare of self and others in handling equipment and interacting with media arts environments and groups.

Sketches: Quick, rough drawing/plan without much detail that can be used as a plan for later work.

Soft Skills: Diverse organizational and management skills, useful to employment, such as collaboration, planning, adaptability, communication, etc.

*Sequence: Sequence is the ordering of images and sounds in the process of scripting,capturing, and editing through conventions of narrative, rhetoric and association.

*Sound: Sound (dialogue, music, voice-over and sound effects) has five basic functions:information, outer orientation (environment), inner orientation (mood), energy (emotion), andstructure.The formal elements of audio are: volume, mix, density, rhythm, tempo, spatialacoustics, and pitch.

*Space: Space in the image is structured by aspect ratio (frame dimension), object, and imagesize. Space is defined by the direction and movement of the lines in the composition within theframe, object framing, and balance. Height, width and depth are created through the use ofcamera position and action. Depth can be manipulated through the characteristics of lenses,motion within the frame, graphics, and text.The sense of space can be modified by soundthrough mixing and panning.

Story: A sequence of events which unfold through time..


Storyboarding: The act of creating a graphic organizer in the form of illustrations or images displayed in sequence for the purpose of pre-visualizing a film, animation, or interactive media sequence.

Stylistic convention: A common, familiar, or even “formulaic” presentation form, style,

technique or construct, such as the use of tension building techniques in a suspense film.

Systematic Communications: Socially or technologically organized and higher-order media arts communications such as networked multimedia, television formats and broadcasts, “viral”

videos, social multimedia (e.g. “vine” videos), remixes, transmedia, etc.

System(s): The complex and diverse technological structures and contexts for media arts production, funding, distribution, viewing, and archiving.

Technological: The mechanical aspects and contexts of media arts production, including hardware, software, networks, code, etc.

Theme: The central, prominent idea or subject in a media artwork.

*Time: Time may be expanded or contracted, slowed down or speeded up.The viewer’s

experience of the passage of time is determined through capturing and editing.The pace of thepiece may be consistent or varied. In photography, time is controlled with the use of the shutterspeed. Rhythm and tempo in sound is manipulated to construct meaning. In interactive media,time is subjective because of the non-linear selection process.

Tone: Principle of “color”, “texture” or “feel” of a media arts element or component, as for sound, lighting, mood, sequence, etc.

Transdisciplinary Production: Accessing multiple disciplines during the conception and production processes of media creation, and using new connections or ideas that emerge to inform the work

Transmedia Production: Communicating a narrative and/or theme over multiple media platforms, while adapting the style and structure of each story component to the unique qualities of the platforms

Unity: A combination of individual components to be viewed as a whole, which complement each other and create coherence, such as by organizing elements of media arts - image, sound, space, motion, time, and sequence to create a wide range of effects.

Virtual Channels: Network based presentation platforms such as: Youtube, Vimeo, Deviantart, etc.

Virtual Worlds: Online, digital, or synthetic environments (e.g. Minecraft, Second Life)


Vocational: The workforce aspects and contexts of media arts


MUSIC GLOSSARY

Music education means more than singing, playing or listening to music. Musical arts cover areas such as: composing, arranging, analyzing, notating, performing, improvising, evaluating, recording, and technology. Music encompasses innumerable genres ranging from Classical Music to Pop Music and types of music extending from Alternative Music to Reggae and from Opera to World Music.

Music education is a vital component of K-12 education today and is an essential avenue for fostering meaning in life, growing in understanding of the self and others, as well as affording opportunities for self-expression. By its very nature, music promotes empathy, compassion, sympathy, creativity, and imagination to name a few of the qualities that make us more human.

To educate the capacity to feel, via music, has become ever more important in this technological age, lest we forget what truly makes us human. Researcher’s results have concluded that emotions have intelligence and provide the rational brain with an enhanced means for interpreting life. Music plays a dynamic role in young people’s lives and for many, gives them a reason to come to school, be engaged in learning, and provides them with a place to belong.

The revised GLEs are adapted from the National Core Arts Standards. The benefit of having broad concept standards focused on the framework of four artistic processes, allows decision-makers from teachers, to superintendents, to parents to have the flexibility to customize a curriculum that is appropriate for their particular circumstances and students.

AB: musical form consisting of two sections, A and B, which contrast with each other (binary form).

ABA: musical form consisting of three sections, A, B, and A; two are the same, and the middle one is different (ternary form).

Ability: natural aptitude in specific skills and processes; what the student is apt to do, without formal instruction.

Academic vocabulary: words that traditionally are used in academic dialogue and text.

Accent: to place emphasis on a specific note.

Accompaniment: the musical background for a principal part or parts.


Acoustic: not electric, especially with reference to the guitar or double bass.

Analog tools: Category of musical instruments and tools that are non-digital (i.e., do not transfer sound in or convert sound into binary code), such as acoustic instruments, microphones, monitors and speakers.

Analysis: (see Analyze)

Analyze: examine in detail the structure and context of the music.

Arrangement: setting or adaptation of an existing musical composition.

Arranger: person who creates alternative settings or adaptations of existing music.

Articulation: characteristic way in which musical tones are connected, separated, or accented; types of articulation include legato (smooth, connected tones) and staccato (short, detached tones).

Artistic literacy: knowledge and understanding required to participate authentically in the arts.

Atonality: music in which no tonic or key center is apparent.

Audiate: hear and comprehend sounds in one’s head (inner hearing), even when no

sound is present.

Aural: a skill by which musicians learn to identify, solely by hearing, pitches, intervals,

melody, chords, rhythms, and other basic elements of music.

Audience etiquette: social behavior observed by those attending musical performances and which can vary depending upon the type of music performed.

Balance: The relative level of two or more instruments, voices, or sounds that blend well dynamically to the ear.

Beat: underlying steady pulse present in most music.

Benchmark: pre-established definition of an achievement level, designed to help measure student progress toward a goal or standard, expressed wither in writing or as an example of scored student work (aka, anchor set).


Binary form: (see AB above).

Blend: Merging the sounds of two different instruments or voices in such a way that they produce a sound more interesting than the sum of their parts.

Body percussion: use of the human body as an instrument to create percussive/rhythmic sounds such as stomping, patsching (patting thighs), clapping, clicking, snapping.

Bordun: accompaniment created by sounding two tones, five notes apart, continuously throughout a composition; can be performed in varying ways, such as simultaneously or alternating.

Canon: a composition for two or more voices in which one voice enters after another in exact imitation of the first. A round is the simplest type of canon.

Chamber ensemble: A musical ensemble of modest size, to play chamber music; can

be more specifically named after its number (from duo to nonet) and/or type(s) (e.g.

wood, brass, strings) of instruments.

Chant: most commonly, the rhythmic recitation of rhymes, or poems without a sung melody; a type of singing, with a simple, unaccompanied melody line and free rhythm.

Chart: jazz or popular music score, often abbreviated, with a melody (including key and time signature) and a set of chord changes.

Choir: a group of singers organized and trained to sing together.

Chord: three or more pitches sounded simultaneously or functioning as if sounded simultaneously.

Chord progression: series of chords sounding in succession; certain progressions are typical in particular styles/genres of music.

Classical music: refers to a style of art music as distinguished from folk, jazz, or popular music.

Clef: sign placed at the beginning of a staff to indicate the position of some particular pitch, and by extension, the pitches represented by all of the staff's lines and spaces.


Coda: any concluding passage that can be understood as occurring after the structural conclusion of a work and that serves as a formal closing gesture.

Collaboratively: working together on a common (musical) task or goal.

Collaboratively-developed criteria: qualities or traits for assessing achievement level that have been through a process of collective decision-making.

Complex formal structure: musical form in which rhythmic, melodic, harmonic, and/or other musical materials undergo significant expansion and development, and may be more distantly related across sections while remaining coherent in some way, such as sonata or other novel design with three or more sections.

Composer: one who creates music compositions.

Composition: original piece of music that can be repeated, typically developed over time and preserved either in notation or in a sound recording.

Compositional devices: tools used by a composer or arranger to create or organize a composition or arrangement, such as tonality, sequence, repetition, instrumentation, orchestration, harmonic/melodic structure, style and form.

Compositional procedures: techniques that a composer initiates and continues in pieces to develop musical ideas, such as fragmentation, imitation, sequencing, variation, aggregate completion, registral saturation, contour inversion of gestures, and rhythmic phrasing.

Compositional techniques: approaches a composer used to manipulate and refine the elements to convey meaning and intent in a composition, such as tension-release, augmentation-diminution, sound-silence, motion-stasis, in addition to compositional devices.

Concepts, music: understandings or generalized ideas about music that are formed after learners make connections and determine relationships among ideas.

Conductor: person who leads a musical group.

Connection: relationship among artistic ideas, personal meaning, and/or external context.


Context: environment that surrounds music, influences understanding, provides meaning, and connects to an event or occurrence.

Context, cultural: values, beliefs, and traditions of a group of people that influence musical meaning and inform culturally authentic musical practice.

Context, historical: conditions of the time and place in which music was created or performed that provide meaning and influence the musical experience.

Context, personal: unique experiences and relationships that surrounds a single person and are influenced by personal life, family, habits, interest, and preferences.

Context, social: environmental surrounding something or someone’s creation or

intended audience that reflects and influences how people use and interpret the musical experience.

Craftsmanship: degree of skill and ability exhibited by a creator or performer to manipulate the elements of music in a composition or performance.

Create: conceive and develop new artistic ideas, such as an improvisation, composition, or arrangement, into a work.

Creative intent: shaping of the elements of music to express and convey emotions, thoughts and ideas.

Creator: one who originates a music composition, arrangement, or improvisation.

Criteria: guidelines used to judge the quality of a student’s performance (see Rubric).

Cultural context: values, beliefs, and traditions of a group of people that influences musical meaning and inform culturally authentic musical practice.

Culturally authentic performance: presentation that reflects practices and interpretation representative of the style and traditions of a culture.

Culture: values and beliefs of a particular group of people, from a specific place or time, expressed through characteristics such as tradition, social structure, religion, art and food.


Cyclical structure: musical form characterized by the return or “cycling around” of

significantly recognizable themes, motives, and/or patterns across movements.

Demonstrate: show musical understanding through observable behavior such as moving, chanting, singing, or playing instruments.

Diatonic: seven-tone scale consisting of five whole steps and two half steps.

Diction: denotes clear and correct enunciation in singing.

Digital environment: simulated place made or created through the use of one or more computers, sensors, or equipment.

Digital notation: a visual image of musical sound created by using computer software applications, intended either as a record of sound heard or imagined, or as a set of visual instructions for performers.

Digital resources: anything published in a format capable of being read by a computer, a web-enabled device, a digital tablet, or smartphone.

Digital systems:-platforms that allow interaction and the conversation between and through the audio and digital domains.

Digital tools: category of musical instruments and tools that manipulate sound using binary code, such as electronic keyboards, digital audio interfaces, MIDI, and computer software.

Duet: two people play or sing.

Dynamics: level or range of loudness of a sound or sounds.

Elements of music: basic characteristics of sound (pitch, rhythm, harmony, dynamics, timbre, texture, form, and style/articulation) that are manipulated to create music.

Enduring understanding: overarching (aka, “big”) ideas that are central to the core of

the music discipline and may be transferred to new situations.

Ensemble: group of individuals organized to perform artistic work: traditional, large groups such as bands, orchestras, and choirs: chamber, smaller groups, such as duets,


trios, and quartets: emerging, such as guitar, iPad, mariachi, steel drum or pan, and Taiko drumming.

Essential question: question that is central to the core of a discipline-in this case, music-and promotes investigation to uncover corresponding enduring understanding(s).

Established criteria: traits or dimensions for making quality judgements in music of a particular style, genre, cultural context, or historical period that have gained general acceptance and application over time.

Expanded form: basic form (such as AB, ABA, rondo or theme and variation) expanded by the addition of an introduction, transition and/or coda.

Explore: discover, investigate, and create musical ideas through singing, chanting, playing instruments, or moving to music.

Expressions: feeling conveyed through music.

Expressive aspects: characteristics that convey feeling in the presentation of musical ideas.

Expressive intent: the emotions, thoughts, and ideas that a performer or composer seeks to convey by manipulating the elements of music.

Expressive qualities: qualities such as dynamics, tempo, articulation which-when combined with other elements of music-give a composition its musical identity.

Folk song: uncomplicated music that speaks directly of everyday matters; first popular music.

Form: element of music describing the overall organization of a piece of music, such as AB, ABA, rondo, theme and variations and strophic form.

Formal design: large-scale framework for a piece of music in which the constituent parts cohere into a meaningful whole; encompasses both structural and tonal aspects of the piece.

Fret: thin strip of material placed across the fingerboard of some stringed instruments, such as guitar, banjo, and mandolin; the fingers press the strings against the frets to determine pitch.


Function: use for which music is created, performed, or experienced, such as dance, social, recreation, music therapy, video games and advertising.

Fundamentals of music theory: basic elements of music, their subsets, and how they interact: rhythm and meter; pitch and clefs; intervals; scales, keys and key signatures; triads and seventh chords.

Fusion: type of music created by combining contrasting styles into a new style.

Genre: category of music characterized by a distinctive style, form, and/or content, such as jazz, march and country.

Guidance: assistance provided temporarily to enable a student to perform a musical task that would be difficult to perform unaided, best implemented in a manner that helps develop that student’s capacity to eventually perform the task independently.

Harmonic sequences: series of two or more chords commonly used to support melody(ies).

Harmonizing instruments: musical instruments, such as guitars, ukuleles, and keyboards, capable of producing harmonies as well as melodies, often used to provide chordal accompaniments for melodies and songs.

Harmonization: process of applying stylistically appropriate harmony, such as chords, countermelodies, and ostinato, to melodic material.

Harmony-chordal structure of a music composition in which the simultaneous sounding of pitches produces chords and their successive use produces chord progressions

Heterophonic: musical texture in which slightly different versions of the same melody sound simultaneously.

Historical context: conditions of the time and place in which music was created or performed and that provide meaning and influence the musical experience.

Historical periods: span of years during which music that was created and/or performed shared common characteristics; historians of Western art music typically refer to the following: Medieval (ca. 500-ca. 1420), Renaissance (ca. 1420-ca. 1600),


Baroque (ca. 1600-ca. 1750), Classic (ca. 1750-ca. 1820), Romantic (ca. 1820-ca. 1900), and Contemporary (ca. 1900-).

Homophonic: musical texture in which all parts move in the same rhythm but use different pitches, as in hymns; also, a melody supported by chords.

Iconic notation: representation of sound and its treatment using lines, drawings, pictures.

Imagine: generate musical ideas for various purposes and contexts.

Imagination: ability to generate in the mind ideas, concepts, sounds, and images that are not physically present and may not have been previously experienced (see Audiate).

Improvisation: music created and performed spontaneously or “in-the-moment,” often

within a framework determined by the musical style.

Improviser: one who creates music spontaneously or “in-the-moment.”

Independently: working with virtually no assistance, initiating appropriate requests for consultation, performing in a self-directed ensemble offering ideas/solutions that make such consulting collaborative rather than teacher-directed.

Instrumentation: general knowledge of orchestral instruments.

Intent: meaning or feeling of the music planned and conveyed by a creator or performer.

Interpret: determine and demonstrate music’s expressive intent and meaning when

responding and performing.

Interpretation: intent and meaning that a performer realizes in studying and performing a piece of music.

Introduction: a passage, usually in a slow tempo, at the beginning of a movement or work and preparatory to the main body of the form.

Interlude: music played between sections of a composition or of a dramatic work.


Intervals: distance between two pitches, named by counting all pitch names involved: harmonic interval occurs when two pitches are sounded simultaneously and melodic

interval when two pitches are sounded successively.

Intonation: singing or playing the correct pitch in tune.

Jazz: an eclectic, expanding collection of 20th-century styles, principally instrumental and of black American creation. Music that embraces ragtime, Dixieland, blues (vocal and instrument), swing, jive, bebop, cool, third stream, free/modal, fusion and jacuzzi styles.

Key Signature: set of sharps or flats at the beginning of the staff, following the clef sign, that indicates the primary pitch set or scale used in the music and provide clues to the resting tone and mode.

Keyboard instruments: instruments sounded by means of a keyboard, especially the piano and organ.

Lead-sheet notation: system symbol used to identify chords in jazz, popular and folk music; uppercase letters are written above the staff, specifying which chords should be used and when they should be played.

Lyrics: words of a song.

Major scale: scale in which the ascending pattern of whole and half steps is whole, whole, half, whole, whole, whole, half.

March: music with a steady beat suitable for a parade or procession.

Melodic contour: shape of a melody created by the way its pitches repeat and move up and down in steps and skips.

Melodic passage: short section or series of notes within a larger work that constitutes a single coherent melodic idea.

Melodic pattern: grouping, generally brief, of tones or pitches.

Melody: linear successions of sounds (pitches) and silences moving through time; the horizontal structure of music.


Meter: grouping of beats and divisions of beats in music, often in sets of twos (duple meter) or three (triple meter).

Meter signature: an indicator of the meter of a musical work, usually presented in the form of a fraction, the denominator of which indicates the unit of measurement and the numerator of which indicates the number of units that make up a measure.

Metronome: a device used to indicate the tempo of a composition by sounding regular beats at adjustable speed.

Minor scale: scale in which one characteristic feature is a half-step between the second and third tones; the three forms of the minor scale are natural, harmonic, and melodic.

Modal: music based on a mode other than major or minor

Modality: musical system based on the use of a mode or modes, as distinct especially from tonality; also that quality of a work that is attributable to its use of a specific mode.

Modes: seven-tone scales that include five whole steps and two half steps; the seven possible modes-Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian-were used in the Medieval and Renaissance periods and served as the basis from which major (Ionian) and minor (Aeolian) scales emerged.

Model cornerstone assessment: suggested assessment process, embedded within a unit of study, that includes a series of focused tasks to measure students achievement within multiple process components.

Moderately complex formal structure: musical form with three or more sections (such as rounded binary, rondo, or other novel design), in which section closure is somewhat nuanced or ambiguous, and the rhythmic, melodic, harmonic, and/or other musical materials across sections may be more distantly related while remaining coherent in some way.

Modulation: in tonal music, the process of changing from one key to another, or the result of such change.

Mood: overall feeling that a section or piece of music conveys.

Monophonic: musical texture consisting of a single, unaccompanied melodic line.


Motif/Motive: brief rhythmic/melodic figure or pattern that recurs throughout a composition as a unifying element.

Movement: act of moving in nonlocomotor (such as clapping and finger snapping) and locomotor (such as walking and running) patterns to represent and interpret musical sounds.

Music literacy: knowledge and understanding required to participate authentically in the discipline of music by independently carrying out the artistic processes of creating, performing, and responding.

Music theory: study of how music is composed and performed; analysis of the elements of music and the framework for understanding musical works.

Music vocabulary: domain-specific words traditionally used in performing, studying, or describing music (see Academic vocabulary)

Musical criteria: traits relevant to assessing music attributes of a work or performance.

Musical idea: idea expressed in music, which can range in length from the smallest meaningful level (motive or short pattern) through a phrase, a section, or an entire piece.

Musical range: span between the highest and lowest pitches of a melody, instrument, or voice.

Musical work: piece of music preserved as a notated copy or sound recording or passed through oral tradition.

Non-pitched instruments: instruments, such as woodblocks, whistles, electronic sounds, that do not have definite pitches or tones.

Notation: visual representation of musical sounds.

One-part formal structure: continuous form, with or without an interruption, in which a singular instance of formal closure is achieved only at or near the end of the piece; also known as through-composed.


Open-ended assessment: assessment that allows students to demonstrate the learning of a particular outcome in a variety of ways, such as demonstrating understanding of rhythmic notation by moving, singing, or chanting.

Orchestra: music grouping of string, brass, woodwind and percussion instruments.

Patriotic songs: songs pertaining to love and serve to one’s country.

Pentatonic scale: five-tone scale often identified with the pattern of the black keys of a keyboard, although other five-tone arrangements are possible.

Perform: process of realizing artistic ideas and work through interpretation and presentation.

Performing, performance: experience of engaging in the act of presenting music in a classroom or private or public venue (see also Artistic Process of Performing)?? Erin-does not reference in glosary

Performance decorum: aspects of contextually appropriate property and proper behavior, conduct, and appearance for a musical performance, such as stage presence, etiquette, and appropriate attire.

Performance practice: performance and presentation of a work that reflect established norms for the style and social, cultural, and historical contexts of that work.

Performance technique: personal technical skills developed and used by a performer.

Personal context: unique experiences and relationships that surround a single person and are influenced by personal life, family, habits, interests, and preferences.

Personally-developed criteria: qualities or traits for assessing achievement level developed by students individually.

Phrase: musical segment with a clear beginning and ending, comparable to a simple sentence or clause in written text.

Phrasing: performance of a musical phrase that uses expressive qualities such as dynamics, tempo, articulation, and timbre to convey a thought, mood, or feeling.

Piece: general, non-technical term referring to a composition or musical work.


Pitch: identification of a tone or note with respect to highness or lowness (i.e., frequency)

Plan: select and develop musical ideas for creating a musical work.

Polyphonic: musical texture in which two or more melodies sound simultaneously.

Polytonal: music in which two or more tonalities (keys) sound simultaneously.

Posture: Proper position of your body when playing a musical instrument or singing.

Present: share artistic work (e.g., a composition) with others.

Program: presentation of a sequence of musical works that can be performed by individual musicians or groups in a concert, recital, or other setting.

Purpose: reason for which music is created, such as, ceremonial, recreational/social, commercial, or generalized artistic expression.

Refine: Make changes in musical works or performances to more effectively realize intent through technical quality or expression

Repertoire: Body or set of musical works that can be performed

Respond: Understand and evaluate how the arts convey meaning

Rhythm: Duration or length of sounds and silences that occur in music; organization of sounds and silence in time

Rhythmic passage: short section or series of notes within a larger work that constitutes a single coherent rhythmic idea.

Rhythmic pattern: Grouping, generally brief, of long and short sounds and silences

Rondo: Musical form consisting of three or more contrasting sections in which one section recurs, such as ABACA

Round: composition for two or more voices in which one voice enters after another in exact imitation of the first. A round is the simplest type of canon.


Rubric: Established, ordered set of criteria of judging student performance; includes descriptors of student work at various levels of achievement

Scale: Pattern of pitches arranged in ascending or descending order and identified by their specific arrangement of whole and half steps.

Score: Written notation of an entire music composition.

Section: One of a number of distinct segments that together comprise a composition; a section consists of several phrases/

Select: Choose music for performing, rehearsing, or responding based on interest, knowledge, ability, and context.

Sensitivity: Skill of a creator, performer, or listener in responding to and conveying the nuances of sound or expression.

Sequence: repetition of a melodic idea or phrase at a higher or lower pitch one person plays or sings.

Set: Sequence of songs or pieces performed together by a singer, band, or disc jockey and constituting or forming part of a live show or recording.

Setting: Specified or implied instrumentation, voicing, or orchestration of a musical work.

Setting of the text: Musical treatment of text as presented in the music

Share: Present artistic work (e.g., a composition) to others

Sight-reading: First attempt to perform a notated musical work.

Simple formal structure: Musical form with a small number of distinct or clearly delineated sections, (such as simple binary, ternary, or other novel design), using closely related rhythmic, melodic, and harmonic materials across the sections.

Social context: Environment surrounding something or someone’s creation or intended

audience that reflects and influences how people use and interpret the musical experience.


Sonata: An instrumental musical composition, typically in 3 or 4 movements, in contrasting forms and keys.

Sonic events: Individual sounds (or sound masses) and silence who succession forms patterns and contrasting units that are perceived as musical.

Sonic experience: Perception and understanding of the sounds and silences of a musical work and their inter-relationship.

Stage presence: Performer’s ability to convey music content to a live audience through

traits such as personal knowledge of the repertoire, exhibited confidence, decorum, eye contact and facial expression.

Staging: Environmental considerations, such as lighting, sound, seating arrangement, and visual enhancements, that contribute to the impact of a musical performance.

Standard notation: System for visually representing musical sound that is in widespread use; such systems include traditional music staff notation, tablature notation (primarily for fretted stringed instruments), and lead-sheet notation.

Storyline: Extra-musical narrative that inspires or explains the structure of a piece of music.

Strophic form: Vocal music in which the music repeats with a new set of text each time

Structural: (See Structure)

Structure: Totality of a musical work.

Style: Label for a type of music possessing distinguishing characteristics and often performance practices associated with its historical period, cultural context, and/or genre.

Stylistic expression: Interpretation of expressive qualities in a manner that is authentic and appropriate to the genre, historical period, and cultural context of origin

Tablature: System of graphic standard notation, commonly used for fretted stringed instruments, in which a diagram visually represents both the fret board and finger placement on the fret board.


Teacher-provided criteria: Qualities or traits for assessing achievement level that are provided to students by the teacher.

Technical aspects: Characteristics enabling the accurate representation/presentation of musical ideas.

Technical challenges: Requirements of a particular piece of music that stretch or exceed a performer’s current level of proficiency in technical areas such as timbre,

intonation, diction, range, or speed of execution.

Technical accuracy, technical skill: Ability to perform with appropriate timbre, intonation, and diction as well as to play or sing the correct pitches and rhythms at a tempo appropriate to the musical work.

Tempo: Rate or speed of the beat in a musical work or performance.

Tension/release: Musical device (musical stress, instability, or intensity, followed by musical relaxation, stability, or resolution) used to create a flow of feeling.

Ternary form: (See ABA)

Texture: Manner in which the harmonic (vertical) and melodic (horizontal) elements are combined to create layers of sound.

Theme: The musical basis upon which a composition is built, usually a theme consists of a recognizable melody or characteristic pattern. A theme may sometimes be called the subject.

Theme and variations: Musical form in which a melody is presented and then followed by two or more sections presenting variations of that melody.

Theoretical: (See Fundamentals of Music Theory)

Timbre: Tone color or tone quality that distinguishes one sound source, instrument, or voice from another.

Tonal pattern: Grouping, generally brief, of tones or pitches.

Tonality: Tonic or key tone around which a piece of music is centered.


Transfer: Use music knowledge and skills appropriately in a new context.

Transposition: Playing or writing music in a way that makes it sound higher or lower. This can be done by playing or writing the music in a different key or by playing or writing it up or down an octave without changing the key.

Unity: presence of structural coherence within a work, generally achieved through the repetition of various elements of music (See Variety)

Variety: Presence of structural contract within a work for the purpose of creating and sustaining interest, generally achieved through utilizing variations in the treatment of the elements of music (See Unity)

Variation: technique of modifying a given musical idea; a form based on a series of such modifications.

Venue: Physical setting in which a musical event takes place.

Vocables: Audible sounds and/or nonsense syllables used by vocalists to convey musical ideas or intent.

Vocalizations: Vocal exercises that include no text and are sung to one or more vowels.


THEATRE GLOSSARY

Acting techniques: Specific skills, pedagogies, theories, or methods of investigation used by an actor to prepare for a theatre performance.

Believability: Theatrical choices thought to be “true” based upon an understanding of any given

fictional moment, interpretation of text, and/or human interaction.

Character traits: Observable embodied actions that illustrate a character’s personality, values,

beliefs, and history.

Conflict : The problem, confrontation, or struggle in a scene or play; conflict may include a character against him or herself, a character in opposition to another character, a character against nature, a character against society, or a character against the supernatural.

Creative drama: A process-centered, non-exhibitional approach to drama intended to benefit the performers themselves; story drama and process drama are two types of creative drama.

Creative processes: The application of production and technical elements (see the definitions) to a theatrical production.

Devised drama: Creation of an original performance piece by an ensemble.

Dialogue: A conversation between two or more characters.

Dramatic play: Make-believe where children naturally assign and accept roles, then act them out.

Focus: Commitment by a participant (an actor, technician, director) to remain in the scope of the project or to stay within the world of the play.

Genre: Relating to a specific kind or type of drama and theatre such as a tragedy, drama, melodrama, comedy, or farce.

Gesture: An expressive and planned movement of the body or limbs.

Given circumstances: The underlying actions and events that have happened before the play, story, or devised piece begins.

Guided drama experience: A leader guides participants during a process drama, story drama, or creative drama experience (see the definitions) through side-coaching, narration, and prompting; the action of the drama does not stop in order for the leader to support the students; facilitator may guide participants in or out of role.


Improvise: The spontaneous, intuitive, and immediate response of movement and speech; a distinction can be made between spontaneous improvisation, which is immediate and unrehearsed, and prepared improvisation, which is shaped and rehearsed.

Imaginary elsewhere: An imagined location which can be historical, fictional, or realistic.

Imagined worlds: An imaginary world created collectively by participants in a drama experience.

Inner thoughts: The underlying and implied meaning or intentions in the character’s dialogue or

actions (also known as subtext).

Motivation: Reasons why a character behaves or reacts in a particular way in a scene or play.

Non representational elements: Objects which can be transformed into specific props through the imagination.

Objective: A goal or particular need or want that a character has within a scene or play.

Plot : A narrative as revealed through the action and/or dialogue; traditionally, a plot has the elements of exposition, inciting incident, conflict, rising action, climax, and resolution or falling action.

Process drama: A non-linear, episodic, process-centered, improvised form of drama in which teacher and students are in-role exploring and reflecting on an issue, story, theme, problem, or idea in a non-exhibitional format that is intended to benefit the performers themselves.

Production elements: Technical elements selected for use in a specific production, including sets, sound, costumes, lights, music, props, and make-up, as well as elements specific to the production such as puppets, masks, special effects, or other story-telling devices/concepts.

Scripted drama: A piece of writing for the theatre that includes a description of the setting, a list of the characters, the dialogue, and the action of the characters.

Script analysis: The study of a script to understand the underlying structure and themes of the play’s story, and the motives and objectives of its characters.

Staging: Patterns of movement in a scene or play including, for example, stage crosses, entrances, and exits which help to convey meaning.

Story drama: Episodic, process-centered, improvised form of drama that uses existing literature as a starting point for drama exploration, the drama explores moments (before, after, or within)


that may not exist in the story and is presented in a non-exhibitional format that is intended to benefit the performers themselves.

Story elements: Characters, setting, dialogue, and plot that create a story.

Style: The use of a specific set of characteristic or distinctive techniques such as realism, expressionism, epic theatre, documentary theatre, or classical drama; style may also refer to the unique artistic choices of a particular playwright, director, or actor.

Tactic: The means by which a character seeks to achieve their objective, the selection of tactics are based on the obstacle presented; in acting and directing a tactic refers to a specific action verb.

Technical elements: The elements of spectacle such as sets, sound, costume, lights, music, props, and makeup used to create a unified and meaningful design for a theatrical production.

Theatrical conventions: Practices and/or devices that the audience and actors accept in the world of the play even when it is not realistic, such as a narrator, flashback, or an aside.

Theme: The aspect of the human condition under investigation in the drama; it can be drawn from unifying topics or questions across content areas.

Visual composition: The arrangement of actors and scenery on a stage for a theatrical production, sometimes known as mise en scène.


VISUAL ARTS GLOSSARY

Visual Arts, as defined by the National Art Education Association, include the traditional fine arts, such as, drawing, painting, printmaking, photography, and sculpture; media arts, such as, animation, video and emerging digital technologies; design, such as, communication, product, and interactive; environmental, such as, architecture, landscape architecture, interior and urban planning; conceptual, performance, participatory, street, and folk arts and works of art in clay, glass, metal, wood, fiber, paper and other materials. (Revised March 2017)

This glossary is not intended to be an inclusive vocabulary list but will evolve as the needs in and of art education require the necessary changes.

Appropriation: intentional borrowing, copying, and alteration of pre-existing images and objects.

Art: in everyday discussions and in the history of aesthetics, multiple (and sometimes contradictory) definitions of art have been proposed. In a classic article, “The Role of Theory in

Aesthetics,” Morris Weitz (1956) recommended differentiating between classificatory

(classifying) and honorific (honoring) definitions of art In the Next Generation Core Visual Arts Standards, the word art is used in the classificatory sense to mean “an artifact or action that has

been put forward by an artist or other person as something to be experienced, interpreted, and appreciated” An important component of a quality visual arts education is for students to engage

in discussions about honorific definitions of art—identifying the wide range of significant features in art-making approaches, analyzing why artists follow or break with traditions and discussing their own understandings of the characteristics of “good art”

Artist statement: information about context, explanations of process, descriptions of learning, related stories, reflections, or other details in a written or spoken format shared by the artist to extend and deepen understanding of his or her artwork; an artist statement can be didactic, descriptive, or reflective in nature.

Artistic investigations: in making art, forms of inquiry and exploration; through artistic investigation artists go beyond illustrating pre-existing ideas or following directions, and students generate fresh insights with new ways of seeing and knowing.

Art-making approaches: diverse strategies and procedures by which artists initiate and pursue making a work.

Arts integration: an approach to teaching in which students construct cognitive and emotional connections with a variety of disciplines to demonstrate understanding of content using the visual arts.


Artwork: artifact or action that has been put forward by an artist or other person as something to be experienced, interpreted, and appreciated.

Brainstorm: technique for the initial production of ideas or ways of solving a problem by an individual or group in which ideas are spontaneously contributed without critical comment or judgment.

Characteristic(s): attribute, feature, property, or essential quality.

Characteristics of form (and structure): terms drawn from traditional, modern, and contemporary sources that identify the range of attributes that can be used to describe works of art and design to aid students in experiencing and perceiving the qualities of artworks, enabling them to create their own work and to appreciate and interpret the work of others.

Collaboration: joint effort of working together to formulate and solve creative problems.

Collaboratively: joining with others in attentive participation in an activity of imagining, exploring, and/or making.

Concepts: ideas, thoughts, schemata; art arising out of conceptual experimentation emphasizes making meaning through ideas rather than through materiality or form.

Constructed environment: human-made or modified spaces and places; art and design-related disciplines such as architecture, urban planning, interior design, game design, virtual environment, and landscape design shape the places in which people live, work, and play.

Contemporary artistic practice: processes, techniques, media, procedures, behaviors, actions, and conceptual approaches by which an artist or designer makes work using methods that, though they may be based on traditional practices, reflect changing contextual, conceptual, aesthetic, material and technical possibilities; examples include artwork made with appropriated images or materials, social practice artworks to involve the audience, performance art, new media works, installations, and artistic interventions in public spaces.

Context: interrelated conditions surrounding the creation and experiencing of an artwork, including the artist, viewer/audiences, time, culture, presentation, and location of the artwork’s

creation and reception.

Copyright: form of protection grounded in the U.S. Constitution and granted by law for original works of authorship fixed in a tangible medium of expression, covering both published and unpublished works.

Creative commons: copyright license templates that provide a simple, standardized way to give the public permission to share and use creative work on conditions of the maker’s choice


(http://creativecommons.org/).

Creativity:,ability to conceive and develop rich, original ideas, discover unexpected connections and invent or make.

Criteria: in art and design, principles that direct attention to significant aspects of a work and provide guidelines for evaluating its success.

Contemporary criteria: principles by which a work of art or design is understood and evaluated in contemporary contexts which, for example, include judging not necessarily on originality, but rather on how the work is re-contextualized to create new meanings.

Established criteria: identified principles that direct attention to significant aspects of various types of artwork in order to provide guidelines for evaluating the work;

these may be commonly accepted principles that have been developed by artists, curators, historians, critics, educators and others or principles developed by an individual or group to pertain to a specific work of art or design.

Personal criteria: principles for evaluating art and design based on individual preferences.

Relevant criteria: principles that apply to making, revising, understanding, and evaluating a particular work of art or design that are generated by identifying the significant characteristics of a work.

Critique: individual or collective reflective process by which artists or designers experience, analyze, and evaluate a work of art or design.

Cultural contexts: ideas, beliefs, values, norms, customs, traits, practices, and characteristics shared by individuals within a group that form the circumstances surrounding the creation, presentation, preservation, and response to art.

Cultural traditions: pattern of practices and beliefs within a societal group.

Curate: collect, sort, and organize objects, artworks, and artifacts; preserve and maintain historical records and catalogue exhibits.

Curator: person responsible for acquiring, caring for, and exhibiting objects, artworks, and artifacts.

Design: application of creativity to planning the optimal solution to a given problem and communication of that plan to others.

Design thinking: a design methodology innovated by Florida State University providing a solution-based approach to solving problems utilizing the five stages of problem-solving:


empathize, define (the problem), ideate, prototype, and test solutions.

Digital: anything in electronic form including photos, images, video, audio files, or artwork created or presented through electronic means; a gallery of artwork viewed electronically through any device.

Engagement: attentive participation in an activity of imagining, exploring, and making.

Exhibition narrative: written description of an exhibition intended to educate viewers about its purpose.

Expressive properties: moods, feelings, or ideas evoked or suggested through the attributes, features, or qualities of an image or work of art.

Fair use: limitation in copyright law which sets out factors to be considered in determining whether or not a particular use of one’s work is “fair,” such as the purpose and character of the

use, the amount of the work used, and whether the use will affect the market for the work.

Formal and conceptual vocabularies: terms, methods, concepts, or strategies used to experience, describe, analyze, plan, and make works of art and design drawn from traditional, modern, contemporary, and continually emerging sources in diverse cultures.

Genre: category of art or design identified by similarities in form, subject matter, content, or technique.

Image: visual representation of a person, animal, object, idea, or concept.

Imaginative play: experimentation by children in defining identities and points of view by developing skills in conceiving, planning, making art, and communicating.

Innovative thinking: imagining or and conceiving something new and unexpected, including fresh ideas and ways of looking at things and new approaches to old problems as well as formulating new problems.

Makerspace: a constructivist movement focused on student centered inquiry designed and dedicated to hands-on creativity, collaborating, learning, and sharing.

Material culture: human-constructed or human-mediated objects, forms, or expressions, that extend to other senses and study beyond the traditional art historical focus on the exemplary to the study of common objects, ordinary spaces, and every day rituals.

Materials: substances out of which art is made or composed, ranging from the traditional to “non-art” material and virtual, cybernetic, and simulated materials.


Medium/Media: mode(s) of artistic expression or communication; material or other resources used for creating art.

Open source: computer software for which the copyright holder freely provides the right to use, study, change, and distribute the software to anyone for any purpose (http://opensource.org/).

Play: spontaneous engaged activity through which children learn to experience, experiment, discover, and create.

Portfolio: actual or virtual collection of artworks and documentation demonstrating art and design knowledge and skills organized to reflect an individual’s creative growth and artistic

literacy.

Preservation: activity of protecting, saving, and caring for objects, artifacts, and artworks through a variety of means.

Preserve: protect, save, and care for (curate) objects, artifacts, and artworks.

Studio habits of mind: a framework designed by the practitioners of Harvard’s Project Zero;

these eight dispositions identified as the studio habits of mind used by artists as a critical language are: develop craft, engage and persist, envision, express, observe, reflect, explore and understand community.

Style: recognizable characteristics of art or design that are found consistently in historical periods, cultural traditions, schools of art, or works of an individual artist.

Technologies: tools, techniques, crafts, systems, and methods to shape, adapt, and preserve artworks, artifacts, objects, and natural and human-made environments.

Text: that form which information can be gathered, expanding beyond the traditional notion of written language to encompass visual representations such as paintings, sculpture, diagrams, graphics, films, and maps.

Venue: place or setting for an art exhibition, either a physical space or a virtual environment.

Visual components: properties of an image that can be perceived.

Visual imagery: group of images; images in general.

Visual literacy: the ability to interpret, analyze and understand visual information.

Visual organization approaches and strategies: graphic design strategies such as hierarchy, consistency, grids, spacing, scale, weight, proximity, alignment, and typography choice used to


create focus and clarity in a work.

Visual plan: drawing, picture, diagram, or model of the layout of an art exhibit where individual works of art and artifacts are presented along with interpretive materials within a given space or venue.



CROSSWALKS


DANCE Crosswalk

Crosswalk for Proposed Fine Arts Missouri Learning Standards

Legend

Strikethrough Strikethrough Removed Text

Bold Bold New Text

Yellow Highlight Yellow Highlight Minor change to the standard

Green Highlight Green Highlight Significant change to the standard

Magenta Highlight Magenta Highlight Existing standard shifted to a lower or higher grade-level

No Highlight No Highlight No change to the standard

ABOUT THE MISSOURI LEARNING STANDARDS: The State Board of Education approved the updated Missouri Learning Standards: Grade Level Expectations on XXXX, based on the standards created by work groups of Missouri educators, parents, and community members. The revised standards were developed by Missourians for Missouri students. These expectations are challenging, yet attainable, for students in our state. The standards further define our high expectations for what children should know and be able to do in each course and grade level, helping ensure they graduate prepared for college, career, and life.

ABOUT THE DANCE CROSSWALK: The intent of this crosswalk is to enhance understanding of the changes to the DANCE expectations. The column on the left contains the newly adopted DANCE expectations (2019). The column on the right contains the previous expectations (GLEs) which show some alignment. This document is intended to assist teachers with some of the issues associated with implementing new DANCE standards: planning, pacing, professional development and curricular materials.


Because the original Dance standards were developed using a physical education template, the original standards are largely physical and therefore fail to fit into a fine arts template. As Dance is now accepted as part of the fine arts curriculum, it is necessary to change the mindset of Dance curriculum from a largely physical curriculum to an artistic one. We seek to align current Missouri standards to the nationally accepted Dance standards. The following former standards will be adopted into the execution of Standard #1 Explore and others: Anatomy Body organization Body skills Breathing Missouri Early Learning Goals Previously adopted Dance GLE’s for preschool grades do not exist. This document aligns the newly revised Missouri Learning Standards for Dance to the Missouri Early Learning Goals. MO DESE Missouri Early Learning Goals - https://dese.mo.gov/sites/default/files/eel-el-2013-MELGoals.pdf

Abbreviations Code for Crosswalks Left column= Proposed GLE's based on Standards ex: DA: Pr5.1.3.a = Dance, Process Standard of Perform, Anchor standard 1, process component 1, grade level 3 Right column= Previous GLE's ex: IC1D3 = Interdisciplinary Connections, standard 1D, grade 3


https://dese.mo.gov/sites/default/files/eel-el-2013-MELGoals.pdf

Pre-school DANCE Missouri Learning Standards: Grade-Level Expectations

for Dance (Adopted April 2019 for implementation in the 2019 – 2020 school year.)

Missouri Early Learning Goals Previously adopted Dance GLE’s for preschool grades do not

exist. This document aligns the newly revised Missouri Learning Standards for Dance to the Missouri Early Learning Goals.

Code Newly Adopted Standards Code Early Learning Goal


DA: Cr1.1.PK.a

Respond in movement to a variety of sensory stimuli (for example, music/sound, visual, tactile).

III.A.1.3 Respond to sensory input, and use gross motor skills with purpose

DA: Cr1.1.PK.b

Find a different way to do several basic locomotor and non-locomotor movements.

III.A.1 Use gross motor skills with purpose and collaboration


DA: Cr2.1.PK.a

Improvise dance that starts and stops on cue. III.A.1 Use gross motor skills with purpose and collaboration

DA: Cr2.1.PK.b

Engage in dance experiences moving alone or with a partner.



DA: Cr3.1.PK.a

Respond to suggestions for changing movement through guided improvisational experiences.



DA: Cr3.1.PK.b

Identify parts of the body and document a body shape or position by drawing a picture.



DA: Pr4.1.PK.a

Identify and demonstrate directions for moving the body in general space (for example, forward, backwards, sideways, up, down, and turning) and finding and returning to a place in space.

III.A.1.

III.A.3

Use gross motor skills with purpose and collaboration Responds to sensory input to function in the environment

DA: Pr4.1.PK.b

Identify speed of dance as fast or slow. Move to varied rhythmic sounds at different tempi

III.A.1

III.A.3


DA: Pr4.1.PK.c

Move with opposing characteristics (for example, loose/tight, light/heavy, jerky/smooth).



DA: Pr5.1.PK.a

Demonstrate basic full body locomotor, non-locomotor movement, and body patterning with spatial relationships.

III.A.1

III.A.2III.A.3

Use gross motor skills with purpose and collaboration Uses fine motor skills with purpose and control Responds to sensory input to function in the environment

DA: Pr5.1.PK.b

Move in general space and start and stop on cue while maintaining personal space.

III.A.1

III.A.3


DA: Pr5.1.PK.c

Identify and move body parts and repeat movements upon request.

III.A.1

III.A.2

Use gross motor skills with purpose and collaboration Uses fine motor skills with purpose and control



DA: Pr6.1.PK

Dance for others in a designated area or space.

III.A.1 III.A.2 III.A.3

Use gross motor skills with purpose and collaboration Uses fine motor skills with purpose and control Responds to sensory input to function in the environment

DA: Pr6.1.PK

Use a simple prop as part of a dance. III.A.1 III.A.2

Uses gross motor skills with purpose and collaboration Uses fine motor skills with purpose and control


DA: Re.7.1.PK.a

Identify a movement in a dance by repeating it. III.A.1 III.A.2 III.A.3

Uses gross motor skills with purpose and collaboration Uses fine motor skills with purpose and control Responds to sensory input to function in the environment

DA: Re.7.1.PK.b

Identify a movement in a dance by repeating it. III.A.1 III.A.2 III.A.3



DA: Re8.1.PK.a

Observe a movement and share impressions. IV.C.1 IV.A.1

Uses language to communicate Represents feelings and ideas in a variety of ways

9. Apply criteria to evaluate artistic work.

DA: Re9.1.PK.a

Find a movement in a dance that was fun to watch. Repeat it and explain why it is fun to

IV.C.1 IV.A.1

Uses language to communicate Represents feelings and ideas in a variety of ways


watch and do. III.A.1 III.A.2 III.A.3



DA: Cn10.1.PK.a

Recognize an emotion expressed in dance movement that is watched or performed.

VIII.A.1 Shows interest in music and movement

DA: Cn10.1.PK.b

Observe a dance work. Identify and imitate a movement from the dance, and ask a question about the dance.

IV.C.1 IV.A.1 III.A.1 III.A.2 III.A.3

Uses language to communicate Represents feelings and ideas in a variety of ways Uses gross motor skills with purpose and collaboration Uses fine motor skills with purpose and control Responds to sensory input to function in the environment


DA: Cn11.1.PK.a

Show a dance movement experienced at home or elsewhere.

VIII.A.2 III.A.1 III.A.2

Explores music and movement Uses gross motor skills with purpose and collaboration Uses fine motor skills with purpose and control


Kindergarten DANCE Missouri Learning Standards: Grade-Level Expectations


Missouri Grade Level Expectations: Dance

(Adopted 2010, transitioning out.)

Code Newly Adopted Standards Code Current GLE


DA: Cr1.1.K.a

Respond in movement to a variety of stimuli (for example, music/sound, text, objects, images, symbols, observed dance).

K.PP.2.A.c K.PP.2.C.a K.CC.2.A K.IC.1.A

Demonstrate the ability to start moving with sound and stop moving with silence Show different kinds of energy through movement (e.g., smooth, jerky, gliding, swinging) Create simple movement in response to music Respond in movement to a variety of sensory stimuli (e.g., colors, textures, sounds)

DA: Cr1.1.K.b

Explore different ways to do basic locomotor and nonlocomotor movements by changing at least one of the elements of dance.

K.PP.1.A.b Demonstrate the ability to balance on one foot for 2-3 seconds


DA: Cr2.1.K.a

Improvise dance that has a beginning, middle, and end.

K.PP.1.B.e K.PP.1.C

Perform a simple movement sequence including locomotor and nonlocomotor skills Learn and perform a teacher created movement phrase with a clear beginning and ending

DA: Cr2.1.K.b

Express an idea, feeling, or image, through improvised movement moving alone or with a partner.

K.CCA Perform a dance that demonstrates changes in time, space, or energy



DA: Cr3.1.K.a

Apply suggestions for changing movement through guided improvisational experiences.

K.CCB Improvise using different levels of space, directions, size, or shape

DA: Cr3.1.K.b

Depict a dance movement by drawing a picture or using a symbol.

K.ICB Learn content of other disciplines through movement experiences


DA: Pr4.1.K.a

Make still and moving body shapes that show lines (for example, straight, bent, and curved), changes levels, and vary in size (large/small). Join with others to make a circle formation and work with others to change its dimensions.

K.CCA

K.ICB

Perform a dance that demonstrates changes in time, space, or energy Learn content of other disciplines through movement experiences

DA: Pr4.1.K.b

Demonstrate tempo contrasts with movements that match to tempo of sound stimuli.

K.ICB Learn content of other disciplines through movement experiences

DA: Pr4.1.K.c

Identify and apply different characteristics to movements (for example, slow, smooth, or wavy)

K.CCA Perform a dance that demonstrates changes in time, space, or energy


DA: Pr5.1.K.a

Demonstrate sameside and cross-body locomotor and nonlocomotor movements, body patterning movements, and body shapes.

K.PPB.abc Using basis locomotor movements, explore opposites in direction and level

DA: Pr5.1.K.b

Move safely in general space and start and stop on cue during activities, group formations, and creative explorations while maintaining personal

K.PP2B.eK.PPB.f

Identify and maintain personal space while moving Identify and dance in clear spatial relationships to other students


space.

DA: Pr5.1.K.c

Move body parts in relation to other body parts and repeat and recall movements upon request.

K.PPA.d Demonstrate lateral and cross-lateral movement, and movement that uses upper and lower body at the same time


DA: Pr6.1.K.a

Dance for and with others in a designated space. K.PPB.f Identify and dance in clear spatial relationships to other students

DA: Pr6.1.K.b

Select a prop to use as part of a dance.


DA: Re7.1.K.a

Find a movement that repeats in a dance. K.PP2A.b Repeat simple rhythms by clapping and then moving body parts

DA: Re7.1.K.b

Demonstrate or describe observed or performed dance movements

K.IC.1.C Observe a movement and respond to it verbally (e.g., have students complete the sentence, “This reminds me of…”)


DA: Re8.1.K.a

Observe movement and describe it using simple dance terminology.

K.IC.1.C Observe a movement and respond to it verbally (e.g., have students complete the sentence, “This reminds me of…”)


DA: Re9.1.K.a

Find a movement that was noticed in a dance. Demonstrate the movement that was noticed and explain why it attracted attention.

K.IC.1.D Demonstrate in movement an understanding of the concepts of flexibility and strength



DA: Cn10.1.K.a

Recognize and name an emotion that is experienced when watching, improvising, or performing dance and relate it to a personal experience.

K.IC.1.B K.IC.1.C

Learn content of other disciplines through movement experiences (e.g., use your body to form flat shapes and round shapes) Observe a movement and respond to it verbally (e.g., have students complete the sentence, “This reminds me of…”)

DA: Cn10.1.K.b

Observe a work of visual art. Describe and then express through movement something of interest about the artwork, and ask questions for discussion concerning the artwork.

K.HC.1.B K.IC.1.A

Observe traditional dance attire from around the world Respond in movement to a variety of sensory stimuli (e.g., colors, textures, sounds)


DA: Cn11.1.K.a

Describe or demonstrate the movements in a dance that was watched or performed.

K.HC.1.A K.IC.1.C

Observe a dance from another historical period (e.g., Cakewalk, jig, Charleston) Observe a movement and respond to it verbally (e.g., have students complete the sentence, “This reminds me of…”)


1st GRADE DANCE Missouri Learning Standards: Grade-Level Expectations






DA: Cr1.1.1.a

Explore movement inspired by a variety of stimuli (for example, music/sound, text, objects, images, symbols, observed dance, experiences) and identify the source.

CC1A1 CC1 B1

Perform a locomotor dance or sequence generating movement that changes the time, space, or energy. Explore the concept of beat and rhythmic pattern using props such as sticks and paper plates. Generate movements in response to a variety of music

DA: Cr1.1.1.b

Explore a variety of locomotor and non-locomotor movements by experimenting with and changing the elements of dance.

CC1A1 IC1A1

Perform a locomotor dance or sequence generating movement that changes the time, space, or energy. Explore the concept of beat and rhythmic pattern using props such as sticks and paper plates. Create movements that correspond to different rhythms. Respond in movement to a different art medium


DA: Cr2.1.1.a

Improvise a series of movements that have a beginning, middle, and end, and describe movement choices.

CC1B1 IC1A1

Generate movements in response to a variety of music Create movements that correspond to different rhythms


DA: Cr2.1.1.b

Choose movements that express an idea or emotion, or follow a musical phrase.

CC1B1 IC1A1

Generate movements in response to a variety of music Create movements that correspond to different rhythms


DA: Cr3.1.1.a

Explore suggestions to change movement from guided improvisation and/or short remembered sequences.

DA: Cr3.1.1.b

Depict several different types of movements of a dance by drawing a picture or using a symbol (for example, jump, turn, slide, bend, reach).


DA: Pr4.1.1.a

Demonstrate locomotor and nonlocomotor movements that change body shapes, levels, and facings. Move in straight, curved, and zigzagged pathways. Find and return to place in space. Move with others to form straight lines and circles.

PP1A1 PP1B1 PP2B1

Anatomy et al Body Organization et al Body Skills et al Sequencing et al Pathways et al

DA: Pr4.1.1.b

Relate quick, moderate and slow movements to duration in time. Recognize steady beat and move to varying tempi of steady beat.

IC1A1 PP2A1

Create movements that correspond to different rhythms Tempo et al Rhythm and Patterns et al

DA: Pr4.1.1.c

Demonstrate movement characteristics along with movement vocabulary (for example, use adverbs and adjectives that apply to movement such as a bouncy leap, a floppy fall, a jolly jump, and joyful spin).

IC1C1 AP1A1

Respond in movement to sentences that use dance vocabulary Identify dance movement using correct terminology



DA: Pr5.1.1.a

Demonstrate a range of locomotor and non-locomotor movements, body patterning, body shapes, and directionality.

PP1A1

Anatomy et al Body Organization et al Body Skills et al

DA: Pr5.1.1.b

Move safely in general space through a range of activities and group formations while maintaining personal space.

PP2B1 Personal Space et al Relationships et al

DA: Pr5.1.1.c

Modify movements and spatial arrangements upon request.

PP2B1 CC1A1

Pathways et al Relationships et al Perform a locomotor dance or sequence generating movement that changes the time, space, or energy


DA: Pr6.1.1.a

Dance for others in a space where audience and performers occupy different areas.

PP1C1 Dance with an awareness of personal and general space

DA: Pr6.1.1.b

Explore the use of simple props to enhance performance.

CC1A1 Explore the concept of beat and rhythmic pattern using props such as sticks and paper plates


DA: Re.7.1.1.a

Find a movement that repeats in a dance to make a pattern.

CC1A1 Explore the concept of beat and rhythmic pattern using props such as sticks and paper plates

DA: Re.7.1.1.b

Demonstrate and describe observed or performed dance movements from a specific genre or culture.

HC1A1 HC1B1 PP1A1

Learn and perform greeting gestures from historical eras Observe and learn dances from cultures around the world Styles and Genres et al



DA: Re8.1.1.a

Select movements from a dance that suggest ideas and explain how the movement captures the idea using simple dance terminology.

IC1C1 Write sentences that use movement verbs


DA: Re9.1.1.a

Identify and demonstrate several movements in a dance that attracted attention. Describe the characteristics that make the movements interesting and talk about why they were chosen.


DA: Cn10.1.1.a

Find an experience expressed or portrayed in a dance that relates to a familiar experience. Identify the movements that communicate this experience.

DA: Cn10.1.1.b

Observe illustrations from a story. Discuss observations and identify ideas for dance movement and demonstrate the big ideas of the story.


DA: Cn11.1.1.a

Watch and/or perform a dance from a different culture and discuss or demonstrate the types of movement danced.

HC1A1 HC1B1

Learn and perform greeting gestures from historical eras Observe and learn dances from cultures around the world


2nd GRADE DANCE Missouri Learning Standards: Grade-Level Expectations






DA: Cr1.1.2.a

Explore movement inspired by a variety of stimuli (for example, music/sound, text, objects, images, symbols, observed dance, experiences) and suggest additional sources for movement ideas.

CC1A2 Explore the concepts of beat, rhythmic pattern and tempo in relation to music.

DA: Cr1.1.2.b

Combine a variety of movements while manipulating the elements of dance.

CC1A2 IC1A2

Explore the concepts of beat, rhythmic pattern and tempo in relation to music. Observe patterns in different art mediums and echo them in movement


DA: Cr2.1.2.a

Improvise a dance phrase with a beginning, a middle that has a main idea, and a clear end.

CC1B2 IC1A2

Improvise and explore transfer of weight and directional change and use of pathways in space Observe patterns in different art mediums and echo them in movement

DA: Cr2.1.2.b

Choose movements that express a main idea or emotion, or follow a musical phrase. Explain reasons for movement choices.

CC1B2 IC1A2

Improvise and explore transfer of weight and directional change and use of pathways in space Observe patterns in different art mediums and echo them in movement



DA: Cr3.1.2.a

Explore suggestions and make choices to change movement from guided improvisation and/or short remembered sequences.

DA: Cr3.1.2.b

Depict the levels of movements in a variety of dance movements by drawing a picture or using symbols (for example, high, middle, low).


DA: Pr4.1.2.a

Demonstrate clear directionality and intent when performing locomotor and nonlocomotor movements that change body shapes, facings, and pathways in space. Identify symmetrical and asymmetrical body shapes and examine relationships between body parts. Differentiate between circling and turning as two separate ways of continuous directional change.

PP1A2 PP1B2 PP2B2

Anatomy a., Body Organization b. c., Body Skills d. e. Breathing j., Non-Locomotor/Axial k. l., Locomotor movement, Styles & Genres, Sequencing Directions e. f., Pathways g., Levels h. Shapes i. j., Personal Space, Relationships, Movement Qualities a., Dance Qualities b., Stillness c.

DA: Pr4.1.2.b

Identify the length of time a move or phrase takes (for example, whether it is long or short). Identify and move on the downbeat in duple and triple meter. Correlate metric phrasing with movement phrasing.

IC1A2 PP2A2

Observe patterns in different art mediums and echo them in movement Tempo a., Rhythm & Patterns b. c.

DA: Pr4.1.2.c

Select and apply appropriate characteristics to movements (for example, selecting specific adverbs and adjectives and apply them to movements). Demonstrate kinesthetic awareness while dancing the movement characteristics.

IC1C2 AP1A2

Write declarative and interrogative sentences that use dance terminology and create dance phrases from them Create a dance sequence from terminology



DA: Pr5.1.2.a

Demonstrate a range of locomotor and non-locomotor movements, body patterning, and dance sequences that require moving through space using a variety of pathways.

PP1A2

PP2B2

Anatomy a., Body Organization b. c., Body Skills d. e. Directions e. f., Pathways g., Levels h., Shapes i. j., Personal Space, Relationships, Movement Qualities a., Dance Qualities b., Stillness c.

DA: Pr5.1.2.b

Move safely in a variety of spatial relationships and formations with other dancers, sharing and maintaining personal space.

PP1A2

PP2B2

Anatomy a., Body Organization b. c., Body Skills d. e. Directions e. f., Pathways g., Levels h., Shapes i. j., Personal Space, Relationships, Movement Qualities a., Dance Qualities b., Stillness c.

DA: Pr5.1.2.c

Repeat movements, with an awareness of self and others in space. Self adjust and modify movements or placement upon request.

IC1D2 Demonstrate an understanding of how dance promotes health


DA: Pr6.1.2.a

Dance for and with others in a space where audience and performers occupy different areas.

PP1C2 Focus and Awareness, Replication, Reflection, Refinement, and Revision, Performance Etiquette

DA: Pr6.1.2.b

Use limited production elements (for example, hand props, simple scenery, or media projections).

CC1A2 Explore the concepts of beat, rhythmic pattern and tempo in relation to music.


DA: Re.7.1.2.a

Find movements in a dance that develop a pattern. CC1A2 Explore the concepts of beat, rhythmic pattern and tempo in relation to music.

DA: Re.7.1.2.b

Demonstrate and describe movements in dances from different genres or cultures.

HC1A2

HC1B2

Learn the basic elements of a concert dance style from an historical era a. Learn and perform a dance from another cultureb. Demonstrate an awareness and acceptance of


PP1A2

others through movement Anatomy a., Body Organization b. c., Body Skills d. e.


DA: Re8.1.2.a

Use context cues from movement to identify meaning and intent in a dance using simple dance terminology.

IC1C2 Write declarative and interrogative sentences that use dance terminology and create dance phrases from them


DA: Re9.1.2.a

Observe or demonstrate dances from a genre or culture. Discuss movements and other aspects of the dances that make the dances work well, and explain why they work. Use simple dance terminology.

HC1A2 HC1B2

Learn the basic elements of a concert dance style from an historical era a. Learn and perform a dance from another culture b. Demonstrate an awareness and acceptance of others through movement


DA: Cn10.1.2.a

Describe, create, and/or perform a dance that expresses personal meaning and explain how certain movements express this personal meaning.

DA: Cn10.1.2.b

Respond to a dance work using an inquiry-based set of questions (for example, See, Think, Wonder). Create movement using ideas from responses and explain how certain movements express a specific idea.


DA: Cn11.1.2.a

Observe a dance and relate the movement to the people or environment in which the dance was created and performed.

HC1A2 HC1B2

Learn the basic elements of a concert dance style from an historical era a. Learn and perform a dance from another culture


b. Demonstrate an awareness and acceptance ofothers through movement


3rd GRADE DANCE Missouri Learning Standards: Grade-Level Expectations






DA: Cr1.1.3.a

Experiment with a variety of self identified stimuli (for example, music/sound, text, objects, images, notation, observed dance, experiences) for movement.

PP1C3

Focus and Awareness Replication, Reflection, Refinement, and Revision Performance Etiquette

DA: Cr1.1.3.b

Explore a given movement problem. Select and demonstrate a solution.

CC1B3 Use improvisation to discover and invent movement and solve movement problems to develop an understanding of terminology (e.g., right and left hand star, plie, level) or concepts (e.g., metamorphosis, geography or weather)


DA: Cr2.1.3.a

Identify and experiment with choreographic devices to create simple movement patterns and dance structures (for example, AB, ABA, theme and development).

CC2A3 Improvise and present a short dance to peers with a beginning, development, and end that communicates an idea, feeling, or story

DA: Cr2.1.3.b

Develop a dance phrase that expresses and communicates an idea or feeling. Discuss the effect of the movement choices.

CC1A3 CC2B3

Create simple movements communicating different themes Create movements that communicate a feeling or idea



DA: Cr3.1.3.a

Revise movement choices in response to feedback to improve a short dance study. Describe the differences the changes made in the movements.

CC1B3 Use improvisation to discover and invent movement and solve movement problems to develop an understanding of terminology (e.g., right and left hand star, plie, level) or concepts (e.g., metamorphosis, geography or weather)

DA: Cr3.1.3.b

Depict directions or spatial pathways in a dance phrase by drawing a picture map or using a symbol.


DA: Pr4.1.3.a

Judge spaces as distance traveled and use space three dimensionally. Demonstrate shapes with positive and negative space. Perform movement sequences in and through space with intentionality and focus.

PP2B3 Pathways: Move through space in a straight, curved, circular, diagonal, zigzag, and combination of pathways Personal Space: Define and move in one’s personal space within a group in set sequences Relationships: Identify and dance in clear spatial relationships to others using typical dance structures

DA: Pr4.1.3.b

Fulfill specified duration of time with improvised locomotor and nonlocomotor movements. Differentiate between “in time” and “out of time” to music. Perform movements that are the same or of a different time orientation to accompaniment. Use metric and kinesthetic phrasing.

PP2A3 PP2B3

Tempo Rhythm & Patterns Directions a. Explore changing facing directions of

non-locomotor/axial movements to specific rhythmic patterns


b. Explore changing directions of locomotor movements to a beat

DA: Pr4.1.3.c

Change use of energy and dynamics by modifying movements and applying specific characteristics to heighten the effect of their intent.

PP2C3 Movement Qualities a. Demonstrate and describe recreational

movements (e.g., bat, dunk, hurl, swim, pitch, serve)

Dance Qualities b. Perform movement sequences showing

changes in quality of motion (e.g., from swing to percussive, from vibratory to sustained)

Stillness Discuss and demonstrate the use of energy while still


DA: Pr5.1.3.a

Replicate body shapes, movement characteristics, and movement patterns in a dance sequence with awareness of body alignment and core support.

IC1D3 PP1B3

Demonstrate an understanding of correct physical principles learned through dance (e.g., perform basic dance movements such as plie and releve using correct body alignment) Non-Locomotor/Axial Identify and demonstrate non-locomotor/axial skills (e.g., bend, stretch, twist, turn, tilt) using various body parts and the body as a whole Locomotor movement

· Identify and demonstrate increased control of locomotor movements

· Perform basic locomotor movements that move in several directions (e.g., forward, backward, sideways)

Perform locomotor movements including crawl,


IC1D3

roll, slither, cartwheel, and other means of moving through space Demonstrate an understanding of correct physical principles learned through dance (e.g., perform basic dance movements such as plie and releve using correct body alignment)

DA: Pr5.1.3.b

Adjust body-use to coordinate with a partner or other dancers to safely change levels, directions, and pathway designs.

CC1C3 PP1B3

Demonstrate desirable social characteristics such as responding in a positive way to a partner in a class setting Sequencing Perform a short sequence of movements with locomotor and non-locomotor skills, direction and level changes, pathways, rhythm patterns, stillness, and transitions

DA: Pr5.1.3.c

Recall movement sequences with a partner or in group dance activities. Apply constructive feedback from teacher and selfcheck to improve dance skills.

PP1C3 PP2Cb3

Replication, Reflection, Refinement, and Revision Practice a short partner dance, refine to accommodate partner, and apply instructor’s corrections Perform movement sequences showing changes in quality of motion (e.g., from swing to percussive, from vibratory to sustained)


DA: Pr6.1.3.a

Identify the main areas of a performance space using production terminology (for example, stage right, stage left, center stage, upstage, and downstage).


DA: Pr6.1.3.b

Explore simple production elements (costumes, props, music, scenery, lighting, or media) for a dance performed for an audience in a designated specific performance space.


DA: Re.7.1.3.a

Find a movement pattern that creates a movement phrase in a dance work.

CC2A3 IC1A3 IC1C3

Improvise and present a short dance to peers with a beginning, development, and end that communicates an idea, feeling, or story Observe patterns in different art mediums and create movement phrases that echo them (e.g., create a dance inspired by an Impressionist or Cubist painting) Identify the movement words in a poem and create a dance based on them

DA: Re.7.1.3.b

Demonstrate and explain how one dance genre is different from another, or how one cultural movement practice is different from another.

PP1B3 IC1A3 HC1B3

Styles & Genres · Perform more complex short folk, ethnic, and

teacher generated dances · Discuss and experience various concert

dance forms (e.g., ballet, modern dance, jazz, or tap dance)

Observe patterns in different art mediums and create movement phrases that echo them (e.g., create a dance inspired by an Impressionist or Cubist painting) Use dance terminology to describe dances from two different cultures (e.g., the hora and La Raspa both use percussive, stamping movements)


DA: Select specific context cues from movement. PP2C3 Stillness


Re8.1.3.a Explain how they relate to the main idea of the dance using basic dance terminology.

AP1A3

HC1B3

Discuss and demonstrate the use of energy while still Observe dance movements and describe how they are similar or different using dance terminology Use dance terminology to describe dances from two different cultures (e.g., the hora and La Raspa both use percussive, stamping movements)


DA: Re9.1.3.a

Select dance movements from specific genres, styles, or cultures. Identify characteristic movements from these dances and describe in basic dance terminology ways in which they are alike and different.

HC1A3

HC1B3

Learn and perform dances from an historical period (e.g., learn dances such as the Virginia Reel or Ring shout) Use dance terminology to describe dances from two different cultures (e.g., the hora and La Raspa both use percussive, stamping movements)


DA: Cn10.1.3.a

Compare the relationships expressed in a dance to relationships with others. Explain how they are the same or different.

CC1C3

CC2A3

CC2B3

Demonstrate desirable social characteristics such as responding in a positive way to a partner in a class setting Improvise and present a short dance to peers with a beginning, development, and end that communicates an idea, feeling, or story Create movements that communicate a feeling or idea

DA: Cn10.1.3.b

Ask and research a question about a key aspect of a dance that communicates a perspective about an issue or event. Explore the key aspect through movement. Share movements and describe how the movements help to remember or discover new qualities in these key aspects. Communicate the

CC1A3

CC2A3

CC2B3

Create simple movements communicating different themes (e.g., a parade, feelings, or zoo animals) Improvise and present a short dance to peers with a beginning, development, and end that communicates an idea, feeling, or story Create movements that communicate a feeling or


new learning in oral, written, or movement form. AP1A3

HC1B3

idea Observe dance movements and describe how they are similar or different using dance terminology Use dance terminology to describe dances from two different cultures (e.g., the hora and La Raspa both use percussive, stamping movements)


DA: Cn11.1.3.a

Find a relationship between movement in a dance from a culture, society, or community and the culture from which the dance is derived. Explain what the movements communicate about key aspects of the culture, society, or community.

HC1B3

IC1D3

CC2B3

Use dance terminology to describe dances from two different cultures (e.g., the hora and La Raspa both use percussive, stamping movements) Demonstrate an un-derstanding of how dance promotes health (e.g., write a paragraph on how dance promotes physical fitness) Create movements that communicate a feeling or idea


4th GRADE DANCE Missouri Learning Standards: Grade-Level Expectations






DA: Cr1.1.4.a

Identify ideas for choreography generated from a variety of stimuli (for example, music/sound, text, objects, images, notation, observed dance, experiences).

PP1C4


DA: Cr1.1.4.b

Develop a movement problem and manipulate the elements of dance as tools to find a solution.

CC1B4 PP2B4

Use improvisation to discover and invent movement and solve movement problems to develop an understanding of terminology (e.g., right and left hand star, plie, level) or concepts (e.g., metamorphosis, geography or weather) Directions

a.Independently explore changing facing directions of non-locomotor/axial movements

b.Explore changing directions of locomotor movements in a group

Pathways c. Use dance phrases to travel through space in a

variety of pathways Levels

d.Perform balancing movements on high, middle, and low levels

Shapes e.Explore shapes with a partner contacting body parts


f. Identify and demonstrate positive and negative space individually and with a partner

Personal Space g.Define and move in one’s personal space within a

group improvisationally Relationships

h.Learn and perform dances using clear spatial relationships to others (e.g., in a line, circle, diagonal, facing away or toward)


DA: Cr2.1.4.a

Manipulate or modify choreographic devices to expand movement possibilities and create a variety of movement patterns and structures. Discuss movement choices.

CC2A4 Choreograph a structured composition with a beginning, middle, and end with awareness of aesthetic criteria (e.g., create and share a short dance that communicates an idea, feeling, or story)

DA: Cr2.1.4.b

Develop a dance study that expresses and communicates a main idea. Discuss the reasons and effectiveness of the movement choices.

CC1A4 CC2B4

Discover and explore movement solutions to technical or structural movement problems (e.g., explore the use of simple choreographic structures such as ABA form or canon)

Improvise a short dance to peers that communicates an idea or feeling

Identify and analyze what the dance communicates


DA: Cr3.1.4.a

Revise movement based on peer feedback and self reflection to improve communication of artistic intent in a short dance study. Explain choices made in the process.

DA: Depict the relationships between two or more


Cr3.1.4.b dancers in a dance phrase by drawing a picture or using symbols (for example, next to, above, below, behind, in front of).


DA: Pr4.1.4.a

Make static and dynamic shapes with positive and negative space. Perform elevated shapes (jump shapes) with soft landings and movement sequences alone and with others, establishing relationships with other dancers through focus of eyes.

PP2C4 Movement Qualities a. Describe and demonstrate the qualities of

difference dance styles (e.g., ballet, ballroom, modern, jazz, tap, hip hop)

Dance Qualities b. Perform movement sequences showing

changes in quality of motion (e.g., from swing to percussive, from vibratory to sustained)

Stillness Hold three different non-locomotor shapes while others are moving through space

DA: Pr4.1.4.b

Accompany other dancers using a variety of percussive instruments and sounds. Respond in movement to even and uneven rhythms. Recognize and respond to tempo changes as they occur in dance and music.

PP2A4 Tempo a. Clap and move on the primary and

secondary accents of 4/4 and 6/8 measures

b. Count and dance to a steady beat in different tempi

DA: Pr4.1.4.c

Analyze movements and phrases for use of energy and dynamic changes and use adverbs and adjectives to describe them. Based on the analysis, refine the phrases by incorporating a range of movement characteristics.


DA: Pr5.1.4.a

Demonstrate fundamental dance skills (for example, alignment, coordination, balance, core

PP1A4 Anatomy a. Demonstrate dance movements using two body

parts simultaneously (e.g., arms and legs)


support, kinesthetic awareness) and movement qualities when replicating and recalling patterns and sequences of locomotor and nonlocomotor movements.

Body Organization b. Consistently demonstrate vertical alignment of

the body while still and while movingc. Demonstrate balance on and off vertical with

various bases of supportBody Skills

d. Demonstrate core strength, endurance, andoverall flexibility

Consistently demonstrate coordination, agility, and range of motion in the execution of movement patterns

DA: Pr5.1.4.b

Execute techniques that extend movement range, build strength, and develop endurance. Explain the relationship between execution of technique, safe body-use, and healthful nutrition.

PP1C4

IC1D4

Focus and awareness Recognize and implement safe dance practices (e.g., practice soft landings, never force a stretch)

Demonstrate an understanding of how dance promotes strength and health (e.g., collect pictures of dancers that show their physical ability)

DA: Pr5.1.4.c

Coordinate phrases and timing with other dancers by cueing off each other and responding to stimuli cues (for example, music, text, or lighting). Reflect on feedback from others to inform personal dance performance goals.

PP1C4

CC1C4

Dance with concentration, kinesthetic awareness, and attention to auditory and visual cues

Demonstrate the ability to work cooperatively with a partner (e.g., demonstrate appropriate responses to a partners movement in a class setting)


DA: Pr6.1.4.a

Consider how to establish a formal performance space from an informal setting (for example, gymnasium or grassy area).

DA: Pr6.1.4.b

Identify, explore, and experiment with a variety of production elements to heighten the artistic intent and audience experience.

CC1A4 Discover and explore movement solutions to technical or structural movement problems (e.g., explore the use of simple choreographic structures such as ABA form or canon)



DA: Re.7.1.4.a

Find patterns of movement in dance works that create a style or theme.

PP2A4 Tempo b. Clap and move on the primary and

secondary accents of 4/4 and 6/8measures

b. Count and dance to a steady beat in differenttempi

DA: Re.7.1.4.b

Demonstrate and explain how dance styles differ within a genre or within a cultural movement practice.

PP1B4 Styles & Genres · Perform various folk and ethnic dances connected to

state history· Demonstrate basic movements of a particular concert

dance form (e.g., ballet, modern dance, jazz, or tapdance)


DA: Re8.1.4.a

Relate movements, ideas, and context to decipher meaning in a dance using basic dance terminology.

AP1A4

IC1C4

Observe or perform a dance and identify specific movements using dance

Use movement to express images, ideas, and feelings found in a short story

Observe or perform a dance and describe in words the images, ideas, and feelings found in it


DA: Re9.1.4.a

Discuss and demonstrate the characteristics that make a dance artistic and apply those characteristics to dances observed or performed in a specific genre, style, or cultural movement practice. Use basic dance terminology.

IC1C4 Use movement to express images, ideas, and feelings found in a short story

Observe or perform a dance and describe in words the images, ideas, and feelings found in it



DA: Cn10.1.4.a

Relate the main idea or content in a dance to other experiences. Explain how the main idea of a dance is similar to or different from one’s own experiences, relationships, ideas or perspectives.

IC1C4 Use movement to express images, ideas, and feelings found in a short story.

DA: Cn10.1.4.b

Develop and research a question relating to a topic of study in school using multiple sources of references. Select key aspects about the topic and choreograph movements that communicate the information. Discuss what was learned from creating the dance and describe how the topic might be communicated using another form of expression.

AP1A4 IC1B4

Observe or perform a dance and identify specific movements using dance terminology (e.g., grand right and left in a square dance, flexion and extension) Discover ways of using technology with dance to communicate content of other disciplines (e.g., photograph a plant developing from a seed and create a dance based on the pictures)


DA: Cn11.1.4.a

Select and describe movements in a specific genre or style and explain how the movements relate to the culture, society, historical period, or community from which the dance originated.

HC1b4 IC1A4 HC1A4

a. Share a dance form from one’s cultural heritage or environment

b. Observe and perform dance movements from a variety of cultures

Respond to movement through a different art medium (e.g., do a line drawing based on the spatial patterns of a dance) Create and share original movements inspired by different historical periods (e.g., an explorer with Lewis and Clarke uses dance to show the variety of animals they encountered)








DA: Cr1.1.5.a

Build content for choreography using several stimuli (for example, music/sound, text, objects, images, notation, observed dance, experiences, literary forms, natural phenomena, current news, social events).

CC2A5 IC1A5 IC1B5 IC1C5

Identify and analyze what a dance communicates Observe and explore how different accompaniment (such as sound, music, spoken text) can affect the meaning of dance Discover ways of using technology with dance (e.g., photograph movements and create a dance from the images) Respond to dance in another medium (e.g., create a percussion score to your movement, create dialogue that could be an extension of a movement phrase) Learn content of other disciplines through movement experiences (e.g., replicate how the planets move around the sun) Use descriptive language (e.g., similes, metaphors) to express ideas, images, and feelings that may be found in dance (e.g., a leaping dancer soars like a bird)

DA: Construct and solve multiple movement problems PP2B5 Directions


Cr1.1.5.b to develop choreographic content. a.Dance in space in a variety of directions withaccuracy of spatial design and clarity of facing

Pathways b. Explore locomotor movement combined with

direction and level changec. Dance through space in a straight, curved, circular,

diagonal, zigzag, and combination of pathwaysLevels

d.Perform turning movements on high, middle, andlow levels

Shapes e.In small groups perform a series of shapes with

changes in level and directionPersonal Space

f. Move in one’s personal space within a groupRelationships Create dances using specific spatial relationships to others (e.g., in a line, circle, diagonal, facing away or toward, arm’s length apart)


DA: Cr2.1.5.a

Manipulate or modify a variety of choreographic devices to expand choreographic possibilities and develop a main idea. Explain reasons for movement choices.

CC2A5 Choreograph a structured composition with a beginning, middle, and end with awareness of aesthetic criteria (e.g., create and share a short dance that communicates an idea, feeling, or story)

DA: Cr2.1.5.b

Develop a dance study by selecting a specific movement vocabulary to communicate a main idea. Discuss how the dance communicates nonverbally.

CC1A5

CC2B5

Discover and explore movement solutions to technical or structural movement problems (e.g., explore the use of simple choreographic structures such as ABA form or

canon)

Improvise a short dance to peers that communicates an idea or feeling


Identify and analyze what the dance communicates


DA: Cr3.1.5.a

Explore through movement the feedback from others to expand choreographic possibilities for a short dance study that communicates artistic intent. Explain the movement choices and refinements.

CC2A5 Identify and analyze what a dance communicates Observe and explore how different accompaniment (such as sound, music, spoken text) can affect the meaning of dance

DA:Cr3.1.5.b

Record changes in a dance sequence through writing, symbols, or a form of media technology.


DA: Pr4.1.5.a

Integrate static and dynamic shapes and floor and air pathways into dance sequences. Establish relationships with other dancers through focus of eyes and other body parts. Convert inward focus to outward focus for projecting out to far space.

DA: Pr4.1.5.b

Dance to a variety of rhythms generated from internal and external sources. Perform movement phrases that show the ability to respond to changes in time.

DA: Pr4.1.5.c

Contrast bound and free-flowing movements. Motivate movement from both central initiation (torso) and peripheral initiation (distal) and analyze the relationship between initiation and energy.

IC1C5 Use descriptive language (e.g., similes, metaphors) to express ideas, images, and feelings that may be found in dance (e.g., a leaping dancer soars like a bird)


DA: Pr5.1.5.a

Recall and execute a series of dance phrases using fundamental dance skills (for example,

IC1D5 Demonstrate an intermediate understanding of correct physical principles learned through dance (e.g.,


alignment, coordination, balance, core support, kinesthetic awareness, clarity of movement).

demonstrate correct landings from jumps and leaps)

DA: Pr5.1.5.b

Demonstrate safe body-use practices during technical exercises and movement combinations. Discuss how these practices, along with healthful eating habits, promote strength, flexibility, endurance and injury prevention.

IC1D5 Demonstrate an intermediate understanding of correct physical principles learned through dance (e.g., demonstrate correct landings from jumps and leaps)

DA: Pr5.1.5.c

Collaborate with peer ensemble members to repeat sequences, synchronize actions, and refine spatial relationships to improve performance quality. Apply feedback from others to establish personal performance goals.

CC1C5 Demonstrate desirable social characteristics such as responding in a positive way to a partner or a group of dancers in a class setting Demonstrate the ability to work cooperatively in small groups during the choreographic process


DA: Pr6.1.5.a

Demonstrate the ability to adapt dance to alternative performance venues by modifying spacing and movements to the performance space.

DA: Pr6.1.5.b

Identify, explore, and select production elements that heighten and intensify the artistic intent of a dance and are adaptable for various performance spaces.


DA: Re.7.1.5.a

Find meaning or artistic intent from the patterns of movement in a dance work.

HC1B5 Demonstrate social skills and etiquette appropriate to a particular dance culture (e.g., honor your partner at the beginning of a square dance; touch the ground next to an African drum to show respect)


DA: Re.7.1.5.b

Describe, using basic dance terminology, the qualities and characteristics of style used in a dance from one’s own cultural movement practice. Compare them to the qualities and characteristics of style found in a different dance genre, style, or cultural movement practice, also using basic dance terminology.

HC1B5 AP1A5

Demonstrate social skills and etiquette appropriate to a particular dance culture (e.g., honor your partner at the beginning of a square dance; touch the ground next to an African drum to show respect) Identify dance styles from descriptions that use dance terminology (e.g., shuffle, ball change is a tap step)


DA: Re8.1.5.a

Interpret meaning in a dance based on its movements. Explain how the movements communicate the main idea of the dance using basic dance terminology

CC2A5 Identify and analyze what a dance communicates Observe and explore how different accompaniment (such as sound, music, spoken text) can affect the meaning of dance


DA: Re9.1.5.a

Define the characteristics of dance that make a dance artistic and meaningful. Relate them to the elements of dance in genres, styles, or cultural movement practices. Use basic dance terminology to describe characteristics that make a dance artistic and meaningful.

HC1A5 Research and write descriptions of dances from different historical periods (e.g., learn and perform a Native American dance; create a scouting and tracking dance)


DA: Cn10.1.5.a

Compare two dances with contrasting themes. Discuss feelings and ideas evoked by each. Describe how the themes and movements relate to points of view and experiences.


DA: Cn10.1.5.b

Choose a topic, concept, or content from another discipline of study and research how other art forms have expressed the topic. Create a dance study that expresses the idea. Explain how the dance study expressed the idea and discuss how this learning process is similar to, or different from, other learning situations.

IC1A5 IC1B5

Discover ways of using technology with dance (e.g., photograph movements and create a dance from the images) Respond to dance in another medium (e.g., create a percussion score to your movement, create dialogue that could be an extension of a movement phrase) Learn content of other disciplines through movement experiences (e.g., replicate how the planets move around the sun)


DA: Cn11.1.5.a

Describe how the movement characteristics and qualities of a dance in a specific genre or style communicate the ideas and perspectives of the culture, historical period, or community from which the genre or style originated.

HC1A5 HC1B5

Research and write descriptions of dances from different historical periods (e.g., learn and perform a Native American dance; create a scouting and tracking dance) Demonstrate social skills and etiquette appropriate to a particular dance culture (e.g., honor your partner at the beginning of a square dance; touch the ground next to an African drum to show respect)








DA: Cr1.1.6.a

Relate similar or contrasting ideas to develop choreography using a variety of stimuli (for example, music, observed dance, literary forms, notation, natural phenomena, personal experience/recall, current news or social events).

CC1B6-8a IC1A6-8a IC1B6-8a

Improvise individually and in groups to generate choreography that explores new movement possibilities that vary the use of the dance elements and communicate the ideas or feelings of the dance (e.g., use variety in the dance elements of space, time, and energy to communicate meaning through dance) Effectively demonstrate the processes of reordering and chance Use technology to communicate dance ideas to others (e.g., video your choreography for showing to other classes) Choreograph a dance inspired by another art form (e.g., use a Matisse cut-out, a Calder mobile, or the architecture of a building as the starting point for a dance) Create a dance using concepts from multiple arts disciplines (e.g., create a dance in a rondo or Haiku form Create a dance that represents content from another


IC1C6-8a

discipline (e.g., show mathematical order of operations – students create shapes that represent operations and choreograph movement that puts them in the proper sequence) Choreograph a dance following a poetic format (e.g., choreograph a dance haiku) Create and perform a dance based on personal original writing Observe or perform a dance and write an essay about the images, ideas, and feelings found in it

DA: Cr1.1.6.b

Explore various movement vocabularies to transfer ideas into choreography.

AP1A6-8a Write a description of a dance using appropriate terminology Create a movement sequence in a given style based on dance terminology (e.g., create a movement sequence using swing, contraction and release in the modern dance style) Observe or perform a dance and identify the major movement elements using dance terminology (e.g., observe a ballet video and identify steps and movement pathways) Observe or perform dances from 2 or more genres or styles and describe how they are similar or different using dance terminology


DA: Cr2.1.6.a

Explore choreographic devices and dance structures to develop a dance study that supports an artistic intent. Explain the goal or purpose of the

CC1A6-8a Explore movement solutions to technical or structural movement problems to create choreography (e.g., demonstrate artistic form and structure such as ABA, variations, canon, call and response, narrative and


dance. include smooth transitions between movement ideas and sections of the dance)

DA: Cr2.1.6.b

Determine artistic criteria to choreograph a dance study that communicates personal or cultural meaning. Based on the criteria, evaluate why some movements are more or less effective than others.


DA: Cr3.1.6.a

Revise dance compositions using collaboratively developed artistic criteria. Explain reasons for revisions and how choices made relate to artistic intent.

PP1C6-8a Replication, Reflection, Refinement, and Revision · Practice and perfect movement sequences to increase

performance accuracy · Revise movement through analysis, discussion, and

practice to fulfill artistic intent

DA: Cr3.1.6.b

Explore or invent a system to record a dance sequence through writing, symbols, or a form of media technology.



DA: Refine partner and ensemble skills in the ability to PP2B6-8a Directions a.Dance in space in a variety of directions with accuracy of


Pr4.1.6.a judge distance and spatial design. Establish diverse pathways, levels, and patterns in space. Maintain focus with partner or group in near and far space.

spatial design and clarity of facing Pathways

a. Dance through space in a variety of pathways performing the spatial design and patterns with accuracy

Levels a.Dance on high, middle, and low levels with clear focus,

purpose, and transitions Shapes

a. Form shapes with one’s own body and in relation to others using a variety of spatial directions, pathways, and levels

Relationships Dance in a defined spatial relationship to others (e.g., beside, far, near, behind, in front of, toward, away from, around, through and between)

DA: Pr4.1.6.b

Use combinations of sudden and sustained timing as it relates to both the time and the dynamics of a phrase or dance work. Accurately use accented and unaccented beats in 3/4 and 4/4 meter.

PP2A6-8a Tempo a. Accurately dance to a steady beat and/or

variations in tempi (e.g., demonstrate double-time or half-time, accelerating or decelerating)

Rhythm & Patterns b. Dance to various changes in rhythms, meters,

and musical phrasing (e.g., even, uneven, and syncopated rhythms)

c. Dance in relation to complex musical phrases

DA: Pr4.1.6.c

Use the internal body force created by varying tensions within one’s musculature for movement initiation and dynamic expression. Distinguish between bound and free flowing movements and appropriately apply them to technique exercises and dance phrases.


DA: Pr5.1.6.a

Embody technical dance skills (for example, alignment, coordination, balance, core support, kinesthetic awareness, clarity of movement) to

PP1A6-8a Body Organization a. Demonstrate vertical alignment of the body while still

and moving and its relationship to efficient movement (e.g., during turns, leaps, & transitions)


accurately execute changes of direction, levels, facings, pathways, elevations and landings, extensions of limbs, and movement transitions.

b. Perform dance using different hemispheres and planes of the body (e.g., cross lateral, upper and lower body, and front and back of the body)

Body Skills a. Demonstrate balance (on- and off-vertical), range of

motion, agility, and coordination in the execution of movement patterns

b. Demonstrate core and peripheral strength, endurance, and overall flexibility

c. Demonstrate lateral and cross-lateral movement (e.g., brain dance)

DA: Pr5.1.6.b

Apply basic anatomical knowledge, proprioceptive feedback, spatial awareness, and nutrition to promote safe and healthful strategies when warming up and dancing.

PP1A6-8a IC1D6-8a

Anatomy a. Demonstrate increasingly complex isolated and

coordinated dance movement for the head, neck, joints, and body parts of the torso and limbs

b. Identify the body’s major muscle groups and joints and describe their function in dance

c. Identify the body’s major bones and describe their function in dance

Demonstrate an awareness of healthful living in daily life (e.g., keep a diet and exercise journal) Demonstrate how dance promotes physical fitness (e.g., choreograph a routine in a specific style such as hip hop that incorporates stretching and strength building movements) Demonstrate how dance promotes physical safety and reduced risk of injury (e.g., learn and perform correctly a routine of dance stretches for warm-up)

DA: Pr5.1.6.c

Collaborate as an ensemble to refine dances by identifying what works and does not work in executing complex patterns, sequences, and formations. Solve movement problems to dances by testing options and finding good results. Document self improvements over time.

CC1C6-8a Demonstrate the ability to contribute constructively to a duet or group dance (e.g., apply suggestions to rework, refine, and revise choreography based on discussion and reflection)



DA: Pr6.1.6.a

Recognize needs and adapt movements to performance area. Use performance etiquette and performance practices during class, rehearsal and performance. Post performance, accept notes from choreographer and make corrections as needed and apply to future performances.

PP1C6-8a CC2B6-8a

Performance Etiquette · Demonstrate a commitment to attend classes and

rehearsals in a respectful and cooperative manner Fulfill commitment to perform with the highest artistic quality possible Improvise and present a short dance to peers with a beginning, development and end that communicates an idea, feeling or story

DA: Pr6.1.6.b

Compare and contrast a variety of possible production elements that would intensify and heighten the artistic intent of the work. Select choices and explain reasons for the decisions made using production terminology.

CC2A6-8a Improvise, choreograph, refine, and perform original movements that express personal ideas, experiences, feelings, concepts, or images Describe how dance communicates or expresses


DA: Re.7.1.6.a

Describe or demonstrate recurring patterns of movement and their relationships in dance.

PP2C6-8a Movement Qualities a. Demonstrate and describe the qualities and

characteristics of movement in a dance form, style, or genre

Dance Qualities b. Dance with different qualities or characteristics

of movement (e.g., timing, spatial direction, tension, effort, weight, and force)

Stillness Maintain energy in the body while holding a position or body shape while others are moving

DA: Re.7.1.6.b

Explain how the elements of dance are used in a variety of dance genres, styles, or cultural movement practices. Use genre specific dance terminology.

AP1A6-8a Write a description of a dance using appropriate terminology Create a movement sequence in a given style based on dance terminology (e.g., create a movement sequence


using swing, contraction and release in the modern dance style)


DA: Re8.1.6.a

Explain how the artistic expression of a dance is achieved through the elements of dance, use of body, dance technique, dance structure, and context. Explain how these communicate the intent of the dance using genre specific dance terminology.

PP1B6-8a CC2B6-8a

Styles & Genres · Demonstrate techniques from a variety of ethnic and

concert styles (e.g., ballet, modern dance, jazz, African, or tap dance)

Observe a dance and describe how it expresses meaning. Explain how the major movement choices in your choreography communicate the idea, feeling, or story


DA: Re9.1.6.a

Discuss the characteristics and artistic intent of a dance from a genre, style, or cultural movement practice and develop artistic criteria to critique the dance using genre-specific dance terminology.

PP1B6-8a Styles & Genres · Demonstrate techniques from a variety of ethnic and



DA: Cn10.1.6.a

Observe the movement characteristics or qualities observed in a specific dance genre. Describe differences and similarities about what was observed to one’s attitudes and movement preferences.



DA: Cn10.1.6.b

Conduct research using a variety of resources to find information about a social issue of great interest. Use the information to create a dance study that expresses a specific point of view on the topic. Discuss whether the experience of creating and sharing the dance reinforces personal views

HC1B6-8a a. Research and present findings about the different cultural backgrounds in one’s class including typical dances of those cultures b. Learn and perform dances from a variety of cultures. Compare their styles and movements using dance terminology (e.g., Greek dances are typically


or offers new knowledge and perspectives.

performed in an open circle)


DA: Cn11.1.6.a

Interpret and show how the movement and qualities of a dance communicate its cultural, historical, and/or community purpose or meaning.

HC1A6-8a HC1B6-8a

a. Demonstrate knowledge of an historical period through dance (e.g., choreograph a court dance showing court organization; create Egyptian tomb murals and Greek temple friezes and bring them to life in dance)

b. Demonstrate understanding of an historical

event by choreographing a dance commemorating that event (e.g., choreograph a dance in honor of the firemen who lost their lives on 9/11)

c. Create a dance based on research in other

disciplines (e.g., choreograph a dance showing states choosing sides before the Civil War, choreograph a dance about a sit-in during the Civil Rights era)

a. Research and present findings about the different cultural backgrounds in one’s class including typical dances of those cultures b. Learn and perform dances from a variety of cultures. Compare their styles and movements using dance terminology (e.g., Greek dances are typically performed in an open circle)








DA: Cr1.1.7.a

Compare a variety of stimuli (for example, music, observed dance, literary forms, notation, natural phenomena, personal experience/recall, current news or social events) and make selections to expand movement vocabulary and artistic expression.




IC1C6-8a


DA: Cr1.1.7.b

Explore various movement vocabularies to express an artistic intent in choreography. Explain and discuss the choices made using genre-specific dance terminology.



DA: Cr2.1.7.a

Use a variety of choreographic devices and dance structures to develop a dance study with a clear artistic intent. Articulate reasons for movement and

CC1A6-8a Explore movement solutions to technical or structural movement problems to create choreography (e.g., demonstrate artistic form and structure such as ABA, variations, canon, call and response, narrative and


structural choices. include smooth transitions between movement ideas and sections of the dance)

DA: Cr2.1.7.b

Determine artistic criteria to choreograph a dance study that communicates personal or cultural meaning. Articulate how the artistic criteria serve to communicate the meaning of the dance.


DA: Cr3.1.7.a

Evaluate possible revisions of dance compositions and, if necessary, consider revisions of artistic criteria based on self-reflection and feedback of others. Explain reasons for choices and how they clarify artistic intent.

PP1C6-8a Replication, Reflection, Refinement, and Revision · Practice and perfect movement sequences to increase

performance accuracy · Revise movement through analysis, discussion, and

practice to fulfill artistic intent

DA: Cr3.1.7.b

Investigate a recognized system to document a dance sequence by using words, symbols, or media technologies.



DA:Pr4.1.7 Expand movement vocabulary of floor and air PP2B6-8a Directions a.Dance in space in a variety of directions with accuracy of


.a pattern designs. Incorporate and modify body designs from different dance genres and styles for the purpose of expanding movement vocabulary to include differently designed shapes and movements for interest and contrast.







DA: Pr4.1.7.b

Vary durational approach in dance phrasing by using timing accents and variations within a phrase to add interest kinesthetically, rhythmically, and visually.






DA: Pr4.1.7.c

Compare and contrast movement characteristics from a variety of dance genres or styles. Discuss specific characteristics and use adverbs and adjectives to describe them. Determine what dancers must do to perform them clearly.


DA: Pr5.1.7.a

Apply body-use strategies to accommodate physical maturational development to technical dance skills (for example, functional alignment, coordination, balance, core support, kinesthetic

IC1D6-8a Demonstrate how dance promotes physical fitness (e.g., choreograph a routine in a specific style such as hip hop that incorporates stretching and strength building movements)


awareness, clarity of movement, weight shifts, flexibility/range of motion).

Demonstrate how dance promotes physical safety and reduced risk of injury (e.g., learn and perform correctly a routine of dance stretches for warm-up)

DA: Pr5.1.7.b

Utilize healthful practices and sound nutrition in dance activities and everyday life. Discuss benefits of practices and how choices enhance performance.

IC1D6-8a Demonstrate how dance promotes physical fitness (e.g., choreograph a routine in a specific style such as hip hop that incorporates stretching and strength building movements) Demonstrate how dance promotes physical safety and reduced risk of injury (e.g., learn and perform correctly a routine of dance stretches for warm-up)

DA: Pr5.1.7.c

Collaborate with peers to practice and refine dances. Develop group performance expectations through observation and analyses (for example, view live or recorded professional dancers and collaboratively develop group performance expectations based on information gained from observations).



DA: Pr6.1.7.a

Recommend changes to and adapt movements to performance area. Use performance etiquette and performance practices during class, rehearsal and performance. Maintain journal documenting these efforts. Post performance, accept notes from choreographer and apply corrections to future performances.

PP1C6-8a Performance Etiquette · Demonstrate a commitment to attend classes and

rehearsals in a respectful and cooperative manner Fulfill commitment to perform with the highest artistic quality possible

DA: Pr6.1.7.b

Explore possibilities of producing dance in a variety of venues or for different audiences and, using production terminology, explain how the production elements would be handled in different


situations.


DA: Re.7.1.7.a

Compare, contrast, and discuss patterns of movement and their relationships in dance.

CC1A6-8a Explore movement solutions to technical or structural movement problems to create choreography (e.g., demonstrate artistic form and structure such as ABA, variations, canon, call and response, narrative and include smooth transitions between movement ideas and sections of the dance)

DA: Re.7.1.7.b

Compare and contrast how the elements of dance are used in a variety of genres, styles, or cultural movement practices. Use genre specific dance terminology.

AP1A6-8a Write a description of a dance using appropriate terminology Create a movement sequence in a given style based on dance terminology (e.g., create a movement sequence using swing, contraction and release in the modern dance style)


DA: Re8.1.7.a

Compare the meaning of different dances. Explain how the artistic expression of each dance is achieved through the elements of dance, use of body, dance technique, and context. Use genre specific dance terminology.




DA: Re9.1.7.a

Compare artistic intent, content and context from dances to examine the characteristics of genre, style, or cultural movement practice. Based on the comparison, refine artistic criteria using genre specific dance terminology.





DA: Cn10.1.7.a

Compare and contrast the movement characteristics or qualities found in a variety of dance genres. Discuss how the movement characteristics or qualities differ from one’s own movement characteristics or qualities and how different perspectives are communicated.


concert styles (e.g., ballet, modern dance, jazz, African,or tap dance)

DA: Cn10.1.7.b

Research the historical development of a dance genre or style. Use knowledge gained from the research to create a dance study that evokes the essence of the style or genre. Share the study with peers as part of a lecture demonstration that tells the story of the historical journey of the chosen genre or style. Document the process of research and application.

HC1B6-8a a. Research and present findings about the differentcultural backgrounds in one’s class including typicaldances of those cultures

b. Learn and perform dances from a variety ofcultures. Compare their styles and movements using dance terminology (e.g., Greek dances are typically performed in an open circle)


DA: Cn11.1.7.a

Compare, contrast, and discuss dances performed by people in various localities or communities. Formulate possible reasons why similarities and differences developed in relation to the ideas and perspectives important to each social group.

HC1A6-8a a. Demonstrate knowledge of an historical periodthrough dance (e.g., choreograph a court danceshowing court organization; create Egyptiantomb murals and Greek temple friezes and bringthem to life in dance)

b. Demonstrate understanding of an historicalevent by choreographing a dancecommemorating that event (e.g., choreograph adance in honor of the firemen who lost their liveson 9/11)

c. Create a dance based on research in otherdisciplines (e.g., choreograph a dance showingstates choosing sides before the Civil War,choreograph a dance about a sit-in during theCivil Rights era)


HC1B6-8a a. Research and present findings about the different cultural backgrounds in one’s class including typical dances of those cultures b. Learn and perform dances from a variety of cultures. Compare their styles and movements using dance terminology (e.g., Greek dances are typically performed in an open circle)








DA: Cr1.1.8.a

Implement movement from a variety of stimuli (for example, music, observed dance, literary forms, notation, natural phenomena, personal experience/recall, current news or social events) to develop dance content for an original dance study or dance.




IC1C6-8a


DA: Cr1.1.8.b

Identify and select personal preferences to create an original dance study or dance. Use genre specific dance terminology to articulate and justify choices made in movement development to communicate intent.



DA: Cr2.1.8.a

Collaborate to select and apply a variety of choreographic devices and dance structures to choreograph an original dance study or dance with a clear artistic intent. Articulate the group process

CC1A6-8a Explore movement solutions to technical or structural movement problems to create choreography (e.g., demonstrate artistic form and structure such as ABA, variations, canon, call and response, narrative and include smooth transitions between movement ideas


for making movement and structural choices. and sections of the dance)

DA: Cr2.1.8.b

Define and apply artistic criteria to choreograph a dance that communicates personal or cultural meaning. Discuss how the criteria clarify or intensify the meaning of the dance.

CC2B6-8a Improvise and present a short dance to peers with a beginning, development and end that communicates an idea, feeling or story


DA: Cr3.1.8.a

Revise choreography collaboratively or independently based on artistic criteria, self reflection, and the feedback of others. Articulate the reasons for choices and revisions and explain how they clarify and enhance the artistic intent.






DA: Cr3.1.8.b

Experiment with aspects of a recognized system to document a section of a dance by using words, symbols, or media technologies.




DA: Pr4.1.8.a

Sculpt the body in space and design body shapes in relation to other dancers, objects, and environment. Use focus of eyes during complex floor and air patterns or direct and indirect pathways.

PP2B6-8a Directions a.Dance in space in a variety of directions with accuracy of







DA: Pr4.1.8.b

Analyze and select metric, kinetic, and breath phrasing and apply appropriately to dance phrases. Perform dance phrases of different lengths that use various timings within the same section. Use different tempi in different body parts at the same time.






DA: Pr4.1.8.c

Direct energy and dynamics in such a way that movement is textured. Incorporate energy and dynamics to technique exercises and dance performance. Use energy and dynamics to enhance and project movements.


DA: Embody technical dance skills (for example, IC1D6-8a Demonstrate how dance promotes physical fitness


Pr5.1.8.a functional alignment, coordination, balance, core support, clarity of movement, weight shifts, flexibility/range of motion) to replicate, recall, and execute spatial designs and musical or rhythmical dance phrases.

(e.g., choreograph a routine in a specific style such as hip hop that incorporates stretching and strength building movements) Demonstrate how dance promotes physical safety and reduced risk of injury (e.g., learn and perform correctly a routine of dance stretches for warm-up)

DA: Pr5.1.8.b

Evaluate personal healthful practices in dance activities and everyday life including nutrition and injury prevention. Discuss choices made, the effects experienced, and methods for improvement.

IC1D6-8a Demonstrate how dance promotes physical fitness (e.g., choreograph a routine in a specific style such as hip hop that incorporates stretching and strength building movements) Demonstrate how dance promotes physical safety and reduced risk of injury (e.g., learn and perform correctly a routine of dance stretches for warm-up)

DA: Pr5.1.8.c

Collaborate with peers to discover strategies for achieving performance accuracy, clarity, and expressiveness. Articulate personal performance goals and practice to reach goals. Document personal improvement over time (for example, journaling, portfolio, or timeline).



DA: Pr6.1.8.a

Demonstrate leadership qualities (for example commitment, dependability, responsibility, and cooperation) when preparing for performances. Use performance etiquette and performance practices during class, rehearsal and performance. Document efforts and create a plan for ongoing improvements. Post performance, accept notes from choreographer and apply corrections to future performances.

PP1C6-8a Performance Etiquette · Demonstrate a commitment to attend classes and

rehearsals in a respectful and cooperative manner Fulfill commitment to perform with the highest artistic quality possible


DA: Pr6.1.8.b

Collaborate to design and execute production elements that would intensify and heighten the artistic intent of a dance performed on a stage, in a different venue, or for different audiences. Explain reasons for choices using production terminology.

CC2A6-8a Improvise, choreograph, refine, and perform original movements that express personal ideas, experiences, feelings, concepts, or images Describe how dance communicates or expresses


DA: Re.7.1.8.a

Describe, demonstrate and discuss patterns of movement and their relationships in dance in context of artistic intent.

PP2C6-8 Movement Qualities a. Demonstrate and describe the qualities and

characteristics of movement in a dance form, style, or genre

Dance Qualities b. Dance with different qualities or characteristics

of movement (e.g., timing, spatial direction, tension, effort, weight, and force)

Stillness Maintain energy in the body while holding a position or body shape while others are moving

DA: Re.7.1.8.b

Explain how the elements of dance are used in a variety of genres, styles, or cultural movement practices to communicate intent. Use genre specific dance terminology.

AP1A6-8a Write a description of a dance using appropriate terminology Create a movement sequence in a given style based on dance terminology (e.g., create a movement sequence using swing, contraction and release in the modern dance style)


DA: Re8.1.8.a

Select a dance and explain how artistic expression is achieved through relationships among the elements of dance, use of body, dance technique and context. Cite evidence in the dance to support your interpretation using genre specific dance terminology.





DA: Re9.1.8.a

Use artistic criteria to determine what makes an effective performance. Consider content, context, genre, style, or cultural movement practice to comprehend artistic expression. Use genre-specific dance terminology.




DA: Cn10.1.8.a

Relate connections found between different dances and discuss the relevance of the connections to the development of one’s personal perspectives.



DA: Cn10.1.8.b

Investigate two contrasting topics using a variety of research methods. Identify and organize ideas to create representative movement phrases. Create a dance study exploring the contrasting ideas. Discuss how the research informed the choreographic process and deepens understanding of the topics.

AP1A6-8a Observe or perform dances from 2 or more genres or styles and describe how they are similar or different using dance terminology


DA: Cn11.1.8.a

Analyze and discuss, how dances from a variety of cultures, societies, historical periods, or communities reveal the ideas and perspectives of the people.

HC1A6-8a

a. Demonstrate knowledge of an historical period through dance (e.g., choreograph a court dance showing court organization; create Egyptian tomb murals and Greek temple friezes and bring them to life in dance)

b. Demonstrate understanding of an historical

event by choreographing a dance commemorating that event (e.g., choreograph a dance in honor of the firemen who lost their lives


HC1B6-8a

on 9/11) c. Create a dance based on research in other

disciplines (e.g., choreograph a dance showing states choosing sides before the Civil War, choreograph a dance about a sit-in during the Civil Rights era)

a. Research and present findings about the different cultural backgrounds in one’s class including typical dances of those cultures b. Learn and perform dances from a variety of cultures. Compare their styles and movements using dance terminology (e.g., Greek dances are typically performed in an open circle)


HIGH SCHOOL Proficient DANCE Missouri Learning Standards: Grade-Level Expectations






DA: Cr1.1.I.a

Explore a variety of stimuli for sourcing movement to develop an improvisational or choreographed dance study. Analyze the process and the relationship between the stimuli and the movement.

CC1BMS-HSB

a. Improvise to discover and explore newways of combining axial and locomotormovements and vary the use of the danceelements of space, time, and energyb. Observe and respond throughimprovisation to the movement of others

DA: Cr1.1.I.b

Experiment with the elements of dance to explore personal movement preferences and strengths, and select movements that challenge skills and build on strengths in an original dance study or dance.

CC1AMS-HSB

Discover and explore movement solutions to technical or structural movement problems


DA: Cr2.1.I,a

Collaborate to design a dance using choreographic devices and dance structures to support an artistic intent. Explain how the dance structures clarify the artistic intent.

CC1CMS-HSB

Demonstrate the ability to work cooperatively with a partner or group of dancers

DA: Develop an artistic statement for an original dance CC2BHSB Use improvisation to create movement for a


Cr2.1.I.b study or dance. Discuss how the use of movement elements, choreographic devices and dance structures serve to communicate the artistic statement.

one-minute dance with a beginning, middle, and end that communicates a specific idea (e.g., conservation, freedom), feeling (e.g., disappointment, triumph, sadness), or story (e.g., Trail of Tears native American migration) and present to peers · Identify and analyze what the dance

communicates, using dance terminology


DA: Cr3.1.I.a

Clarify the artistic intent of a dance by manipulating choreographic devices and dance structures based on established artistic criteria and feedback from others. Analyze and evaluate impact of choices made in the revision process.

PP1CMS-HSB


DA: Cr3.1.I.b

Compare recognized systems to document a section of a dance using writing, symbols, or media technologies.


DA: Pr4.1.I.a

Develop partner and ensemble skills that enable contrasting level changes through lifts, balances, or other means while maintaining a sense of spatial design and relationship. Use space intentionally during phrases and through transitions between phrases. Establish and break relationships with others as appropriate to the choreography.

PP2BMS-HSB

Directions Pathways Levels Shapes Personal Space Relationships


DA: Pr4.1.I.b

Use syncopation and accent movements related to different tempi. Take rhythmic cues from different aspects of accompaniment. Integrate breath phrasing with metric and kinesthetic phrasing.

PP1BMS-HSB PP3CMS-HSB PP2AMS-HSB

Breathing Non-Locomotor/Axial Locomotor Movement Articulation of Movement

Movement Qualities Dance Qualities Stillness Tempo

DA: Pr4.1.I.c

Connect energy and dynamics to movements by applying them in and through all parts of the body. Develop total body awareness so that movement phrases demonstrate variances of energy and dynamics.

PP2BMS-HSB PP3CMS-HSB

Directions Pathways Levels Shapes Personal Space Relationships

Movement Qualities Dance Qualities Stillness


DA: Pr5.1.I.a

Embody technical dance skills (for example, functional alignment, coordination, balance, core support, clarity of movement, weight shifts, flexibility/range of motion) to retain and execute dance choreography.

PP1AMS-HSB

Anatomy Body Organization Body Skills


DA: Pr5.1.I.b

Develop a plan for healthful practices in dance activities and everyday life including nutrition and injury prevention. Discuss implementation of the plan and how it supports personal performance goals.

IC1DHSB a. Demonstrate an understanding of and respect for one’s personal space and the personal space of others (e.g., maintain your position in dance formation)

b. Demonstrate how dance promotes physical safety and reduced risk of injury (e.g., learn a routine of dance stretches for warm-up)

Explain personal strategies to maintain health and well-being through dance (e.g., write a daily meal plan that provides nutritional needs necessary for dance)

DA: Pr5.1.I.c

Collaborate with peers to establish and implement a rehearsal plan to meet performance goals. Use a variety of strategies to analyze and evaluate performances of self and others (for example, use video recordings of practice to analyze the difference between the way movements look and how they feel to match performance with visual affect). Articulate performance goals and justify reasons for selecting particular practice strategies.

CC1CHSB Demonstrate the ability to work cooperatively with a partner or group of dancers (e.g., demonstrate desirable social characteristics such as responding in a positive way to partner in a class setting)


DA: Pr6.1.I.a

Demonstrate leadership qualities (for example commitment, dependability, responsibility, and cooperation) when preparing for performances. Demonstrate performance etiquette and performance practices during class, rehearsal and performance. Post performance, accept notes from choreographer and apply corrections to future performances. Document the rehearsal and

CC1CHSB PP1CHSB

Demonstrate the ability to work cooperatively with a partner or group of dancers (e.g., demonstrate desirable social characteristics such as responding in a positive way to partner in a class setting)

Focus and Awareness


performance process and evaluate methods and strategies using dance terminology and production terminology.

IC1DaHSB

a. Dance with concentration and focus b. Stop or start dancing when given a

specified vocal, musical or visual signal

c. Dance with awareness and understanding of the movement in a dance

Replication, Reflection, Refinement, and Revision

d. Repeat movement, dance phrases, and patterns to improve and achieve the full purpose of the choreography

e. Evaluate the performance to decide what are the strengths and weaknesses in the dance

Performance Etiquette f. Attend dance classes, rehearsals and

performances and arrive on time g. Wear dance clothes to dance classes

and rehearsals, and costumes for performances

h. Work well with classmates Perform at all required performances

a. Use movement to express images, ideas, and feelings found in literature

DA: Evaluate possible designs for the production IC1BHSB a. Choreograph a dance inspired


Pr6.1.I.b elements of a performance and select and execute the ideas that would intensify and heighten the artistic intent of the dances.

by another art form (e.g., choreograph a dance to a style of music that is new to you)

Discover ways to use technology with dance (e.g., video your choreography for critiques by others)


DA: Re.7.1.I.a

Analyze recurring patterns of movement and their relationships in dance in context of artistic intent.

CC1BHSB AP1AHSB

a. Improvise to discover and explore new ways of combining axial and locomotor movements and vary the use of the dance elements of space, time, and energy

Observe and respond through improvisation to the movement of others Observe and perform dance movements and describe how they are similar or different using dance terminology

DA: Re.7.1.I.b

Analyze the use of elements of dance in a variety of genres, styles, or cultural movement practices within its cultural context to communicate intent. Use genre specific dance terminology.

AP1AHSB HC2BHSB

Observe and perform dance movements and describe how they are similar or different using dance terminology a. Share a dance form from one’s cultural heritage or environment b. Observe and perform dances from a variety of cultures (e.g., hasapikos , Ghanaian high life, salsa, hip hop)


c. Identify the cultural origins of various dances Demonstrate social skills and etiquette appropriate to a particular dance (e.g., asking a partner to dance)


DA: Re8.1.I.a

Select and compare different dances and discuss their intent and artistic expression. Explain how the relationships among the elements of dance, use of body, dance technique, and context enhance meaning and support intent using genre specific dance terminology.

HC1AHSB AP1AHSB

a. Observe, practice, and perform dances from different historical periods (e.g., learn and perform a waltz)

b. Observe and compare dances from different styles in relation to the elements of dance (e.g., classical ballet and hip hop)

Observe and perform dance movements and

describe how they are similar or different using dance terminology


DA: Re9.1.I.a

Analyze the artistic expression of a dance. Discuss insights using evaluative criteria and dance terminology.

IC1AHSB a. Use movement to express images, ideas, and feelings found in literature

b. Observe or perform a dance and describe in writing the images, ideas, and feelings found in it


DA: Analyze a dance to determine the ideas expressed IC1BHSB a. Choreograph a dance inspired by another


Cn10.1.I.a by the choreographer. Explain how the perspectives expressed by the choreographer may impact one’s own interpretation. Provide evidence to support one’s analysis.

art form (e.g., choreograph a dance to a style of music that is new to you) Discover ways to use technology with dance (e.g., video your choreography for critiques by others)

DA: Cn10.1.I.b

Collaboratively identify a dance related question or problem. Conduct research through interview, research database, text, media, or movement. Analyze and apply information gathered by creating a group dance that answers the question posed. Discuss how the dance communicates new perspectives or realizations. Compare orally and in writing the process used in choreography to that of other creative, academic, or scientific procedures.

IC1CHSB a. Learn content of other disciplinesthrough movement experiences (e.g.,demonstrate the actions of fission andfusion through dance)

b. Discover ways to use technology withdance (e.g., create a power pointpresentation and share with otherclasses to publicize an upcoming danceevent)


DA: Cn11.1.I.a

Analyze and discuss dances from selected genres or styles and/or historical time periods, and formulate reasons for the similarities and differences between them in relation to the ideas and perspectives of the peoples from which the dances originate.

HC1AHSB

HC1AHSB

a. Observe, practice, and perform dances fromdifferent historical periods (e.g., learn andperform a waltz)

b. Observe and compare dances from differentstyles in relation to the elements of dance (e.g.,classical ballet and hip hop)

a. Share a dance form from one’s culturalheritage or environmentb. Observe and perform dances from a varietyof cultures (e.g., hasapikos , Ghanaian high


life, salsa, hip hop) c. Identify the cultural origins of various dances Demonstrate social skills and etiquette

appropriate to a particular dance (e.g., asking a partner to dance)

HIGH SCHOOL Accomplished DANCE Missouri Learning Standards: Grade-Level Expectations






DA: Cr1.1.II.a

Synthesize content generated from stimulus materials to choreograph dance studies or dances using original or codified movement.

CC1AHSI Discover and explore movement solutions to technical or structural movement problems to create choreography (e.g., demonstrate artistic form and structure such as ABA, variations, canon, call and response, narrative and include smooth transitions between movement ideas and sections of the dance)

DA: Cr1.1.II.b

Apply personal movement preferences and strengths with the movement vocabulary of several dance styles or genres to choreograph an original dance study or dance that communicates an artistic intent. Compare personal choices to those made by well known choreographers.

CC2AHSI

a. Improvise, choreograph, refine, and perform a dance that expresses personal ideas, experiences, feelings, concepts, or images Choreograph a dance inspired by a specific


PP1BHSI

dance style Styles and Genres a. Demonstrate at least two different styles or genres of dance movements and movement vocabulary of each Sequencing Learn and perform a three to five minute dance and repeat it accurately from memory


DA: Cr2.1.II.a

Work individually and collaboratively to design and implement a variety of choreographic devices and dance structures to develop original dances. Analyze how the structure and final composition informs the artistic intent.

CC1CHSI Demonstrate the ability to contribute constructively to a duet or group dance (e.g. apply suggestions to rework, refine, and revise choreography based on discussion and reflection)

DA: Cr2.1.II.b

Develop an artistic statement that reflects a personal aesthetic for an original dance study or dance. Select and demonstrate movements that support the artistic statement.


DA: Cr3.1.II.a

Clarify the artistic intent of a dance by refining choreographic devices and dance structures, collaboratively or independently using established artistic criteria, self reflection and the feedback of others. Analyze and evaluate impact of choices made in the revision process.

CC2AHSI a. Improvise, choreograph, refine, and perform a dance that expresses personal ideas, experiences, feelings, concepts, or images Choreograph a dance inspired by a specific dance style


DA: Cr3.1.II.b

Develop a strategy to record a dance using recognized systems of dance documentation (for example, writing, a form of notation symbols, or using media technologies).

AP1AHSI IC1CHSI

Observe or perform two dances and use dance terminology to describe the choreographic elements that are unique to each dance a. Create a dance based on research in other disciplines (e.g., create a dance about women getting the right to vote) b. Discover ways to use technology with dance (e.g., videotape social dance forms of your peers and describe how they reflect peer groups in your school)


DA: Pr4.1.II.a

Dance alone and with others with spatial intention. Expand partner and ensemble skills to greater ranges and skill level. Execute complex floor and air sequences with others while maintaining relationships through focus and intentionality.

CC1AHSI Discover and explore movement solutions to technical or structural movement problems to create choreography (e.g., demonstrate artistic form and structure such as ABA, variations, canon, call and response, narrative and include smooth transitions between movement ideas and sections of the dance)

DA: Pr4.1.II.b

Perform dance studies and compositions that use time and tempo in unpredictable ways. Use internal rhythms and kinetics as phrasing tools. Dance “in the moment.”

PP2AHSI Tempo a. Dance with a steady beat in a variety of tempi Demonstrate the ability to “double-time” or “half-time”

DA: Pr4.1.II.c

Initiate movement phrases by applying energy and dynamics. Vary energy and dynamics over the

PP3CHSI Movement Qualities a. Show and tell about how the movement


length of a phrase and transition smoothly out of the phrase and into the next phrase, paying close attention to its movement initiation and energy.

qualities of dance is similar to and different from other types of everyday movement (e.g., brushing your teeth, sports, or pantomime) Dance Qualities b. Perform specific dance movements with different characteristics of movement (e.g., plie and releve with a variety of tension, force, effort, and weight) c. Demonstrate and describe the qualities and characteristics of movement in two different dance forms, styles, or genres Stillness d. Maintain kinetic energy while holding a shape


DA: Pr5.1.II.a

Dance with sensibility toward other dancers while executing complex spatial, rhythmic and dynamic sequences to meet performance goals.

PP2BHSI Directions a. Dance through space in a variety of directions using accurate spatial patterns and clear facings Pathways b. Dance through space in a variety of pathways (e.g., straight, curved, circular, diagonal, zigzag, and combination of pathways) performing spatial designs and patterns with accuracy Levels


c. Demonstrate an understanding of levels bymoving through them with purpose and controld. Demonstrate an awareness of the use oflevel in a variety of dance styles (e.g., contrastthe low level of African dance with the highlevel of the waltz)Shapese. Create shapes and designs with one’sbody and/or in relationship with others using avariety of spatial directions, pathways, andlevelsPersonal Spacef. Maintain awareness of one’s personalspace and that of others in relation to thedance spaceRelationshipsg. Dance with a group in a clearly planned spatialdesign or pattern in relation to other dancers

DA: Pr5.1.II.b

Apply anatomical principles and healthful practices to a range of technical dance skills for achieving fluency of movement. Follow a personal nutrition plan that supports health for everyday life.

IC1DHSI a. Demonstrate and explain how warm-upexercises promote strength, health, andreduce risk of injury by demonstrating yourpersonal warm-up sequenceb. Create personal strategies to maintainhealth and well-being through dance (e.g.,design a personalized stretch routine thatdemonstrates awareness of individual bodytypes)


DA: Pr5.1.II.c

Plan and execute collaborative and independent practice and rehearsal processes with attention to technique and artistry informed by personal performance goals. Reflect on personal achievements.


DA: Pr6.1.II.a

Demonstrate leadership qualities (for example commitment, dependability, responsibility, and cooperation) when preparing for performances. Model performance etiquette and performance practices during class, rehearsal and performance. Implement performance strategies to enhance projection. Post performance, accept notes from choreographer and apply corrections to future performances. Document the rehearsal and performance process and evaluate methods and strategies using dance terminology and production terminology.

CC1CHSI PP1CHSI

Demonstrate the ability to contribute constructively to a duet or group dance (e.g. apply suggestions to rework, refine, and revise choreography based on discussion and reflection) Focus and Awareness a. Maintain concentration and focus while

moving or holding a fixed position b. Listen carefully and respond

constructively to vocal, musical, direct and indirect cues

c. Dance with understanding of movement relationships (e.g., proximity and interconnectedness between dancers)

Replication, Reflection, Refinement, and Revision

d. Repeat, reflect, and refine movement, dance phrases, and patterns to increase performance accuracy

e. Revise movement through re-analysis, discussion, and practice


Performance Etiquette f. Attend classes, rehearsals, and

performances to fulfill commitment to the process and event

g. Dress in proper dance clothes for class and rehearsal, and in costume for performance

h. Stay quiet, orderly, positive, and respectful to others in the dance class and onstage

i. Fulfill a commitment to make the performance of dance the highest quality possible

DA: Pr6.1.II.b

Work collaboratively to produce a dance concert on a stage or in an alternative performance venue and plan the production elements that would be necessary to fulfill the artistic intent of the dance works.

CC1CHSI CC2BHSI

Demonstrate the ability to contribute constructively to a duet or group dance (e.g. apply suggestions to rework, refine, and revise choreography based on discussion and reflection) Develop three movement motifs and use them to choreograph a two-minute dance on a specific theme and perform for peers

· Identify what the dance communicates or expresses and explain how your major movement choices communicate the idea, feeling,


or story


DA: Re.7.1.II.a

Analyze dance works and provide examples of recurring patterns of movement and their relationships that create structure and meaning in dance.

PP2AHSI Tempo a. Dance with a steady beat in a variety of tempi Demonstrate the ability to “double-time” or “half-time” Rhythm and Patterns b. Dance in relation to changes in rhythms and meters in even and syncopated rhythms c. Repeat a rhythmic pattern of movement that demonstrates a variety of tempi and rhythms with or without auditory accompaniment Musical Phrasing d. Demonstrate the ability to phrase movement musically and dance in relation to music

DA: Re.7.1.II.b

Analyze and compare the movement patterns and their relationships in a variety of genres, styles, or cultural movement practices and explain how their differences impact communication and intent within a cultural context. Use genre-specific dance terminology.

HC1AHSI a. Learn and perform dances from other historical periods. Compare their styles and movements in relation to how they employ the elements of dance

b. Describe how dances from other periods reflect the values and beliefs of the time period (e.g., describe the development of the cakewalk as a plantation dance)

c. Construct a series of dance sequences that


use movements from selected historical periods


DA: Re8.1.II.a

Analyze and discuss how the elements of dance, execution of dance movement principles, and context contribute to artistic expression. Use genre specific dance terminology.

AP1AHSI HC2BHSI

Observe or perform two dances and use dance terminology to describe the choreographic elements that are unique to each dance a. Observe and perform movements from a variety of cultures and describe them using dance terminology (e.g., Native American dances often have a percussive energy while the Balinese dance is usually sustained) Describe how the dances of various cultures reflect the values and beliefs of those cultures (e.g., what are the cultural values reflected in the hora ?)


DA: Re9.1.II.a

Compare and contrast two or more dances using evaluative criteria to critique artistic expression. Consider societal values and a range of perspectives. Use genre-specific dance terminology.

AP1AHSI HC2BHSI

Observe or perform two dances and use dance terminology to describe the choreographic elements that are unique to each dance a. Observe and perform movements from a variety of cultures and describe them using dance terminology (e.g., Native American dances often have a percussive energy while


the Balinese dance is usually sustained) Describe how the dances of various cultures reflect the values and beliefs of those cultures (e.g., what are the cultural values reflected in the hora ?)


DA: Cn10.1.II.a

Analyze a dance that is related to content learned in other subjects and research its context. Synthesize information learned and share new ideas about its impact on one’s perspective.

IC1BHSB a. Relate the elements used in dance to the elements of other art forms (e.g., describe the spatial pattern of a painting using dance terminology such as pathway) b. Respond to movement through a different art medium (e.g., create an original sound score for your choreography) Design a costume and create choreography inspired by it

DA: Cn10.1.II.b

Use established research methods and techniques to investigate a topic. Collaborate with others to identify questions and solve movement problems that pertain to the topic. Create and perform a piece of choreography. Discuss orally or in writing the insights relating to knowledge gained through the research process, the synergy of collaboration, and the transfer of learning from this project to other learning situations.

IC1CHSB

a. Create a dance based on research in other disciplines (e.g., create a dance about women getting the right to vote) b. Discover ways to use technology with dance (e.g., videotape social dance forms of your peers and describe how they reflect peer groups in your school)


DA: Cn11.1.II.a

Analyze dances from several genres or styles, historical time periods, and/or world dance forms.

HC1AHSB a. Learn and perform dances from other historical periods. Compare their styles and movements


Discuss how dance movement characteristics, techniques, and artistic criteria relate to the ideas and perspectives of the peoples from which the dances originate.

in relation to how they employ the elements of dance

b. Describe how dances from other periods reflect the values and beliefs of the time period (e.g., describe the development of the cakewalk as a plantation dance)

Construct a series of dance sequences that use movements from selected historical periods


HIGH SCHOOL Advanced DANCE Missouri Learning Standards: Grade-Level Expectations






DA: Cr1.1.III.a

Synthesize content generated from stimulus material. Experiment and take risks to discover a personal voice to communicate artistic intent.

CC1AHSA Discover and explore movement solutions to technical or structural movement problems to create, edit, refine, and revise choreography (e.g., demonstrate artistic form and structure such as ABA, variations, canon, call and response, narrative, theme and variations, chance, or forms selected by the student that integrate aesthetic criteria)

DA: Cr1.1.III.b

Expand personal movement preferences and strengths to discover unexpected solutions that communicate the artistic intent of an original dance. Analyze the unexpected solutions and explain why they were effective in expanding artistic intent.

CC2AHSA CC2BHSA

a. Improvise, choreograph, refine, and perform a dance based on experiences, feelings, concepts, or images that have personal meaning or social significance Improvise, choreograph, refine, and perform a dance based on an abstract concept Working with others, choreograph and present a three-minute dance that communicates a perspective about a personal or social issue.

· Identify what the dance communicates or


expresses and explain how your major movement choices communicate the perspective

Analyze the idea, feeling or the story the dance communicates in relation to personal context


DA: Cr2.1.III.a

Demonstrate fluency and personal voice in designing and choreographing original dances. Justify choreographic choices and explain how they are used to intensify artistic intent.

CC1BHSA a. Improvise movement inspired by a variety of sources (e.g., nature, animals, conflict) and develop three movement motifs to be used in creating choreography b. Select a theme from which to improvise (e.g., elements of dance, social conflict, personal experience, nature) and then choreograph a dance that fulfills the artistic intent and makes the choreography interesting in form and structure

DA: Cr2.1.III.b

Construct an artistic statement that communicates a personal, cultural and artistic perspective.

CC1AHSA Discover and explore movement solutions to technical or structural movement problems to create, edit, refine, and revise choreography (e.g., demonstrate artistic form and structure such as ABA, variations, canon, call and response, narrative, theme and variations, chance, or forms selected by the student that integrate aesthetic criteria)


DA: Clarify the artistic intent of a dance by CC1CHSA Demonstrate the ability to contribute


Cr3.1.III.a manipulating and refining choreographic devices, dance structures, and artistic criteria using self-reflection and feedback from others. Document choices made in the revision process and justify how the refinements support artistic intent.

AP1AHSA

constructively to a duet or group dance ads both leader and follower and constructively apply suggestions to rework, refine, and revise choreography based on discussion and reflection Critically analyze and assess dance that is observed or performed using dance terminology (e.g., use dance terminology in an essay describing how a choreographer used dance elements to create the structure of the dance)

DA: Cr3.1.III.b

Document a dance using recognized systems of dance documentation (for example, writing, a form of notation symbols, or using media technologies).


DA: Pr4.1.III.a

Modulate and use the broadest range of movement in space for artistic and expressive clarity. Use inward and outward focus to clarify movement and intent. Establish and break relationships with other dancers and audience as appropriate to the dance.

DA: Pr4.1.III.b

Modulate time factors for artistic interest and expressive acuity. Demonstrate time complexity in phrasing with and without musical accompaniment. Use multiple and complex rhythms (for example, contrapuntal and/or polyrhythmic) at the same time. Work with and


against rhythm of accompaniment or sound environments.

DA: Pr4.1.III.c

Modulate dynamics to clearly express intent while performing dance phrases and choreography. Perform movement sequences expressively using a broad dynamic range and employ dynamic skills for establishing relationships with other dancers and projecting to the audience.


DA: Pr5.1.III.a

Apply body-mind principles to technical dance skills in complex choreography when performing solo, partnering, or dancing in ensemble works in a variety of dance genres and styles. Self-evaluate performances and discuss and analyze performance ability with others.

IC1BHSA a. Integrate other art forms into your choreography (e.g., invite members of a band to create music for your choreography) b. Create a dance based on research into other art forms (e.g., research the work of an artist and create a dance reflecting their artistic achievements) c. Create site-specific choreography

DA: Pr5.1.III.b

Research healthful and safe practices for dancers and modify personal practice based on findings. Discuss how research informs practice.

IC1DHSA b. Demonstrate an understanding of how lifestyle choices and self concept affect a dancer (e.g., choreograph a dance about drug use or eating disorders and their consequences)

DA: Pr5.1.III.c

Initiate, plan, and direct rehearsals with attention to technical details and fulfilling artistic expression. Use a range of rehearsal strategies


to achieve performance excellence.


DA: Pr6.1.III.a

Demonstrate leadership qualities (for example commitment, dependability, responsibility, and cooperation) when preparing for performances. Model performance etiquette and performance practices during class, rehearsal and performance. Enhance performance using a broad repertoire of strategies for dynamic projection. Develop a professional portfolio (resume, headshot, etc.) that documents the rehearsal and performance process with fluency in professional dance terminology and production terminology.

DA: Pr6.1.III.b

Work collaboratively to produce dance concerts in a variety of venues and design and organize the production elements that would be necessary to fulfill the artistic intent of the dance works in each of the venues.

IC1BHSA a. Integrate other art forms into your choreography (e.g., invite members of a band to create music for your choreography) b. Create a dance based on research into other art forms (e.g., research the work of an artist and create a dance reflecting their artistic achievements) c. Create site-specific choreograph


DA: Re.7.1.III.a

Analyze dance works from a variety of dance genres and styles and explain how recurring patterns of movement and their relationships create well structured and meaningful choreography.

IC1AHSA a. Create and perform a dance based on a literary work (e.g., choreograph a dance to a Shakespeare sonnet) b. Compare and contrast the choreographic


process and writing process in discussion and in an essay based on your own experience

DA: Re.7.1.III.b

Explain how dance communicates aesthetic and cultural values in a variety of genres, styles, or cultural movement practices. Use genre specific dance terminology.

PP1BHSA HC2BHSA

Styles and Genres e. Understand and demonstrate movement

vocabulary appropriate to a variety of dance styles, forms, or genres

Sequencing f. Remember and perform several dances, totaling 10 minutes a. Compare and contrast the cultural contexts of two dance forms and how they might have influenced the structure of those forms (e.g., compare and contrast the functions of the Pueblo emergence dance and ballet developed in the royal courts of 17 th century France) b. Discuss the recreational and social aspects of a variety of dances and their impact on cultural development (e.g., disco line dances reflected the emphasis of self of the 1970’s) c. Perform and teach a dance from one’s culture that has personal or social significance


DA: Re8.1.III.a

Analyze and interpret how the elements of dance, execution of dance movement

AP1AHSA

Critically analyze and assess dance that is observed or performed using dance


principles, and context contribute to artistic expression across different genres, styles, or cultural movement practices. Use genre specific dance terminology.

PP1BHSA

terminology (e.g., use dance terminology in an essay describing how a choreographer used dance elements to create the structure of the dance) Styles and Genres e. Understand and demonstrate movement

vocabulary appropriate to a variety of dance styles, forms, or genres

Sequencing f. Remember and perform several dances, totaling 10 minutes


DA: Re9.1.III.a

Define personal artistic preferences to critique dance. Consider societal and personal values, and a range of artistic expression. Discuss perspectives with peers and justify views.

AP1AHSA HC1AHSA

Critically analyze and assess dance that is observed or performed using dance terminology (e.g., use dance terminology in an essay describing how a choreographer used dance elements to create the structure of the dance) a. Design a visual presentation including

movement that synthesizes what you have learned about dance movement from two historical periods

Describe how selected dances reflect the values and beliefs of the historical period in which they were created (e.g., describe how dance affected the lives of cancan dancers in 19th century France)



DA: Cn10.1.III.a

Review original choreography developed over time with respect to its content and context and its relationship to personal perspectives. Reflect on and analyze the variables that contributed to changes in one’s personal growth.

DA: Cn10.1.III.b

Investigate various dance related careers through a variety of research methods and techniques. Select those careers of most interest. Develop and implement a Capstone Project that reflects a possible career choice.


DA: Cn11.1.III.a

Analyze dances from several genres or styles, historical time periods, and/or world dance forms. Discuss how dance movement characteristics, techniques, and artistic criteria relate to the ideas and perspectives of the peoples from which the dances originate, and how the analysis has expanded one’s dance literacy.

HC1AHSB a. Design a visual presentation including movement that synthesizes what you have learned about dance movement from two historical periods

b. Describe how selected dances reflect the values and beliefs of the historical period in which they were created (e.g., describe how dance affected the lives of cancan dancers in 19th century France)


MUSIC Crosswalk


Legend


Bold Bold New Text





ABOUT THE MISSOURI LEARNING STANDARDS: The State Board of Education approved the updated Missouri Learning Standards: Grade Level Expectations on xxxx, based on the standards created by work groups of Missouri educators, parents, and community members. The revised standards were developed by Missourians for Missouri students. These expectations are challenging, yet attainable, for students in our state. The standards further define our high expectations for what children should know and be able to do in each course and grade level, helping ensure they graduate prepared for college, career, and life.

ABOUT THE MUSIC CROSSWALK: The intent of this crosswalk is to enhance understanding of the changes to the MUSIC expectations. The column on the left contains the newly adopted MUSIC expectations (2019). The column on the right contains the previous expectations (GLEs) which show some alignment. This document is intended to assist teachers with some of the issues associated with implementing new MUSIC standards: planning, pacing, professional development and curricular materials.


Preschool MUSIC

These proposed standards represent a new aspect of the curriculum in which no standards have previously been developed.

Missouri Learning Standards: Grade-Level Expectations for Music

(Adopted 2019 for implementation in the 2019-2020 school year.)

Missouri Grade Level Expectations: Music



CREATE 1. Generate and conceptualize artistic ideas and work.

Imagine

MU:Cr1A.PKa With substantial guidance, explore and experience a variety of music.

2. Organize and develop artistic ideas and work

Plan and Make

MU:Cr2.1.PKa With substantial guidance, explore favorite musical ideas (such as movements, vocalizations, or instrumental accompaniments).

MU:Cr2.1.PKb With substantial guidance, select and keep track of the order for performing original musical ideas, using iconic notation and/or recording technology.


Evaluate and Refine


MU:Cr3.1.PKa With substantial guidance, consider personal, peer, and teacher feedback when demonstrating and refining personal musical ideas.

Present

MU:Cr3.2.PKa With substantial guidance, share revised personal musical ideas with peers.

PERFORMING 4. Select, analyze, and interpret artistic work for presentation. Select

MU:Pr4.1.PKa With substantial guidance, demonstrate and state preference for varied musical selections.

Analyze

MU:Pr4.2.PKa With substantial guidance, explore and demonstrate awareness of musical contrasts.

Interpret

MU:Pr4.3.PKa With substantial guidance, explore music’s expressive qualities (such as voice quality, dynamics, and tempo).


With guidance, perform music with expression

MU:Pr5.1.PKa With substantial guidance, practice and demonstrate what they like about their own performances.


MU:Pr5.1.PKb

With substantial guidance, apply personal, peer, and teacher feedback to refine performances

6. Convey meaning through the presentation of artistic work

Present

MU:Pr6.1.PKa With substantial guidance, perform music with expression.

RESPONDING 7. Perceive and analyze artistic work

Select

MU:Re7.1.PKa With substantial guidance, state personal interests and demonstrate why they prefer some music selections over others.

Analyze

MU:Re7.2.PKa With substantial guidance, explore musical contrasts in music.

8. Interpret intent and meaning in artistic work

Interpret

MU:Re8.1.PKa With substantial guidance, explore music’s expressive qualities (such as dynamics and tempo).


Evaluate


MU:Re9.1.PKb With substantial guidance, talk about personal and expressive preferences in music. b With guidance, apply personal and expressive preferences in the e

CONNECTING 10. Synthesize and relate knowledge and personal experiences to make art

MU:Cn10.0.Ka Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music


MU:Cn11.0.Ka Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.


Kindergarten MUSIC







Imagine

MU:Cr1A.Ka With guidance, explore and experience music concepts (such as beat and melodic contour )

PP1A.K PP2A.K PP2D.K AP1B.K

Use singing, speaking, whispering and shouting voices Perform using two dynamic levels—soft and loud; echo simple rhythms (long and short sounds) Echo short rhythmic patterns and on rhythm instruments and/or body percussion Differentiate between various vocal productions: singing, whispering, shouting, speaking

MU:Cr1A.Kb With guidance, generate musical ideas (such as movements or motives).


Plan and Make

MU:Cr2.1.Ka With guidance, demonstrate and choose favorite musical ideas

MU:Cr2.1.Kb With guidance, organize personal musical ideas


using iconic notation and/or recording technology


Evaluate and Refine

MU:Cr3.1.Ka With guidance, apply personal, peer, and teacher feedback in refining personal musical ideas.

Present

MU:Cr3.2.Ka With guidance, demonstrate a final version of personal musical ideas to peers.


MU:Pr4.1.Ka With guidance, demonstrate and state personal interest in varied musical selections

Analyze

MU:Pr4.2.Ka With guidance, explore and demonstrate awareness of music contrasts (such as high/low, loud/soft, same/different) in a variety of music selected for performance .

PP1A.K PP2A.K PP2D.K PP.1C.K PP.2C.K

Use singing, speaking, whispering and shouting voices Perform using two dynamic levels—soft and loud; echo simple rhythms (long and short sounds) Echo short rhythmic patterns and on rhythm instruments and/or body percussion Perform a varied repertoire of songs, including: patriotic, folk, seasonal, & spirituals Perform a varied repertoire of music including


instrumental accompaniments representing diverse cultures, genres, and styles

Interpret

MU:Pr4.3.Ka With guidance, demonstrate awareness of expressive qualities (such as voice quality, dynamics, and tempo) that support the creators’ expressive intent.

PP1A.K PP2A.K PP2D.K AP1B.K HC1B.K

Use singing, speaking, whispering and shouting voices Perform using two dynamic levels—soft and loud: echo simple rhythms (long and short sounds) Echo short rhythmic patterns and on rhythm instruments and/or body percussion Differentiate between nature, manmade, and animal sounds Describe how elements of music are used in teacher-selected examples: lullabies, marches, nursery rhymes/chants



MU:Pr5.1.Ka With guidance, apply personal, teacher, and peer feedback to refine performances

HC1C.K Identify and demonstrate appropriate listening behaviors during a classroom or outside performance

MU:Pr5.1.Kb

With guidance , use suggested strategies in rehearsal to improve the expressive qualities of music.

PP1E.K HC1D.K

Perform in groups following cues of the *conductor Identify responsibilities of a music leader and group participants in a classroom setting


Present

MU:Pr6.1.Ka With guidance, perform music with expression PP1E.K Perform in groups following cues of the *conductor

MU:Pr6.1.Kb Perform appropriately for the audience. PP1E.K Perform in groups following cues of the *conductor


HC1C.K HC1D.K

Identify and demonstrate appropriate listening behaviors during a classroom or outside performance Identify responsibilities of a music leader and group participants in a classroom setting


Select

MU:Re7.1.Ka With guidance, list personal interests and experiences and demonstrate why they prefer some music selections over others.

Analyze

MU:Re7.2.Ka With guidance, demonstrate how a specific music concept (such as beat or melodic direction ) is used in music.


Interpret

MU:Re8.1.Ka With guidance, demonstrate awareness of expressive qualities (such as dynamics and tempo) that reflect creators’/performers’ expressive intent.

AP2A.K Develop criteria to distinguish between quality and non-quality performance through listening and self-assessment with regard to the following musical elements: appropriate singing voice, loud/soft, steady beat, posture/stage presence


Evaluate

MU:Re9.1.Kb With guidance, apply personal and expressive AP2A.K Develop criteria to distinguish between quality and


preferences in the evaluation of music. non-quality performance through listening and self-assessment with regard to the following musical elements: appropriate singing voice, loud/soft, steady beat, posture/stage presence


MU:Cn10.0.Ka Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music

AP2B.K HC1C.K

Use prerequisite music terms to describe their personal response to a musical example (feelings) Describe the function of music in various settings and cultural events: lullabies, marches, nursery rhymes/chants


MU:Cn11.0.Ka Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.

IC1A.K Use terms such as plain or fancy, same or different, bright or dark, in music class and art class


1st GRADE MUSIC







Imagine

MU:Cr1A.1a With limited guidance, create musical ideas (such as answering a musical question) for a specific purpose .

PP3A.1 PP4A.1

Improvise short rhythmic patterns Create a single tone or non-pitched accompaniment for songs and stories

MU:Cr1A.1b

With limited guidance, use iconic or standard notation and/or recording technology to document and organize personal musical ideas

EM1A.1 Read simple rhythm patterns (using iconic or standard notation) consisting of: quarter note/rest and eighth note pairs


Plan and Make

MU:Cr2.1.1a With limited guidance, demonstrate and discuss personal reasons for selecting musical ideas that represent expressive intent .

MU:Cr2.1.1b With guidance, organize personal musical ideas using iconic notation and/or recording technology

PP4A.1 Create a single tone or non-pitched accompaniment for songs and stories


Evaluate and Refine


MU:Cr3.1.1a With guidance, apply personal, peer, and teacher feedback in refining personal musical ideas.

Present

MU:Cr3.2.1a With limited guidance, convey expressive intent for a specific purpose by presenting a final version of personal musical ideas to peers or informal audience.


MU:Pr4.1.1a With limited guidance, demonstrate and discuss personal interest in, knowledge about, and purpose of varied musical selections.

Analyze

MU:Pr4.2.1a With limited guidance, demonstrate knowledge of music concepts (such as beat and melodic contour ) in music from a variety of cultures selected for performance.

PP1C.1 PP2A.1 PP2C.1 PP2E.1 HC1A.1

Perform a varied repertoire of songs, including: patriotic, folk, seasonal, spirituals Perform a steady beat; echo simple rhythmic patterns Perform a varied repertoire of music including instrumental accompaniments representing diverse cultures, genres, and styles Perform in groups using a steady beat following the cues of the conductor Identify characteristics of teacher-selected genres or styles: western and non-western music, circle games, call and response


HC1A.1 HC1B.1 HC1C.1

Recognize music of now and long ago Describe how elements of music are used in teacher-selected examples: western and non-western music, circle games, call and response Describe the function of music in various settings and cultural events: western and non-western music, circle games, call and response

MU:Pr4.2.1b When analyzing selected music, read and perform rhythmic patterns using iconic or standard notation.

EM1A.1 Read simple rhythm patterns (using iconic or standard notation) consisting of: quarter note/rest and eighth note pairs

Interpret

MU:Pr4.3.1a Demonstrate and describe music’s expressive qualities (such as dynamics and tempo).

PP1B.1 PP1E.1 PP2A.1 PP2B.1 PP2E.1

Demonstrate fast and slow tempo (with singing skills) Perform in groups using a steady beat following the cues of the conductor Perform a steady beat; echo simple rhythmic patterns Demonstrate fast and slow tempi (with instrumental skills) Perform in groups using a steady beat following the cues of the conductor



MU:Pr5.1.1a With limited guidance, apply personal, teacher, and peer feedback to refine performances.

MU:Pr5.1.1b

With limited guidance, use suggested strategies in rehearsal to address interpretive challenges of music.

PP1A.1 Reproduce/echo melodies in limited range [sol-mi-la-sol-mi]; use a singing voice with a head tone



Present

MU:Pr6.1.1a With limited guidance, perform music for a specific purpose with expression.

MU:Pr6.1.1b Perform appropriately for the audience and purpose . PP1E.1

PP2A.1

HC1C.1

HC1D.1

Perform in groups using a steady beat following the cues of the conductor

Perform a steady beat; echo simple rhythmic patterns

Discuss and demonstrate appropriate listening behaviors for various types of performances

Identify responsibilities of a music leader and group participants in a classroom setting or performance ensemble setting


Select

MU:Re7.1.1a With limited guidance, identify and demonstrate how personal interests and experiences influence musical selection for specific purposes.

Analyze

MU:Re7.2.1a With limited guidance, demonstrate and identify how specific music concepts (such as beat or pitch) are used in various styles of music for a purpose .

PP2D.1

EM1B.1

EM1C.1

Echo short rhythmic patterns on rhythm instruments and/or body percussion

Identify icons for high and low sounds

Recognize fast and slow tempi


AP1B.1 Differentiate between male, female, and children’s voices


Interpret

MU:Re8.1.1a With limited guidance, demonstrate and identify expressive qualities (such as dynamics and tempo ) that reflect creators’/ performers’ expressive intent

PP2D.1 EM1C.1 AP1A.1 AP1B.1 AP2A.1

Echo short rhythmic patterns on rhythm instruments and/or body percussion Recognize fast and slow tempi Distinguish between music opposites: same/different, high/low, fast/slow, long/short, smooth/separated, soft/loud, up/down Demonstrate through movement musical opposites: high/low, fast/slow, long/short, smooth/separated, soft/loud, same/different, up/down, beat/no beat Develop criteria to distinguish between quality and non-quality performance through listening and self-assessment with regard to the following musical elements: appropriate singing voice, loud/soft, steady beat, posture/stage presence


Evaluate

MU:Re9.1.1a With guidance, apply personal and expressive preferences in the evaluation of music.



MU:Cn10.0.1a Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music

AP2B.1 HC1C.1

Use prerequisite appropriate music terms to describe their personal responses to a musical example (images/stories) Describe the function of music in various settings and cultural events Western and nonWestern music circle games call and response


MU:Cn11.0.1a Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.

IC1A.1 IC1A.1 IC1B.1

Name words and ideas that are used to describe works of music, art, dance, or theatre, such as happy and sad, light and dark, or same and different Identify ways ideas are used differently in music, art, dance, or theatre (e.g., how music heard or sung in class makes you feel, and do the same after viewing a painting, or play, or ballet) List common themes found in all subject areas (e.g., repetition)


2nd Grade MUSIC







Imagine

MU:Cr1A.2a Improvise rhythmic and melodic patterns and musical ideas for a specific purpose.

PP3A.2 AP1B.2a

Improvise short rhythmic and melodic patterns Demonstrate through movement musical opposites and basic forms: high/low, fast/slow, long/short, smooth/separated, soft/loud, same/different, up/down, questions/answer, call/response, AB, repeated pattern [ostinati], verse/refrain

MU:Cr1A.2b

Generate musical patterns and ideas within the context of a given tonality (such as major and minor) and meter (such as duple and triple).

AP1B.2b Differentiate between classroom pitched/non-pitched percussion instruments


Plan and Make

MU:Cr2.1.2a Demonstrate and explain personal reasons for selecting patterns and ideas for music that represent expressive intent.

PP2D.2 Echo short rhythmic patterns on rhythm instruments and/or body percussions

MU:Cr2.1.2b Use iconic or standard notation and/or recording technology to combine, sequence, and document

PP4A.2 Create a rhythmic composition using *icons Create a phrase by arranging rhythms


personal musical ideas.


Evaluate and Refine

MU:Cr3.1.2a Interpret and apply personal, peer, and teacher feedback to revise personal music .

Present

MU:Cr3.2.2a Convey expressive intent for a specific purpose by presenting a final version of personal musical ideas to peers or informal audience.


MU:Pr4.1.2a Demonstrate and explain personal interest in, knowledge about, and purpose of varied musical selections.

Analyze

MU:Pr4.2.2a Demonstrate knowledge of music concepts (such as tonality and meter) in music from a variety of cultures selected for performance.

HC1B.2 PP1C.2 PP2C.2

Describe how elements of music are used in teacher-selected examples: patriotic, Native American, African American, singing games Perform a varied repertoire of songs, including: patriotic, folk, seasonal, spirituals Perform a varied repertoire of music including instrumental accompaniments representing diverse cultures, genres, and styles


MU:Pr4.2.2b When analyzing selected music, read and perform rhythmic and melodic patterns using iconic or standard notation

PP1A.2a PP1D.2 PP2A.2 EM1B.2a EM1B.2b EM1C.2

Apply accurate *pitch relationships while singing in a limited range [la-sol-mi, sol-mi-re-do] Perform ostinati Perform the following rhythmic patterns using standard or iconic notation:Whole note/rest, Quarter note/rest, Half note/ rest, Eighth note pairs Identify melodies that move up, down, or stay the same Transfer melodic icons to pitch notation (e.g., two line staff) Identify p for piano and f for forte

Interpret

MU:Pr4.3.2a Demonstrate understanding of expressive qualities (such as dynamics and tempo) and how creators use them to convey expressive intent .

PP1B.2 PP2B.2 PP1E.2 PP2E.2

Demonstrate loud and soft *dynamics [p, f] and fast and slow tempo Perform in groups using a steady beat, matching dynamics, following the cues of the conductor


Rehearse, Evaluate, and Refine

MU:Pr5.1.2a Apply established criteria to judge the accuracy, expressiveness, and effectiveness of performances.

MU:Pr5.1.2b

Rehearse, identify and apply strategies to address interpretive, performance, and technical challenges of music.


Present


MU:Pr6.1.2a Perform music for a specific purpose with expression and technical accuracy

PP1A.2b Demonstrate appropriate singing posture

MU:Pr6.1.2b Perform appropriately for the audience and purpose.


Select

MU:Re7.1.2a Explain and demonstrate how personal interests and experiences influence musical selection for specific purposes.

Analyze

MU:Re7.2.2a Describe how specific music concepts are used to support a specific purpose in music.

AP1A.2 AP1B.2

Recognize basic forms and composition techniques: question/answer, call/response, AB, repeated patterns, [ostinati], verse/refrain, repeat sign, introduction Demonstrate through movement musical opposites and basic forms: high/low, fast/slow, long/short, smooth/separated, soft/loud, same/different, soft/loud, same/different, up/down, question/answer, call/response, AB, repated pattern, ostinati, verse,/refrain Differentiate between classroom pitched/non-pitched percussion instruments


Interpret

MU:Re8.1.2a Demonstrate knowledge of music concepts and how they support creators’/ performers’ expressive intent.

AP2A.2 Develop criteria to distinguish between quality and non-quality performance through listening and


self-assessment with regard to the following musical elements: appropriate singing voice, loud/soft, steady beat, posture/stage presence


Evaluate

MU:Re9.1.2b Apply personal and expressive preferences in the evaluation of music for specific purposes

AP2B.2 Use prerequisite music terms to describe their personal response to a musical example (tempo)


MU:Cn10.0.2a Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.



IC1A.2 IC1B.2a IC1B.2b HC1A.2 HC1C.2a

Tell how concepts such as repetition and contrast are used in the fine arts Identify ways in which the principles and subject matter of other disciplines are interrelated with those of music Show how the arts are studied in ways common to other subjects (e.g., relate rhythmic groups in music to sets in mathematics) Identify characteristics of teacher-selected genres or styles: patriotic, Native American, African American, singing games Describe the function of music in various settings and cultural events: patriotic, native american, african american, singing games


HC1C.2b HC1D.2

Discuss and demonstrate appropriate listening behavior for various types of performances Identify responsibilities of an accompanist and soloist

3rd Grade MUSIC







Imagine

MU:Cr1A.3a Improvise rhythmic and melodic ideas, and describe connection to specific purpose and context (such as personal and social ).

PP3A.3 Improvise simple rhythmic and melodic ostinati accompaniments

MU:Cr1A.3b

Generate musical ideas (such as rhythms and melodies) within a given tonality and/or meter.


Plan and Make

MU:Cr2.1.3a Demonstrate selected musical ideas for a simple improvisation or composition to express intent , and describe connection to a specific purpose and


context .

MU:Cr2.1.3b Use standard and/or iconic notation and/or recording technology to document personal rhythmic and melodic musical ideas.

PP4A.3 Create a rhythmic and/or melodic composition using icons


Evaluate and Refine

MU:Cr3.1.3a Evaluate, refine , and document revisions to personal musical ideas, applying teacher provided and collaboratively developed criteria and feedback

Present

MU:Cr3.2.3a Present the final version of personal created music to others, and describe connection to expressive intent .


MU:Pr4.1.3a Demonstrate and explain how the selection of music to perform is influenced by personal interest, knowledge, purpose , and context .

IC1B.3 Relate ideas learned or discussed in music to other situations in life (e.g., learn a song about imagination, and talk about how imagination can help you in many ways)

Analyze

MU:Pr4.2.3a Demonstrate understanding of the structure in music selected for performance.

MU:Pr4.2.3b When analyzing selected music, read and perform rhythmic patterns and melodic phrases using iconic and

PP2A.3 Perform the following rhythmic patterns using standard or iconic notation: Whole note/rest Quarter note/rest


standard notation Half note/ rest Eighth note pairs

MU:Pr4.2.3c Describe how context (such as personal and social) can inform a performance.

AP2B.3 Use prerequisite music terms to describe their personal response to a musical example (tone, timbre)

Interpret

MU:Pr4.3.3a Demonstrate and describe how intent is conveyed through expressive qualities (such as dynamics and tempo).



MU:Pr5.1.3a Apply teacher provided and collaboratively - developed criteria and feedback to evaluate accuracy of ensemble performances.

AP2A.3 Develop criteria to distinguish between quality and non-quality performance through listening and self-assessment with regard to the following musical elements: tone quality expression/phrasing rhythmic accuracy pitch accuracy part acquisition blend/balance posture/stage presence

MU:Pr5.1.3b Rehearse to refine technical accuracy, expressive qualities, and identified performance challenges.

PP1B.3 Demonstrate dynamics [p, f, *crescendo, *decrescendo/diminuendo] and tempi [fast, slow,*ritardando] Interpret expressive markings [accent,*fermata]


Present

MU:Pr6.1.3a Perform music with expression and technical accuracy.

MU:Pr6.1.3b Demonstrate performance decorum and audience etiquette appropriate for the context and venue.

HC1C.3 Discuss and demonstrate appropriate listening behavior for various types of performances

RESPONDING



Select

MU:Re7.1.3a Demonstrate and describe how selected music connects to and is influenced by specific interests, experiences, or purposes

AP1B.MS6-8

Characterize the use of music by its intended function (purpose) and its intended audience

Analyze

MU:Re7.2.3a Demonstrate and describe how a response to music can be informed by the structure , the use of the elements of music , and context (such as personal and social ).

AP2B.HS9-12

Use musical terminology to describe their personal response to musical example


Interpret

MU:Re8.1.3a Demonstrate and describe how the expressive qualities (such as dynamics and tempo ) are used in performers’ interpretations to reflect expressive intent .


Evaluate

MU:Re9.1.3b Evaluate musical works and performances, applying established criteria , and describe appropriateness to the context .


MU:Cn10.0.2a Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating,


performing, and responding to music.



IC1B.3 Identify ways in which the principles and subject matter of other disciplines are interrelated with those of music

4th Grade MUSIC







Imagine

MU:Cr1A.4a Improvise rhythmic, melodic, and harmonic ideas, and explain connection to specific purpose and context (such as social and cultural ).

PP1A.4 PP3A.4

Match pitch in an extended range [octave] Improvise simple rhythmic and melodic ostinati accompaniments

MU:Cr1A.4b

Generate musical ideas (such as rhythms, melodies, and simple accompaniment patterns) within related tonalities (such as major and minor) and meters

PP2D.4 Echo short rhythmic and melodic patterns on *classroom instruments


Plan and Make


MU:Cr2.1.4a Demonstrate selected and organized musical ideas for an improvisation, arrangement, or composition to express intent, and explain connection to purpose and context.

PP4A.4 Create rhythmic and/or melodic ostinati and *soundscapes

MU:Cr2.1.4b Use standard and/or iconic notation and/or recording technology to document personal rhythmic, melodic, and simple harmonic musical ideas.

EM1D.4 Notate rhythmic patterns and dynamics presented by the teacher: whole note/rest; quarter note/rest; half note/rest; eighth note pairs; dotted half note; p for piano, f for forte; cresc for crescendo; decresc for decrescendo; dim for diminuendo


Evaluate and Refine

MU:Cr3.1.4a Evaluate, refine, and document revisions to personal music, applying teacher-provided and collaboratively developed criteria and feedback to show improvement over time.

Present

MU:Cr3.2.4a Present the final version of personal created music to others, and explain connection to expressive intent


MU:Pr4.1.4a Demonstrate and explain how the selection of music to perform is influenced by personal interest, knowledge, context, and technical skill.

IC1B.4a HC1C.4a

Identify ways in which the principles and subject matter of other disciplines are interrelated with those of music Describe the function of music representing diverse cultures, including Missouri and American heritage, in various settings and cultural events: work songs,


cowboy songs, square dances, spirituals, ragtime, blues

Analyze

MU:Pr4.2.4a Demonstrate understanding of the structure and the elements of music (such as rhythm, pitch, and form ) in music selected for performance.

PP2A.4b HC1B.4a PP1C.4 PP1D.4 PP2C.4 EM1A.4

Read and perform rhythmic patterns: whole note/rest; quarter note/rest; half note/rest; eighth note/rest pairs; dotted half note; sixteenth notes Describe how elements of music are used in teacher-selected examples: work songs, cowboy songs, square dances, spirituals, ragtime, blues Perform a varied repertoire of songs including: patriotic, folk, seasonal, spirituals, multicultural Perform ostinati, *rounds, canons and partner songs Perform a varied repertoire of music including instrumental accompaniments representing diverse cultures, genres, and styles Read standard rhythmic notation in 2/4, ¾, 4/4 meter signatures with bar lines consisting of: whole note/rest; quarter note/rest; half note/rest; eighth note pairs; dotted half note; sixteenth notes

MU:Pr4.2.4b When analyzing selected music, read and perform using iconic and/or standard notation.

PP1B.4a PP1B.4b EM1B.4 EM1C.4

Demonstrate dynamics [p, f *crescendo, *decrescendo/diminuendo] and tempi [fast, slow, *ritardando] Interpret expressive markings [accent, *fermata] Identify standard pitch notation in the treble clef Identify standard symbols: p for piano; f for forte; mp for mezzo piano; mf for mezzo forte; cresc or < for crescendo; decres or > for decrescendo; dim for


diminuendo; fast; slow; ritardando; accent; fermata, *ties; *slurs

MU:Pr4.2.4c Explain how context (such as social and cultural ) informs a performance

HC1A.4b HC1B.4b AP1B.4b

Identify music representing diverse cultures including Missouri (including the music of *Scott Joplin) and American heritage Describe how elements of music are used in teacher-selected examples of diverse cultures including Missouri and American heritage Identify instruments as representative of various cultures

Interpret

MU:Pr4.3.4a Demonstrate and explain how intent is conveyed through interpretive decisions and expressive qualities (such as dynamics, tempo, and timbre )

PP1E.4 PP1B.4 PP2B.4

Demonstrate characteristic *timbre, dynamics and rhythmic accuracy in time during group performance, following the cues of the conductor Demonstrate dynamics [p, f, crescendo, decrescendo/diminuendo] and tempi [fast, slow, ritardando] Interpret expressive markings [accent, fermata]



MU:Pr5.1.4a Apply teacher provided and collaboratively developed criteria and feedback to evaluate accuracy and expressiveness of ensemble and personal performances

HC1A.4a Identify characteristics of teacher-selected genres or styles: *work songs, cowboy songs, square dances, *spirituals, *blues

MU:Pr5.1.4b

Rehearse to refine technical accuracy and expressive qualities, and address performance challenges.



Present

MU:Pr6.1.4a Perform music, alone or with others, with expression and technical accuracy, and appropriate interpretation.

PP2A.4a PP2E.4

Read and perform at least three (3) pitches on a melodic instrument Perform independently in a group, demonstrating characteristic timbre, tempo, and dynamics, following the cues of the conductor

MU:Pr6.1.4b Demonstrate performance decorum and audience etiquette appropriate for the context, venue, and genre .

HC1C.4b

Discuss and demonstrate appropriate listening behavior for various types of performances


Select

MU:Re7.1.4a Demonstrate and explain how selected music connects to and is influenced by specific interests, experiences, purposes, or contexts.

Analyze

MU:Re7.2.4a Demonstrate and explain how responses to music are informed by the structure, the use of the elements of music, and context (such as social and cultural ).

AP1A.4 Identify and analyze forms and composition techniques: AB; ABA; canon; ostinati; verse/refrain; repeat sign; partner songs; rondo; first and second endings; *coda; *blues


Interpret

MU:Re8.1.4a Demonstrate and explain how the expressive qualities (such as dynamics, tempo, and timbre ) are used in

AP1B.4a Distinguish between vocal ensemble groupings and orchestral instruments


performers’ and personal interpretations to reflect expressive intent.


Evaluate

MU:Re9.1.4b Evaluate musical works and performances, applying established criteria, and explain appropriateness to the context.

AP2A.4

Develop criteria to distinguish between quality performance through listening and self-assessment with regard to the following musical elements: tone quality; expression/phrasing; rhythmic accuracy; pitch accuracy; part acquisition; blend/balance; diction/articulation; posture/stage presence



AP2B.4 Use prerequisite music terms to describe their personal response to a musical example (function/style)



IC1A.4 IC1B.4b HC1D.4a

Compare and contrast meanings of terms used in the arts, such as unity, variety, repetition and contrast (e.g., listen to a rondo and study pictures of buildings designed by famous architects; tell where you see or hear examples of repetition Compare the science of sound as it relates to stringed (violin, piano) and percussion instruments (e.g., production of sound, vibrations) Identify available music-related careers in a give setting in the community


HC1D.4b

Identify available music involvement opportunities in the school setting such as band, orchestra, choir, musical theatre, etc.

5th GRADE MUSIC







Imagine

MU:Cr1A.5a Improvise rhythmic, melodic, and harmonic ideas, and explain connection to specific purpose and context (such as social, cultural, and historical ).

PP3A.5 Improvise simple rhythmic, melodic and/or harmonic accompaniments

MU:Cr1A.5b

Generate musical ideas (such as rhythms, melodies, and accompaniment patterns) within specific related tonalities, meters, and simple chord changes.

PP4A.5 Create and notate a rhythmic and/or melodic ostinati accompaniment within teacher’s specified guidelines


Plan and Make

MU:Cr2.1.5a a Demonstrate selected and developed musical ideas for improvisations, arrangements, or compositions to express intent, and explain connection to purpose and context.


MU:Cr2.1.5b Use standard and/or iconic notation and/or recording technology to document personal rhythmic, melodic, and two chord harmonic musical ideas.


Evaluate and Refine

MU:Cr3.1.5a With guidance, apply personal, peer, and teacher feedback in refining personal musical ideas.

Present

MU:Cr3.2.5a Present the final version of personal created music to others that demonstrates craftsmanship , and explain connection to expressive intent.


MU:Pr4.1.5a With limited guidance, demonstrate and discuss personal interest in, knowledge about, and purpose of varied musical selections.

AP2B.5 Use prerequisite music terms to describe their personal response to a musical example (offers suggestions for improvement)

Analyze

MU:Pr4.2.5a Demonstrate understanding of the structure and the elements of music (such as rhythm, pitch, form, and harmony ) in music selected for performance.

EM1D.5 Notate rhythmic patterns and dynamics presented by the teacher in 2/4, 3/4, and 4/4 meter signature using bar lines, whole note/rest, quarter note/rest, half note/rest, eighth-note pairs, dotted half note, sixteenth notes, p for piano, f for forte, mp for mezzo piano, mf for mezzo forte, cresc for crescendo, decresc for decrescendo, dim for diminuendo, sol-mi-la, eighth


note/rest

MU:Pr4.2.5b When analyzing selected music, read and perform using standard notation.

EM1A.5 Read standard rhythmic notation in 2/4, 3/4, 4/4, and 6/8 meter signatures with bar lines consisting of: whole note/rest, quarter note/rest, half note/rest, eighth-note pairs, dotted half note, sixteenth notes, eighth note/rest, dotted quarter note/rest, 3 eighth notes beamed together in 6/8, syncopation

MU:Pr4.2.5c Explain how context (such as social, cultural, and historical ) informs performances.

IC1B.5 Describe ways in which the principles and subject matter of other disciplines are interrelated with those of music

Interpret

MU:Pr4.3.5a Demonstrate and explain how the expressive qualities (such as dynamics, tempo, timbre, and articulation ) are used in performers’ and personal interpretations to reflect expressive intent.



MU:Pr5.1.5a Apply teacher provided and established criteria and feedback to evaluate the accuracy and expressiveness of ensemble and personal performances.

AP2A.5 Develop criteria to distinguish between quality and non-quality performance through listening and self-assessment with regard to the following musical elements: tone quality expression/phrasing rhythmic accuracy pitch accuracy part acquisition blend/balance diction/articulation posture/stage presence

MU:Pr5.1.5b

Rehearse to refine technical accuracy and expressive qualities to address challenges, and show improvement over time.

PP1B.5 Use dynamics and *phrasing to communicate an interpretation of a given *style



Present

MU:Pr6.1.5a Perform music, alone or with others, with expression, technical accuracy, and appropriate interpretation.

MU:Pr6.1.5b Demonstrate performance decorum and audience etiquette appropriate for the context, venue, genre, and style .

HC1C.5 Discuss and demonstrate appropriate listening behavior for various types of performances


Select

MU:Re7.1.5a Demonstrate and explain, citing evidence, how selected music connects to and is influenced by specific interests, experiences, purposes, or contexts.

Analyze

MU:Re7.2.5a Demonstrate and explain, citing evidence , how responses to music are informed by the structure, the use of the elements of music, and context (such as social, cultural, and historical )

AP2B.HS9-12



Interpret

MU:Re8.1.5a Demonstrate and explain how the expressive qualities (such as dynamics, tempo, timbre, and articulation ) are used in performers’ and personal interpretations to reflect expressive intent.



Evaluate

MU:Re9.1.5a Evaluate musical works and performances, applying established criteria, and explain appropriateness to the context, citing evidence from the elements of music .





IC1B.5 Describe ways in which the principles and subject matter of other disciplines are interrelated with those of music

6th Grade MUSIC








Imagine

MU:Cr1A.6a Generate simple rhythmic, melodic, and harmonic phrases within AB and ABA forms that convey expressive intent.

PP3A.MS6-8

Improvise short rhythmic and melodic patterns


Plan and Make

MU:Cr2.1.6a Select, organize, construct, and document personal musical ideas for arrangements and compositions within AB or ABA form that demonstrate an effective beginning, middle, and ending, and convey expressive intent

AP1A.MS6-8

Identify and analyze forms and composition techniques AB/*binary ABA/*ternary

MU:Cr2.1.6b Use standard and/or iconic notation and/or audio/ video recording to document personal simple rhythmic phrases, melodic phrases, and two chord harmonic musical ideas.

EM1D.MS6-8

Use standard notation for rhythm, pitch, and expressive elements to record musical ideas


Evaluate and Refine

MU:Cr3.1.6a Evaluate their own work, applying teacher-provided criteria such as application of selected elements of music, and use of sound sources.

MU:Cr3.1.6b Describe the rationale for making revisions to the music based on evaluation criteria and feedback from their teacher.

Present

MU:Cr3.2.6a Present the final version of their documented personal composition or arrangement, using craftsmanship and originality to demonstrate an effective beginning,

PP4A.HS9-12

Compose music (phrases) in a distinct style, demonstrating creativity in using the *elements of music for expressive effect


middle, and ending, and convey expressive intent


MU:Pr4.1.6a Apply teacher provided criteria for selecting music to perform for a specific purpose and/or context, and explain why each was chosen.

Analyze

MU:Pr4.2.6a Explain how understanding the structure and the elements of music are used in music selected for performance

IC1A.HS9-12

Explain how elements, artistic processes (such as imagination or skills), and organizational principles (such as unity and variety or repetition and contrast) are used in similar and distinctive ways in the various arts and cite examples

MU:Pr4.2.6b When analyzing selected music, read and identify by name or function standard symbols for rhythm, pitch, articulation, and dynamics.

EM1A.MS6-8 EM1B.MS6-8 EM1C.MS6-8

Interpret standard rhythmic notation in 2/4, ¾, 4/4, and 6/8 meter signatures using bar lines consisting of: whole note/rest quarter note/rest half note/rest eighth-note pairs dotted half note sixteenth notes dotted quarter followed by eighth dotted quarter note/rest 3 eighth notes beamed together in 6/8 syncopation Identify standard pitch notation in the treble clef, including one ledger line above and below the staff Identify accidentals sharps flats natural signs Identify standard symbols for dynamics, tempo and articulation p for piano f for forte mp for mezzo piano mf for mezzo forte pp for pianissimo ff forfortissimo cresc or < for crescendo decres or> for decrescendo


dim for diminuendo accelerando ritardando allegro moderato andante largo a tempo accent fermata ties slurs staccato legato

MU:Pr4.2.6c Identify how cultural and historical context inform performances

Interpret

MU:Pr4.3.6a Perform a selected piece of music demonstrating how their interpretations of the elements of music and the expressive qualities (such as dynamics, tempo, timbre, articulation/style, and phrasing ) convey intent.

PP2B.MS6-8

Read and perform a short song/piece using effective expression and characteristic timbre



MU:Pr5.1.6a Identify and apply teacher-provided criteria (such as correct interpretation of notation, technical accuracy, originality, and interest) to rehearse, refine, and determine when a piece is ready to perform.

PP2E.MS6-8

Demonstrate characteristic timbre, tempo, and dynamics on classroom/percussion instruments for group performance, responding expressively to the cues of the conductor


Present

MU:Pr6.1.6a Perform the music with technical accuracy to convey the creator’s intent

PP1E.MS6-8 PP2A.MS6-8

Demonstrate characteristic timbre, dynamics and rhythmic accuracy in time while singing in an ensemble Read and perform rhythms in simple meter Whole note/rest Quarter note/rest Half note/rest Eighth note/rest Dotted half note Sixteenth notes Dotted quarter followed by eighth Syncopation Read and perform a short song/piece using effective expression and characteristic timbre


MU:Pr6.1.6b Demonstrate performance decorum (such as stage presence, attire, and behavior) and audience etiquette appropriate for venue and purpose

AP2A.MS6-8

Develop criteria to distinguish between quality and non-quality performance through listening and self-assessment with regard to the following musical elements: posture/stage presence


Select

MU:Re7.1.6a Select or choose music to listen to and explain the connections to specific interests or experiences for a specific purpose.

Analyze

MU:Re7.2.6a Describe how the elements of music and expressive qualities relate to the structure of the pieces.

MU:Re7.2.6b Identify the context of music from a variety of genres, cultures, and historical periods.

HC1A.MS6-8 HC1B.MS6-8

Identify genre or style from various historical periods through listening to selected ensemble repertoire Conclude possible origin and/or historical period of an aural example by applying artistic perceptions to selected musical examples


Interpret

MU:Re8.1.6a Describe a personal interpretation of how creators’ and performers’ application of the elements of music and expressive qualities, within genres and cultural and historical context, convey expressive intent



Evaluate

MU:Re9.1.6b Apply teacher provided criteria to evaluate musical works or performances .





IC1B.MS6-8

Describe the similarities between other subject areas and the arts, (e.g., talk about the relationships between interpreting music notation and interpreting written language)

7th GRADE MUSIC







Imagine


MU:Cr1.1.7a Generate rhythmic, melodic, and harmonic phrases and variations over harmonic accompaniments within AB, ABA, or theme and variation forms that convey expressive intent.

PP4A.MS6-8

Create and notate a rhythmic and/or melodic ostinati accompaniment within teacher’s specified guidelines


Plan and Make

MU:Cr2.1.7a Select, organize, develop and document personal musical ideas for arrangements, songs, and compositions within AB, ABA, or theme and variation forms that demonstrate unity and variety and convey expressive intent.

AP1A.MS6-8

Identify and analyze forms and composition techniques AB/*binary ABA/*ternary

MU:Cr2.1.7b Use standard and/or iconic notation and/or audio/ video recording to document personal simple rhythmic phrases, melodic phrases, and harmonic sequences.

EM1D.MS6-8



Evaluate and Refine

MU:Cr3.1.7a Evaluate their own work, applying selected criteria such as appropriate application of elements of music including style , form , and use of sound sources.

MU:Cr3.1.7b Describe the rationale for making revisions to the music based on evaluation criteria and feedback from others (teacher and peers).

Present

MU:Cr3.2.7a Present the final version of their documented personal composition, song, or arrangement, using craftsmanship and originality to demonstrate unity and variety, and convey expressive intent.

PP4A.HS9-12




MU:Pr4.1.7a Apply collaboratively developed criteria for selecting music of contrasting styles for a program with a specific purpose and/or context and, after discussion, identify expressive qualities, technical challenges, and reasons for choices.

Analyze

MU:Pr4.2.7a Explain and demonstrate the structure of contrasting pieces of music selected for performance and how elements of music are used.

MU:Pr4.2.7b When analyzing selected music, read and identify by name or function standard symbols for rhythm, pitch articulation, dynamics, tempo , and form .

EM1A.MS6-8 EM1B.MS6-8 EM1C.MS6-8

General Music Classes: Interpret standard rhythmic notation in 2/4, ¾, 4/4, and 6/8 meter signatures using bar lines consisting of: whole note/rest quarter note/rest half note/rest eighth-note pairs dotted half note sixteenth notes dotted quarter followed by eighth dotted quarter note/rest 3 eighth notes beamed together in 6/8 syncopation General Music Classes: Identify standard pitch notation in the treble clef, including one ledger line above and below the staff Identify accidentals sharps flats natural signs General Music Classes: Identify standard symbols for dynamics, tempo and articulation p for piano f for forte mp for mezzo piano mf for mezzo forte pp for pianissimo ff forfortissimo cresc or < for crescendo decres or> for decrescendo dim for diminuendo


accelerando ritardando allegro moderato andante largo a tempo accent fermata ties slurs staccato legato

MU:Pr4.2.7c Identify how cultural and historical context inform performances and result in different music interpretations

Interpret

MU:Pr4.3.7a Perform contrasting pieces of music demonstrating their interpretations of the elements of music and expressive qualities (such as dynamics, tempo, timbre, articulation/style, and phrasing) convey intent.



MU:Pr5.1.7a Identify and apply collaboratively developed criteria (such as demonstrating correct interpretation of notation, technical skill of performer, originality, emotional impact, and interest) to rehearse, refine, and determine when the music is ready to perform.


Present

MU:Pr6.1.7a Perform the music with technical accuracy and stylistic expression to convey the creator’s intent.

PP1E.MS6-8 PP2A.MS6-8

Demonstrate characteristic timbre, dynamics and rhythmic accuracy in time while singing in an ensemble Read and perform rhythms in simple meter Whole note/rest Quarter note/rest Half note/rest Eighth note/rest Dotted half note Sixteenth notes Dotted quarter followed by eighth Syncopation



MU:Pr6.1.7b Demonstrate performance decorum (such as stage presence, attire, and behavior) and audience etiquette appropriate for venue, purpose, and context .

AP2A.MS6-8



Select

MU:Re7.1.7a Select or choose contrasting music to listen to and compare the connections to specific interests or experiences for a specific purpose.

Analyze

MU:Re7.2.7a Classify and explain how the elements of music and expressive qualities relate to the structure of contrasting pieces.

MU:Re7.2.7b Identify and compare the context of music from a variety of genres, cultures, and historical periods

HC1A.MS6-8 HC1B.MS6-8

Identify genre or style from various historical periods through listening to selected ensemble repertoire Conclude possible origin and/or historical period of an aural example by applying artistic perceptions to selected musical examples


Interpret

MU:Re8.1.7a Describe a personal interpretation of contrasting works and explain how creators’ and performers’


application of the elements of music and expressive qualities, within genres, cultures, and historical periods, convey expressive intent


Evaluate

MU:Re9.1.7b Select from teacher-provided criteria to evaluate musical works or performances.

CONNECTING

10. Synthesize and relate knowledge and personal experiences to make art




IC1B.MS6-8

Describe the similarities between other subject areas and the arts, (e.g., talk about the relationships between interpreting music notation and interpreting written language)

8th Grade MUSIC






CREATE



Imagine

MU:Cr1A.8a Generate rhythmic, melodic and harmonic phrases and harmonic accompaniments within expanded forms (including introductions, transitions, and codas) that convey expressive intent

PP4A.MS6-8

Create and notate a rhythmic and/or melodic ostinati accompaniment within teacher’s specified guidelines


Plan and Make

MU:Cr2.1.8a Select, organize, and document personal musical ideas for arrangements, songs, and compositions within expanded forms that demonstrate tension and release , unity and variety, balance, and convey expressive intent.

MU:Cr2.1.8b Use standard and/or iconic notation and/or audio/ video recording to document personal rhythmic phrases, melodic phrases, and harmonic sequences.

EM1D.MS6-8



Evaluate and Refine

MU:Cr3.1.8a Evaluate their own work by selecting and applying criteria including appropriate application of compositional techniques, style, form, and use of sound sources.

MU:Cr3.1.8b Describe the rationale for refining works by explaining the choices, based on evaluation criteria

Present

MU:Cr3.2.8a Present the final version of their documented


personal composition, song, or arrangement, using craftsmanship and originality to demonstrate the application of compositional techniques for creating unity and variety, tension and release , and balance to convey expressive intent


MU:Pr4.1.8a Apply teacher provided criteria for selecting music to perform for a specific purpose and/or context, and explain why each was chosen.

Analyze

MU:Pr4.2.8a Compare the structure of contrasting pieces of music selected for performance, explaining how the elements of music are used in each.

MU:Pr4.2.8b When analyzing selected music, sight read in treble or bass clef simple rhythmic, melodic, and/or harmonic notation

EM1E.MS6-8

Sight read standard musical notation

MU:Pr4.2.8c Identity how cultural and historical context inform performances and result in different musical effects.

Interpret

MU:Pr4.3.8a Perform contrasting pieces of music , demonstrating as well as explaining how the music’s intent is conveyed by their interpretations of the elements of music and expressive qualities (such as dynamics, tempo, timbre, articulation/style, and phrasing).

PP1B.MS6-8 PP2B.MS6-8

Use dynamics and phrasing to communicate an interpretation of a given style Read and perform a short song/piece using effective expression and characteristic timbre




MU:Pr5.1.8a Identify and apply personally developed criteria (such as demonstrating correct interpretation of notation, technical skill of performer, originality, emotional impact, variety , and interest) to rehearse, refine, and determine when the music is ready to perform.


Present

MU:Pr6.1.8a Perform the music with technical accuracy, stylistic expression, and culturally authentic practices in music to convey the creator’s intent.

PP1B.MS6-8


MU:Pr6.1.8b Demonstrate performance decorum (such as stage presence, attire, and behavior) and audience etiquette appropriate for venue, purpose, context, and style .

AP2A.MS6-8



Select

MU:Re7.1.8a Select programs of music (such as a CD mix or live performances) and demonstrate the connections to an interest or experience for a specific purpose.

Analyze

MU:Re7.2.8a Compare how the elements of music and


expressive qualities relate to the structure within programs of music.

MU:Re7.2.8b Identify and compare the context of programs of music from a variety of genres, cultures, and historical periods


Interpret

MU:Re8.1.8a Support personal interpretation of contrasting programs of music and explain how creators’ or performers’ apply the elements of music and expressive qualities, within genres, cultures, and historical periods to convey expressive intent.


Evaluate

MU:Re9.1.8b Apply appropriate personally developed criteria to evaluate musical works or performances.





IC1B.MS6-8 Describe the similarities between other subject areas and the arts, (e.g., talk about the relationships between interpreting music notation and interpreting written language)


NOVICE - ENSEMBLES






CREATE


Imagine

MU:Cr1.1.E.5a Compose and improvise melodic and rhythmic ideas or motives that reflect characteristic(s) of music or text(s) studied in rehearsal.

PP3A.HS9-12a

PP4A.HS9-12a

Improvise simple rhythmic and/or melodic variations in a consistent style and meter

Create or arrange a songs or instrumental pieces using a variety of sound sources within specified guidelines


Plan and Make

MU:Cr2.1.E.5a Select and develop draft melodic and rhythmic ideas or motives that demonstrate understanding of characteristic(s) of music or text(s) studied in rehearsal.

PP4A.HS9-12a Create or arrange songs or instrumental pieces using a variety of sound sources within specified guidelines

MU:Cr2.1.E.5b Preserve draft musical works through standard notation, audio, or video recording.

EM1D.HS9-12 Use standard notation for rhythm, pitch, and expressive elements to record musical ideas of 2 to 4


measures for instrument or voice


Evaluate and Refine

MU:Cr3.1.E.5a Evaluate and refine draft compositions and improvisations based on knowledge, skill, and teacher-provided criteria.

Present

MU:Cr3.2.E.5a Share personally-developed melodic and rhythmic ideas or motives – individually or as an ensemble – that demonstrate understanding of characteristics of music or texts studied in rehearsal.

PERFORMING


Select

MU:Pr4.1.H.5a Select varied repertoire to study based on interest, music reading skills (where appropriate), an understanding of the structure of the music, context, and the technical skill of the individual or ensemble.

Analyze

MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate, how knowledge of formal aspects in musical works inform prepared or improvised performances.

Interpret

MU:Pr4.3.E.5a Identify expressive qualities in a varied repertoire of


music that can be demonstrated through prepared and improvised performances.



MU:Pr5.1.E.5a Use self-reflection and peer feedback to refine individual and ensemble performances of a varied repertoire of music.

AP2A.HS9-12 Develop criteria to distinguish between quality and non-quality performance through listening and self-assessment with regard to the following musical elements: tone quality, expression/phrasing, rhythmic accuracy, pitch accuracy, part acquisition, blend/balance, diction/articulation, style, posture/stage presence


Present

MU:Pr6.1.E.5a Demonstrate attention to technical accuracy and expressive qualities in prepared and improvised performances of a varied repertoire of music.

PP2C.HS9-12a PP2C.HS9-12b

Perform a varied repertoire of music representing diverse cultures, genres and styles Apply stylistic elements needed to perform the music of various cultures, genres and styles

MU:Pr6.1.E.5b

Demonstrate an awareness of the context of the music through prepared and improvised performances.

RESPONDING


Select

MU:Re7.1.E.5a Identify reasons for selecting music based on AP1B.HS9-12 Determine the musical means (source) and size of


characteristics found in the music, connection to interest, and purpose or context.

a AP1B.HS9-12b AP1B.HS9-12c AP1B.HS9-12d AP1B.HS9-12e

group of an aural example Describe the musical expression (mood) of an aural example Determine the order and organization of an aural example Determine the possible origin of an aural example (e.g., location and time) Characterize the use of music by its intended function (purpose) and its intended audience

Analyze

MU:Re7.2.E.5a Identify how knowledge of context and the use of repetition, similarities, and contrasts inform the response to music.

AP1A.HS9-12b

Identify forms used in selected ensemble repertoire


Interpret

MU:Re7.2.E.5a Identify interpretations of the expressive intent and meaning of musical works, referring to the elements of music, contexts, and (when appropriate) the setting of the text.

IC1A.HS9-12d IC1A.HS9-12e IC1A.HS9-12f

Compare the uses of characteristic elements, artistic processes, and organizational principles among the arts in different historical periods and different cultures Explain how the roles of creators, performers, and others involved in the production and presentation of the arts are similar to and different from one another in the various arts Compare characteristics of two or more arts within a particular historical period or style and cite examples from various cultures



Evaluate

MU:Re9.1.E.5a Identify interpretations of the expressive intent and meaning of musical works, referring to the elements of music, contexts, and (when appropriate) the setting of the text.

AP1B.HS9-12a AP1B.HS9-12b AP1B.HS9-12c AP1B.HS9-12d AP1B.HS9-12 e

Determine the musical means (source) and size of group of an aural example Describe the musical expression (mood) of an aural example Determine the order and organization of an aural example Determine the possible origin of an aural example (e.g., location and time) Characterize the use of music by its intended function (purpose) and its intended audience

CONNECTING


MU:Cn10.1.E.5a Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.


MU:Cn11.1.E.5a Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.

IC1B.HS9-12 IC1B.HS9-12a HCC1C.HS9-

List several skills learned in ensembles and relate them to those skills needed in areas such as the workforce, church or community group, and other school groups Explain ways in which the principles and subject


12

matter of other disciplines are interrelated with those of music Categorize the function of music being performed in relation to its function in society or history

INTERMEDIATE - ENSEMBLES







Imagine

MU:Cr1.1.E.8a Compose and improvise ideas for melodies and rhythmic passages based on characteristic(s) of music or text(s) studied in rehearsal.

PP3A.HS9-12a PP4A.HS9-12a

Improvise simple rhythmic and/or melodic variations in a consistent style and meter Create or arrange a songs or instrumental pieces using a variety of sound sources within specified guidelines


Plan and Make


MU:Cr2.1.E.8a Select and develop draft melodies and rhythmic passages that demonstrate understanding of characteristic(s) of music or text(s) studied in rehearsal.

PP4A.HS9-12a

Create or arrange songs or instrumental pieces using a variety of sound sources within specified guidelines

MU:Cr2.1.E.8b Preserve draft compositions and improvisations through standard notation and audio recording.

EM1D.HS9-12

Use standard notation for rhythm, pitch, and expressive elements to record musical ideas of 2 to 4 measures for instruments or voice (See Elements of Music)


Evaluate and Refine

MU:Cr3.1.E.8a Evaluate and refine draft compositions and improvisations based on knowledge, skill, and collaboratively-developed criteria.

Present

MU:Cr3.2.E.8a Share personally-developed melodies and rhythmic passages – individually or as an ensemble – that demonstrate understanding of characteristics of music or texts studied in rehearsal.


MU: Pr4.1.H.8a Select a varied repertoire to study based on music reading skills (where appropriate), an understanding of formal design in the music, context, and the technical skill of the individual and ensemble.

Analyze

MU:Pr4.2.E.8a Demonstrate, using music reading skills where


appropriate, how the setting and formal characteristics of musical works contribute to understanding the context of the music in prepared or improvised performances.

Interpret

MU:Pr4.3.E.8a Demonstrate understanding and application of expressive qualities in a varied repertoire of music through prepared and improvised performances.



MU::Pr5.1.E.8a Develop strategies to address technical challenges in a varied repertoire of music and evaluate their success using feedback from ensemble peers and other sources to refine performances.

AP2A.HS9-12

Develop criteria to distinguish between quality and non-quality performance through listening and self-assessment with regard to the following musical elements: tone quality, expression/phrasing, rhythmic accuracy, pitch accuracy, part acquisition, blend/balance, diction/articulation, style, posture/stage presence


Present

MU:Pr6.1.E.8a Demonstrate attention to technical accuracy and expressive qualities in prepared and improvised performances of a varied repertoire of music representing diverse cultures and styles.



MU:Pr6.1.E.8b

Demonstrate an understanding of the context of the music through prepared and improvised performances.

RESPONDING



Select

MU:Re7.1.E.8a Explain reasons for selecting music citing characteristics found in the music and connections to interest, purpose, and context.

AP1B.HS9-12a AP1B.HS9-12b AP1B.HS9-12c AP1B.HS9-12d AP1B.HS9-12e

Determine the musical means (source) and size of group of an aural example Describe the musical expression (mood) of an aural example Determine the order and organization of an aural example Determine the possible origin of an aural example (e.g., location and time) Characterize the use of music by its intended function (purpose) and its intended audience

Analyze

MU:Re7.2.E.8a Describe how understanding context and the way the elements of music are manipulated inform the response to music.

HC1C.MS6-8a HC1C.MS6-8b

Describe the function of music in various settings and cultural events Attend and describe live musical experiences


Interpret

MU:Re8.1.E.8a Identify and support interpretations of the expressive intent and meaning of musical works, citing as evidence the treatment of the elements of music, contexts, and (when appropriate) the setting of the text.

IC1A.HS9-12d IC1A.HS9-12e

Compare the uses of characteristic elements, artistic processes, and organizational principles among the arts in different historical periods and different cultures Explain how the roles of creators, performers, and others involved in the production and presentation of the arts are similar to and different from one another in


IC1A.HS9-12f

the various arts Compare characteristics of two or more arts within a particular historical period or style and cite examples from various cultures


Evaluate

MU:Re9.1.E.8a Explain the influence of experiences, analysis, and context on interest in and evaluation of music.


MU:Cn10.1.E.8a Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.


MU:Cn11.1.E.8a Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.

IC1B.HS9-12 IC1B.HS9-12a HCC1C.HS9-12

List several skills learned in ensembles and relate them to those skills needed in areas such as the workforce, church or community group, and other school groups Explain ways in which the principles and subject matter of other disciplines are interrelated with those of music Categorize the function of music being performed in relation to its function in society or history

HIGH SCHOOL PROFICIENT - ENSEMBLES








Imagine

MU:Cr1.1.E.Ia Compose and improvise ideas for melodies, rhythmic passages, and arrangements for specific purposes that reflect characteristic(s) of music from a variety of historical periods studied in rehearsal.

PP3A.HS9-12b PP4A.HS9-12b

Improvise harmonized parts Improvise original melodies over given *chord progressions, each in a consistent style, meter, and *tonality Compose music (phrases) in a distinct style, demonstrating creativity in using the *elements of music for expressive effect


Plan and Make

MU:Cr2.1.E.Ia Select and develop draft melodies, rhythmic passages, and arrangements for specific purposes that demonstrate understanding of characteristic(s) of music from a variety of historical periods studied in rehearsal.

PP4A.HS9-12a

Create or arrange songs or instrumental pieces using a variety of sound sources within specified guidelines

MU:Cr2.1.E.Ib Preserve draft compositions and improvisations through standard notation and audio recording.

EM1D.HS9-12

Use standard notation for rhythm, pitch, and expressive elements to record musical ideas of 2 to 4 measures for instrument or voice


Evaluate and Refine


MU:Cr3.1.E.Ia Evaluate and refine draft melodies, rhythmic passages, arrangements, and improvisations based on established criteria , including the extent to which they address identified purposes.

Present

MU:Cr3.2.E.Ia Share personally-developed melodies, rhythmic passages, and arrangements – individually or as an ensemble – that address identified purposes.

PERFORMING 4. Select, analyze, and interpret artistic work for presentation.

Select

MU:Pr4.1.E.Ia Explain the criteria used to select a varied repertoire to study based on an understanding of theoretical and structural characteristics of the music, the technical skill of the individual or ensemble, and the purpose or context of the performance.

Analyze

MU:Pr4.2.E.Ia Demonstrate, using music reading skills where appropriate, how compositional devices employed and theoretical and structural aspects of musical works impact and inform prepared or improvised performances.

Interpret

MU:Pr4.3.E.Ia Demonstrate an understanding of context in a varied repertoire of music through prepared and improvised performances.




MU:Pr5.1.E.Ia Develop strategies to address expressive challenges in a varied repertoire of music, and evaluate their success using feedback from ensemble peers and other sources to refine performances.

AP2A.HS9-12



Present

MU:Pr6.1.E.Ia Demonstrate attention to technical accuracy and expressive qualities in prepared and improvised performances of a varied repertoire of music representing diverse cultures, styles, and genres.



MU:Pr6.1.E.Ib Demonstrate an understanding of expressive intent by connecting with an audience through prepared and improvised performances.


Select

MU:Re7.1.E.Ia Apply criteria to select music for specified purposes, supporting choices by citing characteristics found in the music and connections to interest, purpose, and context.

AP1B.HS9-12a AP1B.HS9-12b

Determine the musical means (source) and size of group of an aural example Describe the musical expression (mood) of an aural example


AP1B.HS9-12c AP1B.HS9-12d AP1B.HS9-12e

Determine the order and organization of an aural example Determine the possible origin of an aural example (e.g., location and time) Characterize the use of music by its intended function (purpose) and its intended audience

Analyze

MU:Re7.2.E.Ia Explain how the analysis of passages and understanding the way the elements of music are manipulated inform the response to music.


Demonstrate the ability to distinguish between quality and non-quality performance through listening, performing, and self-assessment Use musical terminology to describe their personal response to musical example


Interpret

MU:Re8.1.E.Ia Explain and support interpretations of the expressive intent and meaning of musical works, citing as evidence the treatment of the elements of music, contexts, (when appropriate) the setting of the text, and personal research.




Evaluate


MU:Re9.1.E.Ia Evaluate works and performances based on personally- or collaboratively developed criteria, including analysis of the structure and context.

AP1A.HS9-12b AP1B.HS9-12a AP1B.HS9-12b AP1B.HS9-12c AP1B.HS9-12d AP1B.HS9-12e AP2B.HS9-12b AP2B.HS9-12c

Identify forms used in selected ensemble repertoire Determine the musical means(source) and size of group of an aural example Describe the musical expression (mood)of an aural example Determine the order and organization of an aural example Determine the possible origin of an aural example (e.g.location and time) Characterize the use of music by its intended function (purpose) and its intended audience Demonstrate the ability to distinguish between quality and non-quality performance through listening, performing, and self-assessment Use musical terminology to describe their personal response to musical example


MU:Cn10.0.E.IIa

Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.


MU:Cn11.0.E.IIa

Demonstrate understanding of relationships between music and the other arts, other disciplines, varied

IC1B.HS9-12

List several skills learned in ensembles and relate them to those skills needed in areas such as the workforce,


contexts, and daily life. IC1B.HS9-12a HCC1C.HS9-12

church or community group, and other school groups Explain ways in which the principles and subject matter of other disciplines are interrelated with those of music Categorize the function of music being performed in relation to its function in society or history

HIGH SCHOOL ACCOMPLISHED - ENSEMBLES







Imagine

MU:Cr1.1.E.IIa Compose and improvise ideas for arrangements, sections, and short compositions for specific purposes that reflect characteristic(s) of music from a variety of cultures studied in rehearsal.





Plan and Make

MU:Cr2.1.IIa Select and develop arrangements, sections, and short compositions for specific purposes that demonstrate understanding of characteristic(s) of music from a variety of cultures studied in rehearsal.

PP4A.HS9-12b


MU:Cr2.1.IIb Preserve draft compositions and improvisations through standard notation, audio, or video recording

EM1D.HS9-12



Evaluate and Refine

MU:Cr3.1.E.IIa Evaluate and refine draft arrangements, sections, short compositions, and improvisations based on personally-developed criteria, including the extent to which they address identified purposes.

Present

MU:Cr3.2.E.IIa Share personally-developed arrangements, sections, and short compositions – individually or as an ensemble – that address identified purposes.


MU:Pr4.1.E.IIa Develop and apply criteria to select a varied repertoire to study and perform based on an understanding of theoretical and structural characteristics and expressive challenges in the


music, the technical skill of the individual or ensemble, and the purpose and context of the performance.

Analyze

MU:Pr4.2.E.IIa Document and demonstrate, using music reading skills where appropriate, how compositional devices employed and theoretical and structural aspects of musical works may impact and inform prepared and improvised performances.

Interpret

MU:Pr4.3.E.IIa Demonstrate how understanding the style, genre, and context of a varied repertoire of music influences prepared and improvised performances as well as performers’ technical skill to connect with the audience.



MU:Pr5.1.E.IIa Develop and apply appropriate rehearsal strategies to address individual and ensemble challenges in a varied repertoire of music, and evaluate their success.

AP2A.HS9-12 AP2B.HS9-



12a


Present

MU:Pr6.1.E.IIa Demonstrate mastery of the technical demands and an understanding of expressive qualities of the music in prepared and improvised performances of a varied repertoire representing diverse cultures, styles, genres, and historical periods.



MU:Pr6.1.E.IIb Demonstrate an understanding of intent as a means for connecting with an audience through prepared and improvised performances.


Select

MU:Re7.1.E.IIa Apply criteria to select music for a variety of purposes, justifying choices citing knowledge of the music and the specified purpose and context.

AP1B.HS9-12a AP1B.HS9-12b AP1B.HS9-12c AP1B.HS9-12d AP1B.HS9-12e

Determine the musical means (source) and size of group of an aural example Describe the music expression (mood) of an aural example Determine the order and organization of an aural example Determine the possible origin of an aural example (e.g., location and time) Characterize the use of music by its intended function (purpose) and its intended audience

Analyze

MU:Re7.2.E.IIa Explain how the analysis of structures and contexts inform the response to music.

AP2B.HS9-12a

Demonstrate the ability to distinguish between quality and non-quality performance through listening, performing, and self-assessment


AP2B.HS9-12b



Interpret

MU:Re8.1.E.IIa Support interpretations of the expressive intent and meaning of musical works citing as evidence the treatment of the elements of music, contexts, (when appropriate) the setting of the text, and varied researched sources.

IC1A.HS9-12a IC1A.HS9-12b IC1A.HS9-12c



Evaluate

MU:Re9.1.E.IIa Evaluate works and performances based on research as well as personally- and collaboratively-developed criteria, including analysis and interpretation of the structure and context.

AP1A.HS9-12b AP1B.HS9-12a AP1B.HS9-12b AP1B.HS9-12c AP1B.HS9-12d AP1B.HS9-

Identify forms used in selected ensemble repertoire Determine the musical means(source) and size of group of an aural example Describe the musical expression (mood)of an aural example Determine the order and organization of an aural example Determine the possible origin of an aural example (e.g.location and time) Characterize the use of music by its intended function


12e AP2B.HS9-12b AP2B.HS9-12c

(purpose) and its intended audience Demonstrate the ability to distinguish between quality and non-quality performance through listening, performing, and self-assessment Use musical terminology to describe their personal response to musical example


MU:Cn10.0.E.IIa Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.


MU:Cn11.0.E.IIa Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.

IC1B.HS9-12 IC1B.HS9-12a HCC1C.HS9-12

List several skills learned in ensembles and relate them to those skills needed in areas such as the workforce, church or community group, and other school groups Explain ways in which the principles and subject matter of other disciplines are interrelated with those of music Categorize the function of music being performed in relation to its function in society or history

HIGH SCHOOL ADVANCED - ENSEMBLES








Imagine

MU:Cr1.1.E.IIIa Compose and improvise musical ideas for a variety of purposes and contexts




Plan and Make

MU:Cr2.1.E.IIIa Select and develop composed and improvised ideas into draft musical works organized for a variety of purposes and contexts.

PP4A.HS9-12b


MU:Cr2.1.E.IIIb Preserve draft musical works through standard notation, audio, or video recording.

EM1D.HS9-12



Evaluate and Refine

MU:Cr3.1.E.IIIa Evaluate and refine varied draft musical works


based on appropriate criteria, including the extent to which they address identified purposes and contexts.

Present

MU:Cr3.2.E.IIIa Share varied, personally-developed musical works – individually or as an ensemble – that address identified purposes and contexts.


Select

MU: Pr4.1.H.IIIa Develop and apply criteria to select varied programs to study and perform based on an understanding of theoretical and structural characteristics and expressive challenges in the music, the technical skill of the individual or ensemble, and the purpose and context of the performance.

Analyze

MU:Pr4.2.E.IIIa Examine, evaluate, and critique, using music reading skills where appropriate, how the structure and context impact and inform prepared and improvised performances.

Interpret

MU:Pr4.3.E.IIIa Demonstrate how understanding the style, genre, and context of a varied repertoire of music informs prepared and improvised performances as well as performers’ technical skill to connect with the audience.



Rehearse, Evaluate, and Refine and Develop, apply, and refine appropriate rehearsal strategies to address individual and ensemble challenges in a varied repertoire of music.

MU::Pr5.1.E.IIIa Develop, apply, and refine appropriate rehearsal strategies to address individual and ensemble challenges in a varied repertoire of music.

AP2A.HS9-12



Present

MU::Pr6.1.E.IIIa Demonstrate an understanding and mastery of the technical demands and expressive qualities of the music through prepared and improvised performances of a varied repertoire representing diverse cultures, styles, genres, and historical periods in multiple types of ensembles.



MU:Pr6.1.E.IIIb

Demonstrate an ability to connect with audience members before and during the process of engaging with and responding to them through prepared and improvised performances.


Select

MU:Re7.1.E.IIIa Use research and personally developed criteria to justify choices made when selecting music, citing knowledge of the music, and individual and ensemble purpose and

PP2C.HS9-12a

Perform a varied repertoire of music representing diverse cultures, genres and styles


context. PP2C.HS9-12b

Apply stylistic elements needed to perform the music of various cultures, genres and styles

Analyze

MU:Re7.2.E.IIIa Demonstrate and justify how the analysis of structures, contexts, and performance decisions inform the response to music.


Demonstrate the ability to distinguish between quality and non-quality performance through listening, performing, and self-assessment Use musical terminology to describe their personal response to musical example


Interpret

MU:Re8.1.E.IIIa Justify interpretations of the expressive intent and meaning of musical works by comparing and synthesizing varied researched sources, including reference to other art forms.




Evaluate

MU:Re9.1.E.IIIa Develop and justify evaluations of music, programs of music, and performances based on criteria, personal decision-making, research, and understanding of contexts.

AP1A.HS9-12b AP1B.HS9-12a

Identify forms used in selected ensemble repertoire Determine the musical means(source) and size of group of an aural example


AP1B.HS9-12b

AP1B.HS9-12c

AP1B.HS9-12d

AP1B.HS9-12e

AP2B.HS9-12b

AP2B.HS9-12c

Describe the musical expression (mood)of an aural example

Determine the order and organization of an aural example

Determine the possible origin of an aural example (e.g.location and time)

Characterize the use of music by its intended function (purpose) and its intended audience

Demonstrate the ability to distinguish between quality and non-quality performance through listening, performing, and self-assessment



MU:Cn10.1.E.IIIa Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.


MU:Cn11.1.E.IIIa Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.

IC1B.HS9-12

IC1B.HS9-12a

List several skills learned in ensembles and relate them to those skills needed in areas such as the workforce, church or community group, and other school groups

Explain ways in which the principles and subject matter of other disciplines are interrelated with those of music


HCC1C.HS9-12

Categorize the function of music being performed in relation to its function in society or history

PROFICIENT - MUSIC TECHNOLOGY These proposed standards represent a new aspect of the curriculum in which no standards have previously been

developed. Missouri Learning Standards: Grade-Level Expectations for

Music (Adopted 2019 for implementation in the 2019-2020 school year.)





Imagine

MU:Cr1A.T.Ia Generate melodic, rhythmic, and harmonic ideas for compositions or improvisations using digital tools.


Plan and Make

MU:Cr2A.T.Ia Select melodic, rhythmic, and harmonic ideas to develop into a larger work using digital tools and resources.



Evaluate and Refine

MU:Cr3A.T.Ia Drawing on feedback from teachers and peers, develop and implement strategies to improve and refine the technical and expressive aspects of draft compositions and improvisations.

Present

MU:Cr3B.T.Ia Share compositions or improvisations that demonstrate a proficient level (based on teacher developed rubric) of musical and technological craftsmanship as well as the use of digital tools and resources in developing and organizing musical ideas.


MU:Pr4A.T.Ia Develop and explain the criteria used for selecting a varied repertoire of music based on interest, music reading skills, and an understanding of the performer’s technical and technological skill.

Analyze

MU:Pr4B.T.Ia Describe how context, structural aspects of the music, and digital media/tools inform prepared and improvised performances.

Interpret


MU:Pr4C.T.Ia Demonstrate how understanding the context, expressive challenges, and use of digital tools in a varied repertoire of music influence prepared or improvised performances.



MU:Pr5A.T.Ia Identify and implement rehearsal strategies to improve the technical and expressive aspects of prepared and improvised performances in a varied repertoire of music.


Present

MU:Pr6A.T.Ia Using digital tools, demonstrate attention to technical accuracy and expressive qualities in prepared and improvised performances of a varied repertoire of music.

MU:Pr6A.T.Ib Demonstrate an understanding of the context of music through prepared and improvised performances.


Select

MU:Re7A.T.Ia Cite reasons for choosing music based on the use of the elements of music, digital and electronic aspects, and connections to interest or purpose.

Analyze


MU:Re7B.T.Ib Explain how knowledge of the structure (repetition, similarities, contrasts), technological aspects, and purpose of the music informs the response.


Interpret

MU:Re8A.T.Ia Explain and support an interpretation of the expressive intent of musical selections based on treatment of the elements of music, digital and electronic features, and purpose.


Evaluate

MU:Re9A.T.Ia Evaluate music using criteria based on analysis, interpretation, digital and electronic features, and personal interests.


MU:Cn10A.T.Ia Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.


MU:Cn11A.T.Ib Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.


ACCOMPLISHED - MUSIC TECHNOLOGY These proposed standards represent a new aspect of the curriculum in which no standards have previously been

developed.







Imagine

MU:Cn11A.T.IIa Generate melodic, rhythmic, and harmonic ideas for compositions and improvisations using digital tools and resources.


Plan and Make

MU:Cr2A.T.IIa Select melodic, rhythmic, and harmonic ideas to develop into a larger work that exhibits unity and variety using digital and analog tools.


Evaluate and Refine

MU:Cr3A.T.IIa Develop and implement varied strategies to improve and refine the technical and expressive


aspects of draft compositions and improvisations.

Present

MU:Cr3B.T.IIa Share compositions and improvisations that demonstrate an accomplished level (based on teacher developed rubric) of musical and technological craftsmanship as well as the use of digital and analog tools and resources in developing and organizing musical ideas.


Select

MU:Pr4A.T.IIa Develop and apply criteria to select a varied repertoire to study and perform based on interest; an understanding of theoretical and structural characteristics of the music; and the performer’s technical skill using digital tools and resources.

Analyze

MU:Pr4B.T.IIa Describe and demonstrate how context, theoretical and structural aspects of the music and digital media/tools inform and influence prepared and improvised performances.

Interpret

MU:Pr4C.T.IIa Demonstrate how understanding the style , genre , context, and use of digital tools and resources in a varied repertoire of music influences prepared or improvised performances and performers’ ability to connect with audiences.




MU:Pr5A.T.IIa Develop and implement rehearsal strategies to improve and refine the technical and expressive aspects of prepared and improvised performances in a varied repertoire of music.


Present

MU:Pr6A.T.IIa Using digital tools and resources , demonstrate technical accuracy and expressive qualities in prepared and improvised performances of a varied repertoire of music representing diverse cultures, styles, and genres.

MU:Pr6A.T.IIb Demonstrate an understanding of the expressive intent when connecting with an audience through prepared and improvised performances.


Select

MU:Re7A.T.IIa Select and critique contrasting musical works , defending opinions based on manipulations of the elements of music, digital and electronic aspects, and the purpose and context of the works.

Analyze

MU:Re7B.T.IIb Explain how an analysis of the structure, context , and technological aspects of the music informs the


response.


Interpret

MU:Re8A.T.IIa Connect the influence of the treatment of the elements of music, digital and electronic features, context , purpose, and other art forms to the expressive intent of musical works


Evaluate

MU:Re9A.T.IIa Apply criteria to evaluate music based on analysis, interpretation, artistic intent , digital, electronic, and analog features, and musical qualities.


MU:Cn10A.T.IIa Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.


MU:Cn11A.T.IIb Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.


HIGH SCHOOL Proficient MUSIC THEORY







Imagine

MU:Cr1.1.C.Ia Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, and/or storylines.


Plan and Make

MU:Cr2.1.C.Ia Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences, moods, images, or storylines

PP4A.HS9-12


MU:Cr2.1.C.Ib Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (such as onepart, cyclical, or binary).


Evaluate and Refine


MU:Cr3.1.C.Ia Identify, describe, and apply teacher provided criteria to assess and refine the technical and expressive aspects of evolving drafts leading to final versions.

PP4A.6-8 Create or arrange songs or instrumental pieces using a variety of sound sources within specified guidelines

Present

MU:Cr3.2.C.Ia Share music through the use of notation, performance, or technology, and demonstrate how the elements of music have been employed to realize expressive intent.

PP4A.HS9-12


MU:Cr3.2.C.Ib Describe the given context and performance medium for presenting personal works, and how they impact the final composition and presentation.


Select

MU:Pr4.1.C.Ia Identify and select specific excerpts, passages, or sections in musical works that express a personal experience, mood, visual image, or storyline in simple forms (such as one-part, cyclical, binary).

IC1A.HS9-12


Analyze

MU:Pr4.2.C.Ia Analyze how the elements of music (including form) of selected works relate to style and mood, and explain the implications for rehearsal or performance.

Interpret

MU:Pr4.3.C.Ia Develop interpretations of works based on an understanding of the use of elements of music, style, and mood, explaining how the interpretive choices reflect the creators’ intent.




MU:Pr5.1.C.Ia Create rehearsal plans for works, identifying repetition and variation within the form.

MU:Pr5.1.C.Ib Using established criteria and feedback, identify the way(s) in which performances convey the elements of music, style, and mood.

MU:Pr5.1.C.Ic Identify and implement strategies for improving the technical and expressive aspects of multiple works.


Present

MU:Pr6.1.C.Ia Share live or recorded performances of works (both personal and others’), and explain how the elements of music are used to convey intent.

MU:Pr6.1.C.Ib Identify how compositions are appropriate for an audience or context, and how this will shape future compositions.


Select

MU:Re7.1.C.Ia Apply teacher-provided criteria to select music that expresses a personal experience, mood, visual image, or storyline in simple forms (such as one-part, cyclical, binary), and describe the choices as models for composition.


Analyze

MU:Re7.2.C.Ia Analyze aurally the elements of music (including form) of musical works, relating them to style, mood, and context, and describe how the analysis provides models for personal growth as composer, performer, and/or listener.

AP1A.HS9-12

Identify and analyze forms and composition techniques theme and variation DC/Fine DS al coda/Fine AB/binary ABA/ternary song form sonata rondo fugue opera ballet *musical theatre symphonic Jazz *sonata


Interpret

MU:Re8.1.C.Ia Develop and explain interpretations of varied works, demonstrating an understanding of the composer's’ intent by citing technical and expressive aspects as well as the style/genre of each work.


Evaluate

MU:Re9.1.C.Ia Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating understanding of fundamentals of music theory.

MU:Re9.1.C.Ib Describe the way(s) in which critiquing others’ work and receiving feedback from others can be applied in the personal creative process.

CONNECTING


MU:Cn10.0.C.Ia Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating,


performing, and responding to music.


MU:Cn11.0.C.Ia Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.

IC1B.HS9-12

Explain ways in which the principles and subject matter of various disciplines outside the arts are interrelated with those of music

MUSIC THEORY ACCOMPLISHED






CREATE


Imagine

MU:Cr1.1.C.IIa Describe and demonstrate how sounds and musical ideas can be used to represent sonic events, memories, visual images, concepts, texts, or storylines.


Plan and Make

MU:Cr2.1.C.IIa Assemble and organize multiple sounds or musical ideas to create initial expressive statements of selected sonic events, memories, images, concepts, texts, or

PP4A.HS9-12



storylines.

MU:Cr2.1.C.IIb Describe and explain the development of sounds and musical ideas in drafts of music within a variety of simple or moderately complex forms (such as binary, rondo, or ternary).


Evaluate and Refine

MU:Cr3.1.C.IIa Identify, describe, and apply selected teacher-provided or personally-developed criteria to assess and refine the technical and expressive aspects of evolving drafts leading to final versions.

Present

MU:Cr3.2.C.IIa

Share music through the use of notation, solo or group performance, or technology, and demonstrate and describe how the elements of music and compositional techniques have been employed to realize expressive intent.

MU:Cr3.2.C.IIb Describe the selected contexts and performance mediums for presenting personal works, and explain why they successfully impact the final composition and presentation.

PERFORMING


Select

MU:Pr4.1.C.IIa Identify and select specific passages, sections, or movements in musical works that express personal experiences and interests, moods, visual images,

IC1A.HS9-12

Explain how elements, artistic processes (such as imagination or skills), and organizational principles (such as unity and variety or repetition and contrast) are


concepts, texts, or storylines in simple forms (such as binary , ternary , rondo ) or moderately complex forms

used in similar and distinctive ways in the various arts and cite examples

Analyze

MU:Pr4.2.C.IIa Analyze how the elements of music (including form) of selected works relate to the style, function , and context, and explain the implications for rehearsal and performance.

Interpret

MU:Pr4.3.C.IIa Develop interpretations of works based on an understanding of the use of elements of music, style, mood, function , and context, explaining and supporting how the interpretive choices reflect the creators’ intent.



MU:Pr5.1.C.IIa Create rehearsal plans for works, identifying the form , repetition and variation within the form, and the style and historical or cultural context of the work .

MU:Pr5.1.C.IIb Using established criteria and feedback, identify the ways in which performances convey the formal design , style, and historical/cultural context of the works.

MU:Pr5.1.C.IIc Identify and implement strategies for improving the technical and expressive aspects of varied works.


Present


MU:Pr6.1.C.IIa Share live or recorded performances of works (both personal and others’), and explain how the elements of music and compositional techniques are used to convey intent.

MU:Pr6.1.C.IIb Explain how compositions are appropriate for both audience and context, and how this will shape future compositions.


Select

MU:Re7.1.C.IIa Apply teacher-provided or personally-developed criteria to select music that expresses personal experiences and interests, moods, visual images, concepts, texts, or storylines in simple or moderately complex forms, and describe and defend the choices as models for composition.

Analyze

MU:Re7.2.C.IIa Analyze aurally and/or by reading the scores of musical works the elements of music (including form ) , compositional techniques and procedures, relating them to style, mood, and context; and explain how the analysis provides models for personal growth as composer, performer, and/or listener.


Interpret

MU:Re8.1.C.IIa Develop and support interpretations of varied works, demonstrating an understanding of the composer's’ intent by citing the use of elements of


music (including form ), compositional techniques, and the style/genre and context of each work.


Evaluate

MU:Re9.1.C.IIa Explain the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating understanding of music theory as well as compositional techniques and procedures.

MU:Re9.1.C.IIb Describe ways in which critiquing others’ work and receiving feedback from others have been specifically applied in the personal creative process.


MU:Cn10.0.C.IIa Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music


MU:Cn11.0.C.IIa Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.

IC1B Explain ways in which the principles and subject matter of various disciplines outside the arts are interrelated with those of music

ADVANCED - MUSIC THEORY








Imagine

MU:Cr1.1.C.IIIa Describe and demonstrate multiple ways in which sounds and musical ideas can be used to represent extended sonic experiences or abstract ideas.


Plan and Make

MU:Cr2.1.C.IIIa Assemble and organize multiple sounds or extended musical ideas to create initial expressive statements of selected extended sonic experiences or abstract ideas.

PP4A.HS9-12


MU:Cr2.1.C.IIIb Analyze and demonstrate the development of sounds and extended musical ideas in drafts of music within a variety of moderately complex or complex forms.


Evaluate and Refine

MU:Cr3.1.C.IIIa Research, identify, explain , and apply personally-developed criteria to assess and refine the technical and expressive aspects of evolving


drafts leading to final versions.

Present

MU:Cr3.2.C.IIIa

Share music through the use of notation, solo or group performance, or technology, and demonstrate and explain how the elements of music, compositional techniques and processes have been employed to realize expressive intent.

MU:Cr3.2.C.IIIb Describe a variety of possible contexts and mediums for presenting personal works, and explain and compare how each could impact the success of the final composition and presentation.


Select

MU:Pr4.1.C.IIIa Identify and select specific sections, movements, or entire works that express personal experiences and interests, moods, visual images, concepts, texts, or storylines in moderately complex or complex forms.

IC1A.HS9-12


Analyze

MU:Pr4.2.C.IIIa Analyze how the elements of music (including form), and compositional techniques of selected works relate to the style, function, and context, and explain and support the analysis and its implications for rehearsal and performance.

Interpret

MU:Pr4.3.C.IIIa Develop interpretations of works based on an


understanding of the use of elements of music (including form), compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creators’ intent.



MU:Pr5.1.C.IIIa

Create rehearsal plans for works, identifying the form, repetition and variation within the form, compositional techniques, and the style and historical or cultural context of the work.

MU:Pr5.1.C.IIIb Using established criteria and feedback, identify the ways in which performances use compositional techniques and convey the formal design, style, and historical/cultural context of the works.

MU:Pr5.1.C.IIIc Identify, compare , and implement strategies for improving the technical and expressive aspects of multiple contrasting works.


Present

MU:Pr6.1.C.IIIa

Share live or recorded performances of works (both personal and others’), and explain and/or demonstrate understanding of how the expressive intent of the music is conveyed.

MU:Pr6.1.C.IIIb Explain how compositions are appropriate for a variety of audiences and contexts, and how this will shape future compositions.

RESPONDING



Select

MU:Re7.1.C.IIIa Apply researched or personally developed criteria to select music that expresses personal experiences and interests, visual images, concepts, texts, or storylines in moderately complex or complex forms, and describe and justify the choice as models for composition.

Analyze

MU:Re7.2.C.IIIa Analyze aurally and/or by reading the scores of musical works the elements of music (including form), compositional techniques and procedures, relating them to aesthetic effectiveness, style, mood, and context; and explain how the analysis provides models for personal growth as composer, performer, and/or listener.


Interpret

MU:Re8.1.C.IIIa Develop, justify and defend interpretations of varied works, demonstrating an understanding of the composer's intent by citing the use of elements of music (including form), compositional techniques, and the style/genre and context of each work.


Evaluate

MU:Re9.1.C.IIIa Evaluate the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating understanding


of theoretical concepts and complex compositional techniques and procedures.

MU:Re9.1.C.IIIb Describe and evaluate ways in which critiquing others’ work and receiving feedback from others have been specifically applied in the personal creative process.


MU:Cn10.0.C.IIIa Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.


MU:Cn11.0.C.IIIa Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.

IC1B.HS9-12

Explain ways in which the principles and subject matter of various disciplines outside the arts are interrelated with those of music

Harmonizing Instruments - Novice






CREATE



Imagine

MU:Cr1.1.H.5a Generate melodic, rhythmic, and harmonic ideas for simple melodies (such as two phrase) and chordal accompaniments for given melodies.

PP2D.HS9-12 PP3A.6-8a PP3A-6-8b

Play by ear simple melodies (4-6 pitches) on a melodic instrument or simple accompaniments on a harmonic instrument Improvise short rhythmic and melodic patterns Improvise simple rhythmic, melodic and/or harmonic accompaniments


Plan and Make

MU:Cr2.1.H.5a Select, develop, and use standard notation or audio/video recording to document melodic, rhythmic, and harmonic ideas for drafts of simple melodies (such as two-phrase) and chordal accompaniments for given melodies.

EM1D.HS9-12



Evaluate and Refine

Present

MU:Cr3.2.H.5a Share final versions of simple melodies (such as two-phrase) and chordal accompaniments for given melodies, demonstrating an understanding of how to develop and organize personal musical ideas.

PERFORMING


Select


MU:Pr4.1.H.5a Describe and demonstrate how a varied repertoire of music that includes melodies, repertoire pieces, and chordal accompaniments is selected, based on personal interest, music reading skills, and technical skill, as well as the context of the performances.

Analyze

MU:Pr4.2.H.5a Identify prominent melodic and harmonic characteristics in a varied repertoire of music that includes melodies, repertoire pieces, and chordal accompaniments selected for performance, including at least some based on reading standard notation.

Interpret

MU:Pr4.3.H.5a Demonstrate and describe in interpretations an understanding of the context and expressive intent in a varied repertoire of music selected for performance that includes melodies, repertoire pieces, and chordal accompaniments.



MU:Pr5.1.H.5a Apply teacher-provided criteria to critique individual performances of a varied repertoire of music that includes melodies, repertoire pieces, and chordal accompaniments selected for performance, and apply practice strategies to address performance challenges and refine the performances.



Present

MU:Pr6.1H.5a Perform with expression and technical accuracy in individual performances of a varied repertoire of music that includes melodies, repertoire pieces, and chordal accompaniments, demonstrating understanding of the audience and the context.

PP1B.HS9-12

Apply techniques required for expressive performance of varied literature

RESPONDING


Select

MU:Re7.1.H.5a Demonstrate and describe reasons for selecting music, based on characteristics found in the music and connections to interest, purpose or personal experience.

Analyze

MU:Re7.2.H.5a Demonstrate and explain, citing evidence, the use of repetition, similarities and contrasts in musical selections and how these and knowledge of the context (social or cultural) inform the response.


Interpret

MU:Re8.1.H.5a Identify interpretations of the expressive intent and meaning of musical selections, referring to the elements of music, context (personal or social), and (when appropriate) the setting of the text.


Evaluate


MU:Re9.1.H.5a Identify and describe how interest, experiences, and contexts (personal or social) effect the evaluation of music.


MU:Cn10.H.5a Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music


MU:Cn11.0.H.5a Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.

Harmonizing Instruments - Intermediate







Imagine

MU:Cr1.1.H.8a Generate melodic, rhythmic, and harmonic ideas for melodies (created over specified chord progressions or AB / ABA forms) and two-to three-chord

PP3A.HS9-12

Improvise harmonized parts Improvise original melodies over given *chord progressions, each in a consistent style, meter, and *tonality


accompaniments for given melodies.


Plan and Make

MU:Cr2.1.H.8a Select, develop, and use standard notation and audio/video recording to document melodic, rhythmic, and harmonic ideas for drafts of melodies (created over specified chord progressions or AB / ABA forms) and two-to-three -chord accompaniments for given melodies.


Evaluate and Refine

MU:Cr3.1.H.8a Apply teacher-provided criteria to critique, improve, and refine drafts of simple melodies (such as two-phrase) and chordal accompaniments for given melodies.

Present

MU:Cr3.2.H.8a Share final versions of melodies (created over specified chord progressions or AB / ABA forms) and two-to-three -chord accompaniments for given melodies, demonstrating an understanding of how to develop and organize personal musical ideas.


Select

MU:Pr4.1.H.8a Describe and demonstrate how a varied repertoire of music that includes melodies, repertoire pieces,


and chordal accompaniments is selected, based on personal interest, music reading skills, and technical skill (citing technical challenges that need to be addressed) , as well as the context of the performances.

Analyze

MU:Pr4.2.H.8a Identify prominent melodic, harmonic, and structural characteristics and context (social ,cultural, or historical) in a varied repertoire of music that includes melodies, repertoire pieces, and chordal accompaniments selected for performance, including at least some based on reading standard notation.

HC1A.HS9-12

Identify music from various styles and historical periods by comparing and contrasting selected elements of music

Interpret

MU:Pr4.3.H.8a Demonstrate and describe in interpretations an understanding of the context (social , cultural , or historical ) and expressive intent in a varied repertoire of music selected for performance that includes melodies, repertoire pieces, and chordal accompaniments.



MU:Pr5.1.H.8a Apply teacher-provided criteria to critique individual performances of a varied repertoire of music that includes melodies, repertoire pieces, and chordal accompaniments selected for performance, and identify practice strategies to address performance challenges and refine the performances.



Present

MU:Pr6.1.H.8a Perform with expression and technical accuracy in individual performances of a varied repertoire of music that includes melodies, repertoire pieces, and chordal accompaniments, demonstrating sensitivity to the audience and an understanding of the context (social, cultural, or historical).

PP1B.HS9-12



Select

MU:Re7.1.H.8a Explain reasons for selecting music citing characteristics found in the music and connections to interest, purpose, and context.

Analyze

MU:Re7.2.H.8a Describe how the way that the elements of music are manipulated and knowledge of the context (social and cultural) inform the response.


Interpret

MU:Re8.1.H.8a Identify and support interpretations of the expressive intent and meaning of musical selections, citing as evidence the treatment of the elements of music, context, and (when appropriate) the setting of the text.


Evaluate


MU:Re9.1.H.8a Explain the influence of experiences and contexts (personal, social, or cultural ) on interest in and the evaluation of a varied repertoire of music.


MU:Cn10.0.H.8a Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.


MU:Cn11.0.H.8a Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music

Harmonizing Instruments - Proficient







Imagine

MU:Cr1.1.H.Ia Generate melodic, rhythmic, and harmonic ideas for improvisations, compositions (forms such as theme and variation or 12-bar blues), and three-or-more- chord

PP3A.HS9-12



accompaniments in a variety of patterns (such as arpeggio, country and gallop strumming, finger picking patterns).


Plan and Make

MU:Cr2.1.H.Ia Select, develop, and use standard notation and audio/video recording to document melodic, rhythmic, and harmonic ideas for drafts of improvisations, compositions ( forms such as theme and variation or 12-bar blues) , and three-or more- chord accompaniments in a variety of patterns (such as arpeggio, country and gallop strumming, finger picking patterns).


Evaluate and Refine

MU:Cr3.1.H.Ia Develop and apply criteria to critique, improve, and refine drafts of improvisations, compositions (forms such as theme and variation or 12-bar blues) and three-or more -chord accompaniments in a variety of patterns (such as arpeggio, country and gallop strumming, finger picking patterns).

Present

MU:Cr3.2.H.Ia Perform final versions of improvisations, compositions (forms such as theme and variation or 12-bar blues) , and three-or more -chord accompaniments in a variety of patterns (such as arpeggio, country and gallop strumming, finger picking patterns), demonstrating technical skill in applying principles of composition/improvisation and originality in developing and organizing musical ideas.

PP3A.HS9-12

Improvise harmonized parts



Select

MU:Pr4.1.H.Ia Explain the criteria used when selecting a varied repertoire of music for individual or small group performances that include melodies, repertoire pieces, improvisations, and chordal accompaniments in a variety of patterns (such as arpeggio, country and gallop strumming, finger picking patterns).

Analyze

MU:Pr4.2.H.Ia Identify and describe important theoretical and structural characteristics and context (social, cultural, or historical) in a varied repertoire of music that includes melodies, repertoire pieces, improvisations, and chordal accompaniments in a variety of patterns (such as arpeggio, country and gallop strumming, finger picking patterns).

HC1A.HS9-12


Interpret

MU:Pr4.3.H.Ia Describe in interpretations the context (social, cultural, or historical) and expressive intent in a varied repertoire of music selected for performance that includes melodies, repertoire pieces, improvisations, and chordal accompaniments in a variety of patterns (such as arpeggio, country and gallop strumming, finger picking patterns).




MU:Pr5.1.H.Ia Develop and apply criteria to critique individual and small group performances of a varied repertoire of music that includes melodies, repertoire pieces, improvisations, and chordal accompaniments in a variety of patterns (such as arpeggio, country and gallop strumming, finger picking patterns), and create rehearsal strategies to address performance challenges and refine the performances.


Present

MU:Pr6.1.H.Ia Perform with expression and technical accuracy, in individual and small group performances, a varied repertoire of music that includes melodies, repertoire pieces, improvisations, and chordal accompaniments in a variety of patterns (such as arpeggio, country and gallop strumming, finger picking patterns), demonstrating sensitivity to the audience and an understanding of the context (social, cultural, or historical).

PP1B.HS9-12



Select

MU:Re7.1.H.Ia Apply criteria to select music for a variety of purposes, justifying choices citing knowledge of the music and the specified purpose and context.

Analyze

MU:Re7.2.H.Ia Compare passages in musical selections and explain how the elements of music and context (social, cultural, or historical ) inform the response.



Interpret

MU:Re8.1.H.Ia Explain and support interpretations of the expressive intent and meaning of musical selections, citing as evidence the treatment of the elements of music, context (personal, social, and cultural ), and (when appropriate) the setting of the text, and outside sources.


Evaluate

MU:Re9.1.H.Ia Develop and apply teacher provided and established criteria based on personal preference, analysis, and context (personal, social, and cultural) to evaluate individual and small group musical selections for listening.


MU:Cn10.0.H.Ia Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.


MU:Cn11.0.H.Ia Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.

Harmonizing Instruments - Accomplished







CREATE


Imagine

MU:Cr1.1.H.IIa Generate melodic, rhythmic, and harmonic ideas for compositions (forms such as rounded binary or rondo ), improvisations, accompaniment patterns in a variety of styles, and harmonizations for given melodies

PP3A.HS9-12

Improvise simple rhythmic and/or melodic variations in a consistent style and meter


Plan and Make

MU:Cr2.1.H.IIa Select, develop, and use standard notation and audio/video recording to document melodic, rhythmic, and harmonic ideas for drafts of compositions (forms such as rounded binary or rondo ), improvisations, accompaniment patterns in a variety of styles, and harmonizations for given melodies.


Evaluate and Refine

MU:Cr3.1.H.IIa Develop and apply criteria to critique, improve, and refine drafts of compositions (forms such as rounded binary or rondo ), improvisations, accompaniment patterns in a variety of styles, and


harmonizations for given melodies.

Present

MU:Cr3.2.H.IIa Perform final versions of compositions (forms such as rounded binary or rondo ), improvisations, accompaniment patterns in a variety of styles, and harmonizations for given melodies, demonstrating technical skill in applying principles of composition/improvisation and originality in developing and organizing musical ideas

PP3A.HS9-12



Select

MU:Pr4.1.H.IIa Develop and apply criteria for selecting a varied repertoire of music for individual and small group performances that include melodies, repertoire pieces, improvisations, and chordal accompaniments in a variety of styles.

Analyze

MU:Pr4.2.H.IIa Identify and describe important theoretical and structural characteristics and context (social, cultural, and historical) in a varied repertoire of music that includes melodies, repertoire pieces, improvisations, and chordal accompaniments in a variety of styles.

HC1A.HS9-12


Interpret

MU:Pr4.3.H.IIa Explain in interpretations the context (social, cultural, and historical) and expressive intent in a varied repertoire of music selected for performance that includes melodies, repertoire pieces,


improvisations, and chordal accompaniments in a variety of styles.



MU:Pr5.1.H.IIa Develop and apply criteria to critique individual and small group performances of a varied repertoire of music that includes melodies, repertoire pieces, improvisations, and chordal accompaniments in a variety of styles, and create rehearsal strategies to address performance challenges and refine the performances.


Present

MU:Pr6.1.H.IIa Perform with expression and technical accuracy, in individual and small group performances, a varied repertoire of music that includes melodies, repertoire pieces, improvisations, and chordal accompaniments in a variety of styles, demonstrating sensitivity to the audience and an understanding of the context (social, cultural, and historical).

PP1B.HS9-12



Select

MU:Re7.1.H.IIa Apply criteria to select music for a variety of purpose, justifying choices citing knowledge of music and specified purpose and context

Analyze


MU:Re7.1.H.IIb Explain how the analysis of the structures and context (social, cultural, and historical) of contrasting musical selections inform the response.


Interpret

MU:Re8.1.H.IIa Explain and support interpretations of the expressive intent and meaning of musical selections, citing as evidence the treatment of the elements of music, context (personal, social, and cultural), and (when appropriate) the setting of the text and varied researched sources.


Evaluate

MU:Re9.1.H.IIa Apply personally-developed and established criteria based on research , personal preference, analysis, interpretation, expressive intent , and musical qualities to evaluate contrasting individual and small group musical selections for listening.


MU:Cn11.0.H.IIa Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.


MU:Cn11.0.H.IIa Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.


Harmonizing Instruments - Advanced







Imagine

MU:Cr1.1.H.IIIa Generate melodic, rhythmic, and harmonic ideas for a collection of compositions (representing a variety of forms and styles), improvisations in several different styles, and stylistically appropriate harmonizations for given melodies.

PP3A.HS9-12



Plan and Make

MU:Cr2.1.H.IIIa Select, develop, and use standard notation and audio/video recording to document melodic, rhythmic, and harmonic ideas for drafts of compositions (forms such as rounded binary or rondo ), improvisations, accompaniment patterns in a variety of styles, and harmonizations for given melodies.



Evaluate and Refine

MU:Cr3.1.H.IIIa Develop and apply criteria to critique, improve, and refine drafts of compositions (forms such as rounded binary or rondo), improvisations, accompaniment patterns in a variety of styles, and harmonizations for given melodies.

Present

MU:Cr3.2.H.IIIa Perform final versions of improvisations, compositions (forms such as theme and variation or 12-bar blues) , and three-or more -chord accompaniments in a variety of patterns (such as arpeggio, country and gallop strumming, finger picking patterns), demonstrating technical skill in applying principles of composition/improvisation and originality in developing and organizing musical ideas.

PP3A.HS9-12



Select

MU:Pr4.1.H.IIIa Explain the criteria used when selecting a varied repertoire of music for individual or small group performances that include melodies, repertoire pieces, improvisations, and chordal accompaniments in a variety of patterns (such as arpeggio, country and gallop strumming, finger picking patterns).

Analyze

MU:Pr4.2.H.IIIa Identify and describe important theoretical and structural characteristics and context (social, cultural, or historical) in a varied repertoire of music that

HC1A.HS9-12



includes melodies, repertoire pieces, improvisations, and chordal accompaniments in a variety of patterns (such as arpeggio, country and gallop strumming, finger picking patterns).

Interpret

MU:Pr4.3.H.IIIa Describe in interpretations the context (social, cultural, or historical) and expressive intent in a varied repertoire of music selected for performance that includes melodies, repertoire pieces, improvisations, and chordal accompaniments in a variety of patterns (such as arpeggio, country and gallop strumming, finger picking patterns) .



MU:Pr5.1.H.IIIa Develop and apply criteria, including feedback from multiple sources , to critique varied programs of music repertoire (melodies, repertoire pieces, stylistically appropriate accompaniments, improvisations in a variety of contrasting styles ) selected for individual and small group performance, and create rehearsal strategies to address performance challenges and refine the performances.


Present

MU:Pr6.1.H.IIIa Perform with expression and technical accuracy, in individual and small group performances, a varied repertoire for programs of music that includes melodies, repertoire pieces, stylistically appropriate

PP1B.HS9-12



accompaniments, and improvisations in a variety of contrasting styles, demonstrating sensitivity to the audience and an understanding of the context (social, cultural, and historical)


Select

MU:Re6.1.H.IIIa Select, describe, and compare a variety of individual and small group musical programs from varied cultures, genres, and historical periods.

Analyze

MU:Re7.2.H.IIIa Demonstrate and justify how the structural characteristics function within a variety of musical selections, and distinguish how context (social, cultural, and historical) and creative decisions inform the response.


Interpret

MU:Re8.1.H.IIIa Establish and justify interpretations of the expressive intent and meaning of musical selections by comparing and synthesizing varied researched sources, including reference to examples from other art forms.


Evaluate

MU:Re9.1.H.IIIa Develop and justify evaluations of a variety of individual and small group musical selections for


listening based on personally developed and established criteria, personal decision making, and knowledge and understanding of context.


MU:Cn10.0.H.IIIa Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.


MU:Cn11.0.H.IIIa Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.


THEATRE Crosswalk


Legend


Bold Bold New Text





ABOUT THE MISSOURI LEARNING STANDARDS: The State Board of Education approved the updated Missouri Learning Standards: Grade Level Expectations on XXXX, based on the standards created by work groups of Missouri educators, parents, and community members. The revised standards were developed by Missourians for Missouri students. These expectations are challenging, yet attainable, for students in our state. The standards further define our high expectations for what children should know and be able to do in each course and grade level, helping ensure they graduate prepared for college, career, and life.

ABOUT THE THEATRE CROSSWALK: The intent of this crosswalk is to enhance understanding of the changes to the THEATRE expectations. The column on the left contains the newly adopted THEATRE expectations (201X). The column on the right contains the previous expectations (GLEs) which show some alignment. This document is intended to assist teachers with some of the issues associated with implementing new THEATRE standards: planning, pacing, professional development and curricular materials.


Preschool THEATRE

Missouri Learning Standards: Grade-Level Expectations for Theatre

(Adopted April 2019 for implementation in the 2019 – 2020 school year.)

Missouri Grade Level Expectations: Theatre


Code Newly Adopted Standards Code NO GLEs were developed for PK


TH: Cr1.1.PK.a

With prompting and support, transition between imagination and reality in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).

TH: Cr1.1.PK.b

With prompting and support, use nonrepresentational materials to create props, puppets, and costume pieces for dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Cr2-PK.a.

With prompting and support, contribute through gestures and words to dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).

TH: Cr2-PK.b.

With prompting and support, express original ideas in dramatic play or a guided drama


experience (e.g., process drama, story drama, creative drama).


TH: Cr3.1.PK.a

With prompting and support, answer questions in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Pr4.1.PK.a

With prompting and support, identify characters in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Pr5.1.PK.a

With prompting and support, understand that imagination is fundamental to dramatic play and guided drama experiences (e.g., process drama, story drama, creative drama).

TH: Pr5.1.PK.b

With prompting and support, explore and experiment with various technical elements in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).

Pr5.1 PK.c With prompting and support, demonstrate audience etiquette for venue.



TH: Pr6.1.PK..a

With prompting and support, engage in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Re7.1.PK.a

With prompting and support, recall an emotional response in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Re8.1.PK.a

With prompting and support, explore preferences in dramatic play, guided drama experience (e.g., process drama, story drama, creative drama), or age-appropriate theatre performance.

TH: Re8.1.PK.b

With prompting and support, name and describe characters in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Re9.1.PK.a

With prompting and support, actively engage in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).



TH: Cn10.1.PK.a

With prompting and support, identify similarities between a story and personal experience in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Cn11.1.PK.a

With prompting and support, use skills and knowledge from other areas in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Cn11.2.PK.a

With prompting and support, identify stories that are similar to one another in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).

TH: Cn11.2.PK.b

With prompting and support, tell a short story in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).


Kindergarten THEATRE







TH: Cr1.1.K.a

With prompting and support, invent and inhabit an imaginary elsewhere in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).

PP.1.A.K. EP.1.A.K.

IC.2.AK.

Tell stories about themselves with a beginning, middle, and end

Identify a beginning, middle, and end

Listen to a story and act out the story in dramatic play

TH: Cr1.1.K.b

With prompting and support, use nonrepresentational materials to create props, puppets, and costume pieces for dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).

PP.1.C.K.

EP.1.C.K.

Create playing space (e.g. moving chairs) and costumes using basic materials (e.g. hats, aprons, props)

Define playing space and costumes


TH: Cr2-K.a

With prompting and support, interact with peers and contribute to dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).

AP.1.A.K Discuss the effect a story has on its audience through the sharing of personal opinions

TH: Cr2-K.b

With prompting and support, express original ideas in dramatic play or a guided drama experience (e.g., creative drama, process drama, story drama).



TH: Cr3.1.K.a

With prompting and support, ask and answer questions in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Pr4.1.K.a

With prompting and support, identify characters and setting in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Pr5.1.K.a

With prompting and support, understand that voice and sound are fundamental to dramatic play and guided drama experiences (e.g., process drama, story drama, creative drama).

PP.1.A.K Tell stories about themselves with a beginning, middle, and end

TH: Pr5.1.K.b

With prompting and support, explore and experiment with various technical elements in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).

TH: Pr5.1.K.c

With prompting and support, demonstrate audience etiquette for venue.

PP.1.E.K Practice appropriate audience behavior.


TH: With prompting and support, use voice and


Pr6.1.K.a. sound in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Re7.1.K.a

With prompting and support, express an emotional response to characters in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Re8.1.K.a

With prompting and support, identify preferences in dramatic play, a guided drama experience (e.g., process drama, story drama, creative drama), or age-appropriate theatre performance.

TH: Re8.1.K.b

With prompting and support, name and describe settings in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Re9.1.K.a

With prompting and support, actively engage with others in dramatic play or a guided drama experience ((e.g., process drama, story drama, creative drama).



TH: Cn10.1.K.a

With prompting and support, identify similarities between characters and oneself in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).

HC.1B.K Identify the difference between fantasy and reality in dramatic play


TH: Cn11.1.K.a

With prompting and support, identify skills and knowledge from other areas in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Cn11.2.K.a

With prompting and support, identify stories that are different from one another in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama)

TH: Cn11.2.K.b

With prompting and support, tell a short story in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama).


1st GRADE THEATRE







TH: Cr1.1.1.a

Propose potential choices characters could make in a guided drama experience (e.g., process drama, story drama, creative drama).

TH: Cr1.1.1.b

Collaborate with peers to conceptualize costumes and props in a guided drama experience (e.g., process drama, story drama, creative drama).

TH: Cr1.1.1.c

Identify ways in which gestures and movement may be used to create or retell a story in guided drama experiences (e.g., process drama, story drama, creative drama).

PP.1.B.1 EP.1.B.1

Express a feeling through gesture and voice (e.g., fear, surprise, joy) Show a variety of gestures (e.g., raise hand, shrug, nod head) and explain their meaning


TH: Cr2-1.a

Contribute to the development of a sequential plot in a guided drama experience (e.g., process drama, story drama, creative drama).

PP.1A.1 Tell stories about a character with a beginning, middle, and end

TH: Cr2-1.b

With prompting and support, participate in group decision making in a guided drama experience (e.g., process drama, story drama, creative drama).



TH: Cr3.1.1.a

Contribute to the adaptation of the plot in a guided drama experience (e.g., process drama, story drama, creative drama).

IC.2.A.1 Listen to a story and act out the story in dramatic play

TH: Cr3.1.1.b

Identify similarities and differences in sounds and movements in a guided drama experience (e.g., process drama, story drama, creative drama).

TH: Cr3.1.1.c

Collaborate to imagine multiple representations of a single object in a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Pr4.1.1.a

Describe a story’s character actions and dialogue in a guided drama experience (e.g., process drama, story drama, creative drama).

TH: Pr4.1.1.b

Use body, face, gestures, and voice to communicate character traits and emotions in a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Pr5.1.1.a

With prompting and support, identify and understand that physical movement is fundamental to guided drama experiences (e.g.,


process drama, story drama, creative drama).

TH: Pr5.1.1.b

With prompting and support, identify technical elements that can be used in a guided drama experience (e.g., process drama, story drama, creative drama).

PP.1.C.1

EP.1.C.1

Adapt the environment using basic materials (e.g., draw scenery on board, turn on/off room lights, move furniture)

Define playing space and costumes

TH: Pr5.1.1.c

With prompting and support, demonstrate audience etiquette for venue and purpose.

PP.1.E.1 Practice appropriate audience behavior.


TH: Pr6.1.1.a.

With prompting and support, use movement and gestures to communicate emotions in a guided drama experience (e.g., process drama, story drama, creative drama).

PP,1.F.1 Participate in a performance for a class or invited audience


TH: Re7.1.1.a

Recall choices made in a guided drama experience (e.g., process drama, story drama, creative drama).

AP.1.A.1

AP.1.B.1

Discuss the effect a story has on its audience through the sharing of personal opinions

Orally express impressions and observations related to dramatic activities and performances


TH: Re8.1.1.a

Explain preferences and emotions in a guided drama experience (e.g., process drama, story drama, creative drama), or age-appropriate theatre performance.

TH: Re8.1.1.b

Identify causes of character actions in a guided drama experience (e.g., process drama, story drama, or creative drama).

EP.1.A.1 Identify character, problem, solution, and setting


TH: Re8.1.1.c

Explain or use text and pictures to describe how personal emotions and choices compare to the emotions and choices of characters in a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Re9.1.1.a

Build on others’ ideas in a guided drama experience (e.g., process drama, story drama, creative drama).

TH: Re9.1.1.b

Identify props and costumes that might be used in a guided drama experience (e.g., process drama, story drama, creative drama).

EP.1.C.1 Define playing space and costumes

TH: Re9.1.1.c

Compare and contrast the experiences of characters in a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Cn10.1.1.a

Identify character emotions in a guided drama experience (e.g., process drama, story drama, creative drama) and relate it to personal experience.


TH: Cn11.1.1.a

Apply skills and knowledge from different art forms and content areas in a guided drama experience (e.g., process drama, story drama, creative drama).

IC.1.A.1 HC.2.A.1

Use music, creative movement and visual components in dramatic play

Identify diverse cultural dimensions in dramatic play



TH: Cn11.2.1.a

Identify similarities and differences in stories from one’s own community in a guided drama experience (e.g., process drama, story drama, creative drama).

HC.2.A.1 Identify diverse cultural dimensions in dramatic play

TH: Cn11.2.1.b

Collaborate on the creation of a short scene based on a fictional literary source in a guided drama experience (e.g., process drama, story drama, creative drama).

HC.1.B.1 Identify the difference between fantasy and reality in literature and media


2nd GRADE THEATRE







TH: Cr1.1.2.a

Propose potential new details to plot and story in a guided drama experience (e.g., process drama, story drama, creative drama).

IC.1.A.2 Use music, creative movement and visual components in dramatic play

TH: Cr1.1.2.b

Collaborate with peers to conceptualize scenery in a guided drama experience (e.g., process drama, story drama, creative drama).

IC.2.A.2 Listen to a story and act out the story in dramatic play

TH: Cr1.1.2.c

Identify ways in which voice and sounds may be used to create or retell a story in guided drama experiences (e.g., process drama, story drama, creative drama).

PP.1.A.2 IC.1.A.2

Tell stories through role-play, imitation, and recreating dialogue Use music, creative movement and visual components in dramatic play


TH: Cr2-2.a

Collaborate with peers to devise meaningful dialogue in a guided drama experience (e.g., process drama, story drama, creative drama).

PP.1.A.2 Tell stories through role-play, imitation, and recreating dialogue


TH: Cr2-2.b

Contribute ideas and make decisions as a group to advance a story in a guided drama experience (e.g., process drama, story drama, creative drama).

PP.1.A.2 PP.1.B.2

Tell stories through role-play, imitation, and recreating dialogue Use role playing to investigate proper social skills


TH: Cr3.1.2.a

Contribute to the adaptation of dialogue in a guided drama experience (e.g., process drama, story drama, creative drama).

TH: Cr3.1.2.b

Use and adapt sounds and movements in a guided drama experience (e.g., process drama, story drama, creative drama).

TH: Cr3.1.2.c

Generate independently multiple representations of a single object in a guided drama experience (e.g., process drama, story drama, creative drama.


TH: Pr4.1.2.a

Interpret story elements in a guided drama experience (e.g., process drama, story drama, creative drama).

EP.1.B.2

Identify dialogue and lines of a script

TH: Pr4.1.2.b

Alter voice and body to expand and articulate nuances of a character in a guided drama experience (e.g., (e.g., process drama, story drama, creative drama).



TH: Pr5.1.2.a

Demonstrate the relationship between and among body, voice, and mind in a guided drama experience (e.g., process drama, story drama, creative drama).

TH: Pr5.1.2.b

Explore technical elements in a guided drama experience (e.g., process drama, story drama, creative drama).

PP.1.C.2 EP.1.C.2

Display simple costumes that reflect the character (e.g. wigs, shawls, vests) Define playing space and costumes

TH: Pr5.1.2.c

With prompting and support, demonstrate appropriate audience etiquette for venue and purpose.

PP.1.E.2 Practice appropriate audience behavior.


TH: Pr6.1.2.a.

Contribute to group guided drama experiences (e.g., process drama, story drama, creative drama) and informally share with peers.

PP.1.F.2 Participate in a performance for a class or invited audience


TH: Re7.1.2.a

Recognize when artistic choices are made in a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Re8.1.2.a

Explain how personal preferences and emotions affect an observer’s response in a guided drama experience (e.g., process drama, story drama, creative drama), or age-appropriate theatre performance.

PP.1.B.2 AP.1.A.2

Use role playing to investigate proper social skills Discuss why the story has the effect it does on the audience


TH: Re8.1.2.b

Identify causes and consequences of character actions in a guided drama experience (e.g., process drama, story drama, or creative drama).

HC.1.B.2 Imitate and synthesize life experiences (e.g., when you are sick, on the playground, in the lunch line when meeting strangers)in dramatic play

TH: Re8.1.2.c

Explain or use text and pictures to describe how others’ emotions and choices may compare to the emotions and choices of characters in a guided drama experience (e.g., process drama, story drama, creative drama).

AP.1.A.2 AP.1.B.2

Discuss why the story has the effect it does on the audience Express impressions and observations related to dramatic activities and performances (e.g., students could write letters or draw pictures to high school performers who visited their class and performed)


TH: Re9.1.2.a

Collaborate on a scene in a guided drama experience (e.g., process drama, story drama, creative drama).

TH: Re9.1.2.b

Use a prop or costume in a guided drama experience (e.g., process drama, story drama, creative drama) to describe characters, settings, or events.

PP.1.C.2 EP.1.C.2

Display simple costumes that reflect the character (e.g. wigs, shawls, vests) Define playing space and costumes

TH: Re9.1.2.c

Describe how characters respond to challenges in a guided drama experience (e.g., process drama, story drama, creative drama).

AP.1.A.2 AP.1.B.2

Discuss why the story has the effect it does on the audience Express impressions and observations related to dramatic activities and performances (e.g., students could write letters or draw pictures to high school performers who visited their class and performed)


TH: Cn10.1.2.a

Relate character experiences to personal experiences in a guided drama experience

EP.1.A.2 EP.1.B.2

Identify dialogue and puppetry

Identify dialogue and lines of a script


(e.g., process drama, story drama, creative drama).

HC.1.B.2

Imitate and synthesize life experiences (e.g., when you are sick, on the playground, in the lunch line when meeting strangers)in dramatic play


TH: Cn11.1.2.a

Determine appropriate skills and knowledge from different art forms and content areas to apply in a guided drama experience (e.g., process drama, story drama, creative drama).

HC.2.A.2 Reflect historical and diverse cultural influences in dramatic activities


TH: Cn11.2.2.a

Identify similarities and differences in stories from multiple cultures in a guided drama experience (e.g., process drama, story drama, creative drama).


TH: Cn11.2.2.b

Collaborate on the creation of a short scene based on a non-fiction literary source in a guided drama experience (e.g., process drama, story drama, creative drama).



3rd GRADE THEATRE







TH: Cr1.1.3.a

Create roles, imagined worlds, and improvised stories in a drama/theatre work.

PP.1.B.3 Participate in dramatic play that reflects the environment and portrays character (e.g. build a snowman and show that it is cold)

TH: Cr1.1.3.b

Imagine and articulate ideas for costumes, props and sets for the environment and characters in a drama/theatre work.

PP.1.C.3 EP.1.C.3

Use props, costumes, sound, and setting safely

Identify technical theatre elements such as setting, sound, properties, lighting, costumes, and make-up

TH: Cr1.1.3.c

Collaborate to determine how characters might move and speak to support the story and given circumstances in drama/theatre work.

PP.1.B.3 Participate in dramatic play that reflects the environment and portrays character (e.g. build a snowman and show that it is cold)


TH: Cr2-3.a

Participate in methods of investigation to devise original ideas for a drama/theatre work.

TH: Cr2-3.b

Compare ideas with peers and make selections that will enhance and deepen group drama/theatre work.

PP.1.A.3 Tell stories through group improvisation using original idea and conflict



TH: Cr3.1.3.a

Collaborate with peers to revise, refine, and adapt ideas to fit the given parameters of a drama theatre work.

TH: Cr3.1.3.b

Participate and contribute to physical and vocal exploration in an improvised or scripted drama/theatre work.

TH: Cr3.1.3.c

Practice and refine design and technical choices to support a devised or scripted drama/theatre work.


TH: Pr4.1.3.a

Apply the elements of dramatic structure to a story and create a drama/theatre work.

EP.1.A.3 EP.1.B.3 IC.2.A.3

Identify action Identify lead/principal, chorus, and role/supporting role

Write a paragraph (fiction or nonfiction) and act out the characters in the story in dramatic play

TH: Pr4.1.3.b

Investigate how movement and voice are incorporated into drama/theatre work.

IC.1.A.3 Use music, creative movement and visual components in dramatic play


TH: Pr5.1.3.a

Participate in a variety of physical, vocal, and cognitive exercises that can be used in a group setting for drama/theatre work.


TH: Pr5.1.3.b

Identify the basic technical elements that can be used in drama/theatre work.

PP.1.C.3 EP.1.C.3

Use props, costumes, sound, and setting safely

Identify technical theatre elements such as setting, sound, properties, lighting, costumes, and make-up

TH: Pr5.1.3.c

With prompting and support, demonstrate appropriate audience etiquette for venue and purpose.

PP.1.E.3 Model appropriate audience behavior.


TH: Pr6.1.3.a.

Practice drama/theatre work and share reflections individually and in small groups.



TH: Re7.1.3.a

Understand why artistic choices are made in a drama/theatre work.

AP.1.A.3 Discuss what the students see in a dramatic presentation, including the quality of the acting and technical elements


TH: Re8.1.3.a

Consider multiple personal experiences when participating in or observing a drama/theatre work.

PP.1.A.3 Tell stories through group improvisation using original idea and conflict

TH: Re8.1.3.b

Consider multiple ways to develop a character using physical characteristics and prop or costume design choices that reflect cultural perspectives in drama/theatre work.

TH: Re8.1.3.c

Examine how connections are made between oneself and a character’s emotions in drama/theatre work.

AP.1.B.3 Express impressions and observations related to dramatic activities and performances



TH: Re9.1.3.a

Understand how and why groups evaluate drama/theatre work.

TH: Re9.1.3.b

Consider and analyze technical elements from multiple drama/theatre works.

TH: Re9.1.3.c

Evaluate and analyze problems and situations in a drama/theatre work from an audience perspective.


TH: Cn10.1.3.a

Use personal experiences and knowledge to make connections to community and culture in a drama/theatre work.


TH: Cn11.1.3.a

Identify connections to community, social issues and other content areas in drama/theatre work.

HC.1.B.3 Utilize dramatic play to complete a piece of open ended literature


TH: Cn11.2.3.a

Explore how stories are adapted from literature to drama/theatre work .

HC.1.B.3 Utilize dramatic play to complete a piece of open ended literature


TH: Cn11.2.3.b

Examine how artists have historically presented the same stories using different art forms, genres, or drama/theatre conventions.



4th GRADE THEATRE







TH: Cr1.1.4.a

Articulate the visual details of imagined worlds, and improvised stories that support the given circumstances in a drama/theatre work.

TH: Cr1.1.4.b

Visualize and design technical elements that support the story and given circumstances in a drama/theatre work.

PP.1.C.4 EP.1.C.4

Apply technical theatre elements such as setting, sound, properties, lighting, costumes or makeup (e.g., dressing up as historical Missouri figures)

Identify the safe use of props, costumes, sound and setting

TH: Cr1.1.4.c

Imagine how a character might move to support the story and given circumstances in a drama/theatre work.


TH: Cr2-4.a

Collaborate to devise original ideas for a drama/theatre work by asking questions about characters and plots.

PP.1.B.4 Express emotions and ideas to imitate life experiences. Improvise dialogue to tell stories, specific settings, and scenes

TH: Cr2-4.b

Make and discuss group decisions and identify responsibilities required to present a drama/theatre work to peers.



TH: Cr3.1.4.a

Revise and improve an improvised or scripted drama/theatre work through repetition and collaborative review.

TH: Cr3.1.4.b

Develop physical and vocal exercise techniques for an improvised or scripted drama/theatre work.

EP.1.B.4 Identify vocal inflection and how it shows character in reading

TH: Cr3.1.4.c

Collaborate on solutions to design and technical problems that arise in rehearsal for a drama/theatre work.


TH: Pr4.1.4.a

Modify the dialogue and action to change the story in a drama/theatre work .

PP.1.B.4 Express emotions and ideas to imitate life experiences. Improvise dialogue to tell stories, specific settings, and scenes

TH: Pr4.1.4.b

Make physical choices to develop a character in a drama/theatre work .


TH: Pr5.1.4.a

Practice selected exercises that can be used in a group setting for drama/theatre work .

TH: Pr5.1.4.b

Propose the use of technical elements in a drama/theatre work.

PP.1.C.4 Apply technical theatre elements such as setting, sound, properties, lighting, costumes or makeup (e.g., dressing up as historical Missouri figures)

Identify the safe use of props, costumes, sound and setting


EP.1.C.4

TH: Pr5.1.4.c

With prompting and guidance, demonstrate appropriate audience etiquette for venue and purpose.

PP.1.E.4 Model appropriate audience behavior.


TH: Pr6.1.4.a.

Share small-group drama/theatre work, with peers as audience.



TH: Re7.1.4.a

Identify artistic choices made in a drama/theatre work through participation and observation.

EP.1.A.4 AP.1.A.4 AP.1.A.4

Identify symbol and scenes

Develop and apply appropriate criteria to use in critiquing the work of others Express impressions and observations related to dramatic activities and performances


TH: Re8.1.4.a

Compare and contrast multiple personal experiences when participating in or observing a drama/theatre work.

AP.1.A.4 Compare and contrast the ways ideas and emotions are depicted in art, dance, music and theatre and select movement, music or visual elements to enhance classroom dramatizations

TH: Re8.1.4.b

Compare and contrast the qualities of characters in a drama/theatre work through physical characteristics and prop or costume design choices that reflect cultural perspectives.


TH: Re8.1.4.c

Identify and discuss physiological changes connected to emotions in drama/ theatre work.


TH: Re9.1.4.a

Propose a plan to evaluate drama/theatre work.

AP.1.A.4 AP.1.A.4

Develop and apply appropriate criteria to use in critiquing the work of others

Express impressions and observations related to dramatic activities and performances

TH: Re9.1.4.b

Investigate how technical elements may support a theme or idea in a drama/theatre work.

TH: Re9.1.4.c

Observe how a character’s choices impact an audience’s perspective in a drama/theatre work.

AP.1.A.4 AP.1.B.4

Develop and apply appropriate criteria to use in critiquing the work of others

Express impressions and observations related to dramatic activities and performances


TH: Cn10.1.4.a

Identify the ways drama/theatre work reflects the perspectives of a community or culture.

HC.1.B.4 Introduce problem solving through dramatic play


TH: Cn11.1.4.a

Respond to community and social issues and incorporate other content areas in drama/theatre work.

PP.1.A.4 Write a brief story about an historical event or figure



TH: Cn11.2.4.a

Investigate cross cultural approaches to storytelling in drama/theatre work.

TH: Cn11.2.4.b

Compare the drama/theatre conventions of a given time period with those of the present.

IC.2.A.4 HC.2.A.4

Write a paragraph (fiction or nonfiction) based on Missouri history and act out the characters in the story in dramatic play Imitate life experiences of famous Missourians in dramatic play


5th GRADE THEATRE







TH: Cr1.1.5.a

Identify physical qualities that might reveal a character’s inner traits in the imagined world of a drama/theatre work.

TH: Cr1.1.5.b

Propose design ideas that support the story and given circumstances in a drama/theatre work.

PP.1.C.5 Alter space appropriately (e.g., create a separate audience space from performance space) to create a suitable environment for playmaking

TH: Cr1.1.5.c

Imagine how a character’s inner thoughts impact the story and given circumstances in a drama/ theatre work


TH: Cr2-5.a

Devise original ideas for a drama/theatre work that reflect collective inquiry about characters and their given circumstances.

PP.1.A.5 Write an original story based on teacher-generated theme (e.g., DARE, social studies based)

TH: Cr2-5.b

Participate in defined responsibilities required to present a drama/theatre work informally to an audience.



TH: Cr3.1.5.a

Revise and improve an improvised or scripted drama/theatre work through repetition and self-review.

PP.1.B.5 Use vocal skills (e.g., clarity, variety, and volume) through reading aloud and interpreting characters

TH: Cr3.1.5.b

Use physical and vocal exploration for character development in an improvised or scripted drama/theatre work.

TH: Cr3.1.5.c

Create innovative solutions to design and technical problems that arise in rehearsal for a drama/theatre work.

PP.1.C.5 EP.1.C.5

Alter space appropriately (e.g., create a separate audience space from performance space) to create a suitable environment for playmaking Identify space that has been appropriately set up for playmaking


TH: Pr4.1.5.a

Describe the underlying thoughts and emotions that create dialogue and action in a drama/theatre work.

TH: Pr4.1.5.b

Use physical choices to create meaning in a drama/theatre work.


TH: Pr5.1.5.a

Choose acting exercises that can be applied to a drama/theatre work.

EP.1.B.5 Identify audition, callback, call , stage directions (i.e., upstage, downstage, center, left, right), projection, curtain call

TH: Pr5.1.5.b

Demonstrate the use of technical elements in a drama/theatre work.

PP.1.C.5 EP.1.C.5

Alter space appropriately (e.g., create a separate audience space from performance space) to create a suitable environment for playmaking Identify space that has been appropriately set up for playmaking


TH: Pr5.1.5.c

Demonstrate appropriate audience etiquette for venue, purpose and style

PP.1.E.5 Model appropriate behavior at a variety of performances.


TH: Pr6.1.5.a.

Present drama/theatre work informally to an audience.



TH: Re7.1.5.a

Explain personal reactions to artistic choices made in a drama/theatre work through participation and observation.

AP.1.A.5 Communicate artistic choices and offer alternatives to solve problems and build consensus


TH: Re8.1.5.a

Justify responses based on personal experiences when participating in or observing a drama/theatre work.

AP.1.B.5 Express and compare personal reactions to artistic choices in comedy, tragedy or other dramatic forms (e.g., outside performances brought into school or on television)

TH: Re8.1.5.b

Explain responses to characters based on cultural perspectives when participating in or observing drama/theatre work.

AP.1.B.5 Express and compare personal reactions to artistic choices in comedy, tragedy or other dramatic forms (e.g., outside performances brought into school or on television)

TH: Re8.1.5.c

Investigate the effects of emotions on posture, gesture, breathing, and vocal intonation in a drama/theatre work.

PP.1.B.5 Use vocal skills (e.g., clarity, variety, and volume) through reading aloud and interpreting characters


TH: Re9.1.5.a

Develop and implement a plan to evaluate drama/theatre work.


TH: Re9.1.5.b

Assess how technical elements represent the theme of a drama/theatre work.

IC.1.A.5 Compare and contrast the ways ideas and emotions are depicted in art, dance, music and theatre and select movement, music or visual elements to enhance classroom dramatizations

TH: Re9.1.5.c

Recognize how a character’s circumstances impact an audience’s perspective in a drama/theatre work.

HC.1.B.5 HC.2.A.5 PP.1.A.5 AP.1.A.5

Describe how theatre, film, television and electronic media reflect

life and act as a catalyst for change Examine and compare characteristics of theatrical works from

various cultures throughout history Write an original story based on teacher-generated theme (e.g., DARE, social studies based) Communicate artistic choices and offer alternatives to solve problems and build consensus


TH: Cn10.1.5.a

Explain how drama/theatre connects oneself to a community or culture .

HC.1.B.5 HC.2.A.5 IC.1.A.5



various cultures throughout history Compare and contrast the ways ideas and emotions are depicted in art, dance, music and theatre and select movement, music or visual elements to enhance classroom dramatizations


TH: Cn11.1.5.a

Investigate historical, global and social issues expressed in drama/theatre work.

HC.1.B.5 HC.2.A.5



various cultures throughout history



TH: Cn11.2.5.a

Analyze commonalities and differences between stories set in different cultures in preparation for a drama/theatre work.

IC.2.A.5 Using improvisation or dramatic play, act out a character or scene from a previous time period or culture that is not your own

TH: Cn11.2.5.b

Identify historical sources that explain drama/theatre terminology and conventions.


6th GRADE THEATRE







TH: Cr1.1.6.a

Identify possible solutions to staging challenges in a drama/theatre work.

EP.1.B.6 Identify cue, notes, on/off book, cheat/open out, and cold-reading

TH: Cr1.1.6.b

Identify solutions to design challenges in a drama/theatre work

EP.1.C.6 Identify technical elements of theatre to represent time and place, establish character, enhance mood and create dramatic environments for improvised or scripted scenes

TH: Cr1.1.6.c

Explore a scripted or improvised character by imagining the given circumstances in a drama/theatre work.

PP.1.A.6 Write an expanded story using themes taught across the

curriculum


TH: Cr2-6.a

Use critical analysis to improve, refine, and evolve original ideas and artistic choices in a devised or scripted drama/theatre work.

TH: Cr2-6.b

Contribute ideas and accept and incorporate the ideas of others in preparing or devising drama/theatre work.

PP.1.F.6

Rehearse, polish and present a performance for a class or invited

audience



TH: Cr3.1.6.a

Articulate and examine choices to refine a devised or scripted drama/theatre work.

PP.1.F.6 Rehearse, polish and present a performance for a class or invited

audience

TH: Cr3.1.6.b

Identify effective physical and vocal traits of characters in an improvised or scripted drama/theatre work.

PP.1.B.6 Show concentration, pantomime, and body alignment to develop

believable characters

TH: Cr3.1.6.c

Explore a planned technical design during the rehearsal process for a devised or scripted drama/theatre work.

PP.1.C.6 Design and use technical elements of theatre to represent time and place, establish character, enhance mood and create dramatic

environment for improvised or scripted scenes


TH: Pr4.1.6.a

Identify the essential events in a story or script that make up the dramatic structure in a drama/theatre work.

EP.1.B.6 PP.1.A.6

Identify cue, notes, on/off book, cheat/open out, and cold-reading Write an expanded story using themes taught across the curriculum

TH: Pr4.1.6.b

Experiment with various physical choices to communicate character in a drama/theatre work.

PP.1.B.6 Show concentration, pantomime, and body alignment to develop

believable characters


TH: Pr5.1.6.a

Recognize how acting exercises and techniques can be applied to a drama/theatre work.


audience

TH: Pr5.1.6.b

Articulate how technical elements are integrated into a drama/ theatre work.



TH: Pr5.1.5.c


PP.1.E.5 Model appropriate audience behavior at various performances.


TH: Pr6.1.6.a.

Adapt a drama/theatre work and present it informally for an audience


audience


TH: Re7.1.6.a

Describe and record personal reactions to artistic choices in a drama/theatre work.

AP.1.A.6

AP.1.B.6

Define the terminology and process of evaluation and apply this process to performances using appropriate theatre vocabulary

Express and compare personal reactions to artistic choices in comedy, tragedy or other dramatic forms (e.g., outside performances brought into school or on television)


TH: Re8.1.6.a

Explain how artists make choices based on personal experience in a drama/theatre work.

AP.1.A.6

HC.1.A.6


Examine and compare characteristics of theatrical works from various cultures throughout history

TH: Re8.1.6.b

Identify cultural perspectives that may influence the evaluation of a drama/theatre work.

TH: Re8.1.6.c

Identify personal aesthetics, preferences, and beliefs through participation in or observation of drama/ theatre work.

AP.1.A.6 Define the terminology and process of evaluation and apply this process to performances using appropriate theatre vocabulary



TH: Re9.1.6.a

Use supporting evidence and criteria to evaluate drama/theatre work.


TH: Re9.1.6.b

Apply the production elements used in a drama/theatre work to assess aesthetic choices.


TH: Re9.1.6.c

Identify a specific audience or purpose for a drama/theatre work.

HC.1.B.6 HC.2.A.6





TH: Cn10.1.6.a

Explain how the actions and motivations of characters in a drama/theatre work impact perspectives of a community or culture.

HC.1.B.6 HC.2.A.6 IC.1.A.6



various cultures throughout history Compare and contrast the ways ideas and emotions are depicted in art, dance, music and theatre and select movement, music or visual elements to enhance classroom dramatizations


TH: Cn11.1.6.a

Identify universal themes or common social issues and express them through a drama/theatre work.

HC.1.B.6 HC.2.A.6 IC.2.A.6



various cultures throughout history Using improvisation or dramatic play, act out a character or scene from a previous time period or culture that is not your own



TH: Cn11.2.6.a

Research and analyze two different versions of the same drama/theatre story to determine differences and similarities in the visual and aural world of each story.

TH: Cn11.2.6.b

Investigate the time period and place of a drama/theatre work to better understand performance and design choices.

HC.1.A.6 IC.2.A.6

Examine and compare characteristics of theatrical works from various cultures throughout history Using improvisation or dramatic play, act out a character or scene from a previous time period or culture that is not your own


7th GRADE THEATRE







TH: Cr1.1.7.a

Investigate multiple perspectives and solutions to staging challenges in a drama/theatre work.

EP.1.B.7 Identify cue, notes, on/off book, cheat/open out, and cold-reading

TH: Cr1.1.7.b

Explain and present solutions to design challenges in a drama/ theatre work .


TH: Cr1.1.7.c

Envision and describe a scripted or improvised character’s inner thoughts and objectives in a drama/theatre work.

PP.1.A.7 EP.1.A.7 IC.2.A.7

Write scenes from personal experience with conflict and resolution Identify protagonist, antagonist, monologue, and dramatic conflict Write a monologue or character sketch based on an historical figure (e.g., Einstein, Napoleon, Anne Frank, George Washington) and

perform it for the class


TH: Cr2-7.a

Examine and justify original ideas and artistic choices in a drama/theatre work based on critical analysis, background knowledge, and historical and cultural context.

PP.1.A.7 IC.2.A.7

Write scenes from personal experience with conflict and resolution

Write a monologue or character sketch based on an historical figure (e.g., Einstein, Napoleon, Anne Frank, George Washington) and



TH: Cr2-7.b

Demonstrate mutual respect for self and others and their roles in preparing or devising drama/theatre work.

PP.1.A.7 PP.1.F.7

Write scenes from personal experience with conflict and resolution Rehearse, polish and present a performance for a class or invited

audience


TH: Cr3.1.7.a

Demonstrate focus and concentration in the rehearsal process to analyze and refine choices in a devised or scripted drama/theatre work.


audience

TH: Cr3.1.7.b

Develop effective physical and vocal traits of characters in an improvised or scripted drama/theatre work.

PP.1.B.7 EP.1.A.7

Speak, move, and generate ideas spontaneously through

improvisation and acting Identify protagonist, antagonist, monologue, and dramatic conflict

TH: Cr3.1.7.c

Consider multiple planned technical design elements during the rehearsal process for a devised or scripted drama/theatre work.




TH: Pr4.1.7.a

Consider various staging choices to enhance the story in a drama/theatre work.

PP.1.B.7 EP.1.A.7 EP.1.B.7

Speak, move, and generate ideas spontaneously through

improvisation and acting Identify protagonist, antagonist, monologue, and dramatic conflict Identify cue, notes, on/off book, cheat/open out, and cold-reading

TH: Pr4.1.7.b

Use various character objectives in a drama/theatre work.

PP.1.F.7 EP.1.A.7

Rehearse, polish and present a performance for a class or invited

audience Identify protagonist, antagonist, monologue, and dramatic conflict



TH: Pr5.1.7.a

Participate in a variety of acting exercises and techniques that can be applied in a rehearsal or drama/theatre performance.


audience

TH: Pr5.1.7.b

Choose a variety of technical elements that can be applied to a design in a drama/theatre work.

EP.1.C.7

Identify technical elements of theatre to represent time and place, establish character, enhance mood and create dramatic environments for improvised or scripted scenes

TH: Pr5.1.5.c




TH: Pr6.1.7.a.

Participate in rehearsals for a drama/theatre work that will be shared with an audience.


audience


TH: Re7.1.7.a

Compare recorded personal and peer reactions to artistic choices in a drama/ theatre work.



TH: Re8.1.7.a

Identify the artistic choices made based on personal experience in a drama/theatre work.

AP.1.A.7 IC.1.A.7

Define the terminology and process of evaluation and apply this process to performances using appropriate theatre vocabulary Identify visual, aural and kinetic components in art, dance, music and theatre; compare and contrast the presentation of the same subjects


TH: Re8.1.7.b

Describe how cultural perspectives can influence the evaluation of drama/theatre work.

AP.1.A.7 IC.1.A.7 HC.1.A.7

Define the terminology and process of evaluation and apply this process to performances using appropriate theatre vocabulary Identify visual, aural and kinetic components in art, dance, music and theatre; compare and contrast the presentation of the same subjects Examine and compare characteristics of theatrical works from various cultures throughout history

TH: Re8.1.7.c

Interpret how the use of personal aesthetics, preferences, and beliefs can be used to discuss drama/theatre work.

AP.1.A.7 AP.1.B.7

Define the terminology and process of evaluation and apply this process to performances using appropriate theatre vocabulary Choose calculated and reasonable risks physically, emotionally and artistically


TH: Re9.1.7.a

Explain preferences, using supporting evidence and criteria to evaluate drama/theatre work.


TH: Re9.1.7.b

Consider the aesthetics of the production elements in a drama/theatre work.


TH: Re9.1.7.c

Identify how the intended purpose of a drama/theatre work appeals to a specific audience.

AP.1.A.7 HC.1.B.7 HC.2.A.7

Define the terminology and process of evaluation and apply this process to performances using appropriate theatre vocabulary Describe how theatre, film, television and electronic media reflect





TH: Cn10.1.7.a

Incorporate multiple perspectives and diverse community ideas in a drama/theatre work.

HC.1.B.7 HC.2.A.7





TH: Cn11.1.7.a

Incorporate music, dance, art, and/or media to strengthen the meaning and conflict in a drama/theatre work with a particular cultural, global, or historic context.

HC.1.B.7 HC.2.A.7





TH: Cn11.2.7.a

Research and discuss how a playwright might have intended a drama/theatre work to be produced.

TH: Cn11.2.7.b

Examine artifacts from a time period and geographic location to better understand performance and design choices in a drama/theatre work.

HC.1.A.7 Examine and compare characteristics of theatrical works from



8th GRADE THEATRE







TH: Cr1.1.8.a

Imagine and explore multiple perspectives and solutions to staging problems in a drama/ theatre work.

TH: Cr1.1.8.b

Imagine and explore solutions to design challenges of a performance space in a drama/theatre work.

EP.1.C8 IC.1.B.8


Use hardware and software in the design elements of theatre

TH: Cr1.1.8.c

Develop a scripted or improvised character by articulating the character’s inner thoughts, objectives, and motivations in a drama/theatre work

IC.2.A.8 Write a monologue or character sketch based on an historical figure (e.g., Einstein, Napoleon, Anne Frank, George Washington) and



TH: Cr2-8.a

Articulate and apply critical analysis, background knowledge, research, and historical and cultural context to the development of original ideas for a drama/theatre work.

IC.2.A.8 Write a monologue or character sketch based on an historical figure (e.g., Einstein, Napoleon, Anne Frank, George Washington) and



TH: Cr2-8.b

Share leadership and responsibilities to develop collaborative goals when preparing or devising drama/theatre work.


audience


TH: Cr3.1.8.a

Use repetition and analysis in order to revise devised or scripted drama/theatre work


audience

TH: Cr3.1.8.b

Refine effective physical, vocal, and physiological traits of characters in an improvised or scripted drama/ theatre work.

TH: Cr3.1.8.c

Implement and refine a planned technical design using simple technology during the rehearsal process for devised or scripted drama/ theatre work




TH: Pr4.1.8.PP.1

Explore different pacing to better communicate the story in a drama/theatre work.

TH: Pr4.1.8.b

Explore different pacing to better communicate the story in a drama/theatre work.



TH: Pr5.1.8.a

Use a variety of acting techniques to increase skills in a rehearsal or drama/theatre performance.


audience

TH: Pr5.1.8.b

Use a variety of technical elements to create a design for a rehearsal or drama/theatre production.

EP.1.C8

IC.1.B.8


Use hardware and software in the design elements of theatre

TH: Pr5.1.5.c




TH: Pr6.1.8.a.

Perform a rehearsed drama/theatre work for an audience.


audience


TH: Re7.1.8.a

Apply criteria to the evaluation of artistic choices in a drama/theatre work.



TH: Re8.1.8.a

Recognize and share artistic choices when participating in or observing a drama/theatre work.

AP.1.A.8

IC.1.A.8


Identify visual, aural and kinetic components in art, dance, music and theatre; compare and contrast the presentation of the same subjects

TH: Re8.1.8.b

Analyze how cultural perspectives influence the evaluation of a drama/theatre work.

IC.1.A.8 Identify visual, aural and kinetic components in art, dance, music and theatre; compare and contrast the presentation of the same

subjects


HC.1.A.8

Examine and compare characteristics of theatrical works from


TH: Re8.1.8.c

Apply personal aesthetics, preferences, and beliefs to evaluate a drama/theatre work .

AP.1.A.8 AP.1.B.8

Define the terminology and process of evaluation and apply this process to performances using appropriate theatre vocabulary Choose calculated and reasonable risks physically, emotionally and artistically


TH: Re9.1.8.a

Respond to a drama/ theatre work using supporting evidence, personal aesthetics, and artistic criteria.


TH: Re9.1.8.b

Apply the production elements used in a drama/theatre work to assess aesthetic choices.


TH: Re9.1.8.c

Assess the impact of a drama/theatre work on a specific audience.

AP.1.A.8 HC.1.B.8 HC.2.A.8

Define the terminology and process of evaluation and apply this process to performances using appropriate theatre vocabulary Describe how theatre, film, television and electronic media reflect




TH: Cn10.1.8.a

Examine a community issue through multiple perspectives in a drama/theatre work.

HC.1.B.8 HC.2.A.8






TH: Cn11.1.8.a

Use different forms of drama/theatre work to examine contemporary social, cultural, or global issues.

HC.1.B.8 HC.2.A.8





TH: Cn11.2.8.a

Research the story elements of a staged drama/theatre work and compare them to another production of the same work.

TH: Cn11.2.8.b

Identify and use artifacts from a time period and place to develop performance and design choices in a drama/theatre work.

HC.1.A.8 Examine and compare characteristics of theatrical works from



HIGH SCHOOL Proficient THEATRE







TH: Cr1.1.I.a

Apply basic research to construct ideas about the visual composition of a drama/theatre work.

TH: Cr1.1.I.b

Explore the impact of technology on design choices in a drama/theatre work.

PP.1.C.P EP.1.C.P IC.1.B.P IC.1.B.P

Apply stagecraft skills safely Safely apply technical knowledge and skills to create and/or operate functional scenery, properties, lighting, sound, costumes, makeup, and publicity Identify and apply stagecraft skills Identify and apply technical knowledge and skills necessary to safely create and/or operate functional scenery, properties, lighting, sound, costumes, make-up and publicity Use hardware and software in lighting Use hardware and software in sound Use hardware and software in scenic elements Use hardware and software in makeup and costuming Use hardware and software in script writing Use hardware and software in properties Use hardware and software in business & house management Analyze budgetary needs of the technical aspect of a theatrical production Predict the fiscal responsibilities of a production (e.g., royalties, costume and set expenses) Analyze a play and design a set using scale for a non-realized production Use lighting equipment and accessories to demonstrate an understanding of the lighting spectrum Use sound equipment to demonstrate an understanding of human hearing


TH: Cr1.1.I.c

Use script analysis to generate ideas about a character that is believable and authentic in a drama/theatre work.


TH: Cr2-I.a

Explore the function of history and culture in the development of a dramatic concept through a critical analysis of original ideas in a drama/theatre work .

HC.1.A.P HC.1.B.P

Research the cultural and historical background of a specific play

Describe the roles of theatre, film, television and electronic media in American society

TH: Cr2-I.b

Investigate the collaborative nature of the actor, director, playwright, and designers and explore their interdependent roles in a drama/theatre work.

PP.1.D.P HC.1.B.P

Evaluate the director’s role in creating a production Block a scripted scene

Describe the roles of theatre, film, television and electronic media in American society


TH: Cr3.1.I.a

Practice and revise a devised or scripted drama/theatre work using theatrical staging conventions.

PP.1.A.P Write an original scene utilizing character development and plot elements

TH: Cr3.1.I.b

Explore physical, vocal and physiological choices to develop a performance that is believable, authentic, and relevant to a drama/theatre work.

PP.1.B.P Use basic terms of theatre (see glossary) Utilize warm-up techniques for preparation of body, voice and mind

TH: Cr3.1.I.c

Refine technical design choices to support the story and emotional impact of a devised or scripted drama/ theatre work.



TH: Pr4.1.I.a

Examine how character relationships assist in telling the story of a drama/theatre work.

PP.1.B.P Apply stage movement and pantomime technique to express thoughts, feelings and actions of a character

TH: Pr4.1.I.b

Shape character choices using given circumstances in a drama/theatre work .

PP.1.B.P Apply stage movement and pantomime technique to express thoughts, feelings and actions of a character


TH: Pr5.1.I.a

Practice various acting techniques to expand skills in a rehearsal or drama/theatre performance.

PP1.B.P Use basic terms of theatre (see glossary) Utilize warm-up techniques for preparation of body, voice and mind

TH: Pr5.1.I.b

Use researched technical elements to increase the impact of design for a drama/theatre production.

PP.1.C.P EP.1.C.P IC.1.B.P IC.2.A.P

Apply stagecraft skills safely Safely apply technical knowledge and skills to create and/or operate functional scenery, properties, lighting, sound, costumes, makeup, and publicity Identify and apply stagecraft skills Identify and apply technical knowledge and skills necessary to safely create and/or operate functional scenery, properties, lighting, sound, costumes, make-up and publicity Use hardware and software in lighting Use hardware and software in sound Use hardware and software in scenic elements Use hardware and software in makeup and costuming Use hardware and software in script writing Use hardware and software in properties Use hardware and software in business & house management Analyze budgetary needs of the technical aspect of a theatrical production Predict the fiscal responsibilities of a production (e.g., royalties, costume and set expenses) Analyze a play and design a set using scale for a non-realized production Use lighting equipment and accessories to demonstrate an understanding of the lighting spectrum


Use sound equipment to demonstrate an understanding of human hearing

TH: Pr5.1.5.c


PP.1.E.5 Model appropriate audience behavior or at various performances.


TH: Pr6.1.I.a.

Perform a scripted drama/theatre work for a specific audience.

PP.1.F.P Rehearse, polish and present a performance for a class or invited audience


TH: Re7.1.I.a

Respond to what is seen, felt, and heard in a drama/theatre work to develop criteria for artistic choices.

EP. 1.D.P AP.1.A.P

Define the director’s responsibility to the author’s intent, script, actors, designers, technicians and the audience Identify the director’s role in creating a production Identify the skills necessary to block a scripted scene Define the terminology and process of evaluation and apply this process to performances using appropriate theatre vocabulary


TH: Re8.1.I.a

Analyze and compare artistic choices developed from personal experiences in multiple drama/theatre works.

EP. 1.D.P Define the director’s responsibility to the author’s intent, script, actors, designers, technicians and the audience Identify the director’s role in creating a production Identify the skills necessary to block a scripted scene

TH: Re8.1.I.b

Identify and compare cultural perspectives and contexts that may influence the evaluation of a drama/theatre work .

AP.1.B.P IC.1.A.P HC.1.A.P

Articulate, justify and apply personal criteria for critiquing dramatic texts and performances

Compare and contrast communication methods in theatre with that of art, music and dance, and integrate more than one art form in informal and formal performances Research the cultural and historical background of a specific play


TH: Re8.1.I.c

Justify personal aesthetics, preferences, and beliefs through participation in and observation of a drama/theatre work.

AP.1.A.P



TH: Re9.1.I.a

Examine a drama/ theatre work using supporting evidence and criteria, while considering art forms, history, culture, and other disciplines.

AP.1.A.P IC.1.A.P

Define the terminology and process of evaluation and apply this process to performances using appropriate theatre vocabulary Compare and contrast communication methods in theatre with that of art, music and dance, and integrate more than one art form in informal and formal performances

TH: Re9.1.I.b

Consider the aesthetics of the production elements in a drama/theatre work .

EP. 1.D.P Define the director’s responsibility to the author’s intent, script, actors, designers, technicians and the audience Identify the director’s role in creating a production Identify the skills necessary to block a scripted scene

TH: Re9.1.I.c

Formulate a deeper understanding and appreciation of a drama/ theatre work by considering its specific purpose or intended audience.

AP.1.B.P Articulate, justify and apply personal criteria for critiquing dramatic texts and performances


TH: Cn10.1.I.a

Investigate how cultural perspectives, community ideas and personal beliefs impact a drama/theatre work.


TH: Cn11.1.I.a

Explore how cultural, global, and historic belief systems affect creative choices in a drama/theatre work.

IC.1.A.P Compare and contrast communication methods in theatre with that of art, music and dance, and integrate more than one art form in informal and formal performances



TH: Cn11.2.I.a

Research how other theatre artists apply creative processes to tell stories in a devised or scripted drama/theatre work, using theatre research methods.

EP. 1.D.P HC.2.A.P HC.2.B.P

Define the director’s responsibility to the author’s intent, script, actors, designers, technicians and the audience Identify the director’s role in creating a production Identify the skills necessary to block a scripted scene Identify, compare and contrast the lives, works and influences of representative theatre artists from various cultures and historical time periods (e.g., Shakespeare, Moliere, Ibsen, Julie Taymor, Peter Brook, Sondheim) Select career and vocational opportunities in theatre and describe the training, skills, self-discipline and artistic discipline needed to pursue them

TH: Cn11.2.I.b

Use basic theatre research methods to better understand the social and cultural background of a drama/theatre work.

PP1.B.P EP.1.A.P EP.1.B.P

Use basic terms of theatre (see glossary) Utilize warm-up techniques for preparation of body, voice and mind Improvise using emotional and sensory recall Apply stage movement and pantomime technique to express thoughts, feelings and actions of a character Identify spine, fourth wall, foil, subtext, aside, unities, and denouement Identify centering, counter-cross, upstaging, emotional memory, motivation, obstacle, objective, tactic, action, pitch, rate, phrasing, volume, tempo, quality, and prepared audition


HIGH SCHOOL Accomplished THEATRE







TH: Cr1.1.II.a

Investigate historical and cultural conventions and their impact on the visual composition of a drama/theatre work.

TH: Cr1.1.II.b

Understand and apply technology to design solutions for a drama/theatre work.

TH: Cr1.1.II.c

Use personal experiences and knowledge to develop a character that is believable and authentic in a drama/theatre work.


TH: Cr2-II.a

Refine a dramatic concept to demonstrate a critical understanding of historical and cultural influences of original ideas applied to a drama/theatre work.

TH: Cr2-II.b

Cooperate as a creative team to make interpretive choices for a drama/theatre work.



TH: Cr3.1.II.a

Use the rehearsal process to analyze the dramatic concept and technical design elements of a devised or scripted drama/theatre work.

TH: Cr3.1.II.b

Use research and script analysis to revise physical, vocal, and physiological choices impacting the believability and relevance of a drama/ theatre work.

TH: Cr3.1.II.c

Re-imagine and revise technical design choices during the course of a rehearsal process to enhance the story and emotional impact of a devised or scripted drama/theatre work.


TH: Pr4.1.II.a

Discover how unique choices shape believable and sustainable drama/ theatre work.

TH: Pr4.1.II.b

Identify essential text information, research from various sources, and the director’s concept that influence character choices in a drama/theatre work.


TH: Pr5.1.II.a

Refine a range of acting skills to build a believable and sustainable drama/theatre performance.


TH: Pr5.1.II.b

Apply technical elements and research to create a design that communicates the concept of a drama/theatre production.

TH: Pr5.1.5.c




TH: Pr6.1.II.a.

Present a drama/theatre work using creative processes that shape the production for a specific audience.


TH: Re7.1.II.a

Demonstrate an understanding of multiple interpretations of artistic criteria and how each might be used to influence future artistic choices of a drama/theatre work.


TH: Re8.1.II.a

Develop detailed supporting evidence and criteria to reinforce artistic choices, when participating in or observing a drama/theatre work.

TH: Re8.1.II.b

Apply concepts from a drama/theatre work for personal realization about cultural perspectives and understanding.


TH: Re8.1.II.c

Debate and distinguish multiple aesthetics, preferences, and beliefs through participation in and observation of drama/theatre work.


TH: Re9.1.II.a

Analyze and assess a drama/theatre work by connecting it to art forms, history, culture, and other disciplines using supporting evidence and criteria.

TH: Re9.1.II.b

Construct meaning in a drama/theatre work, considering personal aesthetics and knowledge of production elements while respecting others’ interpretations.

TH: Re9.1.II.c

Verify how a drama/theatre work communicates for a specific purpose and audience.


TH: Cn10.1.II.a

Choose and interpret a drama/theatre work to reflect or question personal beliefs


TH: Cn11.1.II.a

Integrate conventions and knowledge from different art forms and other disciplines to develop a cross cultural drama/theatre work.



TH: Cn11.2.II.a

Formulate creative choices for a devised or scripted drama/theatre work based on theatre research about the selected topic

TH: Cn11.2.II.b

Explore how personal beliefs and biases can affect the interpretation of research data applied in drama/theatre work.


HIGH SCHOOL Advanced THEATRE







TH: Cr1.1.III.a

Synthesize knowledge from a variety of dramatic forms, theatrical conventions, and technologies to create the visual composition of a drama/ theatre work.

PP.1.F.A Stage a performance of a script

TH: Cr1.1.III.b

Create a complete design for a drama/theatre work that incorporates all elements of technology.

PP.1.C.A

EP.1.C.A

IC.1.B.A

A.IC.2.A.A

Organize and perform the technical responsibilities of the head of crews for production Display proficiency in at least one area of technical theatre

of study (e.g., lighting, sound, dramaturg)

Identify and apply the technical responsibilities of the head of crews for production

Identify specialized areas of study in technical theatre

Plan & incorporate the usage of hardware and software in lighting Plan & incorporate the usage of hardware and software in sound Plan & incorporate the usage of hardware and software in scenic elements Plan & incorporate the usage of hardware and software in makeup and costuming Plan & incorporate the usage of hardware and software in script writing Plan & incorporate the usage of hardware and software in properties Plan & incorporate the usage of hardware and software in business &

house management

Apply budgetary needs of the technical aspect of a theatrical production Plan fiscal responsibilities of a production


Analyze a play and design a set using scale for a realized production Design lighting to demonstrate an understanding of the lighting spectrum

TH: Cr1.1.III.c

Integrate cultural and historical contexts with personal experiences to create a character that is believable and authentic, in a drama/theatre work.


TH: Cr2-III.a

Develop and synthesize original ideas in a drama/theatre work utilizing critical analysis, historical and cultural context, research, and western or non-western theatre traditions.

PP.1.A.A Write a script incorporating character, dialogue, stage directions, plot, rising action and resolution

TH: Cr2-III.b

Collaborate as a creative team to discover artistic solutions and make interpretive choices in a devised or scripted drama/theatre work.

PP.1.A.A

PP.1.F.A

Write a script incorporating character, dialogue, stage directions, plot, rising action and resolution

Stage a performance of a script


TH: Cr3.1.III.a

Refine, transform, and re-imagine a devised or scripted drama/theatre work using the rehearsal process to invent or re-imagine style, genre, form, and conventions.

PP.1.A.A Write a script incorporating character, dialogue, stage directions, plot, rising action and resolution

TH: Cr3.1.III.b

Synthesize ideas from research, script analysis, and context to create a performance that is believable, authentic, and relevant in a drama/theatre work.

PP.1.F.A Stage a performance of a script


TH: Cr3.1.III.c

Apply a high level of technical proficiencies to the rehearsal process to support the story and emotional impact of a devised or scripted drama/theatre work.

PP.1.C.A Organize and perform the technical responsibilities of the head of crews for production Display proficiency in at least one area of technical theatre



TH: Pr4.1.III.a

Apply reliable research of directors’ styles to form unique choices for a directorial concept in a drama/theatre work.

PP.1.A.A

EP.1.A.A

EP.1.B.A

Write a script incorporating character, dialogue, stage directions, plot, rising action and resolution

Identify duex ex machina, pace, and styles (e.g., realism, naturalism, abstractism, epic, expressionism, comedy of manner, opera, theatre of cruelty and absurd, invisible theatre, performance art, musical theatre,

vaudeville, madrigal)

Identify Method acting, master gesture, actor’s tendency, and master teacher’s approaches (e.g., Stanislavski, Hagen, Spolin, Strasberg,

Alexander, Grotowski, Brecht, Suzuki, Adler, Artaud, Brook)

TH: Pr4.1.III.b

Apply a variety of researched acting techniques as an approach to character choices in a drama/theatre work.

PP.1.A.A

EP.1.B.A

Create a character using emotional, intellectual, social characteristics and sensory recall Using script analysis, identify and create a believable emotional build for a character

Use subtext in portrayal of characters in classical/contemporary scenes




TH: Pr5.1.III.a

Use and justify a collection of acting exercises from reliable resources to prepare a believable and sustainable performance.

PP.1.B.A Create and lead warm-up techniques for preparation of body, voice and mind


TH: Pr5.1.III.b

Explain and justify the selection of technical elements used to build a design that communicates the concept of a drama/theatre production.

PP.1.C.A

EP.1.C.A

IC.1.B.A

IC.2.A.A.

Organize and perform the technical responsibilities of the head of crews for production Display proficiency in at least one area of technical theatre


Identify and apply the technical responsibilities of the head of crews for production

Identify specialized areas of study in technical theatre

Plan & incorporate the usage of hardware and software in lighting Plan & incorporate the usage of hardware and software in sound Plan & incorporate the usage of hardware and software in scenic elements Plan & incorporate the usage of hardware and software in makeup and costuming Plan & incorporate the usage of hardware and software in script writing Plan & incorporate the usage of hardware and software in properties Plan & incorporate the usage of hardware and software in business &

house management

Apply budgetary needs of the technical aspect of a theatrical production Plan fiscal responsibilities of a production Analyze a play and design a set using scale for a realized production Design lighting to demonstrate an understanding of the lighting spectrum

TH: Pr5.1.c

Demonstrate appropriate audience etiquette for venue, purpose and style.

PP.1E.A Model appropriate audience behavior at various performances.


TH: Pr6.1.III.a.

Present a drama/theatre production for a specific audience that employs research and analysis grounded in the creative perspectives of the playwright, director, designer, and dramaturg.

PP.1.D.A Direct a dramatic text including interpreting the text and playwright’s intent, giving clear instructions, specifying expectations, coaching the actors, developing a unified production concept, coordinating the technical elements, telling the story, and evaluating the rehearsal process and

performance



TH: Re7.1.III.a

Use historical and cultural context to structure and justify personal responses to a drama/theatre work .

EP.1.B.A

IC.2.A.A

HC.1.A.A

HC.1.B.A

HC.2.A.A



Portray theatre as a reflection of life in particular times, places and cultures Trace historical and cultural developments in theatrical styles and genres

Research, evaluate and synthesize cultural and historical information to support artistic choices

Analyze and apply knowledge of social, political and dramatic aspects of theatre, film and television

Analyze and evaluate historical and cultural influences on theatre


TH: Re8.1.III.a

Use detailed supporting evidence and appropriate criteria to revise personal work and interpret the work of others when participating in or observing a drama/ theatre work.

EP.1.D.A .

Identify the skills needed in directing a dramatic text including interpreting the text, giving clear instructions, specifying expectations, coaching the actors, developing a unified production concept, coordinating the technical elements, telling the story, and evaluating the rehearsal

process and performance

TH: Re8.1.III.b

Use new understandings of cultures and contexts to shape personal responses to drama/theatre work.

PP.1.B.A Use advanced terms of theatre

TH: Re8.1.III.c

Support and explain aesthetics, preferences, and beliefs to create a context for critical research that informs artistic decisions in a drama/theatre work.

EP.1.B.A Identify Method acting, master gesture, actor’s tendency, and master teacher’s approaches (e.g., Stanislavski, Hagen, Spolin, Strasberg,




TH: Re9.1.III.a

Research and synthesize cultural and historical information related to a drama/theatre work to support or evaluate artistic choices.

AP.1.A.A

AP.1.B.A

IC.1.A..A

Apply evaluation concepts to performances and compare and contrast literary and dramatic criticism of theatre, film, television or electronic media


Compare and contrast communication methods in theatre with that of art, music and dance, and integrate more than one art form in informal and formal performances

TH: Re9.1.III.b

Analyze and evaluate varied aesthetic interpretations of production elements for the same drama/theatre work.

EP.1.D.A

AP.1.A.A

AP.1.B.A

IC.1.A.A

Identify the skills needed in directing a dramatic text including interpreting the text, giving clear instructions, specifying expectations, coaching the actors, developing a unified production concept, coordinating the technical elements, telling the story, and evaluating the rehearsal

process and performance




TH: Re9.1.III.c

Compare and debate the connection between a drama/theatre work and contemporary issues that may impact audiences.

AP.1.A.A

AP.1.B.A

IC.1.A.A






TH: Cn10.1.III.a

Collaborate on a drama/theatre work that examines a critical global issue using multiple personal, community, and cultural perspectives.


TH: Cn11.1.III.a

Develop a drama/theatre work that identifies and questions cultural, global, and historic belief systems.


TH: Cn11.2.III.a

Justify the creative choices made in a devised or scripted drama/theatre work, based on a critical interpretation of specific data from theatre research.

HC.2.B.A Evaluate career and vocational opportunities in theatre, film, television, and electronic media justifying choices, and analyze the training, skills, self-discipline and artistic discipline needed to pursue them

TH: Cn11.2.III.b

Present and support an opinion about the social, cultural, and historical understandings of a drama/theatre work, based on critical research.

TH: Cn11.2.III.c

Evaluate career and vocational opportunities in theatre, film, television, and electronic media justifying choices, and analyze the training, skills, self-discipline and artistic discipline needed to pursue them

HC.2.B.A Evaluate career and vocational opportunities in theatre, film, television, and electronic media justifying choices, and analyze the training, skills, self-discipline and artistic discipline needed to pursue them


VISUAL ART Crosswalk


Legend


Bold Bold New Text





ABOUT THE MISSOURI LEARNING STANDARDS: The State Board of Education approved the updated Missouri Learning Standards: Grade Level Expectations on XXXX based on the standards created by work groups of Missouri educators, parents, and community members. The revised standards were developed by Missourians for Missouri students. These expectations are challenging, yet attainable, for students in our state. The standards further define our high expectations for what children should know and be able to do in each course and grade level, helping ensure they graduate prepared for college, career, and life.

ABOUT THE VISUAL ART CROSSWALK: The intent of this crosswalk is to enhance understanding of the changes to the VISUAL ART expectations. The column on the left contains the newly adopted VISUAL ART expectations (2019). The column on the right contains the previous expectations (GLEs). These charts demonstrate a broader possible alignment. They are not meant to be examples of how students should demonstrate understanding of their knowledge and skills. These new standards are more comprehensive in scope than the previous GLEs (originally adopted in the 1990’s) and are meant to better develop artistic literacy and encourage student-driven learning. This document is intended to assist teachers with some of the issues associated with implementing new VISUAL ART standards: planning, pacing, professional development and curricular materials.


Taking a big picture approach, the strands from the older Grade Level Expectations roughly translate to the new Missouri Learning Standards’ strands as follows in the chart below. However, there may be overlap with individual standards falling into more than one strand, or specific standards fitting better into a different strand than listed below.

Missouri Learning Standards: Grade-Level Expectations for VISUAL ART


Missouri Grade Level Expectations: VISUAL ART


Create Product- Performance

Create Elements & Principles

Present Artistic Perceptions

Respond Interdisciplinary Connections

Connect Historical and Cultural Connections

While the previous standards were specific and tight, these new standards allow for a broader interpretation to allow for student driven creative exploration.


Preschool VISUAL ART *Current Visual Arts GLE’s for Preschool do not exist. See the Fine Arts Standards

Early Childhood Alignment document for alignment to the Missouri Early Learning Goals (below).

Fine Arts Standards: Early Childhood Alignment MO DESE Missouri Early Learning Goals https://dese.mo.gov/sites/default/files/eel-el-2013-MELGoals.pdf



Missouri Early Learning Goals Previously adopted Visual Arts GLE’s for preschool grades do not exist. This document aligns the newly revised Missouri Learning Standards for Visual Arts to the Missouri Early Learning Goals.

Code Newly Adopted Standards Code Early Learning Goal


VA:Cr1.1.PKa Engage in self-directed play with materials VIII.B.1.b

VIII.B.2.b

Shows interest in visual arts - Shows an interest in mark making or creative art. Explores visual arts - Shows an interest in mark making or creative art.

VA:Cr1.2.PKa Engage in self-directed, creative making VIII.B.2.a Explores visual arts - Explores and experiments with a range of media through exploration using the whole body.


VA:Cr2.1.PKa Use a variety of art-making tools VIII.B.2.a Explores and experiments with a range of media through exploration using the whole body.

VA:Cr2.2.PKa Share materials with others II.B.1.b Develops relationships with others

VA:Cr2.3.PKa Create and tell about art that communicates a story about a familiar place or object

VIII.B.2.c Uses creative art to express thoughts, feelings, experiences, or knowledge.


https://docs.google.com/document/d/153s54kjhXd0-6IiPqwONReFB8cpxksqUhZVLwREU-V4/edit?usp=sharing

https://docs.google.com/document/d/153s54kjhXd0-6IiPqwONReFB8cpxksqUhZVLwREU-V4/edit?usp=sharing

IV.A.1.d Represents feelings and ideas through art and construction.


VA:Cr3.1.PKa Share and talk about personal artwork IV.C.2.d

IV.C.2.e

Uses language to pretend or create

Uses complete sentences of varying length.


VA:Pr4.1.PKa Identify reasons for saving and displaying objects, artifacts, and artwork.



VA:Pr5.1.PKa Identify places where art may be displayed or saved. III.A.3.c

VI.A.4.c

Exhibits spatial awareness.

Represents observations through art and construction.


VA:Pr6.1.PKa Identify where art is displayed both inside and outside of school

VI.A.3.a Identifies problems involving physical properties of objects and materials.

7. Perceive and analyze artistic work.

VA:Re.7.1.PKa Recognize art in one's environment. III.A.3.c Exhibits spatial awareness.

VA:Re.7.2.PKa Distinguish between images and real objects VI.A.4.c Represents observations through art and construction.


VA:Re8.1.PKa Interpret art by identifying and describing subject matter.



VA:Re9.1.PKa Select a preferred artwork. I.A.2.b Makes decisions independently.


I.A.4.a

VIII.B.1.a

Expresses his or her own ideas and opinions.

Shows an interest and engagement in surroundings.


VA:Cn10.1.PKa Explore the world using descriptive and expressive words and art-making.

VIII.B.2.c Use creative art to express thoughts, feelings, experiences, or knowledge.


VA:Cn11.1.PKa Recognize that people make art. VII.B.2.b Is interested in community, culture, and cultural groups.


Kindergarten VISUAL ART







VA: Cr1.1.Ka Engage in exploration and imaginative play with materials.

*The GLE’s do not ask students to engage in explorationand play with materials, however, the kindergartenstandards in the strands of product-performance andelements & principles could be used for exploration.

VA:Cr1.2.Ka Engage collaboratively in creative art-making in response to an artistic problem.

*The GLE’s do not ask students to work collaboratively,however, the kindergarten standards in the strands ofproduct-performance and elements & principles could beposed as artistic problems to be explored.


VA:Cr2.1.Ka Through experimentation, build skills in various media and approaches to art-making.

PP1A.Ka PP1D.Kd

PP2A.Ka PP2A.Kb

PP3A.Ka PP3A.Kb PP3A.Kc

Produce a line using crayon, pencil, or marker. Demonstrate a simple printmaking technique.

Use scissors with control. Use modeling material to make a sphere.

Create an original picture of self or other person.(Portrait) Create a picture showing outside.(Landscape) Create a design using lines.(Non-objective)


PP3C.Ka

EP1A.Ka

EP1B.Kb

EP1E.Ka

Create original artwork that communicates ideas about people, indoors, outdoors.

Identify and use lines.

Identify and use shapes and categorize as large and small.

Identify and use color.

VA:Cr2.2.Ka Identify safe and non-toxic art materials, tools and equipment.

Not addressed in the GLE’s.

VA:Cr2.3.Ka Create art that represents natural and constructed environments.

PP3A.Ka PP3A.Kb PP3A.Kc

PP3C.Ka

EP1A.Ka

EP1B.Ka EP1B.Kb

EP1E.Ka

Create an original picture of self or other person.(Portrait) Create a picture showing outside.(Landscape) Create a design using lines.(Non-objective)

Create original artwork that communicates ideas about people, indoors, and outdoors

Identify and use lines

Identify and use shapes. Categorize shapes as large or small.

Identify and use color.


VA:Cr3.1.Ka Explain the process of making art while creating. IC2A.Ka Explain how stories can be told in pictures and/or words.



VA:Pr4.1.Ka Select art objects for personal portfolio and display, explaining why they were chosen.

AP2A.Ka

IC2A.Ka

Identify the subject of artworks.

Explain how stories can be told in pictures and/or words.


VA:Pr5.1.Ka Explain the purpose of a portfolio or collection. AP2A.Ka

IC2A.Ka




VA:Pr6.1.Ka Explain what an art museum is and distinguish how an art museum is different from other buildings.

IC2A.Ka Explain how stories can be told in pictures and/or words.


VA:Re7.1.Ka Identify uses of art within one's personal environment. IC2A.Ka Explain how stories can be told in pictures and/or words.

VA:Re7.2.Ka Describe what an image represents. AP2A.K

IC2A.K




VA:Re8.1.K Interpret art by identifying subject matter and describing relevant details.

AP2A.Ka

IC1A.Ka

IC2A.Ka


Use physical movement in dance to interpret line in artwork.




VA:Re9.1.K Explain reasons for selecting a preferred artwork. AP2A.Ka

IC2A.Ka




VA:Cn10.1.K Create art that tells a story about a life experience. IC2A.Ka Explain how stories can be told in pictures and/or words.


VA:Cn11.1.K Identify a purpose of an artwork. AP2A.Ka

IC2A.Ka




1st GRADE VISUAL ART







VA:Cr1.1.1a Engage collaboratively in exploration and imaginative play with materials.

*The GLE’s do not ask students to work collaboratively,however, the 1st grade standards in the strands ofproduct-performance and elements & principles couldbe posed as artistic problems to be explored.

VA:Cr1.2.1a Use observation and investigation in preparation for making a work of art.

PP1A.1a

PP1B.1a

PP1D.1a

PP2A.1a PP2A.1b PP2A.1c

PP3A.1a

PP3A.1b

PP3B.1a

Fill an area with solid color/value using crayon, pencil, or marker.

Apply paint with a dragging, not pushing motion.

Demonstrate a monoprint process.

Use glue with control. Fold paper and identify folded edge. Using modeling material, pinch, pull and roll material.

Create an original artwork showing family members.(Portrait) Create a still life with one object. Subject Matter: Functional Art Design wearable art.


PP3C.1a

PP3C.1b

PP3C.1c

EP1A.1a EP1B.1a

EP1B.1b EP1C.1a EP1D.1a EP1E.1a EP1F.1a EP1G.1a

EP2A.1a

EP2D.1a

Create original artwork that communicates ideas about people. Create original artwork that communicates ideas about animals. Create original artwork that communicates ideas about things.

Identify and use straight, curved, thick and thin lines Identify and use triangle, circle, square, rectangle and oval shapes. Categorize shapes as large, medium, and small. Identify and use form. Identify and use texture. Identify and use primary colors. Identify and use value. Identify and demonstrate the use of space.

Identify and demonstrate the concept of middle or center.

Identify and create an alternating pattern (abab).


VA:Cr2.1.1a Explore uses of materials and tools to create works of art or design.

PP1A.1a

PP1B.1a

PP1D.1a

PP2A.1a

Fill an area with solid color/value using crayon, pencil, or marker. Apply paint with a dragging, not pushing motion.




PP2A.1b PP2A.1c

PP3A.1a

PP3A.1b

PP3B.1a

PP3C.1a

PP3C.1b

PP3C.1c

EP1A.1a EP1B.1a

EP1B.1b EP1C.1a EP1D.1a EP1E.1a EP1F.1a EP1G.1a

EP2A.1a

EP2D.1a

Create an original artwork showing family members.(Portrait) Create a still life with one object.

Subject Matter: Functional Art-Design wearable art.


Identify and use straight, curved, thick and thin lines. Identify and use triangle, circle, square, rectangle and oval shapes. Categorize shapes as large, medium, and small. Identify and use form. Identify and use texture. Identify and use primary colors. Identify and use value. Identify and demonstrate the use of space.

Identify and demonstrate the concept of middle or center. Identify and create an alternating pattern (abab).

VA:Cr2.2.1a Demonstrate safe and proper procedures for using materials, tools and equipment while making art.

PP1A.1a

PP1B.1a



PP1D.1a


PP3A.1a

PP3A.1b

PP3B.1a

PP3C.1a

PP3C.1b

PP3C.1c

EP1A .1a

EP1B.1a

EP1B.1b

EP1C.1a EP1D.1a EP1E.1a EP1F.1a EP1G.1a

EP2A.1a





Design wearable art.


Identify and use straight, curved, thick and thin lines

Identify and use triangle, circle, square, rectangle and oval shapes. Categorize shapes as large, medium, and small.

Identify and use form. Identify and use texture. Identify and use primary colors. Identify and use value. Identify and demonstrate the use of space.


EP2D.1a



VA:Cr1.3.1a Identify and classify uses of everyday objects through drawings, diagrams, sculptures, or other visual means.

PP1A.1a

PP1B.1a

PP1D.1a


PP3A.1a

PP3A.1b

PP3B.1a

PP3C.1a

PP3C.1b

PP3C.1c

EP1A.1a EP1B.1a






Design wearable art.


Identify and use straight, curved, thick and thin line Identify and use triangle, circle, square, rectangle and oval shapes.


EP1B.1b


EP2A.1a

EP2D.1a

Categorize shapes as large, medium, and small.

Identify and use form. Identify and use texture. Identify and use primary colors. Identify and use value. Identify and demonstrate the use of space.




VA:Cr3.1.1a Use art vocabulary to describe choices while creating art.

PP1A.1a

PP1B.1a

PP1D.1a


PP3A.1a

PP3A.1b

PP3B.1a PP3C.1a






Design wearable art. (Functional Art)Create original artwork that communicates ideas about people.


PP3C.1b

PP3C.1c

EP1A.1a

EP1B.1a

EP1B.1b

EP1C.1a EP1D.1a EP1E.1a EP1F.1a EP1G.1a EP1G.1b

EP2A.1a

EP2D.1a

Create original artwork that communicates ideas about animals. Create original artwork that communicates ideas about things.

Identify and use straight, curved, thick and thin lines.

Identify and use triangle, circle, square, rectangle and oval shapes.

Categorize shapes as large, medium, and small.

Identify and use form. Identify and use texture. Identify and use primary colors. Identify and use value. Identify and demonstrate the use of space. Identify and demonstrate the use of space.




VA:Cr4.1.1a Explain why some objects, artifacts, and artwork are valued over others.

PP1A.1a

PP1B.1a

PP1D.1a

PP2A.1a




Use glue with control.


PP2A.1b

PP2A.1c

PP3A.1a

PP3A.1b

PP3B.1a

PP3C.1a

PP3C.1b

PP3C.1c

EP1A.1a

EP1B.1a

EP1B.1b


EP2A.1a

Fold paper and identify folded edge.

Using modeling material, pinch, pull and roll material.


Design wearable art. (functional Art)


Identify and use straight, curved, thick and thin lines.

Identify and use triangle, circle, square, rectangle and oval shapes.

Categorize shapes as small, medium, and large.

Identify and use form. Identify and use texture .Identify and use primary colors. Identify and use value. Identify and demonstrate the use of space.



EP2D.1a Identify and create an alternating pattern (abab).


VA:Cr5.1.1a Ask and answer questions such as where, when, why and how artwork should be prepared for presentation or preservation.

*The GLE’s do not ask students to prepare work forpresentation.


VA:Cr6.1.1a Identify the roles and responsibilities of people who work in and visit museums and other art venues.

*The GLE’s do not ask students to identify roles andresponsibilities of museum and art venue workers.


VA:Cr7.1.1a Select and describe works of art that illustrate daily life experiences of one's self and others.

PP3A.1a

PP3A.1b

PP3C.1a

PP3C.1b

PP3C.1c

AP1A.1a

AP2A.1a

IC1A.1a



Discuss a feeling or idea to an artwork based on the student's life experience.

Identify lines, shapes, colors and patterns in artworks.

Relate costumes in theatre to wearable art.


IC2A.1a

HC1A.1a

HC1B.1a HC1B.1b

Explain how patterns in art are similar to patterns in math.

Identify works of art from the United States; Europe (Cave.); Asia.

Compare and contrast 2 artworks on subject matter. Compare and contrast two artworks on: use of line color and shape

VA:Cr7.2.1a Compare images that represent the same subject. AP1A.1a

AP2A.1a

IC1A.1a

IC2A.1a

HC1A.1a

HC1B.1a HC1B.1b








VA:Cr8.1.1a Interpret art by categorizing subject matter and identifying the characteristics of form.

AP1A.1a

AP2A.1a




IC1A.1a

IC2A.1a

HC1A.1a

HC1B.1a HC1B.1b






VA:Cr9.1.1a Classify artwork based on different reasons for preferences.

AP1A.1a

AP2A.1a

HC1A.1a

HC1B.1a HC1B.1b






VA:Cr10.1.1a Identify times, places and reasons by which students make art outside of school.

AP1A.1a

AP2A.1a

IC1A.1a






VA:Cr11.1.1a Understand people from different places and times have made art for a variety of reasons.

AP1A.1a

HC1A.1a

HC1B.1a HC1B.1b





2nd GRADE VISUAL ART







VA:Cr1.1.2 Brainstorm, collaboratively, multiple approaches to an art or design problem.

*The GLE’s do not ask students to work collaboratively,however, the 2nd grade standards in the strands ofproduct-performance and elements & principles couldbe posed as artistic problems to be explored.

VA:Cr1.2.2 Make art or design with various materials and tools to explore personal interests, questions, and curiosity.

PP1A.2a

PP1B.2a PP1B.2b PP1B.2c

PP1D.2a

PP2A.2a PP2A.2b

PP3A.2a PP3A.2b

PP3B.2a

Change pressure to create two values using crayon or pencil.

Paint lines with control of the brush. Clean paint brush before changing colors. Mix 2 colors to create a third color.

Create a paper weaving using plain weave (over, under, alternating rows.)

Manipulate paper to create low relief. Using modeling material, roll coils, flatten material into a slab.

Create an original still life from observation. Create an original landscape.


PP3C.2a

PP3C.2b

EP1A.2a

EP1B.2a

EP1C.2a

EP1D.2a

EP1E.2a

EP1F.2a

EP1G.2a

EP2C.2a

EP2D.2a

Design a building that serves a function in the community and includes building parts.

Create original artwork that communicates ideas about nature. Create original artwork that communicates ideas about places.

Identify and use zigzag, dotted, and wavy lines.

Identify and use geometric shapes.

Identify and use geometric forms: sphere, cube, cylinder, and cone.

Identify and use actual texture.

Identify and use secondary colors.

Identify and use light and dark values.

Identify and use foreground and background to create the illusion of space.

Identify and use color contrast.

Identify and create a complex pattern.


VA:Cr2.1.2 Experiment with various materials and tools to explore personal interests in a work of art or design

PP1A.2a

PP1B.2a


Paint lines with control of the brush.


PP1B.2b PP1B.2c

PP1D.2a

PP2A.2a PP2A.2b

PP3A.2a PP3A.2b

PP3B.2c

PP3C.2a

PP3C.2b

EP1A.2a

EP1B.2a

EP1C.2a

EP1D.2a

EP1E.2a

EP1F.2a

Clean paint brush before changing colors. Mix 2 colors to create a third color.



Create an original still life from observation. Create an original landscape.

Design a building that serves a function in the community and includes building parts.









EP1G.2a

EP2C.2a

EP2D.2a




VA:Cr2.2.2 Demonstrate safe procedures for using and cleaning art tools, equipment, and studio spaces.

*The GLE’s do not ask students to demonstrate safeprocedures at this grade level..

VA:Cr2.3.2 Repurpose objects to make something new. PP1D.2a

PP2A.2a


Manipulate paper to create low relief.


VA:Cr3.1.2 Discuss and reflect with peers about choices made in creating artwork.

AP1A.2a

HC1B.2a HC1B.2b

HC1B.2a HC1B.2b HC1B.2c

Explain different responses you have to different artworks.

Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on use of line, color, shape and texture.

Compare and contrast 2 artworks on use of media. Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks the purpose of art in culture.



VA:Pr4.1.2 Categorize artwork based on a theme or concept for an exhibit.

HC1A.2a HC1A.2b HC1A.2c

HC1B.2a HC1B.2b


Identify works of art from the United States. Identify works of Native American art. Identify works of art from Egypt.

Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on use of line, color, shape and texture. Compare and contrast 2 artworks on use of media. Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks the purpose of art in culture.


VA:Pr5.1.2 Distinguish between different materials or artistic techniques for preparing artwork for presentation.

*The GLE’s do not ask students to prepare work forpresentation.


VA:Pr6.1.2 Analyze how art exhibited inside and outside of schools (such as in museums, galleries, virtual spaces, and other venues) contributes to communities.

PP3B.2c Design a building that serves a function in the community and includes building parts.


VA:Re7.1.2 Perceive and describe aesthetic characteristics of one’s natural world and constructed environments.

EP1A.2a

EP1B.2a

EP1C.2a

EP1D.2a






EP1E.2a

EP1F.2a

EP1G.2a

EP2C.2a

EP2D.2a

AP1A.2a

AP2A.2a

IC1A.2a

IC2A.2a


HC1B.2a HC1B.2b

HC1B.2a HC1B.2b







Identify geometric shapes and forms, foreground and background, real textures, and contrast/variety of colors in artworks.

Relate patterns in music to patterns in art.

Explain the connection between American Indian culture and art.


Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on use of line, color, shape and texture. Compare and contrast 2 artworks on use of media. Compare and contrast 2 artworks on theme.


HC1B.2c Compare and contrast 2 artworks the purpose of art in culture.

VA:Re7.2.2 Categorize images based on expressive properties. AP1A.2a

AP2A.2a

IC1A.2a

IC2A.2a


HC1B.2a HC1B.2b




Relate patterns in music to patterns in art.





VA:Re8.1.2 Interpret art by identifying the mood suggested by a work of art and describing relevant subject matter and characteristics of form.

AP1A.2a

IC2A.2a




HC1B.2a HC1B.2b




VA:Re9.1.2 Use learned art vocabulary to express preferences about artwork.

EP1A.2a

EP1B.2a

EP1C.2a

EP1D.2a

EP1E.2a

EP1F.2a

EP1G.2a

EP2C.2a

EP2D.2a

AP1A.2a












AP2A.2a

IC2A.2a




VA:Cn10.1.2 Create works of art about events in home, school, or community life.

PP1A.2a

PP1B.2a PP1B.2b PP1B.2c

PP1D.2a

PP2A.2a PP2A.2b

PP3A.2a PP3A.2b PP3B.2c

PP3C.2a

PP3C.2b

EP1A.2a


Paint lines with control of the brush. Clean paint brush before changing colors. Mix 2 colors to create a third color.



Create an original still life from observation. Create an original landscape.Design a building that serves a function in the community and includes building parts.




EP1B.2a

EP1C.2a

EP1D.2a

EP1E.2a

EP1F.2a EP1G.2a

EP2C.2a EP2D.2a





Identify and use light and dark values. Identify and use foreground and background to create the illusion of space.

Identify and use color contrast. Identify and create a complex pattern.


VA:Cn11.1.2 Compare and contrast cultural uses of artwork from different times and places.

IC2A.2a


HC1B.2a HC1B.2b






3rd GRADE VISUAL ART







VA:Cr1.1.3a Elaborate on an imaginative idea *The GLE’s do not ask students to specificallyelaborate on imaginative ideas, however, thethird-grade standards in the strands ofproduct-performance and elements & principles couldbe used to generate ideas.

VA:Cr1.2.3a Apply knowledge of available resources, tools, and technologies to investigate personal ideas through the art-making process.

PP1A.3a

PP1B.3a

PP1B.3b

PP1D.3a


PP3A.3a

Layer 2 or more colors using crayon, colored pencil, or oil pastel.

Apply paint in even strokes to create a watercolor/thinned tempera wash. Paint lines and fill in shapes with even color using tempera.

Demonstrate an additive process.

Manipulate paper to create forms (in the round). Cut a symmetrical shape from a folded piece of paper. Using modeling material, create applied and impressed textures.

Create an original artwork of a figure in


PP3A.3b PP3A.3c

PP3B.3a

PP3C.3a

PP3C.3b

EP1A.3a

EP1B.3a

EP1C.3a

EP1D.3a

EP1E.3a

EP1G.3a

EP2A.3a

EP2C.3a

action pose. Create an original cityscape. Create an original non-objective artwork using line, shape and color.

Create a container. (e.g., paper box, clay pot, fiber basket).

Create original artwork that communicates ideas about community. Create original artwork that communicates ideas about group identity.

Identify and use horizontal, vertical, and diagonal lines.

Differentiate between shapes and forms.

Identify and demonstrate sculpture in-the-round.

Identify and use invented textures.

Identify and use warm and cool colors.

Identify and use middle ground, overlapping, and change of size to create illusion of space.

Identify and use symmetrical (formal) balance.

Identify and use size contrast.



VA:Cr2.1.3a Create personally satisfying artwork using a variety of artistic processes and materials.

PP1A.3a

PP1B.3a

PP1B.3b

PP1D.3a


PP3A.3a

PP3A.3b PP3A.3c

PP3B.3a

PP3C.3a

PP3C.3b

EP1A.3a

EP1B.3a

Layer 2 or more colors using crayon, colored pencil, or oil pastel.

Apply paint in even strokes to create a watercolor/thinned tempera wash. Paint lines and fill in shapes with even color using tempera.

Demonstrate an additive process.

Manipulate paper to create forms (in the round). Cut a symmetrical shape from a folded piece of paper. Using modeling material, create applied and impressed textures.

Create an original artwork of a figure in action pose. Create an original cityscape. Create an original non-objective artwork using line, shape and color.

Create a container. (e.g., paper box, clay pot, fiber basket).


Identify and use horizontal, vertical, and diagonal lines.

Differentiate between shapes and forms.


EP1C.3a

EP1D.3a

EP1E.3a

EP1G.3a

EP2A.3a

EP2C.3a


Identify and use invented textures.

Identify and use warm and cool colors.




VA:Cr2.2.3a Demonstrate an understanding of the safe and proficient use of materials, tools, and equipment for a variety of artistic processes.

The GLE’s do not address materials, tools, and equipment use and/or safety. This could be addressed during Product Performance strand.

VA:Cr2.3.3a Individually or collaboratively construct representations, diagrams, or maps of places that are part of everyday life.

PP3A.3a

PP3A.3b

PP3C.3a

PP3C.3b

EP1C.3a

Create an original artwork of a figure in action pose. Create an original cityscape.





VA:Cr3.1.3a Elaborate visual information by adding details in an artwork to enhance emerging meaning.

The GLE’s do not address self-assessment or revision of a student’s work. This could apply to Aesthetics and/or Discuss/Analyze strands.


VA:Pr4.1.3a Investigate and discuss possibilities and limitations of spaces, including electronic, for exhibiting artwork.

*The GLE’s do not address exhibiting art at this level.


VA:Pr5.1.3a Identify exhibit space and prepare works of art including artists' statements, for presentation.

*The GLE’s do not address exhibiting art or artist’sstatements at this level.


VA:Pr6.1.3a Identify and explain how and where different cultures record and illustrate stories and history of life through art.

IC1A.3a


HC1B.3a

HC1B.4d HC1B.4e

HC1B.4f

Compare the art and music of a particular culture.

Identify works of art from the United States. Identify works from Europe (realistic). Identify works of art from Africa.

Compare and contrast 2 artworks on subject matter.

Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on the purpose of art in culture. Compare and contrast 2 artworks on place.



VA:Re7.1.3a

Speculate about processes an artist uses to create a work of art.

AP1A.3a

AP2A.3a

HC1B.3a HC1B.3b

HC1B.3c HC1B.3d HC1B.3e

HC1B.3f

Compare different responses students may have to the same artwork.

Identify warm and cool colors; symmetrical balance; invented textures; horizontal,diagonal and vertical lines; and contrast/variety of sizes in artworks.

Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on use of line, color, shape, and texture. Compare and contrast 2 artworks on use of media. Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on the purpose of art in culture. Compare and contrast 2 artworks on place.

VA:Re7.2.3a

Determine messages communicated by an image. AP1A.3a

AP2A.3a

IC1A.3a

HC1B.3a HC1B.3b


HC1B.3f







VA:Re8.1.3a

Interpret art by analyzing use of media to create subject matter, characteristics of form and mood.

AP1A.3a

AP2A.3a

IC1A.3a

HC1B.3a HC1B.3b


HC1B.3f




Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on use of line, color, shape, and texture. Compare and contrast 2 artworks on use of media. Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on the purpose of art in culture. Compare and contrast 2 artworks on place


VA:Re9.1.3a

Evaluate an artwork based on given criteria. AP1A.3a

AP2A.3a

IC1A.3a

IC2A.3b




Explain how the math principle of symmetry is used in art.


HC1B.3a HC1B.3b


HC1B.3f

Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on use of line, color, shape, and texture. Compare and contrast 2 artworks on use of media. Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on the purpose of art in culture. Compare and contrast 2 artworks on place


VA:Cn10.1.3a

Develop a work of art based on observations of surroundings.

PP3A.3a PP3A.3b

PP3C.3a

PP3C.3b

EP1G.3a

EP2A.3a

EP2C.3a

AP2A.3a

IC1A.3a

IC2A.3b

Create an original artwork of a figure in action pose. Create an original cityscape.







Explain how the math principle of symmetry is used in



HC1B.3a HC1B.3b


HC1B.3f

art.




VA:Cn11.1.3a

Recognize that responses to art change depending on knowledge of the time and place in which it was made.

AP1A.3a

AP2A.3a

IC1A.3a


HC1B.3a HC1B.3b

HC1B.3c





Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on use of line, color, shape, and texture. Compare and contrast 2 artworks on use of media.


HC1B.3d HC1B.3e

HC1B.3f

Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on the purpose of art in culture. Compare and contrast 2 artworks on place.


4th GRADE VISUAL ART







VA:Cr1.1.4a Brainstorm multiple approaches to a creative art or design problem

PP1D.4a

PP2A.4a PP2A.4c

PP3A.4a PP3A.4b

PP3A.4c

PP3A.4d

PP3B.4a

PP3C.4a

PP3C.4b

*The GLE’s do not ask students to specificallybrainstorm multiple approaches, however, thefourth-grade standards in the strands ofproduct-performance could be used to brainstorm withinconstraints.

Create a fiber weaving using a simple loom.

Build or layer materials to create a relief. Using modeling material, make organic forms.

Create facial features in correct proportion (portrait). Exaggerate, distort, or simplify features to create an abstract portrait. Exaggerate, distort, or simplify observed objects to create an abstract still life. Create an original seascape.

Create an example of graphic art.

Create original artwork that communicates ideas about Missouri. Create original artwork that communicates ideas about the environment.


PP3C.4c Create original artwork that communicates ideas about time (past, present, future).

VA:Cr1.2.4a Collaboratively set goals and create artwork that is meaningful and has purpose to the makers.

PP3C.4a

PP3C.4b

PP3C.4c

Create original artwork that communicates ideas about Missouri. Create original artwork that communicates ideas about the environment. Create original artwork that communicates ideas about time (past, present, future).


VA:Cr2.1.4a Explore and invent art-making techniques and approaches.

PP1A.4a

PP1B.4a

PP1B.4b PP1B.4c

EP1A.4a

EP1B.4a

EP1C.4a EP1C.4b

EP1E.4a

EP1F.4a EP1G.4a

EP1G.4b

EP2A.4a

Create light, medium and dark values using pencil.

Apply watercolor to wet areas to blend strokes (wet-on-wet). Using tempera, add color to white to create a tint. Using tempera, add black to a color to create a shade.

Identify and use outlines.

Identify and use organic (free-form) shapes.

Identify and demonstrate relief sculpture. Identify and use organic form.

Identify and use tints and shades.

Identify and demonstrate a value scale. Identify and use placement and change in detail to create illusion of space. Identify and use positive and negative space.

Identify and use radial balance.


EP2B.4a

EP2C.4a

Identify and use create center of interest (focal point).

Identify and use value contrast.

VA:Cr2.2.4a When making works of art, utilize and care for materials, tools, and equipment in a manner that prevents danger to oneself and others.

*Not addressed

VA:Cr2.3.4a Document, describe, and represent regional constructed environments.

IC2A.4a

HC1B.4f

Explain how George Caleb Bingham and Thomas Hart Benton reflected life in Missouri..

Compare and contrast 2 artworks on place.


VA:Cr3.1.4a Elaborate visual information by adding details in an artwork to enhance emerging meaning.

*Not addressed


VA:Cr4.1.4a Analyze how past, present, and emerging technologies have impacted the preservation and presentation of artwork.

HC1B.4e Compare and contrast 2 artworks the purpose of art in culture.


VA:Cr5.1.4a Analyze the various considerations for presenting and protecting art in various locations, indoor or outdoor settings, in temporary or permanent forms, and in physical or digital formats.

AP1A.4a Discuss and develop answers to: What is art?


VA:Cr6.1.4a Compare and contrast purposes of art museums, art galleries, and other venues, as well as the types of

HC1B.4e Compare and contrast 2 artworks the purpose of art in culture


personal experiences they provide. AP1A.4a Discuss and develop answers to: What is art?


VA:Cr7.1.4a Compare responses to a work of art before and after working in similar media.

HC1B.4c

AP1A.4a

Compare and contrast 2 artworks on use of media.

Discuss and develop answers to: What is art?

VA:Cr7.2.4a Analyze components in visual imagery that convey messages.

HC1B.4a HC1B.4d HC1B.4f

Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on place.


VA:Cr8.1.4a Interpret art by referring to contextual information and analyzing relevant subject matter, characteristics of form, and use of media.

HC1B.4a HC1B.4b

HC1B.4c

Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on use value and space. Compare and contrast 2 artworks on use of media.


VA:Cr9.1.4a Apply one set of criteria to evaluate more than one work of art.

AP1A.4a

AP2A.4a

Discuss and develop answers to: What is art?

Describe the use of :outlines; organic shapes and forms; tints and shades; values; positive and negative space; radial balance; center of interest/focal point; contrast/variety of values; complex patterns/ and facial proportions in artworks.


VA:Cr10.1.4a Apply one set of criteria to evaluate more than one work of art.

AP1A.4a AP1A.4b AP1A.4c

Discuss and develop answers to: What is art? Discuss and develop answers to: What is beauty? Discuss and develop answers to: Should art be


AP1A.4d Beautiful? Discuss and develop answers to: Should art look real?


VA:Cr11.1.4a Through observation, infer information about time, place, and culture in which a work of art was created.

HC1B.4a HC1B.4b HC1B.4d HC1B.4e

HC1B.4f

Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on use of media. Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on the purpose of art in culture. Compare and contrast 2 artworks on place.









VA:Cr1.1.5a Combine ideas to generate an innovative idea for art-making.

PP1A.5a

PP1B.5a PP1B.5b

PP1B.5c

PP1D.5a

PP2A.5a

PP2A.5b PP2A.5c

*The GLE’s do not ask students to specifically combineideas to generate an innovative idea for art-making, thefifth-grade standards in the strands ofproduct-performance and elements & principles couldbe used to generate ideas.

Create texture or surface quality using any drawing media.

Mix a variety of hues to create new colors. Apply layers of watercolor paint from lightest to darkest colors. Using tempera paints, produce a sharp, clear edge between areas of colors.

Demonstrate a subtractive printmaking process to produce multiple images.

Combine simple forms to create a complex object/form (in the round.) Use paper joining techniques such as tabs and slits. Using modeling material, build a form using coil techniques.


VA: Cr1.2.5a Identify and demonstrate diverse methods of artistic investigation to choose an approach for beginning a work of art.

PP1A.5a

PP1B.5a PP1B.5b

PP1B.5c

PP1D.5a

PP2A.5a

PP2A.5b PP2A.5c

Create texture or surface quality using any drawing media.

Mix a variety of hues to create new colors. Apply layers of watercolor paint from lightest to darkest colors. Using tempera paints, produce a sharp, clear edge between areas of colors.

Demonstrate a subtractive printmaking process to produce multiple images.

Combine simple forms to create a complex object/form (in the round.) Use paper joining techniques such as tabs and slits. Using modeling material, build a form using coil techniques.


VA: Cr2.1.5a Experiment and develop skills in multiple art-making techniques and approaches through practice.

PP1A.5a

PP1B.5a PP1B.5b

PP1B.5c

PP1D.5a

Create texture or surface quality using any drawing media

Mix a variety of hues to create new colors; Apply layers of watercolor paint from lightest to darkest colors; Using tempera paints, produce a sharp, clear edge between areas of colors.

Demonstrate a subtractive printmaking process (e.g., Styrofoam, linoleum, wood, eraser) to produce multiple images

VA: Cr2.2.5a Demonstrate quality craftsmanship through care for *Current GLE’s do not address.


and use of materials, tools, and equipment.

VA: Cr2.3.5a Identify, describe, and visually document places and/or objects of personal significance.

PP3A.5b

PP3A.5c

Create a still life from observation that shows the illusion of form. Create an original outdoor scene to show the illusion of space.


VA: Cr3.1.5a Create artist statements using art vocabulary to describe personal choices in artmaking.

AP1A.5a

AP2A.5a

Discuss and develop answers to questions about art such as: who decides what makes an artwork special, valuable or good? What is art?

Describe the use of: contour lines; symbolic shapes; illusion of form; implies/simulated textures; intermediate and neutral colors; asymmetrical balance; contrast/variety of textures/ perspective; change in size; point of view in artworks.


VA: Pr4.1.5a Define the roles and responsibilities of a curator, explaining the skills and knowledge needed in preserving, maintaining, and presenting objects, artifacts, and artwork.

*The GLE’s do not focus specifically on defining theroles and responsibilities of a curator, explaining theskills and knowledge needed in preserving, maintaining,and presenting objects, artifacts, and artwork.


VA: Pr5.1.5a Develop a logical argument for safe and effective use of materials and techniques for preparing and presenting artwork.

*The GLE’s do not focus specifically on the use ofmaterials and presentation of artwork.



VA: Pr6.1.5a Cite evidence about how an exhibition in a museum or other venue presents ideas and provides information about a specific concept or topic

HC1A.5a

HC1A.5b

Identify works of art from the United States (painting, architecture). Identify works from Europe (painting, architecture).


VA:Re7.1.5a Compare one's own interpretation of a work of art with the interpretation of others.

HC1B.5a HC1B.5b HC1B.5c HC1B.5d HC1B.5e

HC1B.5f HC1B.5g

HC1B.5h

Compare and contrast 2 artworks on time. Compare and contrast 2 artworks on place. Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on media. Compare and contrast 2 artworks on the use of the elements. Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on purpose of art in culture. Compare and contrast 2 artworks on use of materials and technology.

VA:Re7.2.5a Identify and analyze cultural associations suggested by visual imagery.

HC1B.5f HC1B.5g

IC2A.5a

Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on purpose of art in culture.

Explain how American artists expressed the idea of patriotism.


VA: Re8.1.5a Interpret art by analyzing characteristics of form and structure, contextual information, subject matter, visual elements, and use of media to identify ideas and mood conveyed.

AP1A.5a Discuss and develop answers to questions about art such as: who decides what makes an artwork special, valuable or good? What is art?


AP2A.5a Describe the use of: contour lines; symbolic shapes; illusion of form; implies/simulated textures; intermediate and neutral colors; asymmetrical balance; contrast/variety of textures/ perspective; change in size; point of view in artworks.


VA:Re9.1.5a Recognize differences in criteria used to evaluate works of art depending on styles, genres, and media as well as historical and cultural contexts.

AP1A.5a

AP2A.5a




VA:Cn10.1.5a Recognize differences in criteria used to evaluate works of art depending on styles, genres, and media as well as historical and cultural contexts.

EP1A.5a

EP1B.5a

EP1C.5a

EP1D.5d

EP1E.5a EP1E.5b

Identify and use contour lines.

Identify and use symbolic shapes.

Identify and use the illusion of forms: cube, sphere, cylinder, and cone.

Identify and use implied/simulated textures.

Identify and use intermediate and neutral colors.


EP1G.5a

EP1G.5b

EP2A.5a

EP2C.5a

EP2F.5a

AP1A.5a

AP2A.5a

Identify the arrangement of colors on a color wheel.

Identify and use converging lines to create the illusion of space. Identify and use a single horizon line.

Identify and use asymmetrical (informal) balance.

Identify and use texture contrast.

Identify relative size (realistic scale).




VA:Cn11.1.5a Identify how art is used to inform or change beliefs, values, or behaviors of an individual or society.

PP3C.5a

PP3C.5b

PP3C.5c

PP3C.5d

Create original artwork that communicates ideas about the United States. Create original artwork that communicates ideas about patriotism. Create original artwork that communicates ideas about the world. Create original artwork that communicates ideas about time (past, present, future).









VA:Cr1.1.6 Combine concepts collaboratively to generate innovative ideas for creating art.

*The GLE’s do not ask students to work collaboratively,however, the 6th grade standards in the strands ofproduct-performance and elements & principles couldbe explored as ideas for creating art.

VA:Cr1.2.6 Formulate an artistic investigation of personally relevant content for creating art.

PP1A.6a

PP1B.6a

PP1C.6a

PP1D.6a PP1D.6b

PP2A.6a

*The following only connect if students are choosing toexplore these for personally meaningful and relevantcontent.

Use pencil or marker to draw a continuous line that describes an object from observation.

Using opaque paint, overlap brushstrokes to create a smooth and even area of color.

Create different types of lines using general software.

Demonstrate a printmaking process. Manipulate fibers.

Create a relief artwork by joining two or more surfaces.


PP3A.6a

PP3A.6b

PP3B.6a

PP3C.6a

PP3C.6b

EP2C.6a

EP2F.6a

AP1A.6a

AP1A.6b

IC1A.6a

Create an original artwork whose subject matter is a realistic portrait. Create an original artwork whose subject matter is an abstract portrait.

Illustrate text.

Create an original artwork that communicates ideas about the functions of art in culture (celebrate rites of passage, teach history and/or religion, decorate useful objects.) Create original artwork that communicates ideas about personal identity.

Create facial features in realistic proportion.

Discuss how different cultures have different concepts of beauty.

Explain how responses (feelings or ideas) to artworks from various cultures are based on both personal experience and group beliefs. Identify the type of artwork (painting, drawing, etc.) Identify and explain symbolism or message communicated in an artwork.

Compare and contrast music and art from the same culture.


VA:Cr2.1.6 Demonstrate openness in trying new ideas, materials, methods, and approaches in making works of art and design.

AP1A.6a Discuss how different cultures have different concepts of beauty.


AP1A.6b Explain how responses (feelings or ideas) to artworks from various cultures are based on both personal experience and group beliefs.

VA:Cr2.2.6 Explain environmental implications of conservation, care, and clean-up of art materials, tools and equipment.

*The GLE’s do not address conservation, care, andclean-up of art materials, tools and equipment.

VA:Cr2.3.6 Design or redesign objects, places, or systems that meet the identified needs of diverse users.

AP2A.6c

IC2A.6a

Match the artwork with an aesthetic theory: Serving a purpose in the society or culture (Functionalism).

Explain how artworks reflect the cultures in which they were created.


VA:Cr3.1.6 Reflect on whether personal artwork conveys the intended meaning and revise accordingly.

AP1A.6a

AP1A.6b

AP2A.6a AP2A.6b

AP2A.6c

IC2A.6a

Discuss how different cultures have different concepts of beauty. Explain how responses (feelings or ideas) to artworks from various cultures are based on both personal experience and group beliefs.

Identify the type of artwork (painting, drawing, etc.) Identify and explain symbolism or message communicated in an artwork. Match the artwork with an aesthetic theory: Showing a real or idealized image of life (Imitationalism); Expressing feelings (Expressionism/Emotionalism); Emphasis on elements and principles (Formalism); Serving a purpose in the society or culture (Functionalism)




VA:Pr4.1.6 Analyze similarities and differences associated with preserving and presenting two-dimensional, three-dimensional, and digital artwork.

*The GLE’s do not address preservation, however, thesixth grade standards in the strands of historical periodor culture and culture could be explored as ideas foranalyzing and comparing artwork.could have areas ofrelated exploration.


VA:Pr4.1.6 Individually or collaboratively, develop a visual plan for displaying works of art, analyzing exhibit space, the needs of the viewer, and the layout of the exhibit.

*The GLE’s do not ask students to specifically considerplans for displaying works of art. However, the sixthgrade standards in the strands of artistic perceptions,and historical and cultural contexts could have areas ofrelated exploration.


VA:Pr4.1.6 Assess, explain, and provide evidence of how museums or other venues reflect history and values of a community.

AP1A.6a

AP1A.6b

AP2A.6a AP2A.6b


Identify the type of artwork (painting, drawing, etc.) Identify and explain symbolism or message communicated in an artwork.


VA:Re7.1.6 Identify and interpret works of art or design that reveal how people live around the world and what they value.

AP1A.6a Discuss how different cultures have different concepts of beauty.


AP1A.6b

AP2A.6a AP2A.6b

Explain how responses (feelings or ideas) to artworks from various cultures are based on both personal experience and group beliefs.

Identify the type of artwork (painting, drawing, etc.) Identify and explain symbolism or message communicated in an artwork.

AP2AVA:Re7.2.6

Analyze ways that visual components and cultural associations suggested by images influence ideas, emotions, and actions.

AP1A.6a

AP1A.6b

AP2A.6a AP2A.6b

AP2A.6c

IC1A.6a

IC2A.6a



Compare and contrast music and art from the same culture.




VA:Re8.1.6 Interpret art by distinguishing between relevant

and non-relevant contextual information and

analyzing subject matter, characteristics of form

and structure, and use of media to identify ideas

and mood conveyed.

AP2A.6c

IC2A.6a

Match the artwork with an aesthetic theory: Showing a real or idealized image of life (Imitationalism); Expressing feelings (Expressionism/Emotionalism); Emphasis on elements and principles (Formalism); Serving a purpose in the society or culture (Functionalism)



VA:Re9.1.6 Develop and apply relevant criteria to evaluate a

work of art.

AP1A.6a

AP1A.6b

AP2A.6a AP2A.6b

AP2A.6c




Compare and contrast 2 artworks on time. Compare and contrast 2 artworks on place. Compare and contrast 2 artworks on subject matter.


HC1B.6d HC1B.6e HC1B.6f

Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on characteristics. Compare and contrast 2 artworks cultural context.


VA:Cn10.1.6 Generate a collection of ideas reflecting current

interests and concerns that could be investigated

in art-making.

PP3C.6b Create original artwork that communicates ideas about personal identity.


VA:Cn11.1.6 Analyze how art reflects changing times,

traditions, resources, and cultural uses.

PP3C.6a

AP1A.6b

HC1B.6a HC1B.6b HC1B.6c HC1B.6d HC1B.6e HC1B.6f

Create an original artwork that communicates ideas about the functions of art in culture (celebrate rites of passage, teach history and/or religion, decorate useful objects.)

Explain how responses (feelings or ideas) to artworks from various cultures are based on both personal experience and group beliefs.

Compare and contrast 2 artworks on time. Compare and contrast 2 artworks on place. Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on characteristics. Compare and contrast 2 artworks cultural context.









VA:Cr1.1.7a Apply methods to overcome creative blocks. *The GLEs do not have students consider ways toovercome creative blocks.

VA:Cr1.2.7a Develop criteria to guide making a work of art or design to meet an identified goal.

*The GLEs do not specifically have students developcriteria to guide art making, however the seventh gradestandards in the strands of product-performance andelements & principles could be used to help developcriteria or to identify goals.


VA:Cr2.1.7a Demonstrative persistence in developing skills with various materials, methods, and approaches in creating works of art or design.

PP1A.7a

PP1B.7a

PP1C.7a

PP1D.7a PP1D.7b PP2A.7a

Use a variety of media such as pencil, pastels, color sticks and/or markers to create simulated/implied texture.

Using a variety of brush strokes to create various textures.

Create different types of shapes using general software.

Demonstrate a type of relief block printmaking. Demonstrate the process used in one type of fiber arts.


PP3A.7a

PP3C.7a

EP1A.7a

EP1B.7a

EP1C.7a

EP1D.7a

EP1E.7a

EP1G.7a

EP2A.7a

EP2B.7a

EP2D.7a

Create an in-the-round artwork by joining two or more surfaces using layering material. Create an original artwork using the human figure, still life from observation.

Create an original artwork that communicates ideas about group identity, nature.

Identify and use rhythmic lines.

Identify and use rhythmic shapes.

Differentiate between and demonstrate high and low relief.

Identify and use implied/simulated texture.

Identify and use analogous colors.

Identify and use positive and negative shapes in 3-dimensional work.


Identify and use center of interest (focal point).

Identify and use regular rhythm.

VA:Cr2.2.7a Demonstrative awareness of ethical responsibility to oneself and others when posting and sharing images and other materials through the Internet, social media, and other communication formats.

*The GLE’s do not ask students to consider digitalcitizenship issues.


VA:Cr2.3.7a Apply visual organizational strategies to design and produce a work of art, design, or media that clearly communicates information or ideas.

PP1A.7a

PP1B.7a

PP1C.7a

PP1D.7a PP1D.7b

PP2A.7a

PP3A.7a

PP3C.7a

EP1A.7a

EP1B.7a

EP1C.7a

EP1D.7a

EP1E.7a

EP1G.7a

Use a variety of media such as pencil, pastels, color sticks and/or markers to create simulated/implied texture.

Using a variety of brush strokes to create various textures.

Create different types of shapes using general software.

Demonstrate a type of relief block printmaking. Demonstrate the process used in one type of fiber arts.

Create an in-the-round artwork by joining two or more surfaces using layering material.

Create an original artwork using the human figure, from still life observation

Create an original artwork that communicates ideas about group identity, nature.

Identify and use rhythmic lines.

Identify and use rhythmic shapes.

Differentiate between and demonstrate high and low relief.

Identify and use implied/simulated texture.

Identify and use analogous colors.


EP2A.7a

EP2B.7a

EP2D.7a

Identify and use positive and negative shapes in 3-dimensional work.


Identify and use center of interest (focal point).

Identify and use regular rhythm.


VA:Cr3.1.7a Reflect on and explain important information about personal artwork in an artist statement or another format.

*The GLEs do not specifically address the skill ofreflecting or explaining important information in an artiststatement, however the seventh grade standards in theelements & principles may be utilized in this format.


VA:Pr4.1.7a Compare and contrast how technologies have changed the way artwork is preserved, presented and experienced.

*The GLE’s do not ask students to consider howtechnologies have changed the way artwork ispreserved, presented, and experienced. However, theseventh grade standards in the strands ofproduct-performance, artistic perceptions, and historicaland cultural contexts could have areas of relatedexploration.


VA:Pr5.1.7a Based on criteria, analyze and evaluate methods for preparing and presenting art.

*The GLE’s do not ask students to analyze andevaluate methods for preparing and presenting artwork.However, the seventh grade standards in the strands ofproduct-performance, artistic perceptions, and historicaland cultural contexts could have areas of related


exploration.


VA:Pr6.1.7a Compare and contrast viewing and experiencing collections and exhibitions in different venues.

*The GLE’s do not ask students to specifically considerthe differences in viewing and experiencing work indifferent venues. However, the seventh gradestandards in the strands of artistic perceptions, andhistorical and cultural contexts could have areas ofrelated exploration.


VA:Re7.1.7a Explain how the method of display, the location, and the experience of an artwork influence how it is perceived and valued.

IC1A.7a

IC2A.7a

Explain theatre techniques (costumes, acting, props) to interpret visual artworks.

Explain the relationship between illustration and written text.

VA:Re7.2.7a Analyze multiple ways that images influence specific audiences.

IC1A.7a

IC2A.7a




VA:Re8.1.7a Interpret art by analyzing art-making approaches, the characteristics of form and structure, relevant contextual information, subject matter, and use of media to identify ideas and mood conveyed.

AP1A.7a

AP1A.7b

AP2A.7a

Discuss and develop answers to questions about art: What is art? Should art look real? Should art be beautiful? Compare and contrast responses of class members to realistic, abstract, and non-objective artworks

Describe the artwork and subject matter.


AP2A.7b

AP2A.7c

AP2A.7d

IC1A.7a

IC2A.7a

Describe elements (line, form, shape, color, value, texture, space) and principles (Balance, emphasis, contrast, rhythm) as they are used in artworks.

Interpret the subject and theme, supporting them with the artist's use of elements and principles.

Select an aesthetic theory and explain why it best fits the artwork: Showing a real or idealized image of life (Imitationalism). Expressing feelings (Emotionalism/Expressionism. Emphasis on elements and principles (Formalism). Serving a purpose in the society or culture (Functionalism).




VA:Re9.1.7a Compare and explain the difference between an evaluation of an artwork based on personal criteria and an evaluation of an artwork based on a set of established criteria.

AP1A.7a

AP1A.7b

AP2A.7a

Discuss and develop answers to questions about art: ● What is art?● Should art look real?● Should art be beautiful?

Compare and contrast responses of class members to realistic, abstract, and non-objective artworks

Describe the artwork and subject matter.


AP2A.7b

AP2A.7c

AP2A.7d

Describe elements (line, form, shape, color, value, texture, space) and principles (Balance, emphasis, contrast, rhythm) as they are used in artworks.

Interpret the subject and theme, supporting them with the artist's use of elements and principles.

Select an aesthetic theory and explain why it best fits the artwork: Showing a real or idealized image of life (Imitationalism), Expressing feelings (Emotionalism/Expressionism, Emphasis on elements and principles (Formalism), Serving a purpose in the society or culture (Functionalism).


VA:Cn10.1.7a Individually or collaboratively create visual documentation of places and times in which people gather to make and experience art or design in the community.

HC1A.7a

HC1A.7b


Identify works of art from Europe (Real, abstract, Non-Objective). Identify works of art from the United States (Real, Abstract, Non-Objective).



VA:Cn11.1.7a Analyze how response to art is influenced by understanding the time and place in which it was created, the available resources, and cultural uses.

HC1A.7a Identify works of art from Europe (Real, abstract, Non-Objective). Identify works of art from the United States (Real,


HC1A.7b


Abstract, Non-Objective).










VA:Cr1.1.8a Document early stages of the creative process visually and/or verbally in traditional or new media.

PP1A.8a

PP1B.8a

PP1C.8a

PP1D.8a

PP1D.8b

PP2A.8a PP2A.8b

PP3A.8a

*The GLEs do not ask students to record their process.However, the eighth grade standards in the strands ofproduct/performance and the elements & principles doask students to participate in the creative process inwhen exploring and developing media skills.

Create even, continuous, and graduated tones using pencil or colored pencil.

Create a variety of colors, tints, and shades by mixing pigments.

Create a composition of lines and shapes using general software.

Demonstrate a printmaking process using a variety of ink colors. Create a simple fiber artwork.

Create a 3-D artwork using carving techniques. Create a 3-D artwork demonstrating appropriate joining out of a modeling material.

Create an original artwork of a realistic landscape.


PP3A.8b

PP3B.8a

PP3C.8a

PP3C.8b

EP1A.8a

EP1B.8a

EP1C.8a

EP1D.8a

EP1E.8a

EP1F.8a

EP1G.8a

EP2A.8a

EP2C.8a

EP2D.8a

EP2F.8a

Create an original artwork of an abstract landscape.

Create an original functional object.

Create original artwork that communicates ideas about the environment. Create original artwork that communicates ideas about time (past, present and future).

Identify and use varied line quality.

Identify and use varied shapes.

Identify and use a range of values to create the illusion of form.

Identify and use invented texture.

Identify and use complimentary colors.

Identify and use a range of values.

Identify and use one-point linear perspective to create the illusion of space.


Identify and use color and value contrast.

Identify and use progressive rhythm.

Identify and use appropriate scale relationship.


VA:Cr1.2.8a Collaboratively shape an artistic investigation of an aspect of present-day life using a contemporary practice of art and design.

PP1C.8a

PP3C.8a

PP3C.8b



*The GLEs do not specify a contemporary practice ofart design in the elements & principles strand ofstandards, however they could be utilized in the artisticinvestigation.


VA:Cr2.1.8a Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process and art-making or designing.

PP1A.8a

PP1B.8a

PP1C.8a

PP1D.8a

PP1D.8b

PP2A.8a PP2A.8b

PP3A.8a PP3A.8b






Create an original artwork of a realistic landscape. Create an original artwork of an abstract landscape.


PP3B.8a

PP3C.8a

PP3C.8b

EP1A.8a

EP1B.8a

EP1C.8a

EP1D.8a

EP1E.8a

EP1F.8a

EP1G.8a

EP2A.8a

EP2C.8a

EP2D.8a

EP2F.8a















VA:Cr2.2.8a Demonstrate awareness of practices, issues, and ethics of appropriation, fair use, copyright, open source, and creative commons as they apply to creating works of art and design.

*The GLE’s do not ask students to consider digitalcitizenship issues.

VA:Cr2.3.8 Select, organize, and design images and words to make visually clear and compelling presentations.

PP1A.8a

PP1B.8a

PP1C.8a

PP1D.8a

PP1D.8b

PP2A.8a PP2A.8b

PP3A.8a PP3A.8b

PP3B.8a

PP3C.8a

PP3C.8b

EP1A.8a






Create an original artwork of a realistic landscape. Create an original artwork of an abstract landscape.





EP1B.8a

EP1C.8a

EP1D.8a

EP1E.8a

EP1F.8a

EP1G.8a

EP2A.8a

EP2C.8a

EP2D.8a

EP2F.8a












VA:Cr3.1.8 Apply relevant criteria to examine, reflect on, and plan revisions for a work of art or design in progress.

*The GLEs do not specifically address the skills ofreflecting or revising, however the eighth gradestandards in the product/performance and elements &principles strands may be utilized to guide students tocreate criteria that could be used.



VA:Pr4.1.8 Develop and apply criteria for evaluating a collection of artwork for presentation.

AP1A.8a

AP2A.8a AP2A.8b

AP2A.8c AP2A.8d

HC1A.8a

*The GLE’s do not ask students to develop and applycriteria for the presentation of artwork. However, theeighth grade standards in the strands of artisticperceptions, and historical and cultural contexts couldhave areas of related exploration.

Discuss how people might respond differently to specific American artworks based upon their subgroup (gender, attitude toward the environment, business, immigrant group, age, religion, economic status, or level of education).

Describe artwork in detail. Analyze the use of elements and principles used in artworks. Interpret the meaning of work. Judge the work from each aesthetic theory:

● Showing a real or idealized image of life(Imitationalism).

● Expressing feelings(Emotionalism/Expressionism).

● serving a purpose in the society or culture(Functionalism).

Identify works of art from the United States (Native American, Painting, Sculpture, Architecture).


VA:Pr4.1.8 Collaboratively prepare and present selected theme-based artwork for display, and formulate exhibition narratives for the viewer.

*The GLE’s do not ask students to collaborativelyprepare and present theme-based artwork. However,the eighth grade standards in the strands of


product-performance, artistic perceptions, and historical and cultural contexts could have areas of related exploration.


VA:Pr4.1.8 Analyze why and how an exhibition or collection may influence ideas, beliefs, and experiences.

AP2A.8c

*The GLE’s do not ask students to specifically considerwhy and how exhibitions or collections influence ideas,beliefs, and experiences. However, the eighth gradestandards in the strands of artistic perceptions,interdisciplinary connections, and historical and culturalcontexts could have areas of related exploration.

Interpret the meaning of work


VA:Re7.1.8 Explain how a person's aesthetic choices are influenced by culture and environment and impact the visual image that one conveys to others.

AP1A.8a

IC1A.8a

IC2A.8a


Compare and contrast examples of American art and music.

Explain how events and ideas in United States history are communicated through artworks.

VA:Re7.2.8 Compare and contrast contexts and media in which viewers encounter images that influence ideas, emotions, and actions.

AP1A.8a Discuss how people might respond differently to specific American artworks based upon their subgroup (gender, attitude toward the environment, business, immigrant group, age, religion, economic status, or level of education).



HC1B.8g

HC1B.8h

Compare and contrast 2 artworks on time. Compare and contrast 2 artworks on place. Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on characteristics. Compare and contrast 2 artworks on materials/technology. Compare and contrast 2 artworks on ideas and beliefs of culture. Compare and contrast 2 artworks on the function of art in culture/society.


VA:Re8.1.8 Interpret art by analyzing how the interaction of subject matter, characteristics of form and structure, use of media, art-making approaches, and relevant contextual information contributes to understanding messages or ideas and mood conveyed.

AP1A.8a

AP2A.8a AP2A.8b

AP2A.8c AP2A.8d

HC1B.8a


Describe artwork in detail. Analyze the use of elements and principles used in artworks. Interpret the meaning of the work. Judge the work from each aesthetic theory:





HC1B.8b HC1B.8c HC1B.8d HC1B.8e HC1B.8f

HC1B.8g

HC1B.8h



VA:Re9.1.8 Create a convincing and logical argument to support an evaluation of art.

AP2A.8a

AP2A.8b

AP2A.8c AP2A.8d

Describe artwork in detail.

Analyze the use of elements and principles used in artworks. Interpret the meaning of the work. Judge the work from each aesthetic theory:





VA:Cn10.1.8 Make art collaboratively to reflect on and reinforce positive aspects of group identity.

*The GLEs do not ask students to collaboratively createartwork in connection to group identity, but instead askstudents to identify and observe characteristics of



HC1B.8g

HC1B.8h

artwork in particular places and times that could be examined through the theme of group identity.. Identify works of art from the United States (Native American, Painting, Sculpture, Architecture).



VA:Cn11.1.8 Distinguish different ways art is used to represent, establish, reinforce, and reflect group identity.

HC1A.8a


*The GLE’s do not specifically ask students to examineartworks based on group identity, but the eighth gradestandards in Historical Connections could be viewedthrough this lens.

Identify works of art from the United States (Native American, Painting, Sculpture, Architecture).

Compare and contrast 2 artworks on time. Compare and contrast 2 artworks on place. Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on characteristics. Compare and contrast 2 artworks on materials/technology.


HC1B.8g

HC1B.8h

Compare and contrast 2 artworks on ideas and beliefs of culture. Compare and contrast 2 artworks on the function of art in culture/society.


HIGH SCHOOL Proficient VISUAL ART







VA:Cr1.1.Ia Use multiple approaches to begin creative endeavors. PP3C.Ia Create original artwork that communicates ideas through themes (identity, power, time, nature, illusion).

VA:Cr1.2.Ia Shape an artistic investigation of an aspect of present-day life using a contemporary practice of art or design.

*Not addressed


VA:Cr2.1.Ia Engage in making a work of art or design without having preconceived plan.

PP1A.Ia

PP1A.Ib

PP1A.Ic PP1A.Id

PP1A.Ie

PP1A.If

Create smooth, continuous value through even pressure. Create a range of 4 smoothly graduated values through varied pressure. Define edge through variations in pressure or angle. Use media in various ways to create simulated and invented textures. Use a ruler to create parallel, perpendicular, and converging lines. Demonstrate proficiency using a single drawing material.


PP1B.Ia PP1B.Ib

PP1B.Ic

PP1B.Id PP1B.Ie

PP1B.If

PP1C.Ia

PP1D.Ia PP1D.Ib

PP2A.Ia

PP2A.Ib

PP3A.Ia

PP3B.Ia

PP3C.Ia

Mix tempera/acrylic paints to created different hues. Mix tempera/acrylic paints to create a range of 4 values and levels of intensity. Apply paint to create a solid area of color with no visible brushstrokes, change in value, or intensity. Blend one color/value smoothly into another. Demonstrate proper use and cleaning of brushes and palettes. Use brushes of various sizes/types.

Create or modify an image using general software

Demonstrate a relief block printmaking process. Create an artwork using a fiber arts process.

Create a sculpture by layering and adhering material or objects. Create ceramics using a hand-building process, joining techniques, and a uniform thickness.

Create an original artwork using the following as subject matter: portrait, still-life, landscape ,non-objective, and architecture.

Create a functional artwork based upon a cultural example.

Create original artwork that communicates ideas through themes (identity, power, time, nature, illusion).


VA:Cr2.2.Ia Explain how traditional and non-traditional materials may impact human health and the environment and demonstrate safe handling of materials, tools and equipment.

*Not addressed

VA:Cr2.3.Ia Collaboratively develop a proposal for an installation, artwork, or space design that transforms the perception and experience of a particular place.

*Not addressed


VA:Cr3.1.Ia Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress.

AP1A.Ia AP1A.Ib

AP1A.Ic

AP2A.Ia

AP2A.Ib

AP2A.Ic

Discuss personal beliefs about the nature of art Define aesthetics as the branch of philosophy that deals with the nature and value of art. Discuss and develop answers to questions about art such as:

● What is Art?● Why do responses vary?● Who decides what makes an artwork special,

valuable or good?

Using a single artwork, describe the artwork and, analyze the use of elements and principles in the work. Using a single artwork, interpret the meaning of the work (subject, theme, symbolism, message communicated.). Using a single artwork judge the work from various perspectives: Showing a real or idealized image of life (Imitationalism), Expressing feelings (Emotionalism/Expressionism), Emphasis on elements and principles (Formalism), Serving a purpose in the society or culture (Functionalism)


IC2A.Ia

HC1A.Ia

HC1B.Ia HC1B.Ib HC1B.Ic HC1B.Id HC1B.Ie HC1B.If HC1B.Ig

HC1B.Ih

HC1B.Ii

Explain how historical events and social ideas are reflected in artworks from selected cultures or historical time periods.

Identify works of art from Ancient Greece/Rome. Identify works of art from the Renaissance. Identify works of art from Impressionism. Identify works of art from Post-Impressionism. Identify works of art from Pop Art. Identify works of art from Op Art.

Compare and contrast 2 artworks on time. Compare and contrast 2 artworks on place. Compare and contrast 2 artworks on artist. Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on characteristics. Compare and contrast 2 artworks on materials/technology. Compare and contrast 2 artworks on ideas and beliefs of culture. Compare and contrast 2 artworks on the function of art in culture/society.


VA:Pr4.1.Ia Analyze, select, and curate artifacts and/or artworks for presentation and preservation.

*Not addressed


VA:Pr5.1.Ia Analyze and evaluate the reasons and ways an exhibition is presented.

*Not addressed



VA:Pr6.1.Ia Analyze and describe the impact that an exhibition or collection has on personal awareness of social, cultural, or political beliefs and understandings.

AP1A.Ia AP1A.Ib

AP1A.Ic

IC1A.Ia

Discuss personal beliefs about the nature of art Define aesthetics as the branch of philosophy that deals with the nature and value of art. Discuss and develop answers to questions about art such as: What is Art? Why do responses vary? Who decides what makes an artwork special, valuable or good?

Connect meanings of elements of art with terms in music, theatre, or dance.


VA:Re.7.1.Ia Hypothesize ways in which art influences perception and understanding of human experiences.

AP1A.Ia AP1A.Ib

AP1A.Ic

IC2A.Ia

HC1A.Ia

Discuss personal beliefs about the nature of art. Define aesthetics as the branch of philosophy that deals with the nature and value of art. Discuss and develop answers to questions about art such as: What is Art? Why do responses vary? Who decides what makes an artwork special, valuable or good?

Explain how historical events and social ideas are reflected in artworks from selected cultures or historical time periods



VA:Re7.2.Ia Analyze how one's understanding of the world is affected by experiencing visual imagery.


HC1B.Ih

HC1B.Ii



VA:Re8.1.Ia Interpret an artwork or collection of works, supported by relevant and sufficient evidence found in the work and its various contexts.

AP1A.Ia AP1A.Ib

AP1A.Ic

AP2A.Ib

IC2A.Ia

Discuss personal beliefs about the nature of art Define aesthetics as the branch of philosophy that deals with the nature and value of art. Discuss and develop answers to questions about art such as: What is Art? Why do responses vary? Who decides what makes an artwork special, valuable or good?

Using a single artwork: Interpret the meaning of the work (subject, theme, symbolism, message communicated.)



HC1A.Ia


HC1B.Ih

HC1B.Ii


Compare and contrast 2 artworks on time. Compare and contrast 2 artworks on place. Compare and contrast 2 artworks on artist. Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on characteristics. Compare and contrast 2 artworks on materials/technology. Compare and contrast 2 artworks on ideas and beliefs of culture. Compare and contrast 2 artworks on the function of art in culture/society


VA:Re9.1.Ia Establish relevant criteria in order to evaluate a work of art or collection of works.

AP1A.Ia AP1A.Ib

AP1A.Ic

AP1A.Id

AP1A.Ie

Discuss personal beliefs about the nature of art Define aesthetics as the branch of philosophy that deals with the nature and value of art. Discuss and develop answers to questions about art such as: What is Art? Discuss and develop answers to questions about art such as: Why do responses vary? Discuss and develop answers to questions about art such as: Who decides what makes an artwork special, valuable or good?


AP2A.Ia

AP2A.Ib

AP2A.Ic

Using a single artwork: Describe the artwork; Analyze the use of elements and principles in the work; Interpret the meaning of the work (subject, theme, symbolism, message communicated); Judge the work from various perspectives: Showing a real or idealized image of life (Imitationalism); Expressing feelings (Emotionalism/expressionism); Emphasis on elements and principles (Formalism); Serving a purpose in the society or culture (Functionalism)


VA:Cn10.1.Ia Document the process of developing ideas from early stages to fully elaborated ideas.

*Not addressed


VA:Cn11.1.Ia Describe how knowledge of culture, traditions, and history may influence personal responses to art.

IC1A.Ia

IC2A.Ia

HC1A.Ia

HC1B.Ia HC1B.Ib HC1B.Ic

Connect meanings of elements in art with terms in music, theatre, or dance.

Explain how historical events and social ideas are reflected in artworks from selected cultures or historical time periods. Identify works of art from Ancient Greece/Rome. Identify works of art from the Renaissance. Identify works of art from Impressionism. Identify works of art from Post-Impressionism. Identify works of art from Pop Art. Identify works of art from Op Art.

Compare and contrast 2 artworks on time. Compare and contrast 2 artworks on place. Compare and contrast 2 artworks on artist.


HC1B.Id HC1B.Ie HC1B.If HC1B.Ig

HC1B.Ih

HC1B.Ii

Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on characteristics. Compare and contrast 2 artworks on materials/technology. Compare and contrast 2 artworks on ideas and beliefs of culture. Compare and contrast 2 artworks on the function of art in culture/society.


HIGH SCHOOL Accomplished VISUAL ART







VA:Cr1.1.lla Individually or collaboratively formulate new creative problems based on student's existing artwork.

PP3A.IIIa

HS Level II *Not addressed

HS Level III Combine subject matter in original artworks to communicate ideas (figure and/or architecture in a landscape).

VA:Cr1.2.lla Choose from a range of materials and methods of traditional contemporary artistic practices to plan works of art and design.

PP1A.IIa

PP1A.IIb PP1A.IIc PP1A.IId

PP1A.IIe PP1A.IIf

PP1A.IIg

PP1B.IIa PP1B.IIb

HS Level II Create a range of 7 smoothly graduated values through varied pressure. Blend values/colors to create new values/colors. Combine a change in value/color with texture. Create a range of 4 graduated values using hatching, cross-hatching and stippling techniques. Use an eraser as a tool to change a value. Use blending tools such as stumps and tortillions to modify values. Demonstrate proficiency using 3 drawing media (pencil, charcoal, conte, pastel, oil pastel, marker, pen and ink, colored pencils, scratchboard).

Mix tempera/acrylic paints to match observed hues.


PP1B.IIc

PP1B.IId

PP1C.IIa

PP1D.IIa

PP1D.IIb PP1D.IIc

PP2A.IIa PP2A.IIb

PP2A.IIc

EP1A.IIa

EP1B.IIa

EP1C.IIa EP1C.IIb

EP1D.IIa

Demonstrate the following watercolor techniques: continuous wash, graduated wash. Apply watercolor to create simulated and invented textures. Select and use appropriate size and brush type (natural, synthetic, flat, round, bright, small-large sizes).

Create or modify an image using art software.

Demonstrate one printmaking process (monoprint, collagraph, stamp, reduction relief block, lithograph, etching, serigraph). Create an edition. Create an artwork combining different fiber arts materials (paper, yarn, string, wire, metal, reed, raffia, fabric, beads, shells, found material).

Create a sculpture using carving techniques. Create ceramics combining handbuilding processes, joining techniques and uniform thickness throughout product. Demonstrate consistent glaze application.

Identify and use hatching, cross hatching, stippling and calligraphic lines.

Identify and use complex shapes.

Identify and use form in-the-round. Identify and demonstrate the illusion of complex form in a two-dimensional artwork.

Identify and create simulated textures from observation.


EP1E.IIa

EP1E.IIb

EP1F.IIa

EP1G.IIa

EP1G.IIb

EP2A.IIa

EP2B.IIa

EP2C.IIa

EP2D.IIa

EP2E.IIa

EP2F.IIa

PP1A.IIIa

PP1A.IIIb

Identify and use color theory including color intensity and split-complementary color scheme. Identify and use local color.

Identify and use a range of values to create the illusion of complex forms.

Identify and use positive and negative space in 3-dimensional work.Identify and use perspective techniques to create theillusion of space (2-point linear perspective,overlapping, change of size, detail, placement, value,contrast, color).

Use elements to create compositional balance.

Identify and use emphasis (focal point) through isolation and location.

Identify and vary elements in the same work to create contrast (different values and textures).

Identify and use elements to create progressive rhythm.

Identify and create unity through elements and principles.

Identify and use realistic figure proportions

HS Level III Create a range of 10 smoothly graduated values through varied pressure.


PP1A.IIIc

PP1A.IIId PP1A.IIIe

PP1B.IIIa

PP1B.IIIb

PP1B.IIIc

PP1C.IIIa

PP1D.IIIa

PP1D.IIIb PP1D.IIIc

PP2A.IIIa

PP2A.IIIb PP2A.IIIc

PP2A.IIId

PP3A.IIIa

Create a range of 7 graduated values using hatching, cross-hatching, and stippling techniques. Use hatching, cross hatching, and stippling to create texture. Use an eraser as a tool to create a range of values. Demonstrate proficiency using 4 drawing media (pencil, charcoal, conte, pastel, oil pastel, marker, pen and ink, colored pencils).

Select and use paint expressively (hard edge, soft edge, painterly brush strokes). Demonstrate the following watercolor techniques: masking, wet on wet, dry brush, glaze, transparent layering, scratch, resist, lifting. Mix watercolors to match observed hues.

Create expressive/symbolic art using art software.

Demonstrate one printmaking process that requires registering (reduction block, multiple block, serigraphy, etching). Create a titled, numbered, signed edition. Create related fiber arts.

Create a mixed media sculpture using a variety of processes and techniques.. Create a functional ceramic piece on the potter's wheel. Demonstrate production of a symmetrical form (cylinder, bowl, or cup). Demonstrate use of an alternative decorative finish (sgraffito, slip painting, incisina, Mishima).


PP3B.IIIa

PP3C.IIIa

EP1A.IIIa

EP1B.IIIa

EP1C.IIIa EP1C.IIIb

EP1D.IIIa

EP1E.IIIa

EP1F.IIIa

EP1G.IIIa

EP1G.IIIb

EP2A.IIIa EP2B.IIIa

Combine subject matter in original artworks to communicate ideas (figure and/or architecture in a landscape).

Create an original functional artwork that communicates a personal idea.

Create original artwork that communicates ideas through themes (national identity, spirituality, vision, progress, human condition, narrative).

Identify and use gesture lines and implied lines.

Identify and use implied shapes.

Identify and create complex form in-the-round. Identify and demonstrate the illusion of transparent and reflective forms in two-dimensional artwork.

Contrast textures within the same artwork.

Identify and use arbitrary color and symbolic color.

Identify and use a range of values to create the illusion of form through observation of transparent and reflective objects.

Design negative and positive space from all viewpoints in 3-dimensional work. From observation, identify and use appropriate perspective techniques to create the illusion of space.

Use balance to support the communication of an idea.


EP2C.IIIa

EP2D.IIIa

EP2E.IIIa

EP2F.IIIa

Use emphasis to support the communication of an idea.

Use contrast to support the communication of an idea.

Use rhythm to support the communication of an idea.

Use unity to support the communication of an idea.

Identify and use foreshortened figure proportions.


VA:Cr2.1.lla Through experimentation, practice and persistence, demonstrate acquisition of skills and knowledge in a chosen art form.

PP1A.IIa

PP1A.IIb PP1A.IIc PP1A.IId

PP1A.IIe PP1A.IIf

PP1A.IIg

PP1B.IIa PP1B.IIb

PP1B.IIc

PP1B.IId

HS Level II Create a range of 7 smoothly graduated values through varied pressure. Blend values/colors to create new values/colors. Combine a change in value/color with texture. Create a range of 4 graduated values using hatching, cross-hatching and stippling techniques. Use an eraser as a tool to change a value. Use blending tools such as stumps and tortillions to modify values Demonstrate proficiency using 3 drawing media (pencil, charcoal, conte, pastel, oil pastel, marker, pen and ink, colored pencils, scratchboard).

Mix tempera/acrylic paints to match observed hues. Demonstrate the following watercolor techniques: continuous wash, graduated wash. Apply watercolor to create simulated and invented textures. Select and use appropriate size and brush type (natural, synthetic, flat, round, bright, small-large sizes).


PP1C.IIa

PP1D.IIa

PP1D.IIb PP1D.IIc

PP2A.IIa PP2A.IIb

PP2A.IIc

EP1A.IIa

EP1B.IIa

EP1C.IIa EP1C.IIb

EP1D.IIa

EP1E.IIa

EP1E.IIb

EP1F.IIa

Create or modify an image using art software.

Demonstrate one printmaking process (monoprint, collagraph, stamp, reduction relief block, lithograph, etching, serigraph). Create an edition. Create an artwork combining different fiber arts materials (paper, yarn, string, wire, metal, reed, raffia, fabric, beads, shells, found material).

Create a sculpture using carving techniques. Create ceramics combining handbuilding processes, joining techniques and uniform thickness throughout product. Demonstrate consistent glaze application.

Identify and use hatching, cross hatching, stippling and calligraphic lines.

Identify and use complex shapes.

Identify and use form in-the-round. Identify and demonstrate the illusion of complex form in a two-dimensional artwork.

Identify and create simulated textures from observation.

Identify and use color theory including color intensity and split-complementary color scheme. Identify and use local color.

Identify and use a range of values to create the illusion of complex forms


EP1G.IIa

EP1G.IIb

EP2A.IIa

EP2B.IIa

EP2C.IIa

EP2D.IIa

EP2E.IIa

EP2F.IIa

PP1A.IIIa

PP1A.IIIb

PP1A.IIIc

PP1A.IIId

Identify and use positive and negative space in 3-dimensional work.Identify and use perspective techniques to create theillusion of space (2-point linear perspective,overlapping, change of size, detail, placement, value,contrast, color).

Use elements to create compositional balance.

Identify and use emphasis (focal point) through isolation and location.

Identify and vary elements in the same work to create contrast (different values and textures).

Identify and use elements to create progressive rhythm.

Identify and create unity through elements and principles.

Identify and use realistic figure proportions

HS Level III Create a range of 10 smoothly graduated values through varied pressure. Create a range of 7 graduated values using hatching, cross-hatching, and stippling techniques. Use hatching, cross hatching, and stippling to create texture. Use an eraser as a tool to create a range of values.


PP1A.IIIe

PP1B.IIIa

PP1B.IIIb

PP1B.IIIc

PP1C.IIIa

PP1D.IIIa

PP1D.IIIb PP1D.IIIc

PP2A.IIIa

PP2A.IIIb

PP2A.IIIc

PP2A.IIId

PP3A.IIIa

Demonstrate proficiency using 4 drawing media (pencil, charcoal, conte, pastel, oil pastel, marker, pen and ink, colored pencils).

Select and use paint expressively (hard edge, soft edge, painterly brush strokes). Demonstrate the following watercolor techniques: masking, wet on wet, dry brush, glaze, transparent layering, scratch, resist, lifting. Mix watercolors to match observed hues.

Create expressive/symbolic art using art software.

Demonstrate one printmaking process that requires registering (reduction block, multiple block, serigraphy, etching). Create a titled, numbered, signed edition. Create related fiber arts.

Create a mixed media sculpture using a variety of processes and techniques.. Create a functional ceramic piece on the potter's wheel.

Demonstrate production of a symmetrical form (cylinder, bowl, or cup). Demonstrate use of an alternative decorative finish (sgraffito, slip painting, incisina, Mishima).

Combine subject matter in original artworks to communicate ideas (figure and/or architecture in a landscape).


PP3B.IIIa

PP3C.IIIa

EP1A.IIIa

EP1B.IIIa

EP1C.IIIa EP1C.IIIa

EP1D.IIIa

EP1E.IIIa

EP1F.IIIa

EP1G.IIIa

EP1G.IIIb

EP2A.IIIa

EP2B.IIIa

EP2C.IIIa

Create an original functional artwork that communicates a personal idea. Create original artwork that communicates ideas through themes (national identity, spirituality, vision, progress, human condition, narrative).

Identify and use gesture lines and implied lines.

Identify and use implied shapes.

Identify and create complex form in-the-round. Identify and demonstrate the illusion of transparent and reflective forms in two-dimensional artwork.

Contrast textures within the same artwork.

Identify and use arbitrary color and symbolic color.

Identify and use a range of values to create the illusion of form through observation of transparent and reflective objects.

Design negative and positive space from all viewpoints in 3-dimensional work. From observation, identify and use appropriate perspective techniques to create the illusion of space.

Use balance to support the communication of an idea.

Use emphasis to support the communication of an idea.

Use contrast to support the communication of an idea.


EP2D.IIIa

EP2E.IIIa

EP2F.IIIa

Use rhythm to support the communication of an idea.

Use unity to support the communication of an idea.

Identify and use foreshortened figure proportions.

VA:Cr2.2.lla Demonstrate awareness of ethical implications of making and distributing creative work. AP1A.IIa

IC2A.IIa

AP1A.IIIa

IC2A.IIIa

HS Level II Discuss how perceptions in art reflect community and/or culture beliefs and values.


HS Level III Discuss how people from different groups might respond to artworks that express themes (national identity, spirituality, vision, progress, and human condition).


VA:Cr2.3.lla Redesign an object, system, place, or design in response to contemporary issues.


HS Level III *Not addressed


VA:Cr3.1.lla Engage in constructive critique with peers, then reflect HS Level II


on, re-engage, revise, and refine works of art and design in response to personal artistic vision.

*Not addressed



VA:Pr4.1.lla Analyze, select, and critique personal artwork for a collection or portfolio presentation.




VA:Pr5.1.lla Evaluate, select and apply methods or processes appropriate to display artwork in a specific place.




VA:Pr6.1.lla Make, explain, and justify connections between artists or artwork and social, cultural, and political history. IC1A.IIa

HS Level II Connect the characteristics of art and music created in the same culture or time period (Harlem Renaissance and jazz, Native American art and music, Asian art and music, Latino art and music).


IC2A.IIa

HC1A.IIa

HC1B.IIa HC1B.IIb HC1B.IIc HC1B.IId HC1B.IIe HC1B.IIf HC1B.IIg

HC1B.IIh

HC1B.IIi

IC1A.IIIa

IC2A.IIIa

HC1A.IIIa

Explain how historical events and social ideas are reflected in artworks from selected cultures or historical time periods

Identify works of art from Cubism, American Regionalism, Abstract Expressionism, Native Americans, Latino, Asia.


HS Level III Use theatre techniques to present information in art (voice, stage presence, props, video, script-writing, set).


Identify works of art from German Expressionism, Surrealism, Photorealism, Post Modern.


HC1B.IIIa HC1B.IIIb HC1B.IIIc HC1B.IIId HC1B.IIIe HC1B.IIIf HC1B.IIIg

HC1B.IIIh

HC1B.IIIi

Compare and contrast 2 artworks on time. Compare and contrast 2 artworks on place. Compare and contrast 2 artworks on artist. Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on characteristics. Compare and contrast 2 artworks on materials/technology. Compare and contrast 2 artworks on ideas and beliefs of culture. Compare and contrast 2 artworks on the function of art in culture/society


VA:Re7.1.lla

Recognize and describe personal aesthetic and empathic responses to the natural world and constructed environments.

AP1A.IIa

AP1A.IIb

AP1A.IIIa

HS Level II Discuss how perceptions in art reflect community and/or culture beliefs and values. Compare how responses to works of art differ based on whether the viewer is a member of the culture in which the art was created.


VA:Re7.2.lla

Evaluate the effectiveness of an image or images to influence ideas, feelings and behaviors of specific audiences.

AP1A.IIa HS Level II Discuss how perceptions in art reflect community and/or culture beliefs and values.


AP1A.IIb

AP2A.IIa AP2A.IIb

AP2A.IIc

AP2A.IId

AP1A.IIIa

AP2A.IIIa

AP2A.IIIb

Compare how responses to works of art differ based on whether the viewer is a member of the culture in which the art was created.

Compare and contrast two artworks: describe artworks. Compare and contrast two artworks: analyze the use of elements and principles in the work. Compare and contrast two artworks: Interpret the meaning of the work (subject, theme, symbolism message communicated). Compare and contrast Judge the work from various perspectives: Showing a real or idealized image of life (Imitationalism). Expressive feelings (Emotionalism/expressionism). Emphasis on elements and principles Formalism). Serving a purpose in the society or culture (Functionalism)


Compare and contrast student artwork with professional artworks or masterpieces: Describe artwork. Compare and contrast student artwork with professional artworks or masterpieces: Analyze the use of elements and principles in the work.


AP2A.IIIc

AP2A.IIId

Compare and contrast student artwork with professional artworks or masterpieces: Interpret the meaning of the work (subject, theme, symbolism, message communicated.). Compare and contrast student artwork with professional artworks or masterpieces: Judge the work from various perspectives: Showing a real or idealized image of life (Imitationalism). Expressive feelings (Emotionalism/expressionism). Emphasis on elements and principles Formalism). Serving a purpose in the society or culture (Functionalism).


VA:Re8.1.lla

Identify types of contextual information useful in the process of constructing interpretations of an artwork or collection of works.

PP3C.IIa

IC1A.IIa

IC2A.IIa

HS Level II Create original artwork that communicates ideas through the following themes (cultural identity, social commentary, ceremony/ritual, myth/legend, reflection/transparency).

Connect the characteristics of art and music created in the same culture or time period (Harlem Renaissance and jazz, Native American art and music, Asian art and music, Latino art and music).



HC1A.IIa

PP3C.IIIa

IC1A.IIIa

IC2A.IIIa

HC1A.IIIa

Identify works of art from Cubism, American Regionalism,Abstract Expressionism, Native Americans, Latino, Asia.

HS Level III Create original artwork that communicates ideas through themes (national identity, spirituality, vision, progress, human condition, narrative).

Use theatre techniques to present information in art (voice, stage presence, props, video, script-writing, set).




VA:Re9.1.lla

Determine the relevance of criteria used by others to evaluate a work of art or collection of works. AP1A.IIa

AP1A.IIb

HC1B.IIa HC1B.IIb HC1B.IIc HC1B.IId HC1B.IIe HC1B.II f

HS Level II Discuss how perceptions in art reflect community and/or culture beliefs and values. Compare how responses to works of art differ based on whether the viewer is a member of the culture in which the art was created.

Compare and contrast 2 artworks on time. Compare and contrast 2 artworks on place. Compare and contrast 2 artworks on artist. Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on characteristics.


HC1B.IIg

HC1B.IIh

HC1B.IIi

AP1A.IIIa


HC1B.IIIh

HC1B.IIIi

Compare and contrast 2 artworks on materials/technology. Compare and contrast 2 artworks on ideas and beliefs of culture. Compare and contrast 2 artworks on the function of art in culture/society.




VA:Cn10.1.lla

Utilize inquiry methods of observation, research, and experimentation to explore unfamiliar subjects through artmaking.

AP1A.IIa HS Level II Discuss how perceptions in art reflect community and/or culture beliefs and values.


AP1A.IIb

AP2A.IIa AP2A.IIb

AP2A.IIc

AP2A.IId

AP1A.IIIa

AP2A.IIIa

AP2A.IIIb

Compare how responses to works of art differ based on whether the viewer is amember of the culture in which the art was created.

Compare and contrast two artworks: describe artworks. Compare and contrast two artworks: analyze the use of elements and principles in the work. Compare and contrast two artworks: Interpret the meaning of the work (subject, theme, symbolism message communicated). Compare and contrast two artworks: Judge the work from various perspectives: Showing a real or idealized image of life (Imitationalism). Expressive feelings (Emotionalism/expressionism). Emphasis on elements and principles Formalism). Serving a purpose in the society or culture (Functionalism)


Compare and contrast student artwork with professional artworks or masterpieces: Describe artwork. Compare and contrast student artwork with professional artworks or masterpieces: Analyze the use of elements and principles in the work.


AP2A.IIIc

AP2A.IIId

Compare and contrast student artwork with professional artworks or masterpieces: Interpret the meaning of the work (subject, theme, symbolism, message communicated.). Compare and contrast student artwork with professional artworks or masterpieces: Judge the work from various perspectives: Showing a real or idealized image of life (Imitationalism). Expressive feelings (Emotionalism/expressionism). Emphasis on elements and principles Formalism). Serving a purpose in the society or culture (Functionalism).


VA:Cn11.1.lla

Compare uses of art in a variety of societal, cultural and historical contexts and make connections to uses of art in contemporary and local contexts.

IC1A.IIa

IC2A.IIa

HC1A.IIa

HC1B.IIa HC1B.IIb HC1B.IIc HC1B.IId HC1B.IIe HC1B.IIf

HS Level II Connect the characteristics of art and music created in the same culture or time period (Harlem Renaissance and jazz, Native American art and music, Asian art and music, Latino art and music).


Identify works of art from Cubism, American Regionalism, Native Americans, Latino, Asia.

Compare and contrast 2 artworks on time. Compare and contrast 2 artworks on place. Compare and contrast 2 artworks on artist. Compare and contrast 2 artworks on subject matter. Compare and contrast 2 artworks on theme. Compare and contrast 2 artworks on characteristics.


HC1B.IIg

HC1B.IIh

HC1B.IIi

IC1A.IIIa

IC2A.IIIa

HC1A.IIIa


HC1B.IIIh

HC1B.IIIi

Compare and contrast 2 artworks on materials/technology. Compare and contrast 2 artworks on ideas and beliefs of culture. Compare and contrast 2 artworks on the function of art in culture/society.

HS Level III Use theatre techniques to present information in art (voice, stage presence, props, video, script-writing, set).





HIGH SCHOOL Advanced VISUAL ART







VA: Cr1.1.IIIa

Visualize and hypothesize to generate plans for ideas and directions for creating art and design that can affect social change.

IC2A.IVa Explain how contemporary events and social ideas are reflected in student artworks.

VA: Cr1.2.IIIa

Choose from a range of materials and methods of traditional and contemporary artistic practices, following or breaking established conventions, to plan the making of multiple works of art and design based on a theme, idea, or concept.

PP3A.IVa

PP3B.IVa

PP3C.IVa

PP3C.IVb

Select subject matter to communicate personal ideas through a series of original, related works.

Create a series of original, related, functional artworks that communicates a personal idea.

Develop a theme through a series of original artworks that communicates personal ideas and addresses complex visual and/or conceptual ideas. Develop a theme through a series of original artworks that communicates personal ideas and shows imaginative, inventive approach, experimentation, risk taking, sensitivity and/or subtlety.


VA: Cr2.1.IIIa

Experiment, plan, and make multiple works of art and design that explore a personally meaningful theme, idea, or concept.

PP3A.IVa

PP3B.IVa


Create a series of original, related, functional artworks


PP3C.IVa

PP3C.IVb

EP1A.IVa

EP1B.IVa

EP1C.IVa

EP1D.IVa

EP1E.IVa

EP1F.IVa

EP1G.IVa

EP2A.IVa

EP2B.IVa

EP2C.IVa

EP2D.IVa

EP2E.IVa

that communicates a personal idea.


Use line expressively to communicate ideas.

Use shapes expressively to communicate ideas.

Use forms expressively to communicate ideas.

Use textures expressively to communicate ideas.

Use color expressively to communicate ideas.

Use value expressively to communicate ideas.

Use space expressively to communicate ideas.

Use balance expressively.

Use emphasis expressively.

Use contrast expressively.

Use rhythm expressively.

Use unity to support the personal expression of an idea.


EP2F.IVa Use facial and/or figure proportions expressively.

VA: Cr2.2.IIIa

Demonstrate understanding of the importance of balancing freedom and responsibility in the use of images, materials, tools, and equipment in the creation and circulation of creative work.

*Not addressed

VA: Cr2.3.IIIa

Demonstrate in works of art or design how visual and material culture defines, shapes, enhances, inhibits, and/or empowers people's lives.

*Not addressed


VA: Cr3.1.IIIa

Reflect on, rearrange, revise, and refine works of art or design considering relevant traditional and contemporary criteria as well as personal artistic vision.

AP2A.IVa

AP2A.IVb AP2A.IVc AP2A.IVd

AP2A.IVe

Use the following process with a body of work (portfolio): Describe the artwork. Analyze the use of elements and principles in the work. Interpret the meaning of the work (subject, theme, symbolism, message communicated.) Showing a real or idealized image of life (Imitationalism); Expressing feelings (Emotionalism/expressionism); Emphasis on elements and principles (Formalism).Serving a purpose in the society or culture (Functionalism)


VA: Pr4.1.IIIa

Critique, justify, and present choices in the process of analyzing, selecting, curating, and presenting artwork for a specific exhibit or event.

*Not addressed



VA: Pr5.1.IIIa

Investigate, compare, and contrast methods for preserving and protecting art.

*Not addressed


VA: Pr6.1.IIIa

Curate a collection of objects, artifacts, or artwork to impact the viewer’s understanding of social, cultural, and/or political experiences.

*Not addressed


VA: Re7.1.IIIa

Analyze how responses to art develop over time based on knowledge of and experience with art and life..

PP3A.IVa

PP3B.IVa

PP3C.IVa

PP3C.IVb

AP1A.IVa

AP1A.IVb




Discuss the evolution of personal beliefs about the nature of art. Discuss how personal and cultural beliefs influence the interpretation of the meaning, message, or value of a work of art.


VA: Re7.2.IIIa

Determine the commonalities within a group of artists or visual images attributed to a particular type of art, timeframe, or culture.

HC1B.IVa

HC1B.IVb

Describe the evolution of an artist's body of work over time. Explain an artist's place in historical context.


VA: Re8.1.IIIa

Analyze differing interpretations of an artwork or collection of works in order to select and defend a plausible critical analysis.

AP1A.IVa

AP1A.IVb

AP2A.IVa

AP2A.IVb

AP2A.IVc

AP2A.IVd

AP2A.IVe

AP2A.IVf

Discuss the evolution of personal beliefs about the nature of art. Discuss how personal and cultural beliefs influence the interpretation of the meaning, message, or value of a work of art.

Use the following process with a body of work (portfolio): Describe the artwork. Use the following process with a body of work (portfolio): Analyze the use of elements and principles in the work. Use the following process with a body of work (portfolio): Interpret the meaning of the work (subject, theme, symbolism, message communicated.). Use the following process with a body of work (portfolio): Judge the work from various perspectives: Showing a real or idealized image of life (Imitationalism). Use the following process with a body of work (portfolio): Judge the work from various perspectives: Expressive feelings (Emotionalism/expressionism). Use the following process with a body of work (portfolio): Judge the work from various perspectives: Emphasis on elements and principles (Formalism). Use the following process with a body of work (portfolio): Judge the work from various perspectives:


AP2A.IVg Serving a purpose in the society or culture (Functionalism)


VA: Re9.1.IIIa

Construct evaluations of a work of art or collection of works based on differing sets of criteria.

AP2A.IVa

AP2A.IVb

AP2A.IVc

AP2A.IVd

AP2A.IVe

AP2A.IVf

AP2A.IVg

Use the following process with a body of work (portfolio): Describe the artwork. Use the following process with a body of work (portfolio): Analyze the use of elements and principles in the work. Use the following process with a body of work (portfolio): Interpret the meaning of the work (subject, theme, symbolism, message communicated.). Use the following process with a body of work (portfolio): Judge the work from various perspectives: Showing a real or idealized image of life (Imitationalism). Use the following process with a body of work (portfolio): Judge the work from various perspectives: Expressive feelings (Emotionalism/expressionism). Use the following process with a body of work (portfolio): Judge the work from various perspectives: Emphasis on elements and principles (Formalism). Use the following process with a body of work (portfolio): Judge the work from various perspectives: Serving a purpose in the society or culture (Functionalism)



VA: Cn10.1.IIIa

Synthesize knowledge of social, cultural, historical, and personal life with art-making approaches to create meaningful works of art or design.

PP1A.IVabc PP1B.IVabc PP1C.IVabc PP1D.IVabc

PP2A.IVabc

PP3A.IVa

PP3B.IVa

PP3C.IVa

PP3C.IVb

Select and apply art making techniques (drawing media, painting, digital/computer, printmaking, and/or fiber) that demonstrate:

● sensitivity and subtlety in use of media.● engagement with experimentation and/or risk

taking.● informed decision-making.

Select and apply sculpture media and/or ceramics techniques that demonstrate:

● sensitivity and subtlety in use of media.● engagement with experimentation and/or risk

taking.● informed decision-making






VA: Cn11.1.IIIa

Appraise the impact of an artist or a group of artists on the beliefs, values, and behaviors of a society.

IC2A.IVa

HC1A.IVa

HC1B.IVa

HC1B.IVb

Explain how contemporary events and social ideas are reflected in student artworks.

Select and research periods/movements of art that align with portfolio development.

Describe the evolution of an artist's body of work over time. Explain an artist's place in historical context.

Missouri Grade Level Expectations: VISUAL ART (Adopted 2010, transitioning out.)

FOR CROSSWALK REFERENCE ONLY

Strand Big Idea

Concept Grade GLE_Code GLE_Description

PP 1 A K a Produce a line using crayon, pencil, or marker

PP 1 A 1 a Fill an area with solid color/value using crayon, pencil, or marker

PP 1 A 2 a Change pressure to create two values using crayon or pencil

PP 1 A 3 a Layer two or more colors using crayon, colored pencil, or oil pastel

PP 1 A 4 a Create light, medium, and dark values using pencil

PP 1 A 5 a Create texture or surface quality using any drawing media

PP 1 A 6 a Use pencil or marker to draw a continuous line that describes an object from observation


PP 1 A 7 a Use a variety of media such as pencil, pastels, color sticks, and/or markers to create simulated/implied texture

PP 1 A 8 a Create even, continuous, and graduated tones using pencil or colored pencil

PP 1 A HS Level 1 a Create smooth, continuous value through even pressure

PP 1 A HS Level 1 b Create a range of 4 smoothly graduated values through varied pressure

PP 1 A HS Level 1 c Define edge through variations in pressure or angle

PP 1 A HS Level 1 d Use media in various ways to create simulated and invented textures

PP 1 A HS Level 1 e Use a ruler to create parallel, perpendicular, and converging lines

PP 1 A HS Level 1 f Demonstrate proficiency using a single drawing media

PP 1 A HS Level 2 a Create a range of 7 smoothly graduated values through varied pressure

PP 1 A HS Level 2 b Blend values/colors to create new values/colors

PP 1 A HS Level 2 c Combine a change in value/color with texture

PP 1 A HS Level 2 d Create a range of 4 graduated values using hatching, crosshatching, and stippling techniques

PP 1 A HS Level 2 e Use an eraser as a tool to change a value

PP 1 A HS Level 2 f Use blending tools such as stumps and tortillons to modify values

PP 1 A HS Level 2 g Demonstrate proficiency using 3 drawing media (e.g., pencil, charcoal, conte, pastel, oil pastel, marker, pen and ink, colored pencils, scratchboard)

PP 1 A HS Level 3 a Create a range of 10 smoothly graduated values through varied pressure

PP 1 A HS Level 3 b Create a range of 7 graduated values using hatching, crosshatching, and stippling techniques

PP 1 A HS Level 3 c Use hatching, crosshatching, and stippling to create texture

PP 1 A HS Level 3 d Use an eraser as a tool to create a range of values


PP 1 A HS Level 3 e Demonstrate proficiency using 4 drawing media (e.g., pencil, charcoal, conte, pastel, oil pastel, marker, pen and ink, colored pencils)

PP 1 A HS Level 4 a Select and apply drawing media and techniques that demonstrate: · sensitivity and subtlety in use of media, ·engagement with experimentation and/or risk taking,

PP 1 B K a Not assessed at this level

PP 1 B 1 a Apply paint with a dragging, not pushing motion

PP 1 B 2 a Paint lines with control of the brush

PP 1 B 2 b Clean paint brush before changing colors

PP 1 B 2 c Mix two colors to create a third color

PP 1 B 3 a Apply paint in even strokes to create a watercolor/thinned tempera wash.

PP 1 B 3 b Paint lines and fill in shapes with even color using tempera

PP 1 B 4 a Apply watercolor paint to wet areas to blend color (wet-on-wet technique)

PP 1 B 4 b Using tempera paints, add color to white to create a tint

PP 1 B 4 c Using tempera paints, add black to a color create a shade

PP 1 B 5 a Mix a variety of hues to create new colors

PP 1 B 5 b Apply layers of watercolor paint from lightest to darkest colors

PP 1 B 5 c Using tempera paints, produce a sharp, clear edge between areas of colors

PP 1 B 6 a Using opaque paint, overlap brush strokes to create a smooth and even area of color

PP 1 B 7 a Use a variety of brush strokes to create various textures

PP 1 B 8 a Create a variety of colors, tints, and shades by mixing pigments

PP 1 B HS Level 1 a Mix tempera/acrylic paints to create different hues


PP 1 B HS Level 1 b Mix tempera/acrylic paints to create a range of 4 values and levels of intensity

PP 1 B HS Level 1 c Apply paint to create a solid area of color with no visible brushstrokes, change in value or intensity

PP 1 B HS Level 1 d Blend one color/value smoothly into another

PP 1 B HS Level 1 e Demonstrate proper use and cleaning of brushes and palettes

PP 1 B HS Level 1 f Use brushes of various sizes/types

PP 1 B HS Level 2 a Mix tempera/acrylic paints to match observed hues

PP 1 B HS Level 2 b Demonstrate the following watercolor techniques: continuous wash, graduated wash

PP 1 B HS Level 2 c Apply watercolor to create simulated and invented textures

PP 1 B HS Level 2 d Select and use appropriate size and brush type (e.g., natural, synthetic, flat, round, bright, small-large sizes)

PP 1 B HS Level 3 a Select and use paint expressively (hard edge, soft edge, painterly brush strokes)

PP 1 B HS Level 3 b Demonstrate the following watercolor techniques: masking, wet on wet, dry brush, glaze, transparent layering, scratch, resist, lifting

PP 1 B HS Level 3 c Mix watercolors to match observed hues

PP 1 B HS Level 4 a Select and apply painting media and techniques that demonstrate: · sensitivity and subtlety in use of media, · engagement with experimentation and/or risk taking, informed decision-making

PP 1 C K a Not assessed at this level

PP 1 C 1 a Not assessed at this level






PP 1 C 6 a Create different types of lines using general software

PP 1 C 7 a Create different types of shapes using general software

PP 1 C 8 a Create a composition of lines and shapes using general software

PP 1 C 6 b General software refers to a program like Microsoft Word, which has paint tools

PP 1 C HS Level 1 a Create or modify an image using general software

PP 1 C HS Level 1 b General software refers to a program like Microsoft Word, which has paint tools

PP 1 C HS Level 2 a Create or modify an image using art software

PP 1 C HS Level 2 b Art software refers to a program such as Adobe Photoshop

PP 1 C HS Level 3 a Create expressive/symbolic art using art software

PP 1 C HS Level 3 b Art software refers to a program such as Adobe Photoshop

PP 1 C HS Level 4 a Select and apply digital/computer media that demonstrate · sensitivity and subtlety in use of media, · engagement with experimentation and/or risk taking, · informed decision-making, *Art software refers to a program such as Adobe Photoshop

PP 1 D K a Demonstrate a simple printmaking technique (e.g., stamping, thumb or hand prints, objects)

PP 1 D 1 a Demonstrate a monoprint process

PP 1 D 2 a Create a paper weaving using plain weave (over one, under one, alternating rows)

PP 1 D 3 a Demonstrate an additive process (e.g., string, cardboard, glue, found objects)

PP 1 D 4 a Create a fiber weaving using a simple loom (e.g., cardboard, straws, paper plate)

PP 1 D 5 a Demonstrate a subtractive printmaking process (e.g., Styrofoam, linoleum, wood, eraser) to produce multiple images

PP 1 D 6 a Demonstrate a printmaking process (e.g., monoprint, collagraph, string print)


PP 1 D 6 b Manipulate fibers (e.g., threading needles, typing simple knots, sewing, wrapping, weaving, beading)

PP 1 D 7 a Demonstrate a type of relief block printmaking

PP 1 D 7 b Demonstrate the process used in one type of fiber arts (e.g., weaving, jewelry-making, knotting, paper-making, batik, quilt, appliqué, book arts)

PP 1 D 8 a Demonstrate a printmaking process using a variety of ink colors

PP 1 D 8 b Create a simple fiber artwork (e.g., weaving, jewelry-making, knotting, paper-making, batik. quilt, appliqué, book arts)

PP 1 D HS Level 1 a Demonstrate a relief block printmaking process

PP 1 D HS Level 1 b Create an artwork using a fiber arts process (e.g., weaving, paper-making, book arts, quilting, appliqué, basketry, knotting, batik).

PP 1 D HS Level 2 a Demonstrate one printmaking process (e.g., monoprint, collagraph, stamp, reduction relief block, lithograph, etching, serigraph

PP 1 D HS Level 2 b Create an edition

PP 1 D HS Level 2 c Create an artwork combining different fiber arts materials (e.g., paper, yarn, string, wire, metal, reed, raffia, fabric, beads, shells, found material)

PP 1 D HS Level 3 a Demonstrate one printmaking process that require registering (e.g., reduction block, multiple block, serigraphy, etching)

PP 1 D HS Level 3 b Create a titled, numbered, signed edition

PP 1 D HS Level 3 c Create related fiber arts

PP 1 D HS Level 4 a Select and apply printmaking media and techniques that demonstrate: · sensitivity and subtlety in use of media, · engagement with experimentation and/or risk taking, · informed decision-making

PP 1 D HS Level 4 b Select and apply fiber media and techniques that demonstrate: · sensitivity and subtlety in use of media, · engagement with experimentation and/or risk taking, · informed decision-making

PP 2 A K a Uses scissors with control


PP 2 A K b Modeling with clay or a similar material: Create a sphere

PP 2 A 1 a Use glue with control

PP 2 A 1 b Fold paper and identify folded edge

PP 2 A 1 c Modeling with clay or a similar material: Pinch, pull, and roll material

PP 2 A 2 a Manipulate paper to create low relief (e.g., curling, folding, tearing, and cutting)

PP 2 A 2 b Modeling with clay or a similar material: Roll coils: flatten material into a slab

PP 2 A 3 a Manipulate paper to create forms (in-the- round)

PP 2 A 3 b Cut a symmetrical shape from a folded piece of paper

PP 2 A 3 c Modeling with clay or a similar material: Create applied and impressed textures

PP 2 A 4 a Build or layer materials to create a relief

PP 2 A 4 b Apply a variety of paper folding techniques

PP 2 A 4 c Modeling with clay or a similar material; Make organic forms

PP 2 A 5 a Combine simple forms to create a complex object/form (in-the-round)

PP 2 A 5 b Use paper joining techniques such as tabs and slits

PP 2 A 5 c Modeling with clay or a similar material: Build a form using a coil techniques

PP 2 A 6 a Create a relief artwork by joining two or more surfaces (e.g., natural or manufactured clays, paper pulp, cardboard, found materials)

PP 2 A 7 a Create an in-the-round artwork by joining two or more surfaces using a layering material (e.g., papier mache, paper, plastercraft, cardboard, fibers)

PP 2 A 8 a Create a three-dimensional artwork using carving techniques. Possible media choices could include, but are not limited to: clay, wax, soap, plaster, wood, Styrofoam, commercially-produced carving blocks


PP 2 A 8 b Modeling with clay or a similar material: Create a three-dimensional artwork demonstrating appropriate joining

PP 2 A HS Level 1 a Create a sculpture by layering and adhering material or objects (e.g., natural or manufactured clays, paper, board, plastercraft, papier mache, assemblage)

PP 2 A HS Level 1 b Create ceramics using a hand-building process (e.g., pinch, coil, slab); joining techniques, and a uniform thickness

PP 2 A HS Level 2 a Create a sculpture using carving techniques. Possible media choices could include, but are not limited to: clay, wax, soap, plaster, Styrofoam, commercially-produced carving blocks)

PP 2 A HS Level 2 b Create ceramics combining hand-building processes (e.g., pinch, coil, and/or slab), joining techniques and uniform thickness throughout product

PP 2 A HS Level 2 c Demonstrate consistent glaze application

PP 2 A HS Level 3 a Create a mixed media sculpture using a variety of processes and techniques

PP 2 A HS Level 3 b Create a functional ceramic piece on the potter’s wheel

PP 2 A HS Level 3 c Demonstrate production of a symmetrical form (e.g., cylinder, bowl, or cup)

PP 2 A HS Level 3 d Demonstrate use of an alternative decorative finish (e.g., sgraffito, slip painting, incising, or Mishima)

PP 2 A HS Level 4 a Select and apply sculpture media and techniques that demonstrate: · sensitivity and subtlety in use of media, · engagement with experimentation and/or risk taking, · informed decision-making

PP 2 A HS Level 4 b Select and apply ceramics media (e.g., clay body, decorative finish) and techniques that demonstrate: · sensitivity and subtlety in use of media, · engagement with experimentation and/or risk taking, informed decision-making

PP 3 A K a Portrait: Create an original picture of self or other person

PP 3 A K b Landscape: Create a picture showing outside

PP 3 A K c Non-Objective: Create a design using lines

PP 3 A 1 a Portrait: Create an original artwork showing family members


PP 3 A 1 b Still Life: Create a still life with one object (e.g., toy, food, game, sports equipment, backpack, lunchbox)

PP 3 A 2 a Still Life: Create an original still life from observation

PP 3 A 2 b Landscape: Create an original landscape

PP 3 A 3 a Figure: Create an original artwork of a figure in an action pose

PP 3 A 3 b Landscape: Create an original cityscape

PP 3 A 3 c Non-Objective: Create an original artwork using line, shape and color

PP 3 A 4 a Portrait: Create facial features in correct proportion

PP 3 A 4 b Exaggerate, distort, or simplify features to create an abstract portrait

PP 3 A 4 c Still Life: Exaggerate, distort, or simplify observed objects to create an abstract still life

PP 3 A 4 d Landscape: Create an original seascape

PP 3 A 5 a Portrait: Create a portrait from observation

PP 3 A 5 b Still Life: Create a still life from observation that shows the illusion of form

PP 3 A 5 c Landscape: Create an original outdoor scene to show the illusion of space

PP 3 A 6 a Create original artwork using the following subjects: · realistic portrait, abstract portrait

PP 3 A 7 a Create original artwork using the following subjects: · human figure, still life from observation

PP 3 A 8 a Create original artwork using the following subject: · realistic landscape, · abstract landscape

PP 3 A HS Level 1 a Create original artworks using the following as subject matter: portrait, still life, landscape, non-objective, architecture.

PP 3 A HS Level 2 a Communicate ideas through the creation of a: portrait, still life, landscape, non-objective, architecture

PP 3 A HS Level 3 a Combine subject matter in original artworks to communicate ideas (e.g., figure and/or architecture in a landscape)


PP 3 A HS Level 4 a Select subject matter to communicate personal ideas through a series of original, related works

PP 3 B K a Not assessed at this level

PP 3 B 1 a Design wearable art (e.g., masks, jewelry, paper hats, decorating tee shirts, costumes, face painting)

PP 3 B 2 a Design a building that serves a function in the community and includes building parts (e.g., roof, walls, door, windows, surface material)

PP 3 B 3 a Create a container (e.g., paper box, clay pot, fiber basket)

PP 3 B 4 a Create an example of graphic art (e.g., poster, illustration, advertisement, greeting card)

PP 3 B 5 a Create an original building based upon elements of architectural styles (e.g., type of roof, dome, column, arch, windows, porches, tower, stairs, ramp)

PP 3 B 6 a Illustrate text

PP 3 B 7 a Not assessed at this grade level

PP 3 B 8 a Create an original functional object

PP 3 B HS Level 1 a Create a functional artwork based upon a cultural example

PP 3 B HS Level 2 a Create an original functional artwork that expresses a culture

PP 3 B HS Level 3 a Create an original functional artwork that communicates a personal idea

PP 3 B HS Level 4 a Create a series of original, related, functional artworks that communicates a personal idea

PP 3 C K a Create original artwork that communicates ideas about the following themes: · People (e.g., self, family, friends), · Indoors (e.g., classroom, kitchen, bedroom), Outdoors (e.g., seasons, nature)

PP 3 C 1 a Create original artwork that communicates ideas about the following themes: · People (e.g., self, family, friends), · Animals (e.g., pets, farm, zoo, wild), · Things (e.g., toys, tools, food)

PP 3 C 2 a Create an original artwork that communicates ideas about the following themes: · Nature, Places (e.g., school, home, stores, neighborhood, countryside)


PP 3 C 3 a Create an original artwork that communicates ideas about the following themes: · Community, Group identity (e.g., family, classroom, groups, scouts, sports teams)

PP 3 C 4 a Create an original artwork that communicates ideas about the following themes: · Missouri, · The Environment, Time (e.g., past, present, future)

PP 3 C 5 a Create an original artwork that communicates ideas about the following themes: · United States, · Patriotism, · World, Time (e.g., past, present, future)

PP 3 C 6 a Create an original artwork that communicates ideas about the following themes: · Functions of Art in Culture (e.g., celebrate rites of passage, teach history and/or religion, decorate useful objects), personal Identity

PP 3 C 7 a Create an original artwork that communicates ideas about the following themes: Group Identity, Nature

PP 3 C 8 a Create an original artwork that communicates ideas about the following themes: · Environment, Time (e.g., past, present, future)

PP 3 C HS Level 1 a Create original artwork that communicates ideas through themes (e.g., identity, power, time, nature, illusion)

PP 3 C HS Level 2 a Create an original artwork that communicates ideas through the following themes (e.g., cultural identity, social commentary, ceremony/ritual, myth/legend, reflection/transparency)

PP 3 C HS Level 3 a Create original artwork that communicates ideas through themes (e.g., national identity, spirituality, vision, progress, human condition, narrative)

PP 3 C HS Level 4 a Develop a theme through a series of original artworks that communicates personal ideas · Addresses complex visual and/or conceptual ideas, Shows imaginative, inventive approach, experimentation, risk taking, sensitivity and/or subtlety

EP 1 A K a Identify and use lines

EP 1 A 1 a Identify and use straight, curved, thick, and thin lines

EP 1 A 2 a Identify and use zigzag, dotted, and wavy lines

EP 1 A 3 a Identify and use horizontal, vertical, and diagonal lines

EP 1 A 4 a Identify and use outlines


EP 1 A 5 a Identify and use contour lines

EP 1 A 6 a Identify and use converging lines

EP 1 A 6 b Identify and use contour lines to define a complex object

EP 1 A 7 a Identify and use rhythmic lines

EP 1 A 8 a Identify and use varied line quality

EP 1 A HS Level 1 a Identify and use weighted contour, parallel, and perpendicular lines

EP 1 A HS Level 2 a Identify and use hatching, crosshatching, stippling, and calligraphic lines

EP 1 A HS Level 3 a Identify and use gesture lines and implied lines

EP 1 A HS Level 4 a Use line expressively to communicate ideas

EP 1 B K a Identify and use shapes

EP 1 B K b Categorize shapes as large and small

EP 1 B 1 a Identify and use triangle, circle, square, rectangle and oval shapes

EP 1 B 1 b Categorize shapes as small, medium, and large

EP 1 B 2 a Identify and use geometric shapes

EP 1 B 3 a Differentiate between shapes and forms

EP 1 B 4 a Identify and use organic (freeform) shapes

EP 1 B 5 a Identify and use symbolic shapes

EP 1 B 6 a Identify and use complex shapes such as people, animals, vehicles

EP 1 B 7 a Identify and use rhythmic shapes

EP 1 B 8 a Identify and use varied shapes


EP 1 B HS Level 1 a Differentiate between and use geometric and organic (freeform) shapes

EP 1 B HS Level 2 a Identify and use complex shapes

EP 1 B HS Level 3 a Identify and use implied shapes

EP 1 B HS Level 4 a Use shapes expressively to communicate ideas

EP 1 C K a Not assessed at this level

EP 1 C 1 a Identify and use form

EP 1 C 2 a Identify and use geometric forms: sphere, cube, cylinder, and cone

EP 1 C 3 a Identify and demonstrate sculpture-in-the-round

EP 1 C 4 a Identify and demonstrate relief sculpture

EP 1 C 4 b Identify and use organic form

EP 1 C 5 a Identify and use the illusion of form: cube, sphere, cylinder, and cone

EP 1 C 6 a Not assessed at this grade level

EP 1 C 7 a Differentiate between and demonstrate high and low relief

EP 1 C 8 a Identify and use a range of values to create the illusion of form

EP 1 C HS Level 1 a Identify and use high and low relief

EP 1 C HS Level 1 b Identify and use illusion of form: sphere, cube, cone, and cylinder

EP 1 C HS Level 2 a Identify and use form in-the-round

EP 1 C HS Level 2 b Identify and demonstrate the illusion of complex form in a two-dimensional artwork

EP 1 C HS Level 3 a Identify and create complex form in-the-round

EP 1 C HS Level 3 b Identify and demonstrate the illusion of transparent and reflective forms in two-dimensional artwork


EP 1 C HS Level 4 a Use forms expressively to communicate ideas

EP 1 D K a Not assessed at this grade level

EP 1 D 1 a Identify and use texture

EP 1 D 2 a Identify and use actual texture

EP 1 D 3 a Identify and use invented textures

EP 1 D 4 a Not assessed at this grade level

EP 1 D 5 a Identify and use implied or simulated textures

EP 1 D 6 a Identify and use real/actual texture

EP 1 D 7 a Identify and use implied or simulated texture

EP 1 D 8 a Identify and use invented texture

EP 1 D HS Level 1 a Identify and use real, invented and simulated textures

EP 1 D HS Level 2 a Identify and create simulated textures from observation

EP 1 D HS Level 3 a Contrast textures within the same artwork

EP 1 D HS Level 4 a Use textures expressively to communicate ideas

EP 1 E K a Identify and use color

EP 1 E 1 a Identify and use primary colors

EP 1 E 2 a Identify and use secondary colors

EP 1 E 3 a Identify and use warm and cool colors

EP 1 E 4 a Identify and use tints and shades

EP 1 E 5 a Identify and use intermediate and neutral colors


EP 1 E 5 b Identify the arrangement of colors on a color wheel

EP 1 E 6 a Identify and use monochromatic colors

EP 1 E 7 a Identify and use analogous colors

EP 1 E 8 a Identify and use complementary colors

EP 1 E HS Level 1 a Identify and use color theory including color value, and color schemes (analogous, monochromatic, and complementary)

EP 1 E HS Level 2 a Identify and use color theory including color intensity and split-complementary color scheme

EP 1 E HS Level 2 b Identify and use local color

EP 1 E HS Level 3 a Identify and use arbitrary color and symbolic color

EP 1 E HS Level 4 a Use color expressively to communicate ideas

EP 1 F K a Not assessed at this grade level

EP 1 F 1 a Identify and use value

EP 1 F 2 a Identify and use light and dark values

EP 1 F 3 a Not assessed at this grade level

EP 1 F 4 a Identify and demonstrate a value scale


EP 1 F 6 a Identify and demonstrate color value (tints and shades)

EP 1 F 6 b Identify and demonstrate a value scale


EP 1 F 8 a Identify and use a range of values


EP 1 F HS Level 1 a Identify and use a range of values to create the illusion of simple forms (including highlights and cast shadows)

EP 1 F HS Level 2 a Identify and use a range of values to create the illusion of complex forms

EP 1 F HS Level 3 a Identify and use a range of values to create the illusion of form through observation of transparent and reflective objects

EP 1 F HS Level 4 a Use value expressively to communicate ideas

EP 1 G K a Not assessed at this grade level

EP 1 G 1 a Identify and demonstrate the use of space

EP 1 G 2 a Identify and use foreground and background to create illusion of space

EP 1 G 3 a Identify and use middle ground, overlapping, and change of size to create illusion of space

EP 1 G 4 a Identify and use placement and change in detail to create illusion of space

EP 1 G 4 b Identify and use positive and negative space

EP 1 G 5 a Identify and use converging lines to create the illusion of space

EP 1 G 5 b Identify and use a single horizon line

EP 1 G 6 a Identify and use positive and negative shapes in two-dimensional work

EP 1 G 7 a Identify and use positive and negative forms in three-dimensional work

EP 1 G 8 a Identify and use one-point linear perspective to create the illusion of space

EP 1 G HS Level 1 a Identify and use positive and negative space in two-dimensional work

EP 1 G HS Level 1 b Identify and use perspective techniques to create the illusion of space (one-point linear perspective, overlapping, and change of size, detail, placement, value contrast)

EP 1 G HS Level 2 a Identify and use positive and negative space in three-dimensional work


EP 1 G HS Level 2 b Identify and use perspective techniques to create the illusion of space (two-point linear perspective, overlapping, and change of size, detail, placement, value, contrast, color)

EP 1 G HS Level 3 a Design negative and positive space from all viewpoints in three-dimensional work

EP 1 G HS Level 3 b From observation, identify and use appropriate perspective techniques to create the illusion of space

EP 1 G HS Level 4 a Use space expressively to communicate ideas

EP 2 A K a Not assessed at this level

EP 2 A 1 a Identify and demonstrate the concept of middle or center

EP 2 A 2 a Not assessed at this level

EP 2 A 3 a Identify and use symmetrical (formal) balance

EP 2 A 4 a Identify and use radial balance

EP 2 A 5 a Identify and use asymmetrical (informal) balance

EP 2 A 6 a Identify and use symmetrical (formal) balance

EP 2 A 7 a Identify and use radial balance

EP 2 A 8 a Identify and use asymmetrical (informal) balance

EP 2 A HS Level 1 a Differentiate among and use symmetrical (formal), asymmetrical (informal), and radial balance

EP 2 A HS Level 2 a Use elements to create compositional balance

EP 2 A HS Level 3 a Use balance to support the communication of an idea

EP 2 A HS Level 4 a Use balance expressively

EP 2 B K a Not assessed at this level

EP 2 B 1 a Not assessed at this level




EP 2 B 4 a Identify and create center of interest (focal point)



EP 2 B 7 a Identify and use center of interest (focal point)


EP 2 B HS Level 1 a Identify and create emphasis (focal point) through contrast and convergence

EP 2 B HS Level 2 a Identify and use emphasis (focal point) through isolation and location

EP 2 B HS Level 3 a Use emphasis to support the communication of an idea

EP 2 B HS Level 4 a Use emphasis expressively

EP 2 C K a Not assessed at this level

EP 2 C 1 a Not assessed at this level

EP 2 C 2 a Identify and use color contrast

EP 2 C 3 a Identify and use size contrast

EP 2 C 4 a Identify and use value contrast

EP 2 C 5 a Identify and use texture contrast

EP 2 C 6 a Identify and use shape, line, and size contrast

EP 2 C 8 a Identify and use color and value contrast

EP 2 C HS Level 1 a Identify and use variation within a single element to create contrast (e.g., different values), asymmetrical


(informal), and radial balance

EP 2 C HS Level 2 a Identify and vary elements in the same work to create contrast (e.g., different values and different textures)

EP 2 C HS Level 3 a Use contrast to support the communication of an idea

EP 2 C HS Level 4 a Use contrast expressively

EP 2 D K a Identify and use a pattern by repeating a single shape, line, or color

EP 2 D 1 a Identify and create an alternating pattern (abab)

EP 2 D 2 a Identify and create a complex pattern

EP 2 D 3 a Not assessed at this level




EP 2 D 7 a Identify and use regular rhythm

EP 2 D 8 a Identify and use progressive rhythm

EP 2 D HS Level 1 a Identify and use elements to create regular rhythm

EP 2 D HS Level 2 a Identify and use elements to create progressive rhythm

EP 2 D HS Level 3 a Use rhythm to support the communication of an idea

EP 2 D HS Level 4 a Use rhythm expressively

EP 2 E K a Not assessed at this level

EP 2 E 1 a Not assessed at this level









EP 2 E HS Level 1 a Explain how elements and principles create unity in artworks

EP 2 E HS Level 2 a Identify and create unity through elements and principles

EP 2 E HS Level 3 a Use unity to support the communication of an idea

EP 2 E HS Level 4 a Use unity to support the personal expression of an idea

EP 2 F K a Not assessed at this level

EP 2 F 1 a Not assessed at this level



EP 2 F 4 a Identify realistic facial proportions

EP 2 F 5 a Identify and use relative size (realistic scale)

EP 2 F 6 a Create facial features in realistic proportion


EP 2 F 8 a Identify and use appropriate scale relationship

EP 2 F HS Level 1 a Identify and use realistic facial proportions


EP 2 F HS Level 2 a Identify and use realistic figure proportions

EP 2 F HS Level 3 a Identify and use foreshortened figure proportions

EP 2 F HS Level 4 a Use facial and/or figure proportions expressively

AP 1 A K a Not assessed at this level

AP 1 A 1 a Discuss a response (feeling or idea) to an artwork based upon the student’s life experience

AP 1 A 2 a Explain different responses you have to different artworks

AP 1 A 3 a Compare different responses students may have to the same artwork

AP 1 A 4 a Discuss and develop answers to questions about art, such as: · What is art?, · What is beauty?

AP 1 A 5 a Discuss and develop answers to questions about art, such as: Who decides what makes an artwork special, valuable or good?

AP 1 A 6 a Discuss how different cultures have different concepts of beauty

AP 1 A 6 b Explain how responses (feelings or ideas) to artworks from various cultures are based on both personal experience and group beliefs

AP 1 A 7 a Discuss and develop answers to questions about art: · What is art?, · Should art look real?, · Should art be beautiful?, · Should art look real?

AP 1 A 7 b Compare and contrast responses of class members to realistic, abstract, and non-objective artworks

AP 1 A 8 a Discuss how people might respond differently to specific American artworks based upon their sub group (e.g., race, gender, attitude toward the environment, business, immigrant group, age, religion, economic status, or level of education)

AP 1 A HS Level 1 a Discuss personal beliefs about the nature of art

AP 1 A HS Level 1 b Define aesthetics as the branch of philosophy that deals with the nature and value of art

AP 1 A HS Level 1 c Discuss and develop answers to questions about art, such as: · What is art?, · Why do responses vary?, Who decides what makes an artwork special, valuable or good?


AP 1 A HS Level 2 a Discuss how perceptions in art reflect community and/or culture beliefs and values

AP 1 A HS Level 2 b Compare how responses to works of art differ based on whether the viewer is a member of the culture in which the art was created

AP 1 A HS Level 3 a Discuss how people from different groups might respond to artworks that express themes (e.g., national identity, spirituality, vision, progress, and human condition)

AP 1 A HS Level 4 a Discuss the evolution of personal beliefs about the nature of art

AP 1 A HS Level 4 b Discuss how personal and cultural beliefs influence the interpretation of the meaning, message, or value of a work of art

AP 2 A K a Identify the subject of artworks

AP 2 A 1 a Identify the following in artworks: lines, shapes, colors, patterns

AP 2 A 2 a Identify the following in artworks: Geometric shapes, Geometric forms, Foreground and background, Real textures, Contrast/ variety of colors

AP 2 A 3 a Identify the following in artworks: Warm and Cool Colors, Symmetrical Balance, Invented textures, Horizontal, Diagonal, and vertical lines, Contrast/ variety of sizes

AP 2 A 4 a Describe the use of the following in artworks: outlines, organic shapes, organic forms, tints and shades, values, positive and negative space, radial balance, center of interest/local, point, contrast/variety of values, complex patterns, facial proportions

AP 2 A 5 a Describe the use of the following in artworks: Contour lines, Symbolic shapes, Illusion of form, Implied/simulated textures, Intermediate and Neutral colors, Asymmetrical Balance Contrast/variety of textures, Perspective change in size, Point of view

AP 2 A 6 a Identify the type of artwork (e.g., painting, drawing, print, sculpture)

AP 2 A 6 b Identify and explain symbolism or message communicated in an artwork

AP 2 A 6 c Match the artwork with an aesthetic theory: Showing a real or idealized image of life (Imitationalism); Expressing feelings (Emotionalism/Expressionism); Emphasis on elements and principles (Formalism); Serving a purpose in the society or culture (Functionalism)

AP 2 A 7 a Describe the artwork and subject matter


AP 2 A 7 b Describe elements (line, form, shape, color, value, texture, space) and principles (balance, emphasis, contrast, rhythm) as they are used in artworks

AP 2 A 7 c Interpret the subject and theme, supporting them with the artist’s use of elements and principles

AP 2 A 7 d Select an aesthetic theory and explain why it best fits the artwork: Showing a real or idealized image of life (Imitationalism); Expressing feelings (Emotionalism/ Expressionism); Emphasis on elements and principles (Formalism); Serving a purpose in the society or culture (Functionalism)

AP 2 A 8 a Describe artwork in detail

AP 2 A 8 b Analyze the use of elements and principles used in artworks

AP 2 A 8 c Interpret the meaning of work Judge the work from each aesthetic theory: Showing a real or idealized image of life (Imitationalism; Expressing feelings (Emotionalism/ Expressionism); Emphasis on elements and principles (Formalism); Serving a purpose in the society or culture (Functionalism)

AP 2 A HS Level 1 a With one artwork: describe artwork; analyze the use of elements and principles in the work

AP 2 A HS Level 1 b Interpret the meaning of the work (subject, theme, symbolism, message communicated)

AP 2 A HS Level 1 c Judge the work from various perspectives: Showing a real or idealized image of life (Imitationalism); Expressing feelings (Emotionalism/ Expressionism); Emphasis on elements and principles (Formalism); Serving a purpose in the society or culture (Functionalism)

AP 2 A HS Level 2 a Compare and contrast two artworks: describe artwork

AP 2 A HS Level 2 b analyze the use of elements and principles in the work

AP 2 A HS Level 2 c Interpret the meaning of the work (subject, theme, symbolism, message communicated)

AP 2 A HS Level 2 d Judge the work from various perspectives: Showing a real or idealized image of life (Imitationalism), Expressing feelings (Emotionalism/ Expressionism), Emphasis on elements and principles (Formalism), Serving a purpose in the society or culture (Functionalism)

AP 2 A HS Level 3 a Compare and contrast student artwork with professional artworks or masterpieces: describe artwork

AP 2 A HS Level 3 b Analyze the use of elements and principles in the work

AP 2 A HS Level 3 c Interpret the meaning of the work (subject, theme, symbolism, message communicated)


AP 2 A HS Level 3 d Judge the work from various perspectives: Showing a real or idealized image of life (Imitationalism), Expressing feelings (Emotionalism/ Expressionism), Emphasis on elements and principles (Formalism), Serving a purpose in the society or culture (Functionalism)

AP 2 A HS Level 4 a Use the following process with a body of work (portfolio)

AP 2 A HS Level 4 b Describe artwork

AP 2 A HS Level 4 c Analyze the use of elements and principles in the work

AP 2 A HS Level 4 d Interpret the meaning of the work (subject, theme, symbolism, message communicated)

AP 2 A HS Level 4 e Showing a real or idealized image of life (Imitationalism), Expressing feelings (Emotionalism/ Expressionism), Emphasis on elements and principles (Formalism), Serving a purpose in the society or culture (Functionalism)

IC 1 A K a Use physical movement in dance to interpret line in artwork

IC 1 A 1 a Relate costumes in theatre to clothing design

IC 1 A 2 a Compare patterns in music to patterns in artworks

IC 1 A 3 a Compare the art and music of a particular culture

IC 1 A 4 a Explain how a play or skit could be inspired by a work of art (e.g., painting or statue)

IC 1 A 5 a Compare a work of art to a work of music

IC 1 A 6 a Compare and contrast music and art from the same culture

IC 1 A 7 a Explain how art is used in designing sets in film, television, or live theater

IC 1 A 8 a Compare and contrast examples of American art and music

IC 1 A HS Level 1 a Connect meanings of elements in art with terms in music, theatre, or dance

IC 1 A HS Level 2 a Connect the characteristics of art and music created in the same culture or time period (e.g., Harlem Renaissance and jazz, Native-American art and music, Asian art and music, Latino art and music)

IC 1 A HS Level 3 a Use theatre techniques to present information in art (e.g., voice, stage presence, props, video, script-writing,


set)

IC 1 A HS Level 4 a Select and present music that expresses personal artwork

IC 2 A K a Explain how stories can be told in pictures and/or words

IC 2 A 1 a Explain how patterns in art are similar to patterns in math.

IC 2 A 2 a Explain the connection between American Indian culture and art

IC 2 A 3 a Explain how the math principle of symmetry is used in art

IC 2 A 4 a Explain how George Caleb Bingham and Thomas Hart Benton reflected life in Missouri

IC 2 A 5 a Explain how American artists expressed the idea of patriotism

IC 2 A 6 a Explain how artworks reflect the cultures in which they were created

IC 2 A 7 a Explain the relationship between illustration and written text.

IC 2 A 8 a Explain how events and ideas in United States history are communicated through artworks

IC 2 A HS Level 1 a Explain how historical events and social ideas are reflected in artworks from selected cultures or historical time periods.



IC 2 A HS Level 4 a Explain how contemporary events and social ideas are reflected in student artworks

HC 1 A K a Not assessed at this grade level

HC 1 A 1 a Identify works of art from: United States, Europe(Cave), Asia

HC 1 A 2 a Identify works of art from: · United States, · (Native American), Egypt


HC 1 A 3 a Identify works of art from: United States, Europe(Realistic), Africa

HC 1 A 4 a Identify works of art from: · United States (Realistic: Missouri, Westward Expansion), · Europe (Abstract)

HC 1 A 5 a Identify works of art from: · United States (Painting, Architecture), Europe (Painting, Architecture)

HC 1 A 6 a Identify works of art from: · Ancient Greece/Rome/Egypt Pre-Columbian Americas (e.g., Aztec, Inca, Maya), Africa, Asia

HC 1 A 7 a Identify works of art from: · Europe (Real, Abstract, Non-Objective), United States (Real, Abstract, Non-Objective)

HC 1 A 8 a Identify works of art from United States (Native American, Painting, Sculpture, Architecture)

HC 1 A HS Level 1 a Identify artworks from the following: · Ancient Greece/Rome, · Renaissance, · Impressionism, · Post-Impressionism, Pop-art, Op art

HC 1 A HS Level 2 a Identify artworks from the following: Cubism, American Regionalism, Abstract Exresionalism, Native-American, Lation, Asia

HC 1 A HS Level 3 a Identify artworks from the following: · German Expressionism, · Surrealism, · Photorealism, · Post-Modern

HC 1 A HS Level 4 a Select and research periods/movements of art that align with portfolio development

HC 1 B 1 a Compare and contrast two artworks on: Subject matter

HC 1 B 1 b Compare and contrast two artworks on: use of line color and shape

HC 1 B 2 a Compare and contrast two artworks on: Subject mat-ter

HC 1 B 2 b Compare and contrast two artworks on: Media

HC 1 B 2 c Compare and contrast two artworks on: use of line color and shape

HC 1 B 2 d Compare and contrast two artworks on: themepurpose of art in culture

HC 1 B 3 a Compare and contrast two artworks on: subjectmatter



HC 1 B 3 c Compare and contrast two artworks on: theme

HC 1 B 3 d Compare and contrast two artworks on: themepurpose of art in culture

HC 1 B 3 e Compare and contrast two artworks on: Place

HC 1 B 4 a Compare and contrast two artworks on: Subject Matter


HC 1 B 4 c Compare and contrast two artworks on: use value and space

HC 1 B 4 d Compare and contrast two artworks on: theme

HC 1 B 4 e Compare and contrast two artworks on: purpose of art in culture

HC 1 B 4 f Compare and contrast two artworks on: place

HC 1 B 5 a Compare and contrast two artworks on: time

HC 1 B 5 b Compare and contrast two artworks on: place

HC 1 B 5 c Compare and contrast two artworks on: subject matter

HC 1 B 5 d Compare and contrast two artworks on: media

HC 1 B 5 e Compare and contrast two artworks on: use of elements

HC 1 B 5 f Compare and contrast two artworks on: theme

HC 1 B 5 g Compare and contrast two artworks on: purpose of art in culture

HC 1 B 5 h Compare and contrast two artworks on: use of materials in technology






HC 1 B 6 e Compare and contrast two artworks on: characteristics

HC 1 B 6 f Compare and contrast two artworks on: cultural context






HC 1 B 7 f Compare and contrast two artworks on: cultural context






HC 1 B 8 f Compare and contrast two artworks on: materials/technology

HC 1 B 8 g Compare and contrast two artworks on: ideas and beliefs of culture

HC 1 B 8 h Compare and contrast two artworks on: function of art in culture/society

HC 1 B HS Level 1 a Compare and contrast two artworks on: time

HC 1 B HS Level 1 b Compare and contrast two artworks on: place

HC 1 B HS Level 1 c Compare and contrast two artworks on: artist


HC 1 B HS Level 1 d Compare and contrast two artworks on: subject matter

HC 1 B HS Level 1 e Compare and contrast two artworks on: theme

HC 1 B HS Level 1 f Compare and contrast two artworks on: characteristics

HC 1 B HS Level 1 g Compare and contrast two artworks on: materials/technology

HC 1 B HS Level 1 h Compare and contrast two artworks on: ideas and beliefs of culture

HC 1 B HS Level 1 i Compare and contrast two artworks on: function of art in culture/society




















HC 1 B HS Level 4 a Describe the evolution of an artist’s body of work over time

HC 1 B HS Level 4 b Explain an artist’s place in historical context



Comments, Feedback, &

Revisions


# of responses are developmentally appropriate coherent path Rigorous can be assessed are understandable college & career readiness encompass breadth

Yes w/ minor edits No Yes w/ minor edits No Yes w/ minor edits No Yes w/ minor edits No Yes w/ minor edits No Yes w/ minor edits No Yes w/ minor edits No

Dance 12 12 X X 12 X X 12 X X 12 X X 12 X X 12 X X 12 X XMedia Arts 25 21 X 1 3 X 1 3 X 1 3 X 1 3 X 1 3 X 1 3 X 1Music 166 139 12 13 140 7 12 141 7 14 140 6 15 137 6 16 141 3 15 140 4 16Theatre 13 13 X X 13 X X 13 X X 13 X X 13 X X 13 X X 13 X XVisual Art 127 83 13 23 87 9 24 84 8 26 79 11 31 81 12 27 80 10 29 78 13 28

343 268 25 37 255 16 37 253 15 41 247 17 47 246 18 44 249 13 45 246 17 45

Gen Music 61Theory 14Ensemble 55Harmonize 13Technology 23

166

Dance Media Art Music - Ensembles Music - General Music Music - theory# of comments Comment # of

comments Comment # of comments Comment # of

comments Comment # of comments

Comment

2 like the new standards 4 Meets Needs 3 Grade levels not appropriate 6 Too vague 1 Like the format/layout4 only for the general student, not

for the aspiring professional dancer

3 Needs PD & Support 3 Too vague 5 Too rigourous for this grade level

7 Too vague

1 general dance education is the key

2 Need Examples 2 Too broad 4 Lacks rigor for this grade level 1 Too rigourous for this grade level

1 provide documentation to public and administration to help them understand dance

2 Make Connections to Digital Media & Graphic Design in Fine Arts

4 Needs examples 1 Lack of differentiation between grade levels

9 Total

4 assessment resources are needed

10 Appreciation for increased rigor and process

7 Need examples

12 Total 11 Total 3 Recognition of differences in resources across districts

1 Thorough Music - Technology

2 Recognition of the crosswalk 5 Appreciation # of comments Comment

TheatreVisual Art

2 Hesitation to change 2 Too broad 1 Strand assessment can not be accomplished in classroom

# of comments Comment # of comment

s

Comment 3 Need for essential questions and enduring understandings

10 Misunderstanding standard expectation

1 Appreciation for including music technology strands

1 like the new standards 63 Meets Needs 1 Formatting 2 Language not accessible for non musician

1 Need to change labels of levels (remove "HS")

1 needs more standards aligned to technical theatre

94 Too Vague or Broad 1 Good alignment with general music

1 Appreciation for pre K 3 Total

2 Total 10 Needs PD & Support 2 Language not accessible for non musician

2 Appreciation for create

29 Too Rigorous 9 Misunderstanding of standard expectation

2 Need for essential questions and enduring understandings

Music - Harmonizing

7 Increase the level of Rigor 1 Need for show choir to be a PE credit

3 Need for crosswalk # of commentsComment

43 Missing Specific Concepts 46 Total 1 Dissatisfaction of the process 1 Not listed at appropriate grade level

12 Needs more structure 52 Total 1 Need to change labels of levels (remove "HS")

4 Not Assessable 2 Total4 Not a vertical flow16 Glossary Recommendation

219 Total


Fine Arts Workgroup: GLE’s Submitted/Amended with Rationale DANCE

[No Changes Made]

Code Draft Submitted Amended Draft Rationale/Comments

Strand

Concept #:

Fine Arts Workgroup: GLE’s Submitted/Amended with Rationale MEDIA ARTS

[No Changes Made]


Strand

Concept #:


Fine Arts Workgroup: GLE’s Submitted/Amended with Rationale MUSIC


Strand

Concept #:

MU:Cr3B.T.Ia

Share compositions or improvisations that demonstrate a proficient level of musical and technological craftsmanship as well as the use of digital tools and resources in developing and organizing musical ideas.

Share compositions or improvisations that demonstrate a proficient level (based on teacher developed rubric) of musical and technological craftsmanship as well as the use of digital tools and resources in developing and organizing musical ideas.

Feedback suggested a need for a definition of level

MU:Cr3B.T.IIa

Share compositions and improvisations that demonstrate an accomplished level of musical and technological craftsmanship as well as the use of digital and analog tools and resources in developing and organizing musical ideas.

Share compositions and improvisations that demonstrate an accomplished level (based on teacher developed rubric) of musical and technological craftsmanship as well as the use of digital and analog tools and resources in developing and organizing musical ideas.


MU:Cr3B.T.IIIa

Share a portfolio of musical creations representing varied styles and genres that demonstrates an advanced level of musical and technological craftsmanship as well as the use of digital and analog tools, resources and systems in developing and organizing musical ideas

Share a portfolio of musical creations representing varied styles and genres that demonstrates an advanced level (based on teacher developed rubric) of musical and technological craftsmanship as well as the use of digital and analog tools, resources and systems in developing and organizing musical ideas



Fine Arts Workgroup: GLE’s Submitted/Amended with Rationale THEATRE

[No Changes Made]


Strand

Concept #:

Fine Arts Workgroup: GLE’s Submitted/Amended with Rationale VISUAL ARTS

[No Changes Made]


Strand

Concept #:



Frequently Asked Questions


Fine Arts Frequently Asked Questions

Missouri Learning Standards

The Missouri Learning Standards define the knowledge and skills students need in each grade level and course for success in college, other post-secondary training and careers. These expectations are aligned to the Show-Me Standards, which define what all Missouri high school graduates should know and be able to do.

In January 1996, Missouri adopted the Show-Me Standards, a demanding set of content and process standards that have proved to be an excellent frame of reference for student performance in Missouri. Grade-level expectations (GLEs) were then developed to provide grade by grade targets for instruction for teachers. Those expectations were revised regularly based on teacher feedback and new research. As End-of-Course (EOC) assessments were developed at the high school level, Course-level expectations (CLEs) were created to provide teachers with course-specific objectives.

The latest iteration of expectations aligned with the Show-Me Standards are called the Missouri Learning Standards. The Missouri Learning Standards help ensure students learn basic and higher-order skills, including problem solving and critical thinking. The standards are relevant to the real world and reflect the knowledge and skills students need to achieve their goals. Learning outcomes improve when students, parents and teachers work together toward shared goals. The Missouri Learning Standards give school administrators, teachers, parents and students a road map for learning expectations in each grade and course.

The Missouri Learning Standards do not dictate curriculum. Local districts and schools make their own decisions about curriculum, instructional strategies, materials and textbooks.

Fine Arts Work Groups

Statute (HB 1490) requires that a workgroup consisting of 16 K-5 educators and 17 6-12 educators be assembled to review the existing Grade and/or Course Level Expectations. When Grade Level and/or Course Level Expectations (GLE’s/CLE’s) are

updated, work groups review the existing GLE’s/CLE’s and make recommendations.

DESE holds three public hearings on updated GLE’s/CLE’s. Once the revised

GLE’s/CLE’s are approved by the State Board, Missouri teachers, schools and districts

determine curriculum, delivery, and assessment to help students reach the standards.


FAQ’s - Dance The GLEs in Dance are designed to enable students to achieve dance literacy. To be literate in the arts, students need specific knowledge and skills in a particular arts discipline to a degree that allows for fluency and deep understanding. In dance, this means discovering the expressive elements of dance; knowing the terminology that is used to comprehend dance; having a clear sense of embodying dance; and being able to reflect, critique, and connect personal experience to dance. 1. Where do I find model assessments?

A: Examples of model dance assessments can be found at either of these websites: ● https://www.nationalartsstandards.org/mca/dance ● https://www.ndeo.org/content.aspx?page_id=22&club_id=893257&module_id=241495

2. Where can I find more support for dance education to help implement these

GLE’s?

A: The professional dance education associations are listed below. Their websites have additional materials and resources to support dance education:

● Missouri Dance Organization (MDO) at www.missouridance.org ● National Dance Education Organization (NDEO) at www.ndeo.org ● NDEO Opportunity-to-Learn criteria:

https://www.ndeo.org/content.aspx?page_id=22&club_id=893257&module_id=55414


https://www.nationalartsstandards.org/mca/dance


http://www.missouridance.org/


http://www.ndeo.org/





FAQ’s - Media Arts

Media arts GLEs are intended to address the diverse forms and categories of media arts, including: imaging, sound, moving image, virtual and interactive. The media arts GLEs do not dictate what or how to teach, but define age-appropriate outcomes for students, towards the achievement of Enduring Understandings and Artistic Literacy. They are therefore quite generalized, not specifying particular technologies or techniques, and containing very few examples of terminology and activities. The standards allow for a great diversity of instruction, methodology and circumstance. They are adaptive to the wide range of conditions that exist currently for the form across the country.

1. What are Media Arts?

A: The media arts include cinematic arts (film/video), animation, imaging, sound design, graphic design, virtual design, interactive design, as well as multimedia and intermedia. Elements of Media Arts include image, sound, space, motion,

time, and sequence. By creating, presenting, responding, and connecting within media arts, students engage in critical media literacy. Media Arts allow students to understand and respond to visual representations, and think critically about bias, perspective and intent. Media Arts embolden students to responsibly participate in media environments (i.e. social media, gaming, radio, mass communications, virtual reality, augmented reality, etc.). Lastly, Media Arts grant students the necessary fluencies to read/decode media art works, as well as to create/encode new original stories that are executed in a range of media art formats.

Media Arts is aesthetic-based and uses elements and tools of current and emerging technologies to create works that express feelings and ideas. The act of creation is an essential part of thinking which in turn builds the notion that there are alternative approaches to traditional mass media. In order to learn the language and symbol systems of our current culture, it is important to look at works that are generated from a wide spectrum of sources—from individual visions to the commercial media industry. (Art and life are dependent upon each other and interconnected.) The study of the image and sound elements is an essential prerequisite to the proper shaping of ideas into messages.


FAQ’s - Music

1. Can educators find a resource that links the previous Missouri Grade Level

Expectations for music to the revised Grade Level Expectations? A: Yes, a crosswalk linking the previous Missouri Grade Level Expectations (from 2007) to the revised Grade Level Expectations can be found https://dese.mo.gov/college-career-readiness/curriculum/fine-arts

2. Where can educators find resources to use in their classrooms that give

examples of activities and assessments that reflect the revised grade level

expectations? A: Several valuable resources can be found at www.nafme.org and https://www.nationalartsstandards.org/

■ Model Cornerstone Assessments can be found at https://nafme.org/my-classroom/standards/mcas/

3. The revised Grade Level Expectations seem to be broader than the

previous (2007) Grade Level Expectations. Is there a reason for the

change? A: The revised GLEs are adapted from the National Core Arts Standards. The benefit of having broad concept standards focused on the framework of four artistic processes, allows decision-makers from teachers, to superintendents, to parents to have the flexibility to customize a curriculum that is appropriate for their particular circumstances and students.

4. Can the music technology Grade Level Expectations be utilized in other

levels besides high school? A: Yes, the music technology standards can be incorporated at any age level where deemed appropriate by the educator.

5. Can the harmonizing instruments Grade Level Expectations be utilized in

other levels besides high school? A: Yes, the harmonizing instruments standards can be incorporated at any age level where deemed appropriate by the educator.


https://dese.mo.gov/college-career-readiness/curriculum/fine-arts

http://www.nafme.org/

https://www.nationalartsstandards.org/

https://nafme.org/my-classroom/standards/mcas/

General Music

● Where are the basic elements of music found in the revised Grade Level

Expectations?

○ A crosswalk that links the 2007 Missouri Grade Level Expectations can be found at https://dese.mo.gov/college-career-readiness/curriculum/fine-arts

Ensembles

● When would it be appropriate for students to select music in a performance

ensemble setting? ○ The most commonly used strategy reported was to offer students choices

from which to select. This could be applied to concert selection, large ensemble contest selection, or small ensemble and solo contest selection. The director could integrate a student response form as part of the selection process.

● How would a director implement creating in a performance ensemble

setting?

○ The most commonly used strategies reported include: ■ Warm-up exercises based on student made rhythms ■ Warm-up exercises using call and response (led by students) ■ Warm-up exercises based on student choice in chord building

● How often should directors implement the various strands (creating,

performing, responding, and connecting)?

○ Educators should implement the various strands based on the needs of their students.


https://dese.mo.gov/college-career-readiness/curriculum/fine-arts

FAQ’s - Theatre 1. Where do I find model assessments?

A: Examples of model theatre assessments can be found at these websites: ■ https://www.nationalartsstandards.org/mca/theatre, ■ http://www.aatestandards.org/model-cornerstone-assessments.html ■ https://www.schooltheatre.org/search?executeSearch=true&Search

Term=Model+cornerstone+assessments&l=1 2. Why are technical theatre skills not addressed?

A: The ability to use practical theatre technical equipment is implicit in these standards. Due to the variety of situations and available technical equipment in individual schools, educators are encouraged to adapt these standards based on local resources.


https://www.nationalartsstandards.org/mca/theatre

http://www.aatestandards.org/model-cornerstone-assessments.html


https://www.schooltheatre.org/search?executeSearch=true&SearchTerm=Model+cornerstone+assessments&l=1

https://www.schooltheatre.org/search?executeSearch=true&SearchTerm=Model+cornerstone+assessments&l=1

FAQ’s - Visual Arts

1. Are the Show-Me Standards still in place?

A: The Grade Level Expectations do not replace the Process and Content standards as listed in the Show-Me Standards. The Show-Me Standards are still in place and address concerns about the GLE’s being too vague or not including specific

technical skills and processes, elements and principles, vocabulary, interrelationships, and the historical and cultural contexts of art. As stated on the DESE website:

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

The Grade Level Expectations support student-learning outcomes through big ideas – enduring understandings and essential questions. The concepts embedded in the standards reflect the scope of learning –the knowledge, skills, and understandings - taught through study of the visual arts. By including all aspects of creating, presenting, responding, and connecting in study of the visual arts, student learning through these standards explores the full scope of what it means to be an artistically literate citizen. While presented chronologically the processes are best designed and taught in a blended fashion to support rich artistic skills and behaviors.

2. Where are the Elements & Principles?

A. The Elements & Principles are still included as part of the Show-Me Standards (FA 2) and annotated within the Revised GLE’s. Elements and principles were

not specifically listed in the Revised GLE’s to accommodate and be responsive

to the individual students in your classroom.


3. Where are the technical skills?

A. Technical Skills are still included as part of the Show-Me Standards (FA1). Theyare annotated and aligned with the Revised GLE’s (provided in the Revised

GLE’s document for each standard). Also embedded within the GLE’s is the big

idea and process of Create: Organize and Develop Work - Skill Acquisition.Depending on the individual classroom situations and available resources,teachers and schools need the opportunity to be flexible and responsive to theneeds of the students in front of them in designing the scope and sequence oftechnical skills.

4. Why are museums and galleries included in the Revised GLE’s?

A. Museums and galleries were included in the Revised GLE’s as an extension of

the art classroom. Museums and galleries can be presented to students even if avisit is not available. This was not included to make teaching difficult, rather torecognize the importance of these entities in the support of visual arts. Digitaloptions are available, as well as, public art such as murals, statuary, art fairs, andlocal art displays in local businesses.

5. How do I do Standards-Based Grading with these Revised GLE’s?

A. Standards-based grading can still be incorporated in the art class where structureis needed for assessment. The Revised GLE’s are open-ended, which can bedifficult to assess alone, but the Show-Me Standards can provide technical,process and content guidelines. Together, the art teacher can provide standardsthat are objective using the Show-Me Standards while encouraging the open-ended possibilities that are presented in the Revised GLE’s.

6. Can you clarify the terms Art Making vs Art Making Approaches?

A. “Art making” refers to the process and production of creating. This is the term

that refers to the many technical skills in which students engage for much of theart class period. “Art making approaches” is also used in the terminology of the

Revised GLE’s. Approaches refer to the way the teacher addresses concepts

and skills. Different educators could use a variety of approaches to teachstudents about the elements and principles or a process. All media includes avariety of processes and approaches. The way one artist approaches art makingmay vary from another, and at times should be encouraged. For example, theapplication of paint by one artist may be thin and in transparent layers, whileanother’s may be impasto and thick. Another example would be the use of

historical text to explain an artist’s style, creating a master study to explain an

artist’s style, or a digital exploration of the work to explain an artist’s style. These


are different approaches to teaching versus the materials and process that are used in actual art making.

7. How do I explain these standards to parents and administrators?

A. To understand the standards, the glossary is an important tool. Become familiar with terminology used in the Revised GLE’s. These standards are aligned to the

Show-Me Standards that use language that describes the production and process part of the art class. The GLE’s and Show-Me Standards work together to provide the foundation for assessment that educators, parents and administrators can recognize. Process and technical skills are an important aspect of art making, but the connection, creation, presentation and response to art are valuable parts of making art that should also be recognized. We encourage educators to reflect on and spend time unpacking the language to be able to better explain the artistic processes to parents and administrators. The big ideas, enduring understandings and essential questions can also help guide the art educator in crafting language for others.

8. Why are the Revised GLE’s so open-ended?

A. The Grade Level Expectations emphasize deep learning in the visual arts creating higher expectations and support college, career and citizenship readiness for all students. The GLE’s offer learning progressions for students.

Embedded are ideas about how arts learning can be broadened and deepened to support students in making meaning of their lives and their world. Essential questions are provided for teachers as thought starters promoting inquiry based teaching and learning. They support communicating and learning in art by providing language needed for students and stakeholders alike. This allows for differentiation and flexibility in instruction resulting in better experiences for students and the encouragement of lifelong participation and enjoyment in visual arts.

9. Why did we use the National Arts Standards as our Guide?

A. The workgroup discussed the current reality of visual education in schools across Missouri, analyzed current practices, and then researched best practices within our field at large. What we discovered led to examining the work of the National Arts Standards and the various adaptations utilized in various school districts and states. After careful consideration of best practices and the research and process utilized in writing the National Arts Standards, we determined the National Arts Standards were the best fit for where visual art education needed to go to advance the learning of Missouri students.


These standards have been prepared in the context of almost two decades of research on arts teaching and learning. The work was the result of a three year transparent state led process which encompassed massive outreach to the field, ensuring that these standards were created for educators by educators. Feedback was solicited and received from practicing teachers that was used by the writers, who are practitioners, leaders and experts in the field of art education, to craft the final draft of the National Visual Arts Standards. For more information to understand the conceptual framework of these standards, please reference: http://www.nationalartsstandards.org/sites/default/files/Conceptual%20Framework%2007-21-16.pdf

10. Where can teachers get Professional Development to address their concerns

with the Revised GLE’s?

A. We recommend taking advantage of professional opportunities provided by our professional arts education associations such as the Missouri Art Education Association and the National Art Education Association; Regional Professional Development Centers; DESE and the Fine Arts Director; the Missouri Alliance for Arts Education and Missouri Arts Council. Online resources are also available at nationalartsstandards.org and at arteducators.org.

11. Where did all the structure and content go?

A. The GLEs provide the foundation for visual art education for all students. The revised GLEs support student-learning outcomes through big ideas, process components, enduring understandings and essential questions. The concepts embedded in the GLEs reflect the scope of learning – the knowledge, skills, and understandings - taught through study of the visual arts. By including all aspects of creating, presenting, responding, and connecting in study of the visual arts, student learning through these standards explores the full scope of what it means to be an artistically literate citizen. While presented chronologically the processes are best designed and taught in a blended fashion to support rich artistic skills and behaviors.

The crosswalks help connect the previous GLEs to the newly revised GLEs. 12. What methods can be used to assess the Revised GLE’s?

A. Examples of assessment can be reviewed with the National Art Education Association at https://www.nationalartsstandards.org/mca/visual-arts. Current assessments can be used for process and content, while formative assessments


http://www.nationalartsstandards.org/sites/default/files/Conceptual%20Framework%2007-21-16.pdf

http://www.nationalartsstandards.org/sites/default/files/Conceptual%20Framework%2007-21-16.pdf

https://www.nationalartsstandards.org/mca/visual-arts

and discussions can demonstrate student learning aligned to the open-ended standards in the Revised GLE’s. Evidence can also be gathered for assessment

through portfolio and in-process checks during art making.



Additional Recommendations


To: Missouri State Board of Education From: Fine Arts K-5 and 6-12 Workgroups Date: April 16, 2019

Re: Recommendations to the State Board of Education

The members of the K-5 and 6-12 Fine Arts work groups would like to thank the State Board of Education for this opportunity to revise the Missouri Fine Arts Grade Level Expectations. We feel this work came at an important time as we shift into a more modern learning landscape and will truly benefit the students in Missouri.

During our fifteen months discussing the needs of fine arts students and educators, recurring themes and areas of need arose. As we submit this final draft of the GLE revisions along with the crosswalks for each specific fine art content area, and after careful consideration from the numerous comments and contact with teachers across the state, the work group would like to offer the following recommendations:

1. Convene a Fine Arts Advisory Committee:We see a need to continue the work the work groups started. A Fine Arts AdvisoryCommittee should continue to meet to work on areas of need in fine arts education andrepresent the voices of arts educators from around the state. This committee shouldinclude a large number of educators that can fully represent the five different fine artscontent areas. Specific needs that this committee should address include:

● Develop a Conceptual Framework as well as Item Specifications and Descriptorsfor each fine arts content areaRevising the GLEs was the beginning of work that needs to be done to bettersupport student learning in the arts. We see the work of this committee being todevelop a Conceptual Framework for each area within the fine arts to helpteachers better define what learning for Missouri students looks like. This shouldbe a part of work in creating an item specification document that teachers coulduse to clarify expectations and define what could be measured in embeddedclassroom assessments.

● Develop Crosswalks between Fine Arts and other Content AreasAdditionally this committee could write connections between the five Fine Artsareas and additional content areas such as ELA, Math, Science, and SocialStudies. Providing a document that outlines the connections between the FineArts and other content areas will help teachers in both content areas enhance theunderstanding of their concepts and skills. These crosswalks could also supportarts integration work providing examples of these connections for classroomteachers in other contents. To be useful to all content areas, we would like theFine Arts Advisory Committee to include and meet with representatives fromother disciplines to construct these crosswalks.


2. Establish a Media Arts Task Force

It is our recommendation that media arts be included in the growth and development of arts education throughout the state and to further research and develop the inclusion of Media Arts as a Fine Art. The work groups recommend the formation of a Media Arts Task Force, led by the Fine Arts Director for Curriculum and Assessment, to study classification and certification issues in order to better provide Media Arts as a course of study for preK-12 students. We would like to see this task force address the following tasks:

● Develop Media Arts Course Descriptions that define what Media Arts looks like from the Fine Arts perspective.

● Examine Certification and Higher Ed Learning Opportunities ● Model how to create a truly interdisciplinary course of study.

3. Create a Professional Development Plan and Network ● Professional Development -

Reviewing the comments from educators across Missouri, we have heard a strong call for support through content specific professional development in the Fine Arts. Educators are in need of workshops and information that will help them transition to the new GLEs and improve their instructional technique during implementation. Therefore, the workgroups recommend a concerted effort by the Department of Elementary and Secondary Education to create accessible professional development opportunities in the areas of Dance, Media Arts, Music, Theatre, and Visual Arts in a variety of locations across the state. We also recommend working with state professional organizations and regional professional development centers to create partnerships that can widen the scope of accessibility to these professional development opportunities.

● Professional Connections and Resources

We would like to see the Fine Arts page of the DESE website become a space that is accessible and highly utilized by educators in Missouri to develop connections and access materials to help aid in their instruction and curriculum development. It is also a strong desire of Missouri teachers to have access to resources and see examples of assessments, as provided by the different professional organizations. The workgroups recommend connecting Missouri educators through the DESE website and linking the following professional arts and education organizations, their resources, and opportunity-to-learn descriptions that will help teachers, administrators and districts recognize the minimum criteria expected of model fine art programs in K-12 schools. ● Dance


○ Professional Association(s):■ Missouri Dance Organization (MDO) at www.missouridance.org■ National Dance Education Organization (NDEO) at www.ndeo.org

○ Dance Model Cornerstone Assessments:■ https://www.nationalartsstandards.org/mca/dance■ https://www.ndeo.org/content.aspx?page_id=22&club_id=893257

&module_id=241495○ NDEO Opportunity-to-Learn criteria:


● Media Arts○ Professional Association(s):

■ National Art Education Association (NAEA) -www.arteducators.org

○ The Alliance for Media Arts and Culture http://www.thealliance.media/○ The International Digital Media and Arts Association

http://idmaa.org/membership/member-privileges/○ Media Arts Educators Association http://www.mediaartseducation.org/○ Media Arts Model Cornerstone Assessments:

■ http://www.nationalartsstandards.org/mca/media-arts

● Music○ Missouri Music Educators Association at https://mmea.net/○ National Association for Music Education at https://nafme.org/○ Music Model Cornerstone Assessments at:

■ https://www.nationalartsstandards.org/content/music-mcas■ https://nafme.org/my-classroom/standards/mcas/

○ NAfME Opportunity-to-Learn criteria:https://nafme.org/my-classroom/standards/opportunity-to-learn-standards/

● Theatre○ Educational Theatre Association (EdTA) at www.schooltheatre.org○ American Alliance for Theatre and Education (AATE) at www.aate.com○ Speech and Theatre Association of Missouri (STAM) at

www.speechandtheatremo.org○ Missouri State Thespians at www.mo-thespians.com○ Theatre Model Cornerstone Assessments at:

■ https://www.nationalartsstandards.org/mca/theatre■ http://www.aatestandards.org/model-cornerstone-assessments.html

○ EdTA Opportunity-to-Learn criteria:https://higherlogicdownload.s3.amazonaws.com/SCHOOLTHEATRE/7f9e






https://www.nationalartsstandards.org/mca/dance





http://www.arteducators.org/

http://www.thealliance.media/

http://idmaa.org/membership/member-privileges/

http://www.mediaartseducation.org/

http://www.nationalartsstandards.org/mca/media-arts

https://mmea.net/

https://nafme.org/

https://www.nationalartsstandards.org/content/music-mcas

https://nafme.org/my-classroom/standards/mcas/

https://nafme.org/my-classroom/standards/opportunity-to-learn-standards/

http://www.schooltheatre.org/

http://www.schooltheatre.org/

http://www.aate.com/

http://www.aate.com/

http://www.speechandtheatremo.org/

http://www.speechandtheatremo.org/

http://www.mo-thespians.com/

http://www.mo-thespians.com/


https://www.nationalartsstandards.org/mca/theatre


https://higherlogicdownload.s3.amazonaws.com/SCHOOLTHEATRE/7f9e7fa8-ea41-4033-b6a3-1ce9da6a7b6f/UploadedFiles/etB5iCLgQuScxGr3X9Zg_2016%20EdTA%20Opportunity-to-Learn%20Standards.pdf

7fa8-ea41-4033-b6a3-1ce9da6a7b6f/UploadedFiles/etB5iCLgQuScxGr3X9Zg_2016%20EdTA%20Opportunity-to-Learn%20Standards.pdf

● Visual Arts ○ Missouri Art Education Association at https://www.maea.net/ ○ National Art Education Association at https://www.arteducators.org/ ○ Visual Arts Model Cornerstone Assessments:

■ https://www.nationalartsstandards.org/mca/visual-arts ○ NAEA Opportunity-to-Learn criteria at

https://members.arteducators.org/naeassa/ecssashop.show_product_detail?p_mode=detail&p_product_serno=684&p_cust_id=96450&p_order_serno=384504&p_promo_cd=&p_price_cd=&p_category_id=&p_session_serno=500230&p_trans_ty=

● Multidisciplinary Resource Organizations ○ Missouri Alliance for Arts Education at http://www.moaae.org ○ Center of Creative Arts (COCA) at www.cocastl.org ○ Kansas City Young Audiences (KCYA) at https://kcya.org/ ○ ArtsKC at https://artskc.org/ ○ Regional Arts Council in St. Louis (RAC) at https://racstl.org/ ○ Arts and Education Council at https://keeparthappening.org/ ○ Springfield Regional Arts Council at https://www.springfieldarts.org/

4. Recognize and Support the Fine Arts as a Part of a Well-rounded Education and Part of

the Core to Missouri Students’ Learning Fine Arts is included as a subject area recognized as foundational to the learning of Missouri students as stated in the Show-Me Standards. We would like to see more school districts address the fine arts as part of the core learning that takes place in students’ lives. The work groups would like to see greater incentives for school districts to ensure quality fine arts education via required programming and resources in their schools.

● Take steps to ensure students are receiving fine arts instruction from early childhood through 8th grade.

● Early Childhood We recommend that all students in early childhood learning environments receive instruction in the arts, including opportunities for dance, music, theatre, and visual art. Studies have suggested that arts instruction in early childhood programs help predict and develop better reading, writing, and spatial reasoning skills. Students involved with the arts from a young age also have better developed social emotional skills. Active engagement in the arts yields positive results in how we internalize and externalize emotions. Researchers tell us that not only do children who participate in arts programming over an extended period of time show




https://www.maea.net/

https://www.arteducators.org/

https://www.nationalartsstandards.org/mca/visual-arts





http://www.moaae.org/

http://www.cocastl.org/

http://www.cocastl.org/

https://kcya.org/

https://artskc.org/

https://racstl.org/

https://keeparthappening.org/

https://www.springfieldarts.org/

more sophisticated social skills such as sharing and cooperation, but also show reduced shyness and anxiety (internalized display of emotions) and reduced aggressive behavior (externalized display of emotions). Children who do arts regularly are better able to control their emotions and express them in productive ways (National Endowment for the Arts, 2015).

● Junior High/Middle School Currently Missouri elementary age students are required to receive regular instruction in art and music for a minimum of fifty (50) minutes in each area each week (twenty-five (25) minutes in each area for half-day kindergarten classes), with classes taught by teachers with appropriate certification. High School age students must meet minimum graduation credit requirements with at least one full year of instruction in fine arts. However, in the junior high/middle school years, a student’s arts education is interrupted and stunted when schools are only required to have access to art and music instruction. We recommend that junior high/middle school students receive regular instruction in the fine arts where dance, media arts, music, theatre, and/or visual arts is scheduled and taught to all students for a minimum of 4,500 minutes during their junior high/middle school instruction.

5. Promote the Arts & Communication Creative Pathway with the development of a

Missouri diploma seal of artistic literacy. We recommend the creation of a fine arts diploma seal that is awarded to graduating high school students who complete a fine arts pathway, extra-curricular activities, and experiences that foster fine arts mastery. The diploma seal will then be a signal to employers and higher education institutions that a student is prepared to participate in the creative economy and support workforce development.

1. Fine Arts Pathway A Fine Arts Pathway consists of a minimum of three credits in one of the fine arts subject areas. These areas include dance, media arts, music, theatre, and visual arts. Pathway completion denotes mastery in one art form.

2. Creative Industry Skill Focus Course An additional full credit is required in the same or a different art form or one of the CTE courses on a list compiled by the Fine Arts Committee and two fine arts related extracurricular activities such as National Arts Honor Society, Tri-M Music Honor Society, International Thespian Society, Marching Band, etc.

The Fine Arts Diploma Seal encourages schools and students to engage in fine arts pathway courses. A few CTE courses satisfy the creative industries focus coursework but cannot be used in substitution for a Fine Arts Pathway. Ideally, students would complete a Fine Arts pathway and the requirements for the creative industry skills could be completed through an additional fine arts course or a CTE course.

3. Community Arts Partnerships To achieve a Fine Arts Diploma Seal, students share their talent and industry


knowledge by providing at least 20 hours of arts related community service and presenting a capstone presentation on their experiences.

Again, thank you for dedicating time and resources to develop updated fine arts grade level expectations for our students. We appreciate the commitment to fine arts learning in Missouri.

Sincerely, The Members of the K-12 Fine Arts Work Groups

Brian Parks Michelle Ridlen John Beaudoin Kimberly Benz Paula Brashers

Stefanie Buscher Dixie Connell Kate Herrell Jo Holland

Teresa Keene Sheryl Lamme Tresa Maneval Leigh Mincks

Michelle Schmitz Adam Watkins Alicia Weber

Debra Corbin Connie Shoemaker

Vicki Bean Lucas Chapman

Jennifer Glendenning Erin Helland Carol Horst

Scott Jensen Amber Mintert

CJ Maples Barbara Mustoe

Janis Neher Kim Pirtle

Alex Kolster Mary Shields

Laura Swearngin James Wrolstad
