Music Model Cornerstone Assessment

Transcription

1 odel ornerstone ssessment (updated eptember, 2016) usic odel ornerstone ssessment rtistic Process: reating 5th rade eneral usic eneral usic, rade reating, Page 1

2 odel ornerstone ssessment (updated eptember, 2016) ntent of the odel ornerstone ssessments OO odel ornerstone ssessments (s) in music are tasks that provide formative and summative means to measure student achievement of performance standards in the ational ore usic tandards. ach focuses primarily on one rtistic Process (i.e., reating, Performing, or esponding) and is designed as a series of curriculum-embedded assessment tasks, each of which measures students ability to carry out one or more process components. Because these s are still in development, for this pilot it is important for music teachers to follow all written guidelines so researchers can: evaluate and refine those guidelines; identify the extent to which the content and context of each assessment can be integrated into individual teachers curriculum; and ultimately compare achievement levels in the student work generated during piloting. lthough each is designed so that it can be administered within one instructional sequence or unit, teachers may choose to spread the component parts of one across multiple units or projects. tudent work produced by these s will be selected as benchmarks to illustrate the level of achievement envisioned in the ational ore usic tandards. ommon nchor #1: nduring nderstandings ssential Question(s) ommon nchor #2: nduring nderstanding ssential Question(s) ommon nchor #3: nduring nderstanding enerate musical ideas for various purposes and contexts he creative ideas, concepts, and feelings that influence artists work emerge from a variety of sources. How do musicians generate creative ideas? elect and develop musical ideas for defined purposes and contexts usicians creative choices are influenced by their experience, context and expressive intent. How do musicians make creative decisions? valuate and refine selected musical ideas to create musical work(s) that meet appropriate criteria usicians evaluate and refine their work through openness to new ideas, persistence, and the application of appropriate criteria. usicians presentation of creative work is the culmination of a process of creation and communication. ssential Question(s) How do musicians improve the quality of their creative work? When is a creative work ready to share? sing the document s are presented at key grades and each strand for each of the three artistic processes. his document is available in a.pdf format with links for easy navigation within the document and to external links for.doc versions of worksheets. he next page provides the assessment description, with each bubble being a link to a detailed assessment. eneral escription of the ssessment ask sing pieces currently integrated into classroom instruction or musical pieces studied independently, students will select specific sections that exemplify technical/stylistic/artistic challenges to overcome; work toward improving the performance quality of identified challenges; demonstrate and document processes for addressing the challenges; and demonstrate and reflect upon achievement. stimated ime for eaching and ssessment ndividual teachers can determine the length of time required to complete the assessment, but ssessment trategy 1 could occur in one class period, ssessment trategy 2 must allow students sufficient time to develop and refine their composition, and ssessment trategy 3 and 4 could occur within one class period. eneral usic, rade reating, Page 2

3 odel ornerstone ssessment (updated eptember, 2016) OVVW odel ornerstone ssessment, rade eneral usic: reating ompose for a Purpose/ontext reating magine :r1.1.5a mprovise rhythmic, melodic, and harmonic ideas, and explain connection to specific purpose and context (such as social, cultural, and historical). :r1.1.5b enerate musical ideas (such as rhythms, melodies, and accompaniment patterns) within specific related tonalities, meters, and simple chord changes. Plan and ake :r2.1.5a emonstrate selected and developed musical ideas for improvisations, arrangements, or compositions to express intent, and explain connection to purpose and context. :r2.1.5b se standard and/or iconic notation and/or recording technology to document personal rhythmic, melodic, and two-chord harmonic musical ideas. valuate and efine :r3.1.5a valuate, refine, and document revisions to personal music, applying teacherprovided and collaboratively-developed criteria and feedback, and explain rationale for changes. ssessment trategy 1 eacher engages students in echo patterns and call/response phrases. hen observes students echoing phrases, responding to calls, and improvising using elements of music to express purpose/intent. ssessment trategy 2 tudents choose a purpose/context for which to compose a piece using at least three elements of music and documents the sequence of their musical ideas using traditional notation, iconic notation, or a recording device. ssessment trategy 3 tudents record a completed first version of their compositions. hen have three peers provide feedback to guide further refinement. ssessment trategy 4 Present/Perform :r3.2.5a Present the final version of personal created music to others that demonstrates craftsmanship, and explain connection to expressive intent. fter the students have rehearsed and refined their compositions using the feedback from ssessment trategy 3, the teacher assists students in recording final versions of their compositions and completing the omposition Presentation Worksheet. eneral usic, rade reating, Page 3

4 odel ornerstone ssessment (updated eptember, 2016) Prerequisite kills and Knowledge mprovisational/ompositional evices (magine) hythmic use of repetition; rhythmic patterns; and silence (rests). elodic use of repetitions; melodic patterns, tones. Form rondo (B, B), B, theme and variations, and original form. trategies for mprovising/omposing (magine) trategies for contrasting improvisations in a simple form using dynamics or articulation for variety. trategies for creating two chord harmonic accompaniment to a melody. trategies for varying expression. trategies for adding rhythmic accompaniment e.g., ostinato). ndependently create echo patterns, responses to calls, and improvisations. eacher Preparation ssessment trategy 1 (magine) :r1.1.5a eview the magine coring evice, and lements of usic enu. Prepare and practice musical/rhythmic phrases as examples for the lements of usic enu. ssessment nvironment etup ssessment tep 1 cho what is heard: present rhythmic and melodic phrases of various lengths that include expressive qualities and timbres (e.g., singing, playing, moving, body percussion, beat box, or combinations) with students echoing what is heard. tep 2 all/esponse: tudents take turns being the caller of short phrases using a variety of rhythms, melodies, expressive qualities, and timbres. Peers respond without hesitation, with response representing a similar length of phrase. tep 3 anipulate musical ideas: odel examples of each device found on the lements of usic enu. sk students to improvise with partners using each technique or choose specific techniques reflecting a variety of musical contexts. he teacher: observes students echoing phrases, responding to calls, and improvising with compositional techniques from the lements of usic enu. score observations using the magine coring evice. ssessment Overview eneral usic, rade reating, Page 4

5 odel ornerstone ssessment (updated eptember, 2016) riteria evel 1 merging evel 2 pproaches tandard magine coring evice evel 3 eets tandard evel 4 xceeds tandard Performance tandard magine: enerate and conceptualize artistic ideas and work. cho all and esponse xploration of lements of music choed a small portion of the phrase. esponded with limited creativity by primarily copying the call. eeded assistance exploring elements of music to connect with various purposes or contexts. choed most of the phrase. esponded with creativity but not approximating the length of the call. ndependently explored ideas for elements of music periodically connecting with various purposes or contexts. choed the phrase accurately. esponded creatively with reasonable similarity of length. ndependently explored ideas for elements of music that clearly connected with various purposes or contexts. choed the phrase with extreme precision and enhanced expression. esponded creatively and expressively with appropriate length. ndependently explored ideas for elements of music that creatively and imaginatively connected with various purposes or contexts. :r1.1.5a mprovise rhythmic, melodic, and harmonic ideas, and explain connection to specific purpose and context (such as social, cultural, and historical). eneral usic, rade reating, Page 5

6 odel ornerstone ssessment (updated eptember, 2016) Prerequisite kills and Knowledge mprovisational/ompositional evices (magine) hythmic use of repetition; rhythmic patterns; and silence (rests). elodic use of repetitions; melodic patterns, tones. Form rondo (B, B), B, theme and variations, and original form. trategies for mprovising/omposing (magine) trategies for contrasting improvisations in a simple form using dynamics or articulation for variety. trategies for creating two chord harmonic accompaniment to a melody. trategies for varying expression. trategies for adding rhythmic accompaniment (e.g., ostinato). ndependently create echo patterns, responses to calls, and improvisations. eacher Preparation ssessment nvironment etup ssessment ssessment trategy 2 (Plan and ake) :r1.1.5b, :r2.1.5a, and :r2.1.5b Prepare copies of the Plan and ake Worksheet. (click for.doc version) Have staff and chart paper. eacher hands out Plan and ake Worksheet and pencils, then reviews instructions. f you would like students to record their ideas, have charged recorders available. Put students in groups of two reinforcing that: o ach person contributes equally. o ooperation is essential (listen to each other s ideas). o Follow all directions given by the teacher. he teacher instructs students to: hoose the purpose or context for which to compose their piece. elect at least three elements of music with which to compose. omplete the Plan and ake Worksheet by sequencing their selected elements of music and identifying purpose or context. ompose and document musical phrases using traditional notation, iconic notation, or via recording device. he teacher scores the worksheet and documented phrases using the Plan and ake coring evice. ssessment Overview eneral usic, rade reating, Page 6

7 odel ornerstone ssessment (updated eptember, 2016) tudent ames: eciding together, what is the purpose or context of your composition (e.g., celebration, event, pop radio, music to accompany a movie). O reate musical ideas by experimenting with elements of music and choose which ones to use in your composition that you feel would be appropriate for the purpose or context you have chosen. ircle at least three elements, each from separate columns, for your composition (you may use more than three from the chart). hythm Patterns Pitch Patterns lements of usic enu Form se of repetition se of repetition ondo BB B reate rhythmic reate melodic Binary (B) patterns patterns ernary (B) se of silence (rests) onality (pentatonic, major, minor, modal) Plan and ake Worksheet heme and variation Original form ynamics, rticulation, Pitch (variety and contrast) imbre olor/one hythmic eter Pitch (high/low) Vocal uple (2/4, 4/4) ynamics (p, mp, mf, f) empo (largo, andante, allegro, presto) rticulation (legato/staccato) ovement riple (3/4, 6/8) nstruments (mallet, recorders, keyboard, electronic sounds, orchestra instruments) Body percussion ist the elements of music in the section where they will be incorporated (beginning, middle, end). escribe how you plan on using them to convey the selected purpose or context. ection lement of usic elected How will this element of music be used to convey the purpose or context in your composition? Beginning iddle nd reate melodic, rhythmic, and two-chord harmonic phrases, then appropriately document the phrases using staff (traditional notation), chart paper (iconic notation), or audio recording device. ssessment Overview eneral usic, rade reating, Page 7

8 odel ornerstone ssessment (updated eptember, 2016) Plan and ake coring evice riteria evel 1 merging evel 2 pproaches tandard Plan and ake: elect and develop musical ideas for defined purposes and contexts. evel 3 eets tandard evel 4 xceeds tandard Performance tandards lements of usic elected xplanation was not connected to how each element of music will be used to convey purpose or context. xplained with limited clarity how each element of music will be used to convey purpose or context. learly explained how each element of music will be used to convey purpose or context. With enhanced creativity explained how each element of music will be used to convey purpose or context. :r2.1.5a emonstrate selected and developed musical ideas for improvisations, arrangements, or compositions to express intent, and explain connection to purpose and context. usical deas onnecting to Purpose or ontext usical ideas did not reflect tonality, meter, and (if appropriate) harmonic sequence. usical ideas demonstrated some challenges in reflecting tonality, meter, and (if appropriate) harmonic sequence. usical ideas appropriately reflected tonality, meter, and (if appropriate) harmonic sequence. emonstrating enhanced creativity, musical ideas appropriately reflected tonality, meter, and (if appropriate) harmonic sequence. :r1.1.5b enerate musical ideas (such as rhythms, melodies, and accompaniment patterns) within specific related tonalities, meters, and simple chord changes. otation and/or other documetation ocumentation of musical ideas was unclear. ore clarity needed in documenting musical ideas. usical ideas were clearly documented. usical ideas were documented with outstanding clarity. :r2.1.5b se standard and/or iconic notation and/or recording technology to document personal rhythmic, melodic, and two-chord harmonic musical ideas. ssessment Overview eneral usic, rade reating, Page 8

9 odel ornerstone ssessment (updated eptember, 2016) Prerequisite kills and Knowledge eacher Preparation ssessment nvironment etup ssessment ssessment trategy 3 (valuate and efine) How to assess self and others using provided or developed criteria. ather feedback from others and refine musical work. Knowledge of and comfort with self-recording. eview the valuate to efine coring evice. Prepare recording devices. Prepare sufficient copies of the valuate to efine Worksheet. (click for.doc version) eacher and students review instructions emphasizing that when recording, the student is to state name(s) prior to recording the first draft. tudents practice and record the first draft of their composition. (eacher reminds students that they may disagree with feedback provided and also develop new ideas during the process) he teacher: :r3.1.5a provides each student with three copies of the valuate to efine Worksheet on which their peer reviewers provide feedback. asks students to (on their own or organized by the teacher) play their composition live or recorded for at least three other students who will write feedback on the valuate to efine Worksheet. ask students to respond to the feedback as indicated on the worksheet, then refine their composition until it is ready to record as a final version. core the valuate to efine Worksheet and documented phrases using the valuate to efine coring evice. ssessment Overview eneral usic, rade reating, Page 9

10 odel ornerstone ssessment (updated eptember, 2016) O: ehearse your composition in preparation for your first recording. ecord a first completed draft of your music stating your name(s) on the recording before your performance. Have three students provide feedback to help you refine your compositions: *escribe to each how you used the elements of music in your composition to connect to the purpose or context. *hen play the recording so the peer reviewers can provide feedback on this worksheet (one per reviewer). ollect the peer reviewers worksheets and complete your response to the feedback. hen efine your music by applying appropriate feedback. omposer s ame(s) Peer eviewer s ame ompleted by the peer reviewer ompleted by composer after receiving feedback dentify one thing: Peer eviewer Feedback fter listening to your recorded composition, do you agree? Why/Why not? done well using the appropriate elements of music for the purpose or context selected for the composer to consider using the appropriate elements of music for the purpose or context selected valuate to efine Worksheet How you plan to improve your composition and why? ssessment Overview eneral usic, rade reating, Page 10

11 odel ornerstone ssessment (updated eptember, 2016) riterion evel 1 merging evel 2 pproaches tandard evel 3 eets tandard evel 4 xceeds tandard valuate and efine: valuate and refine selected musical ideas to create musical work(s) that meet appropriate criteria. esponse to Feedback efinement ppeared indecisive as to if they considered feedback as appropriate. tratagies provided were either unrelated or unclear. ecisions as to if they considered feedback as appropriate was not supported with selfevaluative rationale. etermined and explained a few strategies for refinement. valuate to efine coring evice ade clear self-evaluative decisions as to if they considered feedback as appropriate. eteremined and explained multiple strategies for refinement. ade clear self-evaluative decisions as to if they considered feedback as appropriate resulting in insightful revelations. etermined and explained multiple strategies for refinement along with generating new and unique ideas for the music. Performance tandard :r3.1.5a valuate, refine, and document revisions to personal music, applying teacher-provided and collaborativelydeveloped criteria and feedback, and explain rationale for changes. eneral usic, rade reating, Page 11

12 odel ornerstone ssessment (updated eptember, 2016) Prerequisite kills and Knowledge How to present compositions exhibiting craftsmanship and originality. How to explain expressive intent of musical compositions. Knowledge of how to record audio and comfort in self-recording. eacher Preparation ssessment nvironment etup ssessment eview the Final omposition coring evice. Prepare audio recording devices. Print sufficient copies of the omposition Presentation Worksheet. (click for.doc version) eacher and students review instructions, emphasizing that when audio recording the student is to state name(s) prior to recording final recording. tudents refine, then record the final version of their composition. he teacher: ssessment trategy 4 (Present) :r3.2.5a Provides each student with the omposition Presentation Worksheet on which they student reflect upon his/her creating experience. he teacher scores the final composition based on the audio recording and the omposition Presentation Worksheet using the Final omposition coring evice. ssessment Overview eneral usic, rade reating, Page 12

13 odel ornerstone ssessment (updated eptember, 2016) omposer completing this worksheet Other composer s name O: omposition Presentation Worksheet ecord your completed version of the composition. (tate your name(s) first, then perform the piece). ndividually complete this reflection of your composition. 1. What qualities make your creation unique, original, or imaginative in connecting to your selected purpose or context. 2. What is unique about how you used expressive elements of music to convey a specific purpose or context? ssessment Overview eneral usic, rade reating, Page 13

14 odel ornerstone ssessment (updated eptember, 2016) riteria evel 1 merging evel 2 pproaches tandard Present: hare creative musical work that demonstrates craftsmanship and exhibits originality. raftsmanship of usical deas onnection to xpressive ntent raftsmanship and originality was unclear. Provide limited explanation of how they used elements of music to convey expressive intent. ncluded periodic episodes of craftsmanship and originality exhibited by musical choices. enerally, but not thoroughly explained their use of elements of music to convey expressive intent. Final omposition coring evice evel 3 eets tandard emonstrated craftsmanship and originality exhibited by musical choices. ffectively explained their use of elements of music to convey expressive intent. evel 4 xceeds tandard ncluded original, unique, or imaginative musical ideas and/or creative use of sound. escribed uniquely original and/or imaginative use of elements of music to convey expressive intent. Performance tandard :r3.2.5a Present the final version of personally created music to others that demonstrates craftsmanship, and explain connection to expressive intent. eneral usic, rade reating, Page 14 ssessment Overview