Music Model Cornerstone Assessment. Artistic Process: Creating-Improvisation Ensembles

Transcription

1 Music Model Cornerstone Assessment Artistic Process: Creating-Improvisation Ensembles

2 Intent of the Model Cornerstone Assessment Model Cornerstone Assessments (MCAs) in music are tasks that provide formative and summative means to measure student achievement of performance standards in the National Core Music Standards. Each MCA focuses primarily on one Artistic Process (i.e., Creating, Performing, or Responding), 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 MCAs 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. Although each MCA is designed so that it can be administered within one instructional sequence or unit, teachers may choose to spread the component parts of one MCA across multiple units or projects. Student work produced by these MCAs will be selected as benchmarks to illustrate the level of achievement envisioned in the National Core Music Standards. Common Anchor #1: Enduring Understandings Essential Question(s) Common Anchor #2: Enduring Understanding Essential Question(s) Common Anchor #3: Enduring Understanding Essential Question(s) Generate musical ideas for various purposes and contexts The creative ideas, concepts, and feelings that influence artists work emerge from a variety of sources. How do musicians generate creative ideas? Select and develop musical ideas for defined purposes and contexts Musicians creative choices are influenced by their experience, context and expressive intent. How do musicians make creative decisions? Evaluate and refine selected musical ideas to create musical work(s) that meet appropriate criteria Musicians evaluate, and refine their work through openness to new ideas, persistence, and the application of appropriate criteria. Musicians presentation of creative work is the culmination of a process of creation and communication. How do musicians improve the quality of their creative work? When is a creative work ready to share? Using the MCA document This MCA is meant for any ensemble. This document is available in a.pdf format with links for easy navigation within the document and to external links for.doc versions of worksheets. It is divided into student achievement levels but could be considered grade levels: Novice (5 th /6 th grade or an equivalent to 2 years of study in an ensemble in addition to general music); Intermediate (7 th /8 th grade or an equivalent to 4 years of study in an ensemble in addition to general music); Proficient (One or more years of high school study); Accomplished (Proficiency exceeding average performance proficiency for high school study); Advanced (Preparing for collegiate study in music). General description of the Assessment Task Given a short, familiar melody with clearly implied chords or a rhythmic pattern with a clearly discernable meter, the student will be asked to improvise on this melody or rhythmic pattern. (It is suggested that the inexperienced student improviser may want to begin with rhythmic improvisations.). Estimated time for Teaching and Assessment Individual teachers can determine the length of time required to complete the assessment. Use the following links to find the National Standards Skills and Knowledge and the Music Standards Glossary Click at left to use bookmarks for quick movement across document. Creating - Improvisation: Ensembles, Page 2

3 Assessment Strategy 1 (Imagine) Novice - MU: Cr1.1.E.5a Intermediate - Cr1.1.E.8a Proficient - MU:Cr1.1.E.Ia Accomplished - MU:Cr1.1.E.IIa Advanced - MU:Cr1.1.E.IIIa Prerequisite Skills and Knowledge (as appropriate for the level of achievement identified on the standard) Able to identify sounds, rhythms, melodies, harmonies, etc. to express an idea or feeling. Identify resources for improvising melodic and rhythmic ideas. Identify and apply criteria for melodic and rhythmic ideas. Have experiences with using sounds to express ideas or feelings. Understand how musical elements are utilized and manipulating them to explore expressive options. Recognize and able to convey expressive intent in music performance. Able to manipulate various elements of music through the effective use of improvisational techniques. Able to apply improvisational techniques for creating unity and variety, tension and release, and balance to convey expressive intent. Can document improvisations through the use of notation or audio/video recording. Teacher Preparation Assessment Environment Setup Assessment Print sufficient copies of Imagine Worksheet for students (Novice; Intermediate; Proficient; Accomplished; Advanced). Study the Imagine Scoring Device and prepare roster for rating. The teacher will model how to identify melodic phrases, harmonic structure, and musical form (aurally and/or from notation) that exist in pieces for From identified melodies, the teacher guides students through an exploration of selected improvisational ideas. The teacher provides an opportunity for students to individually explore and improvise ways to alter the melody. The teacher will: guide students to select a musical selection (as specified on the worksheet) discovered in one of their ensemble pieces. have students complete the assignment as indicated on the appropriate Imagine Worksheet. (for the pilot, performances will be recorded). collect, score using the Imagine Scoring Device, and provide feedback for the Imagine Worksheets and recordings. Creating - Improvisation: Ensembles, Page 3

4 Imagine Worksheet Novice 1. Select a short phrase from one of the ensemble pieces that is appropriate for your performance medium. Independently explore four of the following improvisory devices (ask your teacher if more explanation or examples are needed): Articulation altering or adding a variety of articulations or varied diction. Dynamics - altering or adding a variety of dynamic channges. Passing tones - Adding notes to the melody that move up or down the scale to connect the pitches. Repetition - sounds or passages are often repeated. Syncopation varying the rhythm in some way unexpected that makes part or all of a tune or piece of music off-beat. Trills - musical ornament consisting of a rapid alternation between two adjacent notes, usually a semitone or tone apart. Turns - A turn is a short figure consisting of the note above the one indicated, the note itself, the note below the one indicated, and the note itself again. Use of silence (rests) adding space between notes or removing selected notes. Altered text/syllabic scat singing - wordless vocables, nonsense syllables or without words. Explore each idea a sufficient number of times in order to choose which you like the best to re-imagine this phrase, then improvise using one of the improvisational devices. 2. After experimentation using the improvisational devices on the selected short phrase, select your favorite versions and record (using a digital recording device) the original phrase (melodic/rhythmic), then the improvised phrase that you feel appropriately embellishes the original characteristics of the music/text. What improvisational device did you use? Creating - Improvisation: Ensembles, Page 4

5 Hand in this worksheet with the recording of your improvised short phrase. 3. Select a complete melody from one of the ensemble pieces that is appropriate for your performance medium. Independently explore four of the following improvisory devices (ask your teacher if more explanation or examples are needed): Augmentation - where a melody, theme or short phrase is presented in longer note-values than were previously used. Diminution - a long note is divided into a series of shorter values or where a melody, theme or short phrase is presented in shorter note-values than were previously used. Trills - musical ornament consisting of a rapid alternation between two adjacent notes, usually a semitone or tone apart. Turns - A turn is a short figure consisting of the note above the one indicated, the note itself, the note below the one indicated, and the note itself again. Passing tones - Adding notes to the melody that move up or down the scale to connect the pitches. Repetition - sounds or passages are often repeated. Scat singing - wordless vocables, nonsense syllables or without words at all. Sequence - the restatement of a short phrase or longer melodic (or harmonic) passage at a Imagine Worksheet - Intermediate higher or lower pitch. Syncopation varying the rhythm in some way unexpected that makes part or all of a tune or piece of music off-beat. Explore each idea a sufficient number of times in order to choose which you like the best to re-imagine this melody, then improvise a re-imagined version using all four of the devices. 4. After experimentation using the improvisational devices on the selected piece, select your favorite version and record (using a digital recording device) the original melody (melodic/rhythmic), then the improvised melody that you feel appropriately embellishes the original characteristics of the music/text. What improvisational devices did you use? Hand in this worksheet with the recording of your improvised melody. Creating - Improvisation: Ensembles, Page 5

6 Imagine Worksheet - Proficient 1. Select two complete melodies, each from a different historic/stylistic ensemble piece and appropriate for your performance medium. Independently explore an improvisation for each using a variety of improvisational devices appropriate for the style/genre of each piece (e.g., Augmentation, Diminution, Trills, Turns, Passing tones, Repetition, Syncopation, Sequence, Harmonic dissonance, Alterring metric feel, Scat singing) 2. Explore each idea a sufficient number of times in order to choose which you like the best to re-imagine each melodies while maintaining the stylistic/historic integrity of the piece. 3. After experimentation using the improvisational devices on the selected melodies, select your favorite version or each and record (using a digital recording device) the original melody (melodic/rhythmic), followed by the improvisation for each. What improvisational devices did you use? Melody 1 - Melody 2 - Hand in this worksheet with the recording of your improvised melody. Creating - Improvisation: Ensembles, Page 6

7 Imagine Worksheet - Accomplished 1. Select a complete piece from an ensemble piece with a culutural connection and appropriate for your performance medium. Independently study the piece exploring the improvisational components and formal properties. Improvise on this piece using a variety of improvisational devices while maintaining the cultural/stylistic integrity of the theme. 2. After experimentation using the improvisational devices on the piece, select your three versions and record (using a digital recording device) the original phrase (melodic/rhythmic), followed by the improvisations. Explain or diagram the improvisational devices you used. Improvisation 1 - Improvisation 2 - Improvisation 3 - Hand in this worksheet with the recording of your improvised melody. Creating - Improvisation: Ensembles, Page 7

8 Imagine Worksheet - Advanced 3. Select a complete piece with advanced harmonic or melodic components (approved by your instructor) from an ensemble piece with a culutural connection and appropriate for your performance medium. Independently study the piece exploring the improvisational components and formal properties. Improvise on this piece using a variety of improvisational devices while maintaining the cultural/stylistic integrity of the theme. 4. After experimentation using the improvisational devices on the piece, select your three versions and record at a live performance using appropriate back-up ensemble (using a digital recording device) the original phrase (melodic/rhythmic), followed by the improvisations. Explain or diagram the improvisational devices you used. Improvisation 1 - Improvisation 2 - Improvisation 3 - Hand in this worksheet with the recording of your improvised melody. Creating - Improvisation: Ensembles, Page 8

9 Imagine Scoring Device Achievement Level Level 1 Emerging Level 2 Approaches Standards Level 3 Meets Standards Level 4 Exceeds Standards Performance Standards Novice Intermediate Proficient Accomplished Primarily repeated the original melodic/ rhythmic short phrase without clearly using an improvisation device. Slightly altered a melodic/rhythmic melody with three or fewer improvisational devices with questionable consideration of the original. Slightly altered two melodies from different historic styles without a clear connection to the historical/stylistic integrity of the original. Created three complete musical versions that were very similar to the original. Slightly altered a melodic/rhythmic short phrase using one improvisational device with questionable connection to the original. Slightly altered a melodic/rhythmic melody with four improvisational devices with questionable consideration of the original. Re-imagined two melodies from different historic styles, but the connection to the historical/stylistic integrity is questionable. Re-imagined three complete musical versions, but the connection to the original was questionable. Re-imagined a melodic/ rhythmic short phrase with one improvisational device that appropriately embellished the characteristics original. Re-imagined a melodic/ rhythmic melody with four improvisational devices with clear consideration of the characteristics from the original. Re-imagined phrases from two historic styles that reflect the nature of the original. Re-imagined three complete musical versions based while maintaining the integrity of the original. Re-imagined a melodic/ rhythmic short phrase exploring multiple improvisational devices that clearly enhanced the characteristics original. Re-imagined a melodic/ rhythmic melody with four improvisational devices that creatively enhances the characteristics of the original. Re-imagined/created phrases from two historic styles that reflecting a depth of understanding of the nature of the original insightfully. Re-imagined three complete musical versions based that creatively enhances the integrity of the original. 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. 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. 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. 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. Advanced Re-imagined three complete musical versions, but the connection to the original was questionable. Re-imagined a three musical versions of a complex piece based on and maintaining the integrity of the original. Re-imagined a three musical versions of a complex piece based on and maintaining, but creatively expounded upon the original. MU:Cr1.1.E.IIIa Compose and improvise musical ideas for a variety of purposes and contexts. Creating - Improvisation: Ensembles, Page 9

10 Assessment Strategy 2 (Plan, and Make) Novice - MU: Cr2.1.E.5a&b Intermediate Cr2.1.E.8a&b Proficient - MU:Cr2.1.E.Ia&b Accomplished - MU:Cr2.1.E.IIa&b Advanced - MU:Cr2.1.E.IIIa&b Prerequisite Skills and Knowledge Recognize and able to convey expressive intent in music performance. Have experience manipulating the various elements of music displaying effective improvisational technique. Able to apply improvisational devices for creating unity and variety, tension and release, and balance to convey expressive intent. Can use audio/video recording devices and music technology to document rhythmic phrases, melodic phrases, and harmonic sequences. Teacher Preparation Assessment Environment Setup Assessment Print sufficient copies of Plan, and Make Worksheet for students. (Novice; Intermediate; Proficient; Accomplished; Advanced) Study the Plan, and Make Scoring Device and prepare roster for rating. Have musical instruments, staff paper, sequencer, recording devices, etc., available for students. Plan time and space for students to explore musical ideas In class or independently, the student listens to the recording of their original short phrase and the The the student identifies what they want to do to improve the improvisation on the lefthand side of the Plan and Make Worksheet and define how they will accomplish it on the right-hand side. The teacher will: explain to the students that they will be improvisation on a piece. If done in class, the teacher should constantly monitor the students and use the praise, point, and leave strategy (praise their progress, point them at the next step, then leave). Collect, score, and provide feedback for the Plan and Make Worksheets using the Plan and Make Scoring Device. Then return to the students for use in refinement. Creating - Improvisation: Ensembles, Page 10

11 Plan and Make Worksheet - Novice After listening to your improvised short phrase, list the ways you feel you can improve your improvisation in the left-hand column of this chart. Then write what you must do to accomplish this in the right-hand column. This chart provides an example. If you intend to this as one of your decisions, then list it again. e.g., Add Syncopation What will improve this improvisation? How do I do this? e.g., Move some notes of the melody off of the beats to the &. Teacher Feedback: After the teacher provides feedback and returns this form, you will begin preparing your improvisation for performance through rehearsal and refinement. Remember to maintain some connection to the characteristics of the original. Creating - Improvisation: Ensembles, Page 11

12 Plan and Make Worksheet - Intermediate After listening to your improvised melody, list the ways you feel you can improve your improvisation in the lefthand column of this chart. Then write what you must do to accomplish this in the right-hand column. Complete all four boxes This chart provides an example. If you intend to this as one of your decisions, then list it again. e.g., Add Syncopation What will improve this improvisation? How do I do this? e.g., Move some notes of the melody off of the beats to the &. Teacher Feedback: After the teacher provides feedback and returns this form, you will begin preparing your improvisation for performance through rehearsal and refinement. Remember to maintain some connection to the characteristics of the original. Creating - Improvisation: Ensembles, Page 12

13 Plan and Make Worksheet - Proficient After listening to each improvised melody, list the ways you feel you can improve your improvisation in the lefthand column of this chart. Then write what you must do to accomplish this in the right-hand column. Complete all four boxes This chart provides an example. If you intend to this as one of your decisions, then list it again. What will improve this improvisation? e.g., Enhance the syncopation Piece #1 How do I do this? e.g., Move the third and fourth pitches of the first phrase off of the beats to the &, then place a space before the next to shift the remainder of the melody. Piece #1 Piece #2 Piece #2 Teacher Feedback: After the teacher provides feedback and returns this form, you will begin preparing your improvisation for performance through rehearsal and refinement. Remember to maintain some connection to the characteristics of the original. Creating - Improvisation: Ensembles, Page 13

14 Plan and Make Worksheet - Accomplished After listening to your improvisation, list the ways you feel you can improve your improvisation in the left-hand column of this chart. Then write what you must do to accomplish this in the right-hand column. Complete all four boxes This chart provides an example. If you intend to this as one of your decisions, then list it again. What will improve this improvisation? e.g., Enhance the syncopation similar to the style of Manhattan Transfer How do I do this? e.g., Move the third and fourth pitches of the first phrase off of the beats to the &, then place a space before the next to shift the remainder of the melody. Teacher Feedback: After the teacher provides feedback and returns this form, you will begin preparing your improvisation for performance through rehearsal and refinement. Remember to maintain some connection to the characteristics of the original. Creating - Improvisation: Ensembles, Page 14

15 Plan and Make Worksheet - Advanced (name of original piece) After listening to your improvisation, list the ways you feel you can improve your improvisation and what you must do to accomplish these things. Work to maintain the integrity of the original piece while reinventing the music by altering characteristics of the piece. Consider the following categories to guide your plan. Ideas & Content (theme, expression, dynamics) varied in a way to keep the listener s attention; Organization (form) Clear recognizable patterns and sequence; guides listener a anticipation; Flow (melody) clear melodic direction with performable intervals Fluency (rhythm) functional and performable flows with a forward feel Conventions (symbols, accurate manuscript) few errors; easy to read Explain or diagram your ideas. After the teacher provides feedback and returns this form, you will begin preparing your improvisation for performance through rehearsal and refinement. Remember to maintain some connection to the characteristics of the original Creating - Improvisation: Ensembles, Page 15

16 Plan and Make Scoring Device Level Level 1 Emerging Level 2 Approaches Standards Level 3 Meets Standards Level 4 Exceeds Standards Performance Standards Novice Intermediate Proficient Provided non-descript way to improve the improvisation without a strategy to accomplish it. Provided four or less nondescript ways to improve the improvisation without strategies. Provided non-descript ways to improve the improvisations without strategies. Provided a general way to to improve the improvisation and provided an unspecific strategy to accomplish it. Provided general ways to to improve the improvisation and nonspecific strategies. Provided general ways to improve both improvisations and nonspecific strategies. Clearly identified one way to improve the improvisation and specifically provided their strategy to accomplish it. Clearly identified four ways to improve the improvisation and specifically provided strategies to accomplish them. Clearly identified two ways to improve each improvisation and provided specific strategies for each. Clearly identified one way to improve the improvisation and specifically provided their strategy to accomplish it demonstrating a depth of stylistic and creative expression. Clearly identified four ways to improve the improvisation and provided specific strategies that demonstrate a depth of stylistic and creative expression. Clearly identified two ways to improve each improvisation and provided specific strategies for each that demonstrate a depth of stylistic and creative expression. 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. MU:Cr2.1.E.5b Preserve draft compositions and improvisations through standard notation and audio recording. 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. MU:Cr2.1.E.8b Preserve draft compositions and improvisations through standard notation and audio recording. 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. MU:Cr2.1.E.Ia Preserve draft compositions and improvisations through standard notation and audio recording. Creating - Improvisation: Ensembles, Page 16

17 Level 1 Level 2 Level 3 Level 4 Level Emerging Approaches Standards Meets Standards Exceeds Standards Performance Standards Accomplished Advanced Provided non-descript ways to improve the improvisations without strategies. Provided general ways to improve both improvisations and nonspecific strategies for each. Provided general ways to improve both improvisations and nonspecific strategies. Clearly identified ways to improve each improvisation and provided specific strategies for each. Clearly identified two ways to improve each improvisation and provided specific strategies for each. Clearly identified four ways to improve the improvisation and provided specific for each demonstrating a depth of stylistic and creative expression. Clearly identified four ways to improve the improvisation and provided specific for each demonstrating a depth of stylistic and creative expression. MU:Cr2.1.E.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. MU:Cr2.1.E.IIa Preserve draft compositions and improvisations through standard notation, audio, or video recording. MU:Cr2.1.E.IIIa Select and develop composed and improvised ideas into draft musical works organized for a variety of purposes and contexts. MU:Cr2.1.E.IIIa Preserve draft musical works through standard notation, audio, or video recording. Creating - Improvisation: Ensembles, Page 17

18 Prerequisite Skills and Knowledge Assessment Strategy 3 (Evaluate and Refine) Novice - MU: Cr3.1.E.5a Intermediate Cr3.1.E.8a Proficient - MU:Cr3.1.E.Ia Accomplished - MU:Cr3.1.E.IIa Advanced - MU:Cr3.1.E.IIIa Have experience self-assessing personal work. Able to apply criteria in evaluate and explain choices of creative ideas based on criteria. Can appropriately describe improvisational techniques, style, form, and a variety of sound sources in Can describe the use of tension and release, unity and variety, and balance to convey expressive intent. Can read and use standard or iconic notation and/or use audio/video recording devices and music technology to document rhythmic phrases, melodic phrases, and harmonic sequences. Able to perform and/or record of improvisations. Able to recognize explain craftsmanship and originality within music. Teacher Preparation Assessment Environment Setup Assessment Prepare a student roster to enter student achievement score. Print copies of Peer Assessment Worksheets for three students to review one student s first draft. Print copies of Evaluate and Refine Worksheets (click for.doc version) and the Final Improvisation Rubric for each student. Study the Improvisation Scoring Device to be familiar with all the criteria for evaluation. To support student in refining their improvisation, teacher will: put students in groups of four independently or in class. Each student should perform the original, then perform their improvisation with the other three providing feedback using the Peer Feedback Form. The group of four students will review the final improvisation rubric and discuss how the improvisations can reach meeting or exceeding standard. Then the students will continue to enhance the improvisation, experimenting with adjustments in response to the feedback and rubric discussion. To assess students refinement of their improvisations, the teacher will ask students to complete the Evaluate and Refine Worksheet, which will be turned in after the final performance. Creating - Improvisation: Ensembles, Page 18

19 Peer Assessment Worksheet My Name: My Friend s name: My Friend s Improvisation: What did you hear? Describe the improvisational techniques you heard that were used to express the intent of the tune. What did you like? Describe the parts about the improvisation that you liked. What suggestions could enhance the improvisation? Describe what you think the improviser should consider when continuing to work on the Return completed to the improviser. Creating - Improvisation: Ensembles, Page 19

20 Evaluate and Refine Worksheet My Name: What did you learn from your classmates and teachers feedback? Describe how you plan to improve your improvisation and your reasons for making those changes. Outline your revision and rehearsal plan. Creating - Improvisation: Ensembles, Page 20

21 Evaluate and Refine Scoring Device Level Level 1 Emerging Level 2 Approaches Standards Level 3 Meets Standards Level 4 Exceeds Standards Performance Standards NOVICE: Evaluate and Refine Evaluate and refine selected musical ideas to create musical work that meets appropriate criteria Response to Peer Response to feedback is singular words or nondescript Response to feedback is brief without any specific Response to feedback is descriptive but lacks clear (e.g., reference. decisions pertaining to Feedback good/bad). improvisational possibilities. Self- Evaluation Decisions and Plan for Refinement The student evaluation does not identify challenges. refinement are limited to singular actions (e.g., practice, or do again). The student is able to identify challenges, but not revisions to the refinement are included but unclear. The student is able to identify the need for revisions to enhance the improvisation, but lacks specificity. refinement are general, lacking specific details. INTERMEDIATE: Evaluate and Refine Evaluate and refine selected musical ideas to create musical work that meets appropriate criteria Response to Response to feedback is Response to feedback is Response to feedback Peer brief without any descriptive but lacks clear demonstrates a clear Feedback specific reference. decisions pertaining to understanding of the feedback improvisational possibilities. and considers suggestions with minimal description of improvisational possibilities. Self- Evaluation Decisions and Plan for Refinement The student is able to identify challenges, but not revisions to the refinement are included but unclear. The student is able to identify the need for revisions to enhance the improvisation, but lacks specificity. refinement are general, lacking specific details. The student is able to identify specific ideas to adjust improvisation with slight consideration of expressive intent. refinement are clearly described but needs enhanced depth of rationale. Response to feedback demonstrates a clear understanding of the feedback and considers suggestions with minimal description of improvisational possibilities. The student is able to identify specific ideas to adjust improvisation with slight consideration of expressive intent. refinement are clearly described but needs enhanced depth of rationale. Response to feedback demonstrates a clear understanding of the feedback and considers suggestions with clear description of improvisational possibilities. The student is able to cite specific criteria associated with the external feedback leading to refinement of musical ideas in order to both convey expressive intent and to improve craftsmanship of the refinement includes clear rationale for choices. MU:Cr3.1.E.5a Evaluate and refine draft compositions and improvisations based on knowledge, skill, and teacherprovided criteria. MU:Cr3.1.E.8a Evaluate and refine draft compositions and improvisations based on knowledge, skill, and collaborativelydeveloped criteria. Creating - Improvisation: Ensembles, Page 21

22 Level Level 1 Emerging Level 2 Approaches Standards Level 3 Meets Standards Level 4 Exceeds Standards Performance Standards PROFICIENT: Evaluate and Refine Evaluate and refine selected musical ideas to create musical work that meets appropriate criteria Response to Peer Feedback Self- Evaluation Response to feedback is descriptive but lacks clear decisions pertaining to improvisational possibilities. The student is able to identify the need for revisions to enhance the improvisation, but lacks specificity. Response to feedback demonstrates a clear understanding of the feedback and considers suggestions with minimal description of improvisational possibilities. The student is able to identify specific ideas to adjust improvisation with slight consideration of expressive intent. Response to feedback demonstrates a clear understanding of the feedback and considers suggestions with clear description of improvisational possibilities. The student is able to cite specific criteria associated with the external feedback leading to refinement of musical ideas in order to both convey expressive intent and to improve craftsmanship of the Response to feedback demonstrates a thorough consideration of the feedback and responds to suggestions in clear description of improvisational possibilities. The student is able to apply criteria and prior knowledge in evaluating external feedback to make decisions that lead to refinement and craftsmanship of the 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. Decisions and Plan for Refinement refinement are general, lacking specific details. refinement are clearly described but need enhanced depth of rationale. refinement includes clear rationale for choices. refinement are thorough and includes clear rationale for choices. Creating - Improvisation: Ensembles, Page 22

23 Level Level 1 Emerging Level 2 Approaches Standards Level 3 Meets Standards Level 4 Exceeds Standards Performance Standards ACCOMPLISHED: Evaluate and Refine Evaluate and refine selected musical ideas to create musical work that meets appropriate criteria Response to Peer Feedback Self- Evaluation Response to feedback demonstrates a clear understanding of the feedback and considers suggestions with minimal description of improvisational possibilities. The student is able to identify specific ideas to adjust improvisation with slight consideration of expressive intent. Response to feedback demonstrates a clear understanding of the feedback and considers suggestions with clear description of improvisational possibilities. The student is able to cite specific criteria associated with the external feedback leading to refinement of musical ideas in order to both convey expressive intent and to improve craftsmanship of the Response to feedback demonstrates a thorough consideration of the feedback and responds to suggestions in clear description of improvisational possibilities. The student is able to apply criteria and prior knowledge in evaluating external feedback to make decisions that lead to refinement and craftsmanship of the Response to feedback demonstrates an insightful consideration of the feedback and responds to suggestions with creative improvisational possibilities. The student is able to apply criteria and prior knowledge in evaluating external feedback to make decisions leading to the generation of new creative musical ideas in order to both convey expressive intent and to improve craftsmanship of the MU:Cr3.1.E.IIa Evaluate and refine draft arrangements, sections, short compositions, and improvisations based on personallydeveloped criteria, including the extent to which they address identified purposes. Decisions and Plan for Refinement refinement are clearly described but need enhanced depth of rationale. refinement includes clear rationale for choices. refinement are thorough and include clear rationale for choices. refinement are thorough and includes creative choices. Creating - Improvisation: Ensembles, Page 23

24 Level 1 Level 2 Level 3 Level 4 Level Emerging Approaches Standards Meets Standards Exceeds Standards Performance Standards ADVANCED: Evaluate and Refine Evaluate and refine selected musical ideas to create musical work that meets appropriate criteria Response to Peer Feedback Response to feedback demonstrates a clear understanding of the feedback and considers suggestions in clear description of improvisational possibilities. Response to feedback demonstrates a thoughtful consideration of the feedback and responds to suggestions in clear description of improvisational possibilities. Response to feedback demonstrates an insightful consideration of the feedback and responds to suggestions with creative improvisational possibilities. Response to feedback demonstrates an insightful consideration of the feedback and responds to suggestions with creative improvisational possibilities. 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. Self- Evaluation Decisions and Plan for Refinement The student is able to cite specific criteria associated with the external feedback leading to refinement of musical ideas in order to both convey expressive intent and to improve craftsmanship of the refinement include clear rationale for choices. The student is able to apply criteria and prior knowledge in evaluating external feedback to make decisions that lead to refinement and craftsmanship of the refinement are thorough and includes clear rationale for choices. The student is able to apply criteria and prior knowledge in evaluating external feedback to make decisions leading to the generation of new creative musical ideas in order to both convey expressive intent and to improve craftsmanship of the refinement are thorough and includes creative choices. The student is able to apply criteria and prior knowledge in evaluating external feedback to make decisions leading to the generation of new creative musical ideas in order to both convey expressive intent and to improve craftsmanship of the refinement are thorough and includes creative choices. Creating - Improvisation: Ensembles, Page 24

25 Prerequisite Skills and Knowledge Assessment Strategy 4 (Present) Assessment Task 2 - Present Novice - MU: Cr3.2.E.5a Intermediate Cr3.2.E.8a Proficient - MU:Cr3.2.E.Ia Accomplished - MU:Cr3.2.E.IIa Advanced - MU:Cr3.2.E.IIIa Can read and use standard or iconic notation and/or use audio/video recording devices and music technology to document rhythmic phrases, melodic phrases, and harmonic sequences. Able to perform and/or record of improvisations. Able to recognize explain craftsmanship and originality within music. Teacher Preparation Assessment Environment Setup Assessment Prepare a student roster to enter student achievement score. Prepare a device to record students presentation. Setup a schedule for student s final presentation of their improvisations. Study the Final Improvisation Scoring Device to be familiar with all the criteria for evaluation. In preparation for the final improvisation presentation, teacher will: Talk about proper performance etiquette. All student perform for each other first playing the original melody followed by the improvisation(s). Emphasize proper listening when responding to the performances. Great supportive behavior is expected! To assess student s final improvisation, the teacher will record students presentation of their improvisations to the class where they perform the original version followed by the improvisation(s). Score the improvisation using the Final Improvisation Scoring Device. Collect the Rehearse to Refine Worksheets and Peer Feedback Forms, then score with the appropriate level Rehearse to Refine Scoring Device. Creating - Improvisation: Ensembles, Page 25

26 Final Improvisation Scoring Device Levels Level 1 Emerging Level 2 Approaches Standards Level 3 Meets Standards Level 4 Exceeds Standards Performance Standards Novice Intermediate Had limited comprehension of characteristics in the original short phrase. Incorporated one improvisational device with limited craftsmanship. Improvisation was disorganized. Had limited comprehension of characteristics in the original passage. Incorporated three or fewer improvisational devices all with limited craftsmanship. Improvisation was disorganized. Recognized the existence of the characteristics in the original short phrase, but was challenged to specifically identify. Incorporated one improvisational device with limited craftsmanship. Improvisation was presented clearly and organized. Recognized the existence of the characteristics in the original passage, but was challenged to specifically identify. Incorporated four improvisational devices but some with limited craftsmanship. Improvisation was presented clearly and organized. Recognized the characteristics in the original short phrase. Demonstrated craftsmanship incorporating one improvisational device. Demonstrated confidence and pride in the Recognized multiple characteristics incorporated in the original passage. Demonstrated craftsmanship incorporating four improvisational devices. Demonstrated confidence and pride in the Demonstrated insightful understanding the characteristics in the original short phrase. Creatively and with craftsmanship incorporating one improvisational device. Demonstrated confidence and pride in the Demonstrated insightful understanding the characteristics in the original passage. Demonstrated craftsmanship incorporating four improvisational devices with clear expressive purpose. Demonstrated confidence and pride in the 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. 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. Creating - Improvisation: Ensembles, Page 26

27 Levels Level 1 Emerging Level 2 Approaches Standards Level 3 Meets Standards Level 4 Exceeds Standards Performance Standards Proficient Accomplished Advanced Had limited comprehension of historic/stylistic characteristics in the original passages. The differences between the original and the improvisation are superficial and minimal. Improvisation was disorganized. Demonstrated limited comprehension of cultural characteristics of the original passage. The differences between the original and the improvisation are superficial and minimal. Improvisation was disorganized. Recognized non-discript characteristics in the each original passage. Incorporated three or fewer improvisational devices all with limited craftsmanship. Improvisation was presented clearly and organized. Recognized non-discript characteristics in the each original passage. Incorporated three or fewer improvisational devices all with limited craftsmanship. Improvisation was presented clearly and organized. Appeared aware of some cultural characteristics in the original passage. Incorporated the improvisational devices with limited craftsmanship. Improvisation was presented clearly and organized. Conceptually recognized charateristics of the original. Improvisation differed from the originals in imaginative ways, but each is reflected characteristics of the original. Demonstrated confidence and pride in the Recognized the historic/stylistic characteristics in each original passage. Demonstrated craftsmanship incorporating two improvisational devices for each passage. Demonstrated confidence and pride in the Clearly identified cultural characteristics in the original passage. Created interest with creative ideas and complexity. Demonstrated confidence and pride in the Demonstrated insightful understanding charateristics of the original. Improvisation demonstrated craftsmanship in imaginative ways and reflected characteristics of the original. Demonstrated confidence and pride in the Demonstrated insightful understanding the historic/stylistic characteristics in each passage. Demonstrated craftsmanship incorporating two improvisational devices for each passage with clear expressive purpose. Demonstrated confidence and pride in the Demonstrated insightful understanding the cultural influence. Demonstrated craftstmanship in creative ideas and complexity. Demonstrated confidence and pride in the MU:Cr3.2.E.Ia Share personallydeveloped melodies, rhythmic passages, and arrangements individually or as an ensemble that address identified purposes. MU:Cr3.2.E.IIa Share personallydeveloped arrangements, sections, and short compositions individually or as an ensemble that address identified purposes. MU:Cr3.2.E.IIIa Share varied, personallydeveloped musical works individually or as an ensemble that address identified purposes and contexts. Creating - Improvisation: Ensembles, Page 27

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29 Differentiation Strategies (Instructional approaches that respond to individual student needs and strengths to maximize student learning and success.) Resource: (sample) pre-assess to determine levels of student prior knowledge and abilities determine and teach to reduce learning gaps create independent enrichment/enhanced work for students who show mastery group students to accommodate learning needs use provocative, complex questioning to stimulate high level thinking devise open-ended tasks to allow students of all ability levels to achieve success at their own levels tier tasks to address levels of abilities and support students within each tier, assure that students are given choice in tasks in order to address their learning styles, interests, etc. Extension Experience: Have students write in journals and/or essays reflecting on their Improvisation experiences. Using the language of the Improvisation Rubric, they should include why their melody worked or didn t work, what they will do differently in their next Improvisations, and an assessment of their efforts on the project. A brief reminder of the Six-Trait Writing Model might be in order. HIGH SCHOOL ENSEMBLE, CREATING, PAGE 29