usic odel ornerstone ssessment rtistic rocess: esponding 2nd rade eneral usic pdated July 18, 2016 eneral usic, rade esponding, age 1
ntent of the s TT s (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 rocess (i.e., reating, erforming, 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 #7: nduring nderstandings erceive and analyze artistic work ndividuals selection of songs are influenced by prior experiences with similar music, understandings of musical elements and interests. ssential Question(s) Why do you like the music you chose? ommon nchor #8: nduring nderstanding nterpret intent and meaning in artistic work esponse to music is informed by understanding musical elements as well as the cultural and historical contexts of elements of music. ssential Question(s) How does understanding the story and musical elements used inform your response? ommon nchor #9: nduring nderstanding pply criteria to evaluate artistic work The personal evaluation of the musical selection and performances is informed by analysis, interpretation and established criteria. ssential Question(s) How do we judge the quality of the musical work and performance? sing the document s are presented at key grades and each strand for each of the three artistic process. 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. The next page provides the assessment description with links to a detailed description of the assessment. eneral description of the ssessment Task n this, students will demonstrate the ability to identify elements of music while responding to recorded examples. They will select these elements in the example, then listen to a variety of interpretations of the same piece, and describe differences in the interpretation using a word bank of musical elements. They will then select a favorite interpretation of the piece and describe why the version of the piece was chosen. This does not assess the ability of the student to perform the selection. stimated time for ssessment This assessment is embedded in the instruction and require students to have experience in the given prerequisite skills. This assessment can be accomplished in one class period. n interactive table of contents can be found by opening the bookmarks. pdated July 18, 2016 eneral usic, rade esponding, age 2
T VVW, rade eneral usic: esponding esponding to the expressive components of a piece elect :e7.1.2a xplain and demonstrate how personal interests and experiences influence musical selection for specific purposes. nalyze :e7.2.2a escribe how specific music concepts are used to support a specific purpose in music. ssessment trategy 1 The teacher plays a classical version of eer ynt: n the Hall of the ountain King, asking students to listen. The students complete the all hart during the second time the recording is played. tudents share responses with others, talking about the elements of music used in eer ynt. ssessment trategy 2 sing locomotor and/or non-locomotor movements, students demonstrate knowledge of tempo changes throughout eer ynt: n the Hall of theountain King and verbally explain why their movement reflects the music. nterpret :e8.1.2a emonstrate knowledge of music concepts and how they support creators / performers expressive intent. valuate :e9.1.2a pply personal and expressive preferences in the evaluation of music for specific purposes. ssessment trategy 3 Teacher plays original version along with three different arrangements/interpretations of n the Hall of the ountain King. sing locomotive and/or nonlocomotive movements, students demonstrate how musical elements (especially tempi) are used to tell the story. fter hearing the three versions of n the Hall of the ountain King, students choose which version they like the most. tudents either with a written or verbal response to the version they like best, and why. eneral usic, rade esponding, age 3
rerequisite Knowledge and kills nderstanding how musical taste is influenced by previous experiences (at home, church, with siblings). Be able to verbally identify musical elements like tempo, dynamics, instruments (by family aurally), rhythm, beat in written or aural form (using a word bank). Be comfortable singing or speaking into a recording device. Be able to label musical elements while listening to a selection. Teacher reparation ssessment nvironment etup Teacher prepares students by listening to a variety of programmatic music. eview the purpose of programmatic music, and develop a word bank of descriptive words about the music that describes why someone might like a specific piece of music. Before carrying out these assessments in the classroom, it is suggested that the following tasks be accomplished: onfirm access to YouTube so that you can pull up all of the suggested pieces for the assessment. repare a roster of students so that you can document their progress. Become familiar with the criteria on the scoring rubrics. repare technology for the YouTube selections, and familiarize yourself with your Zoom recorder prior to the start of the session. repare sufficient copies of the all hart for every student and a writing/marking utensil. Before engaging in this assessment, the teacher should prepare the students by: ake sure the students are comfortable, and can clearly hear the music. ach student should have a paper with check sheet and writing utensil. sk students to listen carefully and participate fully in the activity. eneral usic, rade esponding, age 4
mplementation of ssessment trategies To implement ssessment #1 in class: Teacher asks students to review the answers given on the all hart; Teacher tells students to create locomotive or non-locomotive movements that show the musical element of tempo for eer ynt: n The Hall of the ountain King. The students may practice their movements. tudents perform their movement and verbally describe how their movements reflect the music s tempo, dynamics, and texture. The teacher scores (video record for the pilot) the movement and description using the nterpret coring evice. To implement ssessment #2 in class: Teacher plays the audio of the orchestral version of eer ynt: n the Hall of the ountain King by dward rieg. Teacher plays the audio of the orchestral version the second time having students circle their observation on the all hart as they listen. The teacher should provide the students visual cues (fingers indicated hhich uuesioons to ansher) indicating when the students are to complete specific boxes. tudents and teacher score the assessment together, marking the incorrect answers with crayon, pen or marker; ecord assessment on excel sheet. To implement ssessment #3 in class: The teacher plays n the Hall of the ountain King orchestral version for the students. The students receive the ssessment #3 valuate Worksheet, with three sets of boxes to fill; tudents fill out xample #1 (orchestral version) to review musical elements; tudents fill out xample #2 (vocal version) using the same musical elements; tudents fill out xample #3 (computer version) using same musical elements chart; Teacher asks students to choose which example they prefer the most and at least one sentence about why they like it (either written or verbal) Teacher records student response (written or verbal) lass creates a frequency chart and creates movement based on whole class preference. eneral usic, rade esponding, age 5
ssessment trategy 1 (nterpret) rerequisite kills and Knowledge n order to carry out this task, students will need to be able to: Teacher reparation nderstand the meaning of musical elements about tempo and dynamics nderstand how interpretation of the musical elements reflect the expressive intent of the composer in programmatic music; ssessment nvironment etup repare a scoring roster for the class. To implement the assessment: eview the eer ynt story about the Hall of the ountain King; eview the musical elements used by rieg regarding tempo, dynamics and texture for students to think about for developing their movement to reflect the music of the Hall of the mountain King. ssessment Teacher asks students to review the answers given in ssessment #1 worksheet; Teacher tells students to create locomotive or non-locomotive movements that show the musical element of tempo, dynamics, and textures in eer ynt: n The Hall of the ountain King. Questions you ask to help students consider movements: Which movements could tell the story of eer ynt? What emotions do you want to display for the gnomes? for eer? llow time for students to practice their movements. Then have students (individually or in groups) perform their movement. (video record for the pilot) sk each student to verbally describe how their movements reflect the music s tempo, dynamics, and texture. (video record for the pilot) The teacher scores the movement and description using the nterpret coring evice. eneral usic, rade esponding, age 6
nterpret coring evice riteria evel 1 merging evel 2 pproaches tandards evel 3 eets tandards evel 4 xceeds tandards erformance tandards nterpret: esponse to music is informed by understanding musical elements as well as the cultural and historical contexts of elements of music. ovement Verbal esponse ovements represented tempo, dynamic, and/or texture shifts in the music but were often incomplete or inconsistent and only express basic intent of the music. emonstrated difficulty describing the musical elements and/or expressive intent of the music. ovement represented tempo, dynamic changes, and/or texture, but clearly not representing all three. sed limited vocabulary to describe the musical elements and the expressive intent of the music. ovements accurately represented tempo, dynamic changes, and texture in the music. sed appropriate musical vocabulary to describe the musical elements. ovements accurately represented tempo, dynamic changes, and texture in the music in an imaginative and original manner. sed appropriate musical vocabulary to describe the musical elements as well as the expressive intent of the music. : e8.1.2a emonstrate knowledge of music concepts and how they support creators/performers excessive intent. eneral usic, rade esponding, age 7
ssessment trategy 2 (elect and nalyze) rerequisite kills and Knowledge n order to carry out this task, students will need to be able to: nderstanding how musical taste is influenced by previous experiences (at home, church, with siblings). Be able to verbally identify musical elements like tempo, dynamics, instruments (by family aurally), rhythm, beat in written or aural form (using a word bank). Be comfortable singing or speaking into a recording device. Be able to label musical elements while listening to a selection. Teacher reparation ssessment nvironment etup Before carrying out this assessments in the classroom it is suggested that teachers: onfirm access to YouTube so that you can pull up all of the suggested pieces for the assessment. rint sufficient copies of the all hart for members of your classes. repare a roster of students so that you can document their achievement. Become familiar with the coring heet for elect and nalyze. repare technology for the YouTube selections, and familiarize yourself with your Zoom recorder prior to the start of the session. Before engaging in this assessment, the teacher should prepare the students by: ake sure the students are comfortable, and can clearly hear the music. ach student should have a all hart and writing/marking utensil. sk students to listen carefully and participate fully in the activity. ssessment Teacher plays the audio of the orchestral version of eer ynt: n the Hall of the ountain King by dward rieg. Hand out a all hart to each students with a writing/drawing utensil. Teacher plays the audio of the orchestral version the second time having students circle their observation on the all hart as they listen. The teacher should provide the students visual cues (fingers indicated hhich uuesioons to ansher) indicating when the students are to complete specific boxes (see Teacher nstructions for all hart). tudents and teacher score the assessment together, marking the incorrect answers with crayon, pen or marker. core the all hart and record assessment on excel sheet. eneral usic, rade esponding, age 8
Teacher instructions for all hart Teacher plays an audio recording of the orchestral version of eer ynt: n the Hall of the ountain King by dward rieg. sk students to listen. Hand out a all hart to each students with a writing/drawing utensil. eview the all hart with the students. Tell students you will show them which box to look at with your finger. (you may want to use an instrument as an audio cue along with your finger cue). They are to circle the correct answer in that box. Teacher plays the audio of the orchestral version the second time having students circle their observation on the all harts as they listen. 1. ntroduction. (show one finger) Which instrument is playing the solo? 2. When the theme plays for the first time. (show two fingers) s the music fast or slow? 3. Fourth time through the theme. (show three fingers) s the music getting faster or slower? 4. eventh time through the theme. (show four fingers) s the music getting louder or softer? 5. t the oda. (show five fingers) How many times do the gnomes try to grab eer in the oda and did the gnomes catch eer? eneral usic, rade esponding, age 9
eer ynt all hart: n The Hall of the ountain King rade 2 espond ame lass 1. ntroduction: What nstrument is playing a solo? 2. s the music fast or slow? Fast French Horn 3. s the music getting faster or getting slower? etting faster 4. s the music getting louder or getting softer? Flute low etting slower etting louder etting softer 5. t the end of the song, what happens to eer ynt? id they catch eer? How many times do they nomes try to catch eer? eneral usic, rade esponding, age 10
yes no eneral usic, rade esponding, age 11
coring heet for elect and espond all hart Question 1 - French Horn Question 2 - low Question 3 - etting Faster Question 4 - etting ouder Question 5-2 / yes eneral usic, rade esponding, age 12
ssessment trategy 3 (valuate) rerequisite kills and Knowledge n order to carry out this task, students will need to be able to: rticulate the criteria used for judging the quality of musical work(s) and performance(s). valuate musical work(s) and performance(s) using developmentally appropriate language and specific criteria based on the elements of music. Teacher reparation ssessment nvironment etup Before carrying out this assessments in the classroom it is suggested that teachers: ccess to YouTube, is able to project it for the class, and has tested the video so that advertizements don t appear during class. eview the valuate coring evice. repare a scoring roster for documentation (see attached.xls sample). rint a copy of the valuate Worksheet for each student or group to view. Before engaging in this assessment, the teacher should prepare the students by: a) istening to the recordings without watching the video. b) ircling the number of the arrangement you prefer to represent the story of n the Hall of the ountain King: a. The orchestral version b. The vocal version c. omputerized version ssessment The teacher plays n the Hall of the ountain King orchestral version for the students and reviews the musical elements sheet. The students receive the valuate worksheet, with three sets of boxes to fill (play you tube link hith sound only); o tudents fill out xample #1 (orchestral version) to review musical elements; o tudents fill out xample #2 (vocal version) using the same musical elements; it is suggested to stop the video at the end of the song and before the group promoioon that follohs. o tudents fill out xample #3 (computer version) using same musical elements chart; Teacher asks students to choose which example they prefer the most and at least one sentence about why they like it (either written or verbal) Teacher records student response (written or verbal) core students response using the valuate coring evice. dditional Viewing for ovement: (optional) fter selecting the new arrangement to be used for the movement, students will create movement that represents the style of music used as well as the story used for n the Hall of the ountain King. epeat ssessment ctivity #2, based on the dance movements used and videotaped for analysis. eneral usic, rade esponding, age 13
tudent ame: ame valuate Worksheet eer ynt n The Hall f The ountain King By dward rieg isten to all three versions of n the Hall of the ountain King before circling which you like the best. lass 1. rchestra 2. Vocal 3. lectronic/omputer sing your own musical words, why do you like this version best? eneral usic, rade esponding, age 14
valuate coring evice riteria evel 1 merging evel 2 pproaches tandards evel 3 eets tandards evel 4 xceeds tandards erformance tandards nterpret: esponse to music is informed by understanding musical elements as well as the cultural and historical contexts of elements of music. ite musical valuation expressed valuated and expressed valuated and expressed valuated and expressed reasons to signs of rudimentary reasons for musical preference for specific preference for specific e9.1.2a pply explain knowledge of musical choice, but uses limited musical choices using ageappropriate musical advanced and imaginative preferences in the musical choices using personal and expressive rationale for terminology. musical terminology. selection of terminology. musical terminology. evaluation of music for specific specific purposes. version eneral usic, rade esponding, age 15