rtistic Process: reating 5th rade eneral usic
ommon nchor #1: nduring nderstandings ssential Question(s) ommon nchor #2: nduring nderstanding ssential Question(s) ommon nchor #3: nduring nderstanding ssential Question(s) enerate and conceptualize artistic ideas and work he creative ideas, concepts, and feelings that influence artists work emerge from a variety of sources. How do musicians generate creative ideas? Organize and develop artistic ideas and work usicians creative choices are influenced by their experience, context and expressive intent. How do musicians make creative decisions? efine and complete artistic work 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. How do musicians improve the quality of their creative work? When is a creative work ready to share? ntent of the odel ornerstone ssessments odel ornerstone ssessments (s) in music assessment frameworks to be used by music teachers within their school s curriculum to measure student attainment of process components defined by performance standards in the ational ore usic tandards. hey focus on one or more rtistic Process (i.e., reating, Performing, or esponding) and are designed as a series of curriculum-embedded assessment tasks, each of which measures students ability to carry out one or more process components. he s can be used as formative and summative indications of learning, but do not indicate the quality of teaching or effectiveness of a school s music program. lthough each is designed so that it can be administered within an instructional sequence or unit, teachers may choose to spread the component parts of one across multiple units or projects. tudent work produced by the national pilot is available on the f website that illustrates the level of achievement envisioned in the ational ore usic tandards. sing the document s are presented as a framework to be integrated into current curriculum. n example is provided that demonstrates the integration of curricular content. hese examples are the specific tasks presented in the national pilot and may be used as the program so desires. ach is available in a.pdf format with links for easy navigation within the document with external links for.doc versions of worksheets. he next page provides the assessment description with each bubble being a link to a detailed description of the assessment. eneral escription of the ssessment ask sing works currently integrated into classroom instruction or musical works 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. 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. se the following links to find the ational tandards kills and Knowledge and the usic tandards lossary. odel ornerstone ssessment (updated 2017) eneral usic, rade reating, 2
odel ornerstone ssessment, rade eneral usic: 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. ompose for a Purpose/ontext 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 work 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. odel ornerstone ssessment (updated 2017) eneral usic, rade reating, 3
chievement ategory evel 1 merging evel 2 pproaches riterion magine: enerate and conceptualize artistic ideas and work. cho all and esponse xploration of lements of music choed a small portion or none of the phrase. esponse primarily copied the call. eeded assistance exploring elements of music to connect with intended purpose or context. choed most of the phrase with minor errors. esponded with limited creativity and/or not approximating the length of the call. ndependently explored elements of music with minial connection with purpose or contexts magine coring evice evel 3 eets riterion choed the entire phrase accurately. esponded creatively with reasonable similarity of length. ndependently explored elements of music that clearly connected with an intended purpose or context. evel 4 xceeds riterion choed the phrase with extreme precision and enhanced expression. esponded creatively and expressively with appropriate length. ndependently explored elements of music that creatively and imaginatively connected with various purposes or contexts.* (ote from the pilot: evels are not intended to be equally represented and the level marked with * was seldom used) Performance tandard :r1.1.5a mprovise rhythmic, melodic, and harmonic ideas, and explain connection to specific purpose and context (such as social, cultural, and historical). odel ornerstone ssessment (updated 2017) eneral usic, rade reating, 4
Plan and ake coring evice chievement ategory evel 1 merging evel 2 pproaches riterion Plan and ake: elect and develop musical ideas for defined purposes and contexts. evel 3 eets riterion evel 4 xceeds riterion 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 clearly described 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. usical ideas demonstrated enhanced creativity that are musically appropriate and reflect 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. (ote from the pilot: evels are not intended to be equally represented and the level marked with * was seldom used) :r2.1.5b se standard and/or iconic notation and/or recording technology to document personal rhythmic, melodic, and two-chord harmonic musical ideas. odel ornerstone ssessment (updated 2017) eneral usic, rade reating, 5
chievement ategory evel 1 merging evel 2 pproaches riterion evel 3 eets riterion evel 4 xceeds riterion valuate and efine: valuate and refine selected musical ideas to create musical work(s) that meet appropriate criteria. esponse to Feedback efinement ppeared indecisive related to feedback. tratagies provided were either unrelated or unclear. ppeared to consider feedback but considerations were not supported in self-evaluative rationale. etermined and explained a reasonable but minimal strategies for refinement. valuate to efine coring evice ade clear and appropriate self-evaluative decisions with consideration of peer feedback feedback. eteremined and explained multiple strategies for refinement. (ote from the pilot: evels are not intended to be equally represented and the level marked with * was seldom used) 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. odel ornerstone ssessment (updated 2017) eneral usic, rade reating, 6
chievment ategory evel 1 merging evel 2 pproaches riterion evel 3 eets riterion 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. Final omposition coring evice imited examples evident of craftsmanship and originality through musical choices. Provided general, but indirect use of elements of music to convey expressive intent. emonstrated craftsmanship and originality exhibited by musical choices. Provided clear use of elements of music to convey expressive intent. (ote from the pilot: evels are not intended to be equally represented and the level marked with * was seldom used) evel 4 xceeds riterion ncluded original, unique, or imaginative musical ideas and/or creative use of sound. Provide creative and 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. odel ornerstone ssessment (updated 2017 eneral usic, rade reating, 7
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. (.docx versions of all rubrics) odel ornerstone ssessment (updated 2017) eneral usic, rade reating, 8
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 work. 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. (.docx versions of all rubrics) odel ornerstone ssessment (updated 2017) eneral usic, rade reating, 9
Plan and ake Worksheet tudent ames: 1. 2. 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) 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. odel ornerstone ssessment (updated 2017 eneral usic, rade reating, 10
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. (.docx versions of all rubrics) odel ornerstone ssessment (updated 2017) eneral usic, rade reating, 11
O: valuate to efine Worksheet 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 How you plan to improve your composition and why? odel ornerstone ssessment (updated 2017 eneral usic, rade reating, 12
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. (.docx versions of all rubrics) odel ornerstone ssessment (updated 2017 eneral usic, rade reating, 13
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 work). 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? odel ornerstone ssessment (updated 2017 eneral usic, rade reating, 14
ifferentiation trategies (nstructional approaches that respond to individual student needs and strengths to maximize student learning and success.) esource: (sample) http://www.ascd.org/publications/books/100216/chapters/nderstanding-ifferentiated- nstruction@-building-a-foundation-for-eadership.aspx pre-assess to determine levels of student prior knowledge and abilities determine and teach to reduce learning gaps allowing alternative forms of communicating expectations to students as needed 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. allow students to respond to tasks in alternative ways if the defined response in the hinders an individual s means of demonstrating learning. xtension xperience: Have students write in journals and/or essays reflecting on their composition experiences. sing the language of the omposition ubric, they should include why their melody worked or didn t work, what they will do differently in their next compositions, and an assessment of their efforts on the project. brief reminder of the ix-rait Writing odel might be in order. odel ornerstone ssessment (updated 2017 eneral usic, rade reating, 15