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Content Standard:
6. Listening to, analyzing, and describing music
Achievement Standard:
6a. Students analyze aural examples of a varied repertoire of music, representing diverse genres and cultures, by describing the uses of elements of music and expressive devices
Assessment strategy (also incorporates standard 6d24):
The student is asked to analyze three representative works in various styles, at least one of which is from a non-Western culture. All are presented aurally. Each work is approximately three to five minutes in length. For each work, the student is asked to (1) identify the medium (e.g., name the instruments or ensemble; identify the voices); (2) describe the form, structure, or basis of organization of the music (e.g., theme and variations, call and response, strophic); (3) describe the melodic characteristics of the work (e.g., emphasis on extended ranges, much chromaticism, frequent use of embellishments, based on a non-Western scale); (4) describe the rhythmic characteristics of the work (e.g., use of a rhythmic motive, use of 3 against 2 simultaneously or sequentially, steady beat despite frequent meter changes); (5) describe the harmonic or textural characteristics of the work (e.g., chordal, polyphonic, heterophonic, layered); (6) describe the expressive devices used (e.g., gradual but extreme dynamic changes, wandering melodic line to symbolize confusion, deceptive cadence to symbolize surprise). Each work is played four times, with two minutes between hearings.
Description of response:
Basic Level:
The student is able to make one relevant and accurate observation concerning three of the six characteristics listed (i.e., medium, form, melody, rhythm, harmony or texture, and expressive devices) for one of the works.
Proficient Level:
The student is able to make one relevant and accurate observation concerning four of the six characteristics for two of the works.
Advanced Level:
1. The student is able to make one relevant and accurate observation concerning five of the six characteristics for all three works.
2. The student is able to describe in detail three significant or unusual events occurring in the examples (e.g., an added sixth, a modulation to a remote key, brief use of Dorian mode or an Indian raga).
Achievement Standard:
6b. Students demonstrate extensive knowledge of the technical vocabulary of music
Assessment strategy:
Four to six times during the semester, the student is asked to explain and identify, orally or in writing, twenty-five terms or symbols, for a total of one hundred to 150 items. If time allows, the student may be asked to demonstrate vocally or on an instrument the meaning of the term or symbol, when appropriate, or to identify by name the music phenomenon when heard.
Description of response:
Basic Level:
The student can explain and identify fifty from a total of one hundred terms and symbols commonly used in music, including, for example, pianissimo, piano, mezzopiano, mezzoforte, forte, fortissimo, crescendo, decrescendo, diminuendo, largo, lento, adagio, andante, andantino, moderato, allegretto, allegro, vivace, presto, prestissimo, a tempo, accelerando, rallentando, ritardando, rubato, slur, tie, key signature, meter signature, alla breve, clef, double sharp, fermata, sonata, sonata-allegro, sonatina, concerto grosso, cantata, oratorio, scherzo, étude, madrigal, minuet, rondo, canon, fugue, ragtime, gospel, rhythm and blues, rap, espressivo, grazioso, dolce, cantabile, tenuto, legato, staccato, marcato, molto, poco, assai, acciaccatura, appoggiatura, a cappella, segue, senza, sordino, pizzicato, arco, obbligato, recitative, triad, transpose, diatonic, chromatic, tonic, dominant, sequence, counterpoint, polyphony, heterophony, modulation, cadenza, dal segno, da capo, timbre, opus, tessitura, authentic cadence, plagal cadence, half cadence, deceptive cadence, ad lib, and blue notes.
Proficient Level:
The student can explain and identify ninety-five from a total of 125 terms and symbols, including less commonly used terms and symbols such as anacrusis, piacere, passacaglia, chaconne, toccata, grupetto, mordent, col legno, spiccato, triple-tongue, C clef, relative minor, parallel minor, binary form, enharmonic, tritone, tonal imitation, retrograde, inversion, atonal, twelve-tone, serial, augmentation, diminution, Alberti bass, figured bass, ground bass, walking bass, cantus firmus, hemiola, circle of fifths, decibel, equal temperament, changes, scat, raga, and slendro. Terms in German and French as well as Italian and English are included.
Advanced Level:
The student can demonstrate extensive knowledge of the technical vocabulary of music by explaining and identifying 135 from a total of 150 terms and symbols, including less commonly used terms and symbols.
Achievement Standard:
6c. Students identify and explain compositional devices and techniques used to provide unity and variety and tension and release in a musical work and give examples of other works that make similar uses of these devices and techniques
Assessment strategy (also incorporates standards 6e25 and 6f26):
The student is given three works, or movements from larger works, in different forms (e.g., sonata-allegro, theme and variations, blues). For each work, the student is asked to identify the form and to identify specifically the musical materials that provide unity and variety and those that provide tension and release. Both the large form and the internal form of the sections should be described. The student is also asked to identify and explain the compositional techniques or devices employed in producing these phenomena and, for each work, to cite another work similar in genre or style that uses similar techniques or devices and to compare how the musical materials are used in the two works. Further, the student is asked to describe what there is in each of the three works that makes it unique, interesting, and expressive. A recording is provided, together with a score if one exists, but no other reference materials are made available. For each work, the student is given adequate time to listen to the recording, study the score, and prepare his or her response. Examples may be included in which (1) music achieves unity by repeating sections and achieves variety by introducing contrasting materials between the repetitions (e.g., ABA, AABA, ABACA); (2) music achieves unity by repeating melodic or rhythmic motives, and variety by developing and varying them; (3) music achieves tension by the use of nonharmonic tones (e.g., suspensions, anticipations, accented or unaccented passing tones) and release when those nonharmonic tones are resolved; (4) a movement in sonata-allegro form achieves unity by using the same material in the exposition and the recapitulation; (5) a movement in sonata-allegro form achieves variety by using variations on previously introduced material in the development section; (6) an exposition achieves variety by presenting the first and second themes in different keys and achieves a degree of unity by using closely related keys; (7) a development section achieves unity by using material from the exposition section and it achieves variety by treating the material in new ways--the student should cite some of the developmental techniques used (e.g., ornamentation, fragmentation, augmentation, sequence); (8) a recapitulation achieves unity by using one key instead of two, as in the exposition; (9) a movement achieves tension by means of bridge and transition passages and release when the anticipated themes are finally stated; (10) a work in theme-and-variations form achieves unity by being based on a single theme throughout, and it achieves variety by using a new technique of variance for each variation.
Description of response:
Basic Level:
1. The student is able to identify the large form of two of the three works.
2. The student is able to identify and explain one example of unity and one example of variety in two of the three works. The student has difficulty in citing precisely where in the music these examples occur.
3. The student is able to identify and explain one example of tension and release in two of the three works. The student has difficulty in citing precisely where in the music these examples occur.
4. For two of the three works, the student is able to cite a specific example of another work that is similar in genre or style and that uses similar techniques or devices. The student's discussion of how the musical materials are used in the various examples reveals limited familiarity with the works.
5. The student is able to describe the extent to which each work is unique, interesting, or expressive. However, the response tends to be founded on broad generalizations, tends not to be based on musical features, and reveals little genuine insight into the music.
Proficient Level:
1. The student is able to identify the large form of all three works and can describe the internal structure of the major sections in two of the works.
2. The student is able to identify and explain one example of unity and one example of variety in each of the three works. The student can cite precisely where in the music these examples occur. 3. The student is able to identify and explain one example of tension and release in each of the three works. The student can cite precisely where in the music these examples occur.
4. For two of the three works, the student is able to cite two specific examples of other works that are similar in genre or style and that use similar techniques or devices. The student's discussion of how the musical materials are used in the various examples reveals familiarity with the works.
5. The student is able to describe the extent to which each work is unique, interesting, and expressive and to justify his or her answers, using appropriate music terminology (e.g., this is a serial work using retrograde and inversion; though set to a religious text, this work is based on a popular song; this work contains a ground bass throughout).
Advanced Level:
1. The student is able to identify the large form of all three works and can describe the internal structure of the major sections in two of the works.
2. The student is able to identify and explain two examples of unity and two examples of variety in each of the three works. The student can cite precisely where in the music these examples occur. 3. The student is able to identify and explain two examples of tension and release in each of the three works. The student can cite precisely where in the music these examples occur.
4. For each of the three works, the student is able to cite two specific examples of other works that are similar in genre or style and that use similar techniques or devices. The student's discussion of how the musical materials are used in the various examples reveals a thorough familiarity with each work and broad insight into how the musical materials are used in each.
5. The student is able to describe the extent to which each work is unique, interesting, and expressive and to justify his or her answer, using appropriate music terminology.
6. The student's answer reveals an understanding of music aesthetics as well as insight into the sources of the appeal of music to human beings. It also indicates a high level of knowledge about music and a high level of skill in music analysis.
Content Standard:
7. Evaluating music and music performances
Achievement Standard:
7a. Students evolve specific criteria for making informed, critical evaluations of the quality and effectiveness of performances, compositions, arrangements, and improvisations and apply the criteria in their personal participation in music
Assessment strategy:
The student is asked to tape record himself or herself in the performance of a piece of instrumental or vocal music from three to six minutes in length. It may be a solo or a part in an ensemble. It may have been learned in school or outside. It may be accompanied or unaccompanied. The student is then asked to listen to the tape and to write an evaluation of the performance on the basis of its (1) technical accuracy, (2) expressive or musical qualities, and (3) overall effectiveness. (The assessment is based not on the quality of the performance but rather on the student's ability to evaluate the performance.)[Note: In this strategy the student evaluates only a performance; parallel strategies should be created to provide opportunities for the student to evaluate a composition, an arrangement, and an improvisation.]
Description of response:
Basic Level:
1. The student is able to comment on the technical qualities of the performance, but his or her evaluation tends to be incomplete and is not based on well-defined criteria.
2. The student is able to comment on the expressive or musical qualities of the performance, but his or her evaluation tends to be incomplete and is not based on well-defined criteria.
3. The student is able to comment on the overall effect of the performance, but his or her evaluation tends to be incomplete and is not based on well-defined criteria.
4. The student's evaluation is inconsistent in important respects with the teacher's evaluation.
Proficient Level:
1. The student's evaluation of the technical qualities of the performance is reasonably complete and is based on well-defined criteria.
2. The student's evaluation of the expressive or musical qualities of the performance is reasonably complete and is based on well-defined criteria.
3. The student's evaluation of the overall effect of the performance is reasonably complete and is based on well-defined criteria.
4. The student's evaluation is reasonably consistent with the teacher's evaluation.
Advanced Level:
1. The student's evaluation of the technical qualities of the performance deals with almost every relevant aspect and is based on well-defined criteria.
2. The student's evaluation of the expressive or musical qualities of the performance deals with almost every relevant aspect and is based on well-defined criteria.
3. The student's evaluation of the overall effect of the performance deals with almost every relevant aspect and is based on well-defined criteria.
4. The student's evaluation is consistent in every major respect with the teacher's evaluation.
Achievement Standard:
7b. Students evaluate a performance, composition, arrangement, or improvisation by comparing it to similar or exemplary models
Assessment strategy:
The teacher plays two recordings of the same work that differ sharply in their interpretation. The work may be a popular song, a standard classic, or an unknown work. It could be, for example, "The Star-Spangled Banner." The student's task is to (1) describe the musical characteristics of each performance (i.e., how the elements of music are used in each) and contrast the two, (2) identify a setting in which each interpretation might be appropriate, and (3) explain why that interpretation is likely to be more (or less) appropriate in that setting than the other interpretation. After each recording is played, the student is allowed one minute to make notes. Each recording is played again, and the student is given five minutes to write a response. Each recording is played a third time, and the student is given another five minutes to revise or complete the response.[Note: In this strategy, the student compares only performances; parallel strategies should be created to provide opportunities for the student to compare compositions, arrangements, and improvisations.]
Description of response:
Basic Level:
1. The student is clearly aware that there are differences between the two interpretations, but his or her description tends to focus on nonmusical or superficial differences. He or she has difficulty in identifying musical differences and in using appropriate music terminology to describe them.
2. The student is able to identify a setting in which each interpretation would be appropriate and explain why in general terms, though his or her explanation is incomplete or inaccurate in certain respects.
Proficient Level:
1. The student is able to distinguish between the two interpretations by describing several of the most important distinguishing features of each, using appropriate music terminology.
2. The student is able to identify a setting in which each interpretation would be appropriate and explain why.
Advanced Level:
1. The student is able to distinguish between the two interpretations by describing in detail all of the important distinguishing features of each, using appropriate music terminology.
2. The student is able to identify a setting in which each interpretation would be appropriate and explain why. His or her explanation is complete, precise, and reflects a high level of knowledge and insight.
Achievement Standard:
7c. Students evaluate a given musical work in terms of its aesthetic qualities and explain the musical means it uses to evoke feelings and emotions
Assessment strategy:
The student is asked to evaluate a music work in terms of its aesthetic qualities and explain the musical means it uses to evoke feelings and emotions. What aesthetic meaning does this work convey to the listener? What musical means does it use to convey feeling, emotion, and aesthetic meaning? To what extent is it successful or unsuccessful in conveying aesthetic meaning? The work is three to five minutes in length. The music is played and the student is allowed one minute to take notes. The score is provided if possible. The music is played again and the student is given five minutes to write a response. It is played a third time, and the student is given another five minutes to revise or complete the response.
Description of response:
Basic Level:
1. The student is able to comment on the aesthetic meaning of the work, though his or her comments are incomplete, vague, or inaccurate in at least one important respect.
2. The student is able to comment on the musical means by which the work conveys feeling, emotion, and aesthetic meaning, though many of his or her comments refer to nonmusical means and in some respects the comments are incomplete or inaccurate.
Proficient Level:
1. The student is able to make one or two relevant and meaningful comments on the aesthetic meaning of the work.
2. The student is able to comment accurately and meaningfully on the musical means by which the work conveys feeling, emotion, and aesthetic meaning.
Advanced Level:
1. The student is able to discuss the aesthetic meaning of the work in a relevant and meaningful way.
2. The student is able to comment accurately and meaningfully on the musical means by which the work conveys feeling, emotion, and aesthetic meaning. His or her comments demonstrate a high level of knowledge and insight into the means by which music conveys aesthetic meaning.
Content Standard:
8. Understanding the relationships between music, the other arts, and disciplines outside the arts
Achievement Standard:
8a. Students explain how elements, artistic processes (that is, imagination, craftsmanship), and organizational principles (that is, unity and variety, repetition and contrast) are used in similar and distinctive ways in the various arts and cite examples
Assessment strategy:
The student has studied works in two or more arts based on the same event or phenomenon. Examples may include (1) spring ("Spring" movement from Vivaldi's The Four Seasons, Mendelssohn's "Spring Song," Robert Browning's "Pippa's Song" ["The year's at the spring"], many Chinese and Japanese screens, examples of Japanese haiku); (2) storms (fourth movement of Beethoven's Sixth Symphony, second section of Rossini's William Tell Overture, J. W. Turner's "Snowstorm," Ralph Waldo Emerson's "Snowstorm," Ando Hiroshige's "The Wave"); (3) fear (Munch's "The Scream," Schoenberg's Erwartung, Shakespeare's Macbeth, films such as Psycho and The Silence of the Lambs); (4) the story of Romeo and Juliet (Shakespeare's play, Prokofiev's ballet, Tchaikovsky's overture, Berlioz's dramatic symphony, Bernstein's West Side Story). In a brief paper, the student is asked to (1) explain how the elements of the various arts are used to convey the same specific meanings or feelings and cite two examples in each work; (2) cite two examples in each work of instances in which (2) the imagination and (b) the craftsmanship of the poet, playwright, author, choreographer, painter, or composer are used effectively to create an image or emotion; and (3) cite two examples in each work of (a) the use of unity and variety and (b) the use of repetition and contrast. In selecting examples, the student should choose some that reflect similarities among the various arts and some that reflect dissimilarities in order to illustrate the full range of ways in which the arts can represent events and phenomena.
Description of response:
Basic Level:
1. In explaining the uses of the elements of the various arts, the student demonstrates knowledge of one of the arts but limited understanding of at least one other art. Some of the examples cited are good but others are weak.
2. The examples cited of instances in which the imagination and the craftsmanship of the writer, choreographer, painter, or composer are used effectively to create an image or emotion are marginally acceptable and tend to be similar to one another.
3. The examples cited of the use of unity and variety and the use of repetition and contrast are marginally acceptable. They all tend to reflect similarities among the various arts rather than differences, or they all tend to reflect differences rather than similarities.
Proficient Level:
1. In explaining the uses of the elements of the various arts, the student demonstrates knowledge of each of the arts discussed. The examples cited are all correct.
2. The examples cited of instances in which the imagination and the craftsmanship of the writer, choreographer, painter, or composer are used effectively to create an image or emotion are all valid and reflect a reasonable degree of variety.
3. The examples cited of the use of unity and variety and the use of repetition and contrast are all valid. They reflect a reasonable degree of balance between examples that reflect similarities and examples that reflect differences.
Advanced Level:
1. In explaining the uses of the elements of the various arts, the student demonstrates a high degree of knowledge of each of the arts discussed. The examples cited are well chosen.
2. The examples cited of instances in which the imagination and the craftsmanship of the writer, choreographer, painter, or composer are used effectively to create an image or emotion all reflect considerable knowledge and insight and represent a high degree of variety.
3. The examples cited of the use of unity and variety and the use of repetition and contrast are excellent. They reflect a reasonable degree of balance between examples that reflect similarities and examples that reflect differences. They also reflect a high degree of familiarity with the various works.
Achievement Standard:
8b. Students compare characteristics of two or more arts within a particular historical period or style and cite examples from various cultures
Assessment strategy:
The student is asked to prepare a report on the state of two or more arts during a particular period (e.g., the reign of Louis XIV of France or the Harlem renaissance of the 1920s). The student's task is to compare the theory and practice of the various arts (i.e., music, dance, theatre, and visual arts) with one another during the period. When appropriate, the state of the arts in other contemporary cultures or contexts should be referred to (e.g., in the case of Louis XIV, what was happening elsewhere in Europe? In the case of the Harlem renaissance, what was happening in the concert and opera halls and the cabarets of New York and on the Broadway stage?). The student's report should cite and explain the styles that predominated in each art and should name the individuals who were most influential and describe the contributions of each.
Description of response:
Basic Level:
1. The student's report tends to be accurate in its portrayal of the theory and practice of two or more arts at the time, though it is somewhat superficial and contains minor inaccuracies.
2. The student's report indicates knowledge of the practices in two or more arts in one other
contemporary context.
3. The student's report cites one of the major styles that were in vogue in each of the two arts but omits others that were important. It names and describes the contributions of at least one leader for the style cited in each art.
Proficient Level:
1. The student's report is accurate in its portrayal of the theory and practice of two or more arts at the time.
2. The student's report indicates knowledge of the details of practices in two or more arts in two other contemporary contexts.
3. The student's report cites two of the major styles that were in vogue in each art. It names and describes accurately and in detail the contributions of at least one leader for each of the styles cited in each art.
Advanced Level:
1. The student's report is detailed and accurate in its portrayal of the theory and practice of two or more arts at the time. It reveals a high level of knowledge and insight.
2. The student's report indicates knowledge of the details of practices in two or more arts in three or more other contemporary contexts.
3. The student's report cites three of the major styles that were in vogue in each art. The descriptions reveal extensive insight into typical practices in the arts at the time. The report names and describes accurately and in depth the contributions of at least one leader for each of the styles cited in each art.
Achievement Standard:
8c. Students explain ways in which the principles and subject matter of various disciplines outside the arts are interrelated with those of music
Assessment strategy:
The student is asked to prepare a brief report explaining how the principles and subject matter of music are interrelated with the principles and subject matter of two disciplines outside the fine and performing arts. For example, the student may (1) compare the ability of music and literature to convey images, feelings, and meanings (relevant to language arts); or (2) describe the physical basis of tone production in string, wind, percussion, and electronic instruments and the human voice, and describe the transmission and perception of sound (relevant to physics).
Description of response:
Basic Level:
The student's report is marginally acceptable. It contains several valid points, but it includes other points that are not relevant, that reflect only general understanding, and that reveal little genuine insight.
Proficient Level:
The student's report reflects a good understanding of the relationships described. When appropriate, it employs the technical vocabulary of music.
Advanced Level:
The student's report reflects a high level of knowledge and insight as well as a thorough understanding of the relationships described. When appropriate, it employs the technical vocabulary of music.
Achievement Standard:
8d. Students compare the uses of characteristic elements, artistic processes, and organizational principles among the arts in different historical periods and different cultures
Assessment strategy:
The student is asked to prepare a brief report comparing the uses of characteristic elements, artistic processes, and organizational principles among the arts in different historical periods (e.g., in Europe in the mid-eighteenth century and the late twentieth century) or different cultures (e.g., West Africa and Indonesia). How were each of the arts used? By whom? Which elements and which forms of each art were emphasized? In what ways? How were the processes and principles of the arts adapted to the uses to which the arts were put? Which arts predominated? The student is asked to cite examples for each response.
Description of response:
Basic Level:
The student's report is marginally acceptable. It contains several valid points, but it includes other points that are not relevant, that reflect only general understanding, and that reveal little genuine insight. It deals adequately with only one of the arts.
Proficient Level:
The student's report reflects a good understanding of the relationships called for, though it may not answer each of the questions raised for each art. The response employs the technical vocabulary of the arts.
Advanced Level:
The student's report reflects a high level of knowledge and insight as well as a thorough understanding of the relationships described. The response employs the technical vocabulary of the arts.
Achievement Standard:
8e. Students explain how the roles of creators, performers, and others involved in the production and presentation of the arts are similar to and different from one another in the various arts
Assessment strategy:
The student is asked to prepare a brief report explaining how the roles of creators (e.g., painters, composers, choreographers, playwrights), performers (e.g., instrumentalists, singers, conductors, dancers, actors), and other professionals involved in the production and presentation of the arts (e.g., costumers, directors, lighting designers, managers, impresarios) are similar to and different from one another in music, dance, theatre, and visual arts. The student is asked compare these three roles (i.e., creator, performer, other professional) in each of the four arts insofar as is possible by answering the following questions for each role in each art: (1) How is the craft learned? (2) What are the major day-to-day challenges? (3) How is success measured and rewarded? (In the case of other professionals, the student should choose a specific role. Many roles do not apply to all of the arts, though sometimes parallel or equivalent roles can be identified in two or three arts.)
Description of response:
Basic Level:
1. The student's report is marginally acceptable. It contains several valid points, but it includes other points that are not relevant, that reflect only general understanding, and that reveal little genuine insight.
2. The student's report includes satisfactory answers to one of the three questions in three of the four arts.
Proficient Level:
1. The student's report reflects a good understanding of most of the roles identified in most of the arts.
2. The student's report includes satisfactory answers to two of the three questions in three of the four arts.
Advanced Level:
1. The student's report demonstrates a high level of insight and knowledge of all of the roles identified in all of the arts.
2. The student's report includes satisfactory answers to all three of the questions in three of the four arts.
Content Standard:
9. Understanding music in relation to history and culture
Achievement Standard:
9a. Students classify by genre or style and by historical period or culture unfamiliar but representative aural examples of music and explain the reasoning behind their classifications
Assessment strategy (also incorporates standard 9d27):
The student is given three representative but unfamiliar aural examples of music representing distinctive music traditions. The examples might include a jazz or pop classic, a song from a Broadway musical, a Strauss waltz, a Bach fugue, a movement from a Palestrina mass or a Copland ballet, performances on the mbira or ud, or performances by a Javanese gamelan or a Japanese gagaku court orchestra. Each example is heard three times, with two minutes following each hearing, during which the student is allowed to make notes. The student's task is to (1) identify each work by genre or style and by historical period or culture and (2) identify and explain the musical characteristics that place each work within its particular historical or cultural context and define its aesthetic tradition.
Achievement Standard 9d: Students identify and explain the stylistic features of a given musical work that serve to define its aesthetic tradition and its historical or cultural context.
Description of response:
Basic Level:
1. The student is able to identify the genre or style and the historical period or culture of one of the three works.
2. The student is able to justify his or her identification by means of relevant and accurate comments concerning three of the following characteristics for one of the works: medium, form, rhythm, melody, harmony or texture, and expressive devices. The student's comments demonstrate an ability to perceive the obvious characteristics of these examples, when presented aurally, but provide few details.
Proficient Level:
1. The student is able to identify the genre or style and the historical period or culture of two of the three works.
2. The student is able to justify his or her identification by means of relevant and accurate comments concerning four of the following characteristics for two of the works: medium, form, rhythm, melody, harmony or texture, and expressive devices. The student's comments demonstrate the ability to perceive many of the details of these examples, when presented aurally.
Advanced Level:
1. The student is able to identify the genre or style and the historical period or culture of all three works.
2. The student is able to justify his or her identification by means of relevant and accurate comments concerning five of the following characteristics for each of the three works: medium, form, rhythm, melody, harmony or texture, and expressive devices. The student's comments demonstrate a high level of ability to perceive the more intricate details of these examples, when presented aurally.
3. The student's comments reflect knowledge of the aesthetic traditions of the three works.
Achievement Standard:
9b. Students identify sources of American music genres, trace the evolution of those genres, and cite well-known musicians associated with them
Assessment strategy:
The student is asked to write a brief report on three distinctively American genres of music (e.g., swing, blues, Broadway musical, country and western, bluegrass, rock), answering these questions: When and how did each genre originate? What stages did each pass through in its history, and what are some examples at each stage? Who were the best-known musicians associated with each genre at its various stages of development? What were the distinctive contributions or the unique talents of each? What is distinctive about the use of the elements of music in each genre?
Description of response:
Basic Level:
1. The information presented is essentially correct, but it is incomplete or inaccurate in some respects.
2. The specific questions asked are answered in only very general terms. Some important stages of development are omitted. At least two musicians are cited at various stages for one genre.
Proficient Level:
1. The information presented is correct and reasonably complete.
2. An answer is provided for each of the specific questions for each genre. Most of the important stages of development are cited for each genre, and at least one musician is cited for most stages.
Advanced Level:
1. The information presented is correct and thoroughly researched.
2. Each of the specific questions asked is answered in detail for each genre. All of the important stages of development are cited for each genre, and at least one musician is cited for each stage.
Achievement Standard:
9c. Students identify various roles that musicians perform, cite representative individuals who have functioned in each role, and describe their activities and achievements
Assessment strategy:
The student is asked to prepare a brief report on three important and representative roles musicians may perform in a given society (e.g., contemporary Western society, Europe under the patronage system of the eighteenth century, a society outside the Western tradition). In contemporary society, for example, the roles might include school teacher, private teacher, conductor or performer with a symphony orchestra or community band, church organist or choir director, folk musician, radio or television entertainer, composer of pop music or television commercials, dance band performer, rock performer, instrument maker or repairer, music therapist, music store manager, music editor or publisher. For each role the student should answer these questions: How is the craft learned? What education or training is required? How is continuing education provided? What sort of career ladder is available? For whom is the service provided? How do prospective employers identify and choose among prospective providers of the service? How is the service paid for? What market exists for the service and what are its limitations? How is success measured and rewarded?
Description of response:
Basic Level:
The student can identify three roles and provide some basic and essentially correct information about each.
Proficient Level:
The student can identify three roles and provide accurate and detailed information about each. Not every question is answered fully, but the student reveals a broad understanding of the topic.
Advanced Level:
The student can identify three roles and provide accurate and comprehensive information about each. Each of the relevant questions is answered fully, and the student reveals a high level of understanding of the topic.
Achievement Standard:
9e. Students identify and describe music genres or styles that show the influence of two or more cultural traditions, identify the cultural source of each influence, and trace the historical conditions that produced the synthesis of influences
Assessment strategy:
The student is given an example of a music work that shows the influence of two or more cultural traditions (e.g., "The All-Night Vigil," by Rachmaninoff, which reflects Greek orthodox chants and the music of the Catholic Church; "Adios ke Aloha," by Prince Leleiohoku, which shows both the influence of native Hawaiian music and that of the Mexican vaqueros who came to work on the cattle ranches of the Big Island of Hawaii; "My God Is a Rock," arranged by Shaw-Parker, which begins with the restraint of a Lutheran chorale and soon incorporates the polyrhythms of West Africa). The works are identified by the teacher. Recordings and/or scores are provided. The student is asked to prepare a brief written response to these questions, when relevant: What musical traditions are evident in the work? What cultural groups are identified with these traditions? What was the origin of each of these traditions? What historic events or social conditions led to this particular synthesis of musical characteristics?
Description of response:
Basic Level:
The student is able to identify one of the musical traditions evident in the work.
Proficient Level:
The student is able to identify two musical traditions evident in the work and make at least one accurate and relevant comment concerning the cultural group identified with one of the traditions, the origin of one of the traditions, and the events or conditions that resulted in this synthesis of musical characteristics.
Advanced Level:
The student is able to identify each of the musical traditions evident in the work, name the cultural groups identified with each tradition, cite the origin of each tradition, and describe the events or conditions that resulted in this synthesis of musical characteristics. The student's response reveals a high level of knowledge and insight concerning these music genres or styles.