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Iowa Fine Arts StandardsKris VerSteegt

Leading you

today…

● IFAS team member and general music team lead for Iowa Department of Education

● Lobbyist for music education at the state level on behalf of state standard adoption

● Lobbyist at national level to enumerate music in ESSA and to fully fund ESSA

● Helped to vet 2014 NCAS

● President of IMEA at the time approval was received from the Iowa Board of Education to develop LAST-IN-THE-NATION state standards for fine arts (after lobbying for 11+ years)

● B.M. from ISU; M.S.E.: Curriculum Leadership from Drake

● Orff Master and Kodaly Master

● Kodaly level instructor (at Drake)

● Completed training in CMP, Conversational Solfege and First Steps in Music

● Music in Elementary Classroom instructor (at ISU)

● If you would like to learn more about the IFAS team’s process, you can find more information here https://www.educateiowa.gov/fine-arts-standards-adoption-team

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Guidance Documents

https://educateiowa.gov/sites/files/ed/documents/FineArtsStandardsGuidanceDocument_508.pdf

Important take-aways:

Four artistic processes

Eleven anchor standards

Individual disciplines each have distinct performance standards

”Connect” was never intended to be taught separately in music, and should be embedded within the other three

The three remaining processes should not receive equal weight or time but none can be neglected

A performance ensemble would naturally spend more time performing

Primary grades will spend more time responding to music in general music classes

Common to all artistic disciplines

Guidance

Documents

https://educateiowa.gov/sites/files/ed/documents/FineArtsStandardsGuidanceDocument_508.pdf

Important take-aways:

IFAS (and NCAS) were constructed using a Backward Design approach (co-created by Wiggins and McTighe)

� Important learning outcomes were identified

� Essential questions to be answered

� Enduring understandings to be mastered

� Acceptable evidence of attainment was determined (assessment)

� Model Cornerstone Assessments developed and made available online

� Note that teachers need not formally assess every performance standard, but should formally assess each artistic process: create, perform, respond

� Performance standards were written to close the gap between the desired outcomes and assessment, and were articulated vertically through the grades

Big ideas

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Guidance Documents

Important take-aways:

� In general music classes, an emphasis on creating and respondingto music is developmentally appropriate in a curriculum addressing all four artistic processes.

� In school districts where concerts for general music students are still required, it is recommended that these concerts serve to inform the community of the learning within the general music curriculum, rather than performing repertoire that serves only a performance function. Additional avenues to publicly showcase student learning may include classroom visits or parent nights.

� Music ensembles naturally have a greater emphasis on the artistic process of performing. However, creating, responding, and connecting should also be included in the curriculum for these groups. A curriculum that touches on all four artistic processes will provide a deeper level of understanding and appreciation for our students.

Process over Product?

We all know as music educators that we provide children with discipline, self-efficacy, and a sense of belonging. We can provide children with opportunities to develop their abilities patiently while engaging them in joyful processes.

“Iowa’s Fine Arts Standards seek to establish rigorous expectations for excellence in teaching and learning in the arts. Process-based pedagogy empowers students with the knowledge and skills to engage their imaginations, ask authentic questions, and solve problems creatively in order to understand, serve, and innovate in their communities” Source: IFAS guidance documents

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Process over Product?

In music, we can help children to see the value of the journey on their way to the destination by providing experiences in which students create music, perform music, (for their peers or a formal audience), have the opportunity to respond to music.

These are authentic processes: Someone writes music, someone performs music, and someone listens to music.

IFAS has a “focus on conceptual understanding. This is a departure from the 1994 National Standards for Music and National Standards for Arts Education, which consisted primarily of knowledge and skills. The new standards provide a framework for developing student independence and artistic literacy.” Source: IFAS guidance documents

OK. But when do we teach half note?

Process-Oriented Standards

� The NCAS, and by association, IFAS were deliberately intended to be open to interpretation. This allows for individual school districts to determine the sequence of learning in the comprehensive, rigorous instruction in music that they offer their students.

� General music examples:� If you are traditional Kodaly teacher, you begin notational literacy with ta and titi,

then so and mi, rest, half note and so on.

� If you are teaching Feierabend’s model, you begin notational literacy with du and du-de, then mi-re-do, then du-da-di and so on.

� If you are teaching from an Orff perspective you begin with simple accompaniments and rhythmic speech and so on. Notation is a natural outgrowth of improvisation in the Orff approach.

� If you believe in the Dalcroze method, you approach all notation through movement first.

� There is room for all these methodologies in our process-oriented standards. Each district can determine their own sequence through the expertise of its teachers!

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Navigating the DOE Website

The following links can be found at https://www.educateiowa.gov/pk-12/content-areas/fine-artsDance standards can also be found at the above link

IFAS K-8 General Music standards (adapted from NCAS) https://educateiowa.gov/sites/files/ed/documents/RevisedNCASGeneralMusicStandardsK-8_508.pdf

IFAS Traditional and Emerging Ensemble standards (NCAS) http://www.nationalartsstandards.org/sites/default/files/Music%20Traditional%20and%20Emerging%20Ensembles%20at%20a%20Glance%203-24-17.pdf

IFAS Harmonizing Instruments standards (NCAS) http://www.nationalartsstandards.org/sites/default/files/Music%20Harmonizing%20Instruments%20at%20a%20Glance%203-4-15.pdf

Music Composition and Theory standards (NCAS) http://www.nationalartsstandards.org/sites/default/files/Music%20Composition%20and%20Theory%20at%20a%20Glance%203-4-15.pdf

Music Technology standards (NCAS)http://www.nationalartsstandards.org/sites/default/files/Music%20Tech%20Strand%20at%20a%20Glance%204-20-15.pdf

Glossary https://educateiowa.gov/sites/files/ed/documents/GlossaryMusicStandards_508.pdf

Understanding IFAS Nomenclature

MU.Cr2.1.Ka

● MU: The fine arts discipline (music)● Cr: The artistic process (create)● 2: The anchor standard (Organize and develop artistic ideas and

work)● 1: The Enduring Understanding (Musicians’ creative choices are

influenced by their expertise, context, and expressive intent.)● K: The grade level (Kinders)● a: The performance standard

The Essential Question can also be found at the top of each section

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The IFAS and how to read them

Blue: departure from NCAS Red: glossary itemItalics: what is new (vertically) from previous year (shown horizontally)

An important note:

� You can access these standards as well as many other items of interest including the Model Cornerstone Assessments on the NCCAS website. However, the document looks slightly different.

� This document also does not have any changes that are specific to Iowa. It only has the original from which all 50 states adapted/adopted their specific state standards.

� See http://www.nationalartsstandards.org/

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Unpacking a standard (example)

Please review the following document, which is an example of an unpacked standard. https://www.educateiowa.gov/sites/files/ed/documents/Unpacked%20Arts%20Standard%20Example.pdf

Note the process of dissecting the standard for its nouns and verbs, then viewing those nouns and verbs through the lens of the Essential Questions, Enduring Understandings and Anchor Standards.

In other words, what is the standard trying to tell us we should do?

What does each standard mean in our classrooms as we plan and teach our content?

Unpacking a standard (practice)

Cr.1.1.Ka. With guidance, generate musical ideas such as movements or motives

EQ: How do musicians generate creative ideas?EU: The creative ideas, concepts, and feelings that influence musicians’ work emerge from a variety of sourcesAS: Generate and conceptualize artistic ideas and work

Nouns: musical ideas, movements, motives creative ideas, musician’s work, variety of sources, artistic ideasVerbs: generate, emerge, generate, conceptualize

One big idea: create movement to masterwork or folk song (in whole or in part)Sample performance task(s): Create movements to fast and slow sections of <Sabre Dance, Page’s Train, Hungarian Dance no. 5, etc.>My current report card standard: create movement to a given musical piece with slow and fast sections

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A Crosswalk

between 1994

and 2014

The National Association for Music Education developed a

crosswalk document between the 1994 standards and the 2014

standards. It can be found here:

https://nafme.org/wp-

content/files/2014/11/StandardsComparison_REVISED2.pdf

Note that it clearly states that “connecting” is embedded within the

other three artistic processes. This is also evident in the descriptors

under the 10th and 11th anchor standards--these simply refer you

back to other standards.

This document also refers you to Model Cornerstone Assessments.

You can access these here: https://nafme.org/my-

classroom/standards/mcas/

As you unpack…

Think of the BIG FOUR (DuFour):1. What do we want students to know and be able to do? (The

standards)2. How will we know they are learning it? (FA) have learned it? (SA)3. How will we respond if they haven’t learned it? (Tasks and

remediation)4. What will we do if they have already learned it? (Tasks and

extension)

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As you unpack…

Once you have determined what each performance standard will mean in your classroom… think about how some of these needs are already being met by what we you currently doing.

Next, determine what performance standards are not being addressed and how we might close the gaps.

Recommendations

� Spiral in the changes (Ankeny example)

� Allow those teaching the content to determine the balance between artistic processes

� Work in vertical groups at points of articulation only!

� Complete IFAS training through your AEA and available for re-licensure credit

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AEA PD available

� Free professional development is now available through the AEA.

� https://training.aealearningonline.org

� You may pay $105 and also receive one license renewal credit. If you choose this option, there is an additional accountability piece as well as a timeline for completion of the five modules

� Questions? Email angela.matsuoka@iowa.gov

1. Introducing Iowa’s Fine Arts Standards2. Understanding Iowa’s Fine Arts

Standards3. Applying and Connecting Iowa’s Fine

Arts Standards4. Assessing Iowa’s Fine Arts Standards5. IFAS: Resources for Implementation

Module 1

� The first module contains background information on the adoption of the Iowa Fine Arts standards, link to the IFAS, and links to the guidance documents on the DOE website.

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Module 2� The second module informs you about Backward Design, Essential

Questions and Enduring Understandings. You will also learn about the four artistic process, eleven anchor standards, the process components and performance standards.

Module 3

� In module three, you will be guided through the unpacking process. This module will provide you with scenarios through which you can re-evaluate products through the lens of the processes that support those products. Assessment and Curriculum Mapping will also be introduced in this module.

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Module 4� In module four, assessment will be explored in depth. Formative

and Summative assessments, performance assessments and rubrics will be discussed and examples of each will be provided. Links to Model Cornerstone Assessments, developed by the NCAS team, as well as examples and applications will also be discussed.

Module 5

� Module five provides a one-stop shop for resources when you are unpacking and implementing IFAS. It reviews why the standards were adopted and how to navigate through them on the DOE website. A link to a google+ group of Iowa Fine Arts Educators is also provided as well as links to various google drives packed with resources like the Model Cornerstone Assessments as well as standards-aligned unit plans and resources for each of the Fine Arts disciplines.

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AEA trainings� As a reminder, all your AEA trainings stay attached to your

account on the AEA trainings home page. You can access and review any module you have completed there, so the links and resources provided within the IFAS modules can be accessed at any time in your future as an Iowa Fine Arts Educator.

Questions?

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Contact me� You may contact me a kversteegt@gmail.com with any questions

you may have

� This powerpoint and many other resources and downloads are available on my website firstegg.yolasite.com