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DOCUMENT RESUME

ED 3b5 622 SO 023 911

AUTHOR Mahlmann, John J.; And Others

TITLE National Standards for Arts Education: What EveryYoung American Should Know and Be Able To Do in the

Arts.

SPONS AGENCY American Alliance ;or Health, Physical Education,Recreation and Dance, Reston, VA. National DanceAssociation.; Music Educators National Conference,

Reston, Va.

REPORT NO =American Alliance for Theatre and Education.;ISBN-1-56545-036-1; ISBN-1-56545-037-x

PUB DATE 94

NOTE 174 ; For related material, see SO 023 858.

AVAILABLE FROM Music Educators National Conference PublicationsSales, 1.806 Robert Fulton Dr., Reston, VA 22091.

PUB TYPE Reports Descriptive (141)

EMS PRICE MF01/PC07 Plus Postage.

DESCRIPTORS Academic Standards; Art Appreciation; *Art Education;Cultural Differences; *Dance; Dance Education;Educational Principles; Elementary SecondaryEducation; Multicultural Education; *Music; MusicEducation; *Theater Arts; *Visual Arts

ABSTRACTThis document consists of the new national standards

for arts education and a summary statement accompanying the book. The

standards recommend that by the time they have completed secondaryschool, students should: (1) be able to communicate at a basic level

in the four arts disciplines, dance, music, theater, and the visual

arts; (2) be able to communicate proficiently in at least one artform, including the ability to define and solve artistic problems

with insight, reason, and technical proficiency; (3) be able to

develop and present basic analyses of works of art form structural,

historical, and cultural perspectives; (4) has-e an informedacquaintance with exemplary works of art from variety of cultures

and historical periods; and (5) be able to relate various types of

arts knowledge and skills within and across the arts disciplines. The

book of standards is divided into four main parts. An introduction

discusses the benefits, applicability, and importance of arts

education. The second part describes the context and issues of arts

standards such as their place in education reform, cultural

diversity, appropriate technologies, student assessment, and

correlation and integration of the arts disciplines. The remaining

three parts discuss dance, r -ic, theater, and visual arts for grades

K-4, 5-8, and 9-12. PresenteL within each of the disciplines are the

specific competencies that the arts education community nationwide

believes are essential for every student. The standards include both

content and achievement. Appendices include a glossary for each of

the four art areas, outlines of sequential learning in each

discipline, a summary statement, and a list of contributors and

endorsers. (DK)

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NATIONAL STANDARDS FOR ARTS EDUCATION

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There are many routes to competence in the arts disciplines. Students may work in different

arts at different times. Their study may take a variety of approaches. Their abilities may develop at

different rates. Competence means the ability to use an array of knowledge and skills. Terms often

used to describe these include creation, performance, production, history, culture, perception,

analysis, criticism, aesthetics, technology, and appreciation. Competence means capabilities with

these elements themselves and an understanding of their interdependence; it also means the ability

to combine the content, perspectives, and techniques associated with the various elements to

achieve specific artistic and analytical goals. Students work toward comprehensive competence from

the very beginning, preparing in the lower grades for deeper and more rigorous work each suc-

ceeding year. As a result, the joy of experiencing the arts is enriched and matured by the discipline

of learning and the pride of accomplishment. Essentially, the Standards ask that students should

know and be able to do the following by the time they have completed secondary school:

They should be able to communicate at a basic level in the Jimm arts disci-

plinesdance, music, theatre, and the visual arts. This includes knowl-

edge and skills in the use of the basic vocabularies, materials, tools, tech-

niques, and intellectual methods of each arts discipline.

77/ey should be able to communicate proficiently in at least one art form,

including the ability to define and solve artistic problems with insight,

reason, and technical proficiency.

They should be able to develop and present basic analyses of works of art

from structural, historical, and cultural perspectives, and from combina-

tions of those perspectives. This includes the ability to understand and

evaluate work in the various arts disciplines.

They should have an informed acquaintance with exemplary works of art

from a variety of cultures and historicalperiods, and a basic understanding

of historical development in the arts disciplines, across the arts as a

whole, and within cultures.

They should be able to relate various lypcs of arts knowledge and skills with-

in and across the arts disciplines. This includes mixing and marching

competencies and understandings in art-making, histoty and culture,

and analysis in any arts-related project.

As a result of developing these capabilities, students can arrive at their own knowledge, beliefs,

and values for making personal and artistic decisions. In other terms, they can arrive at a broad-

based, well-grounded understanding of the nature, value, and meaning of the arts as a part of

their own humanity.


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DEVELOPED BY THE CONSORTIUM OF NATIONAL ARTS EDUCATION ASSOCIATIONS

AMERICAN ALLIANCE FOR THEATRE 8c. EDUCATION

MUSIC EDUCATORS NATIONAL CONFERENCE

NATIONAL ART EDUCATION ASSOCIATION

NATIONAL DANCE ASSOCIATION

The Arts Standards were developed by the Consortium of National Arts Education

Associations under the guidance of the National Committee for Standards in the Arts through a

grant administered by Music Educators National Conference.

Project Director: John J. MahlmannProject Administrator: Margaret A. Senko

Editor: Michael BlakesleeProject Assistant: Megan Prosser

Writing and editorial services provided by Bruce 0. Boston of Wordsmith, Inc.

The Arts Standards Project would like to recognize the contributions of

Gregory R. Anrig (1931-1993) and Terry Taylor (1946-1994)

for their work on the National Committee for Standards in the Arts.

Prepared under a grant from the U.S. Department of Education, the National Endowment for

the Arts, and the National Endowment for the Humanities. Grantees undertaking such projects

are encouraged to express freely their professional judgment. This publication, therefore, does

not necessarily represent positions or policies of the Government, and no official endorsement

should be inferred.

Copyright © 1994Music Educators National Conference

1806 Robert Fulton Drive, Reston, VA 22091All rights reserved

Printed in the United States of AmericaISBN 1-56545-036-1

Contents

Preface: Defining Terms 1

Introduction 3

Discovering Who We Are 5

What Benefits Does an Arts Education Provide? 6An Education in the Arts Is for All Students 7The Arts Are Important to Life and Learning 8

The Difference Standards Make 9

Context and Issues 11Arts Standards Are at the Core of Education Reform 11The Standards Provide a Crucial Foundation 11The Standards Are Keys to Each of the Arts Disciplines 12The Standards Are Kevs to Correlation and Integration 13The Standards Incorporate Cultural Diversity 13The Standards Focus on Appropriate Technologies 14The Standards Provide a Foundation for Student Assessment 15

The Standards Point Beyond Mere "Exposure" 15Adopting the Standards Is Only a Beginning 16

The Standards 17How the Standards Are Organized 17What Students Should Know and Be Able to Do in the Arts 18

Grades K-4 21Dance 23Music 26Theatre 30

Visual Arts 33

Grades 5-8 37Dance 39

Music 42Theatre 46

Visual Arts 49

Grades 9-12 53Dance 55

Music 59

Theatre 64

Visual Arts 69

Appendix 1: Selected Glossary 73Dance 75Music 78

Theatre 80

Visual Arts 82

Appendix 2: Outlines of Sequential Learning 85

Dance 87

Music 97Theatre 111

Visual Arts 121

Appendix 3: Summary Statement 129

Appendix 4: Contributors and Endorsers 135

8

PREFACE

Art, the Arts Disciplines, and the Arts

-'n discussing these Standards for arts education, some brief defini-

tions may be useful.In this document, art means two things: (1) creative works and the

process of producing them, and (2) the whole body of work in the art

forms that make up the entire human intellectual and cultural heritage.When we study art, we involve ourselves in a particular set of processes,

products, influences, and meanings. We recognize that art is expressed

in various styles, reflects different historical circumstances, and draws

on a multitude of social and cultural resources.We use the terms arts discipline and art form to refer to Dance,

Music, Theatre, and the Visual Arts, recognizing that each of theseencompasses a wide variety of forms and sub-disciplines.

When this document speaks of the arts, it means these arts disci-plines taken together or, most inclusively, the totality of all activities in

the arts. Following the Standards, a glossary is presented that defines

how various terms from each of the arts disciplines are used.

Discovering Who We Are

The arts have been part of us from the very beginning. Since nomadic peoples first sang anddanced for their ancestors, since hunters first painted their quarry on the walls of caves, since par-

ents first acted our the stones of heroes for their children, the arts have described, defined, inddeepened human experience. All peoples, everywhere, have an abiding need for meaningto con-

nect time and space, experience and event, body and spirit, intellect and emotion. People create

art to make these connections, to express the otherwise inexpressible. A society and a people with-

out the arts arc unimaginable, as breathing would be without air. Such a society and people could

not long survive.The arts are one of humanity's deepest rivers of continuity. They connect each new generation

to those who have gone before, equipping the newcomers in their own pursuit of the abidingquestions: Who am I? What must I do? Where am I going? At the same time, the -Its arc often an

impetus for change, challenging old perspectives from fresh angles of vision, or . cring original

interpretations of familiar ideas. The arts disciplines provide their own ways of thinking, habits of

mind as rich and different from each other as botany is different from philosophy. At anotherlevel, the arts are society's gift to itself, linking hope to memory, inspiring courage, enriching ourcelebrations, and making our tragedies bearable The arts are also a unique source of enjoymentand delight, providing the "Ana!" of discovery when we see ourselves in a new way, grasp a deep-

er insight, or find otr imaginations refreshed. The arts have been a preoccupation of every genera-

tion precisely because they bring us face to face with ourselves, and with what we sense lies

beyond ourselves.The arts are deeply embedded in our daily life, often so deeply or subtly that we are unaware of

their presence. The office manager who has never studied painting, nor visited an art museum,

may nevertheless select a living-room picture with great care. The mother who never performed in

a choir still sings her infant to sleep. The teenager who is a stranger to drama is moved by aSaturday night film. A couple who would never think of taking in a ballet are nonetheless avid

square dancers. The arts are everywhere in our lives, adding depth and dimension to the environ-

ment we live in, shaping our experience daily. The arts are a powerful economic force as well,

from fashion, to the creativity and design that go into every manufactured product, to architec-ture, to the pertbrmance and entertainment arts that have grown into multibillion dollar indus-

tries. We could not live without the artsnor would we want toFor all these reasons and a thousand more, the arts have been an inseparable part of the human

journey; indeed, we depend on the arts to carry us toward the fullness of our humanity. We value

them for themselves, and because we do, we believe knowing and practicing them is fundamental

to the healthy development of our children's minds and spirits. That is why, in any civilization

ours includedthe arts are inseparable from the very meaning of the term "education." We know

from long experience that no one can claim to be truly educated who lacks basic knowledge and skills

in the arts.Hour civilization is to continue to be both dynamic and nurturing, its success will ultimately

depend on how well we develop the capacities of our children, not only to earn a living in a vastly

complex world, but to live a life rich in meaning. The vision this document holds out affi is that

a future worth having depends on being able to construct a vital relationship with the arts, and

that doing so, as with any other subject, is a matter of discipline and study.

Introduction

g

Standards identify what our children must know and be able to do. Thus, the vision embedded

in these Standards insists that a mere nodding acquaintance with the arts is not enough to sustain

our children's interest or involvement in them. The Standards must usher each new generation

onto the pathway of engagement, which opens in turn Onto a lifl_time of teaming and growth

through the arts. It is along this pathway that our children will find their personal directions and

make cheir singular contributions. It is along this pathway, as well, ',oat they will discover who

they arc, and even more, who they can become.

What Benefits Does an Arts Education Provide?

These Standards are an attempt to render, in operational terms, the value and importance of

the arts for the educational well-being of our young people and our country. Arts education `)ene-

fits both student and society. It benefits the student because it cultivates the whole child, gradually

building many kinds of literacy while developing intuition, reasoning, imagination, and dexterity

into unique fOrms of expression and communication. This process requires not merely an active

mind but a trained one. Arts education also helps students by initiating them into a variety of ways

of perceiving and thinking. Because so much of a child's education in the early years is devoted to

acquiring the skills of language and mathematics, children gradually learn, unconsciously, that the

"normal" way to think is linear and sequential, that the pathway to understanding moves from

beginning to end, from cause to effect. In this dominant early mode, students soon learn to trust

mainly those symbol systems, usually in the form of words, numbers, and abstract concepts, that

separate the experiencing person from what that person experienc 's.

But the arts teach a different lesson. They sometimes travel along a road that moves in a direc-

tion similar to the one:described above, but more often they start from a different place. The arts

cultivate the direct experience of the senses; they trust the unmediated flash of insight as a legiti-

mate source of knowledge. Their goal is to connect person and experience directly, to build the

bridge between verbal and nonverbal. between the strictly logical and the emotionalthe better

to gain an understanding of the whole. Both approaches are powerful and both are necessary; to

deny students either is to disable them.

An education in the arts also benefits society because students of the arts disciplines gain power-

ful tools for:

understanding human experiences, both past and present:

learning to adapt to and respect others' (often very difkrent) ways of thinking, WO1 king. and

expressing themselves;

learning artistic modes of problem solving, which bring an array of expressive, analytical, and

developmental tools to every human situation (this is why we speak, for example, of the "art"

of teaching or the "art" of politics);

understanding the influences of the arts, for example, in their power to create and reflect cul-

tures, in the impact of design on virtually all we use in daily life, and in the interdependence of

work in the arts with the broader worlds of ideas and action;

National Standards for Arts Education

=kir, decisions in situations where there are no standard answers;

analyzing nonverbal communication and making informed judgments about cultural productsand issues; and

communicating their thoughts and feelings in a variety of modes, giving them a vastly more

powerful repertoire of self-expression.

In a world inundated with a bewildering array of messages and meanings, an arts education alsohelps young people explore, understand, accept, and use ambiguity and subjectivity. In art as inlife, there is often no clear or "right" answer to questions that arc nonetheless worth pursuing("Should the trees in this painting be a little darker shade of green?"). At the same time the artsbring excitement and exhilaration to the learning process. Study and competence reinfo, each

other; students become increasingly interested in !earning, add new dimensions to what theyalready know, and enhance their expectations for learning even more. The joy of learningbecomes real, tangible, powerful.

Perhaps most important, the arts have intrinsic value. They are worth learning for their ownsake, providing benefits not available through any other means. To read Schiller's poem "Ode toJoy," for example, is to know one kind of beauty, yet to hear it sung by a great chorus as themajestic conclusion to Beethoven's Ninth Symphony is to experience beauty of an entirely differ-ent kind, an experience that for many is sublime. Because these experiences open up this tran-scending dimension of realit: there can be no substitute for an education in the arts, which pro-vides bridges to things we can scarcely describe, but respond to deeply. In the simplest terms, no

education is complete without them.The arts also make a contribution to education that reaches beyond their intrinsic value.

Because each arts discipline appeals to different senses and expresses itself through different media,each adds a special richness to the learning environment. An education in the arts helps studentslearn to identify, appreciate, and participate in the traditional arr forms of their own communities.As students imagine, create, and reflect, they arc developing both the verbal and nonverbal abili-ties necessary for school progress. At the same time, the intellectual demands that the arts placeon students help them develop problem-solving abilities and such powerful thinking skills as ana-lyzin, synthesizing, and evaluating. Further, numerous studies point toward a consistent and pos-itive correlation between a substantive education in the arts and student achievement in othersubjects and on standardized tests. A comprehensive, articulated arts education program alsoengages students in a process that helps them develop the self-esteem, self-discipline, cooperation,and self-motivation necessary for success in life.

An Education in the Arts Is for All Students

All students deserve access to the rich education and understanding that the arts provide,regardless; of their background, talents, or disabilities. In an increasingly technological environ-ment overloaded with sensory data, the abilir< to perceive, interpret, understand, and evaluatesuch stimuli is critical. The arts help all students to develop multiple capabilities for understandingand deciphering an image- and symbol-laden world. Thus, the arts should be an integral part of aprogram of general education for all students. In particular, students with disabilities, who arcoften excluded from arts programs, can derive great benefit from themand for the same reasons

Introduction

that studying the arts benefits students who are not disabled. As many teachers can testify, the arts

can be a powerful vehiclesometimes the best vehicleFor reaching, motivating, and teaching a

given student. At the same time, there is a continuing need to make sure that all students have

access to the learning resources and opportunities they need to succeed. Thus, as in any arca of

the curriculum, providing a sound educatioh in the arts will depend in great measure on creating

access to opportunities and resources.In this context, the idea that an education in the arts is just for "the talented," and not for

"regular students" or those with disabilities, can be a stumbling block. The argument that rele-

gate the arts to the realm of passive experience for the majority, or that says a lack of "real talent"

disqualifies most people from learning to draw, play an instrument, dance, or act, is simply wrong-

headed. Clearly, students have diffCrent aptitudes and abilities in the arts, but differences are not

disqualifications. An analogy may be helpful. We expect mathematical competence of all students

because a knowledge of mathematics is essential to shaping and advancing our society, economy,

and civilization. Yet no one ever advances the proposition that only those who are mathematically

"talented" enough to earn a lining as mathematicians should study long division or algebra.

Neither, then, should talent be a factor in determining the place or value of the arts in an individ-

ual's basic education.

The Arts Are Important to Life and Learning

If arts education is to serve its proper function, each student must develop an understanding of

such questions as these: What are the arts? How do artists work and what tools do they use? How

do traditional, popular, and classical art forms influence one another? Why are the arts important

to me and my society? As students seek the answers to these questions, they develop an under-

standing of the essence of each arts discipline, and of the knowledge and skills that enliven it. The

content and the interrelatedness of the Standards, especially, go a long way toward producing

such understanding. But meeting the Standards cannotand should notimply that every stu-

dent will acquire a common set of artistic values. Ultimately, students are responsible for their

own values. What the Standards can do is provide a positive and substantive framework for those

who teach young people why and how the arts are valuable to them as persons and as participants

in a shared culture.The affirmations below describe the values that can inform what happens when the Standards,

students, and their teachers come together. These expectations draw connections among the arts,

the lives of students, and the world at large:

The arts have both intrinsic and instrumental value; that is, they have worth in and of them-

selves and can also be used to achieve a multitude of purposes (e.g., to present issues and ideas,

to teach or persuade, to entertain, to design, plan, and beautify).

A The arts play a valued role in creating cultures and building civilizations. Although each arts

discipline makes its unique contributions to culture, society, and the lives of individuals, their

connections to each other enable the arts disciplines to produce more than any of them could

produce alone.

The arts are a way of knowing. Students grow in their ability to apprehend their world when

they learn the arts. As they create dances, music, theatrical productions, and visual artworks,

National Standards f or Arts Education 4

they learn how to express themselves and how to communicate with others.

The arts have value and significance for daily life, They provide personal fulfillment, whether invocational settings, avocational pursuits, or leisure.

Lifelong participation in the arts is a valuable part of a life fully lived and should be cultivated.

Appreciating the arts means understanding the interactions among the various professions androles involved in creating, performing, studying, teaching, presenting, and supporting the arts,and in appreciating their interdependent nature.

Awakening to folk arts and their influence on other arts deepens respect for one's own and for

others' communities.

Openness, respect for work, and contemplation when participating in the arts as an observer oraudience member are personal attitudes that enhance enjoyment and ought to be developed.

The arts are indispensable to freedom of inquiry and expression.

Because the arts offer the continuing challenge of situations in which there is no standard orapproved answer, those who study the arts become acquainted with many perspectives on themeaning of "value."

The modes of thinking and methods of the arts disciplines can be used to illuminate situationsin other disciplines that require creative solutions.

Attributes such as self-discipline, the collaborative spirit, and perseverance, which are so neces-

sary to the arts, can -ansfer to the rest of life.

The arts provide forms of nonverbal communication that can strengthen the presentation ofideas and emotions.

Each person has a responsibility for advancing civilization itself. The arts encourage taking thisresponsibility and provide skills and perspectives for doing so.

As students work at increasing their understanding of such promises and challenges presentedby the arts, they are preparing to make their own contributions to the nation's storehouse of cul-ture. The more students live up to these high expectations, the more empowered our citizenrywill become. Indeed, helping students to meet these Standards is among the best possible invest-ments in the future of not only our children, but also of our country and civilization.

The Difference Standards Make

Arts education standards can make a difference because, in the end, they speak powerfully to

two fundamental issues that pervade all of educationquality and accountability. They helpensure that the study of the arts is disciplined and well focused, and that arts instruction has a

IntrodmotIon

:5

point of reference for assessing its results. In addressing these issues, the Standards insist on the

following:

That an arts education is not a hit-or-miss effort but a sequenced and comprehensive enterprise

of learning across four arts disciplines, thus ensuring that basic arts literacy is a consequence of

education in the United States;

That instruction in the arts takes a hands-on orientation (i.e., that students be continually

involved in the work, practice, and study required for effective and creative engagement in all

four arts disciplines);

That students learn about the diverse cultural and historical heritages of the arts. The focus of

these Standards is on the global and the universal, not the localized and the particular;

That arts education can lead to interdisciplinary study; achieving standards involves authentic

connections among and across the arts and other disciplines;

That the transforming power of technology is a force not only in the economy but in the arts

as well. The arts teach relationships between the use of essential technical means and the

achievement of desired ends. The intellectual methods of the arts are precisely those used to

transform scientific discovery into technology;

That across the board and as a pedagogical focus, the development of the problem-solving and

higher-order thinking skills necessary for success in life and work is taken seriously; and

a That taken together, these Standards otThr, for the first time in American arts education, a

foundation for educational assessment on a student-by-student basis.

These features of the Standards will advance both quality and accountability to the levels that

students, schools, and taxpayers deserve. They will help our nation compete in a world where the

ability to produce continuing streams of creative solutions has become the key to success.

One by-product of adopting these Standards may be as revolutionary as it is exciting. Having

the Standards in place may mean that teachers and others will be able to spend less time defending

and advocating arts education and more time educating children, turning them toward the enrich-

ing power, the intellectual excitement, and the joy of competence in the arts.

Success in achieving these Standards will mean something else. As we look ahead, it is impor-

tant to keep two things in mind. To the degree that students are successful in achieving them, the

Standards will have to be raised to encourage higher expectations. At the same time, even though

the substance of each of the arts disciplines will remain basically constant, the changes created by

technology, new cultural trends, and educational advances will necessitate changes in the

Standards as well. Among the educational changes likely to affect the structure of these Standards,

for example, are those that may rearrange the school day and year, or the prospect that progres-

sion by grade level may give way to mastery as the overriding goal of education.


Context and issues

Arts Standards Are at the Core of Education Reform

With the passage of the Goals 2000: Educate America Act, the arts arc written into federal law.The law acknowledges that the arts are a core subject, as important to education as English, math-ematics, history, civics and government, geography, science, and foreign language. Title II of theAct addresses the issue of education standards. It establishes a National Education StandardsImprovement Council, which has, among its other responsibilities, the job of working with appro-priate organizations to determine the criteria for certifying voluntary content standards, with threeobjectives in mind: (1) to ensure that the standards are internationally competitive, (2) to ensurethey reflect the best knowledge about teaching and learning, and (3) to ensure they have beendeveloped through a broad-based, open adoption process.

In 1992, in anticipation of education standards emerging as a focal point of the reform legisla-tion, the Consortium of National Arts Education Associations successfully approached the U.S.Department of Education, the National Endowment for the Arts, and the National Endowmentfor the Humanities, for a grant to determine what the nation's school children should know and

be able to do in the arts.This document is thus the result of an extended process of consensus-building that has includ-

ed a variety of efforts designed to secure the broadest possible range of expertise and reaction.The process involved the revi':w of state-level arts education frameworks, standards from othernations, a succession of drafts by the arts education community, as well as consideration at a seriesof national forums where comment and testimony were received.

The Standards Provide a Crucial Foundation

The arts have emerged from the education reform movement of the last decade as a vital part-

ner in the continuing effort to provide our children with a world-class education. The Standardsare a crucial element in that enterprise.

Almost alone in the industrialized world, the United States has no national curriculum. Butnational standards approach the task of education from a different angle; they speak of competen-cies, not a predetermined course of study. The need for standards arises, in part, from the rccogni-don that we Americans can never know how well our schools are doing without some coherentsense of results. We recognize an obligation to provide our children with the knowledge and skills

that will equip them to enter society, work productively, and make their contributions as citizens.In short, we need the clarity and conviction to say, "This is what a student should know and be able

to do." At the same time, in spite of our disparateness, Americans understand that, at the core, weare one country. As the education reform movement has recognized from the beginning, we neednational goalsstatements of desired resultsto provide a broad framework for state and local

decision making.But the most important contribution that standards-setting makes lies in the process itself. In

setting them forth, we arc inevitably forced to think through what we believeand why. Theprocess refreshes and renews our interest in and commitment to education in general, and to what

we believe is important in all subjects.

Introduction

J.

Standards for arts educatioi. -ire important for two fundamental reasons. First, they help define

what a good education in the arts should provide: a thorough grounding in a basic body of

knowledge and the skills required both to ma' 2 sense and to make use of each of the arts disci-

plinesincluding the intellectual tools to iriJse qualitative judgments about artistic products and

expression. Second. when states and school districts adopt the standards, they are taking a stand

for rigor, informed by a clear intent. A set of standards for arts education says, in effect, "An edu-

cation in the arts means that students should knOw what is spelled out here, reach specified levels

of attainment, and do both at defined points in their education.- Put differently, arts standards

provide a vision of both competence and educational effectiveness, but without creating a mold

which all arts programs must fit. Let us be clear. These Standards are concerned with which

restti..'s, in the form of student learning, are characteristic of a basic education in the arts, but not

wirhhow those results ought to be delivered. The Standards do not provide a course of study, but

they can help weak arts instruction and programs improve and help make good programs even

better.The arts Standards are deliberately broad statements, the better to encourage local curricular

objectives and flexibility in classroom instruction, that is, to draw on local resources and to meet

local needs. These Standards also present areas of content, expectations for student experience,

and levels of student achievement, but without endorsing any particular philosophy of education,

specific teaching methods, or aesthetic points of view. The latter arc matters for states, localities,

and classroom teachers.

The Standards Are Keys to Each of the Arts Disciplines

Each of the arts disciplines is in itselfa vast body of subject matteran array of skills, knowl-

edge, and techniques offering the student a means of communication and modes of thought and

action. Each discipline also pros ides rich and complex points of view on the world and human

experience. Each offers analytical and theoretical perspectives, a distinct history, m; ny schools of

interpretation, as well as innumerable connections to all human activity. Amid this wealth, the

Standards offer basic points of entry into the study of the arts disciplines.

When a standard for any given arts discipline has been met or achieved by the student, it means

that a door has been opened; the student can use his or her achievement as a point of departure

for other destinations. To take a straighttbrward example from dance, when a child learns to use

basic movements to create and vary a movement theme, a new possibility is created. Now the

child knows what it means to convert a rhythm heard with the ear into one that is expressed by

the body. The child who reaches this point has not merely met a standard, but has learned a "new

grammar" one based on physical movement. As students grow in competence, their learning

thus resembles an ascent up a spiral staircase; at each level, a new door opens onto an experience

that is more challenging and more rewarding. The Standards are meant to reinforce this continual

dynamic of climbing and exploring, a process that leads to increasing competence. As students

meet these Standards, they learn to choose intelligently among many approaches that are likely to

lead to the solution of an artistic or intellectual problem. Indeed, creative thinking cannot occur

without this ability to choose.But the Standards, rooted in the individual integrity of the visual arts, dance, music, md the-

atre, are more than doors to new capabilities and discoveries. They also serve as the foundation for

making connections among the arts and to other areas of the curriculum.

National Standards f or Arts Education ,

The Standards Are Keys to Correlation and Integration

A basic intent of the Standards is that the arts be taught for their intrinsic va Beyond theirsignificance in this arena, however, one of the most important goals the Standards can achieve isto help students make connections between concepts and across subjects. To this cud, theStandards for each arts discipline reflect different kinds of learning tasks. By addressing these taskstogether, students can fully explore each of the specific arts disciplines in and of itself. They canuse these same tasks as bridges among the arts disciplines, and finally as gateways from the arts toother areas of study. But the Standards do not create these connections automatically, simply bytheir existence; making the connections is always a matter of instruction.

Connections among the arts or between the arts and other subjects are fundamentally of twokinds, which should not he confused. Correlations show specific similarities or differences. A sim-ple example is the correlation between music and mathematics. Clearly evident in the structure ofboth are such elements as counting, intervals, and consistent numerical values. More complexexamples could involve studies based on such areas as aesthetics, sociology, or historic periods, inwhich texts, interpretations, and analyses about two or more art forms are compared and contrast-ed. Integration is different from correlation. Instead of placing different subjects side by side tocompare or contrast them. integration uses the resources of two or more disciplines in ways thatare mutually reinforcing, often demonstrating an underlying unity. A simple example of integra-tion within the arts is using combinations of visual effects and words to create a dramatic mood.At a more complex level involving the study of history, other examples of integration might behow the American theatre in the period 1900-1975 reflected shifts in the American social con-sciousness, or how the sacred and secular music of African-Americans contributed to the civil

rights movement.Because forging these kinds of connections is one of the things the arts do best, they can and

should be taught in ways that connect them both to each other and to other subjects.Significantly, building connections in this way gives students the chance to understand wholes,

parts, and their relationships. The high school student ofworld history who has learned some-thing about the visual arts of Japan will understand the politics of the Tokugawa shoguns far bet-ter than a classmate who knows nothing of how the art of Japan reflects that country's core values.But one point is basic. Correlation, integration, and similar approaches to learning are first of all amatter of knowledge and competence within each of the arts disciplines themselves, which mustbe maintained ir. their full integrity. This competence is what the Standards address most power-

The Standards Incorporate Cultural Diversity

The culture of the United States is a rich mix of people and perspectives, drawn from many cul-tures, traditions, and backgrounds. That diversity provides American students with a distinctivelearning advantage: they can juxtapose unique elements of their individual cultural traditions withelements that have been embraced, incorporated, and transformed into a shared culture. In theprocess, they learn that diverse heritages are accessible to all.

The cultural diversity of America is a vast resource for arts education, and should be used tohelp students understand themselves and others. The visual, traditional, and performing arts pro-vide a variety of lenses for examining the cultures and artistic contributions of our nation and oth-ers around the world. Students should learn that each art form has its own characteristics andmakes its distinctive contributions, that each has its own history and heroes. Students need to

Introduction

learn the profound connections that bind the arts to one another, as well as the connections

between particular artistic styles and the historical development of the world's cultures. Students

also need to understand that art is a powerful force in the everyday life of people around the

world, who design and make many of the objects they use and enjoy. It is therefore essential that

those who construct arts curricula attend to issues of ethnicity, national custom, tradition, reli-

gion, and gender, as well as to the artistic elements and aesthetic responses that transcend and

universalize such particulars. Th polyrhythmic choreography of Native American dancing, the

incomparable vocal artistry of a iessye Norman, the sensitive acting of an Edward James Olmos,

and the intricate calligraphy of Japanese and Arabic artists arc, after all, more than simply cultural

artifacts; they are part of the world's treasure house of expression and understanding. As such,

they belong to every human being.The Standards regard these considerations of time, place, and heritage as basic to developing

curriculum. Subject matter from diverse historical periods, styles, forms, and cultures should he

used to develop basic knowledge and skills in the various arts disciplines.

The Standards Focus on Appropriate Technologies

The arts disciplines, their techniques, and their technologies have a strong historic relationship;

each continues to shape and inspire the other. Existing and emerging technologies will always be a

part of how changes in the arts disciplines are created, viewed, and taught. Examples abound. In

ancient times, sculptors used hardened metals to chisel wood and marble blocks; today they use

acetylene torches to work in metal itself. The modern ballet slipper was a technological advance

that emerged in the late nineteenth century; today it is complemented by the dancer's use of vari-

able- resistance exercise equipment. Stradivarius once used simple charcoal and paper to design his

violins; today's manufacturers use computers to design electronic instruments. The theatre, once

limited to the bare stage, has found important resources for creating dramatic productions in such

technologies as radio, film, television, and other electronic media.

For the arts, technology thus offers means to accomplish artistic, scholarly, production, and

performance goals. But the mere availability of technology cannot ensure a specific artistic result:

the pencil in a student's hand ensures neither drawing competency nor a competent drawing.

Nor, by itself, will exchanging the pencil tier an airbrush or a computer graphics program create a

change in the student. What can happen is that interesting and engaging technologies can attract

and motivate students to engage the arts. In the end, however, the use of technology in arts

instruction is meaningful only to the degree that it contributes to competence, and that contribu-

tion comes through instruction and study. Used appropriately, technology can extend the reach of

both the art form and that of the learner.These considerations are especially important because of technology's power to expand today's

students' access to information, opportunities, and choices. New technologies make it possible to

try our a host of possibilities and solutions, and expanding learning technologies make it more

important than ever that these tools be used to teach the arts. Computers create unimaginable

efficiencies and opportunities fiir experimentation, and it instantly. If well used, interactive

video can also have a significant impact on the development of creative thinking skills. The educa-

tional challenge is to make sure that as technology expands the array of choices, students are also

well guided toward choosing, compiling, and arranging materials appropriate to specific artistic

ends.The Standards should be considered as a catalyst for bringing the best arts-related technologies


to bear on arts education. We need to remember, however, that access to many technologies will

necessarily vary. The Standards are not themselves dependent on any particular technology; they

can be met using a variety of technologies on different levels. The working assumption of the

Standards is that whatever technology is available will be used not for its own sake, but to pro-

mote learning in the arts and the achievement of the Standards. Success should be thus measured

by h, 7 well students achieve artistic and intellectual objectives, not alone by how adept they are

in using a given arts technology. The use of technology should increase their ability to synthesize,

integrate, and construct new meanings from a wealth of new resources and information. The

effective results should be that students come to understand the relationships among technical

n.,:ans, artistic technique, and artistic end.

The Standards Provide a Foundation for Student Assessment

Because arts education places a high wine on personal insight, individual achievement, and

group performance, educators must be able to assess these things; otherwise, it will be impossible

to know whether the Standards are being reached. Because the Standards are consensus state-

ments about what an education in the arts should contain, they can provide a basis for student

assessment, and for evaluating programs, at national, state, and local levels. A broad range of mea-

sures could well be used to assess whether a given standard is being met. As in any area of the cur-

riculum, tests and other measures used in assessing students in the arts should be statistically valid

and reliable, as well as sensitive to the student's learning context.One of the substantial advantages offeited by this comprehensive set of arts standards is that

they combat the uninformed idea that the arts are an "academically soft" area of study. People

unfamiliar with the arts often mistakenly believe that excellence and quality are merely mattersofopinion ("I know what I like")ind that one opinion is as good as another. The Standards saythat the arts have "academic" standing. They say there is such a thing as achievement, that knowl-

edge and skills matter, and that mere willing participation is not the same thing as education.

They affirm that discipline and rigor are the road to achievement. And they state emphatically that

all these things can in some way be measuredif not always on a numerical scale, then by

informed critical judgment.Arts educators canItake pride in the fact that other content areas have borrowed heavily from

assessment techniques long used in the arts, e.g., the practice of porttblio review in the visual arts

and the assessment of performance skills through the auditions used in dance, music, and theatre.

It is worth noting that the content of these Standards informs the perspective of the National

Assessment of Educational Progress, which attends to "creating, performing, and responding" in

the arts. Although some aspects of learning in the arts can be measured adequately by traditional

paper-and-pencil techniques or demonstrations, many skills and abilities can be properly assessed

only by using subtle, complex, and nuanced methods and criteria that require a sophisticated

understanding. Assessment measures should incorporate these subtleties, while at the same time

making use of a broad range of performance tasks.

The Standards Point Beyond Mere "Exposure"

All basic subjects, including the arts, require more than mere "exposure" or access. They need

focused time for sequential study, practice, and reflection. While valuable, a once-a-month visit

from an arts specialist, visits to or from professional artists, or arts courses for the specially moti-

vated do not qualify as basic or adequate arts instruction. They certainly cannot prepare all stu-

Introductionr) -A

dents to meet the Standards presented here. These Standards assume that students in all grades

will be actively involved in comprehensive, sequential programs that include creating, performing,

and producing on the one hand, and study, analysis, and reflection on the other. Both kinds of

activities are indispensable elements of a well-rounded education in the arts,

The comprehensive nature of these Standards does not require an inordinate focus on the arts

at the expense of other subjects. Leading groups of arts educators, as well as the National

Endowment for the Arts, recommend that 15 percent of instructional time at the elementary and

middle school levels be devoted to serious study of the arts. In high school, it is expected that

achieving the basic competencies set forth here will mean arts requirements, not just electives.

ley the same token, however, when children move beyond the "exposure" level toward profi-

ciency in an arts discipline, the basic processes of creating, performing, producing, thinking, per-

ceiving, and responding in one context become available to them in another. The child who learns

how to read or cipher can conquer new worlds with those basic skills. Just so, the child who learns

to see with an artist's eye, hear with the musician's ear, dramatize the playwright's vision, or tell a

story with the body's movement has acquired a tool that can enrich and enliven all learning,

whether in the other arts or beyond them.The creative and continual use of community resources is an important clement in making sure

that students receive more than exposure to the arts. Local orchestras and choruses, theatre

groups and dance companies, individual professional artists, galleries, museums, concerts, and

other kinds of-performances all offer a rich repertoire of arts experiences that the schools can sel-

dom match. State and local arts agencies and arts councils, as well as local chapters of national arts

and arts education organizations, all have a rich contribution to make. All can offer distinctive

introductions to the wealth of possibilities in the arts and serve as sources of profound learning.

Teachers, education administrators, parents, and local arts organizations can create not merely

"arts events" but working partnerships specifically designed to sustain, expand, and deepen stu-

dents' competence in all the arts disciplines.

Adopting the Standards Is Only a Beginning

Our way of life in the modern world and the success of our children in it depend on creating a

society that is both literate and imaginative, competent and creative. In a world exploding with

information and experience, in which media saturate our culture with powerful images and mes-

sages at every turn, it is critical that young people he provided with tools not only for understand-

ing that world, but also tsar contributing to it and making their own way. Without the arts to help

shape students' perceptions and imaginations, young people stand every chance of growing into

adulthood as culturally disabled. We must not allow that to happen.

If our young people arc to be fully educated, they need instructional programs in the arts that

accurately reflect and faithfully transmit the pluralistic purposes, skills, and experiences that arc

unique to the artsa heritage that also deeply enriches general education. What happens in the

schools will require the active support of arts organizations, trade and professional groups in the

arts, educational organizations, performers, and working artists. Without question, the Standards

presented here will need supporters and allies in improving and changing how arts education is

organized and delivered. But they themselves contain the potential to act as a lever on public per-

ception and teacher preparation as well, to change education policy at all levels, and to make a

transforming impact across the entire spectrum of education.

But only if they are implemented.

National Standards for Arts EducatioNr)

Developing the physical and mental abilities needed in learn any art tbrm can occur onlythrough personal interaction with subject matter, the mastery of tools, adaprinLa, ro physical chal-

lenges, and sustained relationships with others who have also subjected themselves to the disci-

pline the arts require.Teachers encourage and lead this interacme process. since It is impossible to teach what one

does not know, bringing the Standards to life in students Will require professional development

for many teachers and changes in teacher preparation programs. In many places. more teachers

with credentials in the arts will be needed. Preservice training will have to be restructured to

include the arts, or an existing arts training component will have to be strengthened. Mans' teach-

ers already in service will need to supplement their knowledge and skills, acquire new capabilities,

and form teaching alliances with arts specialists. Doing so will nor be easy, but doing so is as nec-

essary as it is worthwhile.Site-based management teams, school boards, state education agencies, state and local ans

agencies, teacher education institutions, and local programs of in-service education all bear a

responsibility here, as do instructional approaches that involve the use of mentors, local artists,

and members of the community. The support of such people and groups is crucial for the

Standards to succeed. But the pritnan, issue is the competence to bring together and deliver a

broad range of competent instruction. All else is secondary.

Having written a set of voluntary Standards is only tirst step. Merely "adopting" them will

not be enough to make them effective, nor will changing the official expectations for student per-

tbrmance suffice to change the pertbrmance itself. Nov policy will be necessary. New and reallo-

cated resources will be required. Teacher preparation and professional development must keep

pace. People who care about the arts and arts education will have to commit themselves to a

cooperative, and, indeed, relentless effort If implementation is to he successful.

In the end, truly successthl implementation can come about only when students and their

learning are at the center, which means motivating and enabling them to meet the Standards.

With a steady gaze on that target, these Standards can empower America's schools to make

changes consistent with the best any of us can envision for our children and for our society.

The Standards

How the Standards Are Organized

Teachers, policymakersmd students all need explicit statements of the results expected from

all arts education, not only for pedagogical reasons, but to he able to allocate instructional

resources and to provide a basis for assessing student achievement and progress. Because the

largest groups using the Standards will be teachers and educational administrators, the most sensi-

ble sequence for presenting the Standards is lw grade level: Grades K-4, Grades 5-8, and Grades

9-12. Individual standards should be understood as a statement of what students should know

and be able to do, They may, of course, acquire the competency at any time within the specified

period, but they will be expected to have acquired it before they move on.

Within each grade-level cluster, the Standards are organized by arts discipline: Dance, Music,

Theatre, and Visual Arts. Presented within each of the disciplines are the specific competencies

Introduction

that the arts education community, nationwide, believes arc essential for every student. Although

the statement of any specific competency in any of the arts disciplines necessarily focuses on one

part of that discipline, the Standards stress that all the competencies arc interdependent.

The division of the Standards into special competencies does not indicate that each isor

should begiven the same weight, time, or emphasis at any point in the K-12 sequence, or over

the student's entire school career. The mixture and balance will vary with grade level, by course,

by instructional unit, and from school to school.

The Standards encourage a relationship between breadth and depth so that neither overshad-

ows the other. They are intended to create a vision for learning, not a standardized instructional

system.Two different types of standards are used to guide student assessment in each of the compe-

tence areas:

Content standards specify what students should know and be able to do in the arts disciplines.

Achievement standards specify the understandings and levels of achievement that students arc

expected to attain in the competencies, for each of the arts, at the completion of grades 4, 8,

and 12.

In this document, a number of achievement standards are described for each content standard.

In grades 9-12, two levels of achievement standards"Proficient" and "Advanced"are offered

for each of the arts disciplines. Several standards may be ofkred in each of these ovo categories. In

grades 9-12, the "Advanced" level of achievement is more likely to be attained by students who

have elected specialized courses in the particular arts discipline than by students who have not. All

students, however, arc expected to achieve at the "Proficient" level in at least one art.

What Students Should Know and Be Able to Do in the Arts

There are many routes to competence in the arts disciplines. Students may work in different

arts at different times. Their study may take a variety of approaches. Their abilities may develop at

different rates. Competence means the ability to use an array of knowledge and skills. Terms often

used to describe these include creation, performance, production, history, culture, perception,

analysis, criticism, aesthetics, technology, and appreciation. Competence means capabilities with

these elements themselves and an understanding of their interdependence; it also means the ability

to combine the content, perspectives, and techniques associated with the various elements to

achieve specific artistic and analytical goals. Students work toward comprehensive competence

from the very beginning, preparing in the lower grades for deeper and more rigorous work each

succeeding year. As a result, the joy of experiencing the arts is enriched and matured by the disci-

pline of learning and the pride of accomplishment. Essentially, the Standards ask that students

should know and be able to do the following by the time they have completed secondary school:

They should be able to communicate at a basic level in the four arts disciplinesdance, music, the-

atre, and the visual arts. This includes knowledge and skills in the use of the basic vocabularies,

materials, tools, techniques, and intellectual methods of each arts discipline.

They should be able to communicate proficiently in at least one art form, including the ability to

National Standards for Arts Education n4

define and solve artistic problems with insight, reason, and technical proficiency.

a They should be able to develop and present basic analyses of works of art from structural, historical,and cultural perspectives, and from combinations of those perspectives. This includes the abilityto understand and evaluate work in the various arts disciplines.

They should have an informed acquaintance with exemplary works of art from a variety of cultures

and historical periods, and a basic understanding of historical development in the arts disci-plines, across the arts as a whole, and within cultures.

They should be able to 7-elate various types of arts knowledge and skills within and across the artsdisciplines. This includes mixing and matching competencies and understandings in art-making,

history and culture, and analysis in any arts-related project.

At a result of developing these capabilities, students can arrive at their own knowledge, beliefs,and values for making personal and artistic decisions. In other terms, they can arrive at a broad-based, well-grounded understanding of the nature, value, and meaning of the arts as a part oft heir own humanity.

Introductlopi

STANDARDS IN THE ARTS

r A

The standards in this section describe the cumulative skills andknowledge expected of all students upon exiting grade 4.

Students in the earlier grades should engage in developmentally appro-priate learning experiences designed to prepare them to achieve these

standards at grade 4. Determining the curriculum and the specificinstructional activities necessary to achieve the standards is the respon-

sibility of states, local school districts, and individual teachers.

Terms identified by an asterisk (*) are explained in the glossary.

DanceChildren in grades K-4 love to move and learn through engagement of the whole self. Theyneed to become literate in the language of dance in order to use this natural facility as a

means of communication and self-expression, and as a way of responding to the expression of oth-

ers. Dancing and creating dances provide them with skills and knowledge necessary for all future

learning in dance and give them a way to celebrate their humanity.Dance education begins with an awareness of the movement of the body and its creative poten-

tial. At this level, students become engaged in body awareness and movement exploration that

promote a recognition and appreciation of self and others. Students learn basic movement and*choreographic skills in musical/rhythmic contexts. The skills and knowledge acquired allow

them to begin working independently and with a partner in creating and performing dances.Experiences in perceiving and responding to dance expand students' vocabularies, enhance

their listening and viewing skills, and enable them to begin thinking critically about dance. They

investigate questions such as "What is it? How does it work? Why is it important?" Practicing

attentive audience behavior for their peers leads to describing movement *elements and identify-ing expressive movement choices. Students learn to compare works in terms of the elements of

space, time, and force/energy and to experience the similarities and differences between dance

and other disciplines.Through dance education, students can also come to an understanding of their own culture

and begin to respect dance as a part of the heritage of many cultures. As they learn and share

dances from around the globe, as well as from their own communities, children gain skills andknowledge that will help them participate in a diverse society.

1. Content Standard: Identifying and demonstrating movement elements and skills it per-

forming dance

Achievement Standard:Students

a. accurately demonstrate nonlocomotor/*axial movements (such as bend, twist, stretch,swing)

b. accurately demonstrate eight basic locomotor movements (such as walk, run, hop, jump,leap, gallop, slide, and skip), traveling forward, backward, sideward, diagonally, and turning

c. create shapes at low, middle, and high *levels

d. demonstrate the ability to define and maintain *personal space

e. demonstrate movements in straight and curved pathways

f. demonstrate accuracy in moving to a musical beat and responding to changes in tempo

g. demonstrate *kinesthetic awareness, concentration, and focus in performing movementskills

h. attentively observe and accurately describe the *action (such as skip, gallop) and movement

elements (such as levels, directions) in a brief movement study

Dance Grades K-4

2. Content Standard: Understanding choreographic principles, processes, and structures


a. create a sequence with a beginning, middle, and end, both with and without a rhythmic

accompaniment; identify each of these parts of the sequence

b. improvise, create, and perform dances based on their own ideas and concepts from other

sourcesc. use *improvisation to discover and invent movement and to solve movement problems

d. create a dance *phrase, accurately repeat it, and then vary it (making changes in the time,

space, and/or force/energy)e. demonstrate the ability to work effectively alone and with a partner

f. demonstrate the following partner skills: copying, leading and following, mirroring

3. Content Standard: Understanding dance as a way to create and communicate meaning


a. observe and *discuss how dance is different from other forms of human movement (such as

sports, everyday gestures)b. take an active role in a class discussion about interpretations of and reactions to a dance

c. present their own dances to peers and discuss their meanings with competence and confi-

dence

4. Content Standard: Applying and demonstrating critical and creative thinking skills in

dance


a. explore, discover, and realize multiple solutions to a given movement problem; choose their

favorite solution and discuss the reasons for that choice

b. observe two dances and discuss how they are similar and different in terms of one of the

*elements of dance (such as space) by observing body shapes, levels, pathways

5. Content Standard: Demonstrating and understanding dance in various cultures and his-

torical periods


a. perform *folk dances from various cultures with competence and confidence

National Standards f or Arts Eflocatloo roti

b. learn and effectively share a dance from a resource in their own community; describe the

cultural and/or historical contextc. accurately answer questions about dance in a particular culture and time period (for exam-

ple, In colonial America, why and in what settings did people dance? What did the danceslook like?)

6. Content Standard: Making connections between dance and healthful living


a. identify at least three personal goals to improve themselves as dancers

b. explain how healthy practices (such as nutrition, safety) enhance their ability to dance, citingmultiple examples

7. Content Standard: Making connections between dance and other disciplines


a. create a dance project that reveals understanding of a concept or idea frnim another disci-

pline (such as pattern in dance and science)

b. respond to a dance using another art form; explain the connections between the dance andtheir response to it (such as stating how their paintings reflect the dance they saw)

Dance Grades K-4

Musicperforming, creating, and responding to music arc the fundamental music processes in which

humans engage. Students, particularly in grades K-4, learn by doing. Singing, playing instru-

ments, moving to music, and creating music enable them to acquire musical skills and knowledge

that can be developed in no other way. Learning to read and notate music gives them a skill with

which to explore music independently and with others. Listening to, analyzing, and evaluating

music are important building blocks of musical learning. Further, to participate fully in a diverse,

global society, students must understand their own historical and cultural heritage and those of

others within their communities and beyond. Because music is a basic expression ofhuman cul-

ture, every student should have access to a balanced, comprehensive, and sequential program of

study in music.

1. Content Standard: Singing, alone and with others, a varied repertoire of music


a. sing independently, on pitch and in rhythm, with appropriate *timbre, diction, and posture,

and maintain a steady tempo

b. sing *expressively, with appropriate *dynamics, phrasing, and interpretation

c. sing from memory a varied repertoire of songs representing *genres and *styles from diverse

culturesd. sing *ostinatos, partner songs, and rounds

e. sing in groups, blending vocal timbres, matching dynamic levels, and responding to the

cues of a conductor

2. Content Standard: Performing on instruments, alone and with others, a varied repertoire

of music


a. perform on pitch, in rhythm, with appropriate dynamics and timbre, and maintain a steady

tempob. perform easy rhythmic, melodic, and chordal patterns accurately and independently on

rhythmic, melodic, and harmonic *classroom instruments

c. perform expressively a varied repertoire of music representing diverse genres and styles

d. echo short rhythms and melodic patternse. perform in groups, blending instrumental timbres, matching dynamic levels, and respond-

ing to the cuts of a conductorf. perform independent instrumental parts' while other students sing or play contrasting parts

1. E.g., simple rhythmic or melodic ostinatos, contrasting rhythmic lines, harmonic progressions and chords

National Standards 1 or Arts Edrcation

30

3. Content Standard: Improvising melodies, variations, and accompaniments


a. improvise "answers" in the same style to given rhythmic and melodic phrasesb. improvise simple rhythmic and melodic ostinato accompanimentsc. improvise simple rhythmic variations and simple melodic embellishments on familiar

melodiesd. improvise short songs and instrumental pieces, using a variety of sound sources, including

traditional sounds, nontraditional sounds available in the classroom, body sounds, andsounds produced by electronic means2

4. Content Standard: Composing and arranging music within specified guidelines


a. create and arrange music to accompany readings or dramatizationsb. create and arrange short songs and instrumental pieces within specified guidelines3c. use a variety of sound sources when composing

5. Content Standard: Reading and notating music


a. read whole, half, dotted half, quarter, and eighth notes and rests in 42 , 43 , 4and *meter sig-

naturesb. use a system (that is, syllables, numbers, or letters) to read simple pitch notation in the tre-

ble clef in major keys

c. identify symbols and traditional terms referring to dynamics, tempo, and *articulation andinterpret them correctly when performing

d. use standard symbols to notate *meter, rhythm, pitch, and dynamics in simple patterns pre-sented by the teacher

2.E.g., traditional sounds: voices, instruments; nontraditional sounds: paper tearing, pencil tapping; body sounds: hands

clapping, ringers snapping; sounds produced by electronic means: personal computers and basic *MIDI devices, including

keyboards, sequencers, synthesizers, and drum machines

3 E.g., i particular style, form, instrumentation, compositional technique

Music grades K-4

6. Content Standard: Listening to, analyzing, and describing music


a. identify simple music *forms when presented aurally

b. demonstrate perceptual skills by moving, by answering questions about, and by describing

aural examples of music of various styles representing diverse cultures

c. use appropriate terminology in explaining music, music notation, music instruments and

voices, and music performancesd. identify the sounds of a variety of instruments, including many orchestra and band instru-

ments, and instruments from various cultures, as well as children's voices and male and

female adult voices

e. respond through purposeful movement4 to selected prominent music characteristics or to

specific music events5 while listening to music

7. Content Standard: Evaluating music and music performances


a. devise criteria for evaluating performances and compositions

b. explain, using appropriate music terminology, their personal preferences for specific musical

works and styles

8. Content Standard: Understanding relationships between music, the other arts, and disci-

plines outside the arts


a. identify similarities and differences in the meanings of common terms(' used in the various

artsb. identify ways in which the principles and subject matter of other disciplines taught in the

school arc interrelated with those of music7

4. E.g., swaying, skipping, dramatic play

5. E.g., meter changes, dynamic changes, same/different sections

6. E.g., form, line, contrast

7. E.g., foreign languages: singing songs in various languages; language arts: using the expressive elements of music in

interpretive readings; mathematics: mathematical basis of values of notes, rests, and time signatures; science: vibration of

strings, drum heads, or air columns generating sounds used in music; geography: songs associated with various countries

or regions


9. Content Standard: Understanding music in relation to history and culture


a. identify by genre or style aural examples of music from various historical periods and

culturesb. describe in simple terms how *elements of music are used in music examples from various

cultures of the world

c. identify various uses of music in their daily experiences and describe characteristics that

make certain music suitable for each use

d. identify and describe roles of musicians8 in various music settings and cultures

e. demonstrate audience behavior appropriate for the context and style of music performed

8. E.g., orchestra conductor, fOlksinger, church organist

Mislc grades K-4

TheatreTheatre, the imagined and enacted world of human beings, is one of the primary ways children

learn about lifeabout actions and consequences, about customs and beliefs, about others

and themselves. They learn through their *social pretend play and from hours of viewing televi-

sion and film. For instance, children use pretend play as a means of making sense of the world;

they create situations to play and assume *roles; they interact with peers and arrange *environ-

ments to bring their stories to life; they direct one another to bring order to their *drama, and

they respond to one another's dramas. In other words, children arrive at school with rudimentary

skills as playwrights, actors, designers, directors, and audience members; theatre education should

build on this solid foundation. These standards assume that theatre education will start with and

have a strong emphasis on *improvisation, which is the basis of social pretend play.

In an effort to create a seamless transition from the natural skills of pretend play to the study of

theatre, the standards call for instruction that integrates the several aspects of the art form: script

writing, acting, designing, directing, researching, comparing art forms, analyzing and critiquing,

and understanding contexts. In the kindergarten through fourth grade, the teacher will be actively

involved in the students' planning, playing, and evaluating, but students will be guided to develop

group skills so that more independence is possible. The content of the drama will develop the stu-

dents' abilities to express their understanding of their immediate world and broaden their knowl-

edge of other cultures.

1. Content Standard: Script writing by planning and recording improvisations based on per-

sonal experience and heritage, ..magination, literature, and history


a. collaborate to select interrelated characters, environments, and situations for *classroom

dramatizationsb. improvise dialogue to tell stories, and formalize improvisations by writing or recording the

dialogue

2. Content Standard: Acting by assuming roles and interacting in improvisations


a. imagine and clearly describe characters, their relationships, and their environments

b. use variations of locomotor and nonlocomotor movement and vocal pitch, tempo, and tone

for different charactersc. assume roles that exhibit concentration and contribute to the *action of classroom dramati-

zations based on personal experience and heritage, imagination, literature, and history

National Standards fur Arts Edrcatloa 0J 1

3. Content Standard: Designing by visualizing and arranging environments for classroom

dramatizations


a. v'sualize environments and construct designs to communicate locale and mood using visual

elements (such as space, color, line, shape, texture) and aural aspects using a variety of

sound sourcesb. collaborate to establish playing spaces for classroom dramatizations and to select and safely

organize available materials that suggest scenery, properties, lighting, sound, costumes, and

makeup

4. Content Standard: Directing by planning classroom dramatizations


a. collaboratively plan and prepare improvisations and demonstrate various ways of staging

classroom dramatizations

5. Content Standard: Researching by finding information to support classroom dramatiza-tions


a. communicate information to peers about people, events, time, and place related to class-

room dramatizations

6. Content Standard: Comparing and connecting art forms by describing theatre, dramaticmedia (such as film, television, and *electronic media), and other art

forms


a. describe visual, aural, oral, and kinetic elements in theatre, dramatic media, dance, music,

and visual artsb. compare how ideas and emotions are expressed in theatre, dramatic media, dance, music,

and visual arts

c. select movement, music, or visual elements to enhance the mood of a classroomdramatization

I J Theatre Grades K-4

7. Content Standard: Analyzing and explaining personal preferences and *constructingmeanings from classroom dramatizations and from theatre, film,

television, and electronic media productions


a. identify and describe the visual, aural, oral, and kinetic elements of classroom dramatizations

and dramatic performancesb. explain how the wants and needs of characters are similar to and different from their own

c. articulate emotional responses to and explain personal preferences about the whole as well

as the parts of dramatic performancesd. analyze classroom dramatizations and, using appropriate terminology, constructively suggest

alternative ideas for dramatizing roles, arranging environments, and developing situations

along with means of improving the collaborative processes of planning, playing, responding,

and evaluating

8. Content Standard: Understanding context by recognizing the role of theatre, film,television, and electronic media in daily life


a. identify and compare similar characters and situatiort in stories and dramas from and about

various cultures, illustrate with classroom dramatizations, and discuss how theatre reflects

life

b. identify and compare the various settings and reasons for creating dramas and attending

theatre, film, television, and electronic media productions

Matioaal Standards for Arts Education I)

Visual ArtsThese standards provide a framework for helping students learn the characteristics of the *visu-

al arts by using a wide range of subject matter, symbols, meaningful images, and visual

*expressions, to reflect their *ideas, feelings, and emotions; and to evaluate the merits of their

efforts. The standards address these objectives in ways that promote acquisition of and fluency in

new ways of thinking, working, communicating, reasoning, and investigating. They emphasize

student acquisition of the most important and enduring *ideas, concepts, issues, dilemmas, and

knowledge offered by the visual arts. They develop new *techniques, approaches, and habits for

applying knowledge and skills in the visual arts to the world beyond school.

The visual arts are extremely rich. They range from drawing, painting, sculpture, and design, to

architecture, film, video, and folk arts. They involve a wide variety of *tools, techniques, and

processes. The standards arc structured to recognize that many elements from this broad array can

be used to accomplish specific educational objectives. For example, drawing can be used as the

basis for creative activity, historical and cultural investigation, or *analysis, as can any other fields

within the visual arts. The standards present educational goals. It is the responsibility of practi-

tioners to choose appropriately from this rich array of content and processes to fulfill these goals

in specific circumstances and to develop the curriculum.To meet the standards, students must learn vocabularies and concepts associated with various

types of work in the visual arts and must exhibit their competence at various levels in visual, oral,

and written form.In KindergartenGrade 4, young children experiment enthusiastically with *art materials and

investigate the ideas presented to them through visual arts instruction. They exhibit a sense of joy

and excitement as they make and share their artwork with others. Creation is at the heart of this

instruction. Students learn to work with various tools, processes, and *media. They learn to coor-

dinate their hands and minds in explorations of the visual world. They learn to make choices that

enhance communication of their ideas. Their natural inquisitiveness is promoted, and they learn

the value of perseverance.As they move from kindergarten through the early grades, students develop skills of observa-

tion, and they learn to examine the objects and events of their lives. At the same time, they grow

in their ability to describe, interpret, evaluate, and respond to work in the visual arts. Through

examination of their own work and that of other people, times, and places, students learn tounravel the essence of artwork and to appraise its purpose and value. Through these efforts, stu-dents begin to understand the meaning and impact of the visual world in which they live.

1. Contcnt Standard: Understanding and applying media, techniques, and processes


a. know the differences between materials, techniques, and processes

b. describe how different materials, techniques, and processes cause different responses

Visual Arts Grades K-4

c. use different media, techniques, and processes to communicate ideas, experiences, and

stories

d. use art materials and tools in a safe and responsible manner

2. Content Standard: T Tsing knowledge of *structures and functions


a. know the differences among visual characteristics and purposes of art in order to convey

ideas

b. describe how different *expressive features and *organizational principles cause different

responses

c. use visual structures and functions of art to communicate ideas

3. Content Standard: Choosing and evaluating a range of subject matter, symbols, and

ideas

Achievement Standard:

Students

a. explore and understand prospective content for works of art

b. select and use subject matter, symbols, and ideas to communicate meaning

4. Content Standard: Understanding the visual arts in relation to history and cultures


Studentsa. know that the visual arts have both a history and specific relationships to various cultures

b. identify specific works of art as belonging to particular cultures, times, and places

c. demonstrate how history, culture, and the visual arts can influence each other in making

and studying works of art

5. Content Standard: Reflecting upon and *assessing the characteristics and merits oftheir

work and the work of others


a. understand there are various purposes for creating works of visual art

b. describe how people's experiences influence the development of specific artworks

c. understand there are different responses to specific artworks

Netlosal Standards for Arts EllocatIon'7) QL..)

6. Content Standard: Making connections between visual arts and other disciplines


a. understand and use similarities and differences between characteristics of the visual arts and

other arts disciplines

b. identify connections between the visual arts and other disciplines in the curriculum

Visual Arts Grades K-4


6

wept as noted, the standards in this section describe the cumula-

tive skills and knowledge expected of all students upon exiting

grade 8. Students in grades 5--7 should engage in developmentally

appropriate learning experiences to prepare them to achieve these stan-

dards at grade 8. These standards presume that the students have

achieved the standards specified for grades K-4; they assume that thestudents will demonstrate higher levels of the expected skills andknowledge, will deal with increasingly complex art works, and will pro-

vide more sophisticated responses to works of art. Determining the

curriculum and the specific instructional activities necessary to achievethe standards is the responsibility of states, local school districts, and

individual teachers.

Terms identified by an asterisk (*) arc explained in the glossary,

DanceThrough creating, performing, and responding to dance, middle school students can continueto develop skills and knowledge that enhance the important development of self-image and

social relationships. Cooperation and collaboration are emphasized at this age, fostering positive

interactions.Dance education can offer a positive, healthy alternative to the many destructive choices avail-

able to adolescents. Students are encouraged to take more responsibility for the care, condition-ing, and health of their bodies (both within and outside the dance class), thus learning that self-discipline is a prerequisite for achievement in dance.

Students in grades 5-8 develop a sense of themselves in relation to others and in relation to theworld. As a result, they are ready to respond more thoughtfully to dance, to perceive details of*style and *choreographic structure, and to reflect upon what is communicated. The study ofdance provides a unique and valuable insight into the culture or period from which it has come.Informed by social and cultural experiences, movement concepts, and dance-making processes,students integrate dance with other art forms.

1. Content Standard: Identifying and demonstrating movement *elements and skills in per-

forming dance


a. demonstrate the following movement skills and explain the underlying principles: *align-

ment, balance, *initiation of movement, articulation of isolated body parts, weight shift,*elevation and landing, fall and recovery

b. accurately ic',-.ntify and demonstrate basic dance steps, positions, and patterns for dance from

two different styles or traditions'c. accurately transfer a spatial pattern from the visual to the *kinestheticd. accurately transfer a rhythmic pattern from the aural to the kinesthetice. identify and clearly demonstrate a range of *dynamics/*movement qualitiesf. demonstrate increasing kinesthetic awareness, concentration, and focus in performing

movement skillsg. demonstrate accurate memorization and reproduction of movement sequencesh. describe the action and movement elements observed in a dance, using appropriate move-

ment/dance vocabulary

1. E.g., ballet, square, Ghanaian, Middle Eastern, modern

Daces Grades 5Ir.Z

2. Content Standard: Understanding *choreographic principles, processes, and structures


a. clearly demonstrate the principles ec contrast and transition

b. effectively demonstrate the processes of *reordering and *chance

c. successfully demonstrate the structures or forms of *AB, *ABA, "canon, *call and response,

and *narratived. demonstrate the ability to work cooperatively in a small group during the choreographic

process

e. demonstrate the following partner skills in a visually interesting way: creating contrasting

and complementary shapes, taking and supporting weight



a. effectively demonstrate the difference between pantomiming and abstracting a gesture

b. observe and explain how different accompaniment (such as sound, music, spoken text) can

affect the meaning of a dance

c. demonstrate and/or explain how lighting and costuming caa contribute to the meaning of

a danced. create a dance that successfully communicates a topic of personal significance


dance


a. create a movement problem and demonstrate multiple solutions; choose the most interest-

ing solutions and *discuss the reasons for their choice

b. demonstrate appropriate audience behavior in watching dance performances; discuss their

opinions about the dances with their peers in a supportive and constructive way

c. compare and contrast two dance compositions in terms of space (such as shape and path-

ways), time (such as rhythm and tempo), and force/energy, (movement qualities)

d. identify possible *aesthetic criteria for evaluating dance (such as skill of performers, original-

ity, visual and/or emotional impact, variety and contrast)

National Standards for Arts Education ct 2

5. Content Standard: Demonstrating and undcrstanding dance in various cultures and his-

torical periods


a. competently perform *folk and/or *classical dances from various cultures; describe similari-

ties and differences in steps and movement stylesb. competently perform folk, social, and/or *theatrical dances from a broad spectrum of twen-

tieth-century Americac. learn from resources in their own community (such as, people, hooks, videos) a folk dance

of a different culture or a social dance of a different time period and the cultural/historicalcontext of that dance, effectively sharing the dance and its context with their peers

d. accurately describe the role of dance in at least two different cultures or time periods



a. identify at least three personal goals to improve themselves as dancers and steps they are tak-

ing to reach those goalsb. explain strategies to prevent dance injuries

c. create their own *warinup and discuss how that warmup prepares the body and mind forexpressive purposes

r



a. create a project that reveals similarities and differences between the artsb. cite examples of concepts used in dance and another discipline outside the arts (such as bal-

ance, shape, pattern)c. observe the same dance both live and recorded on video; compare and contrast the aesthet-

ic impact of the two observations

Douce Grades 5-11

rn

MusicThe period represented by grades 5-8 is especially critical in students' musical development.

The music they perform or study often becomes an integral part of their personal musical

repertoire. Composing and improvising provide students with unique insight into the form and

structure of music and at the same time help them to develop their creativity. Broad experience

with a variety of music is necessary if students are to make informed musical judgments. Similarly,

this breadth of background enables them to begin to understand the connections and relation-

ships between music and other disciplines. By understanding the cultural and historical forces that

shape social attitudes and behaviors, students are better prepared to live and work in communities

that are increasingly multicultural. The role that music will play in students' lives depends in large

measure on the level of they achieve in creating, performing, and listening to music.

Every course in music, including performance courses, should provide instruction in creating, per-

forming, listening to, and analyzing music, in addition to focusing on its specific subject matter.

1. Content Standard: Singing, a'one and with others, a varied repertoire of music


a. sing accurately and with good breath control throughout their singing ranges, alone and in

small and large ensembles

b. sing with *expression and *technical accuracy a repertoire of vocal literature with a *level of

difficulty of 2, on a scale of 1 to 6, including some songs performed from memory

c. sing music representing diverse *gel:res and cultures, with expression appropriate for the

work being performedd. sing music written in two and three parts

Students who participate in a choral ensemble

e. sing with expression and technical accuracy a varied repertoire of vocal literature with a level

of difficulty of 3, on a scale of 1 to 6, including some songs performed from memory


of music


Studentsa. perform on at least one instrument2 accurately and independently, alone and in small and

large ensembles, with good posture, good playing position, and good breath, bow, or stick

control

2. E.g., band or orchestra instrument, keyboard instrument, *fretted instrument, electronic instrument


b. perform with expression and technical accuracy on at least one string, wind, percussion, or*classroom instrument a repertoire of instrumental literature with a level of difficulty of 2,

on a scale of 1 to 6c. perform music representing diverse genres and cultures, with expression appropriate for the

work being performedd. play by ear simple melodies on a melodic instrument and simple accompaniments on a har-

monic instrumentStudents who participate in an instrumental ensemble or class

e. perform with expression and technical accuracy a varied repertoire of instrumental literature

with a level of difficulty of 3, on a scale of 1 to 6, including some solos performed from

memory



a. improvise simple harmonic accompanimentsb. improvise melodic embellishments and simple rhythmic and melodic variations on given

pentatonic melodies and melodies in major keys

c. improvise short melodies, unaccompanied and over given rhythmic accompaniments, eachin a consistent *style, *meter, and *tonality



a. compose short pieces within specified guidelines,3 demonstrating how the elements ofmusic arc used to achieve unity and variety, tension and release, and balance

b. arrange simple pieces for voices or instruments other than those for which the pieces werewritten

c. use a variety of traditional and nontraditional sound sources and electronic media whencomposing and arranging

3. E.g., a particular style, form, instrumentation, compositional technique

MVSIC Grades

5. Content Standard: Reading and notating music


a. read whole, half, quarter, eighth, sixteenth, and dotted notes and rests in 42 3 4 6 3 and, 4 , 4 , 8 , 8 ,

*alla breve meter signaturesb. read at sight simple melodies in both the treble and bass clefs

c. identify and define standard notation symbols for pitch, rhythm, *dynamics, tempo, *articu-

lation, and expressionC. use standard notation to record their musical ideas and the musical ideas of others

Students who participate in a choral or instrumental ensemble or class

e. sightread, accurately and expressively, music with a level of difficulty of 2, on a scale of

1 to 6



a. describe specific music events4 in a given aural example, using appropriate terminology

b. analyze the uses of *elements of music in aural examples representing diverse genres and

culturesc. demonstrate knowledge of the basic principles of meter, rhythm, tonality, intervals, chords,

and harmonic progressions in their analyses of music



a. develop criteria for evaluating the quality and effectiveness of music performances and com-

positions and apply the criteria in their personal listening and performing

b. evaluate the quality and effectiveness of their own and others' performances, compositions,

arrangements, and improvisations by applying specific criteria appropriate for the style of the

music and offer constructive suggestions for improvement

4. E.g., cony of oboe, change of meter, return of refrain

National Standards for Arts Edscatlos




a. compare in two or more arts how the characteristic materials of each art (that is, sound in

music, visual stimuli in visual arts, movement in dance, human interrelationships in theatre)

can be used to transform similar events, scenes, emotions, or ideas into works of art

b. describe ways in which the principles and subject matter of other disciplines taught in the

school are interrelated with those of musics



a. describe distinguishing characteristics of representative music genres and styles from a vari-

ety of culturesb. classify by genre and style (and, if applicable, by historical period, composer, and title) a var-

ied body of exemplary (that is, high-quality and characteristic) musical works and explainthe characteristics that cause each work to be considered exemplary

c. compare, in several cultures of the world, functions musi,: serves, roles of musicians,6 and

conditions under which music is typically performed

5. E.g., language arts: issues to he considered in setting texts to music; mathematics: frequency ratios of intervals; sciences:

the human hearing process and hazards to hearing; social studies: historical and social events and movements chronicled in

or influenced by musical works

6. E.g., lead guitarist in a rock band, composer of jingles for commercials, singer in Peking opera

Mesic Grades 5-11

TheatreIn theatre, the artists create an imagined world about human beings; it is the role of the actor to

lead the audience into this visual, aural, and oral world. To help students in grades 5-8 devel-

op theatre literacy, it is important that they learn to see the created world of theatre through the

eyes of the playwright, actor, designer, and director. Through active creation of theatre, students

learn to understand artistic choices and to critique dramatic works. Students should, at this point,

play a larger role in the planning and evaluation of their work. They should continue to use drama

as a means of confidently expressing their world view, thus developing their "personal voice. "

The drama should also introduce students to plays that reach beyond their communities to

national, international, and historically representative themes.

1. Content Standard: Script writing by the creation of *improvisations and scripted scenes

based on personal experience and heritage, imagination, literature,

and history


a. individually and in groups, create characters, *environments, and *actions that create *ten-

sion and suspenseb. refine and record dialogue and action

2. Content Standard: Acting by developing basic acting skills to portray characters who

interact in improvised and scripted scenes

,Achievement Standard:Students

lnalyze descriptions, dialogue, and actions to discover, articulate, and justify character moti-

vation ano invent character behaviors based on the observation of interactions, ethical

choices, and emotional responses of peopleb. demonstrate acting skills (such as sensory recall, concentration, breath control, diction,

body alignment, control of isolated body parts) to develop characterizations that suggest

artistic choices

c. in an ensemble, interact as the invented characters

National Standards 12f Arts Edicatisa

3. Content Standard: Designing by developing environments for improvised and scripted

scenes


a. explain the functions and interrelated nature of scenery, properties, lighting, sound, cos-

tumes, and makeup in creating an environment appropriate for the dramab. analyze improvised and scripted scenes for technical requirementsc. develop focused ideas for the environment using visual elements (line, texture, color, space),

visual principles (repetition, balance, emphasis, contrast, unity), and aural qualities (pitch,rhythm, dynamics, tempo, expression) from traditional and nontraditional sources

d. work collaboratively and safely to select and create elements of scenery, properties, lighting,and sound to signify environments, and costumes and makeup to suggest character

4. Content Standard: Directing by organizing rehearsals for improvised and scripted scenes


a. lead small groups in planning visual and aural elements and in rehearsing improvised andscripted scenes, demonstrating social, group, and consensus skills

5. Content Standard: Researching by using cultural and historical information to supportimprovised and scripted scenes


a. apply research from print and nonprint sources to script writing, acting, design, and direct-

ing choices

6. Content Standard: Comparing and incorporating art forms by analyzing methods of pre-sentation and audience response for theatre, dramatic media (such asfilm, television, and *electronic media), and other art fotIrns


a. describe characteristics and compare the presentation of characters, environments, and

actions in theatre, musical theatre, dramatic media, dance, and visual artsb. incorporate elements of dance, music, and visual arts to express ideas and emotions in

improvised and scripted scenes

c. express and compare personal reactions to several art forms

Tkestre Grades 5-2

d. describe and compare the functions and interaction of performing and visual artists and

audience members in theatre, dramatic media, musical theatre, dance, music, and visual arts

7. Content Standard: Analyzing, evaluating, and *constructing meanings from improvisedand scripted scenes and from theatre, film, television, and electronic

media productions


a. describe and analyze the effect of publicity, study guides, programs, and physical environ-

ments on audience response and appreciation of dramatic performances

b. articulate and support the meanings constructed from their and others' dramatic perfor-

mancesc. use articulated criteria to describe, analyze, and constructively evaluate the perceived effec-

tiveness of artistic choices found in dramatic performances

d. describe and evaluate the perceived effectiveness of students' contributions (as playwrights,

actors, designers, and directors) to the collaborative process of developing improvised and

scripted scenes

8. Content Standard: Understanding context by analyzing the role of theatre, film, televi-

121sion, and electronic media in the community and in other cultures


a. describe and compare universal characters and situations in dramas from and about various

cultures and historical periods, illustrate in improvised and scripted scenes, and discuss how

theatre reflects a cultureb. explain the knowledge, skills, and discipline needed to pursue careers and avocational

opportunities in theatre, film, television, and electronic media

c. analyze the emotional and social impact of dramatic events in their lives, in the community,

and in other culturesd. explain how culture affects the content and production values ofdramatic performances

e, explain how social concepts such as cooperation, communication, collaboration, consensus,

self-esteem, risk taking, sympathy, and empathy apply in theatre and daily life

National Staadardo for Arts Education

Visual Artsstudents in grades 5-8 continue to need a framework that aids them in learning the characteris-

tics of the visual arts by using a wide range ofsubject matter, symbols, meaningful images, and

visual expressions. They grow ever more sophisticated in their need to use the visual arts to reflect

their feelings and emotions and in their abilities to evaluate the merits of their efforts. These stan-

dards provide that framework in a way that promotes the students' thinking, working, communi-

cating, reasoning, and investigating skills and provides for their growing familiarity with the

*ideas, concepts, issues, dilemmas, and knowledge important in the visual arts. As students gain

this knowledge and these skills, they gain in th-: .abilit to apply the knowledge and skills in the

visual arts to their widening personal worlds.These standards present educational goals. It is the responsibility of practitioners to choose

among the array of possibilities offered by the visual arts to accomplish specific educational objec-

tives in specific circumstances. The visual arts offer the richness of drawing and painting, sculp-

ture, and design; architecture, film, and video; and folk artsall of these can be used to help stu-

dents achieve the standards. For example, students could *create works in the *medium of video-

tape, engage in historical and cultural investigations of the medium, and take part in *analyzing

works of art produced on videotape. The visual arts also involve varied *tools, *techniques, and

*processesall of which can play a role in students' achieving 'thestandards, as well.

To meet the standards, students must learn vocabularies and concepts associated with various

types of work in the visual arts. As they develop increasing fluency in visual, oral, and written com-

munication, they must exhibit their greater artistic competence through all of these avenues.

In grades 5-8, students' visual expressions become more individualistic and imaginative. The

problem-solving activities inherent in art making help them develop cognitive, affective, and psy-

chomotor skills. They select Ad transform ideas, discriminate, synthesize and appraise, and they

apply these skills to their expanding knowledge of the visual arts and to their own *creative work.

Students understand that making and responding to works of visual art are inextricably interwo-

ven and that *perception, *analysis, and critical judgment are inherent to both.

Their own art making becomes infused with a variety of images and approaches. They learn

that preferences of others may differ from their own. Students refine the questions that they ask in

response to artworks. This leads them to an appreciation of multiple artistic solutions and inter-

pretations. Study of historical and cultural *contexts gives students insights into the role played by

the visual arts in human achievement. As they consider examples of visual art works within histori-

cal contexts, students gain a deeper appreciation of their own values, of the values of other people,

and the connection of the visual arts to universal human needs, values, and beliefs. They under-

stand that the art of a culture is influenced by *aesthetic ideas as well as by social, political, eco-

nomic, and other factors. Through these efforts, students develop an understanding of the mean-

ing and import of the visual world in which they live.

Visual Arts Grades 5I

1. Content Standard: Understanding and applying media, techniques, and processes


a. select media, techniques, and processes; analyze what makes them effective or not effective

in communicating ideas; and reflect upon the effectiveness of their choices

b. intentionally take advantage of the qualities and characteristics of *art media, techniques,

and processes to enhance communication of their experiences and ideas

2. Content Standard: Using knowledge of *structures and functions


a. generalize about the effects of visual structures and functions and reflect upon these effects

in their own workb. employ organizational structures and analyze what makes them effective or not effective in

the communication of ideasc. select and use the qualities of structures and functions of art to improve communication of

their ideas


ideas


a. integrate visual, spatial, and temporal concepts with content to communicate intended

meaning in their artworksb. use subjects, themes, and symbols that demonstrate knowledge of contexts, values, and aes-

thetics that communicate intended meaning in artworks

4. Content Standard: Understanding the visual arts in relation to history and cultures


a. know and compare the characteristics of artworks in various eras and cultures

b. describe and place a variety of art objects in historical and cultural contexts

c. analyze, describe, and demonstrate how factors of time and place (such as climate,

resources, ideas, and technology) influence visual characteristics that give meaning and value

to a work of art

Natioaal Standards for Arts Education

5. Content Standard: Reflecting upon and *assessing the characteristics and merits of theirwork and the work of others


a. compare multiple purposes for creating works of art

b. analyze contemporary and historic meanings in specific artworks through cultural and aes-

thetic inquiryc. describe and compare a variety of individual responses to their own artworks and to art-

works from various eras and cultures



a. compare the characteristics of works in two or more art forms that share similar subject mat-

ter, historical periods, or cultural contextb. describe ways in which the principles and subject matter of other disciplines taught in the

school are interrelated with the visual arts

Visual Arts Grades 5-8


13 A 411

The standards in this section describe the cumulative skills andknowledge expected of students upon graduating high school.

They presume that the students have achieved the standards specifiedfor grades 5-8; they assume that the students will demonstrate higherlevels of the expected skills and knowledge, will deal with increasingly

complex art works, and will provide more sophisticated responses toworks of art in at least one of the arts disciplines. Determining the cur-riculum and the specific instructional activities necessary to achieve the

standards is the responsibility of states, local school districts, and indi-

vidual teachers.The standards establish "prc :icnt" and "advanced" achievement

levels for grades 9-12 in each discipline. The proficient level is intend-

ed for students who have completed courses of study involving relevantskills and knowledge in that discipline for one to two years beyondgrade 8. The advanced level is intended for students who have com-pleted courses of study involving relevant skills and knowledge in that

discipline for three to four years beyond grade 8. Students at theadvanced level are expected to achieve the standards established for the

proficient as well as the advanced levels. Every student is expected to

achieve the proficient level in at least one arts discipline by the time he

or she graduates from high school.

Terms identified by an asterisk 1.1 are explained in the glossary.

DanceHigh school students need to continue to dance and create dances in order to develop morehighly their ability to communicate in a way that is different from the written or spoken

word, or even from other visual or auditory symbol systems. They also need to 7espect their bod-ies and to understand that dance is the product of intentional and intelligent physical actions.Continued development of movement skills and creative and critical thinking skills in dance isimportant regardless of whether students intend a dance career.

Technical expertise and artistic expression are enhanced through reflective practice, study, andevaluation of their own work and that of others. Because dance involves *abstract images, stu-dents can develop higher order thinking skills through perceiving, analyzing, and making discrimi-nating judgments about dance. Education in dance, which has been an integral part of humanhistory, is also important if students are to gain a broad cultural and historical perspective.Students examine the role and meaning of dance in diverse social, cultural, and historical contextsthrough a variety of dance forms. Experience with dance of many cultures helps students tounderstand the cultural lives of others.

1. Content Standard: Identifying and demonstrating movement *elements and skills in per-

forming dance

Achievement Standard, Profident:Students

a. demonstrate appropriate skeletal *alignment, body-part articulation, strength, flexibility,agility, and coordination in locomotor and nonlocomotor/*axial movements

b. identify and demonstrate longer and more complex steps and patterns from two differentdance *styles/traditions

c. demonstrate *rhythmic acuityd. create and perform combinations and variations in a broad dynamic rangee. demonstrate *projection while performing dance skillsf. demonstrate the ability to remember extended movement sequences

Achievement Standard, Advanced:Students

g. demonstrate a high level of consistency and reliability in performing technical skillsh. perform technical skills with artistic expression, demonstrating clarity, *musicality, and styl-

istic nuancei. refine technique through self-evaluation and correction

133

2. Content Standard: Understanding *choreographic principles, processes, and structures

Achievement Standard, Proficient:Students

a. use *improvisation to generate movement for choreography

b. demonstrate understanding of structures or forms (such as *palindrome, theme and varia-

don, rondo, round, contemporary forms selected by the student) through brief dance.

studies

c. choreograph a duet demonstrating an understanding of choreographic principles, processes,

and structures

Achievement Standard, Advanced:

Students

d. demonstrate further development and refinement of the proficient skills to create a small

group dance with coherence and aesthetic unity

e. accurately describe how a choreographer manipulated and developed the basic movement

content in a dance


Achievement Standard, Proficient:

Studentsa. formulate and answer questions about how movement choices communicate abstract ideas

in dance

b. demonstrate understanding of how personal experience influences the interpretation of a

dance

c. create a dance that effectively communicates a contemporary social theme


Studentsd. examine ways that a dance creates and conveys meaning by considering the dance from a

variety of perspectives

e. compare and contrast how meaning is communicated in two of their own choreographic

works


dance


Students

a. create a dance and revise it over time, articulating the reasons for their artistic decisions and

what was lost and gained by those decisions


b. establish a set of *aesthetic critcria and apply it in evaluating their own work and that ofothers

c. formulate and answer their own aesthetic questions (such as, What is it that makes a particu-lar dance that dance? How much can one change that dance before it becomes a differentdance?)

Achievement Standard, Advanced:Students:

d. *discuss how skills developed in dance are applicable to a variety of careerse. analyze the *style of a choreographer or cultural form; then create a dance in that style'

f. analyze issues of ethnicity, gender, social/economic class, age and/or physical condition inrelation to dance

5. Content Standard: Demonstrating and understanding dance in various cultures and his-

torical periods


a. perform and describe similarities and differences between two contemporary *theatricalforms of dance

b. perform or discuss the traditions and technique of a *classical dance form2c. create and answer twenty-five questions about dance and dancers prior to the twentieth

centuryd. analyze how dance and dancers are portrayed in contemporary media


e. create a time line illustrating important dance events in the twentieth century, placing themin their social/historical/cultural/political contexts

f. compare and contrast the role and significance of dance in two different social/historical/cultural/political contexts

1. Choreographers that could be analyzed include George Balanchine, Alvin Ailey, Laura Dean; cultural forms include

bharata naryam, classical ballet.

2. E.g., Balinese, ballet

Dance Grail's 9-12

m



a. reflect upon their own progress and personal growth during their study of dance

b. effectively communicate how lifestyle choices acct the dancer

c. analyze historical and cultural images of the body in dance and compare these to images of

the body in contemporary media


Students:d. discuss challenges facing professional performers in maintaining healthy lifestyles


rr


Studentsa. create an interdisciplinary project based on a theme identified by the student, including

dance and two other disciplines

b. clearly identify commonalities and differences between dance and other disciplines with

regard to fundamental concepts such as materials, elements, and ways of communicating

meaningc. demonstrate/discuss how *technology can be used to reinforce, enhance, or alter the dance

idea in an interdisciplinary project


Students:d. compare one choreographic work to one other artwork from the same culture and rime

period in terms of how those works reflect the artistic/cultural/historical context

e. create an interdisciplinary project using media technologies (such as video, computer) that

presents dance in a new or enhanced form (such as video dance, video/computeraided live

performance, or animation)

Natioaal Standards f or Arts Ellocatioo

MusicThe study of music contributes in important ways to the quality of every student's life. Every

musical work is a product of its time and place, although some works transcend their original

settings and continue to appeal to humans through their timeless and universal attraction.Through singing, playing instruments, and composing, students can express themselves creatively,

while a knowledge of notation and performance traditions enables them to learn new music inde-

pendently throughout their lives. Skills in analysis, evaluation, and synthesis are important because

they enable students to recognize and pursue excellence in their musical experiences and to

understand and enrich their environment. Because music is an integral part of human history, the

ability to listen with understanding is essential if students are to gain a broad cultural and histori-cal perspective. The adult life of every student is enriched by the skills, knowledge, and habits

acquired in the study of music.

Every course in music, including performance courses, should provide instruction in creating, per-

forming, listening to, and analyzing music, in addition to focusing on its specific subject matter.

1. Content Standard: Singing, alone and with others, a varied repertoire of music


a. sing with *expression and *technical accuracy a large and varied repertoire of vocal literature

with a *level of difficulty of 4, on a scale of 1 to 6, including some songs performed frommemory

b. sing music written in four parts, with and without accompaniment

c. demonstrate well-developed ensemble skills


Students

d. sing with expression and technical accuracy a large and varied repertoire of vocal literature

with a level of difficulty of 5, on a scale of 1 to 6c. sing music written in more than four parts

f. sing in small ensembles with one student on a part


of music


a. perform with expression and technical accuracy a large and varied repertoire of instrumental

literature with a level of difficulty of 4, on a scale of 1 to 6

Music Grades 9-12

b. perform an appropriate part in an ensemble, demonstrating well-developed ensemble skills

c. perform in small ensembles with one student on a part


Studentsd. perform with expression and technical accuracy a large and varied repertoire of instrumental

literature with a level of difficulty of 5, on a scale of 1 to 6



a. improvise stylistically appropriate harmonizing parts

b. improvise rhythmic and melodic variations on given pentatonic melodies and melodies in

major and minor keys

c. improvise original melodies over given chord progressions, each in a consistent *style,

*meter, and *tonality


Studentsd. improvise stylistically appropriate harmonizing parts in a variety of styles

e. improvise original melodies in a variety of styles, over given chord progressions, each in a

consistent style, meter, and tonality



Studentsa. compose music in several distinct styles, demonstrating creativity in using the *elements of

music for expressive effectb. arrange pieces for voices or instruments other than those for which the pieces were written

in ways that preserve or enhance the expressive effect of the music

c. compose and arrange music for voices and various acoustic and electronic instruments,

demonstrating knowledge of the ranges and traditional usages of the sound sources


Studentsd. compose music, demonstrating imagination and technical skill in applying the principles of

composition

National Standards far Arts EdncatIon r-

S. Content Standard: Reading and notating music


a. demonstrate the ability to read an instrumental or vocal score of up to four *staves bydescribing how the elements of music are used

Students who participate in a choral or instrumental ensemble or classb. sightread, accurately and expressively, music with a level of difficulty of 3, on a scale of

1 to 6


c. demonstrate the ability to read a full instrumental or vocal score by describing how the ele-ments of music arc used and explaining all transpositions and clefs

d. interpret nonstandard notation symbols used by sonic 20th-century composersStudents who participate in a choral or instrumental ensemble or class

e. sightread, accurately and expressively, music with a level of difficulty of 4, on a scale of

1 to 6



a. analyze aural examples of a varied repertoire of music, representing diverse *genres and cul-tures, by describing the uses of elements of music and expressive devices

b. demonstrate extensive knowledge of the technical vocabulary of music

c. identify and explain compositional devices and techniques used to provide unity and varietyand tension and release in a musical work and give examples of other works that make simi-

lar uses of these devices and techniques


d. demonstrate the ability to perceive and remember music events by describing in detail sig-nificant events3 occurring in a given aural example

e. compare ways in which musical materials are used in a given example relative to ways inwhich they are used in other works of the same genre or style

f. analyze and describe uses of the elements of music in a given work that make it unique,interesting, and expressive

3 E..g., higal entrances, chromatic modulations, developmental devices

Music Grades 9-12


Achievement Standard, ProficientStudents

a. evolve specific criteria for making informed, critical evaluations of the quality and effective-

- ness of performances, compositions, arrangements, and improvisations and apply the criteria

in their personal participation in musicb. evaluate a performance, composition, arrangement, or improvisation by comparing it to

similar or exemplary models


c. evaluate a given musical work in terms of its aesthetic qualities and explain the musical

means it uses to evoke feelings and emotions




a. explain how elements, artistic processes (such as imagination or craftsmanship), and organi-

zational principles (such as unity and variety or repetition and contrast) are used in similar

and distinctive ways in the various arts and cite examplesb. compare characteristics of two or more arts within a particular historical period or style and

cite examples from various cultures

c. explain ways in which the principles and subject matter of various disciplines outside the arts

are interrelaced with those of music4


d. compare the uses of characteristic elements, artistic processes, and organizational principles

among the arts in different historical periods and different cultures

e. 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 arts5

4. E.g., language arts: compare the ability of music and literature to convey images, feelings, and meanings; physics:

describe the physical basis of tone production in string, wind, percussion, and electronic instruments and the human voice

and of the transmission and perception of sound

5. E.g., creators: painters, composers, choreographers, playwrights; performers: instrumentalists, singers, dancers, actors;

others: conductors, costumers, directors, lighting designers

National Standards 1 or Arts Education

G4


Achievement Standard, ProficientStudents

a. classify by genre or style and by historical period or culture unfamiliar but representativeaural examples of music and explain the reasoning behind their classifications

b. identify sources of American music genres,6 trace the evolution of those genres, and citewell-known musicians associated with them

c. identify various roles7 that musicians perform, cite representative individuals who have func-

tioned in each role, and describe their activities and achievements


d. identify and explain the stylistic features of a given musical work that serve to define its aes-

thetic tradition and its historical or cultural contexte. 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

6. E.g., swing, Broadway musical, blues

7. E.g., entertainer, teacher, transmitter of cultural tradition

Music Grades 9-12

C :3

Theatre/n grades 9-12, students view and construct dramatic works as metaphorical visions of life that

embrace connotative meanings, juxtaposition, ambiguity, and varied interpretations. By creat-

ing, performing, analyzing, and critiquing dramatic performances, they develop a deeper under-

standing of personal issues and a broader worldview that includes global issues. Since *theatre in

all its forms reflects and affects life, students should learn about representative dramatic *texts and

performances and the place of that work and those events in history. Classroom work becomes

more formalized with the advanced students participating in theatre, film, television, and *elec-

tronic media productions.

1. Content Standard: Script writing through *imp..ovising, writing, and refining *scripts

based on personal experience and heritage, imagination, literature,

and history


Students

a. construct imaginative scripts and collaborate with actors to refine scripts so that story and

meaning are conveyed to an audience


Studentsb. write theatre, film, television, or electronic media scripts in a variety of *traditional and new

forms that include original characters with unique dialogue that motivates *action

2. Content Standard: Acting by developing, communicating, and sustaining characters in

*improvisations and *informal or *formal productions


Studentsa. analyze the physical, emotional, and social dimensions of characters found in dramatic texts

from various genres and media

b. compare and demonstrate various *classical and contemporary acting *techniques and

methods

c. in an *ensemble, create and sustain characters that communicate with audiences


Studentsd. demonstrate artistic discipline to achieve an ensemble in rehearsal and performance

e. create consistent characters from classical, contemporary, realistic, and nonrealistic dramatic

texts in informal and formai theatre, film, teleision, or electronic media productions

National Standards for Arts Education(1 4

3. Content Standard: Designing and producing by conceptualizing and realizing artisticinterpretations for informal or formal productions


a. explain the basic physical and chemical properties of the technical aspects of theatre (such as

light, color, electricity, paint, and makeup)b. analyze a variety of dramatic texts from cultural and historical perspectives to determine pro-

duction requirementsc. develop designs that use visual and aural elements to convey *environments that clearly sup-

port the textd. apply technical knowledge and skills to collaboratively and safely create functional scenery,

properties, lighting, sound, costumes, and makeupe. design coherent stage management, promotional, and business plans


f. explain how scientific and technological advances have impacted set, light, sound, and cos-

tume design and implementation for theatre, film, television, and electronic media produc-

tions

g. collaborate with directors to develop *unified production concepts that convey themetaphorical nature of the *drama for informal and formal theatre, film, television, or elec-

tronic media productionsh. safely construct and efficiently operate technical aspects of theatre, film, television, or elec-

tronic media productionsi. create and reliably implement production schedules, stage management plans, promotional

ideas, and business and *front of house procedures for informal and formal theatre, film,

television, or electronic media productions

4. Content Standard: Directing by interpreting dramatic texts and organizing and conduct-ing rehearsals for informal or formal productions


a. develop multiple interpretations and visual and aural production choices for scripts and pro-

duction ideas and choose those that are most interestingb. justify selections of text, interpretation, and visual and aural *artistic choices

c. effectively communicate directorial choices to a small ensemble for improvised or scripted

scenes


Studentsd. explain and compare the roles and interrelated responsibilities of the various personnel

involved in theatre, film, television, and electronic media productions

Theatre Grades 9-12

e. collaborate with designers and actors to develop aesthetically unified production concepts

for informal and formal theatre, film, television, or electronic media productions

f. conduct auditions, cast actors, direct scenes, and conduct production meetings to achieve

production goals

5. Content Standard: Researching by evaluating and synthesizing cultural and historical

information to support artistic choices

Achievement standard, Proficient:Students

a. identify and research cultural, historical, and symbolic clues in dramatic texts, and evaluate

the validity and practicality of the information to assist in making artistic choices for infor-

mal and formal productions


Studentsb. research and describe appropriate historical production designs, techniques, and perfor-

mances from various cultures to assist in making artistic choices for informal and formal the-

atre, film, television, or electronic media productions

6. Content Standard: Comparing and integrating art forms by analyzing traditional theatre,

dance, music, visual arts, and *new art forms


Studentsa. describe and compare the basic nature, materials, elements, and means of communicating in

theatre, *dramatic media, musical theatre, dance, music, and the visual arts

b. determine how the nondramatic art forms arc modified to enhance the expression of ideas

and emotions in theatre

c. illustrate the integration of several arts media in informal presentations


Studentsd. compare the interpretive and expressive natures of several art forms in a specific culture or

historical periode. compare the unique interpretive and expressive natures and *aesthetic qualities of traditional

arts from various cultures and historical periods with contemporary new art forms (such as

performance art)

f. integrate several arts and/or media in theatre, film, television, or electronic media

productions

National Standards tor Arts EducationCG

7. Content Standard: Analyzing, critiquing, and *constructing meanings from informal andformal theatre, film, television, and electronic media productions


a. construct social meanings from informal and formal productions and from dramatic perfor-

mances from a variety of cultures and historical periods, and relate these to current personal,

national, and international issuesb. articulate and justify personal *aesthetic criteria for critiquing dramatic texts and events that

compare perceived artistic intent.with the final aesthetic achievement

c. analyze and critique the whole and the parts of dramatic performances, taking into account

the context, and constructively suggest alternative artistic choicesd. constructively evaluate their own and others' collaborative efforts and artistic choices in

informal and formal productions


e. construct personal meanings from nontraditional dramatic performances

f. analyze, compare, and evaluate differing critiques of the same dramatic texts and perfor-

mancesg. critique several dramatic works in terms of other aesthetic philosophies (such as the underly-

ing ethos of Greek drama, French classicism with its unities of time and place, Shakespeare

and romantic forms, India classical drama, Japanese kabuki, and others)h. analy.e and evaluate critical comments about personal dramatic work explaining which

points are most appropriate to inform further development of the work

8. Content Standard: Understanding context by analyzing the role of theatre, film, televi-sion, and electronic media in the past and the present


a. compare how similar themes arc treated in drama from various cultures and historical peri-ods, illustrate with informal performances, and discuss how theatre can reveal universal

conceptsb. identify and compare the lives, works, and influence of representative theatre artists in vari-

ous cultures and historical periods

c. identiti, cultural and historical sources of American theatre and musical theatre

d. analyze the effect of their own cultural experiences on their dramatic work


e. analyze the social and aesthetic impact ofunderrepresented theatre and film artists

f. analyze the relationships among cultural values, freedom of artistic expression, ethics, and

artistic choices in various cultures and historical periods

Theatre Crakes 9-12

in

g. analyze the development of dramatic forms, production practices, and theatrical traditions

across cultures and historical periods and explain influences on contemporary theatre, film,

television, and electronic media productions

Natlomal Standards for Arts Education

Visual Arts

I n grades 9-12, students extend their study of the visual arts. They continue to use a wide rangeof subject matter, symbols, meaningful images, and visual expressions. They grow more sophis-

ticated in their employnient of the visual arts to reflect their feelings and emotions and continueto expand their abilities to evaluate the merits of their efforts. These standards provide a frame-work for that study in a way that promotes the maturing students' thinking, working, communi-cating, reasoning, Ind imeaigating skills. The standards also provide for their growing familiaritywith the ideas, concepts, issues, dilemmas, and knowledge important in the visual arts. As studentsgain this knowledge and these skills, they gain in their ability to apply knowledg ,rid skills in thevisual arts to their widening personal worlds.

The visual arts range from tile folk arts, drawing, and painting, to sculpture and design, fromarchitecture to film and videoand any of these can be used to help students meet the education-al goals embodied in these standards. For example, graphic design (or any other field within thevisual arts) can be used as the basis for creative activity, historical and cultural investigations, or*analysis throughout the standards. The visual arts involve varied *tools. * techniques, and*processesall of which also provide opportunities for working toward the standards. It is theresponsibility of practitioners to choose from among the array of possibilities offered by the visualarts to accomplish specific educational objectives in specific circumstances.

fo meet the standards, students must learn vocabularies and concepts associated with varioustypes of work in the visual arts. As they develop greater fluency in communicating in visual, oral,and written form, they must exhibit greater artistic competence through all of these avenues.

I n grades 9-12, students develop deeper and more profound works of visual art that reflect thematuration of their creative and problem-solving skills. Students understand the multifaceted inter-play of:different *media, styles, fOrms, techniques, and processes in the creation of their work.

Students develop increasing abilities to pose insightful questions about *contexts, processes,and criteria for evaluation. They use these questions to examine works in light of various analyticalmethods and to express sophisticated ideas about visual relationships using precise r sminology.They can evaluate artistic character and *aesthetic qualities in works of art, nature, and human-made environments. They can reflect on the nature of human involvement in art as a viewer. cre-

ator, and participant.Students understand the relationships among art forms and between their own work and that

of others. They arc able to relate understandings about the historical and cultural contexts of artto situations in contemporary life. They have a broad and in-depth understanding of the meaningand import of the visual world in which they live.

1. Content Standard: Understanding arid applying media, techniques, and processes


a. apply media, techniques, and processes with sufficient skill, confidence, and sensitivity thattheir intentions arc carried out in their artworks

Visual Arts Grades ?-12

15511111MINI

b. conceive and *create works of visual art that demonstrate an understanding of how the

communication of their ideas relates to the media, techniques, and processes they use

Achieveulent Standard, Advanced:Students

c. communicate ideas regularly at a high level of effectiveness in at least one visual arts medium

d. initiate, define, and solve challenging *visual arts problems independently using intellectual

skills such as analysis, synthesis, and evaluation

2. Content Standard: Using knowledge of *structures and functions


a. demonstrate the ability to form and defend judgments about the characteristics and struc-

tures to accomplish commercial, personal, communal, or other purposes of art

b. evaluate the effectiveness of artworks in terms of organizational structures and functions

c. create artworks that use *organizational principles and functions to solve specific visual arts

problems


d. demonstrate the ability to compare two or more perspectives about the use of organization-

al principles and functions in artwork and to defend personal evaluations of these

perspectives

e. create multiple solutions to specific visual arts problems that demonstrate competence in

producing effective relationships between structural choices and artistic functions


ideas

Achievement Stndard, Proficient:Students

a. reflect on how artworks differ visually, spatially, temporally, and functionally, and describe

how these are related to history and cultureb. apply subjects, symbols, and ideas in their artworks and use the skills gained to solve prob-

lems in daily life


c. describe the origins of specific images and ideas and explain why they are of value in their

artwork and in the work of others

Ustrznal Standards tor Arts Educatlor.

d. evaluate and defend the validity of sources for content and the manner in which subjectmatter, symbols, and images are used in the students' works and in significant works byothers

4. Content Standard: Understanding the visual arts in relltion to history and cultures


a. differentiate among a variety of historical and cultural contexts in terms of characteristicsand purposes of works of art

b. describe the function and explore the meaning of specific art objects within varied cultures,times, and places

c. analyze relationships of works of art to one another in terms of history, aesthetics, and cul-ture, justifying conclusions made in the analysis and using such conclusions to inform their

own art making


d. analyze and interpret artworks for relationships among form, context, purposes, and criticalmodels, showing understanding of the work of critics, historians, aestheticians, and artists

e. analyze common characteristics of visual arts evident across time and among cultural/ethnicgroups to formulate analyses, evaluations, and interpretations of meaning

5. Content Standard: Reflecting upon and assessing the characteristics and merits of theirwork and the work of others

Achievement Stand,_;:d, Proficient:Students

a. identify intentions of those creating artworks, explore the implications of various purposes,and justify their analyses of purposes in particular works

b. describe meanings of amvorks by analyzing how specific works arc created and how theyrelate to historical and cultural contexts

c. reflect analytically on various interpretations as a means for understanding and evaluatingworks of visual art


d. correlate responses to works of visual art with various techniques for communicating mean-ings, ideas, attitudes, views, and intentions

Visual Arts Grilles 9-12



a. compare the materials, *technologies, media, and processes of the visual arts with those of

other arts disciplines as they are used in creation and types of analysis

b. compare characteristics of visual arts within a particular historical period or style with ideas,

issues, or themes in the humanities or sciences


c. synthesize the creative and analytical principles and techniques of the visual arts and selected

other arts disciplines, the humanities, or the sciences

National Stanriards for Arts Education

APPENDIX 1

Terms identified by an asterisk (*) arc cxplaincd further in the glossary.

4

Dance

AB. A two-part compositional form with an A theme and a B theme; the binary form consists oftwo distinct, self-contained sections that share either a character or quality (such as the sametempo, movement quality, or style).

ABA. A three-part compositional form in which the second section contrasts with the first sec-tion. The third section is a restatement of the first section in a condensed, abbreviated, or extend-ed form.

Abstract. To remove movement from a particular or representative context and (by manipulatingit with elements of space, time, and force) create a new sequence or dance that retains the essenceof the original.

Action. A movement event.

Aesthetic criteria. Standards on which to make judgments about the artistic merit of a work ofart.

Alignment. The relationship of the skeleton to the line of gravity and the base of support.

Axial movement. Any movement that is anchored to one spot by a body part using only theavailable space in any direction without losing the initial body contact. Movement is organizedaround the axis of the body rather than designed for travel from one location to another; alsoknown as nonlocomotor movement.

Call and response. A structure that is most often associated with African music and dance forms,although it is also used elsewhere. One soloist/group performs with the second soloist/groupentering "in response" to the first.

Canon. *Choreographic form that reflects the musical form of the same name, in which individu-als and groups perform the same movement/phrase beginning at different times.

Chancc. A choreographic process in which *elements arc specifically chosen and defined but ran-domly structured to create a dance or movement phrase. This process demands high levels of con-centration in performance to deal effectively with free-association and surprise structures that

appear spontaneously.

Choreographic. Describes a dance sequence that has been created with specific intent.

Choreographic Structure. The specific compositional forms in which movement is structured tocreate a dance.

oases Selected Glossary

Classical. Dance that has been developed into highly stylized structures within a culture.

Generally developed within the court or circle of power in a society.

Discuss. To engage in oral, written, or any other appropriate form of presentation.

Dynamics. The expressive content of human movement, sometimes called qualities or efforts.

Dynamics manifest the interrelationships among the elements of space, time, and force/energy.

See also *movement quality.

Elements. The use of the body moving in space and time with force/energy.

Elevation. The body's propulsion into the air away from the floor, such as in a leap, hop, or

jump.

Folk. Dances that are usually created and performed by a specific group within a culture.

Generally these dances originated outside the courts or circle of power within a society.

Improvisation. Movement that is created spontaneously, ranging from free -form to highly struc-

tured environments, but always with an element of chance. Provides the dancer with the opportu-

nity to bring together elements quickly, and requires focus and concentration. Improvisation is

instant and simultaneous choreography and performance.

Initiation. Point at which a movement is said to originate. This particularly refers to specific body

parts and is generally said to be either distal (from the limbs or head) or central (from the torso).

Kinesphere. The movement space, or the space surrounding the body in stillness and in motion,

which includes all directions and levels both close to the body and as far as the person can reach

with limbs or torso. See *personal space.

Kinesthetic. Refers to the ability of the body's sensory organs in the muscles, tendons, and joints

to respond to stimuli while dancing or viewing a dance.

Levels. The height of the dancer in relation to the floor.

Locornotor movement. Movement that travels from place to place, usually identified by weight

transference on the feet. Basic locomotor steps are the walk, run, leap, hop, and jump and the

irregular rhythmic combinations of the skip (walk and hop), slide (walk and leap) and gallop (walk

and leap).

Movement quality. The identifying attributes created by the release, follow-through, and termi-

nation of energy, which are key to making movement become dance. Typical terms denoting

qualities include sustained, swing, percussive, collapse, and vibratory and effort combinations such

as float, dab, punch, and glide.

Movement theme. A complete idea in movement that is manipulated and developed within a

dance.

Notional Stantards for Arts Elves:floe

Musicality. The attention and sensitivity to the musical elements of dance while creating or per-forming.

Narrative. Choreographic structure that follows a specific story line and intends to convey specificinformation through that story.

Nonlocomotor movement. See *axial movement

Palindrome. A choreographic structure used with a phrase or longer sequence of movement inwhich the phrase, for example, is first performed proceeding from movement 1 to movement 2,etc.; when the last movement of the phrase is completed, the phrase is retrograded from the.penultimate movement to the first movement. (A commonly used example in prose is "Able was Iere I saw Elba." In this example, the letters are the same forward to the "r" in "ere" as they arebackward to the "r.")

Personal space. The "space bubble" or the kinesphere that one occupies; it includes all levels,planes, and directions both near and far from the body's center.

Phrase. A brief sequence of related movements that has a sense of rhythmic completion.

Projection. A confident presentation of one's body and energy to vividly communicate move-ment and meaning to an audience; performance quality.

Reordering. A choreographic process in which known and defined elements (specific movements,movement phrases, etc.) are separated from their original relationship and restructured in a differ-

ent pattern.

Rhythmic acuity. The physical, auditory recognition of various complex time elements.

Style. A distinctive manner of moving; the characteristic way dance is done, created, or performedthat identifies the dance of a particular performer, choreographer, or period.

Technology. Electronic media (such as video, computers, or lasers) used as tools to create, learn,

explain, document, analyze, or present dance.

Theatrical. Dance genres primarily developed for the stage (such as jazz and tap).

Traditional dance. The term "traditional" is used to denote those dances and dance forms thathave arisen out of the tradition of a people, such as the dances of bharata natyam, noh, or the folkdances of indigenous peoples of Europe or other areas.

Warmup. Movements and/or movement phrases designed to raise the core body temperatureand bring the mind into focus for the dance activities to follow.

gangs e Selected Glossary

Music

Alla breve. The *meter signature indicating the equivalent of time.

Articulation. In performance, the characteristics ofattack and decay of tones and the manner and

extent to which tones in sequence are connected or disconnected.

Classroom instruments. Instruments typically used in the general music classroom, including,

for example, recorder-type instruments, chorded zithers, mallet instruments, simple percussion

instruments, *fretted instrumens, keyboard instruments, and electronic instruments.

Dynamic levels, dynamics. Degrees of loudness.

Elements of music. Pitch, rhythm, harmony, *dynamics, *timbre, texture, *form.

Expression, expressive, expressively. With appropriate *dynamics, phrasing, *style, and interpre-

tation and appropriate variations in dynamics and tempo.

Form. The overall structural organization of a music composition (e.g., AB, ABA, call and

response, rondo, theme and variations, sonata-allegro) and the interrelationships of music events

within the overall structure.

Fretted instruments. Instruments with frets (strips of material across the fingerboard allowing

the strings to be stopped at predetermined locations), such as guitar, ukulele, and sitar.

Genre. A type or category of music (e.g., sonata, opera, oratorio, art song, gospel, suite, jazz,

madrigal, march, work song, lullaby, barbershop, Dixieland).

Intonation. The degree to which pitch is accurately produced in performance, particularly among

the players in an ensemble.

Level of difficulty. For purposes of these standards, music is classified into six levels of difficulty:

Level 1 Very easy. Easy keys, *meters, and rhythms; limited ranges.

Level 2Easy. May include changes of tempo, key, and meter; modest ranges.

Level 3Moderately easy. Contains moderate technical demands, expanded ranges, and var-

ied interpretive requirements.

Level 4Moderately difficult. Requires well-developed *technical skills, attention to phras-

ing and interpretation, and ability to perform various meters and rhythms in a variety of

keys.

Level 5Difficult. Requires advanced technical and interpretive skills; contains key signa-

tures with numerous sharps or flats, unusual meters, complex rhythms, subtle *dynamic

requirements.

National Standards for Arts Edroallon

Level 6Very difficult. Suitable for musically mature students of exceptional competence.

(Adapted with permission from NTSSMA Manual, Edition XXIII, published by theNcw York State School Music Association, 1991.)

Meter. The grouping in which a succession of rhythmic pulses or beats is organized; indicated bya *meter signature at the beginning of a work.

Meter signature. An indicator of the *meter of a musical work, usually presented in the form of afraction, the denominator of which indicates the unit of measurement and the numerator ofwhich indicates the number of units that make up a measure.

MIDI (Musical Instrument Digital Interface). Standard specifications that enable electronicinstruments such as the synthesizer, sampler, sequencer, and drum machine from any manufactur-er to communicate with one another and with computers.

Ostinato. A short musical pattern that is repeated persistently throughout a composition.

Staves. Plural of staff (the five parallel lines on which music is written).

Style. The distinctive or characteristic manner in which the *elements of music are treated. Inpractice, the term may be applied to, for example, composers (the style of Copland), periods(Baroque style), media (keyboard style), nations (French style), *form or type of composition(fugal style, contrapuntal style), or *genre (operatic style, bluegrass style).

Technical accuracy, technical skills. The ability to perform with appropriate *timbre, *intona-don, and diction and to play or sing the correct pitches arid rhythms.

Timbre. The character or quality of a sound that distinguishes one instrument, voice, or other

sound source from another.

Tonality. The harmonic relationship of tones with respect to a definite center or point of rest;fundamental to much of Western music from ca. 1600.

Music litigated Glossary

BO

Theatre

Action. The core of a theatre piece; the sense of forward movement created by the sense of timeand/or the physical and psychological motivations of characters.

Aesthetic criteria. Criteria developed about the visual, aural, and oral aspects of the witnessedevent, derived from cultural and emotional values and cognitive meaning.

Aesthetic qualities. The emotional values and cognitive meanings derived from interpreting awork of art; the symbolic nature of art.

Artistic choices. Selections made by theatre artists about situation, action, direction, and design

in order to convey meaning.

Classical. A dramatic form and production techniques considered of significance in earlier times,

in any culture or historical period.

Classroom dramatizations. The act of creating character, dialogue, action, and environment forthe purpose of exploration, experimentation, and study in a setting where there is no formal audi-

ence observation except for that of fellow students and teachers.

Constructed meaning. The personal understanding of dramatic/artistic intentions and *actionsand their social and personal significance, selected and organized from the aural, oral, and visual

symbols of a dramatic production.

Drama. The art of composing, writing, acting, or producing plays; a literary composition intend-ed to portray life or character or to tell a story usually involving conflicts and emotions exhibitedthrough action and dialogue, designed for theatrical performance.

Dramatic media. Means of telling of stories by way of stage, film, television, radio, or computer

discs.

Electronic media, Means of communication characterized by the use of technology, e.g., radio,

computers, e.g., virtual reality.

Ensemble. The dynamic interaction and harmonious blending of the efforts of the many artists

involved in the dramatic activity of theatrical production.

Environment. Physical surroundings that establish place, time, and atmosphere/mood; the physi-cal conditions that reflect and affect the emotions, thoughts, and actions of characters.

Formal production. The staging of a dramatic work for presentation for an audience.

Matioual Standards for Arts Education

Front of house. Box office and lobby.

Improvisation. The spontaneous use of movement and speech to create a character or object in a

particular situation.

Informal production. The exploration of all aspects of a dramatic work (such as visual, oral,aural) in a setting where experimentation is emphasized. Similar to classroom dramatizations with

classmates and teachers as the usual audience.

New art forms. The novel combination of traditional arts and materials with emerging technolo-gy (such as performance art, videodiscs, virtual reality).

Role. The characteristic and expected social behavior of an individual in a given position (e.g.,mother, employer). Role portrayal is likely to be more predictable and one-dimensional than char-

acter portrayal.

Script. The written dialogue, description, and directions provided by the playwright.

Social pretend play. When two or more children engage in unsupervised enactments; participantsuse the play to explore social knowledge and skills.

Tension. The atmosphere created by unresolved, disquieting, or inharmonious situations that

human beings feel compelled to address.

Text. The basis of dramatic activity and performance; a written script or an agreed-upon structure 1111

and content for an improvisation.

Theatre. The imitation/representation of life, performed for other people; the performance ofdramatic literature; *drama; the milieu of actors and playwrights, the place that is the setting for

dramatic performances.

Theatre literacy. The ability to create, perform, perceive, analyze, critique, and understand dra-

matic performances.

Traditional forms. Forms that use time-honored theatrical practices.

Unified production concept. A brief statement, metaphor, or expression of the essential mean-ing of a play that orders and patterns all the play's parts; a perceptual device used to evoke associ-

ated visual and aural presuppositions serving to physicalize and unify the production values of a

play.

Theatre Selected Closter'

Visual Arts

Visual Arts. A broad category that includes the traditional fine arts such as drawing, painting,

printmaking, sculpture; communication and design arts such as film, television, graphics, product

design; architecture and environmental arts such as urban, interior, and landscape design; folk

arts; and works of art such as ceramics, fibers, jewelry, works in wood, paper, and other materials.

Aesthetics. A branch of philosophy that focuses on the nature of beauty, the nature and value of

art, and the inquiry processes and human responses associated with those topics.

Analysis. Identifying and examining separate parts as they function independently and together in

creative works and studies of the visual arts.

Art criticism. Describing and evaluating the media, processes, and meanings of works of visual

art, and making comparative judgments.

Art elements. Visual arts components, such as line, texture, color, form, value, and space.

Art history. A record of the visual arts, incorporating information, interpretations, and judgments

about art objects, artists, and conceptual influences on developments in the visual arts.

Art materials. Resources used in the creation and study of visual art, such as paint, clay, card-

board, canvas, film, videotape, models, watercolors, wood, and plastic.

Art media. Broad categories for grouping works of visual art according to the *art materials used.

Assess. To analyze and determine the nature and quality of achievement through means appropri-

ate to the subject.

Context. A set of interrelated conditions (such as social, economic, political) in the visual arts that

influence and give meaning to the development and t xeption of thoughts, ideas, or concepts and

that define specific cultures and eras.

Create. To produce works of visual art using materials, techniques, processes, elements, and

analysis; the flexible and fluent generation of unique, complex, or elaborate ideas.

Expressive features. Elements evoking affects such as joy, sadness. or anger.

Expression. A process of conveying ideas, feelings, and meanings through selective use of the

communicative possibilities of the visual arts.

Natloaal Staslaris for Arts Education

Ideas. A formulated thought, opinion, or concept that can be represented in visual or verbalform.

Organizational principles. Underlying characteristics in the visual arts, such as repetition, bal-ance, emphasis, contrast, and unity.

Perception. Visual and sensory awareness, discrimination, and integration of impressions, condi-

tions, and relationships with regard to objects, images, and feelings.

Process. A complex operation involving a number of methods or techniques, such as the additionand subtraction processes in sculpture, the etching and intaglio processes in printmaking, or thecasting or constructing processes in making jewelry.

Structures. Means of organizing the components of a work into a cohesive and meaningfulwhole, such as sensory qualities, organizational principles, expressive features, and functions of art.

Techniques. Specific methods or approaches used in a larger process; for example, graduation ofvalue or hue in painting or conveying linear perspective through overlapping, shading, or varying

size or color.

Technologies. Complex machines used in the study and creation of art, such as lathes, presses,

computers, lasers, and video equipment.

Tools. Instruments and equipment used by students to create and learn about art, such as brush-

es, scissors, brayers, easels, knives, kilns, and cameras,

Visual arts problems. Specific challenges based in thinking about and using visual arts compo-

nents.

Visas! Arts Solectsi Glossary

D

APPENDIX 2

The content and achievement standards for dance, music, theatre,

and the visual arts are presented in the following pages in outline

form.Insofar as possible, the achievement standards arc arranged sr) that

similar skills and knowledge are aligned horizontally, left to right, rep-

resenting sequential learning from level to level: K-4, 5-8, 9-12 profi-

cient, 9-12 advanced. The sequential nature of the learning called for

in the standards is evident in reading the standards this way.A bracket indicates that an achievement standard at one level is relat-

ed to more than one achievement standard at another 1evc1. An arrowindicates that, although the standard appearing at a lower levf:1 is nor

repeated verbatim, the students at higher grade levels are expected todemonstrate higher levels of those skills, to deal with more complexcxamr' :s, and to respond to works of art in increasingly more sophisti-

cated ways. A line indicates that a standard appearing at a higher level

may not be developmentally appropriate at the lower level, althoughlearning expeciences leading toward the skills associated with the stan-

dard are assumed to be taking place.

Dan

ce

= T

he a

chie

vem

ent s

tand

ard

at o

ne le

vel i

s re

late

d to

mor

e th

an o

neac

hiev

emen

t sta

ndar

d at

ano

ther

leve

l.

= T

he S

tand

ard

appe

arin

g at

a lo

wer

gra

de le

vel i

s no

t rep

eate

d,bu

t stu

-

dent

s at

this

gra

de le

vel a

re e

kpec

ted

to a

chie

ve th

at s

tand

ard,

dem

on-

stra

ting

high

er le

vels

of

skill

, dea

ling

with

mor

e co

mpl

ex th

:arn

pies

, and

resp

ondi

ng to

wor

ks o

f ar

t in

incr

easi

ngly

sop

hist

icat

ed w

ays.

= T

he s

tand

ard

appe

arin

g at

a h

ighe

r le

vel m

ay n

ot b

ede

velo

pmen

tally

appr

opri

ate

at th

is le

vel,

alth

ough

lear

ning

exp

erie

nces

lead

ing

-aw

ard

the

skill

s as

soci

ated

with

the

stan

dard

are

ass

umed

to b

e ta

king

pla

ce.

GR

AD

ES

K-4

GR

AD

ES

5-8

GR

AD

ES

9-12

, PR

OFI

CIE

NT

1.C

onte

nt S

tand

ard:

Ide

ntif

ying

and

dem

onst

ratin

g m

ovem

ente

lem

ents

and

ski

lls in

per

form

ing

danc

e

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

accu

rate

ly d

emon

stra

te n

onlo

com

o-to

r/ax

ial m

ovem

ents

(su

ch a

s be

nd,

mis

t, st

retc

h, s

win

g)(a

)

accu

rate

ly d

emon

stra

te e

ight

bas

ic lo

co-

mot

or m

ovem

ents

(su

ch a

s w

alk,

run

,ho

p, ju

mp,

leap

, gal

lop,

slid

e, a

nd s

kip)

,tr

avel

ing

forw

ard,

bac

kwar

d, s

idcw

ard,

diag

onal

ly, a

nd tu

rnin

g(b

)

dem

onst

rate

acc

urac

y in

inci

sing

to a

mus

ical

bea

t and

res

pond

ing

to c

hang

esin

tem

po(f

)

dem

onst

rate

kin

esth

etic

aw

aren

ess,

con

-ce

ntra

tion.

and

foc

us in

per

form

ing

mov

emen

t ski

lls(g

)

crea

te s

hape

s at

loss

-, m

iddl

e, a

ndhi

gh

leve

ls(c

)

dem

onst

rate

the

abili

ty to

def

ine

and

mai

ntai

n N

eso

nal s

pace

(d)

dem

onst

rate

mov

emen

ts in

str

aigh

t and

curv

ed p

athw

ays

(e)

an e

n tiv

ely

obse

n an

d ac

cura

tely

dest

rihe

the

actio

n (s

uch

as s

kip,

gal

lop)

and

mov

emen

t ele

men

ts (

such

as

I C

AT

'S,

dire

ctio

ns)

in a

bri

ef n

u/Se

nn:1

Ust

udy

(h)

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

dem

ons'

to th

e fo

llow

ing

mov

emen

tsk

ills

and

expl

ain

the

unde

rlyi

ng p

rinc

i-pl

es: a

lignm

ent,

bala

nce,

initi

atio

n of

mov

emen

t, ar

ticul

atio

n of

isol

ated

bod

ypa

rts,

wei

ght s

hift

, ele

vatio

n an

d la

nd-

ing,

fal

l and

rec

ovin

(a)

accu

rate

ly id

entif

y an

d de

mon

stra

teba

sic

danc

e st

eps,

pos

ition

s an

d pa

ttern

sfo

r da

nce

from

two

diff

eren

t sty

les

ortr

aditi

ons

(b)

accu

rate

ly tr

ansf

er a

rhy

thm

ic p

atte

rnfr

om th

e au

ral t

o th

e ki

nest

hetic

(d)

dem

onst

rate

incr

easi

ng k

ines

thet

icaw

aren

ess,

con

cent

ratio

n, a

ndfo

cus

in

perf

orm

ing

mov

emen

t ski

lls(f

)

accu

rate

ly tr

ansf

er a

spa

tial p

atte

rn f

rom

the

visu

al to

the

kine

sthe

tic(c

)

iden

tify

and

clea

rly

dem

onst

rate

a r

ange

of d

ynam

ics/

mcw

emen

t qua

litie

s(e

)

desc

ribe

the

actio

n an

d m

ovem

ent e

le-

men

ts o

bser

ved

ia a

dan

ce, u

sing

app

ro-

pria

te-

mov

emen

t/dan

ce v

ocab

ular

y)

Ach

ieve

men

t Sta

ndar

d, P

rofi

cien

t:St

uden

ts

dem

onst

rate

app

ropr

iate

ske

leta

l alig

n-m

ent,

body

-par

t art

icul

atio

n,st

reng

th,

flex

ibili

ty, a

gilit

y, a

nd c

oord

inat

ion

inlo

com

otor

and

non

-loc

omot

or/a

xial

mov

emen

ts(a

)

iden

tify

and

dem

onst

rate

long

er a

ndm

ore

com

plex

ste

ps a

nd p

atte

rns

from

two

diff

eren

t dan

ce s

tyle

s/tr

aditi

ons

(b)

dem

onst

rate

rhy

thm

ic a

cuity

(c)

dem

onst

rate

pro

ject

ion

whi

le p

erfo

rm-

ing

danc

e sk

ills

(c)

crea

te a

nd p

erfo

rm c

ombi

natio

nsan

d

vari

atio

ns in

a b

road

dyn

amic

ran

ge(d

)

Dim

sO

utlin

e'

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d:St

ud.m

rs:

dem

onst

rate

a h

igh

leve

l of

cons

iste

ncy

and

relia

bilit

y in

per

form

ing

tech

nica

l

skill

s(g

)

perf

orm

tech

nica

l ski

lls w

ith a

rtis

ticex

pres

sion

, dem

onst

ratin

g cl

arity

, mus

ica

lity,

and

sty

listic

nua

nce

(h)

GR

AD

ES

K-4

GR

AD

ES

5-8

33

dem

onst

rate

acc

urat

e m

emor

izat

ion

and

repr

oduc

tion

of m

ovem

ent s

eque

nces

(g)

GR

AD

ES

9-12

, PR

OFI

CIE

NT

GR

AD

ES

9-12

, AD

VA

NC

ED

dem

onst

rate

the

abili

ty to

rem

embe

rex

tend

ed m

ovem

ent s

eque

nces

(f)

refi

ne te

chni

que

thro

ugh

self

-eva

luat

ion

and

corr

ectio

n(i

)

9

Oa

caC

ollin

s,

GR

AD

ES

K-4

GR

AD

ES

5-8

GR

AD

ES

9-12

, PR

OFI

CIE

NT

2.C

onte

nt S

tand

ard:

Und

erst

andi

ngch

oreo

grap

hic

prin

cipl

es, p

roce

sses

, and

str

uctu

res

Ach

ieve

men

t Sta

ndar

d:Y

t udc

nts

crea

te a

seq

uenc

e w

ith a

begi

nnin

g,m

iddl

e an

d en

d bo

th w

ith a

ndw

ithou

t

a rh

ythm

ic a

ccom

pani

men

t.Id

entif

y

each

of t

hese

par

ts o

f the

seq

uenc

e(a

)

impr

ovis

e, c

reat

e an

d pe

rfor

m d

ance

sba

sed

on th

eir

own

idea

s an

d co

ncep

ts

from

oth

er c

oerc

es(la

)

use

impr

ovis

atio

n to

disc

over

and

inve

nt

mos

etn

ent a

nd to

solv

e m

ovem

ent

prob

lem

sis

crea

te a

dan

ce p

hras

e,ac

cura

tcly

rep

eat

it, a

nd th

en v

ary

it (m

akin

gch

ange

s in

the

rime,

spa

ce .t

nd /o

r fo

rce

/ene

rgy)

( d de

mon

stra

te th

e ab

ility

to w

ork

effc

c-os

els

alo

ne a

nd w

ith a

par

tner

(e)

dem

onst

rate

the

follo

win

g pa

rtne

rsk

ills:

.opv

ing,

lead

ing

and

follo

win

g. m

irror

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

clea

rly d

emon

stra

te th

e pr

inci

ples

of

cont

rast

and

tran

sitio

n(a

)

effe

ctiv

ely

dem

onst

rate

the

proc

esse

s of

reor

derin

g an

d ch

ance

(h)

succ

essk

illy

dem

onst

rate

the

stru

ctur

es

or fo

rms

ofA

B, A

BA

, can

on,

call

and

resp

onse

, and

nar

rativ

e(c

)

dem

onst

rate

the

abili

ty' t

o w

ork

coop

er-

ativ

ely

in a

sm

all g

roup

dur

ing

the

chor

eogr

aphi

c pr

oces

s(d

)

dem

onst

rate

the

follo

win

g pa

rtne

r sk

ills

in a

vi a

rtily

inte

rest

ing

war

cre

atin

gco

ntr.

zin

g an

d cc

mpl

emen

tar

shap

es,

taki

ng a

nd s

uppo

rtin

g w

eigh

t(c

)

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

use

impr

ovis

atio

n to

gen

erat

e m

ove-

men

t for

cho

reog

raph

y(a

)

dem

onst

rate

und

erst

andi

ng o

f str

uctu

res

or fo

rms

(suc

h as

pal

indr

ome,

them

e

and

varia

tion,

ron

do, r

ound

, con

tem

po-

rary

form

s se

lect

ed b

y th

e st

uden

t)th

roug

h br

ief d

ance

str

ides

(h)

chor

eogr

aph

a du

et d

emon

stra

ting

anun

ders

tand

ing

of c

hore

ogra

phic

prin

cipl

es, p

roce

sses

, and

str

uctu

res

(c)

_ --

----

-D

ance

Out

lines

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

dem

onst

rate

furt

her

deve

lopm

ent a

ndre

finem

ent o

f the

pro

ficie

nt s

kills

to c

re-

ate

a sm

all g

roup

dan

ce w

ithco

here

nce

and

aest

hetic

uni

ty(d

)

ac u

rate

ly d

escr

ibe

how

ach

oreo

grap

her

man

ipul

ated

and

dev

elop

ed th

e ba

skm

ovem

ent c

onte

nt in

a d

ance

(e)

GR

AD

ES

K-4

GR

AD

ES

5-8

GR

AD

ES

9-12

, PR

OFI

CIE

NT

3.C

onte

nt S

tand

ard:

Und

erst

andi

ng d

ance

as

a w

ay to

cre

ate

and

com

mun

icat

e m

eani

ng

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

obse

rve

and

disc

uss

how

dan

ce is

dif

-fe

rent

fro

m o

ther

for

ms

of h

uman

mov

emen

t (su

ch a

s sp

orts

, eve

ryda

y ge

s-tu

res)

(a)

take

an

activ

e ro

le in

a c

lass

dis

cuss

ion

abou

t int

erpr

etat

ions

of

and

reac

tions

toa

danc

e(h

)

pres

ent t

heir

ow

n da

nces

to p

eers

and

disc

uss

thei

r m

eani

ngs

with

com

pete

nce

and

conf

iden

ce(c

)

Ach

ieve

men

t Sta

ndar

d:St

uden

ts:

effe

ctiv

ely

dem

onst

rate

the

diff

eren

cebe

twee

n pa

ntom

imin

g an

d ab

stra

ctin

g a

gest

ure

(a)

obse

rve

and

expl

ain

how

dif

fere

ntac

com

pani

men

t (su

ch a

s so

und,

mus

ic,

spok

en te

xt)

can

affe

ct th

e m

eani

ng o

f a

danc

e(h

)

dem

onst

rate

and

/or

expl

ain

how

ligh

t-in

g an

d co

stum

ing

can

cont

ribu

te to

the

mea

ning

of

a da

nce

(c)

crea

te a

dan

ce th

at s

uece

sstii

lly c

omm

u-ni

cate

s a

topi

c of

per

sona

l sig

nifi

canc

e(d

)

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

form

ulat

e an

d an

swer

que

stio

ns a

bout

how

mov

emen

t cho

ices

com

mun

icat

eab

stra

ct id

eas

in d

ance

(a)

dem

onst

rate

und

erst

andi

ng o

f ho

w p

er-

sona

l exp

erie

nce

infl

uenc

es th

e in

terp

re-

tatio

n of

a d

ance

(b)

crea

te a

dan

ce th

at e

ffec

tivel

y co

mm

uni-

cate

s a

cont

empo

rary

soc

ial

them

e(c

)

Dai

ses

Out

lIne

s

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d:St

uden

ts:

exam

ine

way

s th

at a

dan

ce c

reat

es a

ndco

nvey

s m

eani

ng b

y co

nsid

erin

g th

eda

nce

from

a v

arie

ty o

f pe

rspe

ctiv

es(d

)

com

pare

and

con

tras

t how

mea

ning

isco

mm

unic

ated

in tw

o of

thei

r ow

nch

oreo

grap

hic

titor

ks(e

)

GR

AD

ES

K-4

GR

AD

ES

5-8

GR

AD

ES

9-1

2, P

RO

FIC

IEN

T

4.C

onte

nt S

tand

ard:

App

lyin

g an

d de

mon

stra

ting

criti

cal

and

crea

tive

thin

king

ski

lls in

dan

ce

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

expl

ore,

dis

cove

r, a

nd r

ealiz

e m

ultip

le

solu

tions

to a

giv

en m

ovem

entp

robl

em;

choo

se th

eir

favo

rite

solu

tion

and

dis-

cuss

the

reas

ons

for

that

chok

e(a

)

obse

rve

two

danc

es a

nd d

iscu

ss h

owth

ey a

re s

imila

r an

d di

ffere

nt in

term

sof

one

of th

e el

emen

ts o

fdan

ce (

such

as

spac

e. th

roug

h bo

dysh

apes

, lev

els,

pat

h-

way

s)(b

)

Ach

ieve

men

tSta

ndar

d:S

tude

nts;

crea

te a

mov

emen

t pro

blem

and

dem

onst

rate

mul

tiple

sol

utio

ns; c

hoos

eth

e m

ost i

nter

estin

g so

lutio

ns a

nd d

is-

cuss

the

reas

ons

for

thei

rch

oice

(a)

dem

onst

rate

app

ropr

iate

aud

ienc

ebe

havi

or in

wat

chin

g da

nce

perf

or-

man

ces;

dis

cuss

thei

r op

inio

nsab

out t

he

danc

es w

ith th

eir-

pee

rs in

a s

uppo

rtiv

e

and

cons

truc

tive

way

( b)

com

pare

and

con

tras

t tw

oda

nce

com

-

posi

tions

in te

rms

of s

pace

(su

ch a

ssh

ape

and

path

way

s), t

ime

(suc

h as

rhyt

hm a

nd te

mpo

), a

nd fo

rce/

ener

gy(s

uch

as m

ovem

ent q

ualit

ies)

(c)

iden

tifi p

ossi

ble

aest

hetic

crit

eria

for

eval

uatin

g da

nce

(suc

h as

ski

ll of

per

-fo

rmer

s, o

rigin

ality

, vis

ual a

nd/o

r em

o-tio

nal i

mpa

t. .,

varie

ty a

nd c

ontr

ast)

(d).

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

crea

te a

dan

ce a

nd r

evis

e it

over

time,

artic

ulat

ing

the

reas

ons

for

thei

r ar

tistic

deci

sion

s an

d w

hat w

as lo

st a

nd g

aine

d

by th

ose

deci

sion

s(a

)

esta

blis

h a

set o

f aes

thet

ic c

riter

ia a

ndap

ply

it in

eva

luat

ing

thei

r ow

n w

ork

and

that

of o

ther

s(b

)

form

ulat

e an

d an

swer

thei

r ow

n ae

sthe

t-ic

que

stio

ns (

such

as,

Wha

t is

it th

atm

akes

a p

artic

ular

dan

ce th

at d

ance

?H

ow m

uch

can

one

chan

ge th

at d

ance

hetii

re it

bec

omes

a d

iffer

ent d

ance

? (c

)

Oss

eoO

utlin

es

GR

AD

ES

9-1

2, A

DV

AN

CE

D

Ach

ieve

men

t Sta

ndar

d:S

tude

nts:

disc

uss

how

ski

lls d

evel

oped

in d

ance

are

appl

icab

le to

a v

arie

ty o

f car

eers

(d)

anal

yze

the

styl

e of

a c

hore

ogra

pher

or

cultu

ral f

orm

; the

n cr

eate

a d

ance

in th

at

styl

e(e

)

anal

yze

issu

es o

f eth

nici

ty, g

ende

r,so

cial

/eco

nom

ic c

lass

, age

and

/or

phys

-ic

al c

ondi

tion

in r

elat

ion

to d

ance

(0

GR

AD

ES

K-4

GR

AD

ES

5-8

GR

AD

ES

9-12

, PR

OFI

CIE

NT

5.C

onte

nt S

tand

ard:

Dem

onst

ratin

g an

d un

ders

tand

ing

danc

e in

var

ious

cul

ture

s an

d hi

stor

ical

per

iods

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

perf

orm

fol

k da

nces

fro

m v

ario

us c

ul-

ture

s w

ith c

ompe

tenc

e an

d co

nfid

ence

(a) lear

n an

d ef

fect

ivel

y sh

are

a da

nce

from

a re

sour

ce in

thei

r ow

n co

mm

unity

;de

scri

be th

e cu

ltura

l and

/or

hist

oric

alco

ntex

t(h

)

accu

rate

ly a

nsw

er q

uest

ions

abo

ut d

ance

in a

par

ticul

ar c

ultu

re a

nd ti

me

peri

od(f

or e

xam

ple,

In

colo

nial

Am

eric

a, w

hyan

d in

wha

t set

tings

did

peo

ple

danc

e?W

hat d

id th

e da

nces

look

like

?)(c

)

j6

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

com

pete

ntly

per

form

fol

k an

d/or

cla

ssi-

cal d

ance

s fr

om v

ario

us c

ultu

res;

desc

ribe

sim

ilari

ties

and

diff

eren

ces

inst

eps

and

mov

emen

t sty

les

(a)

com

pete

ntly

per

form

talk

, soc

ial a

nd/o

rth

eatr

ical

dan

ces

from

a b

road

spe

ctru

mof

twen

tieth

-cen

tury

Am

eric

a(b

)

lear

n fr

om r

esou

rces

in th

eir

own

com

-m

unity

(su

ch a

s pe

ople

, boo

ks, v

ideo

s) a

folk

dan

ce o

f a

diff

eren

t cul

ture

or

aso

cial

dan

ce o

f a

diff

eren

t tim

e pe

riod

and

the

cultu

ral/h

isto

rica

l con

text

of

that

dan

ce; e

ffec

tivel

y sh

arin

g th

e da

nce

and

its c

onte

xt w

ith th

eir

peer

s(c

)

accu

rate

ly d

escr

ibe

the

role

of

danc

e in

at le

ast t

wo

diff

eren

t cul

ture

s or

tim

epe

riod

s(d

)

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

perf

orm

and

des

crib

e si

mila

ritie

s an

d di

f-fe

renc

es b

etw

een

two

cont

empo

rary

thea

tric

al f

orm

s of

dan

ce(a

)

perf

orm

or

disc

uss

the

trad

ition

s an

dte

chni

que

of a

cla

ssic

al d

ance

for

m(b

)

crea

te a

nd a

nsw

er tw

enty

-fiv

e qu

estio

nsab

out d

ance

and

dan

cers

pri

or to

the

twen

tieth

cen

tury

(c)

ai,..

iyze

how

dan

ce a

nd d

ance

rs a

re p

or-

tray

ed in

con

tem

pora

ry m

edia

(d)

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

crea

te a

tim

e lin

e ill

ustr

atin

g im

port

ant

danc

e ev

ents

in th

e tw

entie

th c

entu

ry,

plac

ing

them

in th

eir

soci

al/h

isto

rica

l/cu

ltura

l/pol

itica

l con

text

s(e

)

com

pare

and

con

tras

t the

rol

e an

d si

g-ni

fica

nce

of d

ance

in tw

o di

ffer

ent

soci

al/h

isto

rica

l/cul

tura

l/pol

itica

l con

-te

xts

(f)

Dar

cyO

rtIl

ets

GR

AD

ES

K-4

GR

AD

ES

5-8

GP.

AD

ES

9-12

, PR

OFI

CIE

NT

6.C

onte

nt S

tand

ard:

Mak

ing

conn

ectio

nsbe

twee

n da

nce

and

heal

thfu

l liv

ing

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

iden

ti6, a

t lea

st th

ree

pers

onal

goa

ls to

impr

ove

them

selv

es a

s da

ncer

s(a

)

expl

ain

how

hea

lthy

prac

tices

(su

ch a

snu

triti

on, s

afet

y) e

nhan

ce th

eir

abili

ty to

danc

e, c

iting

mul

tiple

exa

mpl

es(h

)

Ach

ieve

men

t Sta

ndar

d:S

tude

nts:

iden

tih, a

t lea

st th

ree

pers

onal

goa

ls to

impr

ove

them

selv

es a

s da

ncer

s an

d st

eps

they

are

taki

ng to

rea

ch th

ose

goal

s

(a)

expl

ain

stra

tegi

cs to

pre

vent

dan

ce

inju

ries

(b)

crea

te th

eir

own

war

mup

and

disc

uss

how

that

war

mup

pre

pare

s th

e bo

dy a

nd

min

d fo

r ex

pres

sive

pur

pose

s(c

)

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

refle

ct u

pon

thei

r ow

n pr

ogre

ss a

nd p

er-

sona

l gro

wth

dur

ing

thei

r st

udy

ofda

nce

(a)

effe

ctiv

ely

com

mun

icat

e ho

w li

fest

yle

choi

ces

affe

ct th

e da

ncer

(b)

anal

yze

hist

oric

al a

nd c

ultu

ral i

mag

es o

fth

e bo

dy in

dan

ce a

nd c

ompa

re th

ese

toim

ages

of t

he b

ody

in c

onte

mpo

rary

med

ia(c

)

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d:S

tude

nts:

disc

uss

chal

leng

es fa

cing

pro

fess

iona

lpe

rfor

mer

s in

mai

ntai

ning

hea

lthy

lifes

tyle

s(d

)

Dan

ceO

utlin

es

GR

AD

ES

K-4

GR

AD

ES

5-8

GR

AD

ES

9-12

, PR

OFI

CIE

NT

7.C

onte

nt S

tand

ard:

Mak

ing

conn

ectio

ns b

etw

een

danc

e an

d ot

her

disc

iplin

es

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

crea

te a

dan

ce p

roje

ct th

at r

evea

lsun

ders

tand

ing

of a

con

cept

or

idea

fro

man

othe

r di

scip

line

(suc

h as

pat

tern

inda

nce

ani s

cien

ce)

(a)

resp

ond

to a

dan

ce u

sing

ano

ther

art

form

; exp

lain

the

conn

ectio

ns b

etw

een

the

danc

e an

d th

eir

resp

onse

to it

(su

chas

sta

ting

how

thei

r pa

intin

gs r

efle

ct th

eda

nce

they

saw

)(b

)

100

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

crea

te a

pro

ject

that

rev

eals

sim

ilari

ties

and

diff

eren

ces

betw

een

the

arts

(a)

cite

exa

mpl

es o

f co

ncep

ts u

sed

in d

ance

and

anot

her

disc

iplin

e ou

tsid

e th

e ar

ts(s

uch

as b

alan

ce, s

hape

, pat

tern

)(h

)

obse

rve

the

sam

e da

nce

both

live

and

reco

rded

on

vide

o; c

ompa

re a

nd c

on-

tras

t the

aes

thet

ic im

pact

of

the

two

obse

rvat

ions

(c)

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

crea

te a

n in

terd

isci

plin

ary

proj

ect b

ased

on a

them

e id

entif

ied

by th

e st

uden

t,in

clud

ing

danc

e an

d tw

o ot

her

disc

i-pl

ines

(a)

clea

rly

iden

tify

com

mon

aliti

es a

nd d

iffe

r-en

ces

benv

een

danc

e an

d ot

her

disc

i-pl

ines

with

reg

ard

to f

imila

men

tal c

on-

cept

s su

ch a

s m

ater

ials

, ele

men

ts, a

ndw

ays

of c

omm

unic

atin

g m

eani

ng(b

)

dem

onst

rate

/dis

cuss

how

tech

nolo

gyca

n be

use

d to

rei

nfor

ce, e

nhan

ce, o

ral

ter

the

danc

e id

ea in

ar,

inte

rdis

cipl

i-na

ry p

roje

ct(c

)

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d:St

uden

ts:

com

pare

one

cho

reog

raph

ic w

ork

toon

e ot

her

art w

ork

from

the

sam

e cu

l-tu

re a

nd ti

me

peri

od in

term

s of

how

thos

e w

orks

ref

lect

the

artis

tic/c

ultu

r-al

/his

tori

cal c

onte

xt(d

)

crea

te a

n in

terd

isci

plin

ary

proj

ect u

sing

med

ia te

chno

logi

es (

such

as

vide

o, c

om-

pute

r) th

at p

rese

nts

danc

e in

a n

ew o

ren

hanc

ed f

orm

(su

ch a

s vi

deo,

dan

ce,

vide

o/co

mpu

ter-

aide

d liv

e pe

rfor

-m

ance

, or

anim

atio

n)(c

Dan

ceO

utlin

es

Mus

ici.

= T

he S

tand

ard

appe

arin

g at

a lo

wer

gra

de le

vel i

s no

t rep

eate

d,bu

t stu

-

dent

s at

this

gra

de le

vel a

re e

xpec

ted

to a

chie

ve th

at s

tand

ard,

dem

on-

stra

ting

high

er le

vels

of

skill

, dea

ling

with

mor

e co

mpl

ex e

xam

ples

,an

d

resp

ondi

ng to

wor

ks o

f ar

t in

incr

easi

ngly

sop

hist

icat

ed w

ays.

4.

The

sta

ndar

d ap

pear

ing

at a

hig

her

leve

l may

not

be

deve

lopm

enta

llyap

prop

riat

e at

this

leve

l, al

thou

gh le

arni

ng e

xper

ienc

es le

adin

gto

war

d

the

skill

s as

soci

ated

with

the

stan

dard

are

ass

umed

to b

e ta

king

pla

ce.

GR

AD

ES

K-4

GR

AD

ES

S-8

GR

AD

ES

9-12

, PR

OFI

CIE

NT

1.C

onte

nt S

tand

ard:

Sin

ging

, alo

ne a

nd w

ith o

ther

s, a

var

ied

repe

rtoi

re o

f m

usic

'

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

sing

inde

pend

ently

, on

pitc

h an

d in

rhyt

hm, w

ith a

ppro

pria

te ti

mbr

e, d

ic-

tion,

and

pos

ture

, and

mai

ntai

n a

stea

dyte

mpo

(a)

sing

exp

ress

ivel

y, w

ith a

ppro

pria

tedy

nam

ics,

phr

asin

g, a

nd in

terp

reta

tion

(h)

sing

fro

m m

emor

y a

vari

ed r

eper

toir

e of

song

s re

pres

entin

g ge

nres

and

sty

les

from

div

erse

cul

ture

s(c

)

sing

ost

inat

os, p

artn

er s

ongs

, and

roun

ds(d

)

sing

in g

roup

s, b

lend

ing

voca

l tim

bres

,m

atch

ing

dyna

mic

leve

ls, a

nd r

espo

nd-

ing

to th

e cu

es °

la c

ondu

ctor

(c)

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

sing

acc

urat

ely

and

with

goo

d br

eath

cont

rol t

hrou

ghou

t the

ir s

ingi

ng r

ange

s,al

one

and

in s

mal

l and

larg

e en

sem

bles

(a)

sing

with

exp

ress

ion

and

tech

nica

l acc

u-ra

cy a

rep

erto

ire

of v

ocal

lite

ratu

re w

itha

leve

l of

diff

icul

ty o

f 2,

on

a sc

ale

of 1

to 6

, inc

ludi

ng s

ome

song

s pe

rfor

med

from

mem

ory

(b)

sing

mus

ic r

epre

sent

ing

dive

rse

genr

esan

d cu

lture

s, w

ith e

xpre

ssio

n ap

prop

ri-

ate

for

the

wor

k be

ing

perf

orm

ed(c

)

sing

mus

ic w

ritte

n in

two

and

thre

epa

rts

(d)

chor

al e

nsen

tbk1

sing

with

exp

ress

ion

and

tech

nica

l acc

u-ra

cy a

var

ied

repe

rtoi

re o

f vo

cal l

itera

ture

with

a le

vel o

lditf

icul

ty o

f 3,

on

a sc

ale

of 1

to 6

, inc

ludi

ng s

onic

son

gs p

erth

rille

d fr

ont m

emor

y(c

)

Ach

ieve

men

t Sta

ndar

d, P

rofi

cien

t:Sr

uden

rs

sing

with

exp

ress

ion

and

tech

nica

l acc

ura-

cy a

larg

e an

d va

ried

rep

erto

ire

of v

ocal

liter

atur

e w

ith a

leve

l of

diff

icul

ty o

f 4,

on

a sc

ale

of 1

to 6

, inc

ludi

ng s

ome

song

spe

rfor

med

fro

m m

emor

y(a

)

sing

mus

ic w

ritte

n in

fou

r pa

rts,

with

and

with

out a

ccom

pani

men

t(b

)

dem

onst

rate

wel

l-de

velo

ped

ense

mbl

esk

ills

(c)

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d, A

dvan

ced:

Stud

ents

sing

with

exp

ress

ion

and

tech

nica

l acc

u-ra

cy a

larg

e an

d va

ried

reo

crto

ire

ofvo

cal l

itera

ture

with

a le

vel o

f di

ffic

ulty

of 5

, on

a sc

ale

of I

to 6

(d)

sing

mus

ic w

ritte

n in

mor

e th

an f

our

part

s(c

)

sing

in s

mal

l ens

embl

es w

ith o

ne s

tu-

dent

on

a pa

rt(t

)

Mus

icO

utlin

es

J

GR

AD

ES

K-4

GR

AD

ES

5-8

GR

AD

ES

9-12

, PR

OFI

CIE

NT

2.C

onte

nt S

tand

ard:

Per

form

ing

on in

stru

men

ts, a

lone

and

with

oth

ers,

ava

ried

rep

erto

ire

of m

usic

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

perf

orm

on

pitc

h, in

rhy

thm

, with

appr

opri

ate

dyna

mic

s an

d tim

bre,

and

mai

ntai

n a

stea

dy te

mpo

(a)

perf

orm

eas

y rh

ythm

ic, m

elod

ic, a

ndch

orda

l pat

tern

s ac

cura

tely

and

inde

pen-

dent

ly o

n rh

ythm

ic, m

elod

ic, a

nd h

ar-

mon

ic c

lass

room

inst

rum

ents

(b)

perf

orm

exp

ress

ivel

y a

vari

ed r

eper

toir

eof

mus

ic r

epre

sent

ing

dive

rse

genr

es a

ndst

yles

(c)

echo

sho

rt r

hyth

ms

and

mel

odic

pat

-te

rns

(d)

perf

orm

in g

roup

s, b

lend

ing

inst

rum

en-

tal t

imbr

es, m

atch

ing

dyna

mic

leve

ls,

and

resp

ondi

ng to

the

cues

of

a co

nduc

-to

r(c

)

perf

orm

inde

pend

ent i

nstr

umen

tal p

arts

whi

le o

ther

stu

dent

s si

ng o

r pl

ay c

on-

tras

ting

part

s(t

)

a.!

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

perf

orm

on

at le

ast o

ne in

stru

men

t acc

u-ra

tely

and

inde

pend

ently

, alo

ne a

nd in

smal

l and

larg

e en

sem

bles

, with

goo

dpo

stur

e, g

ood

play

ing

posi

tion,

and

good

bre

ath,

bow

, or

stic

k co

ntro

l(a

)

perf

orm

with

exp

ress

ion

and

tech

nica

lac

cura

cy o

n at

leas

t one

str

ing,

win

d,pe

rcus

sion

, or

clas

sroo

m in

stru

men

t are

pert

oire

of

inst

rum

enta

l lite

ratu

re w

itha

leve

l of

diff

icul

ty o

f 2,

on

a sc

ale

of 1

to 6

(b)

perf

orm

mus

ic r

epre

sent

ing

dive

rse

gen-

res

and

cultu

res,

with

exp

ress

ion

appr

o-pr

iate

for

the

wor

k be

ing

perf

orm

ed(c

)

play

by

car

sim

ple

mel

odie

s on

a m

elod

icin

stru

men

t and

sim

ple

acco

mpa

nim

ents

on a

har

mon

ic in

stru

men

t(d

)

ir-

Ach

ieve

men

t Sta

ndaL

,Pr

ofic

ient

:St

uden

ts

perf

orm

with

exp

ress

ion

and

tech

nica

lac

cura

cy a

12

and

vari

ed r

eper

toir

e of

inst

rum

ent.

,,ter

atur

e w

ith a

leve

l of

diff

icul

ty o

f 4,

on

a sc

ale

of I

to 6

(a)

perf

orm

an

appr

opri

ate

part

in a

nen

sem

ble,

dem

onst

ratin

g w

ell-

deve

l-op

ed e

nsem

ble

skill

s(h

)

perf

orm

in s

mal

l ens

embl

es w

ith o

nest

uden

t on

a pa

rt(c

)

GR

AD

ES

9-12

, AI)

VA

NC

E1)

Ach

ieve

men

t Sta

ndar

d, A

dvan

ced:

Stud

ents

perf

orm

with

exp

ress

ion

and

tech

nica

lac

cura

cy a

larg

e an

d va

ried

rep

erto

ire

ofin

stru

men

tal l

itera

ture

with

a le

vel o

fdi

ffic

ulty

of

C, o

n a

scal

e of

I to

6(d

)

Tow

Mus

icO

utlin

es

GR

AD

ES

K-4

Con

tent

Sta

ndar

d 2,

con

tinue

d

GR

AD

ES

5-8

(ins

trum

enta

l ens

emill

e/cl

assi

perf

orm

with

exp

ress

ion

and

tech

nica

lac

cura

cy a

var

ied

repe

rtoi

reof

inst

ru-

men

tal l

itera

ture

with

a le

vel o

f di

ffic

ulty

of 3

, on

a sc

ale

of 1

to 6

, inc

ludi

ng s

ome

solo

s pe

rfor

med

fro

m m

emor

y(e

)

GR

AD

ES

9-12

, PR

OFI

CIE

NT

GR

AD

ES

9-12

, AD

VA

NC

ED

Mus

icO

utlin

es

GR

AD

ES

K-4

GR

AD

ES

5-8

GR

AD

ES

9-12

, PR

OFI

CIE

NT

3.C

onte

nt S

tand

ard:

Impr

ovis

ing

mel

odie

s, v

aria

tions

, and

acc

ompa

nim

ents

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

impr

ovis

e "a

nsw

ers"

in th

e sa

me

styl

e to

give

n rh

ythm

ic a

nd m

elod

ic p

hras

es

(a)

impr

ovis

e si

mpl

e rh

ythm

ic a

nd m

elod

icos

tinat

o ac

com

pani

men

ts(b

)

impr

ovis

e si

mpl

e rh

ythm

ic v

aria

tions

and

sim

ple

mel

odic

em

belli

shm

ents

on

fam

iliar

mel

odie

s(c

)

impr

ovis

e sh

ort s

ongs

and

inst

rum

enta

lpi

eces

, usi

ng a

var

iety

of s

ound

sou

rces

,in

clud

ing

trad

ition

al s

ound

s, n

ontr

adi-

tiona

l sou

nds

avai

labl

e in

the

clas

sroo

m,

body

sou

nds,

and

sou

nds

prod

uced

by

elec

tron

ic m

eans

(d)

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

impr

ovis

e si

mpl

e ha

rmon

ic a

ccom

pani

-m

ents

(a)

impr

ovis

e m

elod

ic e

mbe

llish

men

ts a

ndsi

mpl

e rh

ythm

i- an

d m

elod

ic v

aria

tions

on g

iven

pen

tato

nic

mel

odie

s an

dm

elod

ies

in m

ajor

key

s(b

)

impr

ovis

e sh

ort m

elod

ies,

una

ccom

pa-

nied

and

ove

r gi

ven

rhyt

hmic

acc

ompa

-ni

men

ts, e

ach

in a

con

sist

ent s

tyle

,m

eter

, and

tona

lity

(c)

Ach

ieve

men

t Sta

ndar

d, P

rofi

cien

t:S

tude

nts

impr

ovis

e st

ylis

tical

h ap

prop

riate

har

-m

oniz

ing

part

s(a

)

impr

ovis

e rh

ythm

ic a

nd m

elod

ic v

.aria

-do

ns o

n gi

ven

pent

aton

ic m

elod

ies

and

mel

odie

s in

maj

or a

nd m

inor

k-y

s(b

)

impr

ovis

e or

igin

al m

elod

ies

over

giv

ench

ord

prog

ress

ions

, eac

h in

a c

onsi

sten

tst

yle,

met

er, a

nd to

nalit

y(c

)

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d, A

dvan

ced:

Stu

dent

s

impr

ovis

e st

ylis

tical

ly a

ppro

pria

te h

ar-

mon

izin

g pa

rts

in a

var

iety

of s

tyle

s

(d)

impr

ovis

e or

igin

al m

elod

ies

in a

var

iety

of s

tyle

s, o

ver

give

n ch

ord

prog

ress

ions

,ea

ch in

a c

onsi

sten

t sty

le, m

eter

, and

tona

lity

(c)

Mus

icO

rtilx

es

I

) it

GR

AD

ES

K-4

GR

AD

ES

5-8

GR

AD

ES

9-12

, PR

OFI

CIE

NT

4.C

onte

nt S

tand

ard:

Com

posi

ng a

nd a

rran

ging

mus

icw

ithin

spe

cifi

ed g

uide

lines

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

crea

te a

nd a

rran

ge m

usic

to a

ccom

pany

read

ings

or

dram

atiz

atio

ns(a

)

crea

te a

nd a

rran

ge s

hort

son

gs a

ndin

stru

men

tal p

iece

s w

ithin

spe

cifi

ed

guid

elin

es',h

)

use

a va

riet

y of

sou

nd s

ourc

es w

hen

com

posi

ng(c

)

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

com

pose

sho

rt p

iece

s w

ithin

spe

cifi

edgu

idel

ines

, dem

onst

ratin

g ho

w th

e el

e-m

ents

of

mus

ic a

rc u

sed

to a

chie

ve u

nity

and

vari

ety,

tens

ion

and

rele

ase,

and

bal

-an

ce(a

)

arra

nge

sim

ple

piec

es f

or v

oice

s or

inst

rum

ents

oth

er th

an th

ose

for

whi

chth

e pi

eces

wer

e w

ritte

n(b

)

use

a va

riet

y of

trad

ition

al a

nd n

ontr

adi-

tiona

l sou

nd s

ourc

es a

nd e

lect

roni

cm

edia

whe

n co

mpo

sing

and

arr

angi

ng(c

)

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d, P

rofi

cien

t:A

chie

vem

ent S

tand

ard,

Adv

ance

d:

Stud

ents

com

pose

mus

ic in

sev

eral

dis

tinct

sty

les,

dem

onst

ratin

g cr

eativ

ity in

usi

ng th

eel

emen

ts o

f m

usic

fri

t exp

ress

ive

effe

ct

(a)

arra

nge

piec

es f

or v

oice

s or

inst

rum

ents

othe

r th

an th

ose

for

whi

ch th

e pi

eces

wer

e w

ritte

n in

way

s th

at p

rese

rve

oren

hanc

e th

e ex

pres

sive

eff

ect o

f th

em

usic

(h)

com

pose

and

arr

ange

mus

ic f

or v

oice

san

d va

riou

s ac

oust

ic a

nd e

lect

roni

cin

stru

men

ts, d

emon

stra

ting

know

ledg

eof

the

rang

es a

nd tr

aditi

onal

usa

ges

ofth

e so

und

sour

ces

(c)

Stud

ents

com

pose

mus

ic, d

emon

stra

ting

imag

ina-

tion

and

tech

nica

l ski

ll in

app

lyin

g th

epr

inci

ples

of

com

posi

tion

(d)

Do^

Mus

icO

utlin

es

GR

AD

ES

K-4

GR

AD

ES

5-8

5.C

onte

nt S

tand

ard:

Rea

ding

and

not

atin

g m

usic

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

read

who

le, h

alf d

otte

d ha

lf, q

uart

er,

and

eigh

th n

otes

and

res

ts in

4, 1

, and

met

er s

igna

ture

s(a

)

use

a sy

stem

(th

at is

, syl

labl

es, n

umbe

rs,

or le

tters

) to

rea

d si

mpl

e pi

tch

nota

tion

in th

e tr

eble

cle

f in

maj

or k

eys

(b)

iden

tify

sym

bols

and

trad

ition

al te

rms

refe

rrin

g to

dyn

amic

s, te

mpo

, and

art

ic-

ulat

ion

and

inte

rpre

t the

m c

orre

ctly

whe

n pe

rffin

ning

(c)

use

stan

dard

sym

bols

to n

otat

e m

eter

,rh

ythm

, pitc

h, a

nd d

ynam

ics

in s

impl

epa

ttern

s pr

esen

ted

by th

e te

ache

r(d

)

114

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

read

who

le, h

alf,

quar

ter,

eig

hth,

six

-te

enth

, and

dot

ted

note

s an

d re

sts

in 4

2,

43' 44

86 'an

dan

d al

la b

reve

met

er s

igna

ture

s

(a)

read

at s

ight

sim

ple

mel

odie

s in

bot

h th

etr

eble

and

bas

s cl

efs

(b)

iden

tify

and

defin

e st

anda

rd n

otat

ion

sym

bols

for

pitc

h, r

hyth

m, d

ynam

ics,

tem

po, a

rtic

ulat

ion,

and

exp

ress

ion

(c)

use

stan

dard

not

atio

n to

rec

ord

thei

rm

usic

al id

eas

and

the

mus

ical

idea

s of

othe

rs(d

)

chor

al/in

str.

cm

cm Ir

k/cl

ass!

sigh

trea

d, a

ccur

atel

y an

d ex

pres

sive

ly,

mus

ic w

ith a

leve

l of d

iffic

ulty

of 2

, on

asc

ale

of I

to 6

(c)

GR

AD

ES

9-12

, PR

OFI

CIE

NT

Ach

ieve

men

t Sta

ndar

d, P

rofi

cien

t:S

tude

nts

dem

onst

rate

the

abili

ty to

rea

d an

inst

rum

enta

l or

voca

l sco

re o

f up

to fo

urst

aves

by

desc

ribin

g ho

w th

e el

emen

ts o

fm

usic

arc

use

d(a

)

/cho

ral /

ins-

tr. e

nsem

ble/

clas

s]si

ghtr

ead,

acc

urat

ely

and

expr

essi

vely

,m

usic

with

a le

vel o

f diff

icul

ty o

f 3, o

n a

scal

e of

1 to

6(b

)

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d, A

dvan

ced:

Stu

dent

s

dem

onst

rate

the

abili

ty to

rea

d a

hill

inst

rum

enta

l or

voca

l sco

re b

y de

sc 'b

-in

g ho

w th

e el

emen

ts o

f mus

ic a

rc u

sed

and

expl

aini

ng a

ll tr

ansp

ositi

ons

and

clef

s(c

)

inte

rpre

t non

stan

dard

nons

tand

ard

nota

tion

sym

bols

used

by

som

e tw

entie

th-

cent

ury

com

-po

sers

(d)

I ch

ora

1/in

str.

ens

embl

e/cl

ass;

sigh

trea

d, a

ccur

atel

y an

d ex

pres

sive

ly,

mus

ic w

ith a

leve

l of d

iffic

ulty

of

on a

scal

e of

I to

6(e

)

Mus

icC

ott!

Nes

GR

AD

ES

K-4

GR

AD

ES

5-8

6.C

onte

nt S

tand

ard:

L; t

enin

g to

, ana

lyzi

ng,

and

desc

ribi

ng m

usic

Ach

ieve

men

t Sta

ndar

d:S

r :A

kins

iden

tify

sim

ple

nn-,

sic

form

s w

hen

prc

sew

ed a

ural

ly(a

l

dem

onst

rate

per

cept

ual s

kills

by

mov

ing,

by a

nsw

erin

g qu

estio

ns a

bout

,and

by

desc

ribin

g au

ral e

xam

ples

ofm

usic

of

vario

us s

tyle

s re

pres

entin

g di

vers

e cu

l-tu

res

(b)

use

appr

opria

te te

rmin

olog

yin

exp

lain

-

ing

mus

ic, m

usic

not

atio

n,m

usic

inst

ru-

men

ts a

nd v

oice

s, a

nd m

usic

per

for-

[tuni

cs(c

)

iden

ti1V

the

soun

ds o

f a v

arie

ty o

f ins

tru-

men

ts, i

nclu

ding

man

yor

ches

tra

and

hand

inst

rum

ents

, and

inst

rum

ents

from

vario

us c

ultu

res,

as

wel

l as

child

ren'

svo

ices

and

mal

e an

d fe

mal

e ad

ult v

oice

s

(LI)

resp

ond

thro

ugh

purp

osef

ul m

ovem

ent

to s

elec

ted

prom

inen

t mus

icch

arac

teris

-

tics

or to

spe

cific

mus

ic e

vent

s w

hile

lis-

teni

ng to

mus

ic(c

)

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

desc

ribe

spec

ific

mus

ic e

vent

s in

a g

iven

aura

l exa

mpl

e, u

sing

app

ropr

iate

term

i-

nolo

gy(a

)

anal

yze

the

uses

of e

lem

ents

of m

usic

in

aura

l exa

mpl

es r

epre

sent

ing

dive

rse

gen-

res

and

cultu

res

(b)

dem

onst

rate

kno

wle

dge

of th

e ba

sic

prin

cipl

es o

f met

er, r

hyth

m, t

onal

ity,

inte

rval

s, c

hord

s, a

nd h

arm

onic

pro

gres

-si

ons

in th

eir

anal

yses

of m

usic

(c)

GR

AD

ES

9-12

, PR

OFI

CIE

NT

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

anal

yze

aura

l exa

mpl

es o

f a v

arie

d re

per-

toire

of m

usic

, rep

rese

ntin

g di

vers

e ge

n-re

s an

d cu

lture

s, b

y de

scrib

ing

the

uses

of e

lem

ents

of m

usic

and

exp

ress

ive

devi

ces

(a)

dem

onst

rate

ext

ensi

ve k

now

ledg

e of

the

tech

nica

l voc

abul

ary

of m

usic

(h)

iden

tify

and

expl

ain

com

posi

tiona

lde

vice

s an

d te

chni

ques

use

d to

pro

vide

unity

and

var

iety

and

tens

ion

and

rele

ase

in a

mus

ical

wor

k an

d gi

ve e

xam

ples

of

othe

r w

orks

that

mak

e si

mila

r us

es o

f

thes

e de

vice

s an

d te

chni

ques

(c)

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

dem

onst

rate

the

abili

ty to

per

ceiv

e an

dre

mem

ber

mus

ic e

vent

s by

des

crib

ing

inde

tail

sign

ifica

nt e

vent

s oc

curr

ing

in a

give

n au

ral e

xam

ple

(d)

com

pare

way

s in

whi

ch m

usic

al m

ater

ials

are

used

in a

giv

en e

xam

ple

rela

tive

to

way

s in

whi

ch th

ey a

rcus

ed in

oth

er

wor

ks o

f the

sam

e ge

nre

or s

tyle

(c)

Mus

icO

utlIs

ss

GR

AD

ES

K-4

GR

AD

ES

5-8

GR

AD

ES

9-12

, PR

OFI

CIE

NT

GR

AD

ES

9-12

, AD

VA

NC

ED

0.1

.

anal

yze

and

desc

ribe

use

s of

the

ele-

men

ts o

f m

usic

in a

giv

en w

ork

that

mak

e it

uniq

ue, i

nter

estin

g, a

nd e

xpre

s-si

ve(f

)

n

Mos

Ic

aO

st I

lass

GR

AD

ES

K-4

GR

AD

ES

5-8

7.C

onte

nt S

tand

ard:

Eva

luat

ing

mus

ic a

ndm

usic

per

form

ance

s

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

dois

e cr

iteria

for

eval

uatin

g pe

rfor

-m

ance

s an

d co

mpo

sitio

ns(a

)

expl

ain,

usi

ng a

ppro

pria

te m

usic

term

i-no

logy

, the

ir pe

rson

al p

refe

renc

es fo

rsp

ecifi

c m

usic

al w

orks

and

sty

les

(h)

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

deve

lop

crite

ria fo

r ev

alua

ting

the

qual

i-ty

and

effe

ctiv

enes

s of

mus

ic p

erfo

r-m

ance

s an

d co

mpo

sitio

ns a

ndap

ply

the

crite

ria in

thei

r pe

rson

al li

sten

ing

and

perf

orm

ing

(a)

eval

uate

the

qual

ity a

nd e

ffect

iven

ess

ofth

eir

own

and

othe

rs' p

erfo

rman

ces,

com

posi

tions

, arr

ange

men

ts, a

nd im

pro-

visa

tions

by

appl

ying

spe

cific

crit

eria

appr

opria

te fo

r th

e st

yle

of th

e m

usic

and

offe

r co

nstr

uctiv

e su

gges

tions

for

impr

ovem

ent

(b)

GR

AD

ES

9-12

, PR

OFI

CIE

NT

Ach

ieve

men

t Sta

ndar

d, P

rofi

cien

t:S

tude

nts

evol

ve s

peci

fic c

riter

ia fo

r m

akin

gin

form

ed, c

ritic

al e

valu

atio

ns o

f the

qual

ity a

nd e

ffect

iven

ess

of p

erfo

r-

man

ces,

com

posi

tions

, arr

ange

men

ts,

and

impr

ovis

atio

ns a

nd a

pply

the

crite

ria

in th

eir

pers

onal

par

ticip

atio

n in

mus

ic(a

)

eval

uate

a p

erfO

rman

ce, c

ompo

sitio

n,ar

rang

emen

t, or

impr

ovis

atio

n by

com

-pa

ring

it to

sim

ilar

or e

xem

plar

y m

odel

s(b

)

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d, A

dvan

ced:

Stu

dent

s

eval

uate

a g

iven

mus

ical

wor

k in

term

sof

its

aest

hetic

qua

litie

s an

d ex

plai

n th

em

usic

al m

eans

it u

ses

to e

voke

feel

ings

and

emot

ions

(c)

r

Mus

tsO

utlin

es

GR

AD

ES

K-4

GR

AD

ES

5-8

GR

AD

ES

9-12

, PR

OFI

CIE

NT

8. C

onte

nt S

tand

ard:

Und

erst

andi

ng r

elat

ions

hips

bet

wee

n m

usic

, the

oth

er a

rts,

and

dis

cipl

ines

out

side

the

arts

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

iden

tify

sim

ilari

ties

and

diff

eren

ces

in th

em

eani

ngs

of c

omm

on te

rms

uscd

in th

eva

riou

s ar

ts(a

)

iden

tify

way

s in

whi

ch th

e pr

inci

ples

and

subj

ect m

atte

r of

oth

er d

isci

plin

esta

ught

in th

e sc

hool

arc

inte

rrel

ated

with

thos

e of

mus

ic(b

)

r,r)

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

com

pare

in tw

o or

mor

e ar

ts h

ow th

ech

arac

teri

stic

mat

eria

ls o

f ea

ch a

rt (

that

is, s

ound

in m

usic

, vis

ual s

timul

i in

visu

alar

ts, m

ovem

ent i

n da

nce,

hum

an in

ter-

rela

tions

hips

in th

eatr

e) c

an b

e us

ed to

tran

sfor

m s

imila

r ev

ents

, sce

nes,

em

o-tio

ns, o

r id

eas

into

wor

ks o

f ar

t(a

)

desc

ribe

way

s in

whi

ch th

e pr

inci

ples

and

subj

ect m

atte

r of

oth

er d

isci

plin

esta

ught

in th

e sc

hool

arc

inte

rrel

ated

with

thos

e of

mus

ic(b

)

Ach

ieve

men

t Sta

ndar

d, P

rofi

cien

t:St

uden

ts

expl

ain

how

ele

men

ts, a

rtis

tic p

roce

sses

(suc

h as

imag

inat

ion

or c

raft

sman

ship

),an

d or

gani

zatio

nal p

rinc

iple

s (s

uch

asun

ity a

nd v

arie

ty o

r re

petit

ion

and

con-

tras

t) a

rc u

scd

in s

imila

r an

d di

stin

ctiv

ew

ays

in th

e va

riou

s ar

ts a

nd c

ite e

xam

-pl

es(a

)

com

pare

cha

ract

eris

tics

of tw

o or

mor

ear

ts w

ithin

a p

artic

ular

his

tori

cal p

erio

dor

sty

le a

nd c

ite e

xam

ples

fro

m v

ario

uscu

lture

s(b

)

expl

ain

way

s in

whi

ch th

e pr

inci

ples

and

subj

ect m

atte

r of

var

ious

dis

cipl

ines

out

-si

de th

e ar

ts a

re in

terr

elat

ed w

ith th

ose

of m

usic

(c)

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d, A

dvan

ced:

Stud

ents

com

pare

the

uses

of

char

acte

rist

ic e

le-

men

ts, a

rtis

tic p

roce

sses

, and

org

aniz

a-tio

nal p

rinc

iple

s am

ong

the

arts

in d

if-

fere

nt h

isto

rica

l per

iods

and

dif

fere

ntcu

lture

s(d

)

expl

ain

how

the

role

s of

cre

ator

s, p

er-

form

ers,

and

oth

ers

invo

lved

in th

e pr

o.du

ctio

n an

d pr

esen

tatio

n of

the

arts

are

sim

ilar

to a

nd d

iffe

rent

fro

m o

ne a

noth

-er

in th

e va

riou

s ar

ts(e

)

3

Mus

icO

utlin

es

4 C

I1

GR

AD

ES

K--

4G

RA

DE

S 5-

8G

RA

DE

S 9-

12, P

RO

FIC

IEN

T

9.C

onte

nt S

tand

ard:

Und

erst

andi

ng m

usic

in r

elat

ion

tohi

stor

y an

d cu

lture

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

iden

tify

by g

enre

or

styl

e au

ral e

xam

ples

of m

usic

fro

m v

ario

us h

isto

rica

l per

iods

and

cultu

res

(a)

desc

ribe

in s

im?l

e te

rms

how

ele

men

tsof

mus

ic a

rc u

sed

in m

usic

exa

mpl

esfr

om v

ario

us c

ultu

res

of th

e w

orld

(b)

iden

tity

vari

ous

uses

of

mus

ic in

thei

rda

ily e

xper

ienc

es a

nd d

escr

ibe

char

acte

r-is

tics

that

mak

e ce

rtai

n m

usic

sui

tabl

efo

r ea

ch u

se(c

)

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

desc

ribe

dis

tingu

ishi

ng c

hara

cter

istic

s of

repr

esen

tativ

e m

usic

gen

res

and

styl

esfr

om a

var

iety

of

cultu

res

(a)

clas

sify

by

genr

e an

d st

yle

(and

, if

appl

ic-

able

, by

hist

oric

al p

erio

d, c

ompo

ser,

and

pitle

) a

vari

ed b

ody

of e

xem

plar

y (t

hat i

s,hi

gh-q

ualit

y an

d ch

arac

teri

stic

) m

usic

alw

orks

and

exp

lain

the

char

acte

rist

ics

that

caus

e ea

ch w

ork

to h

e co

nsid

ered

exe

m-

plan

;(b

)

Ach

ieve

men

t Sta

ndar

d, P

rofi

cien

t:St

uden

ts

c_la

ssif

Y, b

y ge

nre

or s

tyle

and

by

hist

ori-

cal p

erio

d or

cul

ture

unf

amili

ar b

ut r

ep-

rese

ntat

ive

aura

l exa

mpl

es o

f m

usic

and

expl

ain

the

reas

onin

g be

hind

thei

r cl

assi

-fi

catio

ns(a

)

iden

tify

sour

ces

of A

mer

ican

mus

ic g

en-

res,

trac

e th

e ev

olut

ion

of th

ose

genr

es,

and

cite

wel

l-kn

own

mus

icia

ns a

ssoc

iat-

ed w

ith th

em(b

)

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d, A

dvan

ced:

Stud

ents

iden

tify

and

expl

ain

the

styl

istic

fea

ture

sof

a g

iven

mus

ical

wor

k th

at s

erve

tode

fine

its

aest

hetic

trad

ition

and

its

his-

tori

cal o

r cu

ltura

l con

text

(d)

iden

tify

and

desc

ribe

mus

ic g

enre

s or

styl

es th

at s

how

the

infl

uenc

e of

two

orm

ore

cultu

ral t

radi

tions

,ide

ntif

y th

e cu

l-

tura

l sou

rce

cSea

ch in

flue

nce,

and

trac

eth

e hi

stor

ical

con

ditio

ns th

at p

rodu

ced

the

synt

hesi

s of

infl

uenc

es(e

)

1.4

J

Mus

icO

utlin

es

GR

AD

ES

K-4

iden

tify

and

desc

ribe

rol

es o

f m

usic

ians

in v

ario

us m

usic

set

tings

and

cul

ture

s(d

)

dem

onst

rate

aud

ienc

e be

havi

or a

ppro

-pr

iate

for

the

cont

ext a

nd s

tyle

of

mus

icpe

rfor

med

(e) 2

G

GR

AD

ES

5-8

com

pare

, in

seve

ral c

ultu

res

of th

ew

orld

, fun

ctio

ns m

usic

ser

ves,

rol

es o

fm

usic

ians

, and

con

ditio

ns u

nder

whi

chm

usic

is ty

pica

lly p

erfo

rmed

(c)

GR

AD

ES

9-12

, PR

OFI

CIE

NT

iden

tify

vari

ous

role

s th

at m

usic

ians

per

-fo

rm, c

ite r

epre

sent

ativ

e in

divi

dual

s w

hoha

ve f

unct

ione

d in

eac

h ro

le, a

ndde

scri

be th

eir

activ

ities

and

ach

ieve

-m

ents

(c)

GR

AD

ES

9-12

, AD

VA

NC

ED

7

Mvs

le()

NW

's'

The

atre

= T

he a

chie

vem

ent

stan

dard

at o

ne le

vel i

s re

late

d to

mor

e th

an o

ne

achi

evem

ent s

tand

ard

at a

noth

er le

vel.

= T

he S

tand

ard

appe

arin

g at

alo

wer

gra

de le

vel i

s no

t rep

eate

d, b

ut s

tu-

dent

s at

this

gra

de le

vel a

re e

xpec

ted

to a

chie

ve th

at s

tand

ard,

dem

on-

stra

ting

high

er le

vels

of s

kill,

dea

ling

with

mor

e co

mpl

exex

ampl

es, a

nd

resp

ondi

ng to

wor

ks o

f art

in in

crea

sing

ly s

ophi

stic

ated

way

s.

= T

he s

tand

ard

appe

arin

g at

ahi

gher

leve

l may

nor

be

deve

lopm

enta

lly

appr

opria

te a

t thi

s le

vel,

alth

ough

lear

ning

exp

erie

nces

lead

ing

tow

ard

the

skill

s as

soci

ated

with

the

stan

dard

arc

ass

umed

to b

eta

king

pla

ce.

GR

AD

ES

K-4

1.C

onte

nt S

tand

ard:

Scri

pt w

ritin

g by

pla

nnin

g an

dre

cord

ing

impr

ovis

atio

ns b

ased

on

pers

onal

exp

erie

nce

and

heri

tage

,im

agin

atio

n, li

tera

ture

, and

his

tory

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

colla

bora

te to

sel

ect i

nter

rela

ted

char

ac.

errs

, env

iron

men

ts,

and

situ

atio

ns fo

r

clas

sroo

m d

ram

atiz

atio

ns(a

)

impr

ovis

e di

alog

ue to

tell

stor

ies,

and

form

aliz

e im

prov

isat

ions

by

writ

ing

orre

cord

ing

the

dial

ogue

(h)

GR

AD

ES

5-8

Scri

pt w

ritin

g by

the

crea

tion

of im

pro-

visa

tions

and

scr

ipte

d sc

enes

bas

ed o

npe

rson

al e

xper

ienc

e an

d he

rita

ge, i

mag

i-na

tion,

lite

ratu

re, a

nd h

isto

ry

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

indi

vidu

ally

and

in g

roup

s, c

reat

e ch

ar-

acte

rs, e

nviro

nmen

ts, a

ndac

tions

that

crea

te te

nsio

n an

d su

spen

se(a

)

refin

e an

d re

cord

dia

logu

e an

d ac

tion

(h)

GR

AD

ES

9-12

, PR

OFI

CIE

NT

Scri

pt w

ritin

g by

impr

ovis

ing,

writ

ing,

and

refin

ing

scrip

ts b

ased

on

pers

onal

expe

rienc

e an

d he

ritag

e, im

agin

atio

n,lit

erat

ure,

and

his

tory

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

cons

truc

t im

agin

ativ

e sc

ripts

and

colla

b-

orat

ew

ith a

ctor

s to

refin

e sc

ripts

so

that

stor

y an

d m

eani

ng a

rcco

nvey

ed to

an

audi

ence

(a)

GR

AD

ES

9-12

, AD

VA

NC

ED

Scri

pt w

ritin

g by

impr

ovis

ing,

wri

ting,

and

refi

ning

scr

ipts

bas

ed o

n pe

rson

alex

peri

ence

and

her

itage

, im

agin

atio

n,lit

erat

ure,

and

his

tory

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

writ

e th

eatr

e, fi

lm, t

elev

isio

n, o

r el

ec-

tron

ic m

edia

scr

ipts

in a

var

iety

of t

radi

-

tiona

l and

new

form

s th

at in

clud

eor

igi-

nal c

hara

cter

s xv

ith u

niqu

e di

alog

ueth

at

mot

ivat

es a

ctio

n(h

)

The

atre

Out

lines

-IL

GR

AD

ES

K-4

2.C

onte

ntSt

anda

rd:

Act

ing

by a

ssum

ing

role

s an

d in

ter-

actin

g in

impr

ovis

atio

ns

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

imag

ine

and

dear

ly d

escr

ibe

char

acte

rs,

thei

r re

latio

nshi

ps, a

nd th

eir

envi

ron-

men

ts(a

)

use

varia

tions

of l

ocom

otor

and

non

-lo

com

otor

mov

emen

t and

voc

al p

itch,

tem

po, a

nd to

ne fo

r di

ffere

nt c

hara

cter

s(b

)

assu

me

role

s th

at e

xhib

it co

ncen

trat

ion

and

cont

ribut

e to

the

actio

n of

cla

ss-

room

dra

mat

izat

ions

bas

ed o

n pe

rson

alex

perie

nce

and

herit

age,

imag

inat

ion,

liter

atur

e, a

nd h

isto

ry(c

)

GR

AD

ES

5-8

Act

ing

by d

evel

opin

g ba

sic

actin

g sk

ills

to p

ortr

ay c

hara

cter

s w

ho in

tera

ct in

impr

ovis

ed a

nd s

crip

ted

scen

es

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

anal

yze

desc

riptio

ns, d

ialo

gue,

and

actio

ns to

dis

cove

r, a

rtic

ulat

e, a

nd in

still

,ch

arac

ter

mot

ivat

ion

and

inve

nt c

hara

c-te

r be

havi

ors

base

d on

the

obse

natio

nof

inte

ract

ions

, eth

ical

cho

ices

, and

emot

iona

l res

pons

es o

f peo

ple

(a)

dem

onst

rate

act

ing

skill

s (s

uch

as s

enso

-

ry r

ecal

l, co

ncen

trat

ion,

bre

ath

cont

rol,

dict

ion,

bod

y al

ignm

ent,

cont

rol o

f iso

-la

ted

body

par

ts)

to d

evel

op c

hara

cter

i-za

tions

that

sug

gest

art

istic

choi

ces

(b)

in a

n en

sem

ble,

inte

ract

as

the

inve

nted

char

acte

rs(c

)

GR

AD

ES

9-12

, PR

OFI

CIE

NT

Act

ing

by d

evel

opin

g, c

omm

unic

atin

g,an

d su

stai

ning

cha

ract

ers

in im

prov

isa-

tions

and

info

rmal

or

form

al p

rodu

c-tio

ns

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

anal

yze

the

phys

ical

, em

otio

nal,

and

soci

al d

imen

sion

s of

cha

ract

ers

foun

d in

dram

atic

text

s fr

om v

ario

us g

enre

and

med

ia(a

)

com

pare

and

dem

onst

rate

var

ious

cla

ssi-

cal a

nd c

onte

mpo

rary

act

ing

tech

niqu

esan

d m

etho

ds(b

)

in a

n en

sem

ble,

cre

ate

and

sust

ain

char

-

acte

rs th

at c

omm

unic

ate

with

aud

ienc

es(c

)

GR

AD

ES

9-1

2, A

DV

AN

CE

D

Act

ing

by d

evel

opin

g, c

omm

unic

atin

g,an

d su

stai

ning

cha

ract

ers

in im

prov

isa-

tions

and

info

rmal

or

form

al p

rodu

c-tio

ns

Ach

ieve

men

t Sta

ndar

dS

tude

nts

dem

onst

rate

art

istic

dis

cipl

ine

to a

chie

vean

ens

embl

e in

reh

ears

al a

nd p

erfo

r-

man

ce(d

)

crea

te c

onsi

sten

t cha

ract

ers

from

cla

ssi-

cal,

cont

empo

rary

, rea

listic

, and

non

-re

alis

tic d

ram

atic

text

s in

info

rmal

and

form

al th

eatr

e, fi

lm, t

elev

isio

n, o

r el

ec-

tron

ic m

edia

pro

duct

ions

(e)

The

atre

°Wile

s

GR

AD

ES

K-4

3.C

onte

nt S

tand

ard:

Des

igni

ng b

y vi

sual

izin

g an

d ar

rang

-in

g en

viro

nmen

ts fo

r cl

assr

oom

dram

atiz

atio

ns

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

ViS

t1 li

7Cen

s iro

n:us

and

con

stru

ct

desi

gns

to c

omm

unic

ate

loca

le a

ndm

ood

usin

g vi

sual

ele

men

ts (

such

as

spac

e, c

olor

, lin

e, s

hape

,te

xtur

e) a

ndau

ral a

spec

ts u

sing

is v

arie

ty o

f sou

nd

sour

ces

tat

colla

bora

te to

est

ablis

h pl

ayin

g sp

aces

for

clas

sroo

m d

ram

atiz

atio

ns a

nd to

sele

ct a

nd s

My

orga

nize

ava

ilabl

e m

ate-

rials

that

str

xest

sce

nery

, pro

pert

ies,

yiun

d, c

ostu

mes

, and

mak

eup

01)

GR

AD

ES

5-8

Des

igni

ng b

y de

velo

ping

env

ironm

ents

for

impr

ovis

ed a

nd s

crip

ted

scen

es

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

expl

ain

the

func

tions

and

inte

rrel

ated

natu

re o

f sce

nery

, pro

pert

ies,

light

ing,

soun

d, c

ostu

mes

, and

mak

eup

in c

reat

ing

an e

nviro

nmen

t app

ropr

iate

for

the

dram

a(a

)

anal

yze

impr

ovis

ed a

nd s

crip

ted

scen

es

fbr

tech

nica

l req

uire

men

ts(b

)

deve

lop

focu

sed

idea

s fo

r th

e en

viro

n-

men

t usi

ng v

isua

l ele

men

ts(li

ne, t

ex-

ture

, col

or, s

pace

), v

isua

lpr

inci

ples

(re

p-

etiti

on, b

alan

ce, e

mph

asis

, con

tras

t,un

ity),

and

aur

al q

ualit

ies

(pitc

h,rh

ythm

, dyn

amic

s, te

mpo

, exp

ress

ion)

from

trad

ition

al a

nd n

ontr

aditi

onal

sour

ces

(c)

wor

k co

llabo

rativ

ely

and

safe

ly to

sel

ect

and

crea

te e

lem

ents

of s

cene

ry, p

rope

r-tie

s, li

ghtin

g, a

nd s

ound

to s

igni

fy e

nvi-

ronm

ents

, and

cos

tum

es a

ndm

akeu

p to

sugg

est c

hara

cter

(dl

GR

AD

ES

9-12

, PR

OFI

CIE

NT

Des

igni

ng a

nd p

rodu

cing

by

conc

eptu

-al

iAng

and

rea

lizin

g ar

tistic

inte

rpre

ta-

tions

for

info

rmal

or

form

al p

rodu

ctio

ns

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

expl

ain

the

basi

c ph

ysic

al a

nd c

hem

ical

prop

ertie

s of

the

tech

nica

l asp

ects

of

thea

tre

(suc

h as

ligh

t, co

lor,

ele

ctric

ity,

pain

t, an

d m

akeu

p)(a

)

anal

yze

a va

riety

of d

ram

atic

text

s fr

omcu

ltura

l and

his

toric

al p

ersp

ectiv

es to

dete

rmin

e pr

oduc

tion

requ

irem

ents

(h)

deve

lop

desi

gns

that

use

vis

ual a

nd a

ural

elem

ents

to c

onve

y en

viro

nmen

ts th

atcl

early

sup

port

the

text

(c)

appl

y te

chni

cal k

now

ledg

e an

d sk

ills

toco

llabo

rativ

ely

and

safe

ly c

reat

e fu

nc-

tiona

l sce

nery

, pro

pert

ies,

ligh

ting,

soun

d, c

ostu

mes

, and

mak

eup

(d)

desi

gn c

oher

ent s

tage

man

agem

ent,

prom

otio

nal,

and

busi

ness

pla

ns(e

)

GR

AD

ES

9-1

2, A

DV

AN

CE

D

Des

igni

ng a

nd p

rodu

cing

by

conc

eptu

-al

izin

g an

d re

aliz

ing

artis

tic in

terp

reta

-tio

ns fo

r in

form

al o

r fo

rmal

pro

duct

ions

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

expl

ain

how

sci

entif

ic a

nd te

chno

lr4ca

lad

vanc

es h

ave

impa

cted

set

, lig

ht,

soun

d, a

nd c

ostu

me

desi

gn a

nd im

ple-

men

tatio

n fo

r th

eatr

e, fi

lm, t

elev

isio

n,an

d el

ectr

onic

med

ia p

rodu

ctio

ns(0

colla

bora

te w

ith d

irect

ors

to d

evel

opun

ified

pro

duct

ion

conc

epts

that

con

vey

the

met

apho

rical

nat

ure

of th

e dr

ama

for

info

rmal

and

form

al th

eatr

e, fi

lm,

tele

visi

on, o

r el

ectr

onic

n-^

clia

pro

duc-

tions

(g)

safe

ly c

onst

ruct

and

effi

cien

tly o

pera

tete

chni

cal a

spec

ts o

f the

atre

, film

, tel

evi-

sion

, or

elec

tron

ic m

edia

pro

duct

ions

(h)

crea

te a

nd r

elia

bly

impl

emen

tpro

duc-

tion

sche

dule

s, s

tage

man

agem

ent p

lans

,pr

omot

iona

l ide

as, a

nd b

usin

ess

and

fron

t-or

-hou

se p

roce

dure

s fo

r in

form

alan

d fo

rmal

thea

tre,

film

, tel

evis

ion,

or

elec

tron

ic m

edia

pro

duct

ions

(i)

The

atre

Out

lines

J

GR

AD

ES

K-4

4.C

onte

nt S

tand

ard:

Dir

ectin

g by

pla

nnin

g da

ssro

omdr

amat

izat

ions

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

colla

bora

tivel

y pl

an a

nd r

ehea

rse

impr

o-vi

satio

ns a

nd d

emon

stra

te v

ario

us w

ays

of s

tagi

ng c

lass

room

dra

mat

izat

ions

(a)

01)

GR

AD

ES

5-8

Dir

ectin

g by

org

aniz

ing

rehe

arsa

ls f

orim

prov

ised

and

scr

ipte

d sc

enes

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

lead

sm

all g

roup

s in

pla

nnin

g vi

sual

and

aura

l ele

men

ts a

nd in

reh

ears

ing

impr

o-vi

sed

and

scrip

ted

scen

es, d

emon

stra

ting

soci

al, g

roup

, and

con

sens

us s

kills

(a)

GR

AD

ES

9-12

, PR

OFI

CIE

NT

Dir

ectin

g by

inte

rpre

ting

dram

atic

text

san

d or

gani

zing

and

con

duct

ing

rehe

arsa

ls f

or in

form

al o

r fo

rmal

pro

-du

ctio

ns

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

deve

lop

mul

tiple

inte

rpre

tatio

ns a

ndvi

sual

and

aur

al p

rodu

ctio

n ch

oice

s fo

rsc

ripts

and

pro

duct

ion

idea

s an

d ch

oose

thos

e th

at a

re m

ost i

nter

estin

g(a

)

just

ify s

elec

tions

of t

ext,

inte

rpre

tatio

n,

and

visu

al a

nd a

ural

art

istic

cho

ices

(b)

effe

ctiv

ely

com

mun

icat

e di

rect

oria

lch

oice

s to

a s

mal

l ens

embl

e fo

r im

pro-

vise

d or

scr

ipte

d sc

enes

(c)

GR

AD

ES

9-12

, AD

VA

NC

ED

Dir

ectin

g by

inte

rpre

ting

dram

atic

text

san

d or

gani

zing

and

con

duct

ing

rehe

arsa

ls f

or in

form

al o

r fo

rmal

pro

-du

ctio

ns

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

expl

ain

and

com

pare

the

role

s an

d in

ter-

rela

ted

resp

onsi

bilit

ies

of th

e va

riou

spe

rson

nel i

nvol

ved

in th

eatr

e, f

ilm, t

ele-

visi

on, a

nd e

lect

roni

c m

edia

pro

duct

ions

(d)

colla

bora

te w

ith d

esig

ners

and

act

ors

tode

velo

p ae

sthe

tical

ly u

nifie

d pr

oduc

tion

conc

epts

for

info

rmal

and

form

al th

e-at

re, f

ilm, t

elev

isio

n, o

r el

ectr

onic

med

iapr

oduc

tions

(c)

cond

uct a

uditi

ons,

cas

t act

ors,

dire

ctsc

enes

, and

con

duct

pro

duct

ion

mee

t-in

gs to

ach

ieve

pro

duct

ion

goal

s(f

)

The

atre

Out

lines

GR

AD

ES

K-1

5.C

onte

nt S

tand

ard:

Res

earc

hing

by

find

ing

info

rmat

ion

to s

uppo

rt c

lass

room

dra

mat

izat

ions

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

com

mun

icat

e in

form

atio

n to

pee

rsab

out p

eopl

e, e

vent

s, ti

me,

and

pla

cere

late

d to

cla

ssro

om d

ram

atiz

atio

ns(a

)

GR

AD

ES

5-8

Res

earc

hing

by

usin

g cu

ltura

l and

his

-to

rica

l inf

orm

atio

n to

sup

port

impr

o-vi

sed

and

scri

pted

sce

nes

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

appl

y re

sear

ch f

rom

pri

nt a

nd n

onpr

int

sour

ces

to s

crip

t wri

ting,

act

ing,

des

ign,

and

dire

ctin

g ch

oice

s(a

)

GR

AD

ES

9-12

, PR

OFI

CIE

NT

Res

earc

hing

by

eval

uatin

g an

d sy

nthe

-si

zing

cul

tura

l and

his

tori

cal i

nfor

ma-

tion

to s

uppo

rt a

rtis

tic c

hoic

es

Ach

ieve

men

t Sta

ndar

dSt

uden

ts

iden

tify

and

rese

arch

cul

tura

l, hi

stor

ical

,an

d sy

mbo

lic d

ues

in d

ram

atic

text

s an

dev

alua

te th

e va

lidity

and

pra

ctic

ality

of

the

info

rmat

ion

to a

ssis

t in

mak

ing

artis

-tic

cho

ices

for

info

rmal

and

for

mal

pro

-du

ctio

ns(a

)

GR

AD

ES

9-12

, AD

VA

NC

ED

Res

earc

hing

by

eval

uatin

g an

d sy

nthe

-si

zing

cul

tura

l and

his

tori

cal i

nfor

ma-

tion

to s

uppo

rt a

rtis

tic c

hoic

es

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

rese

arch

and

des

crib

e ap

prop

riat

e hi

stor

-ic

al p

rodu

ctio

n de

sign

s, te

chni

ques

, and

perf

orm

ance

s fr

om v

ario

us c

ultu

res

toas

sist

in m

akin

g ar

tistic

cho

ices

for

info

r-m

al a

nd f

orm

al th

eatr

e, f

ilm, t

elev

isio

n,or

ele

ctro

nic

med

ia p

rodu

ctio

ns(b

)

The

atre

Out

lines

GR

AD

ES

K-4

6.C

onte

nt S

tand

ard:

Com

pari

ng a

nd c

onne

ctin

g ar

tfo

rms

by d

escr

ibin

g th

eatr

e, d

ram

at-

ic m

edia

(su

ch a

s fi

lm, t

elev

isio

n,an

d el

ectr

onic

med

ia),

and

oth

er a

rtfo

rms

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

desc

ribe

visu

al, a

ural

, ora

l, an

d ki

netic

elem

ents

in th

eatr

e, d

ram

atic

med

ia,

danc

e, m

usic

, and

vis

ual a

rts

(a)

com

pare

how

idea

s an

d em

otio

ns a

reex

pres

sed

in th

eatr

e, d

ram

atic

med

ia,

danc

e, m

usic

, and

vis

ual a

rts

(b)

sele

ct m

ovem

ent,

mus

ic, o

r vi

sual

ele

-

men

ts to

enh

ance

the

moo

d of

a c

lass

-

room

dra

mat

izat

ion

(c)

0

GR

AD

ES

5-8

Com

pari

ng a

nd in

corp

orat

ing

art f

orm

sby

ana

lyzi

ng m

etho

ds o

f pr

esen

tatio

nan

d au

dien

ce r

espo

nse

for

thea

tre,

dra

-m

atic

med

ia (

such

as

film

, tel

evis

ion,

and

elec

tron

ic m

edia

), a

nd o

ther

art

form

s

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

desc

ribe

cha

ract

eris

tics

and

com

pare

the

pres

enta

tion

of c

hara

cter

s, e

nvir

on-

men

ts, a

nd a

ctio

ns in

thea

tre,

mus

ical

thea

tre,

dra

mat

ic m

edia

, dan

ce, a

ndvi

sual

art

s(a

)

inco

rpor

ate

elem

ents

of d

ance

, mus

ic,

and

visu

al a

rts

to e

xpre

ss id

eas

and

emo-

tions

in im

prov

ised

and

scr

ipte

d sc

enes

(b)

expr

ess

and

com

pare

per

sona

l rea

ctio

ns

to s

ever

al a

rt fo

rms

(c)

desc

ribe

and

com

pare

the

func

tions

and

inte

ract

ion

of p

erfo

rmin

g an

d vi

sual

artis

ts a

nd a

udie

nce

mem

bers

in th

eatr

e,dr

amat

ic m

edia

, mus

ical

thea

tre,

dan

ce,

mus

ic, a

nd v

isua

l art

s(d

)

GR

AD

ES

9-12

, PR

OFI

CIE

NT

Com

pari

ng a

nd in

tegr

atin

g ar

t for

ms

by a

naly

zing

trad

ition

al th

eatr

e, d

ance

,m

usic

, and

vis

ual a

rts,

and

new

art

form

s

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

desc

ribe

and

com

pare

the

basi

c na

ture

,m

ater

ials

, ele

men

ts, a

nd m

eans

of c

om-

mun

icat

ing

in th

eatr

e, d

ram

atic

med

ia,

mus

ical

thea

tre,

dan

ce, m

usic

, and

the

visu

al a

rts

(a)

dete

rmin

e ho

w th

e no

ndra

mat

icar

tfo

rms

are

mod

ifie

d to

enh

ance

the

expr

essi

on o

fide

as a

nd e

mot

ions

in th

e-

atre

(b)

illus

trat

e th

e in

tegr

atio

n of

sev

eral

art

sm

edia

in in

form

al p

rese

ntat

ions

(c)

GR

AD

ES

9-12

, AD

VA

NC

ED

Com

parin

g an

d in

tegr

atin

g ar

t for

ms

by a

naly

zing

trad

ition

al th

eatr

e, d

ance

,m

usic

, and

vis

ual a

rts,

and

new

art

form

s

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

com

pare

the

inte

rpre

tive

and

expr

essi

ve

natu

res

of s

ever

al a

rt fo

rms

ina

spec

ific

cultu

re o

r hi

stor

ical

per

iod

(d)

com

pare

the

uniq

ue in

terp

retiv

e an

dex

pres

sive

nat

ures

and

aes

thet

ic q

ualit

ies

of tr

aditi

onal

art

s fr

om v

ario

us c

ultu

res

and

hist

oric

al p

erio

ds w

ith c

onte

mpo

-ra

ry n

ew a

rt fo

rms

(suc

h as

per

form

ance

an)

(e)

inte

grat

e se

vera

l art

s an

d/or

med

ia in

thea

tre,

film

, tel

evis

ion

or e

lect

roni

cm

edia

pro

duct

ions

(f)

'A

Tke

atre

Cof

fins

:

GR

AD

ES

K-4

7.C

onte

nt S

tand

ard:

Ana

lyzi

ng a

nd e

xpla

inin

g pe

rson

alpr

efer

ence

s an

d co

nstr

uctin

g m

ean-

ings

fro

m c

lass

room

dra

mat

izat

ions

and

from

thea

tre,

film

, tel

evis

ion,

and

elec

tron

ic m

edia

pro

duct

ions

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

iden

tify-

and

des

crib

e th

e vi

sual

, aur

al,

oral

, and

kin

etic

ele

men

ts o

f cl

assr

oom

dram

atiz

atio

ns a

nd d

ram

atic

per

for-

man

ces

(31

expl

ain

how

the

wan

ts a

nd n

eeds

of

char

acte

rs a

re s

imila

r to

and

dif

fere

ntfr

om th

eir

own

lb

artic

ular

em

otio

nal r

espo

nses

to a

ndex

plai

n pe

rson

al p

refe

renc

es a

bout

the

who

le a

s w

ell a

s th

e pa

rts

of d

ram

atic

perf

Urm

ance

s(e

l

GR

AD

ES

5-8

Ana

lyzi

ng, e

valu

atin

g, a

nd c

onst

ruct

ing

mea

ning

s fr

om im

prov

ised

and

scr

ipte

dsc

enes

and

fro

m th

eatr

e, f

ilm, t

elev

isio

n,an

d el

ectr

onic

med

ia p

rodu

ctio

ns

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

desc

ribe

and

ana

lyze

the

effe

ct o

f pu

blic

-ity

, stu

dy g

uide

s, p

rogr

ams,

and

phy

sica

len

viro

nmen

ts o

n au

dien

ce r

espo

nse

and

appr

ecia

tion

of d

ram

atic

per

tbrm

ance

s(a

)

artic

ulat

e an

d su

ppor

t the

mea

ning

sco

nstr

ucte

d fr

om th

eir

and

othe

rs' d

ra-

mat

ic p

erfo

rman

ces

(h)

use

artic

ulat

ed c

rite

ria

to d

escr

ibe,

ana

-ly

ze, a

nd c

onst

ruct

ivel

y ev

alua

te th

e pe

rce

ived

eff

ectiv

enes

s of

art

istic

cho

ices

foun

d in

dra

mat

ic p

erfO

rman

ces

(c)

GR

AD

ES

9-12

, PR

OFI

CIE

NT

Ana

lyzi

ng, c

ritiq

uing

, and

con

stru

ctin

gm

eani

ngs

from

info

rmal

and

for

mal

thea

tre,

film

, tel

evis

ion,

and

ele

ctro

nic

med

ia p

rodu

ctio

ns

Ach

ieve

men

t Sta

ndar

d, P

rofi

cien

t:St

uden

ts

cons

truc

t soc

ial m

eani

ngs

from

info

rmal

and

form

al p

rodu

ctio

ns a

nd f

rom

dra

-m

atic

per

form

ance

s fr

om a

var

iety

of

cultu

res

and

hist

oric

al p

erio

ds, a

ndre

late

to c

urre

nt p

erso

nal,

natio

nal,

and

inte

rnat

iona

l iss

ues

(a)

artic

ulat

e an

d ju

stif

y pe

rson

al a

esth

etic

crite

ria

for

criti

quin

g dr

amat

ic te

xts

and

even

ts th

at c

ompa

res

perc

eive

d ar

tistic

inte

nt w

ith th

e fi

nal a

esth

etic

ach

ieve

-m

ent

anal

yze

and

criti

que

the

who

le a

nd th

epa

rts

of d

ram

atic

per

form

ance

s, ta

king

into

acc

ount

the

cont

ext,

and

cons

truc

-tiv

ely

sugg

est a

ltern

ativ

e ar

tistic

cho

ices

(c)

GR

AD

ES

9-12

, AD

VA

NC

ED

Ana

lyzi

ng, c

ritiq

uing

, and

con

stru

ctin

gm

eani

ngs

from

info

rmal

and

for

mal

thea

tre,

film

, tel

evis

ion,

and

ele

ctro

nic

med

ia p

rodu

ctio

ns

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

cons

truc

t per

sona

l mea

ning

s fr

om n

on-

trad

ition

al d

ram

atic

per

form

ance

s(e

)

anal

yze,

com

pare

, and

eva

luat

e di

ffer

ing

criti

ques

of

the

sam

e dr

amat

ic te

xts

and

perf

orm

ance

s(1

)

criti

que

seve

ral d

ram

atic

wor

ks in

term

sof

oth

er a

esth

etic

phi

loso

phie

s (s

uch

asth

e un

derl

ying

eth

os o

f G

reek

dra

ma,

Fren

ch c

lass

icis

m w

ith it

s un

ities

of

time

and

plac

e, S

hake

spea

re a

nd r

oman

ticfo

rms,

Ind

ia c

lass

ical

dra

ma,

Jap

anes

eK

abuk

i, an

d ot

hers

)(g

)

The

atre

Out

lines

GR

AD

ES

K-4

anal

yze

clas

sroo

m d

ram

atiz

atio

ns a

nd,

usin

g ap

prop

riat

e te

rmin

olog

y, c

on-

stru

ctiv

ely

sugg

est a

ltern

ativ

e id

eas

for

dram

atiz

ing

role

s, a

rran

ging

env

iron

-m

ents

, and

dev

elop

ing

situ

atio

ns a

long

with

mea

ns o

f im

prov

ing

the

colla

bora

-tiv

e pr

occs

se o

f pl

anni

ng, p

layi

ng,

resp

ondi

ng, a

nd e

valu

atin

g(d

)

e

GR

AD

ES

5-8

desc

ribe

and

eva

luat

e th

e pe

rcei

ved

effe

ctiv

enes

s of

stu

dent

s' c

ontr

ibut

ions

(as

play

wri

ghts

, act

ors,

des

igne

rs, a

nddi

rect

ors)

to th

e co

llabo

rativ

e pr

oces

s of

deve

lopi

ng im

prov

ised

and

scr

ipte

dsc

enes

(d)

GR

AD

ES

9-12

, PR

OFI

CIE

NT

cons

truc

tivel

y ev

alua

te th

eir

own

and

othe

rs' c

olla

bora

tive

effo

rts

and

artis

ticch

oice

s in

info

rmal

and

for

mal

pro

duc-

tions

(d)

GR

AD

ES

9-12

, AD

VA

NC

ED

anal

yze

and

eval

uate

cri

tical

com

men

tsab

out p

erso

nal d

ram

atic

wor

k, e

xpla

in-

ing

whi

ch p

oint

s ar

e m

ost a

ppro

pria

te to

info

rm f

urth

er d

evel

opm

ent o

f th

e w

ork

(h)

The

atre

Out

lines

GR

AD

ES

K-4

8.C

onte

nt S

tand

ard:

Und

erst

andi

ng c

onte

xt b

y re

cogn

iz-

ing

the

role

of

thea

tre,

film

, tel

evi-

sion

, and

ele

ctro

nic

med

ia in

dai

ly

life

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

idem

ihan

d co

mpa

re s

imila

r ch

arac

ters

and

situ

atio

ns in

sto

ries

and

dram

asfr

om a

nd a

bout

var

ious

cul

ture

s, il

lus-

trat

e w

ith c

lass

room

dram

atiz

atio

ns, a

nd

disc

uss

how

thca

trc

refle

cts

life

(c)

iden

tilY

and

com

pare

the

vario

us s

et-

tings

and

rea

sons

for

crea

ting

dram

asan

d at

tend

ing

thea

tre,

film

, tel

evis

ion,

and

elec

tron

ic m

edia

pro

duct

ions

(b)

GR

AD

ES

5-8

Und

erst

andi

ng c

onte

xt b

y an

alyz

ing

the

role

of

thea

tre,

film

, tel

evis

ion,

and

elec

tron

ic m

edia

in th

e co

mm

unity

and

in o

ther

cul

ture

s

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

desc

ribe

and

com

pare

uni

vers

al c

hara

c-

ters

and

situ

atio

ns in

dra

mas

from

and

abou

t var

ious

cul

ture

s an

d hi

stor

ical

perio

ds, i

llust

ratr

;rnp

rovi

sed

and

scrip

ted

scen

es, a

nd d

iscu

ss h

ow th

eatr

e

refle

cts

a cu

lture

(a)

expl

ain

the

know

ledg

e, s

kills

, and

dis

ci-

plin

e ne

eded

to p

ursu

e ca

reer

s an

d av

o-ca

tiona

l opp

ortu

nitie

s in

thea

tre,

film

,te

levi

sion

, and

ele

ctro

nic

med

ia(b

)

anal

yze

the

emot

iona

l and

soc

ial i

mpa

ctof

dra

mat

ic e

vent

s in

thei

r liv

es, i

nth

e

com

mun

ity, a

nd in

oth

er c

ultu

res

(c)

expl

ain

how

cul

ture

affe

cts

the

cont

ent

and

prod

uctio

n va

lues

of d

ram

atic

per

-

form

ance

s(d

expl

ain

how

soc

ial c

once

pts

such

as

coop

erat

ion,

com

mun

icat

ion,

col

labo

ra-

tion,

con

sens

us, s

elf-

este

em, r

isk

taki

ng,

sym

path

y, a

nd e

mpa

thy

appl

y in

thea

tre

and

daily

life

(e)

GR

AD

ES

9-12

, PR

OFI

CIE

NT

Und

erst

andi

ngco

ntex

t by

anal

yzin

gth

e ro

le o

f th

eatr

e, f

ilm, t

elev

isio

n, a

ndel

ectr

onic

med

ia in

the

past

and

the

pres

ent

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

com

pare

how

sim

ilart

hem

es a

rc tr

eate

d

indr

ama

fron

t var

ious

cul

ture

s an

d hi

s-to

rica

l per

iods

, illu

stra

te w

ithin

form

alpe

rfor

man

ces,

and

dis

cuss

how

thea

tre

can

reve

al u

nive

rsal

con

cept

s(a

)

iden

tify

and

com

pare

the

lives

, wor

ks,

and

infl

uenc

e of

repr

esen

tativ

e th

eatr

e

artis

ts in

var

ious

cul

ture

s an

d hi

stor

ical

perio

ds(b

)

iden

tify

cultu

ral a

nd h

isto

rical

sou

rces

of

Am

eric

an th

eatr

e an

d m

usic

al th

eatr

e

(c)

anal

yze

the

effe

ct o

f the

ir ow

ut c

ultu

ral

expe

rienc

es o

n th

eir

dram

atic

wor

k

(d)

GR

AD

ES

9-12

, AD

VA

NC

ED

Und

erst

andi

ng c

onte

xt b

y an

alyz

ing

the

role

of

thea

tre,

film

, tel

evis

ion,

and

elec

tron

ic m

edia

in th

e pa

st a

nd th

e

pres

ent

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

anal

yze

the

soci

al a

nd a

esth

etic

impa

ctof

und

erre

pres

ente

d th

eatr

e an

dfi

lm

artis

ts(e

)

anal

yze

the

rela

tions

hips

am

ong

cultu

ral

valu

es, f

reed

om o

f art

istic

exp

ress

ion,

ethi

cs, a

nd a

rtis

tic c

hoic

es in

var

ious

cut

ture

s an

d hi

stor

ical

per

iods

(I)

anal

yze

the

deve

lopm

ent o

f dra

mat

icfo

rms,

pro

duct

ion

prac

tices

, and

thea

tri-

caltr

aditi

ons

acro

ss c

ultu

res

and

hist

ori-

cal p

erio

ds, a

nd e

xpla

in in

flue

nces

on

cont

empo

rary

thea

tre,

film

,tel

evis

ion,

and

elec

tron

ic m

edia

pro

duct

ions

(g)

The

atre

Out

lines

Vis

ual A

rts

= T

he a

chie

vem

ent s

tand

ard

at o

nele

vel i

s re

late

d to

mor

e th

an o

ne

achi

evem

ent s

tand

ard

at a

noth

er le

vel.

= T

he S

tond

ar,i

appe

arin

g at

alo

wer

gra

de le

vel i

s no

t rep

eate

d, b

ut s

tu-

dent

s at

this

gra

de le

vel a

re e

xpec

ted

to a

chie

ve th

at s

tand

ard,

dem

on-

stra

ting

high

er le

vels

of

skill

, dea

ling

with

mor

e co

mpl

ex e

xam

ples

, and

resp

ondi

ng to

wor

ks o

f ar

t in

incr

easi

ngly

sop

hist

icat

ed w

ays.

GR

AD

ES

K-4

GR

AD

ES

5-8

GR

AD

ES

9-12

, PR

OFI

CIE

NT

1.C

onte

nt S

tand

ard:

Und

erst

andi

ngan

d ap

plyi

ng m

edia

, tec

hniq

ues,

and

pro

cess

es

Ach

ieve

rr !

tit S

tand

ard:

Stud

ents

know

the

diff

eren

ces

betw

een

mat

eria

ls,

tech

niqu

es, a

nd p

roce

sses

(a)

desc

ribe

how

dif

fere

nt m

ater

ials

, tec

h-ni

ques

, and

pro

cess

es c

ause

dif

fere

ntre

spon

ses

(h)

use

diff

eren

t med

ia, t

echn

ique

s,an

d

proc

esse

s to

com

mun

icat

e id

eas,

expe

ri-

ence

s, a

nd s

tori

es(c

)

use

art m

ater

ials

and

tool

sin

a s

afe

and

resp

onsi

ble

man

ner

(d)

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

sele

ct m

edia

, tec

hniq

ues,

and

pro

cess

es;

anal

yse

wha

t mak

es th

em e

ffec

tive

orno

t eff

ectiv

e in

com

mun

icat

ing

idea

s;

and

refl

ect u

pon

the

effe

ctiv

enes

s of

thei

r ch

oice

s(a

)

inte

ntio

nally

take

adv

anta

ge o

f th

e qu

ali-

ties

and

char

acte

rist

ics

of a

rt m

edia

,te

chni

ques

, and

pro

cess

es to

enh

ance

com

mun

icat

ion

of th

eir

expe

rien

ces

and

idea

s(h

)

Ach

ieve

men

t Sta

ndar

d, P

rofi

cien

t:St

uden

ts

appl

y m

edia

, tec

hniq

ues,

and

pro

cess

esw

ith s

uffi

cien

t ski

ll, c

onfi

denc

e, a

nd s

en-

sitiv

ity th

at th

eir

inte

ntio

ns a

re c

arri

edou

t in

thei

r am

vork

s(a

)

conc

eive

and

cre

ate

wor

ks o

f vi

sual

art

that

dem

onst

rate

an

unde

rsta

ndin

g of

how

the

com

mun

icat

ion

of th

eir

idea

sre

late

to th

e m

edia

, tec

hniq

ues,

and

proc

esse

s th

ey u

se(b

)

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d, A

dvan

ced:

Stud

ents

com

mun

icat

e id

eas

regu

larl

y at

a h

igh

leve

l of:

effe

ctiv

enes

s in

at l

east

one

visu

al

arts

med

ium

(c)

initi

ate,

def

ine,

and

sol

ve c

halle

ngin

gvi

sual

art

s pr

oble

lVis

inde

pend

ently

,us

ing

inte

llect

ual s

kills

suc

h as

ana

lysi

s,sy

nthe

sis,

and

eva

luat

ion

(d)

Vis

ual A

rts

Out

lines

GR

AD

ES

K-4

GR

AD

ES

5-8

2. C

onte

nt S

tand

ard:

Usi

ng k

now

ledg

e of

str

uctu

res

and

func

tions

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

know

the

diffe

renc

es a

mon

g vi

sual

cha

r-ac

teris

tics

and

purp

oses

of a

rt in

ord

er to

conv

ey id

eas

(a)

desc

ribe

how

diff

eren

t e p

ress

ive

fea-

ture

s an

d or

gani

zatio

nal p

rinci

ples

cau

sedi

ffere

nt r

espo

nses

( h)

use

visu

al s

truc

ture

s an

d fim

ctio

ns o

f art

to c

omm

unic

ate

idea

s(c

)

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

gene

raliz

e ab

out t

he e

ffect

s of

vis

ual

stru

ctur

es a

nd fu

nctio

ns a

nd r

efle

ctup

on th

ese

effe

cts

in th

eir

own

wor

k(a

)

empl

oy o

rgan

izat

iona

l str

uctu

res

and

anal

yze

wha

t mak

es th

em e

ffect

ive

orno

t effe

ctiv

e in

the

com

mun

icat

ion

ofid

eas

(h)

sele

ct a

nd u

se th

e qu

aliti

es o

f stn

tctu

res

and

func

tions

of a

rt to

impr

ove

com

mu-

nica

tion

of th

eir

idea

s(c

)

GR

AD

ES

9-12

, PR

OFI

CIE

NT

Ach

ieve

men

t Sta

ndar

d, P

rofi

cien

t:St

uden

ts

dem

onst

rate

the

abili

ty to

form

and

defe

nd ju

dgm

ents

abo

ut th

e ch

arac

teris

-tic

s an

d st

ruct

ures

to a

ccom

plis

h co

m-

mer

cial

, per

sona

l, co

mm

unal

, or

othe

rpu

rpos

es o

f art

(a)

eval

uate

the

effe

ctiv

enes

s of

am

vork

s in

term

s of

org

aniz

atio

nal s

truc

ture

s an

dfin

ictio

ns(b

)

crea

te a

rtw

orks

that

use

org

aniz

atio

nal

prin

cipl

es a

nd fu

nctio

ns to

sol

ve s

peci

ficvi

sual

art

s pr

oble

ms

(c)

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d, A

dvan

ced:

Stud

ents

dem

onst

rate

the

abili

ty to

com

pare

two

or m

ore

pers

pect

ives

abo

ut th

e us

e of

orga

niza

tiona

l prin

cipl

es a

nd fu

nctio

nsin

art

wor

k an

d to

def

end

pers

onal

eva

lu-

atio

ns o

f the

se p

ersp

ectiv

es(d

)

crea

te m

ultip

le s

olut

ions

to s

peci

fic v

isu-

al a

rts

prob

lem

s th

at d

emon

stra

te c

om-

pete

nce

in p

rodu

cing

effe

ctiv

e re

latio

n-sh

ips

betw

een

stru

ctur

al c

hoic

es a

nd

artis

tic fu

nctio

ns(e

)

3

Vis

ual A

rts

Out

lines

GR

AD

ES

K-4

GR

AD

ES

5-8

GR

AD

ES

9-12

, PR

OFI

CIE

NT

3.C

onte

nt S

tand

ard:

Cho

osin

g an

d ev

alua

ting

a ra

.tge

of s

ubje

ct m

atte

r, s

ymbo

ls, a

nd id

eas

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

expl

ore

and

unde

rsta

nd p

rosp

ectiv

e co

n-

tent

for

wor

ks o

f art

(a)

sele

ct a

nd u

se s

ubje

ct m

atte

r, s

ymbo

ls,

and

idea

s to

com

mun

icat

e m

eani

ng

(h)

Ach

ieve

men

t Sta

ndar

d:A

chie

vem

ent S

tand

ard:

Stu

dent

sS

tude

nts

inte

grat

e vi

sual

, spa

tial,

and

tem

pora

lco

ncep

ts w

ith c

onte

nt to

com

mun

icat

ein

tend

ed m

eani

ng in

thei

r ar

twor

ks

(a)

use

subj

ects

, the

mes

, and

sym

bols

that

dem

onst

rate

kno

wle

dge

of c

onte

xts,

val

-

ues,

and

aes

thet

ics

that

com

mun

icat

ein

tend

ed m

eani

ng in

art

wor

ks(b

)

refle

ct o

n ho

w a

rt-w

orks

diff

er v

isua

lly,

spat

ially

, tem

pora

lly, a

nd fu

nctio

nally

,an

d de

scrib

e ho

w th

ese

arc

rela

ted

to

hist

ory

and

cultu

re(a

)

appl

y su

bjec

ts, s

ymbo

ls, a

nd id

eas

inth

eir

artw

orks

and

use

the

skill

s ga

ined

to s

olve

pro

blem

s in

dai

ly li

fe(b

)

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

desc

ribe

the

orig

ins

of s

peci

fic im

ages

and

idea

s an

d ex

plai

n w

hy th

ey a

reof

valu

e in

thei

r ar

twor

k an

d in

the

wor

k

of o

ther

s(c

)

eval

uate

and

def

end

the

valid

ity o

f

sour

ces

for

cont

ent a

ndth

e m

anne

r in

whi

ch s

ubje

ct m

atte

r, s

ymbo

ls, a

ndim

ages

are

use

d in

the

stud

ents

' wor

ksan

d in

sig

nific

ant w

orks

by

othe

rs(d

)

Vis

ual A

rts

Chi

tling

s

GR

AD

ES

K-4

GR

AD

ES

5-8

GR

AD

ES

9-12

, PR

OFI

CIE

NT

4.C

onte

nt S

tand

ard:

Und

erst

andi

ng th

e vi

sual

art

s in

rel

atio

n to

hist

ory

and

cultu

res

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

knot

s th

at th

e vi

sual

art

s ha

ve a

bot

h a

hist

ory

and

spec

ific

rel

atio

nshi

ps to

van

-R

is c

ultu

res

(a)

iden

tity

spec

ific

sto

rks

of a

rt a

s be

long

-in

g to

par

ticul

ar c

ultu

res,

tim

es, a

ndpl

ates

dem

onst

rate

hos

t his

tory

, cul

ture

, and

the

t isu

al a

rts

can

infl

uenc

e ea

ch o

ther

in m

akin

g an

d st

udyi

ng w

orks

of

art

Ach

ieve

men

t Sta

ndar

d:Si

inte

nts

know

and

com

pare

the

char

acte

rist

ics

ofar

twor

ks in

var

ious

era

s an

d cu

lture

s(a

)

desc

ribe

and

pla

ce a

var

iety

of

art o

bjec

tsin

his

tori

cal a

nd c

ultu

ral c

onte

xts

(b)

anal

yze,

des

crib

emd

dem

onst

rate

how

fact

ors

of ti

me

and

plac

e (s

uch

as c

li-m

ate,

res

ourc

es, i

deas

, and

tech

nolo

gy)

infl

uenc

e vi

sual

cha

ract

eris

tics

that

giv

em

eani

ng a

nd v

alue

to a

wor

k of

art

ft:

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

diff

eren

tiate

am

ong

a va

riet

y of

his

tori

cal

and

cultu

ral c

onte

xts

in te

rms

of c

hara

c-te

rist

ics

and

purp

oses

of

wor

ks o

f ar

t(a

)

desc

ribe

the

fian

ctio

n an

d ex

plor

e th

em

eani

ng o

f sp

ecif

ic a

rt o

bjec

ts w

ithin

vari

ed c

ultu

res,

tim

es, a

nd p

lace

s(h

)

anal

yze

rela

tions

hips

of

stor

ks o

fart

toon

e an

othe

r in

term

s of

his

tob.

, aes

thet

-ic

s, a

nd c

ultu

re, j

ustif

Yin

g co

nclu

sion

sm

ade

in th

e an

alys

is a

nd u

sing

suc

h co

n-cl

usio

ns to

info

rm th

eir

own

art m

akin

g

4

Vis

ual A

rts

Out

lines

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

anal

yze

and

inte

rpre

t am

vork

s fb

r re

la-

tions

hips

am

ong

form

, con

text

, pur

pos-

es, a

nd c

ritic

al m

odel

s sh

owin

g un

der-

stan

ding

of

the

wor

k of

cri

tics,

his

tori

-an

s, a

esth

etic

ians

, and

art

ists

(d)

anal

yze

com

mon

cha

ract

eris

tics

of v

isua

lar

ts e

vide

nt a

cros

s tim

e an

d am

ong

cul-

tura

l/eth

nic

grou

ps to

for

mul

ate

anal

y-se

s, e

valu

atio

ns, a

nd in

terp

reta

tions

ofm

eani

ng(c

)

Ir-

GR

AD

ES

K-4

GR

AD

ES

5-8

GR

AD

ES

9-12

, PR

OFI

CIE

NT

GR

AD

ES

9-12

, AD

VA

NC

ED

5.C

onte

nt S

tand

ard:

Ref

lect

ing

upon

and

asse

ssin

g th

e ch

arac

teri

stic

san

d m

erits

of

thei

r w

ork

and

the

wor

k of

oth

ers

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

unde

rsta

nd th

ere

are

vari

ous

purp

oses

fOr

crea

ting

wor

ks o

f vi

sual

art

(a)

desc

ribe

how

peo

ple'

s ex

peri

ence

sin

flu-

ence

the

deve

lopm

ent

of s

peci

fic

art-

wor

ks(b

)

unde

rsta

nd th

ere

are

diff

eren

t res

pons

esto

spe

cifi

c ar

twor

ks(c

)

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

com

pare

mul

tiple

pur

pose

sfo

r cr

eatin

g

wor

ks o

f ar

t(a

)

anal

yze

cont

empo

rary

and

his

tori

cm

eani

ngs

in s

peci

fic

artw

orks

th:o

ugh

cultu

ral a

nd a

esth

etic

inqu

iry

(b)

desc

ribe

and

com

pare

a v

arie

ty o

find

i-

vidu

al r

espo

nses

to th

eir

own

ameo

rks

and

to a

rtw

orks

fro

m v

ario

us e

ras

and

cultu

res

(c)

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

iden

tify

inte

ntio

ns o

f th

ose

crea

ting

art-

wor

ks, e

xplo

re th

e im

plic

atio

ns o

fvar

i-

ous

purp

oses

, and

just

ify

thei

r an

alys

es

of p

urpo

ses

in p

artic

ular

wor

ks(a

)

desc

ribe

mea

ning

s of

art

wor

ks b

y an

a-ly

zing

how

spe

cifi

c w

orks

are

crea

ted

and

how

they

rel

ate

to h

isto

rica

land

cultu

ral c

onte

xts

(b)

refl

ect a

naly

tical

ly o

n va

riou

sin

terp

reta

-

tions

as

a m

eans

for

und

erst

andi

ngan

d

eval

uatin

g w

orks

of

visu

al a

rt(c

)

Ach

ieve

men

t Sta

ndar

d:St

uden

ts

corr

elat

e re

spon

ses

to w

orks

ofv

isua

l art

with

var

ious

tech

niqu

es f

orco

mm

uni-

catin

g m

eani

ngs,

idea

s, a

ttitu

des,

view

s,

and

inte

ntio

ns(d

)

Vis

ual A

rts

Out

lines

GR

AD

ES

K-4

GR

AD

ES

5-8

GR

AD

ES

9-12

, PR

OFI

CIE

NT

6.C

onte

nt ."

,ianc

iard

:M

akin

g co

nnec

tions

bet

wee

n vi

sual

art

s an

d ot

her

disc

iplin

es

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

unde

rsta

nd a

nd u

se s

imila

ririe

s an

d di

ffe

renc

es b

etw

een

char

acte

ristic

s of

the

visu

al a

rts

and

othe

r ar

ts d

isci

plin

es

iden

tify

conn

ectio

ns b

etw

een

the

visu

alar

ts a

nd o

ther

dis

cipl

ines

in th

e cu

rric

u-

lum

(h)

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

com

pare

the

char

acte

ristic

s of

wor

ks in

two

or m

ore

art f

orm

s th

at s

hare

sim

ilar

subj

ect m

atte

r, h

isto

rical

per

iods

, or

cul-

tura

l con

text

(a)

desc

ribe

way

s in

whi

ch th

e pr

inci

ples

and

subj

ect m

atte

r of

oth

er d

isci

plin

esta

ught

in th

e sc

hool

arc

inte

rrel

ated

with

the

visu

al a

rts

( b)

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

com

pare

the

mat

eria

ls, t

echn

olog

ies,

med

ia, a

nd p

roce

sses

of t

he v

isua

l art

s

with

thos

e of

oth

er a

rts

disc

iplin

es a

sth

ey a

re u

sed

in c

reat

ion

and

type

s of

anal

ysis

(a)

com

pare

cha

ract

eris

tics

of v

isua

l art

sw

ithin

a p

artic

ular

his

toric

al p

erio

d or

styl

e w

ith id

eas,

issu

es, o

r th

emes

in th

e

hum

aniti

es o

r sc

ienc

es(h

)

GR

AD

ES

9-12

, AD

VA

NC

ED

Ach

ieve

men

t Sta

ndar

d:S

tude

nts

synt

hesi

ze th

e cr

eativ

e an

d an

alyt

ical

prin

cipl

es a

nd te

chni

ques

of t

he v

isua

l

arts

and

sel

ecte

d ot

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APPENDIX 3

This statement briefly spells out the goals of the standards anddescribes the context from which they have emerged. Readers are

encouraged to duplicate this summary for distribution to all those who

can help implement the standards.

Summary Statement: Education Reform, Standards, and the Arts

These National Standards for Arts Education arc a statement of what every young Americanshould know and be able to do in four arcs disciplinesdance, music, theatre, and the visual arts.Their scope is grades K-12, and they speak to both content and achievement.

The Reform Context. The Standards are one outcome of the education reform effort gener-ated in the 1980s, which emerged in several states and attained nationwide visibility with the pub-lication of A Nation at Risk in 1983. This national wake-up call was powerfully effective. Sixnational education goals were announced in 1990. Now there is a broad effort to describe, specifi-cally, the knowledge and skills students must have in all subjects to fulfill their personal potential,to become productive and competitive workers in a global economy, and to take their places as

adult citizens. With the passage of the Goals 2000: Educate America Act, the national goals arewritten into law, naming the arts as a core, academic subjectas important to education asEnglish, mathematics, history, civics and government, geography, science, and foreign language.

At the same time, the Act calls for education standards in these subject areas, both to encour-age high achievement by our young people and to provide benchmarks to determine how well

they are learning and performing. In 1992, anticipating that education standards would emerge as

a focal point of the reform legislation, the Consortium of National Arts Education Associations

successfully approached the U.S. Department of Education, the National Endowment for theArts, and the National Endowment for the Humanities for a grant to determine what the nation'sschool children should know and be able to do in the arts. This document is the result of anextended process of consensus-building that drew on the broadest possible range of expertise andparticipation. The process involved the review of state-level arts education frameworks, standards

from other nations, and consideration at a series of national forums.The Importance of Standards. Agreement on what students should know and be able to do

is essential if education is to be consistent, efficient, and effective. In this context, Standards for

arts education are important for two basic reasons. First, they help define what a good education

in the arts should provide: a thorough grcnding in a basic body of knowledge and the skills

required both to make sense and make use of the arts disciplines. Second, when states and school

districts adopt these Standards, they are taking a stand for rigor in a part of education that has toooften, and wrongly, been treated as optional. This document says, in effect, "an education in the

arts means that students should know what is spelled out here, and they should reach clear levels

of attainment at these grade levels."These Standards provide a vision of competence and educational effectiveness, but without cre-

ating a mold into which all arts programs must tit. The Standards are concerned with the results

(in the form of student learning) that come from a basic education in the arts, not with bow those

results ought to be delivered. Those matters are for states, localities, and classroom teachers to

decide. In other words, while the Standards provide educational goals and not a curriculum, they

can help improve all types of arts instruction.The Importance of Arts Education. Knowing and practicing the arts disciplines are funda-

mental to the healthy development of children's minds and spirits. That is why, in any civiliza-

tionours includedthe arts are inseparable from the very meaning of the term "education."

We know from long experience that no one can claim to be truly educated who lacks basic know:s

edge and skills in the arts. There are many reasons for this assertion:

Appendix 3 Summary Statement: Edreatine Astern, Stamdarde, and tits Arls

-'

A The arts are worth studying simply because of what they arc. Their impact cannot be denied.

Throughout history, all the arts have served to connect our imaginations with the deepest

questions of human existence: Who am I? What must I do? Where ant I going? Studying

responses to those questions through dine and across culturesas well as acquiring the tools

and knowledge to create one's own responsesis essential not only to understanding life but

to living it fully.

The arts are used to achieve a multitude of human purposes: to present issues and ideas, to

teach or persuade, to entertain, to decorate or please. Becoming literate in the arts helps stu-

dents understand and do these things better.

The arts are integral to every person's daily life. Our personal, social, L.c.enomic, and cultural

environments are shaped by the arts at every turnfrom the design of the child's breakfast

placemat, to the songs on the commuter's car radio, to the family's night-time TV drama, to

the teenager's Saturday dance, to the enduring influences of the classics.

The arts offer unique sources of enjoyment and refreshment for the imagination. They explore

relationships between ideas and objects and serve as links between thought and action. Their

continuing gift is to help us see and grasp life in new ways.

There is ample evidence that the arts help students develop the attitudes, characteristics, and

intellectual skills required to participate effectively in today's society and economy. The arts

teach self-discipline, reinforce self-esteem, and foster the thinking skills and creativity so valued

in the workplace. They teach the importance of teamwork and cooperation. They demonstrate

the direct connection between study, hard work, end high levels of achievement.

The Benefits of Arts Education. Arts education benefits the student because it cultivates the

whole child, gradually building many kinds of literacy while developing intuition, reasoning,

imagination, and dexterity into unique forms of expression and communication. This process

requires not merely an active mind but a trained one. An education in the .-.ens benefits society

because students of the arts gain powerful tools for understanding human experiences, both past

and present. They learn to respect the often very different ways others have of thinking, working,

and expressing themselves. They learn to make decisions in situations where there are no standard

answers. By studying the arts, students stimulate their natural creativity and learn to develop it to

meet the needs of a complex and competitive society. And, as study and competence in the arts

reinforce one other, the joy of learning becomes real, tangible, and powerful.

The Arts and Other Core Subjects. The Standards address competence in the arts disciplines

firs* of all. But that competence provides a firm foundation for connecting arts-related concepts

and facts across the art forms, and from them to the sciences and humanities. For example, the

intellectual methods of the arts are precisely those used to transform scientific disciplines and dis-

coveries into everyday technology.What Must We Do? The educational success of our children depends on creating a society

that is both literate and imaginative, both competent and creative. That goal depends, in turn, on

providing children with tools not only for understanding that world but for contributing to it and

making their own way. With at the arts to help shape students' perceptions and imaginations, our

children stand every chance of growing into adulthood as culturally disabled. We must not allow


that to happen.Without question, the Standards presented here will need supporters and allies to improve how

arts education is organized and delivered. They have the potential to change education policy atall levels, and to make a transforming impact across the entire spectrum of education.

But only if they are implemented.Teachers, of course, will be the leaders in this process. In many places, more teachers with cre-

dentials in the arts, as well as better-trained teachers in general, will be needed. Site-based man-agement teams, school boards, state education agencies, state and local arts agencies, and teachereducation institutions will all have a part to play, as will local mentors, artists, local arts organiza-

tions, and members of the comm .mity. Their support is crucial for the Standards to succeed. Butthe primary issue is the ability to bring together and deliver a broad range of competent instruc-tion. All else is secondary.

In the end, truly successful implementation can come about only when students and theirlearning are at the center, which means motivating and enabling them to meet the Standards.With a steady gaze on that target, these Standards can empower America's schools to makechanges consistent with the best any of us can envision, for our children and for our society.

Appeallx 3 Summery Statement: Edicatlen Net erm, Stnitlards, and tee Artsr)c-

j,-Ut.41

APPENDII:

O11

I.

U)

Coordinating Council

American Alliance for Theatre & Education

Barbara Salisbury Wills, Executive Secretary

Kim Wheetley, Immediate Past President

National Art Education Association

Thomas Hatfield, Executive DirectorJames Clarke, Immediate Past President

Music Educators National Conference

John J. Mahlmann, Executive DirectorDorothy Straub, President

National Dance Association

Rebecca Hutton, Executive DirectorKathryn Ellis, President

am

Appendix 4 Centribeters and Eedersers

Members of the Writing Task Forces

Dance Task ForceNational Dance Association

Rayma Beal

Mary Alice BrennanSarah HilsendagerDianne S. HoweRebecca HuttonLuke Kahlich

Mary Maitland Kimball, chairSue Stinson

Music Task ForceMusic Educators National Conference

June HinckleyCharles HofferPaul Lehman, chairCarolynn LindemanBennett ReimerScott ShulerDorothy Straub

Theatre Task ForceAmerican Alliance for Theatre & Education, in cooperation with theEducational Theatre Association

E. Frank BluesteinNancy PerzanLaura Gardner SalazarKent Seidel

Kim WheetleyLin Wright, chair

Visual Arts Task ForceNational Art Education Association

Carmen ArmstrongJames M. ClarkeMac Arthur GoodwinThomas A. HatfieldLarry Peen°Jeanne Rollins, chair

State Arts Consultants Task Force

Jeanne BelchcffJoe GilesKrin PerryJoan Peterson, L.c- .hairFrank Philip, co-chairJames Tucker

Nat sail Standarts tar Arts Ella cation

National Committee for Standards in the Arts

A. Graham Down, Council for Basic Education, chair

Gordon M. Ambach, Council of Chief State School OfficersLibby Chiu, Boston ConservatoryBruce Christensen, Brigham Young UniversityThad Cochran, U.S. Senator (R Miss.)Glenn Connor, Principal, Meeker Elementary School, Ames, IA

James F. Cooper, Newington-Cropsey FoundationJames Czarnecki, University of NebraskaDenis Doyle, Hudson InstituteLeilani Lattin Duke, The Getty Center for Education in the ArtsHarriet Fulbright, Center for Arts in the Basic CurriculumKeith Geiger, National Education AssociationEdward Gero, Actor, Shakespeare Theatre; Director of the Ensemble, George Mason UniversityMichael Greene, National Academy of Recording Arts Sc Sciences, Inc.

Richard S. Gurin, Binney & Smith, Inc.Samuel Hope, National Office for Arts Accreditation in Higher EducationC. James Lawler, C. James Lawler AssociatesBarbara Laws, Teacher, Norfolk (VA) Public Schools

Ann Lynch, Humana Hospital SunriseArturo Madrid, Trinity UniversityRoger Mandle, Rhode Island School of DesignEllis Marsalis, University of New OrleansDave Master, Teacher, La Puente Valley Regional Occupation Program; Rowland High School,

Rowland Heights, CAKonrad Matthaei, United Negro College FundMajor Owens, U.S. House of Representatives (D N.Y.)

Joseph Polisi, The Juilliard SchoolMilton Rhodes, Spoleto FestivalMalcolm L. Richardson, l resident's Committee on the Arts and HumanitiesShirley Ririe, Ririe-Woodbury Dance CompanyAlbert Shanker, American Federation of TeachersRichard Wendorf, Houghton Library, Harvard UniversityJames D. Wolfensohn, The John F. Kennedy Center for the Performing Arts

Appendix 4 Citributors ani Endorsersr,

lett

Endorsers

The following professional organizations join with the Consortium of National Arts

Education Associations in promoting the vision of K-12 arts education as described in the

National Standards for Arts Education:

Alliance for Curriculum ReformAmerican Arts AllianceAmerican Association of School AdministratorsAmerican Choral Directors AssociationAmerican Council for the ArtsAmerican Federation of Musicians of the U.S. and Canada

American Guild of English Handbell RingersAmerican Music ConferenceAmerican Symphony Orchestra LeagueAssociation of Art Museum DirectorsAssociation of Teacher EducatorsCapezio/Ballet Makers Dance Foundation

Chorus AmericaCollege Band Directors National Association

The College BoardCouncil for Basic EducationEducational Theatre AssociationFuture Business Leaders of AmericaPhi Beta Lambda, Inc.

Getty Center for Education in the ArtsGuitar and Accessories Marketing AssociationIndustrial Designers Society of AmericaInternational Association of Electronic Keyboard Manufacturers

The International Network of Performing and Visual Arts Schools

John F. Kennedy Center for the Performing ArtsMeet the Composer, Inc.Music Distributors AssociationMusic Industry ConferenceNational Academy of Recording Arts & Sciences, Inc.National Assembly of Local Arts Agencies (NALAA)National Assembly of State Arts Agencies (NASAA)National Association of Band Instrument Manufacturers

National Association of Elementary School PrincipalsNational Association of Music MerchantsNational Association for Music Therapy, Inc.National Association of Pastoral Musicians, Music Education Division

National Association of School Music DealersNational Council of Music Importers and ExportersNational Education AssociationNational Federation of Music ClubsNational Movement Theatre AssociationNational Music Publishers' Association, Inc.

National Staldardo for Arts Education

National Piano FoundationNational School Orchestra AssociationNorth American Montessori Teachers' AssociationNorth American Steel Band AssociationOPERA AmericaPercussive Arts SocietyPiano Manufacturers Association InternationalSociety for the Preservation and Encouragement of Barber Shop Quartet Singing in America, Inc.Sweet Ade lines InternationalUnited States Amateur Ballroom Dancers AssociationThe Voice Care NetworkYoung Audiences, Inc.

Supporters

The following professional organizations have added their support for the goals and idealsimplied in the National Standards for Arts Education:

American Association of MuseumsAmerican Bandmasters AssociationAmerican Orff-Schulwerk AssociationArts & Business Council, Inc.ASSITEJ/USA (International Association of Theatre for Children and Young People/United States

Center)Center for Civic EducationCollege Art Association of AmericaCorporation for Public BroadcastingDance Notation BureauDance/USAInternational Council of Fine Arts DeansInternational Reading AssociationMusic Publishers' AssociationMusic Teachers National AssociationNational Alliance for Media Arts & CultureNational Alliance for Musical TheatreNational Association of College Wind and Percussion InstructorsNational Association of Schools of Art and DesignNational Association of Schools of DanceNational Association of Schools of MusicNational Association of Schools of TheatreNational Band AssociationNational Council for the Social StudiesNational Council of Teachers of MathematicsNational League of CitiesNational School Boards AssociationVery Special Arts

Appnalla 4 Cauttlintars and Endorsors4

A.

ADDITIONS TO ENDORSER/SUPPORTER LIST:

In addition to the organizations listed on pages 140 and 141, the following professional

organisations have offered their endorsement or support of the National Arts Standards

National Middle School Association - Supporter

The National PTA Supporter

Society of North American Goldsmiths Endorser

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F27

The National Standards for Arts Education were developed by the

Consortium of National Arts Education Associations under the guidance of theNational Committee for Standards in the Arts. The Standards were prepared

under a grant from the U.S. Department ofEducation, the National Endowment

for the Arts, and the National Endowment for the Humanities.

The National Standards for Arts Education are written for all students. The Standards

affirm that a future worth having depends on being able to construct a vital relationship

with the arts, and that doing so, as with any subject, is a matter of discipline and study.

The Standards spell out what every young American should know and be able to do in

the arts. The Standards say that students:

Should be able to communicate at a basic level in the four arts

disciplinesdance, music, theatre, and the visual arts

Should be able to communicate proficiently in at least one art

form

Should be able to develop and present basic analyses of works of

art

Should have an informed acquaintance with exemplary works of

art from a variety of cultures and historical periods

Should be able to relate various types of arts knowledge and skills

within and across the arts disciplines

CONSORTIUM OF NATIONAL ARTS EDUCATION ASSOCIATIONS

AMERICAN ALLIANCE FOR THEATRE & EDUCATION

MUSIC EDUCATORS NATIONAL CONFERENCE

NATIONAL ART EDUCATION ASSOCIATION

NATIONAL DANCE ASSOCIATION

ISBN 1 -56545-036- 1

MIFIr4-1 3 MUSICmz z EDUCATORSNATIONAL CONFERENCE

LU C") 1806 toted Fulton Drive

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Roston. 4Vtrginta22091

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