rockwood school district band curriculum grades 6 hs jazz band.pdf · 5/11/2006 · recognize...

ROCKWOOD

SCHOOL

DISTRICT

BAND CURRICULUM

GRADES 6 – 12

“We do whatever it takes to ensure all students realize their potential”

Approved by Rockwood School District Board of Education

May 11, 2006

Revised February, 2008

Revised November 21, 2009

Revised March 10, 2010

1

Index

Rockwood School District Mission Statement ..............................................................4

Rockwood School District Learner Expectations ..........................................................5

Differentiation ................................................................................................................6

Basis and Essential Skills / Equity in Band/ MSIP Codes .............................................7

Data Driven Teaching Learning Model .........................................................................8

Band Rationale ...............................................................................................................9

Band Goals for Graduates ............................................................................................10

Implementation Guidelines .........................................................................................11

Expectations for Band Performance ............................................................................12

Care of Band Instruments .......................…………………………………………….12

Core Conceptual Objectives for Grades 6-12 .........………………………………….13

Band Scope and Sequence ...........................................................................................14

Middle School Band Curriculum .................................................................................26

Middle School Band Course Map ................................................................................27

Middle School Band Course Description Guide ..........................................................28

Grade Six Beginning Band ..........................................................................................29

Grade Seven Cadet Band .............................................................................................57

Grade Eight Concert Band ...........................................................................................78

High School Band ........................................................................................................99

High School Band Course Map .................................................................................100

High School Band Course Description Guide ...........................................................101

High School Concert Band ........................................................................................104

High School Symphonic Band ...................................................................................127

High School Jazz Band ..............................................................................................148

High School Guitar I ..................................................................................................170

High School Guitar II.................................................................................................194

Weighted Grade Advanced Placement Music Theory ...............................................218

Appendix ....................................................................................................................229

Fine Arts Resource Selection Evaluation Checklist ..................................................230

Rockwood Writing Guidelines ..................................................................................232

Missouri Show-Me Standards ....................................................................................235

Integrated Fine Arts Vocabulary ................................................................................243

Graphic Organizers ....................................................................................................252

Attendance Procedure for Secondary Music Programs .............................................264

2

ACKNOWLEDGEMENTS

The writing team gratefully acknowledges those parents, patrons, students, teachers,

and administrators who provided direction and feedback to the document at every stage

of its development.

Arts Curriculum Committee In-depth Study 2005/06

Middle School Writing Committee Band Teachers Lisa Blumhagen, Marvin Medcalf, John Menner

High School Writing Committee Band Teachers John Arata, Traci Bolton, Brad Balog, Matt Frederickson, Stan Minor, Scott Villines

Parent Review Committee

Toni Disano – Marquette High School

Donna Miller – Rockwood Summit High School

Usha Natarajan – Eureka High School

Janice Serati – Rockwood South Middle School

Mary Willis – Rockwood Valley Middle School

Student Review Committee

Luci Disano – Marquette High School

Shyam Natarajan – Eureka High School

Claire Serati – Rockwood South Middle School

Matt Willis – Rockwood Valley Middle School

Department of Curriculum and School Leadership

Dr. Kathy Peckron – Acting Superintendent

Dr. Cheryl Venet – Coordinator of Fine Arts

Support Staff

Mary Hunt – Fine Arts Department Secretary

3

ROCKWOOD SCHOOL DISTRICT MISSION STATEMENT

All students, with support from the community, parents, and staff, will be provided a dynamic

curriculum within a safe and caring environment so they will develop the skills, abilities, and

attitudes to be lifelong learners and citizens of good character who are prepared to contribute to

an ever-changing, global society.

4

ROCKWOOD SCHOOL DISTRICT LEARNER EXPECTATIONS

ROCKWOOD STUDENTS

ARE LEARNERS:

•With positive self-worth •Who demonstrate critical

skills. thinking and problem-solving skills

in all areas.

•Who demonstrate verbal, •Who demonstrate the

quantitative, cultural, and adaptability necessary for

technical literacy. life in a changing world.

•Who can utilize community •Who think and express

resources to foster continual themselves creatively and

growth and development. appreciate the creativity of

others.

•With skills and attitudes •Who have a broad

necessary to become self- familiarity with the world

directed, life-long learners. of work to develop and

enhance their career

potentials and opportunities.

•Who understand the value of •Who understand and

effort in realizing their full appreciate the elements

educational, vocational, civic, and principles of the arts

and personal potential. and their influence on all areas

of life.

•Who understand the principles •Who understand and

of physical and emotional demonstrate individual, social,

health and the importance of and civic responsibility, including

maintaining them. a global concern, tolerance, and

respect for others.

•With effective skills in written •Who demonstrate individual

and oral communication. and social ethics.

5

DIFFERENTIATION

The Band Department in the Rockwood School District recognizes that differentiation is an

important process that teachers use to enhance the learning of all students, building on their

individual strengths and level of knowledge. The Band Curriculum was written to facilitate the

incorporation of Differentiation strategies to enhance student learning. The Facilitating

Activities of each course provide flexibility to address the individual learning needs of all

students.

The chart below provides a comparison between the traditional classroom and the Differentiated

Classroom.

Traditional Classroom Differentiated Classroom

Student differences are masked or acted

upon when problematic

Assessment is most common at the end of

learning to see ―who got it‖

A relatively narrow sense of intelligence

prevails

A single definition of excellence exists

Student interest is infrequently tapped

Relatively few learning profile options are

taken into account

Whole-class instruction dominates

Coverage of texts and curriculum guides

are the focus of learning

Mastery of facts and skills out-of-context

are the focus of learning

Single option assignments are the norm

Time is relatively inflexible

A single text prevails

Single interpretations of ideas and events

may be sought

The teacher directs student behavior

The teacher solves problems

The teacher provides whole-class standards

for grading

A single form of assessment is often used

Student differences are studied as a basis

for planning

Assessment is ongoing and diagnostic to

understand how to make instruction more

responsive to learner need

Focus on multiple forms of intelligence is

evident

Excellence is defined in large measure by

individual growth from a starting point

Students are frequently guided in making

interest-based learning choices

Many learning profile options are provided

for students

Many instructional arrangements are used

Student readiness, interest, and learning

profile shape instruction

Use of essential skills to make sense of and

understand key concepts and principles is

the focus of learning

Multi-option assignments are frequently

used

Time is used flexibly in accordance with

student need

Multiple materials are provided

Multiple perspectives on ideas and events

are routinely sought

The teacher facilitates students‘ skills at

becoming more self-reliant learners

Students help other students and the

teacher solve problems

Students work with the teacher to establish

both whole-class and individual learning

goals

Students are assessed in multiple ways

6

BASIC AND ESSENTIAL SKILLS

BASIC SKILLS

Those skills which lay the basis/foundation for all future learning:

Reading

Writing

Math

Problem solving

Working with others

Analytical skills

Effective communication

ESSENTIAL SKILLS

Those skills which are vital to future learning (specific to each content area):

Specific skills listed by grade level/course

Scope/sequence

Critical to mastery of the course

Equity in Teaching Band

Band teachers create a positive classroom environment in which all students are accepted and

taught mutual respect. Teachers model sensitivity to differences in race, gender, ethnicity, and

ability/disability.

Teachers use a variety of teaching styles consistent with the learning styles of the cultural and

ethnic groups represented in their classrooms. This principle is not different from the principle

of accommodating a wide variety of learning styles. Different racial, ethnic, and cultural groups

have different learning styles and competent teachers provide for these learning styles as well as

other special learning needs in multicultural settings.

MSIP CODES

In order to promote equity, the Rockwood Department of Curriculum and School Leadership

uses the following codes to identify equity, use of technology, and research skills in all

curriculum documents:

GE = Gender Equity

RE = Racial/Ethnic Equity

T = Technology Skills

R = Research/Information Processing

All content and skills of a curriculum document are classified as either

BASIC or ESSENTIAL according to the definitions set forth by the Rockwood

Curriculum and Instruction Department.

7

Departm ent of C urriculum and School Leadership

Rockw ood School D istrict 2004

8

ROCKWOOD BAND RATIONALE

The Rockwood band program provides the opportunity for students to develop the

technical performance skills, knowledge, and understanding of music necessary to make

music a part of their lives. Students will develop the critical thinking skills at every level

of band education, which will enable them to appreciate music on an independent level

throughout life. The critical thinking developed through band training will enhance the

development of thinking skills needed in other academic areas.

The band program assists students in developing knowledge of our musical heritage,

which is necessary to become a discerning listener and/or performer. Students learn to

make knowledgeable and discriminating judgments about the music that they hear.

Training received in the Rockwood band program will enable the students to feel

confident in their abilities to be a part of the community as amateur performers. They

will be prepared, should they choose music as a career, to enter a professional training

program in a college or conservatory. Aesthetic education gained throughout all levels of

participation in the program will enhance the individual‘s appreciation of the arts for life.

9

ROCKWOOD BAND GOALS FOR GRADUATES

Graduates of the Rockwood Band Program will:

Recognize through aesthetic awareness that music is a part of all humanity.

Acquire skills necessary for life-long music learning and application.

Prepare and present a musically proficient performance, alone or in an ensemble.

Make knowledgeable and discriminating judgments about music.

Enjoy and appreciate musical performances within their historical and cultural context.

10

IMPLEMENTATION GUIDELINES AND EXPECTATIONS

This document is externally aligned with the Missouri Show-Me Standards. There is

internal alignment between the objectives, facilitating activities, and assessments.

Teachers follow the Rockwood Data-Driven Teaching and Learning Model which is on

page 8 of this curriculum guide.

The band curriculum presents broad, recurring Core Conceptual Objectives (CCOs) along

with the specific, essential content and process skills taught at each grade or course level.

Teachers pre-assess to determine students‘ prior knowledge, and then differentiate

instruction to provide appropriate challenge for each student. The essential content and

skills are presented in student-friendly language as Learning Targets of daily instruction.

Essential Understandings place student learning in the context of life beyond schooling.

Facilitating Activities and Differentiation Suggestions offer teachers various models for

teaching the knowledge and skills. Teachers are expected to give students specific

formative feedback during the learning process. Students and teachers use Scoring

Guides to describe and improve student achievement. Required Application Level

Assessments (ALAs) provide evidence of student learning.

This is a living, changing, document that will be reviewed and revised annually. Teacher

feedback is essential to this process. Therefore, teachers are encouraged to record

observations and comments about the curriculum as well as ideas for additions and

deletions. Throughout the course of the year, teachers should document demonstrations

of each ALA to be used in the refinement of scoring guides and the development of

consistent scoring.

11

Expectations for Band Performance, Grades 6-12

Students will:

Wear appropriate concert attire as prescribed by director

Arrive promptly at designated time

Bring instruments, music and any other required equipment

Demonstrate proper concert etiquette: (HC 1E)

Be seated and ready to play

Listen to others play

Do not chew gum

Do not talk

Follow conductor‘s directions, cues, and baton (PP 2E)

Watch/listen to other players (PP 1, AP 2)

Expectations for Care of Band Instruments, Grades 6-12, GLE PP 2A

Students will handle, clean, and store the instrument by properly:

Cleaning out all condensation from body and mouthpiece of instrument

Keeping all corks, slides, valves, and other moving parts clean and lubricated

Removing from and replacing the instrument in its case

Cleaning and polishing the instrument

Keeping the instrument in good repair and playing condition with all moving parts

in good working order

12

CORE CONCEPTUAL OBJECTIVES FOR GRADES 6-12 BAND

Core Conceptual Objectives in the band curriculum remain constant for grades 6-12

while content knowledge and techniques spiral to provide continuous refinement of basic

music skills. Components of musical performance can be demonstrated at levels ranging

from novice through professional. The Scope and Sequence Chart illustrates the way in

which knowledge and technical skills build within each CCO. Teachers select music

literature that is matched to levels of proficiency as the vehicle for student growth in

reading skills and performance skills of tone-intonation, technique-articulation, and

expression-musicianship. The level of difficulty is determined by the repertoire chosen at

each grade level. Asterisks indicate alignment with Show-Me Standards for Missouri

Schools.

Core Conceptual Objectives:

I. Students will demonstrate instrumental music performance skills (expression,

technique, repertoire, imitation, group playing, improvisation, and composition) through

a varied repertoire.

GLE: PP 2A-E, PP3, PP4, grades 6-12

A. Performance Skills *FA1, FA2, G2.5, G4.6

II. Students will apply knowledge and skills to read and notate music.

GLE: EM 1A-E, grades 6-12

A. Elements of Music *FA1, FA2, G2.5, G1.5

III. Students will analyze and evaluate music and musical performances.

GLE: AP1 A-B, AP2 A-B, grades 6-12

A. Musical Forms *FA1, FA2, FA3, G1.5, G1.6, G2.5

B. Analysis: *FA2, FA3, G1.5, G1.6, G2.4, G3.1

IV. Students will make connections between music and other subject areas.

GLE: IC1 A-B, grades 6-12

A. Integration: *FA4, G1.9, G3.3

V. Students will demonstrate knowledge of music history.

GLE: HC1 A-E, grades 6-12

A. Music History: *FA5, G1.9, G3.3

13

Scope and Sequence

of

Knowledge and Skills

14

Band Scope and Sequence of Knowledge and Skills for Grades 6-12

Content will be assessed at the grade level where it is indicated on this chart. It may be introduced earlier and reviewed/reinforced in

subsequent courses/grade levels.

Grade

Course

6th

Grade Band 7th

Grade Band 8th

Grade Band High School I

Concert

High School

Symphonic Band

I.A. Performance

Skills

Utilize characteristic

position and posture

Develop characteristic

embouchure for

woodwind and brass

Use characteristic grip

for percussion

Demonstrate singing

skills in an appropriate

range

Utilize breathing skills:

Two measure phrase

without breath at

moderato in 4/4 time

demonstrating

awareness of 4 measure

phrase structure

Perform Grade 1

Literature

Tune instrument to match

a reference pitch

Use steady air speed for

woodwind and brass

Perform consistent

execution of stroke for

percussion

Demonstrate singing

skills and match pitch in

an appropriate range


Four measure phrase at

moderato in 4/4 time

without breath

demonstrating awareness

of a variety of phrase

structures

Perform Grade 1.5

Literature

Perform with steady

tone at various dynamic

levels (piano to forte)

Perform with consistent

execution of stick and

mallet placement for

percussion

Demonstrate singing

skills, match pitch in an

appropriate range with

dynamic control


Six measure phrase at

¾ time without breath

demonstrating

awareness of a variety

of phrase structures

Perform Grade 2

Literature

Manipulate pitch, tone,

and dynamics to match

and balance section on

instrument

Demonstrate proper tone

quality, pitch accuracy

and intonation through

singing in unison and in

harmony with expression

Perform Grade 3

Literature

Manipulate pitch, tone, and

dynamics to match and

balance ensemble on

instrument

Demonstrate proper tone

quality, pitch accuracy,

intonation and dynamic

contrast through singing in

unison and in harmony with

expression

Perform Grade 4 Literature

15

Grade

Course

6th

Grade Band 7th

Grade Band 8th


Concert

High School

Symphonic Band

(I.A. Performance

Skills Continued)

Play note patterns in

quarter notes MM=100,

scale patterns, thirds,

arpeggio, tonic triad

and dominant 7th

Perform Rhythms:

whole, half, quarter,

eighth, dotted quarter,

dotted half and

corresponding rests

Major Keys: Bb, Eb, F

Minor Keys: g

Chromatic: 1 octave

Echo five-note

combinations of half-

note and quarter-note

rhythmic and melodic

patterns of increasing

complexity on

classroom instruments


eighth notes MM=60,

scale patterns, thirds,

arpeggio, tonic triad and

dominant 7th

Perform Rhythms: Eighth

– quarter - eighth note

combinations, four

sixteenth notes, eighth

note triplets, eighth rest

on the beat, two sixteenth

- eighth note and eighth -

two sixteenth notes

combinations, duple

patterns in simple

syncopation

Major Keys: Ab, C

Minor Keys: c

Chromatic: 1.5 octave for

brasses, 2 octaves for

woodwinds

Echo half-note, quarter-

note, and eighth-note


patterns of increasing

complexity on classroom

instruments from notes of

major tonalities


sixteenth notes MM=

60, extended 6th

grade

and 7th

grade patterns

Perform Rhythms:

Quarter note triplets,

one sixteenth - one

eighth - one sixteenth

note combinations,

three eighth notes,

dotted eighth –

sixteenth and sixteenth

- eighth combinations

Major Keys: Db

Minor Keys: d, f

Chromatic: 2 octave

Echo half-note, quarter-

note, eighth-note, and

sixteenth-note rhythmic

and melodic patterns of

increasing complexity

on classroom

instruments from notes

of major and minor

tonalities


sixteenth notes MM=72

Perform Rhythm

Counting: Eighth and

Sixteenth combinations,

ties on the beat

Major Keys: G, D, A, E

Minor Keys: a, e, b, f#,

c#, b flat.

Chromatic: Full-Range

Play by ear simple

melodies (4-6 pitches) on

a melodic instrument or

simple accompaniments

on a harmonic instrument

Play note patterns in sixteenth

notes MM=88

Perform Rhythm Counting:

Sixteenth notes and rests in

compound meters

Major Keys: B, Gb

Minor Keys: g#, d#

Play by ear simple melodies

(6-8 pitches) on a melodic

instrument or simple

accompaniments on a

harmonic instrument

16

Grade

Course

6th

Grade Band 7th

Grade Band 8th


Concert

High School

Symphonic Band

(I.A. Performance

Skills Continued)

Create and perform a

rhythm by combining

half notes, quarter

notes, and eighth notes

Improvise simple

rhythmic variations in a

consistent style and

meter

Compose or write a

rhythm by combining

half notes, quarter

notes, and eighth notes

Perform beginning level

time signatures,

dynamics, articulations,

and tempo markings on

instrument (see

Elements of Music)

found in Grade 1

Literature


rhythmic variation on a

melody

Improvise simple

rhythmic variations in a

consistent meter with

varying style

Compose or write a

rhythmic variation on a

melody

Perform intermediate

level time signatures,


and tempo marking on

instrument (see Elements

of Music) found in Grade

1.5 Literature


two measure melody

Improvise simple


variations in a

consistent style and

meter

Compose or write a two

measure melody within

given guidelines

Express, interpret, and

shape a musical phrase

Perform advanced level

time signatures,



instrument (see

Elements of Music)

found in Grade 2

Literature


melodic variation

Improvise simple


variations in a consistent

meter with varying style

Compose or write a

melodic variation

Use tempo to express,

interpret, shape a musical

phrase

Perform various

combinations of simple or

compound meter,

dynamics, articulations


instrument (see Elements

of Music) found in Grade

3 Literature

Create and perform a melody

and melodic variation based

upon a given harmony

Compose or write a melody

based upon a given harmony

Use note emphasis and note

length to interpret a musical

phrase

Perform various combinations

of simple or compound meter,

dynamics, articulations (at

faster tempos), and tempo

markings on instrument (see

Elements of Music) found in

Grade 4 Literature

17

Grade

Course

6th

Grade Band 7th

Grade Band 8th


Concert

High School

Symphonic Band

II.A. Elements of

Music

Interpret standard

duration and meter in

4/4, ¾, 2/4 time

signatures

Apply standard

symbols, terms, and

notation to musical

performance:

Dynamics: p, mf, f,

diminuendo/

decrescendo, crescendo

Articulations:

Accent, staccato,

characteristic tonal note

attacks, slurs

Tempo Markings:

Andante, moderato,

allegro, ritardando,

maestoso

Symbols and Terms:

Bar line, bass clef,

breath mark, duet,

double bar line,

fermata, flat, ledger

line, measure repeat,

multiple measure rests,

sharp, staff, tie, treble

clef, solo, soli, trio, tutti

Interpret standard

duration and meter in 6/8

time signature

Apply standard symbols,

terms, and notation to

musical performance:

Dynamics: pp, mp, ff,

subito, fp

Articulations: Legato,

clean note releases, tenuto

Tempo Markings:

Andantino, rallentando,

accelerando, Tempo I, a

tempo

Symbols and Terms:

Divisi, trill, cesura, z2, 2x

only

Interpret standard

duration and meter in

cut time and 2/2 time

signatures

Apply standard

symbols, terms, and

notation to musical

performance:

Dynamics: Sfp

Articulations:

Marcato, sforzando

Tempo Markings:

Lento, Vivace,

Allargando

Symbols and Terms:

Grace notes, 8va

Interpret standard

duration and meter in 3/8,

12/8, and duple time

signatures such as 5/4 and

6/4


terms, and notation to

musical performance:

Articulations:

Articulated slurs,

sixteenth note slur/tongue

combination, multiple

tonguing

Tempo Markings:

Grave, Allegretto, Presto,

Tempo Primo, Adagio

Symbols and Terms:

Tacet, segue, con sordino,

tremolo, rubato

Interpret standard duration and

meter in asymmetrical time

signatures, such as 5/8, 7/8


terms, and notation to musical

performance:

Articulations: All at faster

tempos

Tempo Markings: Largo,

stringendo

Symbols and Terms:

Mordents, turn

18

Grade

Course

6th

Grade Band 7th

Grade Band 8th


Concert

High School

Symphonic Band

Identify musical forms

used in ensemble

repertoire:

First and second

endings, D.C. al fine,

D.S. al fine, repeat sign,

theme and variations,

AB (binary), ABA

(ternary) form


used in ensemble

repertoire:

Coda, D.S. al coda/Fine


used in ensemble

repertoire:

AABA song form,

fugue


used in ensemble

repertoire:

Sonata, rondo,

symphonic, jazz

Identify musical forms used in

ensemble repertoire:

Opera, ballet, musical theatre,

cantata, canon

III. B. Analysis

Use sixth grade music

terminology and

form/composition

techniques to describe,

analyze, interpret, and

evaluate an excerpt or

piece of music

Differentiate among

unison and octave

Use seventh grade music

terminology and

form/composition




piece of music

Differentiate among

intervals of unison,

perfect fifth, and octave

Use eighth grade music

terminology and

form/composition




piece of music

Differentiate among

intervals of perfect

fourth, minor third and

Major third

Use Concert Band music

terminology and

form/composition



evaluate a recorded

excerpt or piece of music

Differentiate among

diatonic intervals to the

octave

Use Symphonic Band music

terminology and

form/composition techniques

to describe, analyze, interpret,

and evaluate a recorded

excerpt or piece of music

Differentiate among chromatic

intervals to the octave

III. A. Musical

Forms

19

Grade

Course

6th

Grade Band 7th

Grade Band 8th


Concert

High School

Symphonic Band

IV. A. Integration Connect note values

and time signatures in

music to fractions in

math

Explain the importance

of group participation,

perseverance, and

commitment in musical

and non-musical

settings within class

Connect music to other

arts and world cultures

Explain the importance of

group participation,

perseverance, and


and non-musical settings

within school

Connect American

March and Jazz music

to other arts and

American History

Explain the importance

of group participation,

perseverance, and


and non-musical

settings outside of

school

Connect music to science

in sound production (air

speed and frequency) and

technology (development

of instruments), and other

arts

List several skills learned

in ensembles and relate

them to those skills

needed in areas such as

the work force, church or

community group, and

other school groups

Connect the narrative function

of art and literature to the

communication of an idea in

Program Music

Explain how the roles of

creators, performers, and

others involved in the

production and presentation of

the arts are similar to and

different from those skills

needed in various vocations

V. A. Music History Identify characteristics

and context of Folk

music examples

Compare and contrast a

variety of music and

music-related vocations

and avocations

Identify characteristics

and context of Choral

Music

Spiritual,

Ritual, and /or

Ceremonial music

from various cultures

Describe the function of

music in various settings

and cultural events


and context of

American cultural

influences on

March

Jazz

Identify genre and style

from various historical

periods through

listening to selected

repertoire


and context of American

and British march styles.

Conclude possible origin

and/or historical period of

an aural example

Cite well-known

performers specific to

student‘s instrument

Identify characteristics of

early wind band literature (ex.

Grainger, Holst, Hindemith,

Persichetti, Reed, Grundman,

Erickson, Milhaud) and

contemporary wind band

literature (ex. Gillingham,

Ticheli, Stamp, Maslanka,

Melillo, Reineke)

Cite well-known composers

specific to student‘s

instrument

20

Weighted Grade Music Theory

CCO CCO I. A. Performance Skills

CCO II. A. Elements of Music

CCO III. A. Musical Forms

CCO III. B. Analysis

CCO V. A. Music History

Knowledge Improvisation

Error Detection

Sight-singing

Figured Bass realization

Melody Harmonization

Dictation

Error Detection

Sight-singing

Dictation

Literature-Based Listening

Score Study

Figured Bass Realization

Melody Harmonization

Score Study

Historical composition techniques

Literature Based Listening

21

Jazz Band Scope and Sequence

Grade

Course

High School

Jazz Band

I.A. Performance

Skills

Manipulate standard pitch, tone, and dynamics along with altered qualities (subtone,

ghost, vibrato, and muted) to match and balance ensemble on instrument

Demonstrate singing skills (proper tone quality, pitch accuracy, intonation) and match

pitch in an appropriate range

Develop technique through performance of Grade 3-4 literature utilizing:

Full range on instruments

All major keys, all melodic minor, and modal

Rhythm counting: Double dotted note, sextuplets, duplets, mixed meter patterns

Multiple tonguing and articulations

Alternate fingerings

Proper technique and idiomatic patterns required for playing auxiliary

percussion instruments

Use note emphasis and note length to interpret a musical phrase

Play by ear simple melodies or phrases of increasing complexity, on a melodic

instrument or simple accompaniments on a harmonic instrument

Create and perform a melody or variation based upon a given harmony

Improvise harmonized accompaniment parts

Compose or write music using notation (whole, half, quarter, eighth and sixteenth notes

along with corresponding rests)

Perform various combinations of simple or compound meter, dynamics, articulations and

(faster) tempo markings on instrument (see Elements of Music)

II.A. Elements of

Music

Apply standard symbols, terms, and notation to musical performance:

Time Signatures: All compound duple and compound triple, and mixed meter

Dynamics: All dynamic levels (see Band 6-12 Elements of Music)

Jazz Articulations: Bite, ride, glisses, falls, doits, lip trills, scoops, ghost,

subtone, muting marks

Tempos: All tempo ranges and styles (see Band 6-12 Elements of Music)

III.A. Musical Forms

Identify musical forms used in ensemble repertoire, such as D.C. al fine, coda, repeat

signs, first and second endings (see Band 6-12 Musical Forms)

III. B. Analysis Use Jazz Band music terminology and form/composition techniques to describe,

analyze, interpret, and evaluate an excerpt or piece of music

IV.A. Integration

Connect Jazz music and other arts to American History and America‘s original musical

heritage

List several skills learned in jazz ensembles and relate them to those skills needed in

areas such as the work force, church or community group, and other school groups

22

Grade

Course

High School

Jazz Band

V.A. Music History Compare and contrast examples of jazz styles and genres: Swing, Latin, Rock, Jazz

Waltz, Funk

Compare and contrast a variety of music and music-related vocations and avocations

Cite well-known jazz performers specific to student‘s instrument

23

Guitar I and Guitar II Scope and Sequence

Grade

Course

High School

Guitar I

High School

Guitar II

I.A. Performance

Skills

Demonstrate skills through performance in the following:

Proper body/hand/finger position

Singing skills and match pitch in an appropriate range in

first position

Standard tuning of the guitar

Demonstrate basic rhythmic notation, music reading skills within

1st position and correct body/hand/finger position through

performance of literature using the following:

Rhythm patterns: Whole note, half note, quarter note,

dotted half note, eighth note and corresponding rests.

Key Signatures: C, G, D Major

1st position Chromatic Scale

Articulations: Upstroke, downstroke

Play by ear simple melodies (4-6 pitches) on a melodic instrument

or simple accompaniments on a harmonic instrument

Create and perform a rhythmic and/or melodic variation on a

melodic phrase of three to five notes

Compose or write music with whole note, half note, quarter note,

dotted quarter note and eighth note, quarter rest, whole rest, half

rest, eighth rest

Perform beginning level time signatures, dynamics, articulations,

and tempo markings on instrument (see Elements of Music)

Demonstrate skills through performance in the following:

Proper right hand position for pick style and classical

style of playing

Singing skills and match pitch in an appropriate range

with expression in first and second position

Standard tuning of the guitar

Demonstrate rhythmic notation, music reading skills within 1st

and

2nd

position and correct body/hand/finger position through

performance of literature using the following:

Rhythm patterns: Dotted quarter note, eighth rest on and

off the beat

Key Signatures: A, E Major, and scales with movement

out of 1st position

Articulations: Upstroke, downstroke, rest stroke, free

stroke, hammer on/pull off

Play by ear moderately to advanced melodies (8-12 pitches) on a

melodic instrument or advanced accompaniments on a harmonic

instrument

Create and perform a melodic phrase based on a blues scale using

five to seven notes

Compose or write music based on the pitches of the blues scale

using whole note, half note, quarter note, dotted quarter note and

eighth note, quarter rest, whole rest, half rest, eighth rest

Perform intermediate level time signatures, dynamics,

articulations, and tempo markings on instrument (see Elements of

Music)

24

Grade

Course

High School

Guitar I

High School

Guitar II

II.A. Elements of

Music

Apply standard symbols, terms, and notation to musical

performance:

Time Signatures: 4/4, 3/4, 2/4

Tempo Markings: Andante, moderato, allegro, ritardando

Symbols and terms: Bar line, measure, ledger line, tie, pick-up

note, melodic guitar tablature, treble clef, staff, chords

Apply standard symbols, terms, and notation to musical

performance:

Time Signature: 2/2 (cut time)

Tempo Markings: Lento, Largo

Symbols and terms: Slur (Hammer on/Offs)

III.A. Musical Forms

Identify musical forms used in guitar repertoire, such as repeat

signs, first and second endings

Identify musical forms used in guitar repertoire, such as D.C. al

fine, theme and variations, AB (Binary), ABA (ternary), and song

form (AABA)

III.B. Analysis:

Utilize music terminology and form/composition techniques to

describe, analyze, interpret, and evaluate an excerpt or piece of

music in the folk and rock styles

Identify phrases and musical statements

Differentiate sharp and flat intonation with unison pitches

Utilize music terminology and form/composition techniques to

describe, analyze, interpret, and evaluate an excerpt or piece of

music in the folk, rock, 12 Bar Blues, and classical styles

Identify phrases, musical statements and musical forms

Differentiate sharp and flat intonation with two pitches

IV.A. Integration

Describe physical properties involved in producing a tone and

manipulating pitch

Explain the impact of technology on the development of music

instruments

Connect the social influences of the different American cultures

through the evolution of blues, rock ‗n‘ roll, R ‗n‘ B, swing styles,

and Latin music in popular music

Compare characteristics of two or more arts within a particular

historical period or style and cite examples from various cultures

Explain how the roles of creators, performers, and others involved

in the arts resemble and differ from one another in the various arts

disciplines

25

Grade

Course

High School

Guitar I

High School

Guitar II

V. A. Music History Compare characteristics and context of steel string acoustic, nylon

string and electric guitars

Identify music from various styles and historical periods by

comparing and contrasting selected elements of music within

pop/rock music genre

Discuss musical figures and their role as

composers/performers/innovators within pop/rock music genre

Compare characteristics and context of steel string acoustic, nylon

string and electric guitars and popular makers of various guitar

models

Identify music from various styles and historical periods by

comparing and contrasting selected elements of music within the

classical and multicultural styles

Discuss musical figures and their role as

composers/performers/innovators within the pop/rock, classical,

and multicultural styles

99

HIGH SCHOOL

BAND

100

HIGH SCHOOL BAND

COURSE MAP

Grade 9 Grade 10 Grade 11 Grade 12 Concert Band

Symphonic Band

Jazz Band

Beginning Guitar

Advanced Guitar

WG Advanced Placement Music Theory

101

HIGH SCHOOL BAND

COURSE DESCRIPTION GUIDE

CONCERT BAND (Grades 9, 10, 11, 12) 1 Unit, All Year

Prerequisite: Successful band experience and/or permission of the Band Director.

Concert Band is designed for students who wish to continue their band experience.

Enrollment in Concert Band is based on auditions and director‘s recommendation.

Concert Band provides continued instruction of ensemble skills.

Students performing on an extracurricular basis are expected to meet eligibility standards

as specified by the Missouri State High School Activities Association. Attendance at all

performances is required according to the Fine Arts Musical Performance Attendance

Guideline form. Attendance at all performances is required according to the Rockwood

School District Fine Arts Attendance Guidelines for Musical Performance.

Students are expected to provide their own instruments and supplies.

SYMPHONIC BAND (Grades 9, 10, 11, 12) 1 Unit, All Year

Prerequisite: Successful band experience and/or permission of the Band Director.

Demonstrate skills necessary for Musical Performances. Enrollment in Symphonic Band

is based on auditions and director‘s recommendation. Symphonic Band builds on

fundamentals taught in Concert Band by providing instruction in advanced ensemble

techniques. Marching Band is integrated into the band experience as a co-curricular or

extra-curricular activity.







102

JAZZ BAND (Grades 9, 10, 11, 12) 1 Unit, All Year

Prerequisite: Permission of the director based upon audition. If a performance based

music course IS offered during zero hour, then students enrolling in either Jazz Band or

Chamber Choir are required to enroll concurrently in another performance based music

course. If a performance based music course IS NOT offered during zero hour, then it is

recommended that students enrolling in Jazz Band or Chamber Choir should concurrently

enroll in another performance based music course. Note that if a student has a

scheduling conflict and cannot enroll in two of these courses, the student‟s class

principal will waive this requirement.

This course is designed to further develop the instrumental music student‘s interest and

ability in the area of jazz studies. Students will examine the various styles of jazz, the

harmonic structures associated with jazz, and jazz improvisation. Instrumentation for the

class will be confined to saxophones, trumpets, trombones, drums, guitar, bass guitar, and

piano.







BEGINNING GUITAR (Grades 9, 10, 11, 12) ½ Unit

Prerequisite: None

This class is designed for the student with no previous experience in playing guitar. Basic

guitar fundamentals such as chording, picking, strumming and note reading will be

covered. Music fundamentals will be introduced to aid the student in reading music.

ADVANCED GUITAR (Grades 9, 10, 11, 12) ½ Unit

Prerequisite: None

This class is designed for students who wish to further their guitar skills. Instruction will

include various styles of guitar playing. Music reading skills will continue to be

developed.

103

WG Advanced Placement MUSIC THEORY I (Grades 10, 11, 12) 1 Unit

Prerequisite: Passing grades in Symphonic Band, Symphonic Orchestra, Chamber, or

Concert Choir with recommendation of ensemble director. Ability to fluently read large

group festival literature. Permission of AP instructor.

Note: A grade of A or B is recommended in previous music courses.

The Advanced Placement Music Theory course enables highly motivated students to do

college entry-level work. Course content emphasizes aural and visual understanding of

musical structure and compositional procedures, part writing, composition, melodic and

harmonic dictation and sight-singing. Students are encouraged to take the AP Music

Theory Exam in May. This course will benefit students who plan to study music at the

college level or who want to enhance their performance skills through knowledge of

music theory.

148

High School

Jazz Band

149

Jazz Band CCO I. A. Performance Skills

Core Conceptual Objective I.A. Performance Skills: Students will demonstrate instrumental music

performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and

composition) through a varied repertoire.

Essential Understanding Missouri State Standards

Jazz musicians produce characteristic sound, technique and articulation,

and communicate ideas/feelings and/or concepts through the performance

of music.

FA 1, FA 2, G2.5, G4.6

Content and Skills:

By the end of this grade/course students

should know:

By the end of this grade/course students should be able to do:

How to manipulate standard pitch, tone,

and dynamics along with altered

qualities (subtone, ghost, vibrato, and

muted) to match and balance ensemble

on instrument

How to demonstrate singing skills

(proper tone quality, pitch accuracy,

intonation) and match pitch in an

appropriate range

How to develop technique through

performance of Grade 3-4 Literature

utilizing:


All major, melodic minor and modal

keys



Proper technique/idiomatic patterns

for playing auxiliary percussion

How to use note emphasis and note

length to interpret a musical phrase

How to play by ear simple melodies or

phrases on increasing complexity, on a

melodic instrument or simple

accompaniments on a harmonic

instrument

How to create and perform a melody or

variation based upon a given harmony

How to improvise harmonized

accompaniment parts

How to compose or write music using

notation

How to perform various combinations of

simple or compound meter, dynamics,

Manipulate standard pitch, tone, and dynamics along with

altered qualities (subtone, ghost, vibrato, and muted) to match

and balance ensemble on instrument

Demonstrate singing skills (proper tone quality, pitch accuracy,

intonation) and match pitch in an appropriate range

Develop technique through performance of Grade 3-4 Literature

utilizing:


All major, melodic minor and modal keys



Proper technique/idiomatic patterns for playing auxiliary

percussion


Play by ear simple melodies or phrases on increasing

complexity, on a melodic instrument or simple accompaniments

on a harmonic instrument

Create and perform a melody or variation based upon a given

harmony

Improvise harmonized accompaniment parts

Compose or write music using notation

Perform various combinations of simple or compound meter,

dynamics, articulations, and (faster) tempo markings on

150

articulations and (faster) tempo markings

on instrument (see CCO II) found in

Grade 3-4 Jazz Literature

instrument (see CCO II) found in Grade 3-4 Jazz Literature

Unit Vocabulary: subtone, ghost, vibrato, muted, bite, ride, glisses, falls, doits, lip trills, scoops, ghost,

subtone, muting marks, ballad, bar, blues, chorus, distortion, dissonance, consonance, interval, lyrics, off-

beat, progression, semitone, tone color, verse, vibrato

Pre-Assessment: Student defines music terminology related to pitch, tone, blend, and balance, rhythm,

melody, harmony, articulation, phrasing, expression, and jazz related terms.

Students play an individual part in a chorale utilizing dynamics to match overall balance and blend of the

ensemble.

Student plays an excerpt from Grade 3-4 Jazz arrangement, demonstrating various combinations of simple

and compound meter, dynamics, articulations, tempo markings, rhythmic and melodic precision,

with appropriate phrasing and shaping in the above keys.

Student plays tones to vary standard pitches and altered qualities.

Student will perform varied style properties and tendencies of jazz music.

Students will create a melody from a given harmony.

Facilitating Activities:

Knowledge/Comprehension

Activity Strategy Assessment

Identify a characteristic sound on band instruments

Identify major and minor key signatures

Identify the phrase structure in a recorded piece of music

Give example

reference recordings

Lecture

Cooperative Learning

Written quiz

Application/Analysis

Synthesis/Evaluation


Evaluate tone quality of individual band instrument

performances of self and peers tuner

Evaluate a peer and give suggestions for improvement to

double tonguing on running sixteenth note exercise

Evaluate expressive styles and qualities on individual

band group performances of self and peers

Cooperative learning

Share Pair


Scoring guide

Differentiation Suggestions: Teacher can provide supplemental materials for accelerated students.

Teachers of peer leaders can provide individual tutoring sessions.

Teachers can rotate part assignments within the section of the ensemble.


Perform a characteristic sound on individual instrument

tuner

Perform Grade 3-4 music with sixteenth note

subdivision

Perform a musical excerpt using an original

interpretation

Modeling


Modeling

Playing test

151

Students have the option of participating in additional music performances outside of school (All-

Suburban, solo/ensemble festival).

Jazz excerpts of professional recordings show style and interpretation.

Application Level Assessment, CCO I.A. Performance Skills: Students will demonstrate instrumental

music performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and

composition) through varied repertoire.

Student Tasks: Manipulate standard pitch, tone, and dynamics along with altered qualities (subtone, ghost, vibrato, and

muted) to match and balance ensemble on instrument

Develop technique through performance of Grade 3-4 Literature utilizing:


All major, melodic minor and modal keys



Proper technique/idiomatic patterns for playing auxiliary percussion


Improvise and perform a melody based on a given harmony.

Perform various combinations of simple or compound meter, dynamics, articulations, and (faster) tempo

markings on instrument (see CCO II) found in Grade 3-4 Jazz Literature

152

Scoring Guide for Jazz Band, CCO I. A. – Performance Skills

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Manipulate pitch, tone, and

dynamics to match and

balance section and

ensemble on instrument

Student plays with a

characteristic sound

throughout the entire range

of the instrument: centered,

clear, and focused

Always matches reference

pitch and adjusts

individual intonation by

comparing it to entire

ensemble

Student plays the

indicated dynamic level

and always adjusts to

match the section volume

Student plays with a

characteristic sound in the

comfortable register of the

instrument: centered, clear,

and focused

Consistently matches

reference pitch and

consistently adjusts



ensemble

Student plays the


and consistently adjusts to

match the ensemble

volume

Student meets two of the

three expectations for a

characteristic sound in the

comfortable register of the

instrument: centered, clear,

and focused

Inconsistently matches

reference pitch and adjusts



ensemble

Student plays the


but does not adjust to

match the section volume

Student does not play

with a characteristic sound

in the comfortable register

of the instrument: not

centered, not clear, and

unfocused

Rarely matches reference

pitch and adjusts



ensemble

Student plays the opposite

of the indicated dynamic

level and does not match

the ensemble volume

Perform sixteenth note

patterns and rhythm

counting in compound

meter at MM=88

Tempo: Steady and

target tempo is

exceeded.

Rhythm: Accurate with

no discernible mistakes

Note/Counting

Accuracy: accurate with


Tempo: Steady and

target tempo is met


few mistake

Note/Counting Accuracy:

accurate with few

mistakes

Tempo: Unsteady

Rhythm: Irregular

Note/Counting

Accuracy: most notes are

correct

Tempo: Does not meet

target tempo and tempo

is unsteady.

Rhythm: Unrecognizable

Note/Counting

Accuracy:

unrecognizable

Perform sixteenth note

scales in all major, melodic

minor, and modal keys,

MM=88

Tempo: Steady and

target tempo is

exceeded.



Note Accuracy: accurate

with no discernible

mistakes

Tempo: Steady and

target tempo is met


few mistake


with few mistakes

Tempo: Unsteady

Rhythm: Uneven

Note Accuracy: most

notes are correct



is unsteady.


Note Accuracy:

unrecognizable

153

Perform Grade 3-4

literature using (faster)

tempo, articulations, and

dynamic variation to

express, interpret, and

shape musical phrases

Tempo: Steady and

target tempo is

exceeded.




with no discernible

mistakes

Student demonstrates

clear, accurate

differences in speed at

tempo changes,

interprets melodic line

using articulations and

dynamic variation where

appropriate

Tempo: Steady and

target tempo is met


few mistake


with few mistakes

Student demonstrates

differences in speed, but

not enough contrast

between tempo changes

and uses some

articulations and dynamic

variation

Tempo: Unsteady

Rhythm: Uneven

Note Accuracy: most

notes are correct

Students demonstrates

few or slight changes in

speed at tempo changes,

dynamic variation, and

little variations of

articulations within

melodic content



is unsteady.


Note Accuracy:

unrecognizable

Dynamics do not

change, little or no

interpretation or tempo

fluctuations, no

variation of articulations

within melodic content

Adjust tempos for various

style properties and

tendencies of music

performed

Tempos at maximum

emphasis for style

properties and tendencies

of music performed.

Tempos are at effective

speed for style properties,

vary within the section of

music performed.

Tempos fluctuate, but

style properties are not

affected in the music

performed.

Tempos at incorrect and

negatively affect style

properties and tendencies

of the music performed.

Improvise and perform a

melody based on a given

harmony

Improvisations are

creative and follows the

given harmonic structure.

Improvisations are

effective and somewhat

consistent with the

harmonic structure.

Improvisations fill length

of assignment, but not

consistent with the

harmonic structure.

Contains incorrect note

values and does not follow

the harmonic structure.

Compose jazz music using

written musical notation Compositions are creative

and consistent with the

given harmonic structure

Compositions are

somewhat creative and

consistent with the given

harmonic structure

Compositions are

effective, but not

consistent with the given

harmonic structure

Contains incorrect note

values

Does not follow the given

harmonic structure

154

Jazz Band CCO II. A. Elements of Music

Core Conceptual Objective II A. Elements of Music: Students will apply knowledge and skills to read

and notate music.


Jazz musicians incorporate reading music to express the composer‘s

intentions.

FA 1, FA 2, G2.5

Content and Skills:


should know:


How to apply standard symbols, terms,

and notation to musical performance:

Time Signatures: All compound duple

and compound triple, and mixed meter

Dynamics: All dynamic levels (see 6-12

CCO II.)

Jazz Articulations: Bite, ride, glisses,

falls, doits, lip trills, scoops, ghost,

subtone, muting marks

Tempos: All tempo ranging and styles

(see 6-12 CCO II.)

Apply and perform using standard symbols, terms, and notation:

Time Signatures: All compound duple and compound triple, and

mixed meter

Dynamics: All dynamic levels (see 6-12 CCO II.)

Jazz Articulations: Bite, ride, glisses, falls, doits, lip trills,

scoops, ghost, subtone, muting marks

Tempos: All tempo ranging and styles (see 6-12 CCO II.)

Unit Vocabulary:

Compound duple, compound triple, mixed meter, notation, dotted notes sextuplets, duplets, counterpoint,

blues, lineup, mute, orchestration, refrain, riff

Pre-Assessment: Student defines musical rhythms and meters related to compound, duple, and mixed rhythms.

Student performs advanced dynamic levels in jazz literature.

Student plays an individual part of jazz arrangement utilizing identified symbols of staccato, legato,

marcato, and accent staccato.




Identify characteristic expressive styles and qualities on

band instruments (T)

Present examples:


Written quiz




Evaluate expressive styles and qualities on individual

band group performances of self and peers (T)

Cooperative learning Scoring guide

Differentiation Suggestions:


Perform characteristic expressive styles and qualities on

individual instrument

Modeling Playing tests

155

Supplemental materials will be provided for varied tempos for advanced students.

Teachers or peer leaders can provide individual tutoring sessions.

Teachers can rotate part assignments within each section of the ensemble.

Application Level Assessment for II. A. Elements of Music: Students will apply knowledge and skills to

read and notate music.

Student Tasks: Play music in various time signatures, including compound duple and compound triple, and mixed meter

Define and perform Fast Swing, Slow Ballad tempos

Demonstrate through performances, musical rhythms using various articulations (staccato, legato, marcato,

accent staccato. bite, ride, glisses, falls, doits, lip trills, scoops, ghost, subtone, muting marks) and

music terminology related to jazz.

Compose jazz music using written musical notation.

156

Scoring Guide for Jazz Band, CCO II. A. – Elements of Music

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Time Signatures: Play

music in various time

signatures, including

compound duple and

compound triple, and mixed

meter

Reads and interprets

meters correctly with

proper emphasis on strong

beats

Reads time signatures

correctly, but misplaces or

lacks emphasis on strong

beats

Pauses at ends of

measures

Student lacks a steady

sense of time, unable to

read and interpret time

signatures

Tempo Markings:

Define and perform

Fast Swing, Slow Ballad

tempos

Reads and interprets

tempo markings correctly,

and is able to maintain

steady tempo

Demonstrates knowledge

of tempo markings, but

unable to differentiate

between categories

Student is unable to

maintain a steady tempo

Student is unable to

differentiate between

tempo markings, tempo

fluctuates dramatically

Demonstrate through

performances, musical

rhythms using staccato,

legato, marcato, and accent

staccato

Student plays rhythms and

articulations correctly in

context

Rhythms are played but

some articulations are not

performed in context

Student can state the

explain the definitions of

articulations, but does not

perform correctly

Student does not know the

differences in articulations

and cannot perform

correctly

157

Jazz Band CCO III. A. Musical Forms

Core Conceptual Objective III. A. Musical Forms: Students will analyze and evaluate music and

musical performances.


Jazz musicians identify and analyze forms and composition techniques. FA1, FA 2, FA 3, G1.5,

G1.6, G2.5

Content and Skills:

By the end of this grade/course

students should know:


How to identify and analyze musical

forms

Identify musical forms used in ensemble repertoire, such as D.C al

Fine, coda, repeat signs, first and second endings (see Band 6-8

CCO III. A.)

Unit Vocabulary: (see prerequisite progressive vocabulary from Band 6-8 CCO. III. A. Musical

Forms)

Pre-Assessment: Student defines music terminology related to musical forms.

Student listens to and describes musical form or structure of short etude.




Students will identify musical forms within repertoire Modeling Written quiz



Students will analyze a piece of recorded music and

make inferences on musical form (T)

Cooperative Learning Written Quiz

Differentiation Suggestions:

Supplemental materials or composition assignments can be provided for accelerated students.

Teachers or peer leaders can provide individual tutoring sessions.

Application Level Assessment CCO III A. Musical Forms: Students will identify and analyze forms

and composition techniques.

Student Task: Identify musical forms used in ensemble repertoire, such as D.C al Fine, coda, repeat signs, first and second

endings (see Band 6-12 CCO III. A.)

158

Jazz Band, CCO III. B. Analysis

Core Conceptual Objective III. B. Analysis: Students will analyze and evaluate music and musical

performances.


Jazz musicians analyze, evaluate, and respond to the formal, stylistic, and

aesthetic qualities of music.

FA 2, FA 3, G1.4, G2.4

Content and Skills:

By the end of this course students should

know:

By the end of this course students should be able to do:

How to use jazz band terminology and

form/composition techniques to analyze,

interpret and evaluate the formal,

stylistic, and aesthetic qualities of music

Introduction

Tells plan to critique. Gives information about the work: composer‘s

name, musician‘s name, title of piece, when and where it was created,

what media was used, its period, style, or culture. Description

Sentences that list everything heard or seen in the performance,

including names of instruments. Analysis

Describes pitch, melody, harmony, rhythm, dynamics

Interpretation

Explain the artist‘s use of phrasing, breathing, style, dynamic contour

and contrast and how he/she communicates an emotional mood or

attitude toward the subject, narrative, social commentary, spiritual

/religious ideas or other purpose of the work

Judgment Evaluates the quality of the composition

Evaluates the quality of the performance

Grammar, Style, Form

Unit Vocabulary: introduction, description, analysis, interpretation, judgment, grammar/style/form

(As it pertains to critique guide of performances or recordings)

Pre-Assessment: Student defines music terminology to describe, analyze, interpret, and evaluate jazz forms, styles and

aesthetic qualities of music.




Identify styles and forms played in jazz literature (T) Present examples:


Written quiz




Evaluate the individual performance of a recorded jazz

piece in relation to the rest of the ensemble (T)

Cooperative learning Scoring guide

Differentiation Suggestions: Supplemental materials will be provided for students at varied levels of achievement.


Analyze a piece of recorded jazz literature and make a

listening diagram (T)

Modeling Playing tests

159

Jazz excerpts of professional recordings show style and interpretation.

Application Level Assessment, CCO III. B. Analysis: Students will demonstrate the ability to respond to

and critically analyze music.

Student Task: Student will use jazz terminology and form/composition techniques to analyze, interpret, and evaluate the

formal, stylistic, and aesthetic qualities of a given excerpt or piece of music

160

Music Criticism Worksheet

Name________________________________ Class_________________ Date:______

Using the Music Criticism Scoring Guide, write a five-paragraph critique of a musical

performance. You may take as much space as you need for each paragraph. If you are

completing this with pen/pencil, you may continue answers on the back or on another

page.

1. Introduction

2. Description

3. Analysis

4. Interpretation

5. Judgment

161

Music Criticism Scoring Guide

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Introduction

Tells plan to critique. Gives

information about the work:

composer‘s name,

musician‘s name, title of

piece, when and where it

was created, how it was

used, its period, style, or

culture.

Clearly states plan to critique

another artist‘s work or to

explain the goal of a

personal piece of music

All available information

given

States plan to critique

another artist‘s work or to

explain the goal of a

personal piece of music

Most available information

given

Artist‘s work or a personal

piece mentioned

Tells artist‘s name and

title

Artist‘s name or

title of work

listed

Description

Sentences that list

everything heard or seen in

the performance, including

names of instruments.

Logical, coherent, complete,

detailed description of what

is seen/heard in the

performance

Logical, coherent, complete

description of what is

seen/heard in the work

Complete description of

what is seen/heard in the

work but slightly

unorganized

Random

mention of one

or two details

seen/heard in the

work

Analysis

Describes pitch, melody,

harmony, rhythm, dynamics

Considers each element to

determine which are most

important in the work

Explains, in detail, how and

where each important

element and principle is used

in the work

Considers elements to

determine which are most

important in the work

Explains how and where

each important element and

principle is used in the work

Lists elements used

Tells how or where some

elements and principles

are used in the work

Partially lists

elements

Interpretation

Explain the artist‘s use of

phrasing, breathing, style,

dynamic contour and

contrast and how he/she

communicates an emotional

mood or attitude toward the

subject, narrative, social

commentary, spiritual

/religious ideas or other

purpose of the work

Clearly infers meaning of

work based upon analysis/

Clearly supports all

statements with detailed,

specific reference to musical

elements

Relates the performer‘s

choices to personal

interpretation of the

composer‘s work

Interprets the meaning of

work based upon analysis.

Supports statements with

reference to musical

elements

Connects most of the

performer‘s choices to a

general interpretation of the

composer‘s work

Suggests a meaning of the

work.

Supports statement with

reference to some musical

elements

Suggests

meaning of

work.

Judgment Evaluates the quality of the

composition

Evaluates the composition

on the basis of information

about the composer‘s life,

times, and intentions

Evaluates the quality of the

performance on musician‘s

tone/intonation, technique

articulation, and

expression/musicianship.

Supports all statements with

specific, detailed reference to

the work

Evaluates the composition

on the basis of information

about the composer‘s

intentions

Evaluates the quality of the

performance on musician‘s


articulation, and


Supports most statements

with reference to the work

Explains information

about the composer‘s life

without connecting it to

the meaning of the

composition

Discusses the musician‘s


articulation, or


Few references to the

work that support

statements

States personal

opinion

Grammar, Style

Form

Free of errors

Consistently uses third

person in other artist‘s work

or first person if own piece

Uses sophisticated sentence

variety, precise vocabulary

References last name only

after introductory paragraph

All steps of critique model in

correct order

Few minor errors in spelling or

grammar

Uses third person in other

artist‘s work or first person if

own piece

Some sentence variety,

appropriate vocabulary

References last name only after

introductory paragraph

All steps of critique model in

correct order

Errors in grammar and

spelling without affecting

clarity

Some use of first or

second person

Little sentence variety

First and/or last name of

artist used throughout

essay

All steps of critique model

present but out of order

Multiple grammatical

errors interfere with

content and readability

Uses first, second and/or

third person

First and/or last name of

artist used throughout

essay

Steps of critique model

may be missing or out of

order

162

Jazz Band CCO IV. A. Integration

Core Conceptual Objective IV. A. Integration: Students will make connections between music and

other subject areas.


Jazz music influenced and was influenced by American history and

cultures.

FA 4, FA 5, G1.9, G3.3

Content and Skills:


should know:


How to connect the social influences of

the different American cultures through

the evolution of blues, rock ‗n‘ roll, R

‗n‘ B, swing styles, and Latin music in

jazz

Cite several skills learned in jazz

ensembles and relate them to those skills

needed in areas such as the work force,

church or community group, and other

school groups

Analyze influences and cultural groups that led to the

development of jazz music genres/styles

Analyze how the artist communicates an emotional mood,

attitude toward the subject, narrative, social commentary,

spiritual /religious idea or other purpose of the work through the

use of phrasing, breathing, style, dynamic contour and contrast

Compare the communication skills used in jazz band to those

skills needed in real-world scenarios for work, community

groups or school groups

Unit Vocabulary: rock ‗n roll, R ‗n B

Pre-Assessment: Explain the development of jazz music and its influences on contemporary pop music and justify with

references to cultural sentiment and diversities.

Student lists several skills learned in ensemble performance and participation




Define vocabulary of culture and geographical areas

related to blues and jazz idiom (T)

Classroom discussion Teacher observation




Write a short essay that might depict a cultural or

geographical as related to a jazz piece of music (T)

Essay Scoring guide

Differentiation Suggestions: Supplemental material will be provided for accelerated students.

Strong students model for other students.


Compose a melody and lyrics that illustrate a cultural or

geographical influence (T)

Modeling Scoring guide

163

Application Level Assessment for CCO IV. A. Integration: Students will relate jazz music to social/

cultural history in the United States.

Student Tasks:

Analyze influences and cultural groups that led to the development of jazz music genres/styles.

Analyze how the artist communicates an emotional mood, attitude toward the subject, narrative, social

commentary, spiritual /religious idea or other purpose of the work through the

164

Scoring Guide for Jazz Band, CCO IV. A. - Integration

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Analyze how the artist communicates an

emotional mood, attitude toward the

subject, narrative, social commentary,

spiritual /religious idea or other purpose

of the work through the use of phrasing,

breathing, style, dynamic contour and

contrast.

Clearly infers meaning of work

based upon analysis/

Clearly supports all statements

with detailed, specific reference to

musical elements

Relates the performer‘s choices to

personal interpretation of the

composer‘s work

Interprets the meaning of work

based upon analysis.

Supports statements with

reference to musical elements

Connects most of the

performer‘s choices to a

general interpretation of the

composer‘s work

Suggests a meaning of

the work.

Supports statement

with reference to some

musical elements

Suggests

meaning of

work without

supporting

evidence

Analyze influences and cultural groups that led to

the development of jazz music genres/styles:

Analyzes and defends

statements about the

social and cultural

influences on music

of each of five

genres/styles with

specific reference to

artists and works

Analyzes and

defends statements

about the social

and cultural

influences on

music of four

genres/styles with

specific reference

to artists and works

Explains the social

and cultural

influences on music

of each of three

genres/styles

Lists the social

and cultural

influences on

music of each

of two

genres/styles

Social Influence/Culture->Blues

Memphis as the home of the blues and as the urban

center of the Delta region, place where blues

performers first brought their music to national

attention in the early decades of the 20th century.

Students should recognize that the blues is a highly

sophisticated art form rooted in folk traditions.

Students should consider how the role of the musician

and the social purpose of music might differ in rural

and urban settings. That the blues draws its strength

from hardship and pain, expressing a spirit of

affirmation in the face of adversity, often utilizing the

call and response or question and answer structure

coming from the work song (AABA form and its use

of iambic pentameter).

Social Influence/Culture->Rock „ n‟ Roll

Relate to social revolution at the time, emergence

from the blues and gospel, electrified guitar as pivotal.

165

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Analyze influences and cultural groups that led to

the development of jazz music genres/styles:

Analyzes and defends

statements about the

social and cultural

influences on music

of each of five

genres/styles with

specific reference to

artists and works

Analyzes and

defends statements

about the social

and cultural

influences on

music of four

genres/styles with

specific reference

to artists and works

Explains the social

and cultural

influences on music

of each of three

genres/styles

Lists the social

and cultural

influences on

music of each

of two

genres/styles

Social Influence/Culture->R „n‟ B

Encompasses such styles as jump blues, club blues,

black rock and roll, doo wop, soul, Motown, etc

originating from the massive social, industrial, and

technological change that took place in the United

States just prior to and during World War II.

Social Influence/Culture->Swing

Swing as America‘s mainstream popular music of the

30‘s and 40‘s derived from Dixieland music of the

black culture, now as crossover to popular culture as

dance music.

Social Influence/Culture->Latin

Musical traditions from the Caribbean and the United

States migrated and mixed giving percussionist a new

role in jazz with this new sound. Hybrid form of

integrated music as a result of movement of

individuals through several areas accelerating musical

innovation.

166

Jazz Band CCO V. A. Music History

Core Conceptual Objective V. A. Music History: Students will demonstrate knowledge of jazz music history.


Jazz musicians understand and appreciate jazz music through various styles and

genres.

FA5, G1.9, G3.3

Content and Skills:


should know:


How to cite characteristics of the various

styles and genres of the jazz idiom

(swing, Latin, rock, jazz waltz, funk)

Compare a variety of jazz music and

music-related vocations and avocations

Cite well-known jazz performers specific

to student‘s instrument

Specify and demonstrate the 8th

note feel (even or uneven), in context

with the following genres of the jazz idiom (swing, blues, Latin, rock,

jazz waltz, funk, bebop) and pulse emphasis (strong or weak beat)

Compare and contrast characteristics of various styles (listed above)

Cite and reference specific jobs related to jazz performance

List well-known recording artists

Unit Vocabulary: Latin, jazz waltz, funk, ballad, bebop, blues

Pre-Assessment: Student defines music terminology related to jazz music history.

Student listens to and differentiates the various styles and genres of Jazz Music.




Define terminology related to genres of jazz idiom (T) Lecture Written Test




Support the following statement: Rock ‗ n‘ Roll, Modern

Country, and Jazz have been influenced greatly by the

foundations of the blues (T)

Constructed response

essay

Scoring guide

Differentiation Suggestions: Students independently research music history and jazz vocations/avocations based upon their interests.

Application Level Assessment for CCO V. A. Music History: Students will demonstrate knowledge of jazz

music history.

Student Tasks: Specify and demonstrate the 8

th note feel (even or uneven), in context with the following genres of the jazz idiom

(swing, Latin, rock, jazz waltz, blues, bebop, funk) and pulse emphasis (strong or weak beat).

Compare and contrast characteristics of various jazz styles (listed above).


Analyze examples of jazz styles (T) Cooperative learning Scoring guide

167

Music History Reflective Writing Worksheet

Name: Class:

Watch or listen to two performances of music. Based on what you learned in class, complete the chart below to compare/contrast the works.

Who do you think composed Work A?

When do you think it was composed?

Where do you think it was composed?

Who do you think composed Work B?

When do you think it was composed?

Where do you think it was composed?

Which musical characteristics helped you determine the composer, time period, and place where the work was created? WHY? Work A

Work B

Explain how the composer‟s life and times influenced his/her composition

Work A

Work B

On the next page, write an essay comparing the importance of these works in the history of music. Support your opinions with information from the

charts you just completed.

168

Scoring Guide for Jazz Band, CCO V. A. - Music History

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Specify and demonstrate the 8

th note feel

(even or uneven), in context with the

following genres of the jazz idiom

(swing, Latin, rock, jazz waltz, funk)

and pulse emphasis (strong or weak

beat)

Explains and performs

correct 8th

note style

(even or uneven) and

pulse emphasis (strong

beat or weak beat)

Explains and performs

correct 8th note

subdivision with slight

fluctuation of style and

pulse emphasis

8th

note subdivision

is inconsistent and

switches between

even and uneven;

pulse emphasis is not

easy to distinguish.

Does not explain or

perform correct 8th

note

style subdivision, pulse

emphasis is on wrong

beat

Compare and contrast characteristics of swing, Latin,

rock, jazz waltz, and funk.

Swing Characteristics

Swing is defined as a sensation of momentum in which a

melody is alternately heard together with, then slightly at

variance with, the regular beat, or marked by syncopation

and a triplet subdivision of the beat. Count Basie, Nat King

Cole, Benny Goodman, Billie Holiday, Ella Fitzgerald, and

Duke Ellington are all commonly used examples.

Latin Characteristics

Latin Jazz is mainly an instrumental hybrid music defined by

more progressive harmonies used in its corresponding

rhythmic structural arrangement, combined with an

exuberant amount of improvisation, and fused with African

based rhythms that continue to develop from the entire Latin

American Diaspora. Various characteristics describe Latin

Jazz ranging from the avant garde (Emiliano Salvador,

Hermeto Pascual, etc.) to more popular forms (Poncho

Sanchez, Tito Puente, etc.).

Compares,

contrasts, and

evaluates

characteristics of

jazz genres and

styles

Compares and

contrasts

characteristics of

jazz genres and

styles

Explains

characteristics of

jazz genres and

styles

Lists characteristics

of \ jazz genres and

styles

169

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Rock Characteristics

Jazz Rock adds rhythmic complexities to the rock style (not

only individual melodic lines, but in terms of mixed and odd

meters….numerators of 5, 7, etc.), harmonic complexities

(many "extended-harmony" chords, such as 9th, 11th and

13th chords…more than the plain triads and 7th chords of

traditional rock), and melodic blues lines to the rock style.

Some examples include artists: Blood, Sweat & Tears;

Chicago; (Bill) Chase; Paul Butterfield Blues Band, Blues

Project, etc

Jazz Waltz Characteristics

The basic jazz waltz or 3/4 swing feel consists of "one, two,

and-of-two, three" or "ding ding-a ding" on the ride cymbal,

with the hi-hat on count "two". Other variations include

using the hi hat on "two" and "three", or on all three beats;

adding the snare on the "and-of-two" or on the "and-of-one"

and on "three". Some examples are: Someday My Prince

Will Come, Ju-Ju, Emily, Tenderly, Bluesette, Favorite

Things, etc.

Funk Characteristics

The term "Funky Jazz" in the 1950s should not be confused

with "Funk‖, a style of popular music pioneered in the 1970s.

Funky Jazz is characterized by its earthy, "low down,"

soulful, bluesy, and gospel flavored qualities, e.g., Moanin',

Art Blakey and the Jazz Messengers. While Funk also

combines elements of jazz, blues, and soul, it is characterized

by syncopated rock rhythms and a heavy, repetitive bass line,

e.g., Chameleon, Herbie Hancock

Compares,

contrasts, and

evaluates

characteristics of

jazz genres and

styles

Compares and

contrasts

characteristics of

jazz genres and

styles

Explains

characteristics of

jazz genres and

styles

Lists characteristics

of \ jazz genres and

styles

229

Appendix

230

Fine Arts Resource Selection

Evaluation Checklist

Course:______________________________________________________

Title of Text:__________________________________________________

Publisher:____________________________________________________

Copyright:____________________________________________________

Please use the scoring guidelines to assess the following items:

Student Textbook:

1. ______ Objectives for lessons are clear.

2. ______ Objectives represent various levels of Bloom‘s.

3. ______ Includes historical/cultural information.

4. ______ Emphasizes fine arts process skills and inquiry.

5. ______ Develops problem solving and critical thinking skills.

6. ______ Performance assessments with scoring guides are provided and

match objectives.

7. ______ Makes the connection among fine arts and with core subjects,

technology, and society.

8. ______ Appropriate reading level.

9. ______ Is gender-fair, multicultural and disability aware.

Scoring Guidelines:

+ 3 = Excellent

2 = Good

1 = Poor or Not at All

NA = Not Applicable

231

10. ______ Text meets District CCOs (percent covered______%).

Overall Rating

Teacher Resources:

1. _______ Contains clearly written, easy-to-use plans.

2. _______ Includes enough background information for teacher.

3. _______ Provides extension ideas for differentiating instruction.

4. _______ Integrates writing in lessons.

5. _______ Incorporates technology in lessons (provides lesson examples, web

sites, etc.).

6. _______ Provides quality supplemental materials.

Overall Rating

Check one

_____This textbook would be a great choice.

_____This textbook should be considered.

_____I would not recommend this textbook.

Other Comments:

232

Rockwood

Writing Guidelines

While the emphasis of the Rockwood drama program is on the elements of performance and production of dramatic works,

formal writing is a portion of the class grade. At least one formal writing assignment from any of the listed categories will

be a part of the grade of each course. Below are the minimum standards for formal writing assignments:

Content:

Critiques should be based on specific criteria supported by observations referenced to the artwork.

Expository Writing should include a thesis backed by supporting details.

Form:

Critiques should follow organizational pattern as directed by the teacher. Writing will follow grade appropriate grammar,

usage, and mechanics rules per Rockwood scoring guide.

Analyses should follow organizational pattern as directed by the teacher. Writing will follow grade appropriate grammar,

usage, and mechanics rules per Rockwood scoring guide.

Expository Writing should follow multi-paragraph essay format. Students should document sources as necessary. Writing

will follow grade appropriate grammar, usage, and mechanics rules per Rockwood scoring guide.

Six-Trait Assessment for Middle School Writers* 1

EXPERIMENTING

2

EMERGING

3

DEVELOPING

4

CAPABLE

5

EXPERIENCED

IDEAS

- Attempts a story or

to make a point

- Meaning of the

general idea is recognizable

- Some ideas clear but

most still fuzzy

IDEAS

- Writing tells a story or

makes a point with some

but loses control at times

- Meaning is recognizable

with close read

- Some ideas clear but

some still fuzzy

IDEAS

- Writing tells a story or

makes a point

- Idea generally stays on

topic

- Details are present but

not completely developed

or are not strong

- Attempts commentary,

where needed

IDEAS

- Writing clearly tells

a story or makes a point

- Idea and focus stay

on topic

- Concrete details are

important and

developed

- Commentary, when

present, is true

commentary

IDEAS

- Topic is narrowed and

focused

- Presents a fresh and original

idea or complex story

- Develops the main idea with

critical concrete details which is

fully developed

- Uses strong commentary

where needed

ORGANIZATION

- Format is attempted

Beginning is attempted but

no ending (possibly “The

End”)

- Attempts at

sequencing and transitions

- Attempts transitions

ORGANIZATION

- Format is correct

some of the time

- Attempts transition

from sentence to

sentence

- Beginning works well

and attempt at ending

- Logical sequencing

- Key ideas begin to

surface

ORGANIZATION

- Format is correct most

of the time

- Transitions work to

connect sentences

- Strong beginning with

clear ending

- Easy to follow most

times

- Commentary is

connected to the concrete

detail

ORGANIZATION

- Format is correct

- Varied transitions

connect sentences

- Strong beginning

- Ending summarizes

the paragraph

- Easy to follow

- In-depth

commentary

ORGANIZATION

- Format is not needed for

organization

- Transitions connect sentence

to sentence, though to thought,

paragraph to paragraph

- Easy to follow

- Important ideas stand out

CONVENTIONS

- Uses phonetic

spelling

- Correctly spells high

frequency words some of

the time

- Uses capitals at the

beginning of sentences

- Usually uses end

punctuation correctly

- Experiments with

other punctuation

- Longer paper is one

long paragraph with run-

ons

- Attempts standard

grade-level grammar;

sometimes must be re-read

CONVENTIONS

- Transitional spelling

on less frequent words

- Correctly spells high

frequency words

- Capitals at sentences

beginnings and variable

use of other capitals

- End punctuation is

correct and other grade-

level punctuation is

attempted

- Paragraphing variable

but present

- Basic noun/pronoun

agreement

- Some run-ons and

fragments

CONVENTIONS

- Spelling is correct on

most words

- Capitals used for proper

nouns and sentence

beginnings most of the time

- Basic grade-level

punctuation, including

commas, is correct

- Indents consistently to

show paragraphs

- Shows control of

standard grammar most of

the time

- Some run-ons but few, if

any, fragments

CONVENTIONS

- Spelling is correct

- Capitals are used

for proper nouns and

sentence beginnings

- Grade-level

punctuation is correct

and complex

punctuation is

attempted

- Paragraphing is

clear

- Shows control of

standard grammar

- Few run-ons but no

fragments

CONVENTIONS

- Spelling is correct

- Capitals are correct

- Grade-level punctuation is

corrected

- Complex punctuation is often

successful

- Sentences are varied in

length, beginning, and complexity

- No run-ons or fragments

*Used with permission and modified based on the work of the Northwest Regional Educational Laboratory, Portland, Oregon

234

. Six-Trait Assessment for High School Writers

Ideas Organization Conventions Word

Choice

Sentence

Fluency

Voice

4

__Strong controlling idea based

on interesting and meaningful

thesis narrows focus __Clearly addresses topic and

provides specific and relevant concrete details and/or reasons

__Shows complexity and

freshness of thought

__Effective, insightful commentary connects concrete detail to thesis

__Effective beginning, middle, and end;

engaging introduction; strong sense of closure

__A clear, strong thesis statement governs entire essay; the writer skillfully emphasizes

important ideas

__Use paragraphing effectively

__Progresses in a logical order

__Uses effective cohesive devices (transitions,

repetition, pronouns, parallel structure) between and within paragraphs

__Successfully follows assigned format

__Contains few errors in

grammar/usage,

punctuation, capitalization,

and/or spelling

__Intentional or clever use of

atypical sentence structure __Correct pronoun/antecedent

agreement and subject/verb

agreement; consistent verb tense

__Uses precise and

vivid language

__Effective use of

writing techniques

such as imagery and

figurative language if appropriate

__Consistently avoids

redundancy

__Contains sentences

that are clear and

varied in length and

structure __Variety of sentence

beginnings __Natural rhythm,

cadence and flow

__ Shows individual

perspective; personality comes

through

__Clearly shows an

awareness of audience and

purpose

__Writer‘s enthusiasm for the

topic is evident

__Effectively uses writing

techniques (such as humor,

point of view, tone) that evoke

a strong emotional response

3 __Controlling idea based on a

meaningful thesis begins to narrow

focus

__Addresses the topic using

relevant details and/or reasons

__Shows some complexity and/or


__Strong commentary relates

concrete detail to thesis

__Clear beginning, middle and end with an

effective introduction and conclusion

__A clear thesis statement governs the entire essay; important ideas stand out

__Uses paragraphing appropriately

__Generally progresses in a logical order

__Uses cohesive devices between and within

paragraphs __Accurately follows assigned format

__May contain errors in

grammar/usage,


and/or spelling that are not

distracting to the reader

__Fragments or run-ons are rare (unless stylistic)

_Very few errors in

agreement and tense

__Uses precise

language

__Uses writing

techniques such as

imagery and/or


__Avoids redundancy


that are clear and

show some variety in length and structure

__Not all sentences

begin with the same pattern

__Sections of writing

have rhythm and flow

__ Shows some individual

perspective; personality begins

to show

__Shows an awareness of

audience and purpose

__Writer cares about topic __Uses writing techniques

(such as humor, point of

view, tone) that may evoke an emotional response

2 __Contains some sense of

direction, but may lack focus

__Addresses the topic, but relies

on generalities (lists) rather than

specifics (development)

__Limited complexity and/or


__Weak commentary

__Evidence of a beginning, middle and end

__Thesis statement attempted, but may not

govern the entire essay; some important ideas

begin to surface

__Shows evidence of paragraphing

__Inconsistency in logical order

__Inconsistent use of cohesive devices

__Attempts assigned format

__Contains errors in

grammar/usage,


and/or spelling that may be

distracting to the reader

__Some run-ons and/or

sentence fragments __Inconsistent subject/verb

agreement and or verb tense

__May use imprecise

language

__ Attempts to use

some writing

techniques such as

imagery and/or


__ Some obvious

redundancy


that are generally

clear, but lack variety

and complexity

__Some sentences begin

the same

__An occasional section of writing has rhythm

and flow

__May lack individual

perspective

__Shows some awareness of

audience and purpose

__Writer shows limited

connection to the topic

__Attempts to use some

writing techniques (humor,

point of view, tone) to evoke a

response

1 __Is difficult to follow and lacks

focus

__May address the topic, but

lacks details

__Lacks complexity and


__Attempts commentary

unsuccessfully

__Little or no evidence of a beginning,

middle, and/or end __Thesis statement unclear __Little or no evidence of paragraphing

__Does not progress in a logical order and

may digress to unrelated topics

__Lacks cohesion

__No evidence of format

__Contains repeated errors

in grammar/ usage,


and/or spelling that are

distracting

__Numerous run-ons and/or fragments

__Frequent errors with

agreement and/or tense

__Uses imprecise

language

__Shows little or no

evidence of writing

techniques such as

imagery or figurative language

__Obvious and/or

distracting redundancy


that lack variety and

clarity

__Most sentences begin

the same way

__Writing is choppy; needs rereading to

follow the meaning

__Lacks individual

perspective

__Shows little or no

awareness of audience or

purpose

__Treatment of topic is predictable

__Shows little or no evidence

of writing techniques to evoke a response

Modified based on the work of the Northwest Regional Educational Laboratory, Portland, Oregon Bold descriptor s= MAP criteria

Missouri Show-Me Standards

The Missouri Department of Elementary and Secondary Education has issued a set of standards that are intended to define

what students should learn by the time they graduate from high school. These guidelines are titled ―The Show-Me

Standards‖.

The Rockwood School District Band Curriculum is referenced to the Missouri Show-Me Standards. You will find the

references explained below.

Example from Grade Six Beginning Band:

Core Conceptual Objective I.A. Playing Skills: Tone-Intonation: Students will demonstrate knowledge of tone and

intonation through musical performance.


Musicians produce characteristic tone and accurate intonation in order to

perform high quality music.

FA 1, 2.5

FA I refers to the Content Standard for Fine Arts

Students in Missouri public schools will acquire a solid foundation which includes knowledge of

1. process and techniques for the production, exhibition, or performance of one or more of the visual or performed arts

2.5 refers to the Process Standard Two

Students will acquire the knowledge and skills to communicate effectively within and beyond the classroom.

5. perform or produce works in the fine and practical arts

236

Note to Readers: What should high school graduates in Missouri know and be able to do? The Missourians who

developed these standards wrestled with that question. In the end, they agreed that ―knowing‖ and ―doing‖ are actually two

sides of the same coin. To perform well in school or on the job, one must have a good foundation of basic knowledge and

skills. Equally important, though, is the ability to use and apply one‘s knowledge in real-life situations.

These standards (73 in all) are intended to define what students should learn by the time they graduate from high

school. There are 33 ―Performance‖ standards, listed under four broad goals. There are also 40 ―knowledge‖ standards,

listed in six subject areas. Taken together, they are intended to establish higher expectations for students throughout the

Show-Me State. These standards do not represent everything a student will or should learn. However, graduates who meet

these standards should be well-prepared for further education, work, and civic responsibilities.

All Missourians are eager to ensure that graduates of Missouri‘s public schools have the knowledge, skills, and

competencies essential to leading productive, fulfilling and successful lives as they continue their education, enter the

workforce and assume their civic responsibilities. Schools need to establish high expectations that will challenge all

students to reach their maximum potential. To that end, the Outstanding Schools Act of 1993 called together master

teachers, parents, and policy-makers from around the state to create Missouri academic standards. These standards are the

work of that group.

The standards are built around the belief that the success of Missouri‘s students depends on both a solid foundation

of knowledge and skills and the ability of students to apply their knowledge and skills to the kinds of problems and

decisions they will likely encounter after they graduate.

The academic standards incorporate and strongly promote the understanding that active, hands-on learning will

benefit students of all ages. By integrating and applying basic knowledge and skills in practical and challenging ways

across all disciplines, students experience learning that is more engaging and motivating. Such learning stays in the mind

long after the tests are over and acts as a springboard to success beyond the classroom.

These standards for students are not a curriculum. Rather, the standards serve as a blueprint from which local

school districts may write challenging curriculum to help all students achieve their maximum potential. Missouri law

assures local control of education. Each school district will determine how its curriculum will be structured and the best

methods to implement that curriculum in the classroom.

Authority for the Show-Me Standards: Section 160.514, Revised Statutes of Missouri, and the Code of State

Regulations, 5 CSR 50-375.100.

KNOWLEDGE + PERFORMANCE = ACADEMIC SUCCESS

237

GOAL 1

Students in Missouri public schools will acquire the knowledge and skills to gather, analyze, and apply information

and ideas.

Students will demonstrate within and integrate across all content areas the ability to

1. develop questions and ideas to initiate and refine research

2. conduct research to answer questions and evaluate information and ideas

3. design and conduct field and laboratory investigations to study nature and society

4. use technological tools and other resources to locate, select, and organize information

5. comprehend and evaluate written, visual, and oral presentations and works

6. discover and evaluate patterns and relationships in information, ideas, and structures

7. evaluate the accuracy of information and the reliability of its sources

8. organize data, information, and ideas into useful forms (including charts, graphs, outlines) for analysis or presentation

9. identify, analyze, and compare the institutions, traditions, and art forms of past and present societies

10. apply acquired information, ideas, and skills to different contexts as students, workers, citizens, and consumers

GOAL 2

Students in Missouri public schools will acquire the knowledge and skills to communicate effectively within and

beyond the classroom.


1. plan and make written, oral, and visual presentations for a variety of purposes and audiences

2. review and revise communications to improve accuracy and clarity

3. exchange information, questions, and ideas while recognizing the perspectives of others

4. present perceptions and ideas regarding works of the arts, humanities, and sciences

5. perform or produce works in the fine and practical arts

6. apply communication techniques to the job search and to the workplace

7. use technological tools to exchange information and ideas

238

GOAL 3

Students in Missouri public schools will acquire the knowledge and skills to recognize and solve problems.


1. identify problems and define their scope and elements

2. develop and apply strategies based on ways others have prevented or solved problems

3. develop and apply strategies based on one‘s own experience in preventing or solving problems

4. evaluate the processes used in recognizing and solving problems

5. reason inductively from a set of specific facts and deductively from general premises

6. examine problems and proposed solutions from multiple perspectives

7. evaluate the extent to which a strategy addresses the problem

8. assess costs, benefits, and other consequences of proposed solutions

GOAL 4

Students in Missouri public schools will acquire the knowledge and skills to make decisions and act as responsible

members of society.


1. explain reasoning and identify information used to support decisions

2. understand and apply the rights and responsibilities of citizenship in Missouri and the United States

3. analyze the duties and responsibilities of individuals in societies

4. recognize and practice honesty and integrity in academic work and in the workplace

5. develop, monitor, and revise plans of action to meet deadlines and accomplish goals

6. identify tasks that require a coordinated effort and work with others to complete those tasks

7. identify and apply practices that preserve and enhance the safety and health of self and others

8. explore, prepare for, and seek educational and job opportunities

239

Missouri students must build a solid foundation of factual knowledge and basic skills in the traditional content areas. The

statements listed here represent such a foundation in reading, writing, mathematics, world and American history, forms of

government, geography, science, health/physical education, and the fine arts. This foundation of knowledge and skills

should also be incorporated into courses in vocational education and practical arts. Students should acquire this knowledge

base at various grade levels and through various courses of study. Each grade level and each course sequence should build

on the knowledge base that students have previously acquired.

These concepts and areas of study are indeed significant to success in school and in the workplace. However, they

are neither inclusive nor are they likely to remain the same over the years. We live in an age in which ―knowledge‖ grows

at an ever-increasing rate, and our expectations for students must keep up with that expanding knowledge base.

Combining what students must know and what they must be able to do may require teachers and districts to adapt

their curriculum. To assist districts in this effort, teachers from across the state are developing curriculum frameworks

show how others might balance concepts and abilities for students at the elementary, middle, and secondary levels. These

models, however, are only resources. Missouri law assures local control of education. Each district has the authority to

determine the content of its curriculum, how it will be organized, and how it will be presented.

Communication Arts

In Communication Arts, students in Missouri public schools will acquire a solid foundation which includes knowledge of

and proficiency in

1. speaking and writing standard English (including grammar, usage, punctuation, spelling, capitalization)

2. reading and evaluating fiction, poetry, and drama

3. reading and evaluating nonfiction works and material (such as biographies, newspapers, technical manuals)

4. writing formally (such as reports, narratives, essays)

5. comprehending and evaluating the content and artistic aspects of oral and visual presentations (such as story-telling,

debates, lectures, multi-media productions)

6. participating in formal and informal presentations and discussions of issues and ideas

7. identifying and evaluating relationships between language and culture

240

Mathematics

In Mathematics, students in Missouri public schools will acquire a solid foundation which includes knowledge of

1. addition, subtraction, multiplication, and division; other number sense, including numeration and estimation; and the

application of these operations and concepts in the workplace and other situations

2. geometric and spatial sense involving measurement (including length, area, volume), trigonometry, and similarity and

transformations of shapes

3. data analysis, probability, and statistics

4. patterns and relationships within and among functions and algebraic, geometric, and trigonometric concepts

5. mathematical systems (including real numbers, whole numbers, integers, fractions), geometry, and number theory

(including primes, factors, multiples)

6. discrete mathematics (such as graph theory, counting techniques, matrices)

Science

In Science, students in Missouri public schools will acquire a solid foundation which includes knowledge of

1. properties and principles of matter and energy

2. properties and principles of force and motion

3. characteristics and interactions of living organisms

4. changes in ecosystems and interactions of organisms with their environments

5. processes (such as plate movement, water cycle, air flow) and interactions of earth‘s biosphere, atmosphere,

lithosphere, and hydrosphere

6. composition and structure of the universe and the motions of the objects within it

7. processes of scientific inquiry (such as formulating and testing hypotheses)

8. impact of science, technology, and human activity on resources and the environment

241

Social Studies

In Social Studies, students in Missouri public schools will acquire a solid foundation which includes knowledge of

1. principles expressed in the documents shaping constitutional democracy in the United States

2. continuity and change in the history of Missouri, the United States, and the world

3. principles and processes of governance systems

4. economic concepts (including productivity and the market system) and principles (including the laws of supply and

demand)

5. the major elements of geographical study and analysis (such as location, place, movement, regions) and their

relationships to changes in society and environment

6. relationships of the individual and groups to institutions and cultural traditions

7. the use of tools of social science inquiry (such as surveys, statistics, maps, documents)

Fine Arts

In Fine Arts, students in Missouri public schools will acquire a solid foundation which includes knowledge of

1. process and techniques for the production, exhibition, or performance of one or more of the visual or performed

arts

2. the principles and elements of different art forms

3. the vocabulary to explain perceptions about and evaluations of works in dance, music, theater, and visual arts

4. interrelationships of visual and performing arts and the relationships of the arts to other disciplines

5. visual and performing arts in historical and cultural contexts

242

Health/Physical Education

In Health/Physical Education, students in Missouri public schools will acquire a solid foundation which includes

knowledge of

1. structures of, functions of, and relationships among human body systems

2. principles and practices of physical and mental health (such as personal health habits, nutrition, stress management)

3. diseases and methods for prevention, treatment, and control

4. principles of movement and physical fitness

5. methods used to assess health, reduce risk factors, and avoid high-risk behaviors (such as violence, tobacco, alcohol,

and other drug use)

6. consumer health issues (such as the effects of mass media and technologies on safety and health)

7. responses to emergency situations

243

Missouri Department of Elementary & Secondary Education

Integrated (Interdisciplinary/Cross Discipline) Fine Arts Vocabulary

HISTORY STRAND

DANCE MUSIC THEATRE VISUAL ARTS

STYLES:

Ballet – European style of dance;

traditionally performed en pointe by

ladies and having a story line

Folk – native dances of different

cultures

Jazz – dance with African-American

roots performed with soft sole shoes

Modern – style of dance

characterized by freedom of form and

performed barefoot

Tap – dance with African-American

roots performed with steel taps on the

dances shoes

Ballroom/Social – form of dance

used in social settings

Recreation – moving with or without

partners for the sheer enjoyment of

moving through space

Exercise – choreographed

movements designed to build up body

and maintain general health and well-

being

STYLES:

Classical Music – in its broadest sense,

refers to a style of ―art‖ music as

distinguished from folk, jazz, or popular

music

(See Historical Periods for further

definition)

Folk Music – music from a specific

culture

Folk Song – uncomplicated music that

speaks directly of everyday matters

Jazz – a style of American music

originated in the South by African-

Americans; it is characterized by strong,

prominent meter, improvisation, and

dotted or syncopated patterns

Long Ago – music from the past

Modern – music that is current;

generally, 20th

century music

Popular Style (Music) – American

music that has wide appeal, is

immediately communicative and

relatively short

STYLES:

Comedy – a funny or amusing play

with a happy ending

Improvisation – short scenes made

up on the spur of the moment

following generated guidelines

Melodrama – a serious play with

an unhappy ending; the major

characters are predictable

Musical – a play with songs

supporting the plot

Tragedy/Drama – a serious play

with an unhappy ending; major

characters are unpredictable

STYLES:

Abstract – art that exaggerates,

simplifies, or distorts reality

Fantasy – art showing imaginary or

unreal people, places or things

Realistic – art showing life as it is

Non-objective – based on elements of

art rather than on recognizable people,

places or things

Modern – 20th

century art with a focus

on abstraction

244


FUNCTIONS:

Education – dance intended to teach

Entertainment – dance intended for

audience enjoyment

Sacred – dance dealing with religious

themes

FUNCTIONS:

Accompaniment – music that adds

texture to a melody or melodies

Ceremonial – an established custom or

formal actions connected with an

occasion

Functional Music – wedding,

graduation, funeral, parade,

entertainment

Lullaby – sleep song

March – music with a steady beat

suitable for a parade or processional.

Popular Style – American music that

has wide appeal, is immediately

communicative and relatively short

Sacred – religious music

Secular –non-religious music

Spiritual – a sacred song that evolved

from the period of slavery in the U. S.

Waltz – dance in triple meter

Work Song – songs in which the text

describes the task of the worker

FUNCTIONS:

Education – theatre intended for

instruction

Entertainment – theatre intended

for audience enjoyment

Sacred – theatre dealing with

religious themes

FUNCTIONS:

Ceremonial – art serving a symbolic

function in a culture, e.g., flag

Commercial/Popular – art used for

business purposes, e.g., advertising,

fashion design, architecture, product

design, cartooning

Expressive – art that conveys

emotion or feeling

Formalism – art for art‘s sake

Functional – decorated objects for

everyday use, e.g., pottery, jewelry,

fibers

Representational – art

showing real life Sacred – art dealing with religious

themes

245


TRADITIONAL CULTURES:

Asian/Chinese – usually ceremonial;

used during theatrical productions;

uses mime and head and eye

movements; generally, tells a story or

depicts activities in everyday life

African – movements generally low

and grounded, using body

contractions, foot stamping,

percussive and swinging head and

arm movements; always rhythmic,

often energetic; ceremonial; religious

and secular events occurring in

everyday life; may use

costumes/masks


Asian – representational, stylized sound

images of people and nature;

identifiable sound characteristics

include artisan-made acoustical bamboo

and string instruments and drums,

pentatonic scales, narrow melodic

range, and a bright and nasal vocal

quality

African – functional music that is

participatory; instruments include a

variety of bells, drums, and rattles;

characterized by percussive and

polyrhythmic sounds that often use

improvisation


Asian – characters wear white and

elaborately patterned makeup along

with colorful embroidered robes to

perform stylized plays with stories

of long ago, or about family life

African – actors wear carved

masks and perform rituals based on

everyday activities


Asian – superior craftsmanship,

representational, stylized images of

people and nature created to match an

ideal; narrative depiction of history

and culture; may emphasize line and

flat areas of color

African – ceremonial and functional

objects; handmade with natural

materials; masks/sculptures show

exaggerated, stylized features of

people and animals, jewelry and

printed cloth use bright, bold,

geometric designs

246


Native American – dances may vary

in movement from tribe to tribe;

generally, dances affecting people in

everyday life use large groups; use

simple, repetitive steps and

music/singing; women dance for

women‘s activities, e.g., birth,

marriage, planting; men dance for

men‘s activities, e.g., coming of age,

war, hunting; dances usually tell

stories and can be narrated

simultaneously; solo work can explain

a tribal myth or tradition or carry on a

history of the tribe; solos are usually

performed with costumes and make-

up

Native American – functional music

that celebrates the cultural heritage of

the Native American; drums and rattles

are the predominant instruments that

accompany the voice; the only pure

instrumental music is for flutes and

whistles; the steady beat of the drum

does not always match the beat of the

song; there is no harmony

Native American – story

tellers/dancers may wear traditional

Regalia while performing for an

audience; Regalia may include

beadwork, feathers, and body

painting depending on region or

tribal affiliation

Native American – functional art

celebrating the cultural heritage of the

Native American; regional

characteristics: southwest (geometric,

Kachina); plains (narrative symbols);

northwest coast (animal totems)

247


HISTORICAL PERIODS:

American/Colonial – dances adapted

from European culture to the new

environment; examples of dances

include gavottes, minuets, marches,

jigs, circle group dances, and folk

dances

American/Western Expansion –

square and reel dance forms evolved;

the Grand March and the Polonaise

were used at ceremonial balls; the

mazurka and polka were danced in

couples

American/Civil War –waltz and

country dances were popular

Classical – tap and soft-shoe dances

were developed during the 1750 to

1820 time period

Modern – 20

th century dance

characterized by freedom of

movement and performed barefoot

HISTORICAL PERIODS:

American/Colonial–folk songs adapted

from European cultures


cowboy songs, work songs and folk

songs

American/Civil War – spirituals and

work songs

Classical – specifically refers to

European music composed from about

1750 to 1820 that borrows from Art

History‘s neoclassical period focusing

on unity, balance and ideas of realism

Modern – 20th

century innovative forms

and combinations of sounds

HISTORICAL PERIODS:

American/Colonial – Began with

British companies touring the

colonies with English-style plays;

developed into plays written by

Americans with typically American

characters


troupes of actors traveled by

wagons and showboats to perform

for people in the expanding

American West

American/Civil War–melodramas

became the predominant theatrical

form; American themes and/or

spectacular plays once again

became popular

Classical – the first formal theatre

came from ancient Greece; Thespis

was the first actor to step from a

chorus of actors to speak individual

lines

Modern – the director emerged as

the dominant force; realism is the

predominant style with most theatre

being very lifelike

HISTORICAL PERIODS:

American/Colonial –Real looking

paintings/sculptures of portraits and

history based on European art.

Architecture: styles brought by

colonists from European villages


Idealized, symbolic landscapes show

images of American wilderness;

architecture: rebellion against English

styles, Roman domes and columns

symbolize democracy

American/Civil War – realistic

painting/ sculpture/ photography

document current history;

architecture: industrial barons base

homes on European castles

Classical – realistic figure sculpture

based on ancient Greek and Roman

art; architecture: Greek and Roman,

elements: columns, arch, and dome

Modern – 20th

century abstract and

non-objective styles; the subject

matter is the elements and principles

of art; architecture: reaction against

historical styles, form follows

function

248

Criticism and Analysis Strand


Composition – a grouping of

movements to form a dance

Composition – an original work or

―opus‖

Book – play manuscript; in musical

productions the libretto without the

music

Manuscript (Script) – written or

typed play, or the book of a musical

(usually used in rehearsal)

Composition – arrangement of

elements and principles

Forms – methods of choreography; 2-

part form (AB), 3-part form (ABA),

Rondo (ABACA), theme and

variations, free sequential forms

Form – overall structure or organization

of a musical composition may

incorporate repetition, contrast, unity

and variety

Call and response – a song style that

follows a simple question and answer

pattern in which a soloist ―calls‖ out the

melody and a group ―responds‖

Canon – composition for two or more

voices in which one voice enters after

another in exact imitation of the first,

similar to a round

Form – structure of a play, e.g.,

scenes and acts

Form – three-dimensional or illusion

of 3D

Geometric – forms with

mathematical names

Organic – living things forms

Balance – ability to remain upright

Balance – sounds adjusted to create

desired effect

Balance – equalization of stage

picture including placement of

characters and set pieces on the

stage

Balance – arrangement with equal

visual weight on both sides of a

position

Asymmetrical/Informal – two sides

of a composition have the same visual

weight but the lines, shapes and

colors are not the same

249


Space – a dancer moves in and

through space

Space –

a) relationship between sound and

silence

b) lines and spaces on a staff

Space – where the actors are

located on the stage

Symmetrical/Formal – 2 sides of a

composition are identical, mirror

images

Proportion – the size relationships of

parts to a whole and to each other

Space – the distance around and

between things; area that can be filled

with an art element

Perspective – a way of making a flat

surface look as if it goes back in

space; illusion of depth

Foreground – area in two-

dimensional artwork that appears

closest to the viewer, usually

positioned at the bottom of the

artwork

Background – the part of a two-

dimensional artwork farthest from the

viewer, usually closest to the horizon

line

Positive space – the object itself; is

there

Negative space – the areas around the

object; is not there

Dynamics – movements determined

by the amount of energy, e.g.,

sustained, percussive, vibratory

Dynamics –the volume of sound; the

loudness or softness of a musical

passage

Dynamics – relationship of loud to

soft in the actor‘s speech, intensity

Color Intensity – brightness or

dullness of hue

Contrast – the use of different

elements of movement, e.g., high

movement versus low levels; fast

versus slow actions

Contrast – referring to extremes in each

element, e.g., pitch, rhythm, dynamics,

timbre

Contrast – variation used to

heighten interest in dramatic

construction and acting

Contrast – a difference between

elements in a work of art

Tempo – speed of the movements Steady beat – a consistent and regular

pulse

Tempo – speed of the underlying beat

Ritardando/Ritard – a gradual slowing

of tempo; abbreviate as rit

Accelerando – to gradually accelerate

Pace – the timing of lines and stage

business (not to be confused with

speed)

250

(get faster) in tempo


Rhythm – the movement with or

against sound in time

Rhythm – combinations of long and

short sounds and silences that convey a

sense of movement

Beat – change of interpretation in a

thought process; the ending of one

thought process and the beginning

of another

Rhythm – visual movement created

by repetition

Line – linear motion, unspoken (sing

the line)

Line – linear motion, speech to

speeches in a play

Line – path of a moving dot

Melody – horizontal, linear aspect of

music; organized succession of pitches

Movement – stage movement;

blocking; moving from one stage

area to another

Movement – path of viewer‘s eye as

it travels around a composition

Pitch – measured and named number of

vibrations per second; heard as a sound

from high to low; wave lengths in sound

Scale – the series of steps from one

pitch to another

Timbre – unique quality of a voice or

instrument

Tone Quality – dark or light quality of

sound

Pitch – raise or lower the voice

according to the musical scale

Inflection – vocal modulation,

variety in pitch

Acoustics – the quality of sound

transmission within a theater

Quality – unique sound of the

actor‘s voice

Voice projection – control of the

voice so that even those in the last

row of the house can hear and

understand every word

Hue - measured and named qualities

of light

Color - reflected quality of asurface

based on pigment or light,

wavelengths in light

Value – steps from white through

gray to black; value scales are regular

intervals of values

Tint – light value of a color, made by

mixing white with the color

Shade – the dark value of a color,

made by mixing black with the color

Color intensity – brightness or

dullness of a hue

Color Wheel – colors of the rainbow

turned into a circle

Cool Colors – colors around blue on

the color wheel; green, blue, violet

Warm colors – colors around orange

on the color wheel; red, orange,

yellow

Primary colors – the first colors from

which others are mixed; red, yellow,

blue

Secondary colors – colors made

when two primary colors are mixed;

orange, violet, green

251


Texture – the density or scarcity of

movement in a dance; it can also be

used to describe movements such as

rough, smooth, etc.

Texture – the character of the different

layers of sound in music

Solo – one person only plays or sings

Duet – two people play or sing

Trio – three people play or sing

Quartet – a combination of four voices

or instruments; also music written for

such an ensemble

Texture – to add depth and tactile

qualities to scenery pieces

Texture – the way a surface feels or

looks like it would feel.

Symbols – signs for parts of the body

used in dance notation

Notation – written symbols used to

identify the musical elements

Symbols – abbreviations for stage

directions, movement and vocal

inflection

Symbol – an image that stands for an

idea

Harmony – the sounding together of

two or more tones

Harmony – two or more pitches

occurring simultaneously; used in

musical theatre

Harmony/Unity – elements work

together in an artwork

Shape – interesting and interrelated

arrangement of body parts of one

dancer; the overall visible appearance

of a group of dancers

Shape – to perform a phrase musically Shape – design of the structure that

is the set for a play

Shape – two-dimensional or flat

Geometric – mathematical

Organic – living things

Pattern – repetition – principle of

choreographic form based upon using

movements or phrases again in a work

Ostinato – a rhythmic or melodic

passage that is repeated continuously

Pattern/Stage Picture – the

arrangement of actors on the stage

Repetition – repeating a word,

phrase, movement or design

Pattern – repetition of line, shape,

and/or color

Accent – an emphasized movement Accent – the emphasis placed on a beat Accent – use of a dialect

Emphasis – a stressed word in a

line

Emphasis/Center of Interest – part

of a composition that gets the most

attention

Product/Performance Strand

Students will demonstrate the application of knowledge (see terms in History and Criticism sections of this document).

252

Graphic

Organizers

253

Easy Start Herringbone

1. Who is it about? 2. Where did it happen? 3. When did it happen?

MAIN IDEA

4. What happened? 5. How did it happen? 6. Why did it happen?

254

Compare and Contrast

Transition Words: different from, same as, instead of, on the other hand

255

TOPIC: _____________________________________________________________________

MAIN IDEA: ________________________________________________________________

_____________________________________________________________________________

MAJOR SUPPORTING DETAILS

1.

2.

3.

4.

5.

256

Suggested Graphic Organizer for Cause and Effect

Transition Words: because, since, so that, if/then

Cause

Effect

Effect Effect

Effect

257

Chronological/Sequence

Event 1 Event 2 Event 3 Event 4

Transition Words: First, second, then, after, next etc.

258

Problem/Solution

Problem

Transition Words: One answer is, the question is, the problem,

the solution

259

STORY MAP (CHART)

(Isabel Beck) The Character:

The setting:

Statement of the Problem:

Event 1:

Event 2:

Event 3:

Event 4:

Event 5:

Event 6:

Event 7:

Statement of the Solution:

Story Theme: (What is this story REALLY about?)

Values brought out in the story:

260

SEQUENCE CHAIN

261

Essay Organizer - Standard Outline

Thesis Statement:

______________________________________________________________________

______________________________________________________________________

______________________________________________________________________

______________________________________________________________________

Introductory Paragraph

Topic Sentence:

______________________________________________________________________

Detail_________________________________________________________________

Detail_________________________________________________________________

Detail_________________________________________________________________

Support Paragraph

Topic Sentence:

______________________________________________________________________

Detail_________________________________________________________________

Detail_________________________________________________________________

Detail_________________________________________________________________

Support Paragraph

Topic Sentence:

______________________________________________________________________

Detail_________________________________________________________________

Detail_________________________________________________________________

Detail_________________________________________________________________

Support Paragraph

(Emphasize Thesis)

______________________________________________________________________

______________________________________________________________________

______________________________________________________________________

______________________________________________________________________

Conclusion

(Note: You are NOT limited to only 3 support paragraphs!)

262

Paragraph Organizer

Topic Sentence:

Concrete Detail

Commentary

Commentary

Concrete Detail

Commentary

Commentary

Concrete Detail

Commentary

Commentary

Concluding sentence:

263

Essay Organizer – Standard Outline

Paragraph 1 – Introduction:

Main Idea/ Thesis:

Paragraph 2 – Concrete Detail

commentary: ______________________________________________

commentary: ______________________________________________

commentary: ______________________________________________

Paragraph 3– Concrete Detail

commentary: ______________________________________________

commentary: ______________________________________________

commentary: ______________________________________________

Paragraph 4 – Concrete Detail

commentary: ______________________________________________

commentary: ______________________________________________

commentary: ______________________________________________

Paragraph 5 – Conclusion

264

Rockwood School District

Attendance Procedure for Secondary Music Programs

A performance schedule will be announced in a timely manner, usually during the first two

weeks of a semester. Additional performances to the schedule will be announced as far in

advance as possible.

After the performance schedule is distributed, students will be given 48 hours to indicate any

previous commitments that conflict with scheduled performance dates. To request an excused

absence for a performance, the students must have a written parental request. The parental

request should include student name, performance date, and prior commitment. This request

must be submitted within the 48 hour time frame.

Students may be excused from a performance commitment, without penalty, for an excused

absence from school.

Students may be excused from a performance commitment, without penalty, for emergency

reasons. Emergencies will be dealt with on an individual basis.

Students will not be excused from a performance commitment for work.

Students who receive an unexcused absence for a performance may have their quarter grade

affected by no more than 20% of the total points.

In the event of an unexcused absence from a performance commitment, the future eligibility of

the student in the performance ensemble will be assessed.

In the event of multiple excused absences from a performance commitment, the future eligibility

of the student in the performance ensemble will be assessed.

Student Signature: ______________________________________________________________

Parent Signature: _______________________________________________________________

Date: _______________________

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