Arts Education Assessment Specifications
Dance, Music, Theatre and Visual ArtsSeptember 2016
Edited by Elizabeth Andrews, James Scott Cochran, Cecilia Gollan, Cheryl L. Poole, Cynthia Taggart and Edward Roeber
Copyright © 2016. All rights reserved.
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TableofContents
Section Page(s)TableofContents 2ListofTables 5
Chapter1–IntroductiontotheMAEIAAssessmentSpecificationsDocument 7
1.1–PurposeoftheArtsEducationAssessmentSpecifications 71.2–WhatAreAssessmentSpecifications? 71.3–HowWastheMAEIAAssessmentSpecificationsDocumentDeveloped? 81.4–HowistheMAEIAAssessmentSpecificationsDocumentStructured? 81.5–HowWeretheMAEIAAssessmentSpecificationsUsed? 9
Chapter2–OverviewoftheArtsEducationAssessmentDesign 10
2.1–DisciplineAreasAssessed 102.2–CognitiveComplexityandDifficultyoftheItems 10
Figure2.2.1–Webb’sDepthofKnowledge 112.3–NatureoftheAssessmentItems 12
2.3.1–PerformanceTasks 122.3.2–PerformanceEvents 132.3.3–Constructed-ResponseItems 132.3.4–Selected-ResponseItems 13
2.4– AssessmentattheHighSchoolLevel 132.5–UseofGraphics,AudioandVideointheAssessments 142.6–AccessibilityandAccommodations–UniversalDesign(UD)and Evidence-CenteredDesign(ECD) 142.7–IssuesofBiasandSensitivityinArtsEducationAssessments 142.8–AssessmentTimeandStructures 15 2.9–PotentialAssessmentAdministrationProcesses 15
Chapter3–TestSpecificationsforEachAssessment 16 3.1–MichiganArtsEducationContentStandards 16 3.2–PerformanceStandardsAssessedintheMAEIAProject 17 3.2.1–Dance 17 3.2.2–Music 19 3.2.3–Theatre 20 3.2.4–VisualArts 22
Chapter4-DanceAssessmentSpecifications 25 4.1–DesignoftheDanceAssessment 254.2–DescriptionoftheDanceAssessments 26 Table4.2.1–IllustrativeIdeasforDanceAssessment–GradesK-2and3-5 28
Table4.2.2–IllustrativeIdeasforDanceAssessment–Grades6-8 32Table4.2.3–IllustrativeIdeasforDanceAssessment–Grades9-12 38Figure4.2.4–ExampleofDancePerformanceTask 42Figure4.2.5–ExampleofDancePerformanceTasks–Grade8 43Figure4.2.6–ExampleofDancePerformanceTasks–Grades5,8and12 44Figure4.2.7–ExampleofDancePerformanceEvent–Grade5 44
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Figure4.2.8–ExampleofDancePerformanceEvents 45Figure4.2.9–ExampleofDanceConstructed-ResponseItem–Respond 46 Figure4.2.10–ExampleofDanceConstructed-ResponseItem 46Figure4.2.11–ExampleofDanceSelected-ResponseItem 47Figure4.2.12–ExamplesofDanceSelected-ResponseItem 47
4.3–RangeofContentforAssessingDance48 Table4.3.1–ExamplesofGenre/ArtistsforUseinDanceAssessments48
4.4–NatureoftheScoringRubricsforAssessingDance 53 Figure4.4.1–RubricforDanceAssessment–Create–GradesK-5 55Figure4.4.2–RubricsforDanceAssessment–Create–Grades6-856Figure4.4.3–RubricforDanceAssessment–Create–Grades9-12 56Figure4.4.4–RubricforDanceAssessment–Perform–GradesK-2 58Figure4.4.5–RubricsforDanceAssessment–Perform–Grades6-858Figure4.4.6–RubricsforDanceAssessment–Perform–Grades9–1260Figure4.4.7–RubricforAssessment–Respond–Grades3-5 61Figure4.4.8–RubricforDanceAssessment–Respond–Grades9-1261
4.5–SummaryofAvailableDanceAssessments 634.5.1–Overview 63
4.5.2–NumberofPerformanceEventsandPerformanceTasksAvailable 63 Table4.5.1–NumberofDancePerformanceEvents–GradesK-8 63 Table4.5.2–NumberofDancePerformanceTasks–Grades–K-8 64 Table4.5.3–NumberofGrade9-12DancePerformanceEvents–Levels1-364 Table4.5.4–NumberofGrade9-12DancePerformanceTasks–Levels1-364
4.6–ReferencesforDance 65
Chapter5–MusicAssessmentSpecification 665.1–DesignoftheMusicAssessment 665.2–DescriptionoftheMusicAssessments 67 Figure5.2.1–ExampleofMusicPerformanceTask 67 Figure5.2.2–ExampleofMusicPerformanceEvent 69 Figure5.2.3–ExampleofMusicConstructed-ResponseItem 70 Figure5.2.4–ExampleofMusicSelected-ResponseItem 715.3–RangeofContentforAssessingMusic 71 5.3.1–GradesK-2and3-5RangeofContent 72 5.3.2–Grades6-8RangeofContent 73 5.3.3–HighSchoolRangeofContent 745.4–NatureoftheScoringRubricsforAssessingMusic 75 Figure5.4.1–ExampleMusicNotationRubric–Grades3-4765.4.1–SampleRubricsforGradesK-2and3-5Assessments 76 Figure5.4.2Create–GradesK-2 77 Figure5.4.3Create–Grades3-5 78 Figure5.4.4Perform–GradesK-2 79 Figure5.4.5Respond–Grade3-5 79
5.4.2–SampleRubricsforGrades6-8Assessments 79Figure5.4.6Create–Grades6-8 80 Figure5.4.7Perform–Grades6-8 80Figure5.4.8Respond–Grades6-8 81
5.4.3–SampleRubricsforHighSchoolAssessments 81Figure5.4.9Create–Grades9-12 82Figure5.4.10Perform–Grades9-12 83
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Figure5.4.11Respond–Grades9-12 84 5.5–SummaryofAvailableAssessments 84 5.5.1–Overview 84 5.5.2–NumberofPerformanceEventsandPerformanceTasksAvailable 85 Table5.5.1NumberofMusicPerformanceEvents–GradesK-8 85 Table5.5.2NumberofMusicPerformanceTasks–GradesK-8 86 Table5.5.3NumberofHighSchoolMusicPerformanceEvents 86 Table5.5.4NumberofHighSchoolMusicPerformanceTasks 86 5.6–ReferencesforMusic 86Chapter6–TheatreAssessmentSpecifications 87
6.1–DesignoftheTheatreAssessments 876.2–DescriptionoftheTheatreAssessments 88 Table6.2.1IllustrativeTheatreIdeasforAssessment–GradesK-2and3-588 Table6.2.2IllustrativeTheatreIdeasforAssessment–Grades6-893Table6.2.3IllustrativeTheatreIdeasforAssessment–Grades9-12996.3–RangeofContentforAssessingTheatre 103 Table6.3.1ResourcesforTheatreatGradeSpans 1046.4–NatureoftheScoringRubricsforAssessingTheatre 105Table6.4.1SampleTheatreRubricforActing/PerformanceAssessments 106 Table6.4.2SampleTheatreRubricforReflectionandEvaluation 107
6.5–SummaryofAvailableTheatreAssessments 108 6.5.1–Overview 108 6.5.2–NumberofPerformanceEventsandPerformanceTasksAvailable 108 Table6.5.1NumberofTheatrePerformanceEvents–GradesK-8 109 Table6.5.2NumberofTheatrePerformanceTasks–GradesK-8 109 Table6.5.3NumberofGrades9-12TheatrePerformanceEvents 109 Table6.5.4NumberofGrades9-12TheatrePerformanceTasks 109
6.6–ReferencesforTheatre 109 Chapter7–VisualArtsAssessmentSpecifications 111
7.1–DesignoftheVisualArtsAssessment 1117.2–DescriptionoftheVisualArtsAssessments 112 Figure7.2.1–VisualArtsPerformanceTask–Grade8 113 Figure7.2.2–VisualArtsScoringRubric 114 Figure7.2.3–VisualArtsPerformanceEvent–Grades9-12 115 Figure7.2.4–VisualArtsScoringRubric–Grades9-12 115 Figure7.2.5–Constructed-Response–Grade5 117 Figure7.2.6–TeacherScoringRubricConstructed-Response–Grade5 118 Figure7.2.7–VisualArtsPerformanceEvent–Grade6 118 Figure7.2.8–VisualArtsScoringRubric–Grade6 119 Figure7.2.9–Selected-Response–Grades9-12 1207.3–RangeofcontentforAssessingVisualArts 1217.4–NatureoftheScoringRubricsforAssessingVisualArts 124
Figure7.4.1–ScoringRubricforRespond–Grades9-12 125 7.5–SummaryofAvailableAssessments 1287.5.1–Overview 1287.5.2–NumberofPerformanceEventsandPerformanceTasksAvailable 129 Table7.5.1NumberofVisualArtsPerformanceEvents–GradesK-8 129
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Table7.5.2NumberofVisualArtsPerformanceTasks–GradesK-8 129 Table7.5.3NumberofGrades9-12VisualArtsPerformanceEvents 130 Table7.5.4NumberGrades9-12VisualArtsPerformanceTasks 130 7.6–ReferencesforVisualArts 130ListofTablesandFigures Page Chapter2–OverviewoftheArtsEducationAssessmentDesign Figure2.2.1–Webb’sDepthofKnowledge 11
Chapter4–DanceTablesandFigures
Table4.2.1–IllustrativeIdeasforDanceAssessment–GradesK-2and3-5 28Table4.2.2–IllustrativeIdeasforDanceAssessment–Grades6-8 32Table4.2.3–IllustrativeIdeasforDanceAssessment–Grades9-12 38Figure4.2.4–ExampleofDancePerformanceTask 42Figure4.2.5–ExampleofDancePerformanceTasks–Grade8 43Figure4.2.6–ExampleofDancePerformanceTasks–Grades5,8and12 44Figure4.2.7–ExampleofDancePerformanceEvent–Grade5 44Figure4.2.8–ExampleofDancePerformanceEvents 45Figure4.2.9–ExampleofDanceConstructed-ResponseItem 46 Figure4.2.10–ExampleofDanceConstructed-ResponseItem 46Figure4.2.11–ExampleofDanceSelected-ResponseItem 47Figure4.2.12–ExamplesofDanceSelected-ResponseItem 47
Table4.3.1–ExamplesofGenre/ArtistsforUseinDanceAssessments48 Figure4.4.1–RubricforDanceAssessment–Create–GradesK-5 55
Figure4.4.2–RubricsforDanceAssessment–Create–Grades6-8 56Figure4.4.3–RubricforDanceAssessment–Create–Grades9-12 56Figure4.4.4–RubricforDanceAssessment–Perform–GradesK-2 58Figure4.4.5–RubricsforDanceAssessment–Perform–Grades6-858Figure4.4.6–RubricsforDanceAssessment–Perform–Grades9–1260Figure4.4.7–RubricforAssessment–Respond–Grades3-5 61Figure4.4.8–RubricforDanceAssessment–Respond–Grades9-1261
Table4.5.1–NumberofDancePerformanceEvents–GradesK-8 63 Table4.5.2–NumberofDancePerformanceTasks–Grades–K-8 64 Table4.5.3–NumberofGrade9-12DancePerformanceEvents–Levels1-364 Table4.5.4–NumberofGrade9-12DancePerformanceTasks–Levels1-364
Chapter5–MusicFiguresandTables Figure5.2.1–ExampleofMusicPerformanceTask 67 Figure5.2.2–ExampleofMusicPerformanceEvent 69 Figure5.2.3–ExampleofMusicConstructed-ResponseItem 70 Figure5.2.4–ExampleofMusicSelected-ResponseItem 71 Figure5.4.1–ExampleMusicNotationRubric–Grades3-476 Figure5.4.6Create–Grades6-8 80 Figure5.4.7Perform–Grades6-8 80 Figure5.4.8Respond–Grades6-8 81 Figure5.4.9Create–Grades9-12 82 Figure5.4.10Perform–Grades9-12 83
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Figure5.4.11Respond–Grades9-12 84 Table5.5.1NumberofMusicPerformanceEvents–GradesK-8 85 Table5.5.2NumberofMusicPerformanceTasks–GradesK-8 86 Table5.5.3NumberofHighSchoolMusicPerformanceEvents 86
Table5.5.4NumberofHighSchoolMusicPerformanceTasks 86Chapter6–TheatreTablesandFigures Table6.2.1IllustrativeTheatreIdeasforAssessment–GradesK-2and3-588 Table6.2.2IllustrativeTheatreIdeasforAssessment–Grades6-893Table6.2.3IllustrativeTheatreIdeasforAssessment–Grades9-1299 Table6.3.1ResourcesforTheatreatGradeSpans 104Table6.4.1SampleTheatreRubricforActing/PerformanceAssessments 106 Table6.4.2SampleTheatreRubricforReflectionandEvaluation 107
Table6.5.1NumberofTheatrePerformanceEvents–GradesK-8 109 Table6.5.2NumberofTheatrePerformanceTasks–GradesK-8 109 Table6.5.3NumberofGrades9-12TheatrePerformanceEvents 109
Table6.5.4NumberofGrades9-12TheatrePerformanceTasks 109 Chapter7–VisualArtsTablesandFigures Figure7.2.1–VisualArtsPerformanceTask–Grade8 113 Figure7.2.2–VisualArtsScoringRubric 114 Figure7.2.3–VisualArtsPerformanceEvent–Grades9-12 115 Figure7.2.4–VisualArtsScoringRubric–Grades9-12 115 Figure7.2.5–Constructed-Response–Grade5 117 Figure7.2.6–TeacherScoringRubricforConstructed-Response–Grade5 118 Figure7.2.7–VisualArtsPerformanceEvent–Grade6 118 Figure7.2.8–VisualArtsScoringRubric–Grade6 119 Figure7.2.9–Selected-Response–Grades9-12 120
Figure7.4.1–ScoringRubricforRespond–Grades9-12 124 Table7.5.1NumberofVisualArtsPerformanceEvents–GradesK-8 129 Table7.5.2NumberofVisualArtsPerformanceTasks–GradesK-8 129 Table7.5.3NumberofGrades9-12VisualArtsPerformanceEvents 130 Table7.5.4NumberGrades9-12VisualArtsPerformanceTasks 130
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Chapter1
IntroductiontotheMAEIAAssessmentSpecificationsDocument
Assessmentspecificationscommunicatethestandardsandcontenttobemeasuredinanassessmentaswellashowthatcontentwillbeassessedtoawidevarietyofaudiences.Theseaudiencesincludetheindividualswhohelpedtobuildtheassessments,aswellasthosewhowillusetheassessmentsandtheassessmentresults.Therefore,anassessmentspecificationsdocument(ASD)isintendedtoserveasasupportingdocumenttohelpthefullarrayofpotentialusersunderstandthepurposesandusesoftheplannedassessment,aswellasprovidemorespecificinformationastohowtoaccuratelyinterprettheassessmentresults.
1.1PurposeoftheArtsEducationAssessmentSpecifications
ThepurposeoftheMAEIAArtsEducationASDistoprovideinformationontheassessmentspecificationsthatguidedthedevelopmentanduseoftheMichiganartseducationmeasures.Tothisend,thisMAEIAASDwilldescribethefollowing:• Whatareassessmentspecifications?• HowwastheMAEIAAssessmentSpecificationsDocumentDeveloped?• HowistheMAEIAAssessmentSpecificationsStructured?• HowwastheMAEIAAssessmentSpecificationsDocumentused?
1.2WhatAreAssessmentSpecifications?
Goodachievementassessmentsarecontentdriven.Successfulcompletionoftheassessmentdevelopmentprocessrequiresdeepunderstandingoftheknowledge,skills,andabilitiesthataremeasuredonanassessment,andhowthesearederivedfromthecontentstandardsuponwhichtheassessmentisbased.Notonlyisunderstandingofthespecificcontentimportant,developersandusersmustalsoknowtherangeanddepthofcontenteligibletobeassessed,therelativeweightingamongthevariouscontentstrandstobeincludedontheassessment,andtheitemtypesusedtomeasureeachstrand.
Specifically,asetofassessmentspecificationsisaformaldocumentthatguidesthedevelopmentandassemblyofanassessmentbyexplainingthefollowingessentialinformation:
• Content(standards,indicators,andvalidityclaims)thatisorisnottobeincludedforeach
assessedartsdisciplineateachgradelevel,acrossvariouslevelsofthesystem(studentandclassroom);
• Emphasisandbalanceofcontent,generallyindicatedasnumberofitemsorpercentageofpointsperstandardorindicator;
• Itemtypes,sendingaclearmessagetoitemdevelopershowtomeasureeachstandardorindicator,andtoartseducatorsandstudentsaboutlearningexpectations;and
• Depthofcontent,expressedbyDepthofKnowledge(DOK)1,indicatingthecomplexityofitemtypesforeachstandardorindicator.
Assessmentspecificationsareessentialforbothassessmentdevelopersandforthoseresponsibleforcurriculumandinstruction.Forassessmentdevelopers,theassessmentspecificationsdeclarehowthe 1DepthofKnowledgeisaproceduredevelopedbyNormWebb,UniversityofWisconsin,WisconsinCenterfor
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assessmentswillbedevelopedtoensurefullcoverageofcontentandmaintainfidelitytotheintentofthecontentstandardsonwhichtheassessmentisbased.Fullalignmenttocontentstandardsisnecessaryifeducationalstakeholdersaretomakevalid,reliable,andunbiasedinferencesaboutstudentachievementatthestudent,classroom,school,andstatelevels.
Forthoseresponsibleforcurriculumandinstruction,theassessmentspecificationsprovideaguidetothecompetingdemandsofartseducationcontentforinstructionalplanningpurposes,aswellassuggestinghowthecontentisintendedtobedemonstrated,asindicatedbyitemtype.
Insummary,assessmentspecificationsprovidecleardevelopmentguidancetotestdevelopersandsignalstothebroadereducationcommunityboththefullcomplexityofthepertinentcontentstandardsandhowperformanceonthesestandardswillbemeasured.
1.3HowwastheMAEIAAssessmentSpecificationsDocumentDeveloped?
MAEIAASDwasdevelopedbyartseducatorsandothersundertheguidanceofaMAEIAProjectManagementTeam(PMT)fromtheMichiganAssessmentConsortium(MAC).Oncedraftedbytheassessmentspecificationswriters,theMAEIAASDunderwenteditorialreviewbythePMT.ThiswaspairedwithafieldreviewbyMichiganandnationalartseducatorstoassurethattheASDpresentedachallengingyetattainablelevelofexpectationsforstudentsandschools.SincetheASDwasusedfirstinthedevelopmentoftheartseducationassessments,thisdevelopmentprocessalsoyieldedrefinementsthatneededtobemadetothedocumentitself.
Asplansforfield-testingtheassessmentsinschoolsweremade,andsuchuseoccurred,additionalrefinementstothedocumentwerenecessary.Inthissense,becausetheASDremainsa“livingdocument,”itsdevelopmentandrefinementwasamoreorlesscontinualprocessoverseveralyears.
1.4HowistheMAEIAAssessmentSpecificationsDocumentStructured?
TheassessmentspecificationswritersusedtheoutlineprovidedbythePMTtofillintheinformationneeded.AdraftoutlinefortheMAEIAASDwasfirstcreatedandwasusedattheinitialmeetingoftheassessmentspecificationswriterstosuggestthetopicstobeincludedintheMAEIAASD.Subsequently,thisoutlinewasrefinedandusedbytheteamineachdisciplinetodescribetheassessmenttobedevelopedineachdiscipline.
TheexamplesandrecommendationsintheASDarenotexhaustive;theydescribesomeofthemore
importantexamplesofartseducationassessmentsthatwillguidethedevelopmentanduseoftheMAEIAassessments.TheASDcontainsinformationonthefollowingtopics.• Adiscussionofthepurposesfortheartseducationassessmentprogram,• Anoverviewoftheartseducationstandardstobeassessed,• Adescriptionoftheproposedartseducationassessmentdesignandinstruments,• Illustrationsofthisassessmentineachoftheartsdisciplinesforwhichassessmentswillbe
created(dance,music,theatre,andvisualarts),• Anoverviewoftheassessmentdevelopmentstepsandhowtheassessmentswillbeadministered,
and, Anoverviewofthemannerinwhichtheresultsoftheassessmentsmaybereportedatdifferent
educationallevelstodifferentgroupsandaudiences
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1.5HowweretheMAEIAAssessmentSpecificationsUsed?
Asdescribedabove,theMAEIAASDwasusedto:
• DescribeingeneraltermswhattheMAEIAassessmentsindance,music,theatreandvisualartswouldcover.
• Providemoredetailedinformationaboutthetypesofassessmentexercisesthatwereusedandwhatknowledgeandskillstheyaddressed.
• Provideprototypeassessmentexercisestoshowreadersthetypesofassessmentstobeselectedordeveloped.
• Describehowtheassessmentsmaybeadministeredandscored.• Provideillustrativeinformationaboutthemannerinwhichassessmentresultsmaybereported.• Discusshowtheassessmentinformationmaybeusedbyschooldistricts.
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Chapter2OverviewoftheArtsEducationAssessmentDesign
Thischapterprovidesanoverviewoftheartseducationassessments,theDepthofKnowledgeanddifficultylevelsintendedfortheitems,adescriptionofthedifferenttypesofassessmentstobecreated,andotherassessmentdesignanddevelopmentissuesconsideredinthedevelopmentoftheMAEIAassessments.2.1DisciplineAreasAssessed
Foroverfortyyears,theMichiganDepartmentofEducationhasidentifiedessentialskillsinthearts.ThefirsteditionoftheMichiganArtsEducationContentStandards,publishedin1998,hasprovidedrecommendedlearningexpectationsforstudentsindance,music,theatre,andthevisualartsinMichigan.Thisisconsistentwiththe1994NationalArtsEducationStandards.TheMAEIAassessmentsareanchoredinthegrade-levelandhighschoolcontentexpectationsintheartsdisciplinesofdance,music,theatre,andvisualarts.TheMAEIAprojectwasawarethattheNationalCoalitionforCoreArtsStandards(NCCAS)projectwasdevelopingstandardsformediaarts.ThedevelopmentofmediaartsstandardsaspartoftheMichiganArtsEducationContentStandardsmaybeworkthattheMichiganDepartmentofEducationwillembarkonsincenationalleadershipintheformofNCASMediaArtsStandardsbecameavailablein2014.TheMAEIAartseducationassessmentshavebeenlinkedtotheAnchorStandardscontainedintheNationalCoreArtsStandardsmaterials.Thiswillpermituserstolinktobothstateandnationalartseducationstandards.
2.2CognitiveComplexityandDifficultyoftheItems
Oneoftheessentialcharacteristicsoftheassessmentsthatwerecreatedistheircognitivecomplexity.Thisisanimportantingredientinwell-craftedassessmentmeasuresbecausethereisatleastamodestcorrelationbetweencomplexityofthetaskandthedepthatwhichtheperformancestandardsinartseducationwillbemeasured.
TheNationalStandardsoftheArtsencouragetheorganizationoflearningprocessesintothreecategories:Create,Perform,andRespond.Throughthismethodoforganization,assessmentopportunitiesbecomeanaturalpartoftheprocessoflearning.Theprocessofmeasuringgrowthcanincludeassessmentsusedforsummativeandformativepurposes,authenticperformances,andthecognitive,affective,andpsychomotordomains.Theassessmentscoverseverallevelsofcognitivecomplexity,anduseavarietyoftoolsincludingportfolios,pre-andpost-tests,performancetasksandevents,constructed-response,andselected-responseitems.
Historically,therehavebeenseveralmethodsforjudgingthecognitivecomplexityofasetofcontent
standardsaswellastheassessmentsthatmeasurethem.SchemassuchasBloom’sTaxonomyhavebeenusedinthepastbyeducators.Whenstateswererequiredtodemonstratethecomplexityoftheircontentstandardsandthealignmentoftheirstateassessmentstothesestandards,though,twonewmethodsweredeveloped.Thefirst,developedbyAchieve,judgedthestandardsandtheassessmentsholistically.TheotherwasatooldevelopedbyNormanWebb,WisconsinCenterforEducationResearch,UniversityofWisconsin,calledtheWebbAlignmentTool.Becauseofthenatureofthistool,moststates(includingtheMichiganDepartmentofEducation)usedtheWebbtoolfortheirNCLB-requiredalignmentstudiestoshowalignmentbetweenthecontentstandardsandassessments.TheWebbAlignmentToolisusedtoensureassessmentsmeasurethecontentstandardsatthesamelevelofrigordictatedbythestandard
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LevelsofThinkinginBloom’sTaxonomy2andWebb’sDepthofKnowledgearerelatedtooneanother,asshowninFigure2.2.1
Figure2.2.1ComparisonofBloom’sTaxonomyandWebb’sDepthofKnowledge
2.2.1 Webb’sDepthofKnowledge(DOK)–DepthofKnowledgeisonepartoftheWebbAlignmentTool
developedbyNormWebb.TheWebbAlignmentToolisusedtojudgetheDepthofKnowledgeofeachstandard,followedbytheDepthofKnowledge,RangeofKnowledge,CategoricalConcurrence,andBalanceofRepresentationofbothasetofstandardsandtheassessmentsthatmeasurethem.DepthofKnowledge(DOK)isthemostimportantofthesecriteriaforjudgingcognitivecomplexity.DOKisusedtojudgethecognitivecomplexityofbothasetofstandardsandassessmentsthatmeasureit.WebbdefinedfourlevelsofDOK:• Level1(Recall)includestherecallofinformationsuchasafact,adefinition,aterm,orasimple
procedure,aswellasperformingasimplealgorithmorapplyingaformula.KeywordsthatsignifyaLevel1include“identify,”“recall,”“recognize,”“use,”and“measure.”
• Level2(Skill/Concept)includestheengagementofsomementalprocessingbeyondahabitual
response.ALevel2assessmentitemrequiresstudentstomakesomedecisionsastohowtoapproachtheproblemoractivity,whereasLevel1requiresstudentstodemonstratearoteresponse,performawell-knownalgorithm,followasetprocedure(likearecipe),orperformaclearlydefinedseriesofsteps.KeywordsthatgenerallydistinguishaLevel2iteminclude“classify,”“organize,””estimate,”“makeobservations,”“collectanddisplaydata,”and“comparedata.”
• Level3(StrategicThinking)requiresreasoning,planning,usingevidence,andahigherlevelof
thinkingthantheprevioustwolevels.Inmostinstances,requiringstudentstoexplaintheirthinkingisaLevel3activity.Activitiesthatrequirestudentstomakeconjecturesarealsoatthislevel.ThecognitivedemandsatLevel3arecomplexandabstract.Thecomplexitydoesnotresultfromthefactthattherearemultipleanswers,apossibilityforbothLevels1and2,butbecausethetaskrequiresmoredemandingreasoning.Anactivity,however,thathasmorethanonepossibleanswerandrequiresstudentstojustifytheresponsetheygivewouldmostlikelybeaLevel3.
2 ATaxonomyforLearning,Teaching,andAssessing:ARevisionofBloom’sTaxonomyofEducationalObjectives.Anderson,L.W.,Krathwohl,D.R.,etal.(2001).
http://www.paffa.state.pa.us/PAAE/Curriculum%20Files/7.%20DOK%20Compared%20with%20Blooms%20Taxonomy.pdf
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• Level4(ExtendedThinking)requirescomplexreasoning,planning,developing,andthinkingmostlikelyoveranextendedperiodoftime.Theextendedtimeperiodisnotadistinguishingfactoriftherequiredworkisonlyrepetitiveanddoesnotrequireapplyingsignificantconceptualunderstandingandhigher-orderthinking.AtLevel4,thecognitivedemandsofthetaskshould
behighandtheworkshouldbeverycomplex.Studentsshouldberequiredtomakeseveralconnections-relateideaswithinthecontentareaoramongcontentareas-andhavetoselectoneapproachamongmanyalternativesonhowthesituationshouldbesolved,inordertobeatthishighestlevel.Level4activitiesincludedevelopingandprovingconjectures;designingandconductingexperiments;makingconnectionsbetweenafindingandrelatedconceptsandphenomena;combiningandsynthesizingideasintonewconcepts;andcritiquingexperimentaldesigns.
Wherepossible,assessmentwritersstrivetowritemostoftheirassessmentitemsatDOKlevels3and4,althoughitemswrittenatDOKlevels1and2arealsonecessaryindevelopingawell-roundedassessment.
2.3NatureoftheAssessmentItems
TheMAEIAartseducationassessmentsarecomprisedofanumberofdifferenttypesofassessmentitems.Eachoftheseisdescribedbelow.Theitemtypesarelistedhereindescendingorderofimportancetotheoverallassessmenteffort,sinceonegoalofthisartseducationeffortwastocreateassessmentsthatmirrorandencourageauthenticinstructionatdeeplevelsofcognitivecomplexity.2.3.1 PerformanceTasks–Asusedinthisassessmentdesign,performancetasksarepromptsthatrequire
studentstospendmultipleclassperiods,weeks,ormonthsinpreparingaresponse.Thesetypicallyaremulti-partitemsandmayrequirestudentsresearchatopic,preparearesponse,developapaper,apresentation,and/oraperformance,andreflectonwhattheylearnedduringtheprocessofrespondingtotheprompts.ManyoftheseitemsareconstructedtomeasureperformancestandardsatDOKlevels3and4.
Performancetasksshouldbecomprisedofmultiplecomponentsthatculminateinafinalproduct.Fortheseassessmentitems,educatorsandstudentsshouldbeprovidedwitharubricaswellasexamplesthathavereachedthearrayofscores(Jackson&Davis,2000).Therubricshouldprovidesufficientdetailtoguidestudents’effortsinthetaskandsamplesofstudentworktoprovidemoreindepthexamplesforhowtoproceed.Forexample,studentsmightcreateanoriginalworkofartthroughthedesignprocessof
1. Identifyingaproblem2. Planningpossiblesolutions3. Testingsolutionstodeterminebest4. Refiningdesignthroughtheuseofaprototype5. Completingaworkthatresultsinthesolutionofthedesignproblem6. Exhibitingthefinishedproductforfeedback7. Reflectingontheirwork
Theperformancetaskmayconsistofmultiplestepsalongtheway.Thus,achecklistmightbeusedtohelpguidestudentsincompletingallaspectsofthetaskand/ortoconveythemannerinwhichthesedifferentpartsofthetaskmaybescored.Bothtypesofchecklistsareusefulinhelpingstudentstodotheirbestonthesetypesofassessments.
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2.3.2 PerformanceEvents–Theseareon-demandperformanceassessmentitemsthatrequirestudentstoconstructaresponseinaverybriefperiodoftime,withlittleornoadvancepreparationorrehearsal.Sometimes,thisisviewedas“firstdraft”workonthepartofthestudent.Aftertheirinitialperformance,studentsarealsogivenlittleornosubsequentopportunitiestoimprovetheirperformance.Theseassessmentsmayrequireaclassperiodorlesstoimplement.Studentsmayworkaloneorwithasmallgroupofotherstudents(e.g.,theperformanceofascenefromaplay)inpreparingandimplementingtheirresponses.Whensmallgroupsareassessed,individualstudentsstillreceivetheirownscores.TheseassessmentsarealsoatDOKlevels3and4.
2.3.3 Constructed-ResponseItems–Thisitemtyperequirestheindividualtocreatetheirownanswer(s)
ratherthanselectfromprewrittenoptions.Theseitemsareopen-ended,thatis,thereareusuallyseveralwaysinwhichtheycanbeansweredcorrectly.Responsesareoftenwritten,althoughtheyneednotbe,andeveninthecasewhentheyare,thesemaybeessays,charts,graphs,drawings,orothertypesofwrittenresponses.SuchitemsaretypicallyatDOKlevels2or3.Theseitemsareincludedinconjunctionwiththeotheritemtypes(e.g.,performancetasksorperformanceevents).
2.3.4 Selected-ResponseItems–Thisitemtypeincludesmultiple-choice,true-false,matching,andother
typesofitemsinwhichstudentsareprovidedwithavarietyofresponsesandstudentsselecttheanswerstothequestions,ratherthanconstructingtheirownresponses.
Manyassessmentsarecomprisedofasignificantnumberofselected-responseitems.IntheMAEIAartseducationassessment,thisitemtypewillbeusedsparinglyinconjunctionwiththeotheritemtypes(e.g.,performancetasksorperformanceevents).TheseitemsmeasurecontentatDOK1and2andcovercontentrequiredtorespondcorrectlytotheothertypesofitems.
SeeChapter4forexamplesofeachtypeofassessmentinVisualArts.
2.4AssessmentattheHighSchoolLevel Atgrades9-12,theMAEIAassessmentshavebeencreatedtoaddressdifferentlevelsofpastandcurrent
participationininstructioninanartsdiscipline.Studentsparticipateintheartsfordifferentreasonsanddurations,rangingfromstudentswhotakeayearofinstructiontofulfilltheMichiganone-credithighschoolgraduationrequirementtostudentswhointendtostudytheartsincollegeandenterartscareersafterwards.Tasksandeventsweredevelopedforthisrangeofhighschoolartsstudents.
o Level1—Studentswhofulfilltheironecreditvisual,performing,orappliedarts(VPAA)highschool
graduationrequirementonly,orwhoareintheirfirstyearofamulti-yearVPAAprogram.
o Level2—Studentswhohavealreadycompletedtheirfirstyearinanartsdisciplineandarenowintheirsecondyearofinstructioninthesameartsdiscipline.
o Level3—Studentswhohavealreadycompletedtheirfirstandsecondyearcoursesinasingleartsdisciplineandarenowintheirthirdyearorfourthyearofinstructioninthesameartsdiscipline.
Note:Ifastudenttakesoneyearofinstructioninonediscipline(e.g.,music)andthenoneyearofinstructioninanotherdiscipline(e.g.,theatre),thisstudentwouldparticipateintheLevel1assessmentsineachdiscipline.Whilemanyassessmentsarewrittenfortwoormoreoftheselevels,teachersalsohavetheflexibilitytoadjusttheassessmentstomatchtheinstructionallevelsofthestudentsbeingassessed.
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2.5UseofGraphics,AudioandVideointheAssessments
Becausetheartsaresomedia-rich,itisnaturalthatavarietyofmediawillbeusedintheassessments.Thepotentialmediatobeusedinclude:
• VideoandPhotography–Thismediumisusedtopresentcontentintheartseducationassessments.
Forexample,clipsofdanceorperformance,ascenefromatheatricaloravisualartsproductionisused.Inthesecases,theclipsareshort(acoupleofminutesorless)andareavailabletodownloadfromawebsite.
• Audio–Thismediumisusedparticularlyinthemusicassessment,althoughaudiomightbepartofatheatreassessmentaswell.Again,theseaudioclipsmightbedownloadedfromawebsite.
• Printmedia–Particularlyinthevisualartsassessment,highqualityreproductionsarenecessary.Someoftheseareusedwithindividuallyadministeredassessmentitems,whileothersareusedwithgroup-administereditems.Thenatureofthereproductioniscarefullyconsidered.Forexample,someprintsarereproducedintestbooklets,whileothersmightbeprintsthateducatorsadministeringtheassessmentsneedtodownloadorpurchase.Someassessmentsusedigitalprojectionsofpromptmaterial.Inallcases,thequalityofthereproductionsisanissue–whetherreproducedinblack-and-whiteorincolor.
• Digitalmaterials–Digitalmaterialssuchasjpegs,mp3,mp4orvideofilesmaybeeasilyaccessibleandmayrequiretheuseofscreens,LCDprojectors,andMP3players.
• Capturingstudentresponses–Studentresponsestodance,music,andtheatreitemsmightbevideorecordedoraudio-recorded.Digitalstudentportfoliosareavailabletopreserveandmaintaindigitalevidenceandsamplingofstudentworkandperformance.Maintainingitindigitalformatwillpermitlaterscoringandifnecessary,re-scoring.
• UseofCopyrightedMaterials–Oneoftheissueswiththeuseofgraphics,audioandvideoisthatsomeofthebestexamplesmaybecopyrightedandpermissiontousethismaterialisrequiredunlessthematerialsarelocatedinthepublicdomain.Thisprojectobtainedpermissionstousecopyrightedmaterialsthatareshownintheassessmentbooklets.
2.6AccessibilityandAccommodations–UniversalDesign(UD)andEvidence-CenteredDesign(ECD)
Theprinciplesofuniversaldesignweretaughttoitemwriterssoastominimizetheneedforassessmentaccommodationsbyincreasingtheaccessibilityoftheitemsforallstudents,includingstudentswithdisabilitiesandEnglishlearners.Whileitwasimpossibletoavoidallaccessibilityissues,manywereeliminatedbycarefulattentiontothemannerinwhichtheassessmentitemswerewrittenandprovidedtostudents.Thissaid,itisalmostcertainthatsomestudents,thosewithSection504plans,IEPs,orEnglishlearners,willstillrequirecertainaccommodations.Theprinciplesofevidence-centereddesign(ECD)wereusedincreatingtheitems.ECDisatechniqueusedtoassurethattheitemsmeetthepurposesforwhichtheyaredesigned.Validityclaimsfortheitemsareestablished,thecharacteristicsoftheitemstobedevelopedaredescribed,andthentheitemsarecreatedtoaddressandshowevidencethattheitemstodemonstratetheseclaims.Thisisanitemtechniqueusefulforcreatingitemsforthefullrangeofstudentsandallcontentareas.
2.7 IssuesofBiasandSensitivityinArtsEducationAssessments
Carefulconsiderationinanyassessmentneedstobegiventoavoidingusingsensitivetopicsormaterialasthebasisoftheassessment,aswellastoassurethattheitemsarenotbiasedagainstanysub-groupofstudents.Eachoftheserequiressomestudyandreviewduringtheassessmentdevelopment,review,and
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field-testingprocess.Inordertoavoidsensitivetopicsforassessmentdevelopment,theMAEIAProjectManagementTeamdevelopedalistoftopicsandmaterialthattheassessmentdeveloperswouldavoidorwouldbesuretotreatwithsensitivity.
2.8AssessmentTimeandStructures
Theassessmentsthatwerecreatedcantakeseveralclassperiodstoadminister.Someoftheassessmentsaredesignedtobecarriedoutoutsideoftheclassroom,withsupportfromthecertifiedartseducatorsthroughouttheassessmentprocess.Forexample,outsidetheclassroommightbethroughadjudicationatfestivalsorthroughco-curriculumactivities.
Insomeoftheartsdisciplines,individuallyadministeredassessmentsorsmall-groupassessmentsare
used.Whilethelengthofeachoftheseassessmentsmaybeonlyafewminutes,thistimemayneedtobemultipliedtimesthenumberofindividualstudentsorgroupsofstudentsthatneedtobeassessed.
2.9PotentialAssessmentAdministrationProcesses
Itshouldbepossibleforthegroup-administeredassessmentstobegiventostudentsinoneortwoclassperiodsasanentireclassgroup.Theregularcertifiedartseducatorwillgivetheseassessmentstotheirclasseswhentheymeet.Theremaybetestbooklets/answerdocumentsneeded,ortheassessmentsmightbeadministeredonline(atthedistrictchoice).Inaddition,ancillarymaterialsmaybeneededtoadministertheseassessments,includingvisualartsmodelsorreproductions,specialtools(e.g.,drawingpencils),andsoforth.Digitalandprintmediamightbeneededfortheseassessments.Individually-administeredassessmentswillbemorechallengingtoadministertostudents,sincethetimeforassessmentismultipliedbyasmanystudentsasthereareinthegroupbeingassessed.Itissuggestedthatinsuchcases,thecertifiedartseducatorconducttheindividualassessments.Ifdoneduringregularclasstime,anadditionaleducatormightbeaskedtotakeovertheclass.Or,theindividualassessmentsmightbescheduledattimesoutsideofregularclassroominstruction.Thereisnomethodthatwillworkinallcircumstances.ItisanissuethateachschooladministeringtheMAEIAassessmentswillneedtoconsideranddetermine.
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Chapter3ContentStandardsfortheAssessments
ThischapterdescribesinsomedetailthecontentassessedintheMAEIADanceAssessments.ThisincludestheMichiganartseducationcontentstandardsandbenchmarksatthegrades3-8andhighschoollevel,theMAEIAperformancestandards,andtheNationalCoreArtsStandards.
3.1MichiganArtsEducationContentStandards
TheMichiganArtsEducationContentStandardsandBenchmarksforDance,Music,TheatreandtheVisualArts(1998)werefirstapprovedbytheStateBoardofEducationin1998.Theywerealignedtothe1994NationalArtsEducationStandards,partoftheseriesofvoluntarystandardsdevelopedbyeachofthecontentareasunderGoals2000.Theseestablishedtheexpectationsthatallstudentsshouldachieveinallcorecurricularsubjects,includingthearts.
In2011,theMichiganStateBoardofEducationapprovedarevisedsetofMichiganArtsEducationContentStandardsandBenchmarksandGradeLevelContentExpectations.InadditiontoprovidinglearningexpectationsattheK-8gradelevels,the2011revisionalignedtheMichiganStandardstotwonewsetsofguidelines:theartistic-creativeprocessasdescribedintheMichiganCreditGuidelinesfortheVisual,PerformingandAppliedArts(2006)and21stcenturyskillsofcriticalthinking,communication,collaboration,creativity;information,mediaandtechnologyskills;lifeandcareerskills.ApartnershipoforganizationsandstatesworkedtogetherastheNationalCoalitionforCoreArtsStandards(NCCAS)toleadtherevisionofthe1994NationalCoreArtsStandards(NCAS).NCASgoalsareconsistentwiththecorealignmentsthatdrovethe2011Michiganartseducationstandardsrevision.Therefore,whilebasedonMichigan’s2011ArtsEducationContentStandards,theMAEIABlueprintandAssessmentSpecificationsreflectscurrentthinkinginthefieldofeducationandthearts.TheNCASwerereleasedin2014.Thestandardsdescribewhatstudentsshouldknowandbeabletodoasaresultofaqualitycurricularartseducationprogram.NCCAShascommittedtodevelopingthenextgenerationofvoluntaryartseducationstandards,buildingonthefoundationcreatedbythe1994document.Inaddition,NCCASiscommittedtosupportingthe21st-centuryneedsofstudentsandeducators,helpingensurethatallstudentsarecollegeandcareerready,andaffirmtheplaceofartseducationinabalancedcorecurriculum.Inboththe1998and2011editionsoftheMichiganArtsEducationContentStandards,studentlearninghasbeenorganizedaroundthesefivestandardswhichareconsistentfordance,music,theatre,andvisualartsatallgradelevels:1. Studentsapplyartseducationskillsandknowledgetoperforminthearts.2. Studentsapplyartseducationskillsandknowledgetocreateinthearts.3. Studentsapplyartseducationskillsandknowledgetoanalyze,describe,andevaluateworksof
art.4. Studentsapplyartseducationskillsandknowledgetounderstand,analyzeanddescribethearts
intheirhistorical,social,andculturalcontexts.5. Studentsapplyartseducationskillsandknowledgetorecognize,analyze,anddescribe
connectionsamongthearts;betweentheartsandotherdisciplines;andbetweentheartsandeverydaylife.
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Respondingtonationaleffortstostreamlinestandardsforeducators,theMichiganCreditGuidelinesfortheVisual,PerformingandAppliedArts(2006)organizedtheartistic-creativeprocessaroundthreestrands:Perform,Create,andRespond.ThefirsttwostrandsaligndirectlytoMichiganArtsEducationContentStandards1and2.TheRespondStrandencompassesMichiganArtsEducationContentStandards3-5.Itisnoteworthythattheartistic-creativeprocessisdescribedasiterativeandnon-linear.Studentsatthe9-12levelareexpectedtoidentifythecomponentsoftheprocessandtobegivensufficientopportunitiestoengageintheprocessmultipletimes.StudentslearnthroughthestepsofCreate,Perform,andRespondtosynthesizeinformationsothatitbecomespartoftheirembodiedknowledge,hencecreating“enduringunderstandings”andconnectedlearningacrossdisciplines.
3.2PerformanceStandardsAssessedintheMAEIAProject
ForthepurposesofidentifyingimportantartslearningfortheMAEIAAssessmentSpecificationsdevelopmentprocess,twosetsofwritingteamscomprisedofK-16dance,music,theatre,andvisualartseducatorsstudiedtheMichiganStandards,Benchmarks,andGradeLevelContentExpectationsinDance,Music,Theatre,andtheVisualArts.Theyidentifiedcommonalitiesandoverarchingideas.Theydiscussedwhatwasfundamentaltothelearningprocessesandwhattiedsomeofthestandardstogetherintermsofstudents’abilitiestobeabletodemonstrateknowledgeandskills.Theydiscussedwhichover-archingideaswerefundamentaltodemonstratinglearningintheirrespectiveartsdisciplinesandtoreallyfunctionasanartistintheworld.TheyfoundtheframeofPerform,Create,andRespondhelpfulintermsoforganizingtheseideas.TheyworkedwithinthosetoidentifywhatarereferredtoinMAEIAdocumentsasperformancestandards.Performancestandardsarediscipline-specificandcondensetheMichiganMeritCurriculum’sfivecontentstandardsintothethreeoverarchingperformancestandardsofCreate,Perform,andRespond.TheseperformancestandardsweredevelopedtoserveasthebasisforMAEIAmodelassessmentsthatmeasurestudentproficiencyineachartsdisciplineateachgradespan-K-2,3-5,6-8,and9-12.Considerationsintheidentificationofperformancestandardsincluded:○ Scopeandsequenceanddedicatedinstructionaltime○ Verticalandhorizontalalignmentatthegradespansfocusedontheartisticprocess○ Differentiationofthecurriculumforvaryingdevelopmental,social,cognitivelevelsaswellasfor
studentswithdisabilitiesandEnglishlanguagelearners.Therearecertainnuancestotheperformancestandardsthatareimportantineachartsdisciplinealongwithdisciplinespecificconsiderationstorememberwhendevelopingassessments.Theyarepresentedbelow.
3.2.1DancePerformanceStandards
TheperformancestandardsofCreate,Perform,andRespondaresupportedbycurrentresearchindanceeducationthatemphasizestheimportanceofcreativity,transferableskillscultivatedinartssettings,andthoroughengagementinhigherorderthinkingskills.InDance,Createreferstotheoreticalandcreativeconcepts.Performindancereferstotechnicalandperformancebasedconcepts.Respondcontextualizesdancethroughhistory,currentpracticeandcurrentevents,andthroughconnectionswithlearninginothersubjectareas.Literacyindanceshouldbe
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developedthroughworkthatrepresentsthebreadthofthefield,e.g.,technique,performance,choreography,movementanalysis,dancescience,dancehistory,criticism.TherevisedNationalStandardsofDance(2014)featuresCreate,Perform,Respond,andConnect.Inthisdocument,ConnectionsareembeddedwithintheCreate,Perform,andmostdominantlyinRespondcategories.StudentslearnthroughthestepsofCreate,Perform,andRespondtosynthesizeinformationsothatitbecomespartoftheirembodiedknowledge,hencecreating“enduringunderstandings”andconnectingthelearningacrossdisciplines.Assessmentoftheseprocessescantaketheshapeofawidevarietyofexperiencesusedtodrivelearning,understandingofandappreciationforthearts.
DANCEPERFORMANCESTANDARDSGradesK-5Create
1. Studentscancreatestationary,axial,andlocomotormovement,applylevel/tempo/dynamicchange,andassemblemovementbasedonliteralandabstractconcepts.
2. Solvemovementproblemsthroughimprovisation,explorationanddiscovery.Perform
1. Studentscanperformchoreographyassoloistsandpartofanensemblewithspatialawareness,musicality,andaccuracyintechnicalprinciplesrelatingtostationary,axial,andlocomotormovementaswellastime,space,andenergy.
Respond
1. Studentscanobserve,analyzeanddiscussactionsofmovementswithattentiontospace,time,andenergy,mainideasandthemesofthedance,andsupportstatementswithlinkageofconceptsfromcoresubjectareassuchaspatterns,sequence,transitionwords,etc.
Grades6-8Create
1. Studentscancreaterhythmicmovementphraseswithmovementvocabulary,positions,andpatternsfromtwodancestylesortraditionswithattentiontospace,time,andenergyresultinginathoughtfuldemonstrationofformandstructure.Studentscanexploreandsolveproblemsrelatingtoconceptsfromcoreinstructionthroughmovementresearchmethodsandincontextofpersonalexperiences.
Perform
1. Studentscanperformassoloistsandpartofanensemblewithaccuracyintechnicalconcepts(alignment,balance,initiationofmovement,articulationofisolatedbodyparts,weightshift,elevationandlanding,fallandrecovery),expressionofmultiplegenresandtraditionsofdance,anduseofspace,time,andenergy.
Respond
1. Studentscananalyzeanddescribetheactionsofmovementwithattentiontotechnicalconcepts,space,time,andenergy.Studentscanmakeneutralobservationsofperformanceandchoreographywithdetailandsupportedexplanation,inquireabouttechnicalandcreativeprocesseswithappropriatequestions,andproposewhatcouldbedonedifferentlythroughrevisionprocesses.
HighSchool
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Create1. Studentscreatesoloandensemblemovementphrasesandchoreography,contribute
choreographyconsistentinstyleandintentofperformancetheme,craftthoughtfulmovementphrasesanddanceswithapointofinvestigationandlinkstocorecontent,technicalacuity,andattentiontospace,time,andenergy.Advancedstudentscancreatewithtechnicalrigor,stylisticnuance,andasenseofchoreographicvoice.
Perform
1. Studentscanperformassoloistsandpartofanensemblewithaccuracyinmovementvocabulary,interpretation,style,musicality,andphrasingwithprojectionandexpressionaswellasattentiontospace,time,andenergy.
Respond
1. Studentscancriticallyandanalyticallydissectanddiscussintent,process,andproductofperformanceandchoreographycreatedbyselfandothers,considermultiplepointsofviewandapplyconstructivefeedback,engageinproductivedialoguewithreferencetoaestheticstandards,cultures,andthehistoryofdance.
3.2.2MusicPerformanceStandardsThemusicperformancestandardscanguidemusiceducators’effortstoassessstudentknowledgeandunderstandinginboththemusicclassroomandrehearsalsettingsefficientlyandeffectively.Theseperformancestandardsarerootedinbothbestpracticesandthemostcurrentresearchinmusiceducation,andreflecttheconsensusofthemusiceducationprofessionregardingwhatstudentsshouldknowandbeabletodoinschoolmusicclasses.Itisimportanttorememberthatthenumberofbulletpointswithinastandardshouldnotbeinterpretedasameasureofthatstandard’simportance.Specialchallengesindevelopingmusicassessmentsinclude:o Effectively,appropriatelyandaccuratelyassessinglargenumbersofindividualstudentsatgradesK-2
andgrades3-5(especiallywhenthecertifiedartseducationinstructorhaslimitedtimeperweekwitheachstudent),and;
o Conductingindividualstudentassessmentswithinensemble-basedmusicprogramsingrades6-8andHighSchoolLevels.
MUSICPERFORMANCESTANDARDS
GradesK-2and3-5Create
1. Createamelodicline(e.g.,aconsequentphrasetoanantecedentphrase,melodiclinewithinaharmonicstructure,extendingamelodicidea)usingtheirunderstandingoftheelementsofmusictoinformtheircreativedecision-making.
Perform1. Singandplayaloneandwithothersadiverserepertoireofsongsinbothoneandtwoparts
withexpressionandaccuracy.2. Studentscanperformmultiplelevelsofbeatinseveralmeters.
Respond1. Listentotheirownperformancesaswellasthoseofothersandcriticallyanalyzeandreflecton
thoseperformancesusingdevelopmentallyappropriatemusicalterminology.
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2. Criticallyanalyzeamusicalworkandreflectonitsculturalcontextusingdevelopmentallyappropriateterminology.
3. Makeconnectionsbetweenmusicalconceptsandsimilarconceptsinotherwaysofthinking(disciplines).
Grades6-8Create
1. Createamelodythathastonalandrhythmiccoherence.Perform
1. Performadiverserepertoireofmusicatanappropriatelevelofdifficultywithexpressionandtechnicalaccuracy.
Respond1. Listentotheirownperformancesaswellasthoseofothersandcriticallyanalyzeandreflecton
thoseperformancesusingdevelopmentallyappropriatemusicalterminology.2. Criticallyanalyzeamusicalworkandreflectonitsculturalcontextusingdevelopmentally
appropriateterminology.3. Makeconnectionsbetweenmusicalconceptsandsimilarconceptsinotherwaysofthinking
(disciplines).HighSchoolCreate
1. Demonstrateanappropriatelevelofmusicalunderstandingthroughtheirinterpretivedecisionsmadewhencomposing,improvising,orarrangingmusic.
Perform
1. Performadiverserepertoireofmusicatanappropriatelevelofdifficultywithexpressionandtechnicalaccuracy.
Respond1. Listentotheirownperformancesaswellasthoseofothersandcriticallyanalyzeandreflecton
thoseperformancesusingdevelopmentallyappropriatemusicalterminology.2. Criticallyanalyzeamusicalworkandreflectonitsculturalcontextusingdevelopmentally
appropriateterminology.3. Makeconnectionsbetweenmusicalconceptsandsimilarconceptsinotherwaysofthinking
(disciplines).
3.2.3TheatrePerformanceStandards
ThetheatreprogramdescribedintheMAEIABlueprintisdiscipline-based,andisaninterwovenexplorationandstudyofallaspectsoftheatre.ThetheatreprogramdescribedinMAEIABlueprintcultivatesthewholeperson,graduallybuildingmanykindsofliteracy,includinginnovationsintechnology,whiledevelopingintuition,reasoning,imagination,creativity,anddexterityintouniqueformsofexpressionandcommunication.Studentspresenttheirfinalcreativevoicesthroughperformance.GuidedbyMichiganstandards,studentsrespondtothecreativeworkofothersandreflectontheirowncreativework.Studentsalsolearnhowresponsetothepresentationofcreativeworkcanchangebasedoninstitutionalsetting,culturalbackdrop,andmedia.
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THEATREPERFORMANCESTANDARDS
GradesK-5Create
1. Studentscanrecognize,identify,manipulate,andcreatepartsofastoryincludingcharacters,scenery,costumes,props,lighting,sound,andmakeup.
2. Studentscanparaphrase,memorize,performandimprovisedialoguetocreatestories.3. Studentscanshowvariedinterpretationsandcollaboratetodramatizestoriesthroughclear
definitionofcharacters,relationships,environments,andplotlines.
Perform1. Studentscanrecognize,imitate,andrecreate(vocallyandphysically)realandnon-real
characters,basedonrealandnon-realexperiences.2. Studentscandramatizesimplestoriesbringingalivevariousenvironmentsthroughdesignand
performance.3. Studentscanselectmovement,music,and/orvisualelementstocommunicatelocaleandto
enhancethemoodofaclassroomdramatization.
Respond1. Studentscandiscussclassroomdramatizationsusingappropriatetheatricalvocabularyand
constructivelycollaboratetoreflectonandimprovequality.2. Studentscanrecognizeanddiscusstheroleoftheaudience.3. Studentscanbuildskillstocritiqueselfandothersperformance.4. Studentscanrecognize,discuss,andreflectuponhowtheatrereflectslifeinourownand
others’cultures.Grades6-8Create
1. Studentscandiscuss,examine,anddemonstratevariousactorrolesandtheroleofdesignerindevelopingtechnicalelementstosupportastory/script.
2. Studentscancreatemonologue,dialogues,andshortplaysthatreflectdramaticactioninresponsetoreallifeconflict.
3. Studentscanworkcollaborativelytoexplainandapplytheelementsofscript.4. Studentscanexecutevariedresearchmethodstoinformcreativedecisions.
Perform
1. Studentscanpracticeandleadvocalandphysicalwarmupsandfacilitateeffectiverehearsals.2. Studentscandemonstrateactingskillstodevelopcharacterizationsthatreflectartisticchoices.3. Studentscanpracticeandexplainthefunctionsandinterrelatednatureofdesignincreating
appropriateenvironmentsforthedrama.4. Studentscanworkcollaborativelytoplayapartindesignorperformanceforacompleteplay.
Respond
1. Studentscandescribeanddiscusshowtheatrecansynthesizeseveralartformsintoa2. dramaticstructure.3. Studentscandescribeandanalyzeaudienceresponseandappreciationofdramatic
performances.4. Studentscandescribeandevaluatetheperceivedeffectivenessofstudents'contributionsto
thecollaborativeprocessofdevelopingimprovisedandscriptedscenesandarticulateandsupportthemeaningsconstructedfromtheirandothers'dramaticperformances.
5. Studentscancompareandcontrastthewaysinwhichmanycultureshaveusedtheatretocommunicateideasregardingthehumanexperienceandcondition.
6. Studentscanexplaintheknowledge,skills,anddisciplineneededtopursueworkintheatre,film,television,andelectronicmedia.
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Grades9-12Create
1. Studentscancollaboratewithactorstoconstruct,refineandrehearseimaginativescriptssothatstoryandmeaningarecommunicatedtoanaudience.
2. Studentscancompareanddemonstratevariousclassicalandcontemporaryactingtechniquesandmethods.
3. Studentscandevelopdesignsthatusevisualandauralelementstoconveyenvironmentsthatclearlysupportandbringthetexttolife.
4. Studentscandesigncoherentstagemanagement,promotional,andbusinessplans.Perform
1. Studentscananalyze,practice.andpresentthephysical,emotional,andsocialdimensionsofcharactersfoundindramatictextsfromvariousgenreandmedia.Effectivelycommunicatedirectorialchoicestoactorsanddesigners.
2. Studentscanapplytechnicalknowledgeandskills,basedondramatictextandresearch,tocreatefunctionalscenery,properties,lighting,sound,costumes,andmakeup.
3. Studentscanindividuallyandcollectivelymakeandjustifyartisticchoices.
Respond1. Studentscananalyzeandcritiquethewholeandthepartsofdramaticperformances,taking
intoaccountthecontext,andconstructivelysuggestalternativeartisticchoices.2. Articulatehowaudiencesimpactaperformanceandhowindividualaudiencemembersbring
theirownperspectiveandaestheticcriteriatobearupontheirviewingexperience.3. Analyzetheeffectoftheirownsocialandculturalexperiencesontheirdramaticworkand
evaluatethevalidityandpracticalityoftheinformationincritiquingproductions.4. Comparehowsimilarthemesaretreatedindramafromvariousculturesandhistorical
periods,illustratewithinformalperformances,anddiscusshowtheatrecanrevealuniversalconcepts.
5. IdentifyculturalandhistoricalsourcesandartistsofAmericanandmusicaltheatre6. Analyzeandexplainknowledge,skills,anddisciplineneededtopursuecareersandvocational
opportunitiesintheatre,film,television,andelectronicmedia7. Explainhowsocialconceptssuchascooperation,communication,collaboration,consensus,
self-esteem,risktaking,sympathy,andempathyapplyintheatreanddailylife
3.2.4VisualArtsPerformanceStandardsThefollowingcommonunderstandingsaboutcreate,performandrespondguidedtheselectionoftheperformancestandardstobeassessedinvisualarts.
CommonUnderstandingsAbouttheArtisticProcesses
ofCreate,PerformandRespondinVisualArtsCreate• Placesanemphasisonthestudent’sabilitytosolveavisualartsproblemandmakenewworkwith
meaningthroughtheuseofspecificvisualtechniquesandmedia.• Demonstratesstudents’abilityto“generatepatternsofperception”(Gude,2013)and
communicatemeaningthroughtheskillful,innovativeanddevelopmentallyappropriateuseofaestheticpractices,materials,andtechniques.
Perform• Placesanemphasisonthestudent’sabilitytoapplymediaandtechniquewithspecificintentand
demonstratetheirunderstandingofvisualartsconcepts
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• Demonstratesstudents’abilityto“experience,investigate,andmaketheirownmeanings”throughvisualsolutions(Gude,2013)throughclassroomprojectsthatare“designedtomirroractualaestheticpractices”.
Respond• Placesanemphasisontheuseofavarietyofmethodstoanalyzeanddescribeworksofartasthey
relatetoculture,time,career,space,place,andpersonalorcommunalhistory.• Encompassestheprocessesofcritique,evaluation,andrevisionstopersonalartwork.• Reflection,evaluationandcritiquesarecomparative,occurthroughoutproduction,andbecome
partofa“recursiveprocess”thatgeneratesnewideasthroughobservationandreflection,andthenleadtotheintroductionofothernewideas.(House,2008)
• Demonstratesthatastudents’abilitytoreflectcanbeprobedbyofferingstudentstheopportunityto:o QuestionandExplain–Studentsprovideinsighttotheprocessesusedtocreatetheir
individualworks.o Evaluate-Studentsevaluatethemselvesandtheworkoftheirpeers.
VISUALARTSPERFORMANCESTANDARDS
GradesK-5Create
1. Studentscanidentifyandapplyvarioustechniques,symbols,andmaterialstoachievedesiredeffectswhencommunicatingideasvisually.
Perform
1. Studentscanselectandapplymaterialsandprocesseseffectivelyandsafelywhileparticipatinginartmakingexperiences.
Respond
1. Studentscananalyze,describe,andconnecthowartismadeandthepurposeitservesacrossdisciplinesandlife.
Grades6-8Create
1. Studentscanconnect,collaborate,andcreativelyproblemsolvethroughtheuseofcriticalthinkingstrategiestocommunicateideasvisuallythroughtheeffectiveuseofavarietyofmedia.
Perform
1. Studentscandesignandsolveproblemsthroughtheuseofselectedmaterialsandprocesseswhileparticipatinginartmakingexperiences.
Respond
1. Studentscanidentifyandconnectcommonthemesthroughoutvisualhistorytomakebettersenseoftheworldtheyliveinandtobetterunderstandotherconceptsacrosscurriculums.Studentscanapplyasuccessfulvisualvocabularywhenexpressingtheirunderstandingofavarietyofconcepts.
Grades9-12Create
1. Studentscanapplythecreativeprocess,materials,andorganizationalprinciplestodeviseinnovativeworksofartanddesignindividuallyandcollaboratively.
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Perform
1. Studentscanintentionallyselectandapplymaterialsandorganizationalprinciplestosolvespecificvisualartsproblems.
Respond
1. Studentscananalyze,describe,andmakeconnectionsbetweenvisualartanddesignandotherdisciplinesthroughouthistory,cultures,andeverydaylife.
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Chapter4DanceAssessmentSpecifications
4.1 DesignoftheDanceAssessments–Thefunctionofassessmentistomeasure,understand,andpromote
learnergrowththroughavarietyofstandardizedandnon-standardized/non-traditionaltestingmethods.Assessmentexperiencestakeonmultiplestyles,addressmultiplemodalities,domains,andareasofknowledge,aswellasDepthofKnowledge.Inthisway,“learner”isdefinedastheperson(s)whosegrowthisbeingmonitored,whichincludesstudents,andwhichmayandshouldincludecertifiedartseducators,administratorsandevaluators,districtleaders,andotherstakeholders.TheNationalStandardsoftheArts,includingDance,encouragetheorganizationoflearningprocessesintothreecategories:Create,Perform,andRespond.Throughthismethodoforganization,assessmentopportunitiesbecomeanaturalpartoftheprocessoflearning.Theprocessofmeasuringgrowthcanincludeassessmentsusedforsummativeandformativepurposes,authenticperformances,anddomains(cognitive,affective,andpsychomotor).TheassessmentscoverseveralDepthofKnowledgelevelsanduseavarietyoftoolsincludingportfolios,pre-andpost-tests,performancetasksandevents,constructed-response,andselected-responseitems.Danceemphasizesperformancetasksandeventsoverconstructed-responseorselected-responsebecauseofthesynthesisofinformation.Theartslendthemselvestobothsimpleandcomplexassessmenttasks,fromtheself-analysisofdailyperformancetoproducedstageperformancesandthemulti-tieredstepsinvolvedintheactofcreating,performing,andresponding.Learningmovesbeyondmemorizationofcontent(suchasterminologyandphysicalexecutionofsteps)toengagement,application,embodimentandreflection.Acollectionofwork,suchasaportfoliofeaturingdigitalandnon-digitalsamples,(e.g.,drawings,journalentries)canshowtangibledataonconsistentcriteriaregardingstudentgrowthinmultiplewaysandmodalities.Thecollectioncancontinuetoexpandasthestudentadvancesthroughthecurriculum,offeringcomprehensivedetailsoflearningovertime.Dance,asadisciplineandanacademicsubject,includesstudyintechnique,composition,performance,theory,history,andsocial/culturalconstructs.Therefore,theemphasisofperformancetasksandeventsshouldmeasurelearningacrossthesecategoriesinconciseandappliedways.Asacollaborativeandpersonalartform,thedatacollectedthroughthismeanscanspeaktowholegroupaswellasindividuallearningandmayalsocapturedataprogram-wide.Thematerialsrequiredforperformancetask-andevent-basedassessmentsareconsistentwiththedescriptionofmaterialsneededbya“goldstandard”danceprogram,asoutlinedinResearchandRecommendationsinSupportoftheMAEIABlueprint.Thesematerialsinclude,butarenotlimitedto:adedicatedspacefordancewithrelatingphysicalattributes,qualitysoundequipment,videorecording,editing,andpresentationcapabilities,andtraditionaland/ornon-traditionalperformancespaceswithrelatingphysicalattributes.Therationaleandpotentialpurposeoftheassessmentsforthedanceeducationexperienceincludeyetarenotlimitedto:o Improveinstructiono Monitoranddrivestudentgrowthandeducatorgrowtho Createtoolstoframecriticaldiscussionbetweenstakeholders(includingadministrationand
evaluators,aswellasthecommunity)
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o Informprofessionaldevelopmentneedso Serveastoolsforadvocacyofprogramsandclassroomneedso Useasmethodsfordemonstratingeducatoreffectivenesso Motivatestakeholderso Createabadgeofhonorforstakeholderachievementso Connectlearningo Encourageenduringunderstandingso Createthecaseforalternatemethodsforassessingauthenticunderstandingviaprocessesrelating
toperformance/creation/responsetoprocesses
4.2 DescriptionoftheDanceAssessments–TheassessmentitemsforDancerangeinactivityandfunction.Ingeneral,assessmentsfortheearliergrades(K–2and3–5)reflectprocessthroughthestepsofCreate,Perform,andRespondbutalsoincludeamoretargetedfocusofterminologyandidentificationofconceptsthroughconstructed-responseandselected-responsethaningrades6-8and9-12.Asstudentsadvanceintothehighergrades,theassessmentactivitiesmoreaptlymeasurethedevelopmentoftheirthinkingratherthanspecificskills.Therefore,bygrades9-12,dancersarerelyingmostlyonperformancetasks,withperformanceeventsusedasmarkersoftheiradvancementratherthanthemostprominentassessmenttype.Constructed-responsesarealsousedtoroundouttheprocessexperienceasstudentsmustbeabletoarticulatelydiscussandpersuasivelysupporttheirpointsofview,aestheticchoices,andcreativedecisionsmadewithintheartisticprocess.
Sometypesofassessmentitemsclearlysupportsomeaspectsofdancecontentbetterthanothers.Becauseofthis,someassessmentscanbeofferedatgradelevelsotherthanthosetheyareassignedto,ifthecontentoftheassessmentisbeingdeliveredatadifferentpoint.ThismighthappenifthedanceprogrambuildsfrompartialgradestoacomprehensiveK-12.PortfoliosprovidethebestopportunitytomonitorgrowthovertimethroughoutaPerformanceTask.Postconcertresponsesmayaddresssummarizingofexperienceandstrategyforcurriculum.Themaindifferenceinhowtheassessmentsareutilizedbetweengradelevels,however,willbethenumberoftimestheassessmentsareissued.Generally,thenumberofassessmentsincreaseswiththefrequencyofcontacthourswithdancestudents.
Danceasadisciplinebroadlycoversavarietyofskillsandknowledge.Thesearebestmeasuredwithassessmentitemsthatallowstudentstoauthenticallyapplytheskillsandknowledgebeingexplored.Theprocessofchoreographingdancecouldbeassessedthroughperformancetasksthatincludemultiplestepsandspanaperiodoftime.Dancetechniqueandtheassessmentofcompositioncompetenciesarebestmeasuredwithperformanceeventsthatcanmeasureunderstandinginquick,singleclasssessions.Constructed-responsebestsuitsanalysisofworkintheRespondperformancestandardandmayappearinwrittenorkinestheticcontexts.Selected-responseisafastwaytoquizterminologyandconceptidentification.
Theuseoftheseitemtypesisfurtherdescribedbelow.
a. Inthisdocument,aPERFORMANCETASKisaprocessthatspansaperiodoftime.Anexampleof
thiscanbecreatingasmallgrouppiece,exploringaconceptualthemeandapplyingtheelementsofdance,tobeproducedinashowing.ForgradesK-2,3-5,6-8,and9-12aperformancetaskwouldmeasuretheunderstandingofdancedevelopedthroughanon-goingprojectsuchasthecollaborativecreationofadancetobeproducedinadanceconcert.Thistypeofassessmentisexperiencedatalllevels,butisthepredominateassessmenttypeforstudentsingrades9-12.
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b. APERFORMANCEEVENTcanbeaphysicaldemonstrationofclassconceptsthroughaquick-studyphraseandimmediateperformance.Aperformanceeventisashort-termactivitythatassessesskilldevelopmentandexecution.Thismaybethemostfrequentlyusedformofassessmentitemsasitcanprovideaseriesofsnapshotswithintheprocessofanon-goingprojectsuchasaperformancetask.Aperformanceeventcanmeasuretechnicaldevelopmentaswellasunderstandingofthecompositionprocess.
c. ACONSTRUCTED-RESPONSEitemcanbeusedtoassessstudents’responsestoastudyofavariety
ofdancestylesandgenres.Theresponsescanbedemonstratedphysicallyorthroughwrittenand/ororalpresentation.Theseopportunitiesenablestudentstohavepersonalvoicewhendemonstratingknowledgeandunderstanding.
d. ASELECTED-RESPONSEitemmaybeamultiple-choicetestrelatingtoterminology,concept
identification,classification,orphysicalrecall.Theassessmentsmaybeimplementedbyinsertingthemintotheflowofthecoursethroughvariousapproaches: 2. PerformanceTasks:aseriesofperformanceactivitiesthataccumulatetodemonstrateacohesive
processleadingtoaformalperformance(e.g.,phasesofmakingdance-rehearsalexpectationsandprocesses,productionresponsibility,performance,andpersonalreflection).
3. PerformanceEvents:weeklyassessmentduringclasscheckingformasteryoftheconceptthemeoftheweekorunit.
4. Constructed-Response:writtenorphysicallynotatedresponsestoavarietyofconceptsandpresentations.
5. Selected-Response:pre-andpost-teststomeasurehowastudentunderstandsandidentifiesconceptsanddefinesterminology,orsequencesevents.
Herearesomemorespecificexamplesofhowthiscanbedone:PerformanceTask–Inagrade6-8or9-12dancesetting,aPerformanceTaskcanbeimplementedasfollows.Asnotedabove,aPerformanceTasktakesplaceovertime.Ifweconsiderthistobetheprocessofcreatingnewwork,basedonthedevelopmentofnewtechnicaland/orchoreographicskills,exposingstudentstoproductionresponsibilitiesandultimately,toaperformanceandareflectiveresponse,itcouldbreakdowntoaseriesof“steps”orphasesthatareintentionallyconnected.Usingaportfolioorothermethodofprovidingcohesionbyconsistentpresentationandreflectionabouttheworkcanbeusedtodocumentgrowthofcreatingandproducingdancethroughwrittenandphysicalmeans(captureddigitally).Thefourtypesofassessmentsdescribedbelowcanbeassessedseparately.Howeverassessingthemcollectivelyand/orcohesivelywillprovideanexampleofasustainedPerformanceTaskandbestdemonstratestostudentshowdanceiscreatedandproduced,dependentuponeachphaseoftheprocess. PerformanceEvent–Aperformanceeventcanbeimplementedintotheflowofacoursebyschedulingregularassessmentsonaweeklyorbi-weeklybasis(orevery4thor5thclassingradesK-5classrooms).Inthistypeofclassexperience,whateverclassstructurethatbestsuitstheconceptismaintainedbutratherthanusingadditionaltimetofurtherexplorethecontent,thestudentspresenttheirmasteryoftheconcept.Foratechnicalunit,thismightincludeastandardtechniqueclasswithspecificfocusontheconceptbeingexploredandtheuseofadevelopedrubrictosupporttheanalysisofwork.Foracompositionunit,studentsmaycreateamovementphrasewithinasingleclassperiodtopresenttotheirpeersforreviewandanalysisinreferencetoaguidingrubric.Portfoliosarean
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appropriatemethodtofileinformationtogaugedevelopmentinperformanceeventsovertime.Itisalsoappropriatethatperformanceeventsmayberepeatedovertime.Constructed-Response–Aconstructed-responseitemcanbeimplementedintotheflowofacoursebybriefwritings,physicalnote-takingandpresentation.Briefmovementsketchesrespondingtothematicconcepts,analyzingmovementexperiencesbasedonpromptsorpersonalreflection,highlightingsignificantqualitieswithiniconicdanceworks(e.g.,Ailey’sRevelations,Balanchine’sAgon,Fosse’sRichMan’sFrug)canalsobeused.Anexampleofphysicalnote-takingandpresentationisdemonstratingaseriesofmovementsorshapesobservedinaniconicworkandeitherusingtheseexamplestoanswerpromptsprovidedbytheinstructororbyusingtheseitemsassourcematerialtobemanipulatedwiththeapplicationofclassconcepts.Selected-Response–Selected-responseitemsmaybeusedwithinadancecontexttoassessconcepts,defineterminology,orsequenceeventswithinaprocess.
Tables4.2.1,4.2.2and4.2.3offerillustrativeideasforitems.
Table4.2.1
IllustrativeIdeasforDanceAssessment–GradesK-2and3-5
Create,Perform,Respond
PerformanceTask
PerformanceEvent
Constructed-Response
Selected-Response
Create Createstationary,axial,andlocomotormovement(PT,CR)
Designamovementphrasethatincludesbasiclocomotorandaxialmovementsandcombinations
Linkany3locomotormovementstotravelthroughspace
Create Identifylevel/tempo/dynamicchange(PT,PE,SR)
Createadancephrasethatincludestheelementsofdance:time,space,energy
Varyadancephrasebymakingchangesintheelementsofdance:time,space,energy
Definelevel/tempo/dynamicchangeusedinmovementphrase
Create Assemblemovementbasedonliteralandabstractconcepts.(PE,CR,SR)
Generatemovementbasedonliteralandabstractconceptstocreateamovementphrase
Summarizeverballythemeaningofthemovementcreatedandgivereasonsforchoicesmade
Listaxialandlocomotormovementactionsusedinmovementphrase
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Create,Perform,Respond
PerformanceTask
PerformanceEvent
Constructed-Response
Selected-Response
Create Solvemovementproblemsthroughimprovisation,explorationanddiscovery.(PT,PE,CR)
ExploremultiplesolutionstoagivenmovementproblemCreateadancethatdemonstratesunderstandingofaconceptorideafromanotherdiscipline,suchaspatternsindanceandsciencewiththeuseoftechnology
Improviseandcreatedancesbasedonownideasandconceptsfromothersources
Useimprovisationtodiscover,inventandsolvemovementproblems
Defineimprovisation,choreography
Perform Performchoreographyassoloistsandpartofanensemblewithspatialawareness,andmusicality(PT,PE,CR)
Performandmaintainuseofspace,musicalityandfocuswhenperformingskills
Respondtotempochangesbyremainingonthebeatofthedrum/musicasitchanges
Writeandperform2rhythmpatterns
Definerhythm,pattern,tempo,space,focus,musicality
Perform Performchoreographyassoloistsandpartofanensemblewithaccuracyintechnicalprinciplesrelatingtostationary,axial,andlocomotormovement(PT,PE,CR)
Accuratelydemonstratebasictechnicalprincipleswithsmoothtransitionsbetweenstationary,axialandlocomotormovements
Memorizeandperformcombinationswithaccuracyintechnicalprinciplesrelatingtostationary,axialandlocomotormovement
Exploreusingdifferentbodypartstoexecutethesameaxialmovementsinpersonalspace
Definestationary,axial,locomotormovementandrelatingmovementvocabulary/terminology,isolation
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Create,Perform,Respond
PerformanceTask
PerformanceEvent
Constructed-Response
Selected-Response
Perform Performchoreographyassoloistsandpartofanensemblewithaccuracyinspace,time,andenergy(PT,CR)
Performchoreographywithaccurateuseofspace,timeandenergyreflectingchoreographer’sintent
Describeactions,suchasskippingandgalloping;andthemovementelementsoftime,spaceandenergyinamovementphrase
Defineskipping,galloping,space,time,energy
Perform Performinfrontofothers(PT)
Presenttheirowndancesinfrontofpeersbothformallyandinformallyonaregularbasis
Perform Performdancesfromvariouscultureswithcompetenceandconfidence(PT)
Learn,memorizeandperformdancesfromatleasttwovariouscultures
Respond Observe,analyzeanddiscussactionsofmovementswithattentiontospace,time,andenergy(CR)
Observetwodancesanddiscusshowtheyaresimilaranddifferentintermsoftheelementsofdance:space,time,andenergy
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Create,Perform,Respond
PerformanceTask
PerformanceEvent
Constructed-Response
Selected-Response
Respond Observe,analyzeanddiscussvariousmovementswithattentiontomainideasandthemesofthedance(CR,SR)
Attendadanceperformanceandtakeanactiveroleinclassdiscussionbysharingpersonalinterpretationsofandreactionstoadance
Identifymovementpatternsastohowdanceisdifferentfromotherformsofhumanmovement,suchassportsandeverydaygesturesDefinegesture,tableau,phrasing
Respond Supportstatementswithlinkageofconceptsfromcoresubjectareassuchaspatterns,sequence,transitionwords,etc.(CR,SR)
Respondtoadanceusinganotherartformorcoresubjectarea.Explaintheconnectionsbetweenthedanceandindividualresponse
Statepatterns,sequence,transitionswords,etc.usedinamovementphrase
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Table4.2.2IllustrativeIdeasforDanceAssessment–Grades6-8
Create,
Perform,Respond
PerformanceTask
PerformanceEvent
Constructed-Response
Selected-Response
Create Createrhythmicmovementphraseswithmovementvocabulary,positions,andpatternsfromtwodancestylesortraditions(PE,CR,SR)
Createtwomovementphrases(24countseach)representingtwodancestylesortraditions.Eachshouldincludedistinctivemovementvocabulary,positions,patterns,andrhythm.
Createtwomovementphrases(24countseach)representingtwodancestylesortraditions.Eachshouldincludedistinctivemovementvocabulary,positions,patterns,andrhythm.
Identifyandnamevocabulary,positions,andpatternsfromtwodancestylesortraditions
Create Produceathoughtfuldemonstrationofformandstructure(PT,PE,CR,SR)
Constructamovementphrase(36counts)withclearexpressionofspace(levelsandplanes),time(durationandrhythm),andenergy(qualityofmovement).
ProducemovementusingchoreographicformandstructureofAB,ABA,canon,callandresponse,andnarrative
Constructamovementresponsethatcontraststhechoicesofanotherdancerorgroup
RecognizeanddefinechoreographicformandstructureofAB,ABA,canon,callandresponse,andnarrative
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Create,Perform,Respond
PerformanceTask
PerformanceEvent
Constructed-Response
Selected-Response
Create Exploreandsolveproblemsrelatingtoconceptsfromcoreinstruction(PT,PE,CR,SR)
Identifytopicsbeingexploredinnon-artssubjectareas.Divideintogroupsbasedontopicsanddeviseamethodforexploringthetopicthroughmovementresultinginamovementphraseor2minutedance.Thecreativeprocessshouldincludesuchproblem-solvingashowtoaddresscontent,context,perspective,casting,generationanddevelopmentofmovementvocabulary,andapplicationofelementsofdance.
Identifytopicsbeingexploredinnon-artssubjectareas.Divideintogroupsbasedontopicsanddeviseamethodforexploringthetopicthroughmovementresultinginamovementphraseof48countsormore.Thecreativeprocessshouldincludesuchproblem-solvingashowtoaddresscontent,context,perspective,casting,generationanddevelopmentofmovementvocabulary,andapplicationofelementsofdance.
Identifytopicsbeingexploredinnon-artssubjectareas.Divideintogroupsbasedontopicsanddeviseamethodforexploringthetopicthroughmovementresultinginamovementphraseof48countsormore.Thecreativeprocessshouldincludesuchproblem-solvingashowtoaddresscontent,context,perspective,casting,generationanddevelopmentofmovementvocabulary,andapplicationofelementsofdance.
Sequenceeventswithinthecreativeprocessformakingadancerelatingtocontentrootedinnon-artssubjectareas.
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Create,Perform,Respond
PerformanceTask
PerformanceEvent
Constructed-Response
Selected-Response
Create Solvecompositionproblemsthroughmovementresearchmethods(PT,PE,CR)
Viewtheworkofaniconicchoreographer(eligiblecontentlistedlaterinthisdocument)Analyzetheworkofachoreographerandcreateamovementphrasefromaselectedtoolexhibitedintheirwork(example:structure,useofspace,useofrelationship,musicality,orform)
Exploreamovementproblemandcreatemultiplesolutions(examples:limitationofspaceorbodypart,restrictedtravelingpatternsormovementselection,changeofdurationand/orrhythmaccordingtomusicalaccompaniment)
Compareandcontrasttheeffectsoftwodifferentsolutionstothesamemovementprobleminwrittenorphysicalresponses
Create Solvecompositionproblemsincontextofpersonalexperiences(PT,PE)
Createanarrativemovementphrasethatcommunicatesatopicofpersonalsignificance
CreateanABAmovementphraseusingtwocontrastingideasthatcommunicatesatopicofpersonalsignificance
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Create,Perform,Respond
PerformanceTask
PerformanceEvent
Constructed-Response
Selected-Response
Perform Performassoloistsandpartofanensemblewithaccuracyintechnicalconcepts(couldbeassessedindividuallyorcollectively):alignment,balance,initiationofmovement,articulationofisolatedbodyparts,weightshift,elevationandlanding,fallandrecovery(PT,PE,CR,SR)
Learnandperformbasicmovementphrasesatvariouslevelsofskillanddifficulty
Performabreakdownofspecifictechnicalskillsdemonstratingunderstandingofthebasiccomponentsthatworktogethertoperformtheskillorstep
Watchavideoofatechnicalexercisesandselfevaluateperformanceoftheseskillsidentifyingstrengthsandweaknessesfromperformerperspective
Demonstrateunderstandingofalignment,balance,initiationofmovement,isolation,weightshift,elevation,landing,fallandrecoveryusingawrittenassessmentthatincludesquestionssuchasmatching,trueandfalse,shortanswer,multiplechoice,etc.
Perform Useexpressionofmultiplegenresandtraditionsofdance(PT,PE,CR,SR)
UseexpressionofmultiplegenresandtraditionsofdanceCompetentlyperformtwofolk,social,ortheatricaldanceformsofdifferentculturesandtimeperiodsof20thcenturyAmerica
UseexpressionofmultiplegenresandtraditionsofdanceDemonstratebasicsteps,positionsandpatternsfromtwodifferentstylesortraditions
Chartthetechnicalattributesofaselectedfolk,social,ortheatredanceformsaccordingtosharedelementsanddistinctiveelements(ex:VennDiagramorT-chart)
IdentifytraditionsofdanceViewandidentifyatleasttwospecifictraditionsdancesofdifferingcultures
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Create,Perform,Respond
PerformanceTask
PerformanceEvent
Constructed-Response
Selected-Response
Perform
Accuratelyusespace,time,andenergy(PT,PE,CR,SR)
Applyelementsofdancetoperformexpressivelyandaccuratelyaccordingtochoreographicdetail.
Applyelementsofdancetoperformexpressivelyandaccuratelyaccordingtochoreographicdetail.
Graphicallyorganizewheretheelementsofdanceareappliedwithinthemovementphrase.(Example:createa“timeline”ofmovementorcounts.Graphwhereonthetimelinetheapplicationsofspace,time,orenergyaremostappropriatelyapplied.)
Identify/defineusesofspace,time,andenergyandtheirsecondaryapplications(levels,planes,duration,rhythm,movementqualities).
Respond
Analyzeanddescribetheactionsofmovementwithattentiontotechnicalconcepts(PT,PE,CR,SR)
Enhancepersonalperformanceutilizingfeedbackfrominstructor,peers,and/orself-evaluation.
Enhancepersonalperformanceutilizingfeedbackfrominstructor,peers,orself-evaluation.
Describetheactionandmovementelementsobservedindanceusingaccuratemovementanddancevocabulary
Matchtheelementofdancethatbestcorrelatestohowtheactionwasperformedintheperformancesample
Respond
Analyzeanddescribetheactionsofmovementwithattentiontospace,time,andenergy(CR,SR)
Analyzeanddescribetheactionsofmovementwithattentiontospace,time,andenergy.Compareandcontrasttwodancecompositionsintermsofspace,time,andenergyandusemetaphororsimileasdescriptionsofmovementquality
Definemetaphorandsimile
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Create,Perform,Respond
PerformanceTask
PerformanceEvent
Constructed-Response
Selected-Response
Respond
Makeneutralobservationsofperformanceandchoreographywithdetailandsupportedexplanation(CR)
Identifypossibleaestheticcriteriaforevaluationdancesuchasskillsofperformers,visualandemotionalimpact,variety,andcontrast
Definemovementvocabulary,visualimpact,emotionalimpact,variety,contrast
Respond
Inquireabouttechnicalandcreativeprocesseswithappropriatequestions(CR,SR)
Compareandcontrasthowmeaningisconveyedintwochoreographicworks.Viewtwodancepieces,eithertapedoflive.Writearesponseinessayformcomparingandcontrastingtheprocess
Selecttheguidingquestionsthatmayprovidethechoreographerwiththemostdevelopedcourseofaction
Respond
Proposewhatcouldbedonedifferentlythroughrevisionprocesses(CR,SR)
Constructalistofquestionsthatyouwouldliketoaskthechoreographerinordertogaininsightintotheirprocessaswellasreflectyourneutralimpressionsoftheirwork
Select“Imight”statementsthatyouthinkaremostsuitablefortheworkyouobserved.Thesestatementsoffersuggestionsofhowyouwouldproceedintherevisionprocessifyouwerethechoreographer.
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Table4.2.3
IllustrativeIdeasforDanceAssessment–Grades9-12
Create,Perform,Respond
PerformanceTask
PerformanceEvent
Constructed-Response
Selected-Response
Create Createsoloandensemblemovementphrases(PT,CR,SR)
Create,asasoloorensemble,amovementphrasethatusesatleasttwochoreographicdevices.Examples:canon,accumulation,repetition,retrograde,theme&variation,rondo,
Identifyanddescribe3choreographicdevicesusedtocreatemovementphraseandexplainreasonsforyourchoices
Usingdancevideoexcerpts,choosethechoreographicdevice(s)usedinthework.
Create Createsoloandensemblechoreography(PE)
Createashortmovementphrasecombiningatleast3ideasgeneratedfromanimprovisationexploration
Create Contributechoreographyconsistentinstyleandintentofperformancetheme(PT,PE,CR)
Developchoreographythatisconsistentwiththestyleandintentofaperformancetheme.
Createatleasta32-countmovementphraseconsistentwiththestyleandintentofaperformancethemeandteachtoapartner.
Reflect,throughdiscussionorwritten,ontheprocessastohowamovementphrasewasdeveloped.
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Create,Perform,Respond
PerformanceTask
PerformanceEvent
Constructed-Response
Selected-Response
Create Craftthoughtfulmovementphrasesanddanceswithapointofinvestigation(PT,PE,CR,SR)
Createadancethatusesapointofinvestigationastheconceptdrivingthework.Examples:visualrepresentationofmusicalscore,directorindirectnarrative,movementpotentialthroughlimitedspace,etc.
Createamovementphrase(48countsormore)thatusesapointofinvestigationastheconceptdrivingthework.
Inwrittenorphysicalresponse,outlinethemainpointsobservedinthechoreographyofpeers.Illustratehowyouwouldmakethosepointsclearerorelaborateuponthem.
Assignthecompositiontoolsmosteffectivelyusedineachcompositionobserved.Toolsmayinclude:canon,accumulation,repetition,retrograde,theme&variation,rondo,etc.
Create Generatemovementthatlinkstocorecontent,technicalacuity,andattentiontospace,time,andenergy(PT,PE,CR,SR)
Createamovementphrasethatlinkstocorecontentandincludestechnicalacuityandattentiontospace,timeandenergy
Createatleast2movementphrasesusingthemeandvariation.Onewillrepresentthethemeandtheotherwillrepresentavariationofthethemebychangingonlytheuseoftime,spaceandenergy.Themovementremainsthesame
Compareandcontrasttheuseofthemeandvariationbetweentwosimilarmovementphrases
Afterwatchingmovementphrase,recallwhichthedanceelementsofwereusedthroughoutthedance
Perform Performassoloistsandpartofanensemblewithaccuracyinmovementvocabulary(PT,PE,CR,SR)
Demonstratemovementskillswithaccuracywhileperformingintransitionofothermovement.
Performmovementskillswithaccuracyinisolationofothermovementconcepts.
Selfevaluatethroughobservationsofowntechniqueandwritegoalsforimprovementandgrowth
Labelmovementskillsandvocabularyinperformedmovementphrasewithcorrectdefinitions.
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Create,Perform,Respond
PerformanceTask
PerformanceEvent
Constructed-Response
Selected-Response
Perform Demonstrateinterpretation,style,musicality,andphrasing(PT,PE,CR,SR)
Memorizedancesinatleast2danceforms/stylesanddemonstrateabilitytoperformcontrastingstyles
Memorizeamovementphraseandperformittoatleast2contrastingmusicselections
Interprethowthetypeofmusicusedtoperformaffectsqualityofmovement
Listattributesthatidentifycharacteristicsof2danceforms.
Perform Performwithprojectionandexpression(PT,PE,CR)
Performinfrontofaliveaudiencedemonstratingintendedprojectionandexpressionofthechoreographer.
Videotapeaninformalperformance.Critiquepersonalperformanceusingself-assessmentrubric
Describehowprojectionandexpressionaffecttheperformancefrombothaperformerandanaudienceperspective.
Defineprojection,perspective,andrelatingtechnicalandcompositionalterminology
Perform Performwithattentiontospace,time,andenergy(PT,PE)
Performadancemorethanoncemaintainingtheintendeduseofspace,timeandenergyeachtime
Performacombinationacrossthefloorthatmaintainsspace,timeandenergyonboththerightandleftside
Definetherelatingtechnicalandcompositionalterminology
Respond Criticallyandanalyticallydissectanddiscussintent,process,andproductofperformanceandchoreographycreatedbyself(PT,CR,SR)
Compareandcontrastyourchoreographicprocesstothatofanotherchoreographer.Identifysimilaritiesanddifferences.
Identifytheindividualstepstakenthroughoutthechoreographicprocess.Describehowdecisionsmadeeffectedtheendproductofchoreography
Definethechoreographicintentandtoolsofthecreativeprocessusedindancemaking
Respond Considermultiplepointsofviewandapplyconstructivefeedback(PT,PE,CR)
Presentworktopeersonaregularbasis.Provideandreceiveconstructivefeedbackonanongoingbasis
Followingapeercritique,chooseatleastonepieceoffeedbacktoapplyandreworkinchoreography
Explainhowpersonalexperiencesinfluenceinterpretationofadance
Defineappropriateeditingtools
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Create,Perform,Respond
PerformanceTask
PerformanceEvent
Constructed-Response
Selected-Response
Respond Engageinproductivedialoguewithreferencetoaestheticstandards(PE,CR,SR)
Afteraperformance,formulateandanswerquestionsbasedonpersonalaestheticcriteria
Establishasetofaestheticcriteriatousewhilewatchingaperformance
Defineatleast5aestheticstandardsforviewingaworkofart(dance)
Respond Engageinproductivedialoguewithreferencetoculturesandidentifyattributesofculturaldance(CR,SR)
Describehowitfeelstowatch/performdancesfromculturesotherthanown
Identifyspecificpatternsrecognizableasattributesofatleast3culturaldances
Respond Engageinproductivedialoguewithreferencetohistoryofdanceandidentifytopicsindancehistoryincludingpersons,eras,andmajorworksofart(PT,PE,CR,SR)
Conductaprojectthatinvestigatestheatopicofdancehistory
Report/Presenttotheclassinformationonatopicofdancehistory
Performanddiscussthetraditionsandtechniquesofclassicalorculturaldanceform
Recognizeandidentifychoreographersandmajorworksofartthroughoutdancehistory
Thecriteriaforeachperformancestandardhasbeensortedaccordingtowhichtypeofassessmentmayservethecontentbest.Thenumberoftimestheseassessmentsareconductedwillbedeterminedbythecurriculum,structure,andgoalsofeachindividualcourseandthereforewilllikelyappearmorethanonceperyear.Notethatsomecriteriaappearinmultiplecategories.Dependingontheapproachtotheassessment,thisexperiencecantakeonmultipleforms.Forexample,studentsin8thgrademaydemonstratecompositionalproblem-solvinginasmallmovementsketchwhichcanbeassessedinasingleclass(PerformanceEvent),throughthecompositionofafull-lengthdancewhichcanbeassessedovertime(PerformanceTask),orinresponsetoavisual,written,orverbalprompt(constructed-response).InaK-2and3–5settings,whereclassesmeetoneortwotimesperweek,assessmentsmayonlybeissuedatkeypointsinthelearningprocessandthusmayonlyresultinoneortwoassessmentsper
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semester.Ingrades6-8and9-12,whereelectiveclassesmeetdaily,assessmentscanbecomeamoreregularpartoftheeducationalprocesswithperhapsweeklyassessmentsofprogress(performanceevents)whichinturndrivelargerassessmentsappropriateforlargerscaledprojects(performancetasks).Constructed-responseswillbemorecommoningrades6-8andgrades9-12aswell,wheremovement,performance,andchoreographyanalysisandcritiquearemorethoroughlyexplored.Selected-response,mostcommonlyusedtoidentifyterminologyandconcepts,maybeusedinasimilarfashiontoperformancetasks,asperiodicsnapshotsofunderstandingintheprogressofalargerunit.Toreiteratethedescriptionofperformancetasksin4.2onpage27ofthisdocument,performancetasksarepromptsthatrequirestudentstospendmultipleclassperiods,weeks,ormonthsinpreparingaresponse.Figures4.2.4and4.2.5provideexamplesofstand-aloneperformancetaskssuitableforgrades9-12(Figure4.2.4)andgrade8(Figure4.2.5).
Figure4.2.4ExampleofDancePerformanceTask–Grades9-12
PhaseI:RehearsalProcess/CreatingNewWork–Inthisstep,studentslearnnewmaterialorcraftnewmovementphrases,basedoncoursecontentandconnectedtotopicsexploredinothersubjectareas.Thisphaseofworkincludes(tobeexperiencedthroughdailymeetingsandthusweeklycontentstructurestakingavarietyofmodels)techniqueclass,conditioning,repertory,editing,andrehearsing.Studentswoulddemonstrateprofessionaletiquette(suchaspromptarrivaltoclass,pre-classwarm-uporconditioning,professionalworkethicwhileworkingindividuallyorasensemble,andengagingindialogueshapingthecreativeprocess).Thisdemonstratestheexpectationsofprofessionaldancerstoknowtheircraftandperformtheirjobonadailybasis.PhaseII:ProductionResponsibilities/MovingtotheTheater–Inthisstep,studentsexperiencecommonexpectationsofprofessionaldancers/choreographersasthecreativeworkleavesthestudioandentersthetheater.Examplesofexperiencesthatcanbeincludedare:attendingandengaginginpre-performanceshowingsordesignruns,technicalrehearsalsanddressrehearsals,demonstratingprofessionalconductindressingrooms,hallways,backstagebeforeandafterperformance,signingthecallsheet,attendingandengaginginpre-concertwarm-ups,andcommunicatingwithconcertdirector.PhaseIII:Performance/Physical,Intellectual,ArtisticMastery–Inthisstep,studentsareformallyassessedi(fthishasbeenanon-goingseriesofassessmentsoftheirdevelopmentintheareasoutlinedbytheeducator).Thiscanincludetechnicalorchoreographicprinciples,performancetheory,oralloftheabove.PhaseIV:ReflectiveResponse/CritiqueandSelf-Assessment–Inthisstep,studentsareguidedthroughaprocessofreflectingontheirworkasperformers,choreographers,designers,orallofthese.Constructed-responseitemsaresuitableforassessingthisphaseofwork,keepinginmindthattheseresponsesmaytakeonavarietyof“looks”andmaybewritten,graphic,and/orphysicalinnature.Again,portfoliosprovidetheopportunitytomonitorgrowththroughoutthePerformanceTask.Postconcertresponsesmayaddress:summarizingoftheexperienceandstrategyforcreativeproblem-solving,contextualizingtheproductwithincurrenttrendsindanceand/orothersubjectareas,reflectingonpersonalgrowth,andplanningforfutureproductions.
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Figure4.2.5ExampleofDancePerformanceTask–Grade8
IntroductiontotheAssessment–Studentsareprovidedwithadancecompositionexperience.Studentsaregivenachecklistofrequirementsthatmustbeincludedwithinthechoreography.Thiswillassistandhelpguidetheexplorationprocess.Studentsworkwithsmallgrouptocreateandperformtheminicomposition.
MiniCompositionCreate
o ChoreographicPrinciples:Problemsolvetodiscoverandexploremovementsolutionso Improvisation:Exploreaxialmovementsvaryingtheuseofdanceelements
Performo MovementSkills:Demonstrate&identifynon-locomotor/axialmovemento Sequencing:Demonstratetheabilitytosequenceaseriesofmovementsandtoremembertheminashortphraseo PerformanceValues:Dancewithconcentrationandfocuso Replication:Repeatmovementdancephrasesandpatternsforperformanceaccuracy
ScoringRubric
UseofElementsofDance 1. Demonstrateslimitedunderstandingoftheelementsofdance2. Demonstratessomeunderstandingoftheelementsofdance 3. DemonstratesathoroughunderstandingoftheelementsofdanceConcentration&Focus1. Israrelyfocused,concentratedandcommittedtotheperformanceofmovement2. Isoftenfocused,concentratedandcommittedtotheperformanceofmovement 3. Isfocused,concentratedandcommittedtotheperformanceofmovementMemorization1. Lackstheabilitytomemorizeandrepeatthemovement2. Movementismemorizedbutcannotberepeatedwithaccuracy3. MovementismemorizedandcanberepeatedwithaccuracyBodyAwareness:Transitions 1. Transitionsarenotusedtotransferfromshapetoshape 2. Transitionsarechoppyanddonotflowfromshapetoshape 3. Transitionsarefluidandactionflowsfromshapetoshape
ProgressionofIdeasandAssessmentsthroughProgramDevelopment–ForprogramsthatbeginateithergradesK-2,3-5,or6-8andlaterexpandtoincludeadditionalgrades,itmaybehelpfultodemonstratehowasingleassessmentitemcanbeadaptedbasedonthegradelevel.BelowareexamplesofPerformanceTasks,PerformanceEvents,Constructed-responses,andSelected-responseseachexploringasingleconceptthatprogressesbasedongradelevel.
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Figure4.2.6ExampleofDancePerformanceTasks–Grades5,8and12
PerformanceTask–PreparingforPerformance–Learningaboutthecreativeprocessfromconcepttoproduct
o Grade5:Explicitlyteachandassessthemajordecisionsfordancemaking:movementconceptsthatareexploredwithinchoreography,rehearsalstrategies,performance.
o Grade8:Explicitlyteachandassessmajordecisionsfordancemaking:identifyingconceptortheme,generatingmovementbasedontheconcept,rehearsalstrategies,performance.
o Grade12:Explicitlyteachandassessthemajordecisionsfordancemaking:creating
thematiccontentwithpersonalstance,generatingandeditingmovementthatsupportsthetheme,rehearsalstrategies,productionpractices,performance.
Figure4.2.7ExampleofDancePerformanceEvent–Grade5
IntroductiontotheAssessment–Teacherwilldemonstrateamovementphrasethatrequiresimmediatestudentresponseandperformance.Studentswillpracticethesequenceasawholegroup.Studentswillbeindividuallyassessedonthefollowingcriteriafollowingabriefpractice:
ScoringRubricCombinationwasmemorizedandperformedwithoutteacherguidance1. Needsassistancewithentireperformance2. Isunabletoperformthemovementphraseonown3. Abletoperformsomeofthemovementphrasewithoutassistance4. Abletoperformtheentiremovementphrasewithoutassistance
Abletoperformthemovementphrasewithaccuraterhythm/timing1. Needsassistancewithentireperformance2. Isunabletoperformthemovementphrasewithaccuraterhythm/timing3. Abletosomewhatperformthemovementphrasewithaccuraterhythm/timing4. Abletoperformtheentiremovementphrasewithaccuraterhythm/timing
Skillsinmovementphrase,includingpropertechnique1. Unabletoperformskillsusingpropertechnique2. Abletoperformfewskillsusingproperdancetechnique3. Abletoperformsomeskillsusingproperdancetechnique4. Skillsinmovementphraseareperformedusingproperdancetechnique
Asdescribedinsection4.2onpage27ofthisdocument,performanceeventsareon-demand
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performanceassessmentitemsthatrequirestudentstoconstructaresponseinaverybriefperiodoftime,withlittleornoadvancepreparationorrehearsal.Sometimes,thisisviewedas“firstdraft”workonthepartofthestudent.Aftertheirinitialperformance,studentsarealsogivenlittleornosubsequentopportunitiestoimprovetheirperformance.Theseassessmentsmayrequireaclassperiodorlesstoimplement.Studentsmayworkaloneorwithasmallgroupofotherstudents(e.g.,theperformanceofascenefromaplay)inpreparingandimplementingtheirresponses.Whensmallgroupsareassessed,individualstudentsstillreceivetheirownscores.TheseassessmentsarealsoatDOKlevels3and4.
Figure4.2.8
ExamplesofDancePerformanceEventItemsProgressionofPerformanceEventsforProgramDevelopment–ThemannerinwhichanassessmentexamplecanbecomemorecomplexfromgradesK-2,3-5,6-8to9-12isshownbelow.
PerformanceEvent:In-classShowing–Demonstratingknowledgeinsinglesession
o Grade5:Performanceofaquickstudyfeaturingspecifictechnicalelementsorpresentingchoreographicsketchfeaturingspecificelementsortoolsofcomposition.
o Grade8:Fullclassdemonstrationofthematiccontent.Assessmentspansentireclassfromwarm-upthroughtofinalphrasepresentationasafullexplorationofprogressingideasthrougheachclasssegment.
o Grades9–12:Fullclassdemonstrationofthematiccontentwithcreativecontribution
throughouteachclasssegment.Inotherwords,studentsmaybedevelopingexercisesforaclassthatexploresaprogressionoftechnicalorcompositionideas.
Constructed-responseassessmentitemsarerequirestheindividualtocreatetheirownanswer(s)ratherthanselectfromprewrittenoptions.Theseitemsareopen-ended,thatis,thereareusuallyseveralwaysinwhichtheycanbeansweredcorrectly.Responsesareoftenwritten,althoughtheyneednotbe,andeveninthecasewhentheyare,thesemaybeessays,charts,graphs,drawings,orothertypesofwrittenresponses.See4.2onpage28ofthisdocument.
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Figure4.2.9
ExampleofDanceConstructed-ResponseItem–Respond–Grade8
IntroductiontotheAssessment:Studentswillviewtwodifferentdances.Studentswillbeaskedtoobserveandrespondtoideas,experiences,feelingsandimagesinfluencedfromtheexamples.Theywillalsobeaskedtocloselyobservetheelementsofdanceandchoreographicprinciplesused.Thisactivitywillassistinthedevelopmentofpracticingtheskillofobservingdanceandtheabilitytodescribehowdancesfromavarietyofculturesreflectthevaluesandbeliefsofownculture.Theconstructed-responseitemswilltaketheformofextendedessaysorshortanswerresponses.Scoringcanbepresentedinrubricform.Theconstructed-responseassessmentmayalsotaketheformofstudentphysicallydemonstratingmovementinfluencescomparingandcontrastingthetwodancesviewed.Severalsampleprompts:
1.InDance2,onedancerremainedfacingthebackdemonstratingstillness.Discusstheimpactthishadonyouasaviewer/witnessofthework.Diditaffectyou?Whyorwhynot?2.Compareandcontrast3differencesinrelationshiptohowtheelementofspacewasusedthroughoutthetwodancesthatwereviewed.Providethreeideasandstatementstosupporteach.3.Discussonewaythatdancecurrentlyinfluencesyourculture,valuesandbeliefs?
ScoringRubric
Organization SupportandRationaleofIdeas Mechanics
Figure4.2.10
ExamplesofDanceConstructed-ResponseItemsProgressionofConstructed-ResponseItemsforProgramDevelopment–ThemannerinwhichanassessmentexamplecanbecomemorecomplexfromgradesK-2,3-5,6-8to9-12isshownbelow.Developingathoughtfulresponseinwritten,verbal,orphysicalforms.
o Grade5:Observeaniconicworkofdance(seesamplelistprovidedin5.3.5).Createaseriesoftableauxthatoutlinethemovementmotifspresentedinthework.
o Grade8:Observeaniconicworkofdance.Constructamovementsummaryusing
stationaryandlocomotormovement.o Grades9–12:Observeaniconicworkofdance.Composeabriefmovementsketchof
originalmovementthatrelatestothesamethemeorconceptidentifiedintheiconicwork.
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Selected-responseitemsincludemultiple-choice,true-false,matching,andothertypesofitemsinwhichstudentsareprovidedwithavarietyofresponsesandstudentsselecttheanswerstothequestions,ratherthanconstructingtheirownresponses.Seesection4.2onpage28ofthisdocument.
Figure4.2.11ExampleofDanceSelected-ResponseItem–Grades3-5
IntroductiontotheAssessment–Studentswillviewtwodifferentdances.Studentswillbeaskedtoobserveandrespondtotheideas,experiences,feelingsandimagesinfluencedfromtheexamples.Theywillalsobeaskedtocloselyobservetheelementsofdanceandthechoreographicprinciplesused.Theactivitywillassistinthedevelopmentofskillsinobservingdanceandtheabilitytodescribehowdancesfromavarietyofculturesreflectthevaluesandbeliefsofculture.1.ThedancersinDanceIweredancing
A.AloneB.TogetherC.Followingeachother
2.ThemainpartofDance2wasperformedonstageasa(an)
A.EnsembleB.TrioC.SoloD.Duet
3.WhatinstrumentdoyouhearplayedinDance1?
A.ViolinB.TrumpetC.DrumD.Piano
4.Whichdancerequiredthefollowingfromthedancers:strength,trust,timing,partnerwork?
A.Dance1B.Dance2
Scoringwillbeonepointforeachcorrectresponse.
ProgressionofSelected-ResponseItemsforProgramDevelopment–ThemannerinwhichanassessmentexamplecanbecomemorecomplexfromgradesK-2,3-5,6-8to9-12isshownbelow.
Figure4.2.12
ExamplesofDanceSelected-ResponseItemso Grade5:Matchthelistedtermswiththedefinitionso Grade8:MatchthelistedtermswiththedefinitionsandsortthetermsbywhichElementof
Dancemostimpactstheexecutionofthisidea
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o Grades9–12:Matchthelistedtermswiththedefinitions,sortthetermsbywhichElementofDancemostimpactstheexecutionofthisidea,andnumbertheconceptsaccordingtotheorderofappearanceinthestructureofatypicalclass.
4.3 RangeofContentforAssessingDance–AccordingtotheMichiganBenchmarksandContentStandards
forDance,theprocessoflearninginvolvesfivestandards:Perform,Create,Analyze,AnalyzeinContext,andAnalyzeandMakeConnections.Asaresult,Dancecontentmaybemostcompatiblewithcertaintypesofassessmentandreflecttheidentifiedlevel(s)ofDepthofKnowledge.(Seefigure2.2.1.)Manyskillsaresubjecttoscaffoldinginthatthereisanexpectationthatstudentsgrowindepthofunderstandingandinperformancefromyeartoyearandfromexperiencetoexperience.Movingthroughaprogressionofapplying,developing,andinnovatingstudentswilldemonstrateDepthofKnowledgeinavarietyofareas.Experiencesintechniqueandanalysiswillnaturallyinformandenhancetheapproachtodesignandviceversa.ForsomeStrands,therewillbemorethanonetypeofassessmentlisted.Thisisbecausedifferenttypesofassessmentsmayaddressdifferentaspectsofaspecificstandardwithinthatstrand.Insomeplaces,assessmentsmaybelinkedacrossstandardsandstrands.Forinstance,itispossiblethata“PerformanceEvent”thatassessesthe“Perform”or“Create”strandmaybeusedasthebasisfor“Constructed-response”inthe“Respond”Strand.ContentandResourcesbyLevel:Selectionofmaterialsforuseinallgradesshouldkeepinmindbothissuesofqualityandcommunitystandardswhilemaintainingadiversityofartisticandculturalheritage.Classicorhistoricallysignificanttextsaswellascontemporaryworksofcomparableliterarymerit,culturalsignificance,andrichcontentarepreferred.Educatorsshouldpayparticularattentiontoageappropriateness,accuracyofinformationandexcellenceofpresentationinrecognitionofaschoolaudience.Thefollowingsourcesservetoexemplifythelevelofcomplexityandqualitythatthecurriculumrequiresofallstudentsinagivengradelevel.Additionally,theyaresuggestiveofthebreadthofmaterialthatstudentsshouldencounterthroughouttheireducationindance.Thechoicesshouldserveasusefulguidepostsinhelpingeducatorsselectresourcesofsimilarcomplexity,quality,andrangefortheirownclassrooms.
Table4.3.1presentsalistofstandardandemergingartistselectionstoprovideaframeofreferenceforthetypesofdanceexamplesthatsupportthebreadthanddepthofthefieldofdanceinthecategoriesoutlinedthrough-outthisdocument.Generallyspeaking,thefollowingartistsandcompaniesareworkinginmulti-disciplinaryways,withmulti-dimensionalsubjectmatterandconcept-drivendance.
Table4.3.1ExamplesofGenre/ArtistsforUseinDanceAssessments
Genre/Artists
ClassifyingStyles
/MovementInvention
ProcessOriented
DanceMakers
CrossingDance
DisciplinesandGenres
DanceasNarrative
DanceOutside
TraditionalContexts
K-12Subjects,ContentExamples
Ballet
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Genre/Artists
ClassifyingStyles
/MovementInvention
ProcessOriented
DanceMakers
CrossingDance
DisciplinesandGenres
DanceasNarrative
DanceOutside
TraditionalContexts
K-12Subjects,ContentExamples
AugustBournonville(K-12)
X
XRomanticBallet
Folktales,
MariusPetipa(K-12)
X
XClassicalBallet
Fairytales
GeorgeBalanchine(K-12)
X
XVisual
RepresentationofMusicalScore
XNeo-classical
Ballet
AbstractNarrative,theme
AlonzoKing/LINESBallet(6-12)CedarLakeContemporaryBallet(6-12)
X
XContemporary
Ballet
Theme,patterns,motif,
relationship,voice
TreyMcIntyre(9-12)
X
X XCollaboratingwithbusinesses
tofostercreativity
Creativeprocess,collaboration
ModernDanceandEthnicDance
MarthaGraham(K-12)
X
XUseofmyth,psychology,literature
Myth,folktale,literature
AlvinAiley(K-12)DonaldMcKayle(K-12)
X
XAfricanAmericanExperience
Americanhistory,
sociology,socialstudies
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Genre/Artists
ClassifyingStyles
/MovementInvention
ProcessOriented
DanceMakers
CrossingDance
DisciplinesandGenres
DanceasNarrative
DanceOutside
TraditionalContexts
K-12Subjects,ContentExamples
KatherineDunham(K-12)PearlPrimus(K-12)AkramKahn(9-12)RonaldK.Brown/Evidence(9-12)ChuckDavis(K-12)UshioAmagatsu(9-12)SidiLarbiCherkaoui(6-12)
X
XAnthropological
influence
history,sociology,social
studies
LizLerman(9-12)AnnaHalperin(9-12)
XDanceasaCommunityExperience
X XCommunityworkoftensitespecificandinvolvingdancersofallexperiences
SocialStudies,
AxisDanceCompany(K-12)
X XCompanycomposedofdancersofavarietyofphysical
abilities,someofwhomaredisabled
Forcesofmotion,
BillT.Jones(9-12)DavidParsons(K-12)
XDanceasaliberalart
drawingfromconceptsandprocessesfoundinmultipledisciplines
XModernDance,
MusicalTheatre
Performance
Motif,narrative,structure,
graphing,mapping
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Genre/Artists
ClassifyingStyles
/MovementInvention
ProcessOriented
DanceMakers
CrossingDance
DisciplinesandGenres
DanceasNarrative
DanceOutside
TraditionalContexts
K-12Subjects,ContentExamples
YvonneRainier(6-12)TrishaBrown(6-12)DouglasDunn(6-12)CrystalPite/KiddPivot(9-12)
X
XChallengingthedefinitionsofdanceandart
XTakingdanceintonewandnon-traditionaldancespaces
Personalvoice,forcesofmotion,repetition,pattern
Pilobolus(K-12)MosesPendleton(MOMIX)(K-12)
XPhysicalpotential
X Forcesofmotion,tableau
TwylaTharp(K-12)LucindaChilds(9-12)MeredithMonk(9-12)RubberbandDance(9-12)
X
XModerndance,jazzdance,
and/ormusicaltheatreortheatre
MerceCunningham(K-12)IsadoraDuncan(K-12)PinaBausch(9-12)OhadNaharin/BatshevaDance(9-12)
X XExaminingthehowandwhyofmovementinvention
isolation,relationship,collaboration,creativeprocess,changeoperation,
statistics,probability,personalvoice
Jazz,Tap,andSocialDance
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Genre/Artists
ClassifyingStyles
/MovementInvention
ProcessOriented
DanceMakers
CrossingDance
DisciplinesandGenres
DanceasNarrative
DanceOutside
TraditionalContexts
K-12Subjects,ContentExamples
GeneKelly(K-12)BobFosse(9-12)JeromeRobbins(6-12)JackCole(9-12)SavionGlover(K-12)Bill“Bojangles”Robinson(K-12)TheNicholasBrothers(K-12)
XDeveloping
Movementstyles
XDanceforstage
andfilm
X geometry,angle,sizeandscale,lines,contrast
GusGiordano(K-12)MattMattox(K-12)EugeneLouisFaccuito(Luigi)(K-12)FrankHatchett(K-12)
XDevelopingconcertjazz
styles
lineandangle,forcesofmotion,momentum
RennieHarris(6-12)
XHipHop
X
MichiganArtists
GrandRapidsBallet
Ballet
PeterSparling ModernDance ScreenDance
Wellspring/CoriTerry
ModernDance
EisenhowerDanceEnsemble
ModernandJazzDance
Happendance,H2
ModernDance K-12TouringCompany
PeopleMoving ModernDance
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Genre/Artists
ClassifyingStyles
/MovementInvention
ProcessOriented
DanceMakers
CrossingDance
DisciplinesandGenres
DanceasNarrative
DanceOutside
TraditionalContexts
K-12Subjects,ContentExamples
DetroitDanceCollective
ModernDance
MichiganDanceProject
Contemporary/JazzDance
WMUDanceProject
Modern,Jazz,andBallet
K-12andCommunity
TouringCompany
UMFreshmenTouringCompany
Modern K-12TouringCompany
StrikeTime(HopeCollege)
Modern,Jazz,andBallet
K-12Touringcompany
H2MovementEnsemble(HopeCollege)
Tap,Jazz,HipHop
Additionalartistsandcurriculumsuggestions,includingvideosources,canbefoundat:http://www.musiccenter.org/education/Teacher-Resources/Artsource-Curriculum/Available-ArtSource-Units/andhttp://www.artsalive.ca/en/dan/meet/index.asp
4.4NatureoftheScoringRubricsforAssessingDance
Rubricshavedifferentuses.Ononelevel,rubricsallowustotransformandquantifyaqualitativeexperiencebyassociatingdifferentlevelsofqualitywithasinglenumberorotherdescriptor.Rubricscanbeusedtoscoreanindividualperformancetask,performanceevent,orevenanentireportfolio.Inadditiontoprovidingdifferentlevelsofquality,rubricsfocusonselectedaspectsofworkforevaluation.Theareasoffocuswillchangetomatchthecriteriaarticulatedonthestandardbeingassessed.Theareasoffocusmayalsochangeifitisatask,eventorportfoliobeingassessed.Forinstancetheareasoffocusforrehearsingandcreatingaworkwouldbedifferentthantheareasoffocususedtoevaluatethequalityofafinalpresentation.Arubriccanalsobeusedasapartofinstructionbyprovidingguidancetothestudent.Itdescribesforthestudentadirectionandvisionforimprovement.Arubrictellsushowanindividualscorerevaluatedaperformancetaskoreventandthelevelofqualityobservedbythescorer.Italsotellsuswhichareasoffocusareimportantwhenevaluatingwork.Arubricalonecannotprovideestimatesofinter-raterreliability.Thescorer’sopinionissubjective.Eachscorermayseethequalityofworkindifferentways.Therefore,itisn’tpossibletofairlycomparetheworkoftwodifferentstudentsorprogramsthathavenotbeenscoredbythesameperson,unlessconsiderablescorertraininghastakenplace.Measuresshouldbeputintoplacetoallowforexemplars,levelsofcompetency,andpre-scoredexamplesthatallowadjudicatorstoexperiencearangeofwork.Whenpossibleasecondorthirdadjudicatorshouldalsoevaluateworktoprovideforconsistent,reliableevaluativeefforts.
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Objectivityishardtoachievewheneducatorsuserubricstoscoretheirownstudents.Personalpreferencesandbiasesmaybeinherentintheprocess.Inordertofairlycomparedifferentindividualsorprograms,thesamerubricshouldbeusedbythesamegroupofraters.Ifmorethanonepersonisusingascoringrubric,stepsshouldbetakentoimproveinter-raterreliability.Toyieldmoreaccurateandusefulinformation,itishelpfultousesamplesofstudentresponsestotrainscorers.Byaskingthemtoratepre-scoredexampleperformancesandthentotalkaboutthereasoningbehindtheirscores,differentindividualscanlearntoscorestudentworkinacomparablemanner,theessenceofreliability.Trainingcanalsobedonebyprovidingsomespecificsamplesofworkateachlevelthathelpsthescorerdifferentiatebetweenthelevelsofquality.
Eachmethodofassessmentwillhaveitsowntechniqueforscoringstudents’performances.Rubricsaredesignedtoidentifythetaskorinformationtobeaddressedinthetestingexperienceandtoprovideaframeworkformeasuringachievement.Thescoringrubricsareimportantforthestandardizationofassessments.Becauseofthesubjectivenatureofart,whenstudentsareaskedtocompleteperformancetasksoreventsandconstructedorselected-responseitemsandreflectontheirwork,theemphasisshouldbeonthe“rigorousinvestigationandinformedpersonalchoices”ofthestudentcreatingtheartortheartworkbeingrespondedtobythestudent(Vatsky,2008,p.14).Rubricsimprovecommunicationbetweenstakeholdersastowhattolookforandhowtodetermineachievement.Theycanalsoserveasamotivationaltooltohelplearnersself-monitorovertime,internalizinghowtoevaluatequalityinpersonalandpublicperformance.Additionally,thescoringrubricsmaybeusedtoassesscontentfrommultipleexpectations,e.g.techniqueandcomposition.Sincechoreographyfeaturesthephysicaldemonstrationofmovement,ifthecompositionassignmentreliesontechnicalconceptsbeingtaughtconcurrently,theassignmentofamovementsketchconsistingofthetechnicalconceptscandemonstrateknowledgeandskillmasteryconcurrently.Thescoringrubricsshouldmeasurethetransferableskillscultivatedinadancesetting:themainideasofstudy,thecriteriaofhowtoevaluatethemainideasandstatusofachievement.Thecollectionofscoringtoolsshouldreflecttheprogressionofcontent,concepts,andconnectedlearningoveraperiodoftime,offeringinsightintolearnergrowth,aidinginthesettingofgoals,andtheoverarchingpictureofprogramachievement.Thetrainingalearnerreceiveswillneedtobethoughtfullydevelopedinscopeandsequence,consistentinitsdeliverytomultipleclassesacrossgradelevels,andmustincludeexperienceswithintheCreate,Perform,andRespondcategoriesevenwhennotbeingusedforformalassessment.ThismeansthatstudentsneedtoengageinCreate,Perform,andRespondactivitiesbeyondthoseusedforformalassessmentsothattheyarecomfortableandfluentintheprocess,thusabletoauthenticallydemonstratetheirdepthofknowledgewhenformallyassessed.ThefollowingexamplesincludeninerubricsfortheareasofCreate,PerformandRespond.Eachrubricisspecifiedforatargetgradelevel,yeteachonecanbeeasilyadaptedtobeusedacrossallgradelevels.Therubricsaredesignedtobeusedformultipletypesofexperiencesandassessment.Level1representsthelowestlevelofperformance,whileLevel4representsthehighest.
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Table4.4.1RubricforDanceAssessment–Create-GradesK-5
Dimension 1 2 3 4
DevelopmentofTheme/Idea(Motivation)
Rarelycreatesmovementrelevanttotheselectedthemeoridea.
Occasionallycreatesmovementrelevanttothethemeandmotivatedbytheidea.
Mostoftencreatesmovementrelevanttothethemeandmotivatedbytheidea.
Alwayscreatesmovementrelevanttothethemeandmotivatedbytheidea.
UseofBodyandRelationship
Rarelyincorporatesavarietyofbodypartsandinitiationofmovement.Movementpatternsareverylimitedandoftendonotgobeyondnaturalmovementgestures.
Sometimespresentsalimitedrangeofmovementvocabulary.Createssimilarmovementpatternsinrelationshiptoownbodyandtoothers/objects.
Incorporatesvarietyofbodypartsandinitiationpoints.Createsmovementinrelationshiptoownbodyandtoothers/objects.
Incorporatesvarietyofbodypartsandinitiationpoints.Createsmovementinrelationshiptoownbodyandtoothers/objectsbeyondrequiredexpectations
UseofSpace Directions,levels,shapes,focusandsizeareflatandlackinterest.Useofspaceis2dimensionalandunderdeveloped.
Directions,levels,shapes,focusandsizewereusedbutnotclearlydefinedPhrasingsanddirectionsweresomewhatdeveloped.
Directions,levels,shapes,focusandsizeareinterestingandenhanceideas.Useofspacewasdefined.
Directions,levels,shapes,focusandsizewerefullandcomplete.Phrasingsanddirectionswereeffectivelymanipulated.
UseofEnergy Useslittletonovarietyinuseofeffort,flow,attackandweight.Movementdoesnotexhibitunderstandingofcontrastinguseofenergy.Evenwithprompthasdifficultyexploringconcepts
Beginningtoincorporatecontrastingexplorationofeffort,flow,attackandweight.Oftenneedsprompting.
Useofcontrastingwaystoincorporateeffort,flow,attackandweightwasexploredandusedtocreatenewideas.
Useofcontrastingwaystoincorporateeffort,flow,attackandweightwasthoughtfullyexploredandusedtocreatenew,uniqueideas.
UseofTime Unabletovarythespeedofmovementcreatedandpresented.Hasdifficultyexploringwithelementsoftime.
Demonstratesandexplorestimeonbasiclevel.Isnotalwaysabletodemonstrateelementsoftimewithinthebody.
Mostoftendemonstratesvarietyofwaystoexploretheuseoftimethroughtempo,accents,rhythm,etc.
Demonstratesvarietyofwaystoexploretheuseoftimethroughtempo,accents,rhythm,etc.
Efforts
Wasoff-taskoftenputtinginlittleefforttoactivelyexploretheprocess.
Wasoff-taskoccasionallyyetputfortheffortandworkedfairlyhard.
Ontasknearlyallofthetimeputtingfortheffortstobeactivelyinvolvedintheprocess.
Ontaskallofthetimeputtingfortheffortstobeactivelyinvolvedintheprocess.
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Table4.4.2
RubricforDanceAssessment–Create-Grades6-8
Dimension 1 2 3 4
Ideas&ContentClarityUseofDetails
Thetheme,purpose,messageisundevelopedandincomplete.
Thetheme,purpose,messageisevidentbutnotclearand/orunderstood.
Thetheme,purpose,messageissomewhatcaptivatingandfocused.
Thetheme,purpose,messageisverycaptivatingandfocused.
Organization(Structure)
Thedancelacksabeginning,middle,andend.Thestructurelackslogicalorganization
Thedancehasabeginning,middle,andend.Theorganizationissomewhatclearbutincomplete.
Thedancehasaclearbeginning,middle,andend.Theorganizationiscompletebutstilllacksclarity.
Thedancehasaclearbeginning,middle,andend.Theorganizationandsequenceenhancethepurposeofthedance
VoicePersonalStyle
Choreographer’svoiceisdifficulttoidentify.
Choreographer’svoiceissomewhatpresentandemergesattimes.
Choreographyexpressesoriginalityandpersonalstyleandvoice.
Choreographyclearlyexpressesoriginalityandpersonalstyleandvoice.
UseofElementsTimeSpaceEnergy/Force
Movementchoicesoftime,space,andenergyarelimited.
Needsmoredevelopmentofmovementusingtime,space,energytoenhancetheme.
Theuseoftime,space,energyaresomewhatdiverseandsupportthethemeofthedance.
Theuseoftime,space,energyarediverseandsupportthethemeofthedance.
FluencyTransitionsFlow
Transitionsaredisjointedandlackconnectionandflow.
Transitionsarepresent.Changesbetweenphrasesarenotalwaysfluidandsmooth.
Thedanceisunified,fluid,andmovesthroughphrases,andmostoftenaresmoothandeffective.
Thedanceisunified,fluid,andmovesthroughphrasessmoothlyandeffectively.
Craftsmanship Theuseofelementsarelimitedanddonottieintothetheme.
Thedanceincludesbasicuseoftheelementsthatincorporatesthetheme.
Thedanceincludesinventive,creative,andpurposefuluseoftheelementsthatincorporatesthethememostofthetime.
Thedanceincludesinventive,creative,andpurposefuluseoftheelementsthatincorporatesthethemeallofthetime.
Table4.4.3RubricforDanceAssessment–Create–Grades9-12
Dimension 1 2 3 4
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Dimension 1 2 3 4
Theme/Concept-Clarity-Identity
Thedevelopmentanduseofmovementisrarelyuniqueandneverreflectsthethemeorideaofthecompositionalproblem.
Thedevelopmentanduseofmovementisseldomuniqueandseldomreflectsthethemeorideaofthecompositionalproblem.
Thedevelopmentanduseofmovementisoftenuniqueandmostofthetimereflectsthethemeorideaofthecompositionalproblem.
Thedevelopmentanduseofmovementisuniqueandconsistentlyreflectsthethemeorideaofthecompositionalproblem
Dynamics/Energy-EmotionalExcitement-Variation-Contrast
Demonstrateslimiteduseofvariationandcontrastthroughoutmovementphrase.Verylittlevarietyofmovementdeveloped.
Demonstratessomerangeofvariationandcontrastthroughoutmovementphraseyetcouldbedevelopeddeeper.
Demonstratesanappropriateamountofvariationandcontrastthroughoutmovementphrase.
Demonstratesawiderangeofvariationandcontrastthroughoutmovementphrase.
Space-Dimension-Design
Doesnotexploretheuseofspace,lackingtheabilitytodemonstrateuniqueanddiverseshapesandpatternswithinmovementphrases.
Rarelyexplorestheuseofspace,demonstratinguniqueanddiverseshapesandpatternswithinmovementphrases.Haspotentialtohavemorevariety.
Somewhatexplorestheuseofspace,demonstratinguniqueanddiverseshapesandpatternswithinmovementphrases.
Thoughtfullyexplorestheuseofspace,demonstratinguniqueanddiverseshapesandpatternswithinmovementphrases.
Transitions-Betweenmovementphrases-Betweensections-Overallconnections
Nevercreatesmovementpatternsthatdemonstrateflowandconnection.Movementlacksaestheticallypleasingtransitions.
Seldomcreatesmovementpatternsthatdemonstrateflowandconnection.Movementrarelyprovidesaestheticallypleasingtransitions.
Oftencreatesmovementpatternsthatdemonstrateflowandconnection.Movementoftenprovidesaestheticallypleasingtransitions.
Createsmovementpatternsthatdemonstrateflowandconnection.Movementprovidesaestheticallypleasingtransitions.
Movement-Invention-Development/Research-RepresentsTheme
Unabletodemonstrateanabilitytotakerisksinordertoexplorenewwaysofmoving.Doesnotcreateideasoutsideofcomfortzonetorepresentideas.
Isinthebeginningstagesoftakingriskstoexplorenewwaysofmoving.Createsfewideasoutsideofcomfortzonetorepresentideas.
Mostoftentakesrisktoexplorenewwaysofmoving.Createssomeideasoutsideofcomfortzonetorepresentideas.
Takesrisktoexplorenewwaysofmoving.Createsideasoutsideofcomfortzonetorepresentideas.
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Dimension 1 2 3 4
Rhythm/Music/Sound:-Appropriate-Texture-Atmosphere
Neverabletochoosemusic/soundthatsupportsthemovementideasandtheme.
Rarelyabletochoosemusic/soundthatsupportsthemovementideasandtheme.
Abletochoosemusic/soundthatsomewhatsupportsthemovementideasandtheme.
Abletochoosemusic/soundthatsupportsthemovementideasandtheme.
Costumes/Props:-SupportsMovement-SupportsTheme
Unabletodemonstrateanawarenessofcostumingandmakeschoicesthatsupportandenhancethedance.
Somewhatdemonstratesanawarenessofcostumingandmakeschoicesthatsupportandenhancethedance.
Oftenabletodemonstrateanawarenessofcostumingandmakeschoicesthatsupportandenhancethedance.
Exceedsexpectationofdemonstratinganawarenessofcostumingandmakeschoicesthatsupportandenhancethedance.
Table4.4.4
RubricforDanceAssessment–Perform-GradesK-2MAEIAD.T107DanceCultures
Dimension 1 2 3
UseofGestures Unabletocreategesturesthatmimickedthelyrics.
Gesturessomewhatmimickedthelyrics.
Gestureswereveryclearanddemonstratedthemeaningoflyrics.
KnowledgeofMotions
Lackedknowledgeofmaterial.Doesnotknowthesequencepatternofmovementinorder.
Memorizedsomeofthemovementpatternbuthadsomedifficultyrememberingwithoutassistance.
Memorizedtheentiremovementpatternwithoutanytransitionmistakes.
MusicalityandTiming
Lackedabilitytofindtherhythmandbeattothemusic.
Haddifficultymaintainingtherhythmandtimingfortheentirepiece.
Demonstratedperfectrhythmandtimingofthemusicbyremainingonbeat.
Performance Performedwithalowenergylevel.
Performedwithamediumenergylevel.
Performedwithahighenergylevel.
Table4.4.5RubricsforDanceAssessment–Perform–Grades6-8
Dimension 1 2 3 4
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Dimension 1 2 3 4
CoordinationandPhysicalControl
Lackofphysicalcontrolisevidentwithtransitions,levels,directionsandrhythmsbeingunclear.Demonstrateslackofcoordination,andbalance
Stepsandsequencecanbeperformedoccasionallybutoftenneedsguidancefrompeersorteacher.Someproblemswithholdingplaceinformation
Stepsandsequencecanbeperformedmostofthetimewithsomeguidancefrompeersorteacher.Occasionalproblemwithholdingplaceinformation
Movementiscorrectlyexecuted,controlledandbalanced.Attentiontodetailisevident
Knowledge,MemorizationandSequencing
Studentseemslostordemonstratesincorrectdancesteps
Useofbeatandrhythmareinconsistentandfluctuatesattimes.
Beatandrhythmsomewhatclearandconsistentlymaintainedthroughoutthedance
Allstepsareperformedcorrectlyandinpropersequence,Clearandcorrectdanceformationandspacing.Oftentakestheleadroleandhelpsotherswithminimalhelpfromtheteacher
Musicality:RhythmandBeat
Studentis“outofstep”andmovementisnotintimeorrhythmwiththemusicorwithothers.
Transitionsareevidentbutrarelysmoothandseamless
Mostofthetransitionsaresmoothandoftenseamless
Beatandrhythmclearlyandconsistentlymaintainedthroughoutthedance
Transitions Movementsdonottransitionsmoothlyfromonetothenext.Thereisalotofstoppingandstarting.
Eyesandfaceareusedmostofthetimeandapproachesthedancewithapositiveattitude.
Eyesandfaceareoftenusedconsistentlyandappropriatelytocommunicateexpressiontotheaudience.
Transitionsbetweenmovementsandphrasesaresmoothandseamless
Focus,Effort,Expression
Eyesandfaceareinvolvedinthedance.Showslittleornoenthusiasm.
Performerissometimesdistractedandinsecure.Onoccasionfallsoutofperformancebylookingaround,talking,orgigglingthroughoutperformance.
Performswithminimaldistractionslookingfairlyconfidentandpreparedformostoftheperformance.
Eyesandfaceareusedconsistentlyandappropriatelytocommunicateexpressiontotheaudience.
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Dimension 1 2 3 4
PerformanceQuality
Performerismostoftendistractedandinsecure.Continuouslyfallsoutofperformancebylookingaround,talking,orgigglingthroughoutperformance.
Stepsandsequencecanbeperformedoccasionallybutoftenneedsguidancefrompeersorteacher.Someproblemswithholdingplaceinformation
Performerissometimesdistractedandinsecure.Onoccasionfallsoutofperformancebylookingaround,talking,orgigglingthroughoutperformance.
Performswithfullconfidence,enthusiasm,andisinvestedintheaudienceaswellastheotherdancersonstage.
Table4.4.6RubricsforDanceAssessment–Perform-Grades9–12MAEIAD.E403RightandLeftPhrasePerformance
Dimension 1 2 3 4
Accuracy
Technicalskillandconcept
Skillsareminimallyperformedcorrectlyorsafely.Understandingofappropriateconcepts,initiation,andmovementawarenessisnotevident.
Skillsaremoderatelyperformedcorrectlyandsafely.Alimitedunderstandingofappropriateconcepts,initiation,andmovementawarenessispresented.
Skillsareproficientlyperformedcorrectlyandsafely.Someunderstandingoftheappropriateconcepts,initiation,andmovementawarenessispresented.
Skillsareperformedcorrectlyandsafelybeyondexpectations.Understandingoftheappropriateconcepts,initiation,andmovementawarenessispresented.
Sequencing
Orderofstepsinchoreography
Minimallyperformsthechoreographyinthecorrectorder.
Moderatelyperformsthechoreographyinthecorrectorder.
Proficientlyperformsthechoreographyinthecorrectorder.
Performsthechoreographyinthecorrectorderbeyondexpectations.
Musicality
Rhythmandsyncopation,phrasing
Musicalityandunderstandingofrhythmawarenessareminimallydemonstratedthroughouttheperformance.
Musicalityandrhythmawarenessaremoderatelydemonstratedthroughouttheperformance.
Movementproficientlydemonstratedanabilitytofeelandpresenttherhythmandmusicalityofthephrase.
Movementdemonstratedanabilitytofeelandpresenttherhythmandmusicalityofthephrasebeyondexpectations.
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Dimension 1 2 3 4
PerformanceCommitmentIntentofmovement
Emotion,expression,andintentofmovement,areminimallyprojectedthroughouttheperformance.
Emotion,expression,andintentofmovementaremoderatelyprojectedthroughouttheperformance.
Emotion,expression,andintentofmovementareproficientlyprojectedthroughouttheperformance.
Emotion,expression,andintentofmovementareclearlyprojectedthroughouttheperformancebeyondexpectations.
Table4.4.7RubricforDanceAssessment–Respond-Grades3-5MAEIAD.E208CompareandContrastTwoDances
Dimension 1 2 3 4
NumberofQualityStatementsinVennDiagram
Studentisabletomakeoneornoqualitystatementsrelatingtobodyshapes,levels,pathways,and/orenergy.
Studentisabletomaketwoorthreequalitystatementsrelatingtobodyshapes,levels,pathways,and/orenergy.
Studentisabletomakefourorfivequalitystatementsrelatingtobodyshapes,levels,pathways,and/orenergy.
Studentisabletomakemorethanfivequalitystatementsrelatingtobodyshapes,levels,pathways,and/orenergy.
PlacementofStatementsinVennDiagram
Nostatementsarecorrectlyplaced.
Somestatementsarecorrectlyplaced.
Moststatementsarecorrectlyplaced.
Allstatementsarecorrectlyplaced.
UseofSupportingExamplesinReflection
Studentdoesnotprovidesupportingexamplesforthestatements.
Studentprovidesvagueexamplesfromthevideoclipstosupportthestatements.Someexamplesprovideddonotsupportthestatements.
Studentprovidesexamplesfromthevideoclips,mostofwhichsupportthestatements.
Studentprovidesspecificexamplesfromthevideoclipstosupportthestatements.
Table4.4.8RubricforDanceAssessment–Respond–Grades9-12
MAEIAD.E415CriticalAnalysisofMediaDance
Dimension 1 2 3 4DescriptionWhatdoIsee?
Hasdifficultyrecognizingdetailstodescribethe
Beginningtorecognizethedetailstodescribethe
Hasasomewhatwell-developedcriticaleyeandcapturesdetails
Hasawell-developedcriticaleyeandcapturesdetailsto
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dance.Doesnotusesensestodeveloppersonalconnections.
dance.Occasionallyusessensestodeveloppersonalconnections.
todescribethedance.Usessensestodeveloppersonalconnections.
describethedance.Usessensestodeveloppersonalconnections.
AnalysisHowisitorganized?
Unabletoprovidespecificdetailaboutavarietyofaspectsofthedanceorworkviewed.
Describesandprovideslittledetailaboutavarietyofaspectsofthedanceorworkviewed,andislimitedinoverallunderstandingandresponse.
Describesandprovidessomespecificdetailaboutavarietyofaspectsofthedanceorworkviewed,butislimitedinoverallresponse.
Describesandprovidesspecificdetailaboutavarietyofaspectsofdanceorworkviewed.
InterpretationWhatishappening?
Doesnotsharepersonalthoughtsandopinions,andisnotabletojustifyandprovidedetailaboutdecisionsinanydepth.
Rarelysharespersonalthoughtsandopinions,andisnotabletojustifyandprovidedetailaboutdecisionsinanydepth.
Sharessomepersonalthoughtsandopinions,andisnotabletojustifyandprovidedetailaboutdecisionsinmuchdepth.
Sharesmanypersonalthoughtsandopinions,andisabletojustifyandprovidedetailaboutdecisionsindepth.
ComparativeEvaluationWhataretheconnectionsbetweenmediadanceandon-stagedanceperformance?
Doesnotdemonstratetheabilitytorespondtothedancewithclarityandjustificationinordertoprovideconstructivefeedback.
Rarelydemonstratestheabilitytorespondtothedancewithclarityandjustificationinordertoprovideconstructivefeedback.
Demonstratessomeabilitytorespondtothedancewithclarityandjustificationinordertoprovideconstructivefeedback.
Hastheabilitytorespondtothedancewithclarityandjustificationinordertoprovideconstructivefeedback.
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4.5SummaryofAvailableDanceAssessments
ThischapterprovidessummaryinformationofthenumberofassessmentsintheMAEIAassessmentpoolforeachgraderange(K-2,3-5,6-8,andhighschool)foreachMAEIAperformancestandard.Atthehighschoollevel,additionalinformationprovidedonthenumberofperformancetasksandperformanceeventsdesignedforstudentsinLevels1,2,and/or3.
4.5.1OverviewThetypesofassessmentactivitiesmostappropriateforgaugingthenatureandextentoflearningintheartsrangefromexpansive,creativeprojectsthatunfoldovertimethatallowforcollaborativeworkamongsmallgroupsofstudents,tolargegroupassessmentactivitiesto“snapshots”ofstudentunderstandingatagivenmomentintime.Eachoftheseassessmentsprovidesawindowintostudents’creativeandcriticalthinkingandallowseducatorstousetheassessmentdatatoimprovetheirteachingwhileprovidingcriticalfeedbacktothelearnersastheyworktowardsimprovingvariousaspectsoftheirartisticskills.TherangeofactivitiesencompassesanappropriatebalanceofallthreeofthelearningmodalitiesintheCreate,Perform,Respondmodel.Whenconsideringtherangeandbalanceofassessmentactivitieswepaidcloseattentiontotheteachingsettingsandstructuresthatarecurrentlymostcommonindanceprogramsinourstate.Becauseofthesubjectivenatureofart,whenstudentsareaskedtocompleteperformancetasksoreventsandconstructedorselected-responseitemsandreflectontheirwork,theemphasisshouldbeonthe“rigorousinvestigationandinformedpersonalchoices”ofthestudentcreatingtheartortheartworkbeingrespondedtobythestudent(Vatsky,2008,p.14).
4.5.2NumberofPerformanceEventsandPerformanceTasksAvailableinGradesK-2,3-5,6-8andHigh
School
Table4.5.1through4.5.4showMAEIAdanceassessmentitemsbygradelevel,K-2,3-5,6-8and9-12thatareavailableforuseinassessmentofthedance.
Table4.5.1indicatesthenumberofK-8MAEIAperformanceeventsthatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessmentsatwww.maeia-artsednetwork.org.
Table4.5.1
NumberofDancePerformanceEventsGradesK-8
Level Create Perform Respond TotalGradesK-2 1 4 0 5Grades3-5 2 3 3 8Grades6-8 1 6 2 9TOTAL 4 13 5 22
Table4.5.2indicatesthenumberofK-8MAEIAperformancetasksthatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessmentsatwww.maeia-artsednetwork.org.
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Table4.5.2NumberofDancePerformanceTasks
Grades–K-8Level Create Perform Respond TotalGradesK-2 4 2 1 7Grades3-5 3 2 2 7Grades6-8 3 3 3 9TOTAL 10 7 6 23
Table4.5.3indicatesthenumberofgrade9-12MAEIAperformanceeventsthatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessmentsatwww.maeia-artsednetwork.org.
Table4.5.3
NumberofGrade9-12DancePerformanceEventsLevels1-3
PerformanceStandard Level1 Level2 Level3 TotalCreate 3 3 2 8Perform 4 3 4 11Respond 3 0 1 4TOTAL 10 6 7 23
Table4.5.4indicatesthenumberofgrade9-12MAEIAperformancetasksthatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessmentsatwww.maeia-artsednetwork.org.
Table4.5.4NumberofGrade9–12DancePerformanceTasks
Levels1-3PerformanceStandard Level1 Level2 Level3 TotalCreate 2 2 1 5Perform 4 3 5 12Respond 3 3 1 7TOTAL 9 8 7 24
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4.6ReferencesforDanceCreativeDanceIntegrationLessonPlansbyErikaCrave
http://education.byu.edu/arts/documents/educational_movement.pdfGloeckner,Phoebe,PBS:PointofView:Interviews:OnCartooningretrievedfrom
http://www.pbs.org/pov/tintinandi/sfartists_gloeckner.phponAugust22,2013.Jensen,Eric.(2001)ArtwithTheBraininMind.AssociationforSupervisionandCurriculumDevelopment.Mamet,David.(2011)TrueandFalse:HeresyandCommonSensefortheActor.RandomHouseLLC.MarylandFineArtsInstructionalToolkit
http://www.mfaa.msde.state.md.us/source/MDFAdeveloping_2b_1c.aspMarylandStateDepartmentofEducation.FineArtsEducationInstructionalToolkit.“Dance:Performance-
BasedTasks.2006.RetrievedonMay26,2013fromhttp://www.mfaa.msde.state.md.us/source/MDFAdeveloping_2b_1c.asp
MinneapolisPublicSchoolshttp://opd.mpls.k12.mn.us/the_elements_of_danceNAEP.“NAEPandDanceFrameworkandFieldNotes.”Vol.3.No.1,Aug.1998.RetrievedonMay26,2013
fromhttp://nces.ed.gov/pubs98/web/98459.asp.NationalAssessmentGoverningBoard.“NAEP:ArtsEducationAssessmentFramework2008.Retrieved
onMay26,2013fromhttp://www.nagb.org/content/nagb/assets/documents/publications/frameworks/arts-framework08.pdf
NewYorkCityArtshttp://www.p12.nysed.gov/ciai/arts/pub/artsampdance.pdfNorthCarolinaPublicSchoolswww.ncpublicschools.org/curriculum/languagearts/.../artsdanceOSPI-DevelopedPerformanceAssessmentsfortheArtsOSPI-DevelopedPerformanceAssessmentsforthe
Artshttp://www.k12.wa.us/Arts/PerformanceAssessments/Pelligrino,James,Chudowsky,NaomiandGlaser,Robert,editors.(2001)KnowingWhatStudentsKnow:
TheScienceandDesignofEducationalAssessment.NationalResearchCouncil.Popham,JamesW.“ClassroomAssessment:WhatTeachersNeedtoKnow.”6thEdition.Pearson.2011.ResourceListforDanceEducators:AssessmentLessonPlans,IntegrationArtsAlive:AChoreographer’s
Toolboxhttp://www.artsalive.ca/en/dan/make/toolbox/chtoolbox.aspRoot-Bernstein,RobertandMichele,SparksofGenius:TheThirteenThinkingToolsoftheWorlds’Most
CreativePeople,201.http://www.thinking101.ca/wp-content/uploads/2013/11/thirteen_thinking_tools1.pdf
Saraniero,Patti.“ThinkingOutsidetheTest:Solvethechallengeofperformanceassessmentwith"real-world"stepsandtools.”TheKennedyCenterArtsEdge.RetrievedonMay26,2013fromhttp://artsedge.kennedy-center.org/educators/how-to/tipsheets/performance-assessment.aspx.
Schmoker,Mike,WriteMoreGradeLess,retrievedfromhttp://mikeschmoker.com/write-more.htmlonAugust23,2013.
ShareMyLessonsforTeachers,ByTeachershttp://www.sharemylesson.comSouthworth,Rob.“StrategiesforArtsIntegration:PerformanceAssessmentandtheArts.”Scholastic.Jan.
22.2009.RetrievedonMay26,2013fromhttp://blogs.scholastic.com/arts/2009/01/performance-assessment-and-the-arts.html.
TheMusicCenter:ArtSourceCurriculumhttp://www.musiccenter.org/education/Teacher-Resources/Artsource-Curriculum/Available-ArtSource-Units/
Vatsky,S.(2008).MuseumMusings:DeconstructingtheCriticismCliché.SchoolArtsMagazine.108(3).14,57
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Chapter5MusicAssessmentSpecifications
Thischapterprovidesanoverviewofthemusicassessmentsthatwerecreated.ItbeginswithinformationonthedesignoftheMusicassessments,thenprovidesadditionalinformationabouteachtypeofassessmentitemtobecreated,describingtherangeofcontentforeachtypeofassessmentforeachtypeofMAEIAperformancestandard,andconcludesbyprovidingsamplesofrubricstobeusedtoscorestudentwork.
5.1DesignoftheMusicAssessment
Whilemusiceducatorsknowagreatdealabouttheachievementoftheirstudents,whattheymaynotdowellisdocumentwhattheyknow.Certifiedmusiceducatorshaveanobligationtomakesurethatwhatweareassessingisactuallymusicalinnature,andnotsimplyterminologyorlow-levelinformationrecallitems,suchasnotenames,keysignaturesandthelike.Formusicassessmenttobeeffective,itmustfirstbeauthentic;asthesayinggoes,“Talkingaboutmusicislikedancingaboutarchitecture,”orforourpurposes,“Testingaboutmusicislikesingingaboutdrawing.”Designing“good”assessmentprogramsinmusicalsomeansthatthewaysinwhichweassessmusiclearningneedtobeauthenticallymusicalinnature.Musicalknowledgeandabilityisbestassessedusingmusicaltasksandbehaviors,suchasplayingexams,improvisationchecks,auralskillstests,andarrangingandcomposingmusic.Theseassessmentsmustalsoreflectthecontextsofthisinstruction,whichincludeabroaddiversityofmusicalofferings.Duetothenatureofschoolmusicprograms,thereareuniquechallengesandopportunitieswithrespecttoassessmentateachlevelofinstruction.Forinstance,musiceducatorsatgradesK-5oftenworkwith“caseloads”inexcessof600-800studentspereducator.ThesheerscopeofthisrealitymeansthatassessmentinK-5musicclassroommustbeorganized,efficientandreasonable.Theseassessmentsmustalsobeage-anddevelopmentally-appropriate,andshouldbeembeddedintheeducator’sinstructionalapproachsoasnottobeonerous,ordetractfromthelimitedamountofinstructionaltimethatmusiceducatorsareprovidedintheschoolschedule.Musiceducatorsshoulduseperformanceassessmentsforassessingmusicknowledge,skillsanddispositions,ratherthanforcingmusicassessmentintojustpaper-and-penciltests.Asinallthings,balanceisthekey.Thebottomlineisthatgoodassessmentshouldlooklikegoodteaching,shouldaccompanyandbepartofthegoodinstruction,andshouldnotrepresentadeparturefromthe“bestpractices”andresearch-basedteachingstrategiesthatformthefoundationsofexcellentclassroominstruction.ForMusic,studentsshouldbeassessedontheirabilitytoCreate,Perform,andRespondinavarietyofsettingsandcontexts.Studentsshouldbeaskedtodemonstratetheirachievementthroughanappropriatecombinationofperformancetasks,performanceevents,andconstructed-responseitems.Itisexpectedthattherewillbeanemphasisonperformancetasksandeventsoverselected-responseitemsinordertomaintainauthenticitywithinthediscipline.o PerformanceTask–Onthisassessment,studentshavedaysorweekstocomposearesponse.Thus,
theseassessmentsmayinvolvemultipleresponsesofdifferenttypestomultipleprompts.Theresultantworkmaybelengthyandcomprisemultipleparts.Wemightthinkofthissortofassessmentactivityasaprojectorexhibition,suchasacompositionorsongwritingassignmentthatunfoldsoveralongerperiodoftime.
o PerformanceEvent–Thisisanon-demandperformanceassessmentforwhichstudentsaregivenlittleornotimetorehearsetheirperformanceandlimitedopportunitiestoimprovetheirinitial
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performance.Aplayingcheckorsolofestivaladjudicationperformancemightbeagoodrepresentationofthissortofactivity
o Constructed-ResponseItem–Thisitemtyperequirestheindividualtocreatetheirownanswer(s)ratherthanselectfrompre-writtenoptions.Theseitemsallowstudentstheopportunityforopen-endedresponsesandencouragedivergentthinkingskills,animportantprerequisiteforcriticalthinking.
o Selected-responseItems-Includesitemssuchasmultiple-choice,shortanswerquestions,andsentencecompletionitems.Thesetypesofassessmentsareusefulforgatheringasmallamountofassessmentinformationfromlargenumbersofstudents,andcanbehelpfulforeducatorsinterestedingaugingstudentunderstandingofcoveredmaterialtoinformthecourserevisionandplanningprocess.
Typicalsettingsandcontextsfortheseformsofmusicassessmentmightincludegeneralmusicclasses(i.e.,K-5generalmusicclasses,secondary-levelmusictheory,musichistoryandsongwritingelectives,musictechnologyclasses,worldmusicclasses),APandIBMusicTheorycourses,largeensemble(i.e.,band,orchestra,chorus)rehearsals,instrumentalandchoralsectionals,privateandsmallgrouplessons,andchamberensemblecoaching.Caremustbetakentoprovideassessmentactivitiesthatmusiceducatorscanuseintheclassesandrehearsalsforwhichtheyarepresentlyassigned(moreonthisissuebelowinsection4.3).Thetasksusedformeasurementshouldinvolvethestudentsactuallyengagingincreating,performing,orresponding.Theeducatorshouldhavearatingscaleorrubrictouseinevaluatingstudents’performancesonthetasks,asisillustratedinsection4.4.
5.2 DescriptionoftheMusicAssessmentsAsdescribedabove,musicassessmentsshouldemployavarietyofassessmentstrategies,includingperformancetasks,performanceevents,constructed-responseitemsandselected-responseitemssuchasmultiple-choiceitems.Itisexpectedthatthemusicassessmentshouldbebasedontheperformanceassessments(tasksandevents)withconstructed-responseitemsusedtoprobestudentunderstandingandreflection,andselected-responseitemstomeasurekeyconceptsembeddedinalloftheotheritems.Theuseofselected-responseitemsinthismannerwillmeanthatthesearenotstand-aloneitemsbutusedtobetterunderstandstudents’responsestoperformancetasks,performanceevents,constructed-response,itemsespeciallyifstudents’responsesonthoseitemsislessthanacceptable.Thematerialsrequiredforperformancetaskandeventbasedassessmentsareconsistentwiththedescriptionofmaterialsneededbya“goldstandard”program,asoutlinedinResearchandRecommendationsinSupportoftheMAEIABlueprint.Thesematerialsincludebutarenotlimitedto:adedicatedspacewithrelatingphysicalattributes,qualitysoundequipment,videorecording,editing,andpresentationcapabilities,andtraditionaland/ornon-traditionalperformancespaceswithrelatingphysicalattributes.Performancetasksareassignmentsandprojectsthattakeplaceovertimeandaskstudentstosolvemusicalproblemsbyapplyingcreativestrategiesandsolutions.Anexampleofaperformancetaskforinstrumentalstudentsingrades9-12isshowninFigure5.2.1.
Figure5.2.1ExampleofaMusicPerformanceTask
AssessmentSequenceTask:Sight-readamusicalexcerpt.Thenidentifypracticestrategiesforimprovingperformancesandpracticetheexcerptusingthosestrategies.Finallyre-recordtheexcerptandreflectontheimprovementandpracticestrategies.
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1.Studentswillreceiveateacher-selectedexcerptfromanunfamiliarpieceofmusicthatis16-32barsinlengthofappropriatedifficultyforafirst-year(Level1),second-year(Level2),orthird-andfourth-year(Level3)students.Theywillsightreadthatexcerptandrecordtheirperformance.
2.Immediatelyfollowingtherecordingsession,thestudentswillfilloutaworksheetwheretheywillidentifythreepracticestrategiesforimprovingtheirperformances.Thentheywillbegiventimetopracticetheexcerptusingtheirstrategiesandwillrecordtheirpracticesession.
3.Then,studentswillrecordthemselvespracticingusingthethreestrategiestheyhaddevisedandrecordasecondtakethatdemonstratestheirimprovement.
4.Finally,studentswillreflectontheirperformanceandhowitimprovedasaresultoftheirpractice.Theyalsowillidentifywhichpracticestrategiesprovedtobethemosteffective.
Evaluation:Theevaluationofthistaskwillbeintheformofarubricasfollows:
TeacherScoringRubric–PracticeStrategies
Dimension 1 2 3 4PracticeStrategies Studentdoesnot
chooseordemonstrateeffectivepracticestrategies.
Studentchoosesanddemonstrates1thoughtfulpracticestrategy.
Studentchoosesanddemonstrates2thoughtfulpracticestrategies.
Studentchoosesanddemonstrates3ormorethoughtfulpracticestrategies;strategiesarewellconsidered,varied,andeffectiveforthemusicalexcerpt.
GrowthinPerformance
Nogrowthisevidentbetweenfirstandsecondtakes.
Studentdemonstratesalittleaurallydiscernableimprovementbetweenfirsttakeandsecondtake.
Studentdemonstratesmoderateaurallydiscernableimprovementgrowthbetweenfirsttakeandsecondtake.
Studentdemonstratessignificant,clear,aurallydiscernableimprovementbetweenfirsttakeandsecondtake.
PitchandRhythmAccuracy
Studentperformsnoneoralmostnoneofthepitchesandrhythmscorrectlyandintune.
Studentperformssomepitchesandrhythmscorrectlyandintune.
Studentperformsmostpitchesandrhythmscorrectlyandintune.
Studentperformsalloralmostallpitchesandrhythmscorrectlyandintune.
Fluency Studentperformanceisnotfluid.Therearefrequenttempofluctuationsand/orhesitations.
Studentperformanceissomewhatfluid,withmanytempofluctuationsand/orhesitations.
Studentperformanceismostlyfluid,butthereareafewtempoinconsistenciesoroccasionalhesitations.
Studentmaintainsasteadytempoandhasnooralmostnohesitations.
MusicalElements 1pointperelementdisplayed_____Studentattendstoindicateddynamics_____Studentattendstoindicatedtempo_____Studentattendstoindicatedarticulation
Performanceeventsareon-demandassessmentsthataskstudentstoengageactivelywithmusicauthenticallyasperformers.Anexampleofaperformanceforstudentsingrades3-5isshowninFigure5.2.2.
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Figure5.2.2ExampleofaMusicPerformanceEvent
AssessmentSequence:Task:Composeamelodyandthenperformit.Reflectoncompositionalexperiences.1.Firststudentswillcomposetheirown16-beat(fourmeasure)or32-beat(eightmeasure)melodies.Third-gradestudentswillbeaskedtocomposeafour-measuremelody,whilefourth-gradestudentswillbeaskedtocomposeaneight-measuremelody.Thisassessmentcanbedoneusingtone-barinstruments,voice,orrecorder.Studentswillnotatethosemelodiesusingmusicnotation.
2.Studentswillpracticetheirmelodiesand,aftersubstantialtimetopractice,willperformthemfortheclass.3.StudentswillreflectinwritingontheircompositionalexperiencesintheirStudentBooklets.Evaluation:Theevaluationofthiseventwillbeintheformoftworubrics:onetoevaluatethecompositionandanothertoevaluatetheperformanceofthecomposition.Therubricsarebelow.
TeacherScoringRubric—MelodicCompositionDimension 1 2 3 4
MusicNotation Notesarewritteninasloppyandillegiblemanner.Barlineplacementisnotcorrect.Lineandspacenotesareindistinguishablefromeachother.
Notesarewrittenclearly,butbarlineplacementisoftenincorrect.Thedifferencebetweenlineandspacenotesisnoteasilyseen.
Mostnotesarewrittenclearlyusingtheproperbarlineplacement.Thedifferencebetweenlineandspacesnotesisusuallyclear.
Allnotesarewrittenneatlyusingproperbarlineplacement.Thedifferencebetweenlineandspacenotesiseasilyseen.
MeterandRhythm Lessthan50%ofthemeasureshavethecorrectnumberofbeats.
Between50%and70%ofthemeasureshavethecorrectnumberofbeats.Rhythmsareverybasicanddonotexpandbeyondquarternotes.
Between70%and85%ofthemeasureshavethecorrectnumberofbeats,andavarietyofrhythmsareused.
Morethan85%ofthemeasureshavethecorrectnumberofbeats,andavarietyofrhythmsareused.
OverallCreativityandCraftsmanship
Thecompositionwasnotcompleteandverydifficulttoread.Lessthanhalfoftherequiredelementswereincluded.
Thecompositionwasverybasicandsomewhatlegible.Atleasthalfoftherequiredelementswereincluded.
Thecompositionwassomewhatcreativeandlegible.Mostoftherequiredelementswereincluded.
Thecompositionwascreative,clean,easytoread,andincludedallrequiredelements.
TeacherScoringRubric—Performance
Dimension 1 2 3 4
PitchAccuracy Studentseldomplayscorrectpitches.Approximately0–20%
Studentplayssomecorrectpitches.Approximately20–50%
Studentusuallyplayscorrectpitches.Approximately50–90%
Studentconsistentlyplayscorrectpitcheswithprecisionandaccuracy.Approximately90–100%
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Dimension 1 2 3 4
RhythmAccuracy Studentseldomplayscorrectrhythmsandmayalterthetempotoaccommodatedifficultparts.Approximately0–20%
Studentplayssomecorrectrhythmsandmayalterthetempotoaccommodatedifficultparts.Approximately20–50%
Studentusuallyplayscorrectrhythms.Studentdoesnotalterthetempotoaccommodatedifficultparts.Approximately50–90%
Studentconsistentlyplayscorrectrhythmswithprecisionandaccuracy.Studentdoesnotalterthetempotoaccommodatedifficultparts.Approximately90–100%
Constructed-responseitemsaskstudentstocreatetheirownanswersratherthanselectfrompre-writtenoptions,asinamultiple-choiceexam.Anexampleofaconstructed-responseitemforgrades9-12isshowninFigure5.2.3.
Figure5.2.3ExampleofaMusicConstructed–ResponseItem
AssessmentSequence:Watchorlistentoarecordingofstudents’ownensembleperformanceofasinglepieceofmusicandanalyzetheperformanceusingarubric.1. Studentswillwatchorlistentoarecordingoftheirownensembleperformanceofasinglepieceofmusicandwillanalyzetheirperformanceusingarubrictoguidetheanalysis.Therecordingmaybeplayeduptofivetimes.
2. AfterscoringtheperformanceusingtheStudentScoringRubric,studentswillprovidespecificexamplesofwhytheygavetheratingsthattheydidonaseparatesheetintheirStudentBooklets.Thentheywillprovidethreespecificexamplesofthingsthatwentwellintheirperformanceandthreespecificexamplesofthingsthattheycanimproveupon.
Evaluation:TheevaluationofthiseventwilluseaTeacherScoringRubric.Theteacherwillusetherubrictoevaluatehowwellthestudentevaluatesanddescribestheperformance.Thescoringrubricisbelow.
TeacherScoringRubricDimension 1 2 3 4ScoringRubricExamples
Studentidentifiesonlyafewmusicalelements.
Studentidentifiesonlyafewmusicalelements.
Studentdeconstructstheperformanceandidentifiesmusicalelementsandaccurateterminology.
Studentidentifiesthemusicalelementsandusesmusicallanguage.
PerformanceAnalysis
Studentdrawsuponafewexamplestocommentonafewmusicalelements.
Studentdrawsuponsomeexamplestocommentonsomemusicalelementsusingmusicalterminology.
Studentdrawsuponmanyexamplestoinsightfullyanalyzeandevaluatetheperformance.
Studentdrawsuponextensiveexamplesandcommentsonthemusingmusicalterminology.
Aselected-responseitemforstudentsingrades6-8isshowninFigure5.2.4.Thisisonlyapartofalargerperformancetask.
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Figure5.2.4ExampleofaMusicSelected–ResponseItem
Assessmenttask:Listentoamusicalexcerpt.RecordobservationsabouteachexcerptonaworksheetintheirStudentBooklet.Evaluation:Studentsanswerquestionsbychoosingfromamongthepossibleoptionsprovidedtothequestion.Thefollowingaresomeoftheselectedresponsequestionsthatstudentscompletewhenlisteningtoajazzexcerpt.Asapartofthistask,theyalsocompleteconstructedresponses.
JAZZ
Category Observation
Dotherhythmsswing,oraretheystraight? Swing Straight
Isthemelodyvocalorisitplayedbyaninstrument?
Vocal Instrument
Whatisthetempo? Andante(Slow) Moderato(Medium) Allegro(Fast)
Isthereachorusthatrepeats? Yes No
Dothelyricsofthesongseemtotellastory? Yes No
Note:Musiceducatorsacrossallsettingshavedifficultyagreeinguponaspecificsetofterminologyandcontentthatallchildrenshouldknow,especiallygiventhevarietyofcourseofferingswithinamusicprogram.Somestudentsmighttakecoursesinrockbandwhereasothersmaybeengagedinmadrigalchoiroramariachi.Thevocabularyandconceptsmaynotbesharedacrosscontexts.Mostwouldagreethattheabilitytoapplyacontext-specificvocabularywithintheactofmusicperforming,listening,orcreatingiscentraltomusiclearningandshouldbeassessed.Therefore,intheMAEIAassessments,studentsareaskedtoengageinauthenticmusicalprocessesandtoapplytheircontentknowledgeandvocabularytotheseauthenticmusicprocesses.NoindependentselectedresponsequestionsareusedintheMAEIAassessments.Selectedresponseitemsarecontextspecificandareusedinconjunctionwithaperformancetaskorperformanceeventwithwhichtheyareassociated.
5.3 RangeofContentforAssessingMusic
Differentchildrenhavedifferentinstructionalneeds,andassessmentinmusicmusttiedirectlytotheneedsofthosechildren.Thereforetheitemsofferavarietyofrepertoireforuseintheassessmentorleaverepertoirechoicetothediscretionoftheteacher.Theteachershouldchooserepertoireforusewiththeassessmentdependinguponthecontextofinstructionandtheneedsoftheindividualstudentsintheclassroom.Assessmentitemsweredevelopedsothattheysupporttheuniquecontextsandcharacteristicsofthelearnersintheirsettings.
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Manyskillsinmusicaresubjecttoscaffoldinginthatthereisanexpectationthatstudentsgrowindepthofunderstandingandinperformancefromyeartoyearandexperiencetoexperience.Movingthroughaprogressionofapplying,developing,andinnovating,studentswilldemonstratedepthofknowledgeinavarietyofareas.Forsomeperformancestandards,therewillbemorethanonetypeofassessmentlisted.Thisisbecausedifferenttypesofassessmentsmayaddressdifferentaspectsofaspecificstandard.Insomeplaces,assessmentsmaybelinkedacrossstandards.Forinstance,itispossiblethata“PerformanceEvent”thatassesses“Perform”or“Create”maybeusedasthebasisfor“Constructed-Response”inthe“Respond.”ContentandResourcesbyLevel:Selectionofmaterialsforuseinallgradesincludedconsiderationofissuesofqualityandcommunitystandardswhilemaintainingadiversityofartisticandculturalheritage.Classicorhistoricallysignificanttextsaswellascontemporaryworksofcomparableliterarymerit,culturalsignificance,andrichcontentwerepreferred.Educatorsshouldpayparticularattentiontoageappropriateness,accuracyofinformationandexcellenceofpresentationinrecognitionofaschoolaudience.Theexemplifiedlevelofcomplexityandqualityrequiredofallstudentsinagivengradelevel.Additionally,theyaresuggestiveofthebreadthofmaterialthatstudentsshouldencounterthroughouttheireducationinmusic.Theguidepostshelpededucatorsselectresourcesofsimilarcomplexity,quality,andrangefortheassessmentitems.5.3.1GradesK-2and3-5RangeofContentAttheK-2and3-5levels,childrenarebuildingtheirmusicalvocabulariesandtheirunderstandingsofthesyntacticalsystemsandstylisticelementsunderpinningdifferentmusicalstylesandrepertoire.Asaresult,theyshouldhavewideexposuretoarichvarietyofmusicaswellasdepthinspecifictypesofmusic.Inthiscontext,theassessmentsshouldrepresentbothwesternmusicthatisbasedinwesterntonalandrhythmicsystems,particularlyforcreatingandperforming,aswellasmusicthatusesothertonal,rhythmic,andstylisticsystemsandcharacteristics.Create–Inordertocomposeandimprovisesuccessfully,childrenneedtohavedevelopedanunderstandingofthesyntaxunderlyingtheircompositions/improvisationsaswellasavocabularywithwhichtocomposeandimprovise.Asaresult,atgradesK-2and3-5,educatorsmuststructurecreationtaskscarefully.
Becausestudentshavethemostexperiencewithdupleandtriplemetersandwithmajorandminortonalities,theseshouldbethemetersandtonalitiesinwhichtheyshouldbeaskedtoimproviseandcompose.Ifstudentsarebeingaskedtoimproviseconsequentphrasestoaneducator’santecedentphrase,theeducator’sphraseshouldbeinfolksongstyleandfollowtraditionalharmonicconventions.Ifstudentsaregivenmusicalparametersfortheircompositions,theyshouldhaveexperiencedthoseparametersthroughpastperformanceaswellasthroughlistening.Perform–Inchoosingrepertoireforperformance,folksongsoftheUnitedStatesandothercountriesprovidearichstartingplace.ThesefolkssongscanbeintonalitieslikeDorianandMixolydianinadditiontomajorandminor,asbyfifthgrade,studentswillhavehadexperiencesthatallowthemtobesuccessfulinothertonalitiesthatarerelativelycloselyrelatedtomajorandminor.Also,theycanbeaskedtoperformrepertoirethatisindupleandtriplemeters,aswellasrepertoirethatismulti-metric(combinesbothdupleandtriplemeters).SongsshouldnotextendvocallybelowtheAbelowmiddleC,norshouldtheyextend
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abovetheEthatisanoctaveandahalfabovemiddleC.Forthepurposesofassessmentofperformanceskill,choosingperformancerepertoireinunusualmetersorbaseduponnon-westerntonalsystemsisnotrecommended.Studentsdonothavearichenoughbaseofexperienceperforminginthosetonalandrhythmicsystems,nordotheyhavearichenoughlisteningvocabulary.Thatisnottosaythatstudentsshouldnotbeaskedtoperformsuchrepertoireintheclassroom.Rather,itshouldnotbetherepertoireuponwhichassessmenttasksarebased.Respond–Thesetasksallowforgreaterdiversityofrepertoireintermsofassessmentthandocreatingandperforming.Again,thefolkrepertoireoftheUnitedStatesandothercountriesservesasarichbasewithwhichtowork.However,popularmusic,jazz,shortensemble(orchestra,choral,band,chamber)works(nomorethan5minutesinlength),soloinstrumentalmusic,andmusicfromotherculturesthatislessfamiliarsyntacticallyandstylisticallyallcanserveasrepertoiretowhichthestudentscanrespond,giventhattheyhavehadsomepreviousexperiencewiththattypeofmusic.
5.3.2Grades6-8RangeofContentIngrades6-8,childrenaredevelopingtheirmusicalvocabulariesandtheirunderstandingsofthesyntacticalsystemsandstylisticelementsunderpinningdifferentmusicalstylesandrepertoire.Itiscriticaltomaintainabroadanddiverseexposuretoavarietyofmusicatthisdevelopmentalstage,especiallyinlightoftheincreasinginterestthatchildrenofthisageexpressforvernacularmusicalstylesnotoftenfoundinschoolmusicprograms.Inthiscontext,theassessmentsemployliteraturethatattemptstobridgethegapbetweenmusicandschoolmusic.Thatis,betweenthemusicalstylesandgenrestowhich6-8gradestudentslistenontheirowntime,outsideofschool,andthesortsofmusicalrepertoiretypicallyprogrammedbyschoolensembles.Caremustalsobetakennottofollowa“bait&switch”approach,inwhichtheeducatorpermitsstudentstobringintoclassexamplesoftheirfavoritepopularmusicandthenusesthismusictodemonstratehowmuchmore“sophisticated”or“wellconstructed”classicalmusicisincomparison.First,thisisdisingenuousandnotrespectfulofthestudents’preferences.Moreimportantly,itmissesawonderfulopportunitytoexpandthe“canon”ofmusicweuseforstudyandperformance,muchofwhichisinterestingandvaluableinitsownrightaswellasforthedifferentmeters,tonalitiesandmusicalelementsthatvernacularstylesofferintermsofinstructionalmaterial.Create–Ideally,studentsingrades6-8havedevelopedaworkingmusicvocabularyandabasicunderstandingofmusicalstructuresandforms.Thisgivesthemafoundationformoreadvancedactivitiesincomposingandimprovising.Studentsingrades6-8maynowmovebeyonddupleandtriplemetersandmajorandminortonalitiestoexplorenewmusicaltonalandrhythmicpossibilities.Fortunately,muchofthemusictheylistentoontheirsmartphonesandiPodsusesmodessuchasDorianandMixolydian,andmixedandunusualmetersmuchmorefrequentlythanthemusicstudiedinschoolensemblesandclasses.Still,ifstudentsaregivenmusicalparametersfortheircompositions,theyshouldhavebeenfamiliarwiththeseparametersthroughlisteningandperformingexperiences.Perform–Performancerepertoirefor6-8gradelevelmusiciansmaybegintomovetowardmoresophisticatedandcomplexmusicalformsandstyles,andmaycontainmorecomplicatedanddifficulttechnicalpassages.Vocalistsandinstrumentalistsingrades6-8maybeaskedtoperformmusicinunusual,mixedandmulti-metricmeters(i.e.,5/8,3/8+2/8+3/8,3/4+2/4+6/8),modesandnon-triadic(i.e.,wholetone,twelvetone,aleatoricorchance)harmonicsystems.Forvocalists,rangeconsiderationsareasfollows:Sopranos,c1-d2,possible,bb-f2;Altos,bb-c2;Boys’changingvoices,g-f1;Baritones,e-d1.
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Respond–Thesetasksallowforagreaterdiversityofrepertoireintermsofassessmentthandocreatingandperforming.Atgrades6-8webuildonthefolkrepertoireoftheUnitedStatesandothercountries,andalsobeginintroducingartsongs,soloandchamberensemblerepertoireandotherlargeensemblerepertoire.Inaddition,popular/vernacularmusic,jazz,musictheatre,opera,andmusicfromotherculturesshouldallbeincludedinthestudents’listeningandrespondingactivitiesandassessments.5.3.3HighSchoolRangeofContentInhighschool,studentsarerefiningtheirmusicalvocabulariesandabilitiesasperformers,creatorsandrespondersofmusic,andbroadeningtheirunderstandingsofdifferentmusicalstyles,genresandtraditions.Thediversityofskills,interestsandabilitiesamongthepopulationofmusiclearnersinhighschoolissimplyastounding.Somestudentswillhaveacquiredimpressivetechnicalandexpressiveabilitiesbythispointintheirmusicaldevelopment,andbeaccomplishedsoloists,composersandarrangers.Otherstudentswillbemoresatisfiedperformingasensemblemembersandmayseekfurthermusicalfulfillmentasmusicconsumers.Stillotherstudentschoosenottoparticipateinschoolmusicprogramsorensemblesafter6thgrade,buthaveactivemusicallivesoutsideofschoolandareengagedinnumerousmusicalactivitieswiththeirfamiliesandfriendsinothersettings(e.g.,churchchoirsandpraisebands;instructionandperformanceonvoice,piano,guitarorother“socialinstruments”typicallynotofferedinschool;“garage,”“jam,”orrockbands;producing“beats;”musictechnologyapplications,etc.).Becauseofthisdiversity,therangeofcontentthatshouldbeconsideredwhendesigningassessmenttasksforhighschoolisparticularlyproblematic.Studentswithprolongedengagementintheirschoolmusicprogramsmaybewellversedinthemusicrepertoireoftheirchosenensembletype(i.e.,band,chorus,orchestra),andthiscanbereflectedinthesortsofmusicchosenfortheseassessments.Thereis,however,adangerinlimitingourrepertoirechoicessoasnottoincludeawiderarrayofmusicalstyles,genresandtraditions.Allhighschoolmusicstudentsshouldhavebroadexposuretoavarietyofmusicalstylesandgenresaswellastheopportunitytostudyindepthaparticularmusicstyleofinteresttothem.Inthiscontext,ourassessmentsshouldrepresentbothwesternmusicthatisbasedinstandardpracticetonalandrhythmicsystems,particularlyforcreatingandperforming,aswellasmusicthatusesothertonal,rhythmic,andstylisticsystemsandcharacteristics.Inaschoolwitha“goldstandard”program,studentswhocompleteallthecourseworkinhighschoolshouldbeabletodemonstratecompetenceinallstrands,butmayexcelinoneoranother.Create–Inordertocomposeandimprovisesuccessfully,studentsneedawell-developedsenseoftonality(inmultipletonalities–major,minor,modes)andoftempo(inmultiplemeters–duple,triple,mixedmeters,unusualmeters).Whileinstrumentalskillsaredesirable,astudent’s“personalmusicianship”(theabilitytosight-sing,theabilitytotakeauraldictation)iscriticaltothecompositionalandimprovisationalprocesses.Inhighschool,studentsshouldbeexpectedtobefamiliarwithdupleandtriplemetersandwithmajorandminortonalities,andshouldbegainingconfidenceindifferentmodesandunusualandmixedmeters.Stylistically,studentswithprolongedexperienceinperformingensemblesshouldbefamiliarwithstandardmusicalformsandstructuressuchas12barblues,antecedent-consequentphrasestructures,marchform,themeandvariations,andAABA/32barsongform.
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Perform–Inchoosingrepertoireforperformance,thestandardsoloandensembleliteratureforinstrumentalistsandvocalistsprovidesabroadanddiversearrayofchoices.Atthesametime,morevernacularmusic(i.e.,folk,rock,pop)shouldbeincludedinthecurriculumtoprovideculturallyrelevantandappropriaterepertoireforstudyandperformance.Intermsofrangeandtessiturahighschoolmusiciansencompassaverywidediversityofabilityandmaturitylevels.Forinstrumentalists,extremesinrangeshouldbeapproachedwithcare,andstudentsshouldnotbeexpectedtoperformintheserangesforextendedperiodsoftime.Rangeguidelinesforeachinstrumentarebeyondthescopeofthisdiscussion,butfurtherinformationmaybefoundbyconsultinganorchestrationtextsuchasKentKennan’s“TheTechniqueofOrchestration,”publishedbyPearson/PrenticeHall.Forvocalists,rangeconsiderationsareasfollows:Sopranos,c1-e2(occasionallyuptog2--a2);Altos,a-c2(avoidstayinginthelowregisterforextendedperiods);Tenors,d-f1;Basses,G-c1.Advancedsingersmayexceedtheseranges.Caremustbetakennottoconfuse“executiveskills”(i.e.,instrumentalorvocalskillandtechnique)withmusicalunderstanding,asone’stechniquemayexceedone’smusicianship.Forthepurposesofassessmentofperformanceskill,repertoireshouldbethatwhichisfamiliartothestudents,andthestudentsshouldhavehadadequatetimeforstudyandpractice.Respond–AsattheK-5gradeandthe6-8gradelevels,respondingtasksingrades9-12allowforthegreatestdiversityofrepertoireintermsofassessmentthandocreatingandperforming.Again,thestandardinstrumentalandvocal/choralsoloandensemblerepertoireservesasarichbasewithwhichtowork.However,popularmusic,jazz,chamberensemble,soloinstrumentalmusic,andmusicfromotherculturesthatislessfamiliarsyntacticallyandstylisticallyallcanserveasrepertoiretowhichthestudentscanrespond,giventhattheyhavehadsomepreviousexperienceinearliergradeswiththesestylesofmusic.
5.4 NatureoftheScoringRubricsforAssessingMusic
Rubricsareusefultoolsfororganizingthedatageneratedbystudentassessmenttasks.Thereareseveralreasonsthateducatorsshouldbeencouragedtousethesetoolsintheirassessmentefforts.First,rubricscanbeusedtohelpplanactivities.Beginninganinstructionalplanwiththeendinmindcanaideducatorsinthinkingthroughtheirteachingstrategieslogicallyandsequentially.Thisapproachtoplanningoftenisreferredtoas“assessmentembeddedinstruction”(Darling-Hammond,1995).Second,goodrubricsarehelpfulintermsoffocusingone’sobjectives.Rubricscanbeusedasasortofplanningtemplate,andwhenoverlaidonanemerginglessonplancanhighlightimportantshort-termandlong-termlearninggoalsforthespecificlessonorlessons.Perhapsmostobviously,rubricsareusefulaidsinevaluatingandgradingstudentwork.Asmentionedabove,whilemusiceducatorsareexpertsatknowingwhattheirstudentsknowandareabletodo,wearenotalwayseffectiveatdocumentingwhatweknow.Rubrics,checklistsandratingscalesarehelpfultoolsfordocumentingtheresultsofteachingandassessmentactivitiesinthemusicclassroom,andhelpeducatorsintheireffortsataccountability.Mostimportant,aswithallformsofassessment,theprimarypurposeofusingrubricsistoimproveinstruction.Educatorswhodonotuseassessmenttoolsintheirpracticemaybeteachingwellbutare“flyingblind”whenitcomestobeingreflectivepractitioners.Inorderforrubricstobeeffectiveandcaptureusefulassessmentdataaccurately,theymustinclude:
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o Pointsthatareequidistant,o Fourormoreratingpointso Descriptorsthatarevalidandreliable(Dirth,1997)Rubricsalsoshouldbeconstructedwiththefollowingguidelinesinmind:o Rubrictypesincludeholistic(overallperformance)andanalytic(specificdimensionsofperformance);
botharenecessaryforstudentassessmento Highestpointrepresentsexemplaryperformanceo Descriptorsareprovidedforeachlevelofstudentperformanceo Descriptorsarevalid(meaningful)andscoresarereliable(consistent)o Scoresarerelatedtoactuallevelsofstudentslearningo Theycanbeusedbystudentsforbothself-assessmentandtoassesstheperformanceofotherstudentsTherubricshowninFigure5.4.1isfocusedononeoftheembeddedobjectivesintheassignment–theappropriateuseofmusicnotation.Notethattherubricincludesfourachievementlevels,andthattheselevelsareequidistantinrespecttothestandardestablishedintheassignmentspecifications.Therubricisalsocharacterizedbytheuseofcriterion-referencedescriptors;clearexplanationsofperformancestandardsatallfourlevelsofachievement.Usingthiskindofclear,descriptivelanguagehelpseducatorstoarriveatreliableresults,andincreasestheaccuracyofassessmentfindings.Finally,thehighestpointontherubric(i.e.,“4”)representsexemplaryachievement,butisstillattainable,andallfourpointsrepresentactuallevelsofexpectedstudentlearning.
Figure5.4.1ExampleMusicNotationRubric–Grades3-4
InstructionfortheAssessment:Studentscomposetheirownmelodiesusingtone-barinstruments,voice,orrecorder.Theyalsonotatethosemelodiesusingmusicnotation.Afterpracticingtheircompositions,theyperformthemfortheclass.Finally,theyreflectinwritingontheircompositionalexperiences.Evaluation:Therubricbelowisforevaluatingthenotationalaspectsoftheassessment.Studentsalsoareevaluatedonthequalityoftheircompositionsandtheirperformancesusingdifferentdimensionsoftherubric.
TeacherScoringRubric–MelodicComposition
Dimension 1 2 3 4
MusicNotation Notesarewritteninasloppyandillegiblemanner.Barlineplacementisnotcorrect.Lineandspacenotesareindistinguishablefromeachother.
Notesarewrittenclearly,butbarlineplacementisoftenincorrect.Thedifferencebetweenlineandspacenotesisnoteasilyseen.
Mostnotesarewrittenclearlyusingtheproperbarlineplacement.Thedifferencebetweenlineandspacesnotesisusuallyclear.
Allnotesarewrittenneatlyusingproperbarlineplacement.Thedifferencebetweenlineandspacenotesiseasilyseen.
5.4.2SampleRubricsforGradesK-2and3-5AssessmentsAttheK-2and3-5levels,musiceducatorsworkwithlargenumbersofstudents,andthenumberoftimesperweekormonththattheyseetheirstudentsvarieswidelyfromschoolsettingtoschoolsetting.Some
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educatorshaveasmanyastenclassesperdaywithnotransitiontimebetweenclasses.Asaresult,theactivitiesusedforassessmentmustbeanormalpartoftheinstructionalprocess,andrecordkeepingmusttakeplaceduringclassasmuchaspossible.Withoutintegratingassessmentintoinstruction,therecordkeepingtaskscanbecomeoverwhelming.Assessmentasanaturalisticpartofclassroomactivitiesispossibleforperformancetasksandevents,whichcanbeassessedasthestudentsperformintheclassroom,andislesspossibleforconstructed-responses,whichrequiretheeducatorstoreadandratestudentresponsesoutsideofclasstime.Thequalityofresponsestoperformancetasks,performanceevents,andconstructed-responsesallcanbemeasuredusingdevelopmentallyappropriateratingscales.Mostcreations,performances,andresponsesaremultidimensional,meaningthattheypresentopportunitiestoassessstudents’understandingofseveralmusicalconstructsatonce.Followingarepossibledimensionsandspecificexamplesofratingscalesthatareusedtoratecreating,performing,andrespondingtasksatgradesK-2and3-5.Create–ForoneCreateevent,educatorsperformanantecedentphraseandindividualstudentsimproviseconsequentphrases.Thistaskcanbeusedtomeasurestudents’understandingofandabilitytoworkwithinatonalcontext,understandingofandabilitytoworkwithinarhythmiccontext,abilitytousetonalandrhythmicvocabulary,andabilityto“converse”musically.Eachofthesecouldbeanindividualdimensionofaratingscaleforthistask.However,listeningforfivedifferentdimensionsinasingleperformancelimitsthereliabilityandthereforevalidityoftheratingscale.Asaresult,welimitedthenumberofdimensionswhenscoringasingle,briefperformancetonomorethanthreeifscoringstudents’responses“live.”Ideally,studentperformanceswouldberecordedandplayedonetimetorateeachdimension.However,thetimerequiredtodothismaybeprohibitiveinmanyteachingsettings.Figure4.4.2showsarubricthatisusedtoevaluatestudents’creativework(improvisingaconsequentphrase)inGradesK-2.Ithasthreedimensions:TonalCohesion,RhythmicCohesion,andCreativityalongwithlanguagedescribingeachlevelofperformancewithineachdimension
Figure5.4.2
Create–GradesK–2TeacherScoringRubric
Dimension 1 2 3 4
TonalCohesion Thestudentdidnotusesingingvoiceordidnotsinginthetonalcenteroftheantecedentphrase.
Thestudentusedsingingvoice.Atleastpartoftheconsequentphrasewasinthetonalcenteroftheantecedentphrase.
Thestudentusedsingingvoice.Theconsequentphrasewasmostlyinthesamekeycenterandtonalityastheantecedentphrase.
Thestudentusedsingingvoice.Theconsequentphrasewassolidlyandconsistentlyinthesamekeycenterandtonalityastheantecedentphrase.
RhythmicCohesion Thestudentdidnotperforminthetempoormeteroftheantecedentphrase.
Atleastpartoftheconsequentphrasewasinthetempoandmeteroftheantecedentphrase.
Theconsequentphrasewasmostlyinthesametempoandmeterastheantecedentphrase.
Theconsequentphrasewassolidlyandconsistentlyinthesametempoandmeterastheantecedentphrase.
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Creativity Thestudentdoesnotattempttosingaphrasethatwasdifferentfromthatoftheteacher.
Thestudentattemptstosingaphrasethatisdifferentfromthatoftheteacher,buttheperformancedoesnot“work”musically.
Thestudentsingsaphrasethatisdifferentfromthatoftheteacherthatworksmusically,butthemusicalvocabularyusedbythestudentislimited.
Thestudentsingsaphrasethatisdifferentfromthatoftheteacherthatworksmusically,andthemusicalvocabularyusedbythestudentisrichandvariedforthegradelevel.
Figure5.4.3isarubricusedtoevaluategrade3-5students’composingforaharmonypartandarhythmicostinatophrase.Thedimensionsforuseinevaluatingtheharmoniclineare“WrittenWork–HarmonicLineNotation”and“HarmonicLineCreation”andthedimensionsforuseinevaluatingtherhythmicostinatoare“WrittenWork–RhythmicOstinatoNotation”and“CreationofRhythmicOstinato.”Studentsreceiveascoreof1-4foreachofthedimensions.
Figure5.4.3
Create–Grades3–5TeacherScoringRubric
Dimension 1 2 3 4
WrittenWork—HarmonicLineNotation
Studentdoesnotnotateharmonicpitchesandrhythmsaccurately.
Studentoccasionallynotatesharmonicpitchesandrhythmsaccurately.
Studentoftennotatesharmonicpitchesandrhythmsaccurately.
Studentconsistentlynotatesharmonicpitchesandrhythmsaccurately.
HarmonicLineCreation
Student’sharmoniclinedoesnotmatchtheharmonicandrhythmicstructureoftheoriginalmelody.
Student’sharmoniclineoccasionallymatchestheharmonicandrhythmicstructureoftheoriginalmelody.
Student’sharmoniclineoftenmatchestheharmonicandrhythmicstructureoftheoriginalmelody.
Student’sharmoniclineconsistentlymatchestheharmonicandrhythmicstructureoftheoriginalmelody.
WrittenWork—RhythmicOstinatoNotation
Studentdoesnotnotatetheostinatoandmovementaccurately.
Studentoccasionallynotatestheostinatoandmovementaccurately.
Studentoftennotatestheostinatoandmovementaccurately.
Studentconsistentlynotatestheostinatoandmovementaccurately.
CreationofRhythmicOstinato
Student’sostinatodoesnotcomplementthecompositionanddisplaysnorhythmicvariety.
Student’sostinatooccasionallycomplementsthecompositionanddisplayssomerhythmicvariety.
Student’sostinatooftencomplementsthecompositionanddisplaysrhythmicvariety.
Student’sostinatoconsistentlycomplementsthecompositionwithrhythmiccomplexity.
Perform–Fortheseassessmenttasks,studentsareratedastheyperform.Again,ideallyfromameasurementperspective,studentperformanceswouldberecordedandplayedonetimetorateeachdimension.However,thetimerequiredtodothiswouldbeprohibitiveinmostmusicteachingsettings.Therefore,welimitedthenumberofdimensionstothosethatcouldberatedbylisteningtoasingleperformance.InoneperformanceeventforuseingradesK-2,studentssingaverseofafamiliarsongandreflectontheirperformances.Figure4.4.4isarubricforuseinevaluatingtheirsingingperformances.Ithastwodimensions:PitchAccuracy/UseofSingingVoiceandRhythmicAccuracy.
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Figure5.4.4
Perform–GradesK–2TeacherScoringRubric
Dimension 1 2 3 4PitchAccuracy/UseofSingingVoice
Studentsingsorchantsconsistentlywithamelodiccontourthatisdifferentfromthatofthesong.
Studentsingswithsometonalaccuracybutstartsorendsinakeythatisdifferentfromthekeyestablishedbytheteacher.
Studentsingswithsometonalaccuracyandbeginsandendsinthekeyestablishedbytheteacher.
Studentsingsallofthesongwithtonalaccuracyinthekeyestablishedbytheteacher.
RhythmicAccuracy
Studentperformsconsistentlywithrhythms,tempo,and/ormeterthataredifferentfromthoseinthesong.
Studentperformssomeofthesongwithrhythmicaccuracyandinthetempoandmeterestablishedbytheteacher.
Studentperformsmostofthesongwithrhythmicaccuracyandinthetempoandmeterestablishedbytheteacher.
Studentperformsallofthesongwithrhythmicaccuracyandinthetempoandmeterestablishedbytheteacher.
Respond–Constructed-responsesneedtobecompletedbystudentsinclassandevaluatedoutsideofclasstime.Inoneassessment,studentslistentoarecordingandidentifystrengthsandweaknessesofthatperformance.Theyareevaluatedonseveraldimensions:(1)AccuracyofResponse,(2)UseofMusicalVocabulary,and(3)MechanicsandQualityofWriting,asshownintherubricinFigure4.4.5.Similartypesofdimensionsareusedtocriticallyanalyzeamusicalworkandreflectonitscontext.
Figure5.4.5
Respond–Grades3-5TeacherScoringRubric
Dimension 1 2 3 4
AccuracyofResponse
Studentdescribeslittleornoneofthemusicalexcerptaccurately.
Studentdescribessomeofthemusicalexcerptaccurately.
Studentdescribesmostofthemusicalexcerptaccurately.
Studentaccuratelydescribesthemusicalexcerpt.
UseofMusicalVocabulary
Studentrarelyusesmusicalvocabularylearnedinclassinhisorherwrittenresponses.
Studentoccasionallyusesmusicalvocabularylearnedinclassinhisorherwrittenresponses.
Studentoftenusesmusicalvocabularylearnedinclassinhisorherwrittenresponses.
Studentconsistentlyusesmusicalvocabularylearnedinclassinhisorherwrittenresponses.
MechanicsandQualityofWriting
Studentrarelydemonstratesaclearwritingstyle.Anumberofgrammaticalmistakes
Studentoccasionallydemonstratesaclearwritingstyle.Somegrammaticalmistakes.
Studentoftendemonstratesaclearwritingstyle.Afewgrammaticalmistakes.
Studentconsistentlydemonstratesaclearwritingstyle.Veryfewornogrammaticalmistakes.
5.4.3SampleRubricsforGrades6-8AssessmentsAssessmentatgrades6-8alsocanbeaccomplishedthroughtheuseofrubrics.FollowingarerubricsusedtoassessCreate,Perform,andRespondingrades6-8
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Create–Inacreatetaskforstudentsingrades6-8,studentsareaskedtoimproveononepitchandasecondtimeusingmultiplepitches.Figure4.4.6isarubricthatcanbeuseddoevaluateeachofthoseperformances.
Figure5.4.6Create–Grades6-8
TeacherScoringRubricDimension 1 2 3 4
One-NoteImprovisation
Studentmakesnoattempttovarytherhythmduringtheone-noteimprovisation.
Studentattemptsrhythmicimprovisationanddemonstrateslimitedvarietyinrhythm,dynamics,andarticulation.
Studentattemptsrhythmicimprovisationanddemonstratessomevarietyinrhythm,dynamics,andarticulation.
Studentattemptsrhythmicimprovisationanddemonstratessignificantvarietyinrhythm,dynamics,andarticulation.
Multi–NoteImprovisation
Studentmakesnoattemptatamulti-noteimprovisation.
Studentattemptsimprovisationanddemonstrateslimitedvarietyinpitches,rhythm,dynamics,andarticulations.
Studentattemptsimprovisationanddemonstratessomevarietyinpitches,rhythm,dynamics,andarticulation.
Studentattemptsimprovisationanddemonstratessignificantvarietyinpitches,rhythm,dynamics,,andarticulation.
Perform-Studentsperforminsoloandinagroup.Figure5.4.7showsarubricusedtoevaluatechambermusicperformancesofstudentsingrades6-8.Therubrichasfivedimensions(TechnicalAccuracy:Pitch/Rhythm,TechnicalAccuracy:EnsembleCohesion,TechnicalAccuracy:Intonation,Expression:Dynamics,andExpression:Style),eachofwhichhaveaccompanyingdescriptorsofeachlevelofperformance.Theperformancemayberatedduringaliveperformanceormaybeaudioorvideorecordedsothatitcanbeevaluatedatalatertime.
Figure5.4.7
Perform– Grades 6-8
Teacher Scoring Rubric
Dimension 1 2 3 4TechnicalAccuracyPitch/Rhythm
Groupplaysorsingswithlimitedaccuracy.
Groupplaysorsingssomenotesandrhythmscorrectly.
Groupplaysorsingsmostnotesandrhythmscorrectly.
Groupplaysorsingsallornearlyallnotesandrhythmscorrectly.
TechnicalAccuracyEnsembleCohesion
Groupisunabletostaytogetherrhythmicallyormaintainsteadytempo.
Therearefrequentand/orsignificantproblemswithstayingtogetherrhythmicallyand/ormaintainingsteadytempo.
Someproblemsoccurwithstayingtogetherrhythmicallyand/ormaintainingsteadytempo.
Groupisabletostaytogetherrhythmicallyandmaintainsteadytempo.
TechnicalAccuracyIntonation
Groupisunabletoplayorsingintune.
Therearefrequentand/orsignificantproblemswithplayingorsingingintune.
Someproblemsoccurwithplayingorsingingintune.
Groupisabletoplayorsingintunewithveryfewornoerrors.
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Dimension 1 2 3 4ExpressionDynamics
Groupignoresexpressivemarkingsorperformsthemincorrectly.
Groupattendstomostexpressivemarkingsinthescore.
Group’sperformancegoesbeyondtechnicalaccuracyinthatmostexpressivemarkingsinthescoreareperformedaccurately.
Groupattendstoallornearlyallexpressivemarkingsinthescore(dynamics,articulation,etc.).
ExpressionStyle
Notesandrhythmsmaybeaccuratebutlackexpressivedetail.
Groupshowslittleefforttomakeitsowninterpretationofthepiece.
Groupmakessomeinterpretativechoices.
Group’sperformancereflectsanefforttomakeinterpretivechoicesthatconveymusicalmeaning.
Respond–Constructedresponsesneedtobecompletedbystudentsinclassandevaluatedoutsideofclasstime.Forexample,inoneRespondtaskforuseingrades6-8,studentsareaskedtousearubrictoevaluateamusicalworkperformedbytheirownensemble,providearationalefortheirscoringchoices,andgivesuggestionstoimprovefutureperformancesofthepiece.Figure5.4.8istherubricusedtoevaluatethoseconstructedresponses.
Figure5.4.8
Respond– Grades 6-8
Teacher Scoring Rubric
Dimension 1 2 3 4MyRubric-2Completion
Studentratednoneoftheperformancecriteria.
Studentratedsomeoftheperformancecriteria.
Studentratedmanyoftheperformancecriteria.
Studentratedalloftheperformancecriteria.
StudentRationale Studentdoesnotdrawuponexamplesfromtheperformance.Rationaleisnotfullyformed,andmusicalterminologyisabsentormisrepresentedwithintheresponse.Thewritinglacksacleardescriptionofthepresenceandqualityofmusicaldimensions.
Studentdrawsuponsomeexamplesfromtheperformance.Rationalecontainssomemusicterminologythatdescribesthepresenceandqualityofsomeofthemusicaldimensions.
Studentdrawsuponmanyexamplesfromtheperformance.Rationaleusescorrectmusicalterminologytodescribethepresenceandqualityofmusicaldimensions.
Studentusesextensiveexamplesfromtheperformance.Rationaleisinsightfulandusescorrectmusicalterminologytoassessthepresenceandqualityofmusicaldimensions.
PerformancePraiseandPerformanceSuggestions
Studentfeedbackdoesnotdrawuponexamplesfromtheperformance.Feedbackiseitherabsentornotadequatetoimproveensembleperformance.
Studentfeedbackdrawsuponsomeexamplesfromtheperformance.Feedbackwillprovidesomeinsightforsomeimprovedensembleperformance.
Studentfeedbackdrawsuponmanyexamplesfromtheperformance.Feedbackwillprovideinsightforimprovedensembleperformance.
Studentfeedbackusesextensiveexamplesfromtheperformance.Feedbackisinsightfulandwillaidingreatlyimprovedensembleperformance.
5.4.4SampleRubricsforHighSchoolAssessmentsIngrades9-12,musicinstructionbecomesmorediverseintermsofinstructionalgroupingsandsettings.Inadditiontoclassinstruction,suchasmusictheory,ensemblesbecomeamajorfocusofmusicprogramming.Musiceducatorsworkwithlargernumbersofstudentsthanmostoftheircolleaguesinotherdisciplines,andthenumberoftimesthattheyseetheirstudentsvariessomewhatfromschooltoschool.Whilesome
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educatorsareabletofocusononetypeofmusiclearningsetting(i.e.,band,strings,chorus)oratonelevel,manyhighschooleducatorsserveindualormultipleteachingassignments,andareresponsibleforteachingatmultiplelevels(i.e.,gradesK-2,3-5,6-8and9-12.)Withthiskindofvaried,fragmentedteachingschedule,theactivitiesusedforassessmentmustbeembeddedintheregularinstructionalprocessanddocumentationmustbe“builtin”toclassactivitiesinordertobesuccessful.AsattheK-2and3-5levels,assessmentasanaturalisticpartofclassroomactivitiesispossibleforperformancetasksandevents,whichcanbeassessedasthestudentsperformintheclassroom,andislesspossibleforconstructed-responses,whichrequiretheeducatortoreadandratestudentresponsesoutsideofclasstime.Thequalityofperformancetasks,performanceevents,andconstructed-responsesallcanbemeasuredusingcriterionreferenceratingscales.FollowingareexamplesofrubricsthatareusedtorateCreate,Perform,andRespondtasksatthegrade9-12level.Figure5.4.9isarubricusedtoevaluatehighschoolstudents’abilitiestocomposeaconsequentphrase.ThedimensionsareCorrectNotationandCompositionalquality.Althoughthishasaslightlydifferentscoringformatthanthepreviousrubrics,itfunctionsinmuchthesameway.Studentsreceiveascoreof1-4fromeachofthedimensions.
Figure5.4.9
Create–Grades9-12TeacherScoringRubric
Dimension 1 2 3 4CorrectNotationq Allmeasurescontainthecorrect
numberofbeats.q Allstemspointinthecorrect
direction.q Eachstaffcontainsthecorrectclef
andkeysignature.q Allmeasuresareseparatedby
barlines.q Theendisdesignatedwitha
doublebarline.q Allpartsofnotesorrests
(noteheads,stems,flags,beams,extensiondots,etc.)areplacedcorrectly.
Fulfillsnoneofthesestatements.
Fulfillsoneortwoofthesestatements.
Fulfillsthreeorfourofthesestatements.
Fulfillsfiveorsixofthesestatements.
CompositionalQualityq Theconsequentphraseendsinthe
samekeyastheantecedentphrase.q Theconsequentphraseisroughly
thesamelengthastheantecedentphrase.
q Theendoftheconsequentphraseimpliesasenseofharmonicclosure.
q Theconsequentphraseusesatleastonerhythmicfeatureoftheantecedentphrase.
q Theconsequentphraseusesatleastonemelodic/tonalfeatureoftheantecedentphrase.
Fulfillsnoneofthesestatements.
Fulfillsoneofthesestatements.
Fulfillstwoorthreeofthesestatements.
Fulfillsfourorfiveofthesestatements.
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Perform–Fortheseassessmenttasks,studentsareratedastheyperform.Again,ideallyfromameasurementperspective,studentperformanceswouldberecordedandplayedonetimetorateeachdimension.However,thetimerequiredtodothisforthelargeensemblescommoninmanyschoolmusicprogramsathighschoolisprohibitive.Therefore,thenumberofdimensionsislimitedtothosethatcanberatedbylisteningoncetoasingleperformance.Followingaresomedimensionsthatareusedtorateastudent’sperformanceInthisassessment,studentssight-readamusicalexcerpt.Theythenidentifypracticestrategiesforimprovingperformancesandpracticetheexcerptusingthosestrategies.Finally,theyre-recordtheexcerptandreflectontheimprovementandpracticestrategies.Aspartofthisassessment,theyareaskedtoevaluatetheirgrowthinperformance,theirpitchandrhythmicaccuracy,theirfluency,andtheirabilitytoattendtoothermusicalelements.Figure5.4.10isarubricthatisusedtoevaluatetheirperformance.
Figure5.4.10Perform–Grades9-12Teacher Scoring Rubric
Dimension 1 2 3 4GrowthinPerformance
Nogrowthisevidentbetweenfirstandsecondtakes.
Studentdemonstratesalittleaurallydiscernableimprovementbetweenfirsttakeandsecondtake.
Studentdemonstratesmoderateaurallydiscernableimprovementgrowthbetweenfirsttakeandsecondtake.
Studentdemonstratessignificant,clear,aurallydiscernableimprovementbetweenfirsttakeandsecondtake.
PitchandRhythmAccuracy
Studentperformsnoneoralmostnoneofthepitchesandrhythmscorrectlyandintune.
Studentperformssomepitchesandrhythmscorrectlyandintune.
Studentperformsmostpitchesandrhythmscorrectlyandintune.
Studentperformsalloralmostallpitchesandrhythmscorrectlyandintune.
Fluency Studentperformanceisnotfluid.Therearefrequenttempofluctuationsand/orhesitations.
Studentperformanceissomewhatfluid,withmanytempofluctuationsand/orhesitations.
Studentperformanceismostlyfluid,butthereareafewtempoinconsistenciesoroccasionalhesitations.
Studentmaintainsasteadytempoandhasnooralmostnohesitations.
MusicalElements 1pointperelementdisplayed_____Studentattendstoindicateddynamics_____Studentattendstoindicatedtempo_____Studentattendstoindicatedarticulation
Respond–Animportantreadinessskillformusicresponseistheabilitytocriticallyanalyzeapieceofmusicalongmultipledimensions.InoneRespondtask,studentscompareandcontrasttherepresentationsofpeacefulnessinImpression,SunrisebyClaudeMonetand“Venus”fromThePlanetsbyGustavHolst.Studentslistentothemusical
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excerpt,studythepainting,takepreliminaryandrefinednotescomparingandcontrastingthetwopieces,andwriteananalysisandsummaryoftheirfindings.Figure5.4.11istherubricusedtoevaluatetheirperformances.Theyareassessedontheirworkinthreedimensions:theirabilitytodemonstrateandunderstandingofthesimilaritiesanddifferencesbetweentheworksintwodifferentartforms,theirabilitytousediscipline-specificvocabulary,andtheirabilitytomakeconnectionsbetweenthevisualartandmusicalcontexts.
Figure5.4.11
Respond–Grades9-12TeacherScoringRubric
Dimension 1 2 3 4Comparingartisticworks
Studentdoesnotdemonstrateanyunderstandingofthesimilaritiesanddifferencesbetweentheworks.
StudentdemonstratesabasicUnderstandingofthesimilaritiesanddifferencesbetweentheworks.
Studentdemonstratesasomewhatnuancedunderstandingofthesimilaritiesanddifferencesbetweentheworks.
Studentdemonstratesarich,nuancedunderstandingofthesimilaritiesanddifferencesbetweentheworks.
Useofvisualartandmusicvocabulary
Studentdoesnotuseanyvisualartormusicvocabularytosupporttheanalysis.
Studentrarelyusesvisualartormusicvocabularytosupporttheanalysis.
Studentoftenusesvisualartandmusicvocabularytosupporttheanalysis.
Studentconsistentlyusesvisualartandmusicvocabularytosupporttheanalysis.
Connectionsbetweenvisualandperformanceartcontexts
Studentdoesnotmakeanyconnectionsbetweenvisualandperformanceartcontexts.
Studentmakesweakconnectionsbetweenvisualandperformanceartcontexts.
Studentmakesadequateconnectionsbetweenvisualandperformanceartcontexts.
Studentmakesstrongconnectionsbetweenvisualandperformanceartcontexts.
5.5SummaryofAvailableMusicAssessments
ThischapterprovidessummaryinformationofthenumberofassessmentsintheMAEIAassessmentpoolforeachgraderange(K-2,3-5,6-8,andhighschool)foreachMAEIAperformancestandard.Atthehighschoollevel,additionalinformationprovidedonthenumberofperformancetasksandperformanceeventsdesignedforstudentsinLevels1,2,and/or3.
5.5.1 Overview
Therangeofcontentusedforassessmentitemsinmusicemphasizestheuseofmusicexamples(e.g.,scores,recordings,etc.)thatrepresentabroaddiversityofmusicalstyles,genresandcultures.HowmuchofthegradelevelexpectationsbetweenK-2/3-5/6-8/9-12inthedisciplinewillbeassessedusingperformancetasks,events,etc.andwhyisthattheprescribedratio?Becausemusicrepresentsmultiplewaysofknowing,anddoessoinextremelysophisticatedandcomplicatedways,therangeofcontentusedreflectsthisuniqueaspectofmusicalmeaningmaking.Tothisend,weplaceanemphasisonhigherorderthinkingtypesofassessmentitems,suchasperformancetasksandevents,withrelativelyfewerselected-responsetypesofitems.
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Thetypesofassessmentactivitiesmostappropriateforgaugingthenatureandextentoflearninginmusicclassesrangefromexpansive,creativeprojectsthatunfoldovertimethatallowforcollaborativeworkamongsmallgroupsofstudents,tolargegroupassessmentactivitiesto“snapshots”ofstudentunderstandingatagivenmomentintime.Eachoftheseassessmentsprovidesawindowintostudents’creativeandcriticalthinkinginmusic,andallowseducatorstousetheassessmentdatatoimprovetheirteachingwhileprovidingcriticalfeedbacktothelearnersastheyworktowardsimprovingvariousaspectsoftheirmusicianship.TherangeofactivitiesencompassesanappropriatebalanceofallthreeofthelearningmodalitiesintheCreate,Perform,Respondmodel.OnecriticismofAmericanschoolmusicovertheyearshasbeenanover-relianceonperformanceasadistinguishingcharacteristicoftheofferingsinschoolprograms.Wetookcaretoincludeassessmentactivitiesthataskstudentstoengagewithmusicnotonlyasperformers,butalsoascreators(composers,improvisers,arrangers)andasresponders(makingcriticaljudgments,makingevaluativedecisionsregardingmusicandmusicperformances,makingcriticalobservationsandjudgmentsbasedonknowledgeofmusichistory,musictheoryandrelationshipswithotherdisciplines).Whenconsideringtherangeandbalanceofassessmentactivitieswepaidcloseattentiontotheteachingsettingsandstructuresthatarecurrentlymostcommoninschoolmusicprogramsinourstate.Forexample,whileselected-responseitemshavetheadvantageofbeingeasytoadministerandquicklygeneratingcleardatafromlearners,interruptinga6-8gradeorchestrarehearsalorafirstgrademusicclasstoadministeramultiple-choiceexamonnotenamesorrhythmvaluesisnotgenerallyconsideredtobedevelopmentally-appropriatepracticeinmusicteaching.AmoreauthenticassessmentchoiceinthesetypesofsettingswouldbetoconductabriefPerformanceEventinwhichtheorchestraeducatorasks6-8gradestringplayerstodemonstrateaseriesofspecificfingeringsinapassagedrawnfromtheirorchestrarepertoire,orinwhichtheK-5certifiedmusiceducatorsasksherstudentstosightsingagivenrhythmpatternwiththeappropriatesolfegesyllables.Theseactivitieshavetheadvantageofbeingauthentic,betterconnectedtoactualmusicteachingpractice,andprovidingmoreaccurateinformationonstudentlearningthanapaper-and-pencilmeasureisapttodo.Becauseofthesubjectivenatureofart,whenstudentsareaskedtocompleteperformancetasksoreventsandconstructedorselected-responseitemsandreflectontheirwork,theemphasisshouldbeonthe“rigorousinvestigationandinformedpersonalchoices”ofthestudentcreatingtheartortheartworkbeingrespondedtobythestudent(Vatsky,2008,p.14).
5.5.2 NumberofPerformanceEventsandPerformanceTasksAvailableinGradesK-2,3-5,6-8andHighSchool
Table5.5.1indicatesthenumberofK-8MAEIAperformanceeventsgthatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessments.
Table5.5.1
NumberofMusicPerformanceEventsGradesK-8
Level Create Perform Respond TotalGradesK-2 5 6 4 15Grades3-5 2 6 6 14Grades6-8 5 4 4 13TOTAL 12 16 14 42
Table5.5.2indicatesthenumberofK-8MAEIAperformanceeventsthatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessments.
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Table5.5.2
NumberofMusicPerformanceTasksGradesK-8
Level Create Perform Respond TotalGradesK-2 1 1 2 4Grades3-5 5 3 4 12Grades6-8 2 3 3 8TOTAL 8 7 9 24
Table5.5.3indicatesthenumberofHighSchoolMAEIAperformanceeventsthatwerewrittenforeachLevelforeachperformancestandard.
Table5.5.3NumberofHighSchoolMusicPerformanceEvents
Levels1-3PerformanceStandard Level1 Level2 Level3 TotalCreate 3 4 3 10Perform 4 3 2 9Respond 5 4 3 12TOTAL 12 11 8 31
Table5.5.4indicatesthenumberofHighSchoolMAEIAperformancetasksthatwerewrittenforeachLevelforeachperformancestandard.
Table5.5.4NumberofHighSchoolMusicPerformanceTasks
Levels1-3PerformanceStandard Level1 Level2 Level3 TotalCreate 2 3 3 8Perform 4 3 3 10Respond 3 2 3 8TOTAL 9 8 9 26
5.6 ReferencesforMusic
Darling-Hammond,L.(1995).AuthenticAssessmentinAction:StudiesofSchoolsandStudentsatWork.TheSeriesonSchoolReform.TeachersCollegePress,ColumbiaUniversity,NewYork.
Dirth,K.(1997).InstitutingPortfolioinPerformingEnsembles,NYSSMAWinterConference.Scriven,M.(1967).“TheMethodologyofEvaluation,”inRalphW.Tyleretal.,eds.,Perspectivesin
Evaluation,AmericanEducationalResearchAssociationMonographSeriesonCurriculumEvaluation,No.1(Chicago,Ill.:RandMcNally,1967),pp.39-83;andBenjaminS.Bloom,J.ThomasHastings,andGeorgeF.Madaus,HandbookofFormativeandSummativeEvaluationofStudentLearning(NewYork:McGraw-Hill,1971).
NAfME.(2013).SummaryStatement:WhatStudentsShouldKnowandBeAbletoDointheArts.http://www2.ed.gov/pubs/ArtsStandards.html
Vatsky,S.(2008).MuseumMusings:DeconstructingtheCriticismCliché.SchoolArtsMagazine.108(3).14,57
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Chapter6
TheatreAssessmentSpecifications
6.1DesignoftheTheatreAssessment–Thenumberofperformancetasksandeventsarebalancedwiththenumberofconstructedandselected-responsequestions.Duetothediversebodyofstudentlearners,diversebodyofmaterial,andvariedaspectsofproduction,itisnecessarytoincludeavarietyofassessmenttypestodemonstratelearninginamultitudeoftheatredisciplines.Giventhattheatrecanincorporateelementsofdance,visualart,andmusic,aswellasthoseelementsmorespecifictotheatre,thisisachallengingtask.Theotherchallengeindesigningtheatreassessmentsiscapturingtheessenceofexcellenceintheatre.Thatessence,sometimescalled“talent,”isdifficulttoteachandmaynotbeaccessibletothepractitionerduringeachperiodofthepractitioners’lifeinoroutoftheclassroom.TheactorandactingprofessorPhillipKerroncetoldagroupofactingstudentsinhisclassatUniversityofMichiganthathehadjustfinishedOlivier’sbookOnActing.Helamentedthatwhileheenjoyedthebook,itdidn’ttellhimhowtobeagreatactor.Readingitdidn’trevealthesecrettounlockingtalentlikeOlivier’s.Thisaddressesaconundrumintheatreeducation.Thereareplacestogotostudytheatre,fromtheJulliardSchooltoTheActorsStudio,tothelocalYMCAtotheclassroominaK-12publicschool.Whetheritisacting,directing,playwriting,design,productionorstagemanagement,thereareclasses.Andyet,thereissomethingabouttheatreperformancethatcannotbetaught,butonlylearned,bytheexperienceofliveperformanceinfrontofanaudience.Theatreis,atitsessence,liveperformance.Theminimalrequirementsforatheatricalproductionareanactor,space,inspiration,andanaudience.DavidMametwrites,“Theaudiencewillteachyouhowtoactandtheaudiencewillteachyouhowtowriteandtodirect.”Tothatend,PerformanceTasksandPerformanceEventsareessentialtodemonstratingtheatreandtolearningtheatre.Itwouldbeimpossibletoassessessentialstudentskills,abilityorknowledgeintheatrewithoutperformancetasksorevents.Inourroleaseducatorswelearnthat“…assessmentneedstobepartofanintegratedsystemofcurriculum,instructionandassessment”(Pelligrino,ChudowskyandGlaser,2001).Inassessingtheatreskillsandknowledgethroughperformancetasksandperformanceevents,assessmentisnotonlyintegratedwithinstruction,intheatre,performanceassessmentsandtasksareinstruction.Thisisespeciallytruewhentheassessmentsandtasksarepresentedinfrontofapublicaudienceoftheatregoers,notonlyinfrontofclassmates.Alloftheworkthatisdoneinclass,suchaslearningthephysicalskillsofacting,learningscriptanalysis,andthelanguageofworkinginthetheatre,areallultimatelyrealizedandpresentedinperformance.Therearefewotherplacesineducationwherelearningmustbedoneanddemonstratedinfrontofapublicaudience.Everyonewhoworksonashowknowsthatsomethingdifferentisrevealedinperformancethatisnotrevealedinclassorrehearsal.Mamet(2011)callstherevelationthattakesplaceonstagethe“Truthofthemoment.”Classesandpracticecanhelppreparetheatrepractitionersforthe“Truthofthemoment”sothatitisn’tlostormissedoronlyexperiencedthroughluck,but“Truthofthemoment”onlyoccurslive,onstage,infrontofanaudience.Becauseofthis,performancetasksandeventsshouldtakeupthemajorityofthetimespentonassessmentandare,infact,theessenceoftheatreinstruction.Whileperformancetasksandeventsareessentialforqualitytheatricaltrainingandeducation,othertypesofassessmentarealsoimportanttoatheatreeducationprogram.ThegoalsofaK-12educationintheatrearenotonlytopreparestudentsforaprofessionallifeintheatre,butalsotogrowcreativity,toenhanceobservationandlisteningskills,andtoteachandpracticepublicpresentationandinterpersonalcommunicationskills.Becausetopicsintheatrespanthegamutofhumanexperience,K-12theatreeducationengagesstudentsinlearningaboutallsubjects.VisualartistPhoebeGloeckner(2013)writes,“…aproperlypreparedartist/creatormustsimplyknoweverything.Notjusthowtodraw,buthowtosee.
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Notjusthowtouseacomputerprogram,butwhattheword"penultimate"means.”Thisholdstruefortheatreaswell.Theatreassessmentscannotmeasureunderstandingineverycontentarea,butshouldincludeassessmentsthatdemonstratestudentthinkingaboutlearning,aboutcreating,andaboutrespondingtoone’soneworkandtheworkofothers.InArtswiththeBraininMind,EricJensen(2001)writes,“Art-makinghelpsstudentsacquireafeelforwhatitmeanstotransformanideaintoaproductorartform.Artmakingwillrefine,inthelearners,aheightenedawarenessofthesenses.Studentswillgainaestheticqualitiesofart...Theywillbeabletoapplythesequalitiestolife.”Intheatricalassessment,accesstoaperformancespacethatallowsforstagingplaysandscenesthatincludeanumberofactors,sceneryandprops,isideal.Itisalsoimportanttohavea“rehearsal”spacethatallowsforsafe,kinestheticmovementforaclassofapproximately30students.Digitalvideorecording,photographyandtheabilitytoprojectisalsohelpful,sincetheatreisliveperformance.Inorderforstudentstobeabletorespondtoperformances,itwillbenecessarytoviewperformances.Insomeareas,theassessmentcallsonthestudentsandeducatorstousephotosorvideosofclassroomworktoreflect.Usingvideoandphotographythatisgeneratedintheclassroomfacilitatestheselectionofageappropriatecontent,becausestudentswillbecreatingthework.Constructed-responseitemsassistinmeasuringthestudent’sfeelingsorthoughtsabouttheatre.Theyareusefulformakingthecreativeprocessvisibleandmeasurable.Throughwriting,theactoranddesigner’scraftbecomesvisible.Responseintheatreistraditionallyobservedthroughaudienceapplauseorothervisible,emotionalresponse.Butapplauseandemotionalresponsesdonotalwaysrevealtheindividualexperiencesofeachaudiencemember.Constructed-responseitemsareawaytogainamorenuancedunderstandingofastudent’sresponsetothepresentationofanotherartist’sproductorartform.Further,thetheatrestudentmaynotalwaysbeanaudiencemember.Theatrestudentsmaybeplaywriters,dramastudents,orscriptreaders,andconstructed-responseitemscanbeusedtoassessthedifferenttypesofwritingandthinkingusedbythesespecialists.Selected-responseitemsareusedformeasuringunderstandingoftheatreconceptsandvocabulary.Asolidunderstandingoftermsandconceptsisimportantwhilecreating,respondingandmakingfinalchoicesforperformance.Whileitispossibleforantheatreartisttooffersuperbperformancewithoutspecificconceptknowledgeorspecificvocabulary,suchknowledgeandvocabularygivethepractitionersoftheatreastructureforhoningcraftandforeffectivecommunicationwithoneanother.Theatreisalwayscollaborative.Collaborationdependsoncommunication,andeffectivecommunicationissharedunderstanding.Selected-responseitemsintheatreclassesaddressvocabularyandconceptsthataresharedamongtheatrepractitionersinallstagesofproduction,includingdesign,acting,directingandscriptanalysis.
6.2DescriptionoftheTheatreAssessments–Tables6.2.1,6.2.2,and6.2.3provideillustrationsfortheitemsthatcouldbeusedtomeasureeachperformancestandardwiththeanticipatedWebbDepthofKnowledgealsoshown.Someperformancestandardsareassessedinastand-alonemanner,whileothersmaybeassessedusingtwoormoretypesofassessmentitems.
Table6.2.1IllustrativeTheatreIdeasforAssessment–GradesK-2and3-5
89
PerformanceStrand
PerformanceStandards
PerformanceTasks
PerformanceEvents
ConstructedResponseItems
SelectedResponseItems
Perform/Present/ProduceParticularStandardstobeassessed:
1.Recognize,imitate,andrecreate(vocallyandphysically)realandnon-realcharacters,basedonrealandnon-realexperiences.
Developarealorimaginarycharacter,andrehearseandperformasthatcharacterinastudent-created,scriptedorimprovisedperformance,demonstratingtheabilityto:-Usevocalandphysicalexpressiontointerpretacharacter’sthoughts,feelingsandwants.-Userehearsaltimeeffectively.DOK:4
Pantomimecharactersgoingthroughtheirdailyroutineandsidecoachwithquestions:● Whatareyoueatingforbreakfast?● Areyoufeedingyourpets?● Whatareyouchoosingtoweartoschooltoday?
Afterthepantomime,askstudentstodiscusshowtheircharacterchoicesarealikeordifferentfromtheirownchoices.
DOK:3
Answerquestionsregardingcharacter:● Howoldareyou?
● Wheredoyoulive?
● Whatisyourfavoritehobby?
DOK2
2.Dramatizestoriesbringingaliveallidentifyingelementsofastory.
Performinateachernarratedstorydramatizationwherestudentsshowanunderstandingofcharacter,relationships,conflict,setting,actions,andplot.DOK:3
Fromthestory,describehowyoumatchthefollowing:● Settingswithaction
● Characterrelationships
● Conflictresolution
DOK:3
Sequencetheeventsinthestory.(5-7points)DOK:2
90
PerformanceStrand
PerformanceStandards
PerformanceTasks
PerformanceEvents
ConstructedResponseItems
SelectedResponseItems
3.Selectaudioandvisualelementstocommunicatelocaleandtoenhancethemoodofaclassroomdramatization.
Designandcreatevisualrepresentationsofthemoodofthestoryusingoneofthefollowing:● Collage● Crayondrawing
● Watercolor● Fingerpainting
● Setmodel● ShadowboxDOK:4
Measurearoomathome,createagroundplanandplacefurnitureaccordingtotheplan.DOK:2
Createaplaylistofmusicthatreflectsthemoodorspecialeffectsofthestory.DOK:4
Studentswillidentifythefollowingtheatricalelementsbasedonawellknownstory:● Whereisthisstorybestset?
● Whatisthemoodofthestory?
● Whatpieceofmusicbestfitsthescene?
● Whatcostumepieceisbestforthemaincharacter?
● 4points)Websiteforstories:http://www.worldoftales.com/andUsborneStoriesfromAroundtheWorld,IllustratedbyLindaEdwardsandRetoldbyHeatherAmeryDOK:2
Create
1.Recognize,identify,manipulate,andcreatepartsofastorythroughperformanceanddesign..
Usingstudenttableauxortheatrephotographs,createagroupresponseanalyzingelementsappropriatetothesceneincludingcharacters,costumes,lighting,sound,etc.DOK:4
Usingtableauxchangepartsofastoryanddiscussthealternativefollowingactionandending.DOK:3
Identifycharactersinthetableauxorphotographs.Describefromthetableauxorphotographs:
● Costumes● Props● Scenery● LightingDOK:1
91
PerformanceStrand
PerformanceStandards
PerformanceTasks
PerformanceEvents
ConstructedResponseItems
SelectedResponseItems
2.Paraphrase,memorize,performandimprovisedialoguetocreatestories.
Performshortplaysorstoriesinasequence:● Improvised● Withreaddialogue
● Withmemorizeddialogue
DOK:3
Improvisecharacterssolvingvariousconflicts.Reciteastorypoem.http://www.shelsilverstein.com/indexsite.htmlImproviseascenebasedonwrittenmaterialsuchasanewspaperarticleorjournalentry.DOK:3
Inpairs,assumecharactersandwriteletterstoeachotherbasedonarealevent.Retellastorytoldbytheteacher.DOK:3
3.Showvariedinterpretationsandcollaboratetodramatizestories.
PerformReader’sTheatremultipletimeswhilemakingchoicestochangesettingsandcharacters,andmakingchoicestoaddpropsandcostumes.WebsitesforReader’sTheatrescripts:http://www.thebestclass.org/rtscripts.htmlhttp://pinterest.com/judyhelton/readers-theater/DOK:3
CreategroupimprovisationsbasedontheReader’sTheatrescriptthatfurtherdefinecharacterrelationship,conflictresolution,andpropsandcostumes.DOK:4
Listmultiple:•Characters•Places•ActionsDOK:1
92
PerformanceStrand
PerformanceStandards
PerformanceTasks
PerformanceEvents
ConstructedResponseItems
SelectedResponseItems
Respond
1.Discussclassroomdramatizationsusingappropriatetheatricalvocabulary.
Translateandcommunicatewrittenstagedirectionsofashortsceneintothefollowing:-Designatedentrancesandexits-Interactionwithcostumes,props,andsets-Onstagemovements-OffstagespeakingDOK:2
Choosetheappropriatewords(multiplechoice)toidentify•Partsofthestage
(4points)•Effectivespeech(2points)•Effectivemovement
(2points)•Blocking(2points)DOK:1
2.Recognizeanddiscusstheroleoftheaudience.
Serveinboththeroleofperformerandaudience.Discusstheimportanceofeach.DOK:3
Identifyvaryingtheatrespaces:areasofthetheatre,thetypeoftheatrespaceandtheintendedaudience.DOK:2
Identifyappropriateresponsesatperformancesorpublicsettings:● Ballet● Jazzmusic● Footballgame
● Theatre● Movies(5points)DOK:1
3.Buildskillstocritiqueselfandothers’performance.
Performscenesandmonologuesforstudentaudience.DOK:4
Respondtoinclassdramaticwork,providingthoughtfulandrespectfulfeedbacktopeersrelatedto:-Projection-Diction-Physicalization-GestureDOK:4
Selectwordsfromawordbankthatdescribethestudentperformances.(5pointsperobservedperformance)DOK:2
93
PerformanceStrand
PerformanceStandards
PerformanceTasks
PerformanceEvents
ConstructedResponseItems
SelectedResponseItems
4.Recognize,discuss,andreflectuponhowtheatrereflectslifeinourownandothers’cultures.
Createastudentmade“theatrearoundtheworld”wallwithphotographsandarticlesofperformancesfromaroundtheworld.
Bringsomeofthephotographsalivethroughtableaux.Readplaysfromvariouscultures.Attend/watchlivetheatre.
Encouragestudentstowritetheirimpressionsofthe“theatrearoundtheworld”performancesandpostthemonthe“wall.”Writeajournalentryrespondingtoattendanceatalivetheatreperformance.Onlineperformances:http://www.metoperafamily.org/ondemand/index.aspx?icamp=mood&iloc=wllgbuckethttp://www.wolfgangsvault.com/concerts/http://www.mfa.org/explore/interactive-tourshttp://www.digitaltheahttp://www.digitaltheatre.com/
Identifytheplaceoforiginortypeofperformancepostedonthewall.(5points)
Table6.2.2
IllustrativeTheatreIdeasforAssessment–Grades6-8
PerformanceStrand
PerformanceStandards
PerformanceTasks
PerformanceEvents
ConstructedResponseItems
SelectedResponseItems
94
PerformanceStrand
PerformanceStandards
PerformanceTasks
PerformanceEvents
ConstructedResponseItems
SelectedResponseItems
Perform/Present/Produce
1.Practiceandleadvocalandphysicalwarmupsandfacilitateeffectiverehearsals.
Workinginanensemble,rehearseascene,ensuringparticipationbyallactorsthatincludesvocalandphysicalcharacterization,blocking,memorizationoflines,etc.DOK:4
Leadactorswarmupandparticipateinpeerledactorswarmupwithattentiontospecificelementsoffocusincludingbreath,voice,diction,movement,etc.175TheatreGames:Warm-upexercisesforActorsbyNancyHurley(Sep2009)DOK:2
Writeinstructionsforaparticularactor’swarmupthatfocusesonanidentifiedneedsuchasvoice,body,teambuilding,responsetime,etc.DOK:3Fromtheperspectiveofadirector,writeashortparagraphmotivatinganensembleofactorsduringarehearsal.DOK:3
SelecttheactingskillisthefocusofaparticularwarmupDOK:1Duringaneffectiverehearsal,actorsdisplaywhattypesofbehaviors?DOK:1
2.Demonstrateactingskillsthatreflectclearartisticchoices.
Performindependentlyamonologuefromaclassicorcontemporaryplaywithfocusondevelopmentofcharacter,objectivesandmotivation.-Usevocalandphysicalexpressiontointerpretacharacter’sthoughts,feelingsandwants.-Usestagemovementtocommunicatecharacterphysicality-Userehearsaltimeeffectively.DOK:4
Performinanensembleanimprovisedorscriptedscenewithfocusondevelopmentofcharacter,objectives,andmotivation.-Usevocalandphysicalexpressiontointerpretacharacter’sthoughts,feelingsandwants.-Usestagemovementtocommunicatecharacterphysicality-Userehearsaltimeeffectively.DOK:4
Usingtheprovidedsceneormonologue,writeacharacteranalysisthatincludescharactersthoughts,feelings,motivation,obstacles,andchanges.DOK:3
95
PerformanceStrand
PerformanceStandards
PerformanceTasks
PerformanceEvents
ConstructedResponseItems
SelectedResponseItems
3.Practiceandexplaintheinterrelatednatureofdesignincreatingappropriatedramaticenvironments.
Usingaselectedcharacterfromascript,createacostumeforthatcharacterusingquotesfromthescripttojustifychoices.(Potentialscripts:WillyWonkaandtheChocolateFactory,TheWatsonsGoToBirmingham,Annie)DOK:3
Usingaselectedpiecefromascript,sketchtheenvironmentdescribedanddocumentchoiceswithquotesfromthescript.(Potentialscripts:ShakespeareAMidsummerNight’sDream,Act5,Scene1orAliceinWonderland,TeaParty)DOK:3
Whatcostumebestfitsthegivencharacter?DOK2Whatscenicdesignbestincorporatesthedescriptionfromtheplaywright?DOK:2
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PerformanceStrand
PerformanceStandards
PerformanceTasks
PerformanceEvents
ConstructedResponseItems
SelectedResponseItems
Create
1.Discuss,examine,anddemonstratevarioustechnicalrolesinsupportofastory/script.
Demonstratetoanaudiencetheworkingsofthedesignusingatheatricalstageorscalemodel.DOK3
Usingascriptforaplay,createalightingplotorsetdesignforoneormorescenes.DOK4
Describetheroleofalightingdesigninthetransitionfromscenetosceneinaperformance.DOK:2Usingtheprovidedtextasareference,sketchacostumeforthegivencharacter.Justifyyourchoiceswithtextfromthereading.DOK:3Usingtheblankfacebelow,sketchlinestoprovideamake-upguideforan‘old-age’face.DOK:1
Whichpropshouldbeincludedforthegivenscene?DOK:1
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PerformanceStrand
PerformanceStandards
PerformanceTasks
PerformanceEvents
ConstructedResponseItems
SelectedResponseItems
2.Createmonologues,dialogues,andshortplaysthatreflectdramaticactioninresponsetoreallifeconflict.
Createandperformanoriginaldialogueorshortscenewithfocusondevelopmentofcharacter,objectivesandmotivation.-Usestoryarchtodevelopclearbeginning,middle,andend.-Usevocalandphysicalexpressiontointerpretacharacter’sthoughts,feelingsandwants.-Usestagemovementtocommunicatecharacterphysicality-Userehearsaltimeeffectively.DOK:4Createandperformindependentlyamonologuewithfocusoncharacterarch,developmentofcharacter,objectivesandmotivation.-Usevocalandphysicalexpressiontointerpretacharacter’sthoughts,feelingsandwants.-Usestagemovementtocommunicatecharacterphysicality-Userehearsaltimeeffectively.DOK:4
Presentoriginalscriptstoanaudienceviaperformanceorreading.DOK:3
Usingthecharacterdescriptionprovided,writeashortmonologueforthecharacterbeingsuretoincludedramaticactioninresponsetotheprovidedreallifeconflict.DOK:4
Identifytheconflictinthesituationbelow.DOK:1
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PerformanceStrand
PerformanceStandards
PerformanceTasks
PerformanceEvents
ConstructedResponseItems
SelectedResponseItems
3.Workcollaborativelytoexplainandapplytheelementsofscript.
Usingtheexampletext,annotatethe5elementsofthedramaticarchincludingexposition,risingaction,climax,fallingaction,resolution.DOK:2
Accordingtothewrittenselection,whatchoiceswouldbebestsuitedforthescene?DOK:2
4.Executevariedresearchmethodstoinformcreativedecisions.
Present,toanaudience,theresearchusedtoinformwritingoforiginalmonologueordialogue.
Selectoneofthefollowingimagestojustifycreativechoicesmadeforset,costumes,etc.DOK:2
Respond/Analyze
1.Describeanddiscusshowtheatrecansynthesizeseveralartformsintoadramaticstructure.
Afterviewingaplay,describehowavarietyofartformscontributedtotheimpactofthescene?IncludespecificexamplesfromplayasevidenceofunderstandingDOK:3
Usingthegivensetdesign,whatpieceofartinfluencedthedesign?DOK:3
2.Describeandanalyzeaudienceresponseandappreciationofdramaticperformances.
Workwithclassmatestodesignanddeliverameaningfulrubricforevaluationofperformance.DOK:4
Describetheroletheaudienceplaysintheatreperformance.DOK:2
99
PerformanceStrand
PerformanceStandards
PerformanceTasks
PerformanceEvents
ConstructedResponseItems
SelectedResponseItems
3.Practiceskillstocritiqueselfandothersperformance.
Reflectonownperformanceincludingstrengthsandopportunitiesforimprovement.DOK:2
4.Compareandcontrastthewaysinwhichmanycultureshaveusedtheatretocommunicateideasregardingthehumanexperienceandcondition.
UsingaVenndiagram,analyzetheexampleofafairytalefromdifferentcultures.Example:BrothersGrimmLittleRedRidingHoodandPrettySelma:ALittleRedRidingHoodStoryfromAfrica.DOK:3
Afterreadingthepassage,retellthestoryfromtheperspectiveofyourownculturalexperience.DOK:4
Table6.2.3
IllustrativeTheatreIdeasforAssessment–Grades9-12Performance
StrandPerformanceStandards
PerformanceTasks
PerformanceEvents
ConstructedResponses
SelectedResponses
Perform/Present/Produce
ApplySkillsandknowledgetoperforminthearts
100
PerformanceStrand
PerformanceStandards
PerformanceTasks
PerformanceEvents
ConstructedResponses
SelectedResponses
1.Analyze,practice.andpresentthephysical,emotional,andsocialdimensionsofcharactersfoundindramatictextsfromvariousgenreandmedia.
Selectatextandanalyzeafull-lengthscript.DOK:4
Conductacharacteranalysisfromadramatictext.DOK:3
Questionstoinvestigateelementsofacharacter-emotional-physical-motivationDOK:2
2.Effectivelycommunicatedirectorialchoicestoactorsanddesigners
Studentcreates,sets,anddirectsblockingforascene.DOK:3
Inapresentationtoyourclassmates,employavisualimage(photo,frontrendering,orfloorplan)ofasetfromatheatricalproduction.Discussthecriticalissuesforadirectorblockingaproductiononthissetting.DOK:4
101
PerformanceStrand
PerformanceStandards
PerformanceTasks
PerformanceEvents
ConstructedResponses
SelectedResponses
3.Applytechnicalknowledgeandskills,basedondramatictextandresearch,tocreatefunctionalscenery,properties,lighting,sound,costumes,andmakeup.
Createadesignprospectusforaproductionofyourchoicethatdefinesthecoreelementsofplot,period,andphysicalneedsofthesetting.DOK:4
Builda1’to¼”ScalemodelofatheatricalsettingDOK:3
Definetheconceptsofstructuralanalysisofplot.DefineProductionConceptDOK:1ListphysicalneedsofasettingDOK:1CollectimagesandreferencestosupportdesignConcept.DOK:3
Create
Applyskillsandknowledgetocreateinthearts
1.Collaboratewithactorstoconstruct,refineandrehearsescriptstoeffectivelycommunicatethestory.
Createastructuralandcharacteranalysisforafull-lengthplay.DOK:4Createarehearsalplanwithspecificblocking,gestural,movement,vocal,andemotionalnotations.DOK:4
Workwithcolleaguestomeetdemandsofthescript,incorporatingdirector’snotesinrevisionofscene.DOK:3
Definestructuralanalysisofplotandcharacter.DOK:2Definerehearsalplan.DOK:2DefineissuesofgestureandmovementDOK:2
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PerformanceStrand
PerformanceStandards
PerformanceTasks
PerformanceEvents
ConstructedResponses
SelectedResponses
2.Compareanddemonstratevariousclassicalandcontemporaryactingtechniquesandmethods.
Performtwomonologuesofcontrastingstyleandperiods.DOK:4
3.Developdesignsthatusevisualandauralelementsthatsupportandbringthetexttolife.
Createasoundscorethatprovidesabackgroundforadramaticsceneofyourchoice.DOK:3
4.Designcoherentstagemanagement,promotional,andbusinessplans.
Designanddeliverapresskitthatincludesaposter,pressreleaseandprogram.DOK:4
Respond Analyze,describeandevaluateworksofart.
1.Analyzetheeffectoftheirownsocialandculturalexperiencesontheirdramaticworkandevaluatethevalidityandpracticalityoftheinformationincritiquingproductions.
Asindividualscreateaperformanceevaluationrubricbasedonyourpersonalperspective.Sharethatrubricwithyourpeers,thendiscussthesimilarities,anddifferencesintheevaluativemethods.DOK:3
103
PerformanceStrand
PerformanceStandards
PerformanceTasks
PerformanceEvents
ConstructedResponses
SelectedResponses
2.Comparehowuniversalthemesaretreatedindramafromvariousculturesandhistoricalperiod.
Createadiaryofentriesforyourcharacterthatincludeshandwrittenreflectionsinthecharacter’svoiceaswellaspicturesofclothingchoices,locations,andeventsthecharactermayhaveseen.DOK:4
WriteacomparativeessayexaminingtheworksofearlyAfricanAmericans(Minstrel/JimCrow)tomodernworks(RaisinInTheSun/Ragtime/Fences).DOK:3
Definephysical,emotional,intellectual,andspiritualaspectsofhumanbehaviorastheyrelatetoacting.DOK:2
4.Analyzeandexplainknowledge,skills,anddisciplineneededtopursuecareersandvocationalopportunitiesintheatre,film,television,andelectronicmedia
Completeathoroughresearchonapersonofsignificancefromthetheatricalworld.Createaperformanceworkthatallowsyoutobecomethatperson,andexplaintheirimpactontheworldoftheatre.DOK:4
6.3 RangeofContentforAssessingTheatre–Intheatre,therearemanydifferentareasoffocuswherestudents
demonstrateexpertise.Somestudentsexcelinperformanceasanactor,othersasadesigner,othersasabuilderorasaplaywright.Stillothersmaybeabletodemonstrateproficiencyasacriticorobserver.Therearemanywaysofknowingtheatre.Thereforeweneedmanywaystoassesslearning.
Manyskillsintheatrearesubjecttoscaffolding,inthatthereisanexpectationthatstudentsgrowindepthofunderstandingandinperformancefromyeartoyearandexperiencetoexperience.Movingthroughaprogressionofcreating,performingandresponding,studentswilldemonstratedepthofknowledgeinavarietyofareas.Forsomestrands,therewillbemorethanonetypeofassessmentlisted.Insomeplaces,assessmentsmaybelinkedacrossstandardsandstrands.Forinstance,a“PerformanceEvent”thatassessesthe“Perform”or“Create”strandmaybeusedasthebasisfor“Constructed-response”inthe“Respond”strand.
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Selectionofmaterialsforuseinallgradesshouldkeepinmindissuesofqualityandcommunitystandards,whilemaintainingadiversityofartisticandculturalheritage.Classicorhistoricallysignificanttexts,aswellascontemporaryworksofcomparableliterarymerit,culturalsignificance,andrichcontentarepreferred.Educatorsshouldpayparticularattentiontoageappropriateness,accuracyofinformation,andexcellenceofpresentationinrecognitionofaschoolaudience.Thefollowingsourcesservetoexemplifythelevelofcomplexityandqualitythatthecurriculumrequiresofallstudentsinagivengradelevel.Additionally,theyaresuggestiveofthebreadthofmaterialthatstudentsmayencounterthroughouttheireducationintheatre.
Table6.3.1
ResourcesforTheatreatGradeSpanGradesK-2and3-5
Nelson-Mandelas-Favorite-African-FolktalesZoomyZoomy:ImprovgamesandexercisesforgroupsWebsiteforStorieshttp://www.worldoftales.com/• UsborneStoriesfromAroundtheWorld,IllustratedbyLindaEdwardsandRetoldbyHeatherAmery• CaldecottMedalandHonorBooks,1938http://www.worldoftales.com• ShelSilversteinworks:http://www.shelsilverstein.com/indexsite.html
WebsitesforReader’sTheatrescripts:• http://www.thebestclass.org/rtscripts.html• http://bms.westport.k12.ct.us/mccormick/rt/rtscriphome.html• http://pinterest.com/judyhelton/readers-theatre
Onlineperformances:• http://www.metoperafamily.org/ondemand/index.aspx?icamp=mood&iloc=wllgbucket
http://www.digitaltheahttp://www.digitaltheatre.com/• http://www.wolfgangsvault.com/concerts/http://www.wolfgangsvault.com/concerts/• http://www.mfa.org/explore/interactive-tours• http://www.metoperafamily.org/ondemand/index.aspx?icamp=mood&iloc=wllgbucket• http://www.digitaltheatre.com/
Grades6-8
• 175TheatreGames:Warm-upexercisesforActors,Hurley,Nancy,20119 ZoomyZoomy:Improvgamesandexercisesforgroups
• http://www.amazon.com/books/dp/0964235080
Onlineperformances:• http://www.metoperafamily.org/ondemand/index.aspx?icamp=mood&iloc=wllgbucket• http://www.wolfgangsvault.com/concerts/,http://www.mfa.org/explore/interactive-tours• http://www.digitaltheahttp://www.digitaltheatre.com/• http://www.amazon.com/books/dp/0964235080
TheSecondCityAlmanacofImprovisation• http://www.amazon.com/The-Second-City-Almanac-Improvisation/dp/0810118017
ImprovisationStarters• http://www.amazon.com/Improvisation-Starters-Philip-Bernardi/dp/1558702334• http://www.amazon.com/books/dp/0964235080• http://www.stratfordfestival.ca/education/teachers.aspx?id=1096
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• http://artsedge.kennedy-center.org/educators.aspxWorkscitedintheCommonCoreStateStandards,AppendixB:http://www.corestandards.org/assets/Appendix_B.pdfGrades9-12
ZoomyZoomy:Improvgamesandexercisesforgroups• http://www.amazon.com/books/dp/0964235080• http://www.amazon.com/Training-American-Actor-Arthur-Bartow/dp/1559362685AnActorPrepares• http://www.amazon.com/An-Actor-Prepares-Constantin-Stanislavski/dp/0878309837TheSecondCityAlmanacofImprovisation• http://www.amazon.com/The-Second-City-Almanac-Improvisation/dp/0810118017
ImprovisationStarters• http://www.amazon.com/Improvisation-Starters-Philip-Bernardi/dp/1558702334• http://www.amazon.com/books/dp/0964235080• http://www.stratfordfestival.ca/education/teachers.aspx?id=1096• http://artsedge.kennedy-center.org/educators.aspx
WorkscitedintheCommonCoreStateStandards,AppendixB:http://www.corestandards.org/assets/Appendix_B.pdfAmericanTheatreWing/Tony’s:
• http://americantheatrewing.com/theatrereferences/tr_research.phpIB:TheatreArts
• https://sites.google.com/a/ccsd.edu/theatre-arts-ib/WorkscitedintheCommonCoreStateStandards,AppendixB:
• http://www.corestandards.org/assets/Appendix_B.pdfAdditionalScriptstothoseintheCommonCoreStateStandards:
● TheCleanHousebySarahRuhl● BookofDaysbyLanfordWilson● FortinbrasbyLeeBlessing● KingLearbyShakespeare
6.4 NatureoftheScoringRubricsforAssessingTheatre
Rubricscanbeavaluedtoolininstructionbyprovidingguidancetothestudent.Rubricsdescribeforthestudentadirectionandvisionforimprovement.Arubrictellsushowanindividualscorerevaluatedaperformancetask,anevent,oraconstructed-responseitemandthelevelofqualityobservedbythescorer.Italsotellsuswhichareasoffocusareimportantwhenevaluatingwork.Objectivityishardtoachievewheneducatorsscoretheirownstudents.Personalpreferencesandbiasesmaybeinherentintheprocess.Rubricsaddressthischallengebydefiningindetaileachperformance.Inordertofairlycomparedifferentindividualsorprograms,thesamerubricshouldbeusedbythesamegroupofraters.Ifmorethanonepersonisusingascoringrubric,stepsshouldbetakentoimproveinter-raterreliability.Toyieldmoreaccurateandusefulinformation,itishelpfultousesamplesofstudentresponsestotrainscorers.Byaskingthemtoratepre-scoredexampleperformancesandthentotalkaboutthereasoningbehindtheirscores,differentindividualscanlearntoscorestudentworkinacomparablemanner,theessenceofreliability.Trainingcanalsobedonebyprovidingsomespecificsamplesofworkateachlevelthathelpsthescorerdifferentiatebetweenthelevelsofquality.
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Becauseofthesubjectivenatureofart,whenstudentsareaskedtocompleteperformancetasksoreventsandconstructedorselected-responseitemsandreflectontheirwork,theemphasisshouldbeonthe“rigorousinvestigationandinformedpersonalchoices”ofthestudentcreatingtheartortheartworkbeingrespondedtobythestudent(Vatsky,2008,p.14).
Table6.4.1SampleTheatreRubricforActing/PerformanceAssessments
Dimension 1 2 3 4
Voice:Volume ArticulationDynamics/Inflection
SpeakswithoutbeingheardLacksclarityinspeechMaintainsmonotone,displaysnoemotion
SpeakswithonlypartialabilitytobeheardPartiallylacksclarityinspeechMaintainsmonotone,usescontrivedemotionalelements
Speaks“tothebackoftheroom”WordsareallfullyunderstoodEmotionsclearlyembodythemotivationsofthecharacter
Createsapersonalinterpretationtoapointofrealizationusingpurposefulchoicesaboutvolume,articulation,dynamicsandinflectionSkillsandtechniquesareappliedatahighlevelofproficiency.Thestudentshowsanexcellentabilitytoapplytheartisticprocessesinvolvedincreatingart.
Body:PurposefulMovement/GrossMotor
Gesture/FineMotorSpatialAwareness
Nolocomotormovements
NogesturesNoevidenceofpurposefulmovementsorgestures
GesturesandmovementdonotreflectcharacterbutratherpersonalphysicalhabitsoftheperformerMovementsinterferewithmovementsofotheractors
Grossmotorchoicesarenotconsistentlymotivatedbycharacter.
Gesturesarenotconsistentlymotivatedbycharacter.
Movementsarenotconsistentintheuseofthespace.
Largemovementreflectscharactermotivation
Gesturesdemonstratecharacter
Movementdemonstratesunderstandingofspace
Createsapersonalinterpretationtoapointofrealizationusing.purposefulchoicesaboutPurposefulMovement/GrossMotorGesture/FineMotorSpatialAwarenessSkillsandtechniquesareappliedatahighlevelofproficiency.Thestudentshowsanexcellentabilitytoapplytheartisticprocessesinvolvedincreatingart.Employsgesturethatpresentssubtleandeloquentlevelsofcharacterization
Mind:PresentinthemomentStaysfocusedontask
Distractsotheractorsandaudiencefromsurroundingcircumstances
Createsdistractionunrelatedfrom
Isnotawareofthesurroundingcircumstances
Becomesdistractedfromthetask
Isawareofthesurroundingcircumstances
Isnotdistractedfromthetask
IsincontrolofthesurroundingcircumstancesIsincontrolofthetasksathand
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Dimension 1 2 3 4
surroundingcircumstances
RehearsalTime:PreparedContributesTakesDirectionActivere-drafting
UsuallyfailstobringmaterialsOftenfailstoattendrehearsalsOftenLeavesrehearsalsearlyorarriveslate
Doesnotrespondtoorignoresdirection
Bringsbasicmaterialstotherehearsal
Isactiveinrehearsalprocess.
Doesnotactondirectionorsuggestion
Littlechangefromoneattempttoanother.
Bringsmaterialstorehearsal
Participatesindiscussionsthatcontributetotherehearsalprocess
Demonstrateseffectivechangefromoneattempttoanother.
Changesonlywhenpromptedthroughdirection
BringsmaterialstorehearsalLeadsdiscussionsthatcontributetotherehearsalprocessLeadsdiscussionsthatassistinestablishingdirectionDemonstrateseffectivechangefromoneattempttoanotherwithdirectionorthroughowninitiative
Table6.4.2SampleTheatreRubricforReflectionandEvaluation
Dimension 1 2 3 4
CriticalReflection Thestudentdoesnotreachastandarddescribedbyanyofthedescriptors
Thestudentrecordshisorherartisticdevelopmentandprocesseswithlittlereflection.
Thestudentreflectscriticallyonhisorherartisticdevelopmentandprocessesatdifferentstagesofhisorherwork.
Thestudentreflectscriticallyanddeeplyonhisorherartisticdevelopmentandprocessesatdifferentstagesofhisorherwork.
Evaluation Thestudentdoesnotreachastandarddescribedbyanyofthedescriptors
Thestudentcarriesoutalimitedevaluationofhisorherwork,withguidance.
Thestudentcarriesoutagoodevaluationofhisorherwork.Theevaluationincludesanappraisalofthequalityofworkproducedandanidentificationofsomeareasofimprovement
Thestudentcarriesoutanexcellentevaluationofhisorherwork.Thisshowsaconsideredappraisalofthequalityofworkproducedanddetailsofimprovementsthatcouldbemade.
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Dimension 1 2 3 4
UseofFeedback Thestudentdoesnotreachastandarddescribedbyanyofthedescriptors
Thestudentusesfeedbackinhisorherartisticdevelopmentwithextensiveguidance,whichinformshisorherownartisticdevelopmentandprocesses.
Thestudentusesfeedbackinhisorherartisticdevelopmentwithlittleguidance,whichinformshisorherownartisticdevelopmentandprocesses
Thestudentintentionallyusesfeedbackinhisorherartisticdevelopment,whichshowsanappropriateconsiderationofhisorherartisticprocesses.
6.5. SummaryofAvailableTheatreAssessments
ThischapterprovidessummaryinformationofthenumberofassessmentsintheMAEIAassessmentpoolforeachgraderange(K-2,3-5,6-8,and9-12)foreachMAEIAperformancestandard.Atthehighschoollevel,additionalinformationprovidedonthenumberofperformancetasksandperformanceeventsdesignedforstudentsinLevels1,2,and/or3.AllassessmentsdevelopedbyMAEIAareavailableatwww.maeia-artsednetwork.org
6.5.1 OverviewThetypesofassessmentactivitiesmostappropriateforgaugingthenatureandextentoflearningintheartsrangefromexpansive,creativeprojectsthatunfoldovertimethatallowforcollaborativeworkamongsmallgroupsofstudents,tolargegroupassessmentactivitiesto“snapshots”ofstudentunderstandingatagivenmomentintime.Eachoftheseassessmentsprovidesawindowintostudents’creativeandcriticalthinkingandallowseducatorstousetheassessmentdatatoimprovetheirteachingwhileprovidingcriticalfeedbacktothelearnersastheyworktowardsimprovingvariousaspectsoftheirartisticskills.TherangeofactivitiesencompassesanappropriatebalanceofallthreeofthelearningmodalitiesintheCreate,Perform,Respondmodel.Whenconsideringtherangeandbalanceofassessmentactivitieswepaidcloseattentiontotheteachingsettingsandstructuresthatarecurrentlymostcommonintheatreprogramsinourstate.Becauseofthesubjectivenatureofart,whenstudentsareaskedtocompleteperformancetasksoreventsandconstructedorselected-responseitemsandreflectontheirwork,theemphasisshouldbeonthe“rigorousinvestigationandinformedpersonalchoices”ofthestudentcreatingtheartortheartworkbeingrespondedtobythestudent.(Vatsky,2008,p.14)
6.5.2 NumberofPerformanceEventsandPerformanceTasksAvailableinGradesK-2,3-5,6-8and9-12
Tables6.5.1through6.5.4showMAEIAtheatreassessmentitemsbygradelevel,K-2,3-5,6-8and9-12thatareavailableforuseinassessmentofthetheatre.
Table6.5.1indicatesthenumberofK-8MAEIAperformanceeventsthatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessments.www.maeia-artsednetwork
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Table6.5.1NumberofTheatrePerformanceEvents
GradesK-8Level Create Perform Respond TotalGradesK-2 1 0 1 2Grades3-5 1 2 6 9Grades6-8 3 3 5 11TOTAL 5 5 12 22
Table6.5.2indicatesthenumberofK-8MAEIAperformancetasksthatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessments.www.maeia-artsednetwork
Table6.5.2
NumberofTheatrePerformanceTasksGrades–K-8
Level Create Perform Respond TotalGradesK-2 1 0 1 2Grades3-5 2 0 5 7Grades6-8 1 0 3 4TOTAL 4 0 9 13
Table6.5.3indicatesthenumberofMAEIAperformanceeventsforgrades9-12thatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessments.www.maeia-artsednetwork
Table6.5.3
NumberofGrades9-12TheatrePerformanceEventsLevels1-3
PerformanceStandard Level1 Level2 Level3 TotalCreate 3 4 3 10Perform 4 0 2 6Respond 1 0 2 3TOTAL 8 4 7 19
Table6.5.4indicatesthenumberofMAEIAperformancetasksforgrades9-12thatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessments.www.maeia-artsednetwork
Table6.5.4NumberofGrades9-12TheatrePerformanceTasks
Levels1-3PerformanceStandard Level1 Level2 Level3 TotalCreate 0 5 1 6Perform 2 1 3 6Respond 3 0 1 4TOTAL 5 6 5 16
6.6ReferencesforTheatrePelligrino,ChudowskyandGlaser.(2001).KnowingWhatStudentsKnow: TheScienceandDesignof
EducationalAssessment
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IndianaContentStandardsforEducatorsretrievedfromhttp://www.doe.in.gov/sites/default/files/educator-effectiveness/fine-arts-theatre.pdf
MichiganArtsEducationBlueprintForAGoldStandardArtsEducationProgram,retrievedformwww.maeia-artsednetwork(2016)
Michigan.DepartmentofEducation.(2011).http://www.michigan.gov/documents/mde/CompleteVPAA_Expectations_June_2011_356110_7.pdf.
NewMexicoContentStandardswithBenchmarksandPerformanceStandardsretrievedfromhttp://www.ped.state.nm.us/standards/http://www.ped.state.nm.us/standards/
NorthCarolinaEssentialStandardsforTheatreArtsretrievedfromhttp://www.dpi.state.nc.us/docs/acre/standards/new-standards/arts/theatre/9-12.pdf
TheAmericanAllianceforTheatreandEducation(1994.).Nationaltheatrestandards.Retrievedfromhttp://www.aate.com/?page=NationalStandards.
TheatreStandards-TexasEducationAgency(2004)retrievedfromhttp://www.tea.state.tx.us/WorkArea/linkit.aspx?LinkIdentifier=id&ItemID=6061
SourcesforRubricsRogers,SpenceandGraham,Shari(2003).TheHighPerformanceToolbox:SucceedingwithPerformance
Tasks,ProjectsandAssessments3rdEdition,RenaissanceintheClassroom:ArtsIntegration
http://www.google.com/url?q=http%3A%2F%2Fwww.amazon.com%2FRenaissance-Classroom-Integration-Meaningful-Learning%2Fdp%2F0805838198&sa=D&sntz=1&usg=AFQjCNGYZc5oqQErubF1RGlhg_J3l4gF2g
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Chapter7
VisualArtsAssessmentSpecifications
7.1 DesignoftheVisualArtsAssessment–Throughavarietyofformativeandsummativeassessments,educatorscangaugestudentlearningandchartaneducationalcoursethatleadstostudentsuccess.IntheVisualArtsdiscipline,thisjourneycanbevisuallydocumentedthroughtheuseofacomprehensivestudentportfolioofwork.Usingaportfoliotochartstudentlearningcanshowaclearpathwayforstudentstoimproveastheyprogressintheirlearning(Stiggins,2007).Ongoingassessmentscantakemanyformsandshouldfitseamlesslyintoinstructionasa“diagnostictool,revealingwhatstudentshavelearnedandpointingout”bothstrengthsandweaknessesforeducatorstoaddress(Jackson&Davis,2000,p.65).TheMAEIAvisualartsassessmentsaredesignedwiththisinmind.Qualityvisualartsassessmentsexaminebothproductandprocessandareauthenticinnature.“Authenticassessmentmethodsconcentrateoncomplextasks”whichchallengesstudentstothinkbeyondtraditionalmethodsofquizzesandtests”(Jackson&Davis,2000,p.56).IntheVisualArtsthisincludes“alternativeassessmentproceduresthatareperformance-based”andgiveopportunitiesforstudentsandeducatorsto“discussorclarifyresponsesasonewoulddoinreallife”(Armstrong,1994,p.110).Theseapproachesencouragestudentstoself-assessoftenandfocusontheirownstrengthsandweaknesses,withinstructionandguidanceonhowtoachievepersonalgoalsandobjectives.Theassessmentmethodshavebeenselectedtoevaluatestudentunderstandingoflearningobjectives,aremeasurable,andreflectevidenceofstudentfamiliarity,mastery,andenduringunderstandings(Jackson&Davis,2000).Themoredifficultaspectsofstudentlearningtoassessaremetacognitiveskillsthatshowtheknowledgeofstudents’ownstrengthsandweaknesses,attitudes,andtheabilitytousethosetoachievepersonalgoalsandobjectives(Beattie,1998).Asstudentsprogressthroughgradelevels,theassessmentswillreflectamoresophisticatedsetofpromptstobeanswered.Thedemandsofthedisciplineinthecontentstandardsandbenchmarksincludetheproductionanddisplayofphysicalworksofart,aswellastheabilitytocritiqueandrespondtoworksofartmadebyself,peers,andartiststhroughouthistory.Attheelementarylevel,whilethereismoreinstructionsurroundingtheabilitytoidentifyandapplytheelementsandprinciplesofdesign,thesecomponentsarenottheemphasisofalllessons.Theelementsandprinciplesofdesignareusedasvisualvocabularytodiscusstheformalqualitiesofaworkofart,aswellastoassesscompositions.Theartsstandardsareoftenbroadinnatureandallowforflexibilitytoreflectthecultureandvalueswithinacommunityofeducatorsandlearnersbutthereisnotonecommoncurriculumorsetofassessmentsusedacrossdistricts.Keepingthatinmind,assessmentsofferedinanystatewidesystemshouldallowforflexibilitybeyondonespecificcurriculum.Instead,thefocuswouldbeonthecapacityofstudentstoexpressoverallfamiliarity,mastery,andenduringunderstandingsintheVisualArtsusingassessmentitemsthatauthenticallyaskstudentstorespondtoitemsthatreflecttheirunderstanding(Jackson&Davis,2000).Anauthenticvisualartsassessmentcouldconsistofaperformancetask(apainting,sculptureorotherartwork)withanaccompanyingconstructed-responseinwhichthestudentcouldexplainthework,andselected-responsesitemsthatquestionastudent’sadditionalunderstandingsaboutprocess,content,orcomposition.Bycreatingassessmentsthatrequirestudentstoaddresssimilarunderstandingsindifferentways,educatorscangetamoreholisticdiagnosisofstudentachievement.
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Performancetasksaregenerallymulti-stepprocesses,requiringpreparationandrevision,andarecompletedwithcritiqueorreflection(Armstrong,1994).Performancetasksallowstudentstodelveintotheirpriorknowledgeandapplywhathasbeenlearnedtorealworldsituations(Jackson&Davis,2000).Performancetasksaskstudentstouseskillsthathavebeenobtainedoverthecourseoftheirstudyinordertocompletetheitemoritemsbeingassessed.Likeaportfolioreview,aperformancetaskcanallowstudentstoinclude“initialdrafts,sketches...artworks”and“assessrealstudentwork/realperformance;arenotsimplyshortanswerstostandardizedtestquestions”(http://www.p12.nysed.gov/guides/arts/partIII1.pdf).Whenmakingart,artistsexperiment,edit,reflect,andrevise.Whenadaptingthisprocesstotheclassroom,self-assessmentencouragesstudentstoevaluatetheeffectivenessoftheirartandreviseaccordingly.Thistypeofinwardreflectioncanpositivelyimpactstudentmotivationandownershipoflearning.Self-assessmentsaremeaningfulforanyagegroup,eventheyoungestoflearners(Bingham,Holbrook&Meyers,2010).Educatorsnowhavemanydigitaloptionsforstoringworkingportfoliosandassessmentsoverthecourseofoneormanyyearsduringastudent’seducationcareer.Avideoofanelementaryartcriticismclassroomdiscussioncouldallowaneducatortoassessstudents’verbalobservationofformalproperties,makingcomparisons,respectingopinionsofothers,andprovidingreasonsforone’sopinions(Armstrong,1994).Educatorsshouldconsidertheresultsoftheassessmentschosenwhenplanningcurriculumandselectingteachingstrategies.Schoolsshouldestablishanassessmentsystemthatprovidesregularfeedback(Marzano,2003).Howthatmightlookinavisualartsclassroomdependsonthefrequencywithwhicheducatorsseestudentsandhowtheschool’sartseducationprogramisstructured.Inagoldstandardprogram,assessmentfeedbackisgivenatleastquarterly.Itmaynotbepossibleforcertifiedvisualartseducatorswhodonotseestudentsonadailybasistomeetthisexpectation.Effective,appropriate,andaccurateassessmentsoflargenumbersofstudentscanbeachallenge.Theassessmentsthatareemployedinthevisualartsclassroommaybeusedasatouchstoneforartsprogrammingandinformdistrictsofprofessionaldevelopmentneeds,aswellasdemonstrationofstudentunderstandingandgrowth.InFairfaxCountry,VA,artsassessmentsarenotusedtoevaluatestudents,butrathertoinformeducatorsanddistrictswithdatatohelpshapeprogrammingthatcoordinatesandcarriesoutthetenetsof21stCenturyteachingandlearning.Maiers,Angela,(2011)ArtsAssessments.Thisdocumentiswrittenwiththe“goldstandard”ofvisualartsprogramminginmind.
7.2 DescriptionoftheVisualArtsAssessments–Theseveraltypesofassessmentstobeusedinassessingstudentsinthevisualartsaredescribedandillustratedbelow.PerformanceTasksPerformancetasksshouldbecomprisedofmultiplecomponentsthatculminateinafinalproduct.Fortheseassessmentitems,educatorsandstudentsshouldbeprovidedwitharubricaswellasexamplesthathavereachedthearrayofscores(Jackson&Davis,2000).Therubricshouldprovidesufficientdetailtoguidestudents’effortsinthetaskandsamplesofstudentworktoprovidemoreindepthexamplesforhowtoproceed.Forexample,studentsmightcreateanoriginalworkofartthroughthedesignprocessof
1. Identifyingaproblem2. Planningpossiblesolutions3. Testingsolutionstodeterminebest4. Refiningdesignthroughtheuseofaprototype
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5. Completingaworkthatresultsinthesolutionofthedesignproblem6. Exhibitingthefinishedproductforfeedback.
Studentswhocompleteaperformancetaskmaydosooverseveraldaysorweeks.Thetaskmayconsistofmultiplestepsalongtheway.Inthevisualartsclassroom,itmaylookliketheprocessofcreatingaworkofartfrominceptiontoexecution,presentation,reflectionandself-assessment.Whenassessingaperformancetask,educatorsshouldlookatdesiredskillsandattributessuchas:• Composition• Craftsmanship• Creativity• CommunicationofContentThecriteriaforevaluationshouldbedescribedintherubric.Itshouldbespecificandmeasureableforeachdimension(http://sharepoint.nbps.org/Meritas/Meritas%20Art%20Awards%20Rubric.pdf).Assessmentsbasedonspecificconceptsshouldallowalsoforartcriticismandreflection.Performancetasksthatstudentscompleteinthevisualartscouldconnectacrossthearts(dance,theater,music)aswellasothersubjects.Bythinkingandworkingasartists,studentswillexperienceavarietyofmediaandartforms.Studentsasperceiversofartcanfindmanywaystoseeandthinkaboutartintheirdailylives(Stewart&Katter,2009).
Figure7.2.1
SampleVisualArtsPerformanceTaskCreateGrade8
MAEIAAssessmentV.T306DesignaChair
Forthisassessment,studentswilleachdesignandbuildasmall(aboutsixinchestall)modelofachairusingcardboard,paint,andcommonlyfoundobjectsandcraftitems.Thechairwillbedesignedforanactionfigureorsmalltoythatisbetween6"and12"tall(teacherprovidedorstudentsbroughtfromhome).Thegoalwillbetousethedesignprocesstocreateafunctional,ergonomicchairfortheactionfigureorsmalltoyselected.• Day1willbeusedforawrittenassessmentofthestudents’recognitionandinterpretationofvisual
characteristicsandorganizationalprinciples.• Days2–3willbeforconstructionofthechairs.• OnDay3,studentsmaybegintopainttheirchairs.• Day4willbeforthefinalcoatsofpaintandfinishingtouches.• Day5willbefortesting,orreflectingonthechairs.
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Figure7.2.2SampleVisualArtsScoringRubricforMAEIAAssessmentV.T306
DesignaChairCreateGrade8
Dimension 1 2 3
Empathize,Define,andIdeate
Studentdefinedoneproblembasedontheneedsoftheuser.Studentbrainstormedonesolution.
Studentdefinedtwoproblembasedontheneedsoftheuser.Studentbrainstormedtwosolutions.
Studentclearlydefinedthreeormoreproblemsbasedontheneedsoftheuser.Studentbrainstormedthreeormoresolutions.
Prototype
Studentusesthedesignprocesstocreateachairthataddressessolutionsforoneneedoftheuser.
Studentusesthedesignprocesstocreateachairthataddressessolutionsfortwoneedsoftheuser.
Studentusesthedesignprocesstocreateachairthataddressessolutionsforthreeormoreneedsoftheuser.
MaterialsandProcesses
Thereisnoevidenceofanefforttosolvethedesignproblemthroughselectionofvaryingqualitiesofmaterials,techniques,mediatechnologyandprocesses.
Thereissomeevidenceofanefforttosolvethedesignproblemthroughselectionofvaryingqualitiesofmaterials,techniques,mediatechnology,andprocesses.
Thereisclearevidenceofanefforttosolvethedesignproblemthroughselectionofvaryingqualitiesofmaterials,techniques,mediatechnology,andprocesses.
TestingandReflect Studenttestedthechairbutdidnotidentifywhatworkedorwhatdidn’tworkinthechair.
Studenttestedthechairandidentifiedwhatworkedandwhatdidn’tworkinthechair.
Studenttestedthechairandclearlyidentifiedwhatworkedandwhatdidn’tworkinthechair.
District(emailfromAmyMee,2013),andBHSVisualArtsRubric(http://sharepoint.nbps.org/Meritas/Meritas%20Art%20Awards%20Rubric.pdf))PerformanceEventsPerformanceeventsareitemsthatreflectunderstandingofastageoraspecificcomponentintheprocessofcreatingaworkofartandtakelesstimetocompletethanaperformancetask.Theymaybefinishedworksofartorhighlightaspecificstageinartproduction.Aperformanceeventasksstudentstocompletetheassessmentactivityina30-60minutetimeblock.Forexample,astudentmaybeaskedtocreateasetofthumbnailsketchesthatrepresentaseriesofemotions.
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Throughtheuseoftheelementsandprinciplesofdesign,studentswouldbeabletoconjuresmalldrawingsthatevokeanarrayofemotionsthroughtheuseofvisualchoices.PennStateUniversityLaureateandCeramistChisStaleyexplainsinavideoseriescreatedfortheUniversitythatwhengradingart,fourmaintargetscanbeevaluated(Marshall,2012).Inturn,whenassessingaperformanceitem,educatorsshouldincludethesetargetsintheirrubricforevaluatingstudentwork:• Composition• Craftsmanship• Creativity• CommunicationofConcept
Figure7.2.3
SampleVisualArtsPerformanceEventRespond
Grades9-12
MAEIAAssessmentV.E413DreamHouseDesign
Studentsdesignadreamhousethroughaseriesofquicksketches.Theyareaskedtoaddressthepracticalfunctionsofahouse,aswellas“qualityoflife”features,suchasactivityspacesandexcitingorattractivedesignfeatures.
Figure7.2.4SampleVisualArtsScoringRubricforV.E413DreamHouseDesign
RespondGrades9-12
Dimension 1 2 3 4
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Dimension 1 2 3 4
Creativity(Form)Applythecreativeprocesstoproblemsolvewithinsightandreason.
Thestudent’sideaslackcreativity.Veryfewnewideas;re-hashofconventionalthinking;ideasclichéd.Unabletotakearisk.
Thestudent’sideasaresomewhatcreative.Somenewideasaregenerated.Followstypicalorconventionalstylesandplansofhouses.Allspacesaregeometricshapes,i.e.,squaresandrectangles.Rarelytakesarisk.
Thestudent’sideasarecreative.Recognizesconventionalthinkingandcomesupwithsomealternatives.Someconsiderationofunusualgeometricspaceshapes,orsomeuseoforganicspaceshapes.Takessomerisksinform,style,and/orcontent.Includesafew“qualityoflife”features.
Thestudent’sideasareunusuallycreative.Recognizesconventionalthinkingandcomesupwithmanyalternatives.Unusualuseofshapeincludessignificantuseoforganicshape,notsolelygeometricshapes.Includesalargenumberofinnovativeor“qualityoflife”featuresbeyondthepracticalfunctions.Takesrisksinform,style,and/orcontent.
DesignSolutions(Function)Allparametersofproblemareconsidered.Practicalconsiderationsofeverydaylivingareaddressed:sleepingareas,bathrooms,diningareas,lighting,movement,doors,hallways,andergonomiclayout.
Lessthantwopracticalfunctionsofthehouseareconsidered.Layoutismostlyawkwardorill-conceivedforeverydayuse,suchasnobathroomnearbedrooms,kitchentoonearbedroom,noisyareasnearsleepingareas,etc.
Lessthanfourpracticalfunctionsofthehouseareconsidered.Layoutissignificantlyawkwardorill-conceivedforeverydayuse,suchasnobathroomnearbedrooms,kitchentoonearbedroom,noisyareasnearsleepingareas,etc.
Fourorfivepracticalfunctionsofthehouseareaddressed,includingessentialfeaturesofbathrooms,sleepingareas,andkitchenarea.Mostfeaturesarewellplannedforpracticalconsiderations.
Asignificantnumber(sixormore)ofpracticalfunctionsofthehouseareaddressed,suchaswindows,doors,andfurnishings.Includesincorporationoflandscapefeaturesandothers,suchasaccessbycarorwalking,bathrooms,kitchen,anddining,andsleepingareas.Allfeaturesarewellplannedforpracticalconsiderations.
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Dimension 1 2 3 4
PlanningDocumentsshowacompletevisioninmultipleviewsandformsforaviablesolutiontoproblem.
Singleviewofthehouse;minimalornolandscapefeatures.
Twoviewsofthehouse;minimalornolandscapefeatures.
Threeviewsofthehouse;mostspacesclearlylabeled;minimalornolandscapefeatures.
Multipleviewsandformsareused(threeormoreviewsofhouse);allspacesclearlylabeled;includesmultiplelandscapeorothercontextualfeatures.
Constructed-ResponseItemsConstructed-responsesforvisualartsstudentsmeasurethestudents’capacityandabilitytoeffectivelycomposeresponsestoassessmentactivitiesbyapplyingverbaland/orvisualliteracyskills.Compareandcontrastquestionsonvariousartmovements,materials,processes,orspecificworksofartareonetypeofconstructedresponsequestion.Forexample,studentscouldbeshowntwoworksbytheartistPabloPicasso(onepaintingfromhisBluePeriodandoneofhisCubistcollagepaintings)andaskedtocomparetheworksbysubjectmatter,materialsused,compositionalqualities,orhistoricalsignificance.Inthisinstance,studentswouldbeaskedtoevokeastronglevelofvisualliteracywhenapplyingvocabularyandconceptstorespondtohowtheworksaresimilarand/ordifferent.
Figure7.2.5SampleConstructed-Response
PerformGrade5
MAEIAAssessmentV.T203CreatingDigitallyAlteredBackgroundImagesSampleConstructed–Response
1. Givethreeexamplesofhowdigitalcamerasandcomputerscanbeusedtoalterthecontentofanimage.
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
Whenassessingstudents’responsestotheseitems,educatorsshouldlookatthedimensionsshowninthecorrespondingrubricforMAEIAAssessmentV.T203.
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Figure7.2.6SampleTeacherScoringRubricforConstructed-Response
PerformGrade5
Dimension 1 2 3 4
ProvidingExamples Studentprovidesoneexample.
Studentprovidestwoexamples.
Thestudentprovidesthreeormoreexamplesofhowthistechnologychangedthewaysinwhichphotographerscanalterphotographs.
Onepotentialassessmentitemthatallowspersonalreflectionthroughaconstructed-responseisMAEIAV.E310Monuments.Inthisassessmentstudentsareaskedtoviewexamplesofmonuments,chooseoneexampleandwriteashortinterpretationofit.Theythencreateadrawingoftheirownideaforamonument,designedtoreflectastyleandcultureoftheirchoiceandwriteareflectionontheintentoftheirdesign.
Figure7.2.7SampleVisualArtsPerformanceEventwithEmbeddedConstructed-Response
RespondGrade6
MAEIAAssessmentV.E310Monuments
Studentsviewsixexamplesofmonumentsfromavarietyofculturesthroughouthistory.Theychooseoneexampleandwriteashortinterpretationofit.Theythencreateadrawingoftheirownideaforamonument,designedtoreflectastyleandcultureoftheirchoice.Afterward,theywriteashortreflectiondescribingthecultureandtheintentoftheirdesignbyrespondingtothefollowingquestions:
1. Whatcultureorsocietyisyourmonumentfor?2. Wherewillyourmonumentbebuilt?3. Howdoesthewayitlooksreflectthecultureorsociety?4. Whatisthefunctionorpurposeofthemonument?
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Figure7.2.8SampleVisualArtsScoringRubricforV.E310Monuments
RespondGrade6
Dimension 1 2 3 4
Form—PhysicalMaterials/BuildingMethodsAssociateswithmeaninginfourways:1. Approximateage/era2. Approximate
location/place3. Economic/technological
resources(industrialorpre-industrial)
4. Meaningsbasedonmaterials
Form—SocialContentAssociatesforms,images,and/orshapeswithmeanings:nationality,events,orother.Function—UsesDescribesauseoruses:memorial,ritual,inspirational,orother.
TherearenoassociationsfromthelistsintheFormorFunctiondimensions.
ThereisoneassociationwithformorfunctionfromthelistsintheFormorFunctiondimensions.
TherearetwoassociationsfromthelistsintheFormorFunctiondimensions.
TherearethreeormoreassociationsfromthelistsintheFormorFunctiondimensions.
Reflection Oneofthefourquestionsareaddressed,ortheanswersclearlydonotcorrespondtothedrawinginanyway.
Twoquestionsareaddressedandclearlycorrespondtothedrawing.
Threequestionsareaddressedandclearlycorrespondtothedrawing.
Allfourquestionsareaddressedandclearlycorrespondtothedrawing.
Selected-ResponseItemsSelected-responseitemsconsistofaquestionwithavarietyofpredeterminedresponses,oneofwhichiscorrect.Multiple-choiceitemsarethemostcommontypeofselected-responseassessment.Whenquestioningstudentsthroughtheuseofselected-responseitemsintheVisualArts,oftentimesitistocheckforunderstandingoffacts,contentknowledge,orprocesses(DOK1and2)buttheseitemsmayalsobeusedtodifferentiate,compare,orhypothesize(DOK3).Studentscouldrespondtoanimage,awritten
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question,oracombinationofboth.Questionscouldaskstudentsaboutspecificuseoftheelementsandprinciplesofdesign,artists,artmovements,applicationofmaterials,useoftechnologies,aswellasinterpretationofsubjectorstyle.
Figure7.2.9SampleSelected-Response
RespondGrades9-12
MAEIAAssessmentV.E413DreamHouseDesignSampleSelected-Response
1. Whichofthefollowingisanexampleofadesignthatcombinesformandfunction?
TheRosaParksBus”©byTheHeidelbergProject,www.heidelberg.org.
2. Whichofthesearenotnecessaryfunctionalfeaturesofhomedesigns?
A. Thebathroom
B. Thekitchen
C. Bedroomsuites
D. Sleepingarea
A.
http://www.fotopedia.com/items/flickr-2763228213
B.
ModulusLoungeChairbyAndyGregg,usedwithpermission.http://www.bikefurniture.com/
C.
http://www.flickr.com/photos/duchamp/28640948/
D.
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Thistypeofquestioningisaskingforstudentstorecallandapplyinformationgainedthroughaninvolvementinthevisualartsclasstospecificsetsofpromptsthathavepre-setanswersprovided.
7.3 RangeofContentforAssessingVisualArts–Studentsinthevisualartsaretobeassessedwithincreasinglymorechallengingitemsastheygrowindevelopmenttoreflectknowledgeandskillsdevelopedthroughqualityinstructionintheclassroom.Becauseofthesubjectivenatureofart,whenstudentsareaskedtocompleteperformancetasks,performanceevents,andconstructed-responseitemsandreflectontheirwork,theemphasisshouldbeonthe“rigorousinvestigationandinformedpersonalchoices”ofthestudentcreatingtheartortheartworkbeingrespondedtobythestudent(Vatsky,2008,p.14).StudentswillbeassessedingradesK-2,3-5,6-8,and9-12usingitemsdevelopedtoassesstheperformancestandardsofcreate,perform,andrespond,alldelineatedfromtheStateofMichigangradelevelexpectationsofperform,create,analyze,analyzeincontext,andanalyzeandmakeconnections.AsaresultofcompletingtheMAEIABlueprintandassessmentitems,educators,students,andthegreaterschoolcommunitywillbeabletogainabetterperspectiveofVisualArtsperformancebyexaminingboththeschoolartseducationofferingsandstudentachievement.Studentsatallgradelevelsparticipatinginthevisualartsareabletoperformandparticipateinactivitiesthatwillhelpthem“movebeyondthe‘Ilikeitthatway’statementastheyareencouragedtoreflectontheirownandtheworkofothers,”bydevelopingtheabilitytoarticulateobservationswiththeappropriatevocabularytosupporttheirthoughts(House,2008,p.49).Inaddition,visualartsstudentsshouldbuildportfoliosofworkthatshow“evidenceofacreativelyfertileandinquiringmind(s)”predominantlythroughvisualswiththeaccompanimentofartiststatements(Colston,2008,p.116).Inordertoassessthistypeofcapacityinastudent,visualartsassessmentsmustbeactiveinnatureandallowstudentstoexecutebothlong-termandshort-termartmakingtasksandevents,aswellasencouragestudentstoengageinthediscussionabouttheirownworkandtheworkofothersthroughconstructedandselected-responseitems.Throughout,studentsshouldbeinvolvedwithlookingattheirownportfolioofwork,curatingits’contenttodemonstratelearning,andexpressthatthroughwritingorvisualresponse.Thecontentoftheassessmentsshouldoverlapasmuchaspossibleinordertogetafullrangeofwhatstudentsunderstandandcandemonstratetheirabilitytoperform,create,andrespondinthevisualarts.Ineachofthegradelevelassessmentsshowninfigures5.2.1to5.2.4thereareitemsthatintersectoroverlapincontentorprocess.Forexample,inthegrade5suggesteditems,studentscreatepreliminarysketchesthatconveyunderstandingsofelementsandprinciplesofdesigninaperformanceeventthatcanthenbeusedlaterfortheperformancetaskthatasksstudentstocreateaworkofartbasedonapersonalexperience.Thistaskisreflecteduponinaconstructed-responseiteminwhichstudentsaretogiveanartiststatementthatreflectsontheformalqualitiesoftheworkaswellasotherpossiblesolutions.Withintheseseparateitems,studentsarebeingaskedtoperform,create,andrespondaroundasimilartopic,helpingbotheducatorsandstudentsexamineitemsfrommultipleperspectivesbecause“learningisenhancedwhenstudentsarepresentedwithtasksthataresimilarenoughforthemtoascertaintheirsameness”(Marzano,2003,p.112).Thisoverlapofcontentinassessmentitemsholdstrueforeachofthegradelevelsbeingaddressedinthisdocument.Becauseoverlapofcontentisencouragedinthevisualartsassessment,itemsmaycontaincontentfrommultipleexpectations.Forexample,whenstudentsarebeingaskedtorespondtoworksofarttheyhavemadeorworksthathavebeenmadethroughouthistory,studentsmayrelyontheirexperienceandunderstandingoftheperformancestandardsofperformandcreatetoanswertheitems.Inthesamerealm,studentsbeingaskedtoperformorcreateinthevisualartsmayreflectontheprocedurallearningandmodifyprocessesbasedonworktheyhaverespondedtothroughtheexaminationandpracticeintheclassroom(Marzano,2003).Thisbackandforthbetweencontentknowledge,procedure,andapplicationcanbeanaturaloccurrenceinthevisualartsdisciplinebecauseitallowsstudentstheopportunityto
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demonstratemetacognitivecontrolthroughshowingmasteryoverthecomponentskillsandtheircomplexinteractionswhenappliedthroughaprocess(Marzano,Pickering,&Pollock,2001).Asstudentsevolvethroughtheireducation,thetasks,events,constructed,andselected-responsesitemsshouldreflectanincreaseinabilitytodemonstrateproficiencyinthevisualarts.GradesK-5Inkindergartenthroughgradefive,creationisatthecoreofvisualartsinstruction.Childrenexperimententhusiastically,exhibitasenseofjoyandexcitement,andlearntomanipulatewiththeirhandsandmindswhileexploringthevisualworld.Whenoutlinedinthegradelevelcontentstandardsandbenchmarksinthevisualarts,studentslearntoworkwithvariousmedia,toolsandprocessesasskillsaredevelopingforstudentstoexpresstheircreativitythroughvisualizations.Studentsinvolvedinvisualartscurriculumovertimegrowintheirabilitytointerpret,evaluateandrespondtoart;therefore,studentassessmentsbytheendofgradefiveshouldfocusontheemergingdevelopmentofaportfoliofromtheoutcomeofstudiolessons,aswellastheapplicationandunderstandingofartconceptsthatincludeperform,create,andrespond.Contenteligibleforuseunderthegrade5visualartsassessmentincludeitemsthatdemonstratestudentunderstandingofsafeuseofmaterialstocreateartworkinavarietyofmedia.Thismayincludepencil,paint,clayandothersculpturematerials,cutpaper,pastels,anddigitalmedia.Artworkshouldreflectanunderstandingoftheapplicationoftheelementsandprinciplesofdesign.Forexample,studentscoulddemonstratethisthroughthemanipulationofmediatoshowdepthina2-Dworkusingshading,overlapping,andthebeginningelementsofperspective.Atgrade5,studentswouldnotbeexpectedtohavemasteredthemediachosennorits’manipulation,butinsteaduseitatanemerginganddevelopingskilllevel.Inthecreationofadrawingorpaintingusingavaluescalethroughshading,forexample,acompleterangefromlighttodarkmaynotbeachieved.Instead,tobeconsideredproficient,studentswouldshowunderstandingthroughtheapplicationofsomekindofrangefromlighttodarktodemonstratethebeginningunderstandingsofhowalightsourceimpactswherethelightordarkvaluesexistwithinacomposition.Thissameexpectationofunderstandingcouldbeappliedtoothermedia,conceptualknowledgeoftheelementsandprinciplesofdesign,aswellasworkcreatedbyavarietyofartiststhroughouthistory.Specificcontentreferencedshouldbeflexibleandreflectthecultureoftheschoolcommunityaswellasbothtraditionalandemergingpracticesinvisualartsinordertoproperlyengagethestudentbeingassessed(Melaville,Berg,&Blank,(http://www.communityschools.org/assets/1/AssetManager/CBLFinal.pdf).
Grades6-8Asstudentstransitiontogrades6-8,itshouldbe“recognizedthatyoungadolescentsarenotsimplyolderK-5levelstudentsnoryoungerstudentsingrades9-12,butthattherearedramaticchangesthatoccurduringthis“timeoflife”whichimpacthowstudentslearnandprocessinformation(Armstrong,2006).Sincestudentsaregoingthroughphysical,social,hormonal,andemotionalchangesduringtheyearsspentingrades6-8,itisimportantthatcurriculumisflexible,personalized,andactiveinnature(Armstrong,2006).Thesamecanbeappliedtotheassessmentsgiventostudentsdemonstratingtheircapacityatgrade8inthevisualarts.Accordingtothevisualartscontentstandardsandbenchmarks,studentsingrades6-8shouldbeabletoselectthemedia,techniquesandprocessestogenerateideasforartisticexpression,analyzewhatmakesthemeffectiveincommunicatingideas,andreflectupontheeffectivenessoftheirchoicesandthechoicesofothers.
Onewaytodevelopskillsisthroughpractice.Asketchbookcanprovideaplaceforstudentstopracticeandworkthroughideasasthey“consideroneormoreissues,forms,orideasthroughcritical,historical,andaestheticinquiry;visualexaminationandnotetaking;personalreflection;andcreativevisualexpression”(Anderson&Milbrandt,2005,p.173).Sketchbookscouldbeusedasaformativeassessmenttoolincoordinationwithportfoliodevelopment.Bygrade8,studentsparticipatingintheVisualArtsshouldhave
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aportfoliothatdemonstratesthedevelopmentoftheseskillsovertime.Studentportfoliosshouldcontainworkthatculminatesfromtheevolutionofdemonstratingemergingabilitiesandunderstandingstoamoresophisticatedapplicationofbothchosencontentandappliedmediathathelpillustratethestandardsofperform,create,andrespond.
Contentappropriateforuseinthegrades6-8assessmentitemswerecreatedtoshowamorecomplexunderstandingandagreatercapacitytocreate,perform,andrespondinthevisualartsthanthegradesK-2,3-5,6-8and9-12assessments.Toreflectthechangingnatureofadolescents,assessmentitemsareopenforstudentinterpretationandultimatelyallowthecreativeexpressionandchoiceofthestudenttodrivethedirectionofthefinalworkscreated.Byofferingstudentstheabilitytospendalongeramountoftimeparticipatinginsimilarthemedactivitiesthatbuildintoapersonallyreflectivework,thisassessmentisbothdevelopmentallyappropriateandchallengingforthisagegroup.Thistypeofassessmentitemoffersbothstudentsandeducatorsagoodunderstandingoftheirperformancelevelwhencompletebecauseitusesmultipleperformancestandardswithinthetotalityofthetask.Becausestudentsaredifferent,itisnotexpectedthatallstudentswillcreatethesameworkinthesameway.Thisiswherethedevelopmentofaportfolioisimportant.Insteadofgettingoneactivitytoworkononeday,aportfoliooffersbothstudentsandeducatorsamoredevelopedunderstandingofhowindividualstudentshaveprogressedovertimeandmeasuresstudentgrowthagainsttheindividualstudentinsteadofagainstanideal(Colston,2008).Withthatinmind,contentusedforthegrades6-8assessmentsshouldbeflexibletoreflectstudentinterests,aswellasthecommunityinwhichtheyexist.HighSchoolOncestudentsreachhighschool,visualartscontentexpectationsdemandmoreofthembothintheirabilitytodemonstratemasteryofmaterialsandthecommunicationofintendedcontent.Inaschoolwitha“goldstandard”program,visualartsstudentswhocompleteallthecourseworkshoulddemonstratecompetenceinallstrands,butmayexcelinoneormultiplestrands.MasteryofthematerialsdependsonexposuretothevariousmediaoverthecourseoftheirK-12educationandshouldbeaconsideredwhenevaluatingprogressineachdistrict(Chapman,1978).Studentsinhighschoolwhoareparticipatinginthevisualartsassessmentshoulddemonstrate,throughtheuseoftheirportfolios,evidenceofmasterythatincludestheplanning,research,andexecutiontocompleteavarietyofitems.Theyshouldalsodemonstrateunderstandingandapplicationofvocabulary,arthistory,andconceptsthroughtheperformanceeventsandtasksembeddedintothemakingofart.Brainstorming,sketches,critiques,andfinalartworkareallapartofthestandardsofperformandcreatethatarecategorizedaseventsandtasks.Atthislevel,proficiencyinrespondingtoaworkofartisshownbyastudent’sabilitytoapplyresearchandcritiquetechniquestoanalyzeartincontextusingcorrectterminology.Studentsarealsoabletoparticipateingroupcritiques,makepresentations,researchtheroleofartanddesignthroughouthistory,anditsapplicationinmodernlifeandpotentialcareerpaths(McDonald,R.E,&Healy,S.D.,1999).Theperformancestandardofrespondmaybestbemeasuredattimesusingconstructedorselected-responseitems,suchaswritinganessayaboutanartistormakingapresentation(bothconstructed-responses)ormatchinganartisttoaworkofart(selected-response).Contentappropriateforuseinvisualartsassessmentatgrades9-12reflectsabroadscopeofmaterialsandcontentusedtocommunicatevisuallythroughthecreationandexaminationofart.Studentscoulddemonstrateaprogressioninlearningthroughtheuseofaformativeandsummativeportfoliothatincludessketchesandplanningaswellas“collectionsoffinishedproductsthatgiveindicationsofabilities.”(Gruber,2008,p.44)Bygivingmorelocalcontroltoeducatorsandstudentstodeterminecontentincludedinanexhibitionorportfolio,anassessmentofthosecomponentscouldbemorereflectiveofwhetherornotastudentisdemonstratingmasteryofaspectswithinthevisualartscoursestaughtwithinvaryingschool
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districts.Basedonthegradelevelexpectationsinthevisualartsdiscipline,assessmentsandactivitiesleadinguptoorinvolvedwiththoseassessmentscanreflectagradualreleaseofresponsibilityfromeducatortostudent.Whenstudentsareattheendof5thgrade,theyhaveacquiredskillsthroughwatchingeducatordemonstrations,participatinginhands-onactivities,andgrouplevelcritiques.Bytheendof8thgrade,studentshavehadmoreexperiencewithworkingonthoseskillsaswellasincorporatingmorepersonalizedcontentandstyleintoaworkingportfolio.Whenreachingthecapstoneofassessmentsatgrades9-12,studentsshouldbeabletoputintopracticetheskillsandunderstandingstheyhavelearnedoverthecourseoftheirvisualartseducationtoindependentlysolveproblemswithmaterials,methods,andcontentoftheirchoosingandbuildaportfoliothatdemonstratesconcentration,breadth,andquality.Thisgradualreleaseofresponsibilitywhere“learningshiftsfromteacher-directedinstructiontostudentprocessingactivities”createsanassessmentscenariothatleavescontentnegotiablebetweeneducatorandstudent,increasinglyshiftingallresponsibilitytothestudentovertime(Levy,Ellen,2007,http://www.sjboces.org/doc/Gifted/GradualReleaseResponsibilityJan08.pdf).TodetermineeligiblecontentforvisualartsassessmentsingradesK-2,3-5,6-8and9-12,referencethecriteriaandstandardsforpreparingandobtaininganLQEndorsementinVisualArtsEducation(http://www.michigan.gov/mde/0,4615,7-140-6530_5683_6368-24835--,00.html)throughtheStateofMichigan.Theinclusionofusingtraditionalandcontemporaryartmakingprocessesinthestudio,aswellasthecreativeprocessesandtechniquestoparticipateinthevisualartsisnotedasapartofthestandardsforvisualartseducatorsandcouldbeincludedwhendesigningassessmentsforstudents(2001,pg.4).Westernandnon-westernartandartistsshouldbeexploredfrombothtraditionalandcontemporaryperspectives.HelpfulresourcesforfindingtheseartistsincludeScholasticArtMagazines(http://art.scholastic.com)andthePBSresourcethatexploresArtinthe21stCentury,Art21(http://www.pbs.org/art21/).Inadditiontoconsideringhistoricalandcontemporaryperspectiveswhenobtainingcontentforvisualartsassessments,adiverserepresentationofgender,race,andethnicityintheartistsused,aswellasanarrayofgenresforworkbeingreferencedwasused.Amixofworkthatreflectedtenantsofhighart,popularculture,folkart,andcommunity-basedartcreatedusinganarrayofmediawereconsideredwhendevelopingtheassessmentitems.Thesamewastrueforthetypesofworkstudentsareaskedtoperformandcreate;exposingstudentstoanarrayofartistsandmaterials“ensuresthatchildrenhavetheexperiencesneededtodeveloptheconceptsandskillsthatunderlievisualexpression”(GovernmentofIreland,1999,p.18).Whenincludinga“broadandbalanced”approachtocontentwithintheassessmentsgiven,studentshaveachancetoexpressamoreholisticunderstandingandapplicationofknowledge,skills,andabilities.
7.4 NatureofScoringRubricsforAssessingVisualArts–Thescoringrubricisatoolimportanttotheperformancetask,event,orconstructed-responseitem,orbodyofwork/portfoliobecauseitisagainsttherubricthatstudentworkwillbeassessed.Withoutaclearguidelinetothescoringtool,therewouldbenopathwaytodecidewhetherornotastudenthaseffectivelymettheobligationsofbeingabletodowhathasbeenaskedofthem.Simplytellingastudentthattheiranswerisincorrectornotverygoodaffectsachievementnegatively,whileprovidingthemwiththerightanswerhasonlyamoderateimpact.Themostimpactfulandbestformsoffeedbackforenhancingstudentachievementinvolveexplanationandaskingstudentstocontinuetoworkonaresponseuntiltheysucceed(Marzano,Pickering&Pollock,2001).Rubricsofferaframeworktoassesslearningandprovidedescriptivefeedbackforstudents(Erickson,2011).Designedtoillustratelevelsofproficiencyintheareasbeingevaluated,rubricsmustcontainthreefeatures:
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1) Dimensions:Thesearethefactorsusedtodeterminethequalityoftheresponse.Inarubricchartthe
Dimensionsarelistedinaverticalcolumndowntheleftsideofthepage.Dimensionsmayvarydependingonthetopicsbeingassessedandgradelevel.
2) Ascoringscalewithwhichtorateachievement.Ascaleofmeasurementmustbedefined.Anevennumberofchoicesisusuallyrecommendedsothatratingsmustleanpositivelyornegativelyratherthanlandinthemiddle.Inarubricchart,thenumericalscorescaleisusuallylistedinahorizontalrowacrossthetopofarubriccluster.
3) Descriptionsofqualitativedifferencesforeachdimension.Foreachdimension,adescriptionofevidenceoflearningmustbeclearlydefinedforeachscoresoqualitativedistinctionsinstudentresponsescanbemadeusinguniformcriterion.Theselectedcriteriaforarubricmustbesignificantandmeasurable,evaluatingstudentunderstandingoflearningobjectives.Eachdescriptionshouldbesuccinctbutaddresseachelementinthedimension.
Thescoringrubricshouldbeabletotellwhatcriteriaarebeingassessedandthereforedescribewhatcriteriaarealsomostvalued.Therubricshouldbesharedwiththestudentastheassignmentorassessmentisbeingintroduced.Studentsmustunderstandthegoalstheyaretomeetinordertoachievethem.Italsosupportscreativeproblemsolvingandself-monitoringbythestudent.Whenproducingworksofart,StaleyusesthefourC’s(Composition,Creativity,Craftsmanship,andContent)outlinedearlierinthisdocumentthatisthenrepresentedonafour-pointscale.
Figure7.4.1
SampleScoringRubricforMAEIAAssessmentV.E406ReviewYourPortfolio
RespondGrades9-12
Dimension 1 2 3 4
ExplanationofSelection(Strongest/Weakest)Studentdemonstratestheabilitytoapplythecriteriaofcreativity,craftsmanship,composition,andcommunicationofcontentinhisorherwriting.
Studentineffectivelyexplainedwhatdidanddidnotworkinhisorherselections,usingthecriteriaofcreativity,craftsmanship,composition,andcommunicationofcontentinhisorherwriting.
Studentsomewhatexplainedwhatdidanddidnotworkinhisorherselections,usingthecriteriaofcreativity,craftsmanship,composition,andcommunicationofcontentinhisorherwriting.
Studentadequatelyexplainedwhatdidanddidnotworkinhisorherselections,usingthecriteriaofcreativity,craftsmanship,composition,andcommunicationofcontentinhisorherwriting.
Studenteffectivelyexplainedwhatdidanddidnotworkinhisorherselections,usingthecriteriaofcreativity,craftsmanship,composition,andcommunicationofcontentinhisorherwriting.
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Dimension 1 2 3 4
ExplanationofCompositionandDesignStudentdemonstratestheabilitytoself-critiqueandassesswhatmakesworksuccessfulorunsuccessful.
Studentineffectivelyexplainedwhatmakesasuccessfulpieceofartandwhatdoesnot.
Studentsomewhateffectivelyexplainedwhatmakesasuccessfulpieceofartandwhatdoesnot.
Studentadequatelyexplainedwhatmakesasuccessfulpieceofartandwhatdoesnot.
Studenteffectivelyexplainedwhatmakesasuccessfulpieceofartandwhatdoesnot.
ExplanationofKnowledgeGainedfromCreationProcessStudentdemonstratestheabilitytoexplainwithreferenceswhattheyhavelearnedasaresultofcreatingtheirselectedartwork.
Studentineffectivelyexplainedwhattheyhavelearnedasanartistduringthecreationprocessoftheirselectedartworkswithoutanyexamples.
Studentsomewhateffectivelyexplainedwhattheyhavelearnedasanartistduringthecreationprocessoftheirselectedartworksusingfewexamples.
Studentadequatelyexplainedwhattheyhavelearnedasanartistduringthecreationprocessoftheirselectedartworksusingsomeexamples.
Studenteffectivelyexplainedwhattheyhavelearnedasanartistduringthecreationprocessoftheirselectedartworksusingmanyexamples.
Thescoringrubriccannottellhowastudentorpersonperformingtheassessmentmayinterpretgivenguidelinesorhowtheymayusethemtoresolvetheassessmentitem.Itshouldalsonotprovideaclearrecipetoasolution;insteaditshouldallowthecreativefreedomforstudentstoperformasartistsandusetherubricasamainbasefromwhichtobranchoffofinthedirectionsoftheirchoiceanddemonstratethecriteriabeingaskedandassessed.Theonlytimethereisaprescribedsetofanswersthatcouldbedeemedaswrongareintheselected-responsecategoryofassessmentitems.
InAssessingExpressiveLearning,(p.179)Dorn,Madeja,andSabol(2004)compiledtheArtTeacher’sStudioProductEvaluationCriteriaList,rankedinorderofuse,consideredforuseasscoringrubricdimensionsintheMAEIAproject,were:• ElementsofArt• PrinciplesofDesign• Compositionoruseofspace• Creativity• FollowedDirections• TechnicalskillorCraftsmanship• Workmeetsassignmentobjectives• Personalexpression
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• Completedprocessescorrectly• Attentiontodetail• Originality• Improvementorgrowth• Representationofspaceordistance• Knowledgeofconcepts• Workmatchesitsintent• Experimentationorrisktaking• Sophisticationofthemeoridea• Safeuseofmaterialsandequipment• Appropriatenessoftheme• Cognitiveprocesses• Visualaccuracy• Useofstyle• ArthistoricalcontentDorn,Madeja,andSabol(2004)alsocompiledasetofcriteriaeducatorsusedforassessingstudentperformance:• Problem-solvingability• Improvementorgrowth• Classroombehavior• Self-motivationorinitiative• Turninginassignmentsontime• Useofpreviousknowledge• Reflectionorthoughtfulness(metacognition)• Criticalthinking• Decisionmaking• Synthesisofideas• Followingcleanupprocedures• Problemidentification• Evaluationofideas• Reasoningoruseoflogic• Analyticalability• Attendance• BehavioringroupsDescriptiveWordsforBuildingaRubricThewordsbelowarelistedaspromptsandgroupedtoassistinrubricconstruction(Guenter,2010).• HighLevelWords:Strong,Superior,Excellent,Comprehensive,Outstanding,Mastery,Exemplary,
Advanced,Distinguished• MiddleLevelWords:Satisfactory,Appropriate,Basic,Adequate,Apprentice,Proficient,Good,
Accomplished• LowLevelWords:NeedsWork,NeedsImprovement,In-Progress,Beginning,Emerging,Novice,
UnacceptableDonnaKayBeattie(1998)usesthesedimensionsinherPortfolioAnalyticScoringRubric:
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§ Researching
• Selectionanddevelopmentofthemes,problems,issues,techniquesandprocessesthroughstudy,research,orexploration
• Varietyofappropriatesources
• Creating• Personalizedandexpressiveapproachintheareasofstudy• Conceptualimportance• Intellectualandcreativecuriositythatdrivesstudyandwork• Demonstrationofknowledgeandskillspertainingtovisuallanguage,structures,formsand
vocabulary
• Responding• Responsivenesstopersonal,social,cultural,historical,philosophical,technological,environmental,
economic,andaestheticcontextsandstimuliintheareaofstudy• Demonstrationofdescription,classificationanalysis,interpretations,andjudgmentofinformation
andartimages• Responsivenesstofeedback• Depthofrevision
• Resolving
• Personalizedandexpressivesolutionstoproblemsortasksinareaofstudy• Completenessofcollection(depthandbreadthofentries)• Achievementofpredeterminedgoalsandobjectives(student’s,educator’s,school’s)• Improvementfrompastperformances
• Communicating
• Presentation• Demonstrationofself-reflectionandself-assessment• Connectiontoothercontentareasandtodailylife
Thelanguageusedintherubriciscriticalbecauseitmustcommunicatethecriteriaofthevisualartsproblemtobesolvedandalsosupportastudent’screativesolution.Unlikeotherdisciplines,theartsareembeddedwiththeideathatthereisnoonerightanswerforeveryproblem(Gruber,2008).
7.5 SummaryofAvailableVisualArtsAssessments
ThischapterprovidessummaryinformationofthenumberofassessmentsintheMAEIAassessmentpoolforeachgraderange(K-2,3-5,6-8,and9-12)foreachMAEIAperformancestandard.Atgrades9-12,additionalinformationprovidedonthenumberofperformancetasksandperformanceeventsdesignedforstudentsinLevels1,2,and/or3.AllassessmentsdevelopedbyMAEIAareavailableatwww.maeia-artsednetwork.
7.5.1 OverviewThetypesofassessmentactivitiesmostappropriateforgaugingthenatureandextentoflearningintheartsrangefromexpansive,creativeprojectsthatunfoldovertimethatallowforcollaborativeworkamong
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smallgroupsofstudents,tolargegroupassessmentactivitiesto“snapshots”ofstudentunderstandingatagivenmomentintime.Eachoftheseassessmentsprovidesawindowintostudents’creativeandcriticalthinkingandallowseducatorstousetheassessmentdatatoimprovetheirteachingwhileprovidingcriticalfeedbacktothelearnersastheyworktowardsimprovingvariousaspectsoftheirartisticskills.TherangeofactivitiesencompassesanappropriatebalanceofallthreeofthelearningmodalitiesintheCreate,Perform,Respondmodel.Whenconsideringtherangeandbalanceofassessmentactivitieswepaidcloseattentiontotheteachingsettingsandstructuresthatarecurrentlymostcommoninvisualartsprogramsinourstate.Becauseofthesubjectivenatureofart,whenstudentsareaskedtocompleteperformancetasksoreventsandconstructedorselected-responseitemsandreflectontheirwork,theemphasisshouldbeonthe“rigorousinvestigationandinformedpersonalchoices”ofthestudentcreatingtheartortheartworkbeingrespondedtobythestudent(Vatsky,2008,p.14).
7.5.2 NumberofPerformanceEventsandPerformanceTasksAvailableinGradesK-2,3-5,6-8and9-12
Table7.5.1through7.5.4showMAEIAvisualartsassessmentitemsbygradelevel,K-2,3-5,6-8and9-12thatareavailableforuseinassessmentofthevisualarts.
Table7.5.1indicatesthenumberofK-8MAEIAperformanceeventsthatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessments.www.maeia-artsednetwork
Table7.5.1NumberofVisualArtsPerformanceEvents
GradesK-8Level Create Perform Respond TotalGradesK-2 3 2 3 8Grades3-5 2 3 2 7Grades6-8 3 3 1 7TOTAL 8 8 6 22
Table7.5.2indicatesthenumberofK-8MAEIAperformancetasksthatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessments.www.maeia-artsednetwork
Table7.5.2
NumberofVisualArtsPerformanceTasksGrades–K-8
Level Create Perform Respond TotalGradesK-2 3 3 1 7Grades3-5 4 3 1 8Grades6-8 4 4 3 11TOTAL 11 10 5 26
Table7.5.3indicatesthenumberofMAEIAperformanceeventsforgrades9-12thatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessments.www.maeia-artsednetwork
Table7.5.3
NumberofGrades9-12VisualArtsPerformanceEventsLevels1-3
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PerformanceStandard Level1 Level2 Level3 TotalCreate 2 3 2 7Perform 3 2 2 7Respond 3 2 2 7TOTAL 8 7 6 21
Table7.5.4indicatesthenumberofMAEIAperformancetasksforgrades9-12thatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessments.www.maeia-artsednetwork
Table7.5.4NumberofGrades9-12VisualArtsPerformanceTasks
Levels1-3PerformanceStandard Level1 Level2 Level3 TotalCreate 3 1 2 6Perform 3 3 2 8Respond 3 4 4 11TOTAL 9 8 8 25
7.6ReferencesforVisualArts
Anderson,T.&Milbrandt,M.K.(2005).Artforlife:Authenticinstructioninart.Boston,MA:McGraw-Hill.Anglin,J.M.(1993).Threeviewsofmiddleschoolartcurriculum.StudiesinArtEducation,35(1),55-64.Armstrong,C.L.(1994).DesigningAssessmentinArt.Reston,VA.:NationalArtEducationAssociation.Armstrong,T.(2006).TheBestSchools.
http://www.ascd.org/publications/books/106044/chapters/Middle-Schools@-Social,-Emotional,-and-Metacognitive-Growth.aspx.Alexandria,VA:AssociationforSupervisionandCurriculumDevelopment.
Art21.http://www.pbs.org/art21/Beattie,D.K.(1998).AssessmentinArtEducation.Worcester,MA.:DavisPublications.
Bingham,G.,Holbrook,T.,&Meyers,L.(2010)."UsingSelf-AssessmentsinElementaryClassrooms."PhiDeltaKappan.91(5).59-61.
Booth,E.(1999).TheEverydayWorkofArt.Sourcebooks.Chapman,L.(1978).ApproachestoArtinEducation.HarcourtBraceJovanovich,Publishers.Colston,V.(2008).200ProjectstoStrengthenYourArtSkills:ForAspiringArtStudents.Hauppauge,NY:
Barron’sEducationalSeries,Inc.Dorn,C.M.,Majeda,S.S.&Sabol,F.R.(2004).AssessingExpressiveLearning.Manwah,NewJersey:Lawrence
EribaumAssociates,Inc.Erickson,K.(2011).ChicagoArtsPartnershipsinEducation:WhyuseaRubricwhenaChecklistwilldo?
http://www.cpsarts.org/wp-content/uploads/2015/01/Erickson-Assessment-Article.pdf Friedman,T.L.(2005).TheWorldIsFlat.Farrar,Straus&Giroux.GovernmentofIreland.(1999).PrimarySchoolCurriculum.VisualArts:ArtsEducationTeacherGuide.
Dublin,Ire:TheStationaryOffice.Gruber,D.D.(2008).MeasuringStudentLearninginArtEducation.ArtEducation.61(5).41-45.Gude,(2013).NewSchoolArtStyles:TheProjectofArtEducation.ArtEducation.66(1).6-15.Guenter,Chris.(2010).NAEAConferencePresentation.
http://www.csuchico.edu/~cguenter/RubricSites.htmHetland,L.(2007).StudioThinking:TheRealBenefitsofVisualArtsEducation.NY,NY:Teacher’sCollege
PressHouse(2008).UsingCritiquesintheK-12Classroom.ArtEducation.61(3).48-51.
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Jackson,A.,&Davis,G.(2000).TurningPoints2000:EducatingAdolescentsinthe21stCentury.NewYork,NY:TeachersCollegePress.
Levy,E.(2007).GradualReleaseofResponsibility:Ido,Wedo,Youdo(http://www.sjboces.org/doc/Gifted/GradualReleaseResponsibilityJan08.pdf)
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