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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.


thoseperformancesusingdevelopmentallyappropriatemusicalterminology.2. Criticallyanalyzeamusicalworkandreflectonitsculturalcontextusingdevelopmentally

appropriateterminology.3. Makeconnectionsbetweenmusicalconceptsandsimilarconceptsinotherwaysofthinking

(disciplines).HighSchoolCreate

1. Demonstrateanappropriatelevelofmusicalunderstandingthroughtheirinterpretivedecisionsmadewhencomposing,improvising,orarrangingmusic.

Perform

1. Performadiverserepertoireofmusicatanappropriatelevelofdifficultywithexpressionandtechnicalaccuracy.


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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PerformanceTask

PerformanceEvent


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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PerformanceTask

PerformanceEvent


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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PerformanceTask

PerformanceEvent


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


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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PerformanceTask

PerformanceEvent


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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PerformanceTask

PerformanceEvent


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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PerformanceTask

PerformanceEvent


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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PerformanceTask

PerformanceEvent


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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PerformanceTask

PerformanceEvent


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


PerformanceTask

PerformanceEvent


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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PerformanceTask

PerformanceEvent


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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PerformanceTask

PerformanceEvent


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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PerformanceTask

PerformanceEvent


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


DanceasNarrative

DanceOutside

TraditionalContexts


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


DanceasNarrative

DanceOutside

TraditionalContexts


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


DanceasNarrative

DanceOutside

TraditionalContexts


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


DanceasNarrative

DanceOutside

TraditionalContexts


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


DanceasNarrative

DanceOutside

TraditionalContexts


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


Table5.5.2indicatesthenumberofK-8MAEIAperformanceeventsthatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessments.

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Table5.5.2

NumberofMusicPerformanceTasksGradesK-8


Table5.5.3indicatesthenumberofHighSchoolMAEIAperformanceeventsthatwerewrittenforeachLevelforeachperformancestandard.

Table5.5.3NumberofHighSchoolMusicPerformanceEvents


Table5.5.4indicatesthenumberofHighSchoolMAEIAperformancetasksthatwerewrittenforeachLevelforeachperformancestandard.

Table5.5.4NumberofHighSchoolMusicPerformanceTasks


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

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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


PerformanceTasks

PerformanceEvents



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


PerformanceTasks

PerformanceEvents



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


PerformanceTasks

PerformanceEvents



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


PerformanceTasks

PerformanceEvents



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


PerformanceTasks

PerformanceEvents



94

PerformanceStrand


PerformanceTasks

PerformanceEvents



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


PerformanceTasks

PerformanceEvents



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


PerformanceTasks

PerformanceEvents



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

97

PerformanceStrand


PerformanceTasks

PerformanceEvents



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


PerformanceTasks

PerformanceEvents



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

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PerformanceStrand


PerformanceTasks

PerformanceEvents



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

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PerformanceStrand


PerformanceTasks

PerformanceEvents


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


PerformanceTasks

PerformanceEvents


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


PerformanceTasks

PerformanceEvents


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

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PerformanceStrand


PerformanceTasks

PerformanceEvents


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


Table6.5.3indicatesthenumberofMAEIAperformanceeventsforgrades9-12thatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessments.www.maeia-artsednetwork

Table6.5.3

NumberofGrades9-12TheatrePerformanceEventsLevels1-3


Table6.5.4indicatesthenumberofMAEIAperformancetasksforgrades9-12thatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessments.www.maeia-artsednetwork

Table6.5.4NumberofGrades9-12TheatrePerformanceTasks


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


Table7.5.3indicatesthenumberofMAEIAperformanceeventsforgrades9-12thatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessments.www.maeia-artsednetwork

Table7.5.3

NumberofGrades9-12VisualArtsPerformanceEventsLevels1-3

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Table7.5.4indicatesthenumberofMAEIAperformancetasksforgrades9-12thatwerecompleted.Thesearenowavailableinthefinalpoolofmodelassessments.www.maeia-artsednetwork

Table7.5.4NumberofGrades9-12VisualArtsPerformanceTasks


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)

Marshall,A.(2012,August30).PennStateLaureateChrisStaley:Howdoyougradeart?PennStateNews(http://news.psu.edu/story/147091/2012/08/30/penn-state-laureate-chris-staley-how-do-you-grade-art)

Melaville,A.,BergA.C.,&Blank,M.J.CommunityBasedLearning:EngagingStudentsforSuccessandCitizenship.http://www.communityschools.org/assets/1/AssetManager/CBLFinal.pdf

McDonald,R.E.,&Healy,S.D.(1999)TheHandbookforBeginningTeachers.NewYork,NY:Longman.Maiers,Angela.,(2011)TheImportanceofArtsinEducation. http://www.slideshare.net/angelamaiers/art20-5141261Maiers,Angela.andBalsey,J.(2011).AssessmentsinArtEducation. http://www.slideshare.net/angelamaiers/art-assessment-6593741Marzano,R.(2003).WhatWorksinSchools:TranslatingResearchintoAction.Alexandria,VA:Association

forSupervisionandCurriculumDevelopment.Marzano,R.,Pickering,D.&Pollock,J.(2001).ClassroomInstructionthatWorks:Research-basedStrategies

forIncreasingStudentAchievement.Alexandria,VA:AssociationforSupervisionandCurriculumDevelopment.

MichiganStateBoardofEducation.(2001,June12).StandardsforthePreparationofTeachers:VisualArtsEducation(LQ).

Overby,A.(2009).TheNewConversation:UsingWeblogsforReflectivePracticeintheStudioArtClassroom.ArtEducation.62(4).18-24.

Popham,J.(2008).TransformativeAssessment,Alexandria,VA.:AssociationforSupervisionandCurriculumDevelopment.

ScholasticArtMagazine.http://art.scholastic.comSaraniero,P.(fromArtsEdge,KennedyCenter)http://artsedge.kennedy-center.org/educators/how-

to/tipsheets/self-assessment.aspx).Stewart,M.&Katter,E.(2009)AGlobalPursuit.DavisPublications.Stiggins,R.(2008)BalancedAssessmentSystems—RedefiningExcellenceinAssessment.EducationalTesting

Services.Stiggins,R.J.,Arter,J.A.,Chappuis,J.,&Chappuis,S.(2004).Classroomassessmentforstudentlearning:

Doingitright—usingitwell.Portland,OR:AssessmentTrainingInstitute,Inc.Vatsky,S.(2008).MuseumMusings:DeconstructingtheCriticismCliché.SchoolArtsMagazine.108(3).14,57