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Learning Standards for the Arts

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					Le arn i n g Sta n d ard s for

         Th e Arts




         Revised Edition
           April 1996
                         THE U NIVER SITY OF THE STATE OF N EW YORK
                                   R e g e n ts of Th e U n i v ers ity


Carl T. H a y d e n, Ch a n cel lor , A.B., J.D. . . . . . . . . . . . . . . . . . . . . . . . . . . .       El m ira
Lo u i s e P. Matt e o n i, Vice Ch a n cel lor, B.A., M.A., P h.D.. . . . . . . . . . . . . .               Bayside
E m ly n I. Griffit h, A.B., J.D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .    Rome
Jorg e L. B ati sta, B.A., J.D. . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . .     Bro n x
J. E d w ard Me y er, B.A., LL.B.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .       Ch a p p a q u a
R. Carlo s Carb alla d a, Ch a n cel lor Emeritu s , B.S. . . . . . . . . . . . . . . . . . .                R o c h e st er
Mi m i Le v i n Li e b er, B.A., M.A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .    N e w York
N orm a Gl u c k, B.A., M.S.W. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .     N e w York
Ad e la i d e L. S a nford, B.A., M.A., P.D.. . . . . . . . . . . . . . . . . . . . . . . . . . . . .        H olli s
Walt er Co o p er, B.A., P h.D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .    R o c h e st er
D i a n e O’N e ill McGi v ern, B.S.N., M.A., P h.D. . . . . . . . . . . . . . . . . . . . . . .             Stat e n Isla n d
S a u l B. Co h e n, B.A., M.A., P h. D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .     N e w R o c h e ll e
Ja m e s C. D a w s o n, A.A., B.A., M.S., P h.D. . . . . . . . . . . . . . . . . . . . . . . . . .          P eru
R o b ert M. B e n n e tt, B.A., M.S.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   To n a w a n d a
R o b ert M. Jo h n s o n, B.S., J.D.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   Llo y d H arb or
P e t er M. Pry or, B.A., LL.B., J.D., LL.D.. . . . . . . . . . . . . . . . . . . . . . . . . . .            Alb a n y


Pre s i d e n t of Th e U n i v ers ity a n d Co m m i s s i o n er of E d u c ati o n
RICHARD P. MILLS

E x e c u ti v e D e p u ty Co m m i s s i o n er of E d u c ati o n
THOMAS E. SHELDON

D e p u ty Co m m i s s i o n er for El e m e n tary, Mi d dl e, S e c o n d ary, a n d Co n ti n u i n g
   E d u c ati o n
JAMES A. KADAMUS

As s i sta n t Co m m i s s i o n er for Curri c u l u m, In stru cti o n, As s e s s m e n t, a n d In n o v ati o n
EDWARD T. LALOR

Co ord i n ator of Curri c u l u m a n d In stru cti o n
ROSEANNE DEFABIO




   The State Education Department does not discriminate on the basis of age, color, religion, creed, disabil-
ity, marital status, veteran status, national origin, race, gender or sexual orientation in its educational pro-
grams, services and activities. Portions of this publication can be made available in a variety of formats,
including braille, large print or audio tape, upon request. Inquiries concerning this policy of nondiscrimi-
nation should be directed to the Department’s Office for Diversity, Ethics, and Access, Room 152, Education
Building, Albany, NY 12234.
                                 CONTE NTS

Acknowledgments i v
Introduction v

LEARNING STANDARDS FOR THE ARTS AT THREE LEVELS 1

SAMPLES OF STUDENT WORK RELATED TO THE STANDARDS 35




                                                      iii
Acknowledgments


  In addition to the people recognized in the Preliminary Draft Framework for The Arts, we are grateful to the
many teachers from throughout New York State who contributed performance tasks and samples of student
work for possible inclusion in this revised edition. Listed below are the names of those educators whose
materials appear in this document.




     Contributors

      Denise Abbattista, Skaneateles                      Karen Henn, Lockport
      Cynthia Appold, Huntington Station                  Robert Hyndman, Saratoga Springs
      Jessica Bayer, Hewlett                              Susan Koff, Cliffside, NJ
      Stormy Brandenberger, New York                      Joe Minutillo, St. James
      Margaret Charboneau, Camillus                       Gail Nelli, Leicester
      Patricia Chiodo, Williamsville                      Constance Noelle, Wallkill
      Patricia Clahassey, Voorheesville                   Judi Paseltiner, Melville
      Katy Neyerlin Colletti, Poughkeepsie                Dennis Powell, Endwell
      Joan Davidson, New York                             Scott Rabeler, Oneonta
      Kevin Dirth, Ossining                               Arlene Sampson, Troy
      Diana Domoracki, Brooklyn                           Mary Ellen Shevalier, Henderson
      John Fredricksen, New York                          John Shorter, Valley Stream
      Margaret L. Foster, Buffalo                         Frank Vurraro, Greenwich
      Jeanne D. Gray, Pittsford                           Leslie Wexler, Buffalo
      Victoria Harder, Phoenix                            Elana Wills, Queens Village




     State Education Department


      Roseanne DeFabio                                     Edward S. Marschilok
      Jan Christman                                        John Maryanopolis
      Elaine Frankonis                                     Patricia Webster
      Roger Hyndman




iv
                                                                                          Introduction
   This revised edition of the Learning Standards for The Arts incorporates changes to the content standards
and the performance indicators based on extensive review by the public. As educational practice improves, these
standards will continually be revised.

  New in this addition are samples of student work, along with teacher comments on the work. The examples
are intended to provide some ideas of tasks that support attainment of the performance standards. They are not
models of excellence. Rather, they represent various levels of acceptable work. In the arts these levels have been
described as “distinguished,” “proficient” and “competent.” It is important to remember that the work samples
are just suggestions of ways the students can demonstrate progress toward achieving the standards.

   The Standards for the Arts reflect the educational goals that are common to dance, music, theatre, and the
visual arts, while recognizing the distinctive aspects of each discipline. Each art form has its own philosophies,
methods, materials, history, and content; each is usually taught as a separate subject. Assessment techniques
should account for the similarities and differences among the arts and the varying capabilities and education of
students across the four disciplines.

   The Arts Standards provide school districts the direction and basic structure for the development of local cur-
ricula that link instruction and assessment to the content standards. Taken together, the content standards,
performance indicators and the performance standards embodied in actual student work define the learning
standards for students in the Arts (dance, music, theatre and visual arts).

   The State Education Department will continue to collect and publish samples of student work. As teachers
become familiar with the standards and students become more proficient in meeting them, the level of the per-
formance standards and content standards will continue to rise.

   The Board of Regents recognizes the diversity of students in New York State, including students with disabil-
ities, students with limited English proficiency, gifted students, and educationally disadvantaged students, and
has made a strong commitment to integrating the education of all students into the total school program. The
standards apply to all students regardless of their experiential background, capabilities, developmental and
learning differences, interests, or ambitions. A classroom typically includes students with a wide range of abili-
ties who may pursue multiple pathways to learn effectively, participate meaningfully, and work towards attain-
ing the curricular standards. Students with diverse learning needs may need accommodations or adaptations of
instructional strategies and materials to enhance their learning and/or adjust for their learning capabilities.




                                          Le arn i n g Sta n d ard s for Th e Arts
                                           E x p e ctati o n s for Ac h i e v e m e n t

             All students should participate at an appropriate level and should demonstrate competent, proficient, or
          distinguished levels of achievement in the following areas by the completion of their secondary schooling:

             • Elementary level achievement in the content standards for each of the four disciplines of dance, music,
                theatre, and visual arts;

             • Intermediate level achievement in the content standards for two of the four disciplines of dance, music,
                theatre, and visual arts;

             • Commencement level achievement in the content standards for one of the four disciplines of dance,
               music, theatre, and visual arts.



                                                                                                                          v
vi
                                       Learning Standards for the
                                             Arts at Three Levels
Standard 1: Creating, Performing and Participating in the Arts
            Students will actively engage in the processes that constitute creation and performance in the arts
            (dance, music, theatre, and visual arts) and participate in various roles in the arts.

Standard 2: Knowing and Using Arts Materials and Resources
            Students will be knowledgeable about and make use of the materials and resources available for
            participation in the arts in various roles.

Standard 3: Responding to and Analyzing Works of Art
            Students will respond critically to a variety of works in the arts, connecting the individual work to
            other works and to other aspects of human endeavor and thought.

Standard 4: Understanding the Cultural Dimensions and Contributions of the Arts
            Students will develop an understanding of the personal and cultural forces that shape artistic
            communication and how the arts in turn shape the diverse cultures of past and present society.




                                                                                                            1
Standard 1—Creating, Performing, and
Participating in the Arts                                                                                                                                   Elementary



Dance                                                                                     Music
1. St u d e n ts w ill p erform s e t d a n c e form s i n form al a n d                  1. St u d e n ts w ill c o m p o s e ori g i n al m u s i c a n d p erform
i nform al c o n t e xts a n d w ill i m pro v i s e, cre at e, a n d                     m u s i c w ritt e n b y ot h ers. Th e y w ill u n d ersta n d a n d u s e
p erform d a n c e s b a s e d o n t h e ir o w n m o v e m e n t i d e a s.              t h e b a s i c e l e m e n ts of m u s i c i n t h e ir p erform a n c e s a n d
Th e y w ill d e m o n strat e a n u n d ersta n d i n g of                               c o m p o s iti o n s. St u d e n ts w ill e n g a g e i n i n d i v i d u al a n d
c h ore o gra p h i c pri n c i pl e s, pro c e s s e s, a n d stru ct ure s              gro u p m u s i c al a n d m u s i c-re lat e d ta s k s, a n d w ill
a n d of t h e rol e s of v ari o u s p arti c i p a n ts i n d a n c e                   d e s crib e t h e v ari o u s rol e s a n d m e a n s of cre ati n g,
pro d u cti o n s.                                                                        p erform i n g, re c ord i n g, a n d pro d u c i n g m u s i c.
St u d e n ts:
                                                                                          St u d e n ts:
  • i d e n tify a n d d e m o n strat e m o v e m e n t e l e m e n ts a n d s k ills
                                                                                            •   cre ate s h ort pi e c e s c o n sisti n g of s o u n d s fro m a v ari ety of
    (s u c h a s b e n d, t w i st, sli d e, s k i p, h o p) (a)
                                                                                                tra ditio n al (e.g., ta m bo uri n e, re c ord er, pia n o, v oic e),
  • d e m o n strat e w a y s of m o v i n g i n re lati o n to p e o pl e,
                                                                                                ele ctro n ic (e.g., k e ybo ard), a n d n o ntra ditio n al s o u n d
    o bje cts, a n d e n v iro n m e n ts i n s e t d a n c e form s (b)
                                                                                                s o urc e s (e.g., w ater-fille d gla s s e s) (a)
  • cre at e a n d p erform s i m pl e d a n c e s b a s e d o n t h e ir o w n
                                                                                            •   s i n g s o n g s a n d pla y i n stru m e n ts, m a i n ta i n i n g to n e
    m o v e m e n t i d e a s (c).
                                                                                                q u ality, p itc h, rh yt h m, t e m p o, a n d d y n a m i c s; p erform t h e
                                                                                                m u s i c e x pre s s i v e ly; a n d s i n g or pla y s i m pl e re p e at e d
This is evident, for example, when students:
                                                                                                p att ern s (o sti n ato s) w it h fa m ili ar s o n g s, ro u n d s, p art n er
 ▲ demonstrate the movements of various animals, a cat, a dog, an                               s o n g s, a n d h arm o n izi n g p arts (b)
     elephant, a monkey, etc.                                                               •   re a d s i m pl e sta n d ard n otati o n i n p erform a n c e, a n d
 ▲ pretend that they are flowers or plants caught in a wind, mov-                               follo w v o c al or k e y b o ard s c ore s i n li st e n i n g (c)
     ing in groups of two or three to suggest the movement                                  •   i n p erform i n g e n s e m bl e s, re a d v ery e a s y/e a s y m u s i c
 ▲ invent a dance based on a children's game, such as, Farmer in                                (N e w York Stat e S c h o ol Mu s i c As s o c i ati o n [NYS SMA]
     the Dell, London Bridge, etc.                                                              l e v e l I-II) 1 a n d re s p o n d a p pro pri at e ly to t h e g e st ure s of
                                                                                                t h e c o n d u ctor (d)
                                                                                            •   i d e n tify a n d u s e, i n i n d i v i d u al a n d gro u p e x p eri e n c e s,
                                                                                                s o m e of t h e rol e s, pro c e s s e s, a n d a cti o n s u s e d i n
                                                                                                p erform i n g a n d c o m p o s i n g m u s i c of t h e ir o w n a n d
                                                                                                ot h ers (e).

                                                                                          This is evident, for example, when students:
                                                                                           ▲ improvise a short composition using the black keys on the piano
                                                                                           ▲ sing familiar rounds and folk songs in a group with good tone,
                                                                                               tempo, intonation and rhythm
                                                                                           ▲ strum on an autoharp a two or three chord progression alone or
                                                                                               with others to accompany student singing
                                                                                           ▲ read and perform standard rhythmic notation on rhythm sticks
                                                                                               or other classroom instruments
                                                                                           ▲ play a simple pattern on a mallet instrument to accompany a
                                                                                               familiar song such as Frere Jacques
                                                                                           ▲ perform a simple piece of music with others in a band, chorus or
                                                                                               orchestra
                                                                                           ▲ conduct other students in performing simple musical pieces.




                                                                                            1
                                                                                              The New York State School Music Association (NYSSMA) has
                                                                                         developed a standards-based instructional model that can be used to
               Key ideas are identified by numbers (1).                                  assess student achievement. In the publication entitled NYSSMA
         Performance indicators are identified by bullets (•).                           Manual, the Music Association provides rules, regulations, and grad-
            Sample tasks are identified by triangles (▲).                                ed listings of musical literature as a basis for assessing musical per-
                                                                                         formance by individuals, small groups, or large organizations. The
                                                                                         emphasis of the model is on “quality of performance.” (NYSSMA 1994,
   2                                                                                     p. XXVII)
St u d e n ts w ill a cti v e ly e n g a g e i n t h e pro c e s s e s t h at c o n stit u t e cre ati o n a n d
p erform a n c e i n t h e arts (d a n c e, m u s i c, t h e atre, a n d v i s u al arts) a n d p arti c i p at e i n
v ari o u s rol e s i n t h e arts.



Theatre                                                                                      Visual Arts
1. Stu d e nts w ill cre ate a n d p erform th e atre pi e c e s a s                         1. St u d e n ts w ill m a k e w ork s of art t h at e x plore
w ell a s i m pro vis atio n al dra m a. Th e y w ill u n d ersta n d                        d iffere n t k i n d s of s u bje ct m att er, to p i c s, t h e m e s, a n d
a n d u s e th e ba sic ele m e nts of th e atre i n th e ir                                 m e ta p h ors. St u d e n ts w ill u n d ersta n d a n d u s e s e n s ory
c h ara cterizatio n s, i m pro vis atio n s, a n d pla y writi n g.                         e l e m e n ts, org a n iz ati o n al pri n c i pl e s, a n d e x pre s s i v e
Stu d e nts w ill e n g a g e i n i n divid u al a n d gro u p th e atric al                 i m a g e s to c o m m u n i c at e t h e ir o w n i d e a s i n w ork s of
a n d th e atre-relate d ta s k s, a n d w ill d e s crib e th e v ario u s                  art. St u d e n ts w ill u s e a v ari e ty of art m at eri als,
role s a n d m e a n s of cre ati n g, p erform i n g, a n d                                 pro c e s s e s, m e d i u m s, a n d t e c h n iq u e s, a n d u s e
pro d u c i n g t h e atre.                                                                  a p pro pri at e t e c h n olo g i e s for cre ati n g a n d e x h ibiti n g
                                                                                             v i s u al art w ork s.
St u d e n ts:
                                                                                             St u d e n ts:
  • u s e cre ati v e dra m a to c o m m u n i c at e i d e a s a n d fe e li n g s (a)
  • i m itat e e x p eri e n c e s t hro u g h p a n to m i m e, pla y m a k i n g,            •   e x p eri m e n t a n d cre at e art w ork s, i n a v ari e ty of m e d i u m s
    dra m ati c pla y, story dra m atiz ati o n, story t e lli n g, a n d rol e                    (dra w i n g, p a i n ti n g, s c u lpt ure, c era m i c s, pri n t m a k i n g,
    pla y i n g (b)                                                                                v i d e o, a n d c o m p u t er gra p h i c s), b a s e d o n a ra n g e of
  • u s e la n g u a g e, v o i c e, g e st ure, m o v e m e n t, a n d o b s erv ati o n          i n d i v i d u al a n d c oll e cti v e e x p eri e n c e s (a)
    to e x pre s s t h e ir e x p eri e n c e s a n d c o m m u n i c at e i d e a s a n d     •   d e v e lo p t h e ir o w n i d e a s a n d i m a g e s t hro u g h t h e
    fe e li n g s (c)                                                                              e x plorati o n a n d cre ati o n of art w ork s b a s e d o n t h e m e s,
  • u s e b a s i c pro p s, s i m pl e s e t p i e c e s, a n d c o st u m e p i e c e s          s y m b ols, a n d e v e n ts (b)
    to e sta bli s h pla c e, ti m e, a n d c h ara ct er for t h e                            •   u n d ersta n d a n d u s e t h e e l e m e n ts a n d pri n c i pl e s of art
    p arti c i p a n ts (d)                                                                        (li n e, c olor, t e xt ure, s h a p e) i n ord er to c o m m u n i c at e t h e ir
  • i d e n tify a n d u s e i n i n d i v i d u al a n d gro u p e x p eri e n c e s              i d e a s (c)
    s o m e of t h e rol e s, pro c e s s e s, a n d a cti o n s for p erform i n g            •   re v e al t hro u g h t h e ir o w n art w ork u n d ersta n d i n g of h o w
    a n d cre ati n g t h e atre p i e c e s a n d i m pro v i s ati o n al                        art m e d i u m s a n d t e c h n iq u e s i nfl u e n c e t h e ir cre ati v e
    dra m a (e).                                                                                   d e c i s i o n s (d)
                                                                                               •   i d e n tify a n d u s e, i n i n d i v i d u al a n d gro u p e x p eri e n c e s,
This is evident, for example, when students:                                                       s o m e of t h e rol e s a n d m e a n s for d e s i g n i n g, pro d u c i n g,
                                                                                                   a n d e x h ibiti n g art w ork s (e).
 ▲ use a belonging from home as practice in handling simple props
     and as an experience in evoking feelings in an audience
                                                                                             This is evident, for example, when students:
 ▲ pantomime the action of a narrated story
 ▲ observe the habits of familiar animals and use voice, gesture,                             ▲ paint a picture in tempera or watercolor in which they depict an
     body movement to portray the animals to classmates                                           experience that they recall
 ▲ act out a scene from a well-known fairy tale using basic props,                            ▲ make a ceramic vessel which they decorate with symbols
     simple set pieces and costume pieces                                                     ▲ make a drawing in which they depict three-dimensional space
 ▲ use puppets to dramatize an event: create the dialogue, voices                                 by using overlapping, placement on the picture plane and
     and movement of the puppets to convey the story working in                                   objects diminishing in size
     small groups.                                                                            ▲ select a medium for a work of art based on their experience with
                                                                                                  the medium and their desire that it should look a certain way
                                                                                              ▲ work with others to plan and produce a group art work, such as
                                                                                                  a mural, an illustrated book, a stage design
                                                                                              ▲ draw objects from observation and use their imagination to turn
                                                                                                  those drawings into objects or creatures
                                                                                              ▲ use the primary colors of pigment (cyan, magenta, yellow) to
                                                                                                  paint a picture from nature.




   STANDARD 1



                                                                                                                                                                                3
Standard 1—Creating, Performing, and
Participating in the Arts                                                                                                                             Intermediate



Dance                                                                                    Music
1. St u d e n ts w ill p erform s e t d a n c e form s i n form al a n d                 1. St u d e n ts w ill c o m p o s e ori g i n al m u s i c a n d p erform
i nform al c o n t e xts a n d w ill i m pro v i s e, cre at e, a n d                    m u s i c w ritt e n b y ot h ers. Th e y w ill u n d ersta n d a n d u s e
p erform d a n c e s b a s e d o n t h e ir o w n m o v e m e n t i d e a s.             t h e b a s i c e l e m e n ts of m u s i c i n t h e ir p erform a n c e s a n d
Th e y w ill d e m o n strat e a n u n d ersta n d i n g of                              c o m p o s iti o n s. St u d e n ts w ill e n g a g e i n i n d i v i d u al a n d
c h ore o gra p h i c pri n c i pl e s, pro c e s s e s, a n d stru ct ure s             gro u p m u s i c al a n d m u s i c-re lat e d ta s k s, a n d w ill
a n d of t h e rol e s of v ari o u s p arti c i p a n ts i n d a n c e                  d e s crib e t h e v ari o u s rol e s a n d m e a n s of cre ati n g,
pro d u cti o n s.                                                                       p erform i n g, re c ord i n g, a n d pro d u c i n g m u s i c.
St u d e n ts:
                                                                                         St u d e n ts:
 • know and demonstrate a range of movement elements and skills
                                                                                          • c o m p o s e s i m pl e p i e c e s t h at refl e ct a k n o w l e d g e of
      (such as balance, alignment, elevation, and landing) and basic
                                                                                               m e lo d i c, rh yt h m i c, h arm o n i c, ti m bre l, a n d d y n a m i c
      dance steps, positions, and patterns (a)
                                                                                               e l e m e n ts (a)
 • d a n c e a ra n g e of form s fro m fre e i m pro v i s ati o n to
                                                                                          • s i n g a n d/or pla y, alo n e a n d i n c o m bi n ati o n w it h ot h er
      stru ct ure d c h ore o gra p h y (b)
                                                                                               v o i c e or i n stru m e n t p arts, a v ari e d re p erto ire of folk, art,
 • cre at e or i m pro v i s e d a n c e p hra s e s, st u d i e s, a n d d a n c e s,
                                                                                               a n d c o n t e m p orary s o n g s, fro m n otati o n, w it h a g o o d to n e,
      alo n e a n d/or i n c olla b orati o n w it h ot h ers, i n a v ari e ty of
                                                                                               p itc h, d urati o n, a n d lo u d n e s s (b)
      c o n t e xts (c)
                                                                                          • i m pro v i s e s h ort m u s i c al c o m p o s iti o n s t h at e x h ibit
 • d e m o n strat e t h e a bility to ta k e v ari o u s rol e s i n gro u p
                                                                                               c o h e s i v e n e s s a n d m u s i c al e x pre s s i o n (c)
      pro d u cti o n s a n d p erform a n c e s (d).
                                                                                          • i n p erform i n g e n s e m ble s, re a d m o d erat ely e a s y/
                                                                                               m o d erat ely diffic ult m u sic (NYS SMA le v el III-IV) a n d
This is evident, for example, when students:
                                                                                               re s p o n d a p pro priat ely to t h e g e st ure s of t h e c o n d u ctor (d)
 ▲ invent a dance built on at least three different dance steps that                      • i d e n tify a n d u s e, i n i n d i v i d u al a n d gro u p e x p eri e n c e s,
     creates a pattern and that moves throughout a given space                                 s o m e of t h e rol e s, pro c e s s e s, a n d a cti o n s for p erform i n g
 ▲ select a word or phrase at random from a pile of cards and                                  a n d c o m p o s i n g m u s i c of t h e ir o w n a n d ot h ers, a n d d i s-
     improvise a movement to express the idea of the word or phrase;                           c u s s w a y s to i m pro v e t h e m.
     others in the class interpret what the dancer is expressing
 ▲ take on one of the roles in a class dance production, i.e.,                           This is evident, for example, when students:
     choreographer, lighting, costuming, etc.
                                                                                          ▲ compose a melody that reflects the mood of a four line poem and
                                                                                              exhibits knowledge of the basic elements of music (e.g., rhythm
                                                                                              and melody)
                                                                                          ▲ sing with classmates a number of songs including folk, art and
                                                                                              contemporary
                                                                                          ▲ improvise on a violin a four measure phrase that is cohesive and
                                                                                              expressive
                                                                                          ▲ perform moderately easy music (NYSSMA level 2 or 3) on an
                                                                                              instrument in a band
                                                                                          ▲ conduct peers through a choral warm-up piece.




               Key ideas are identified by numbers (1).
         Performance indicators are identified by bullets (•).
            Sample tasks are identified by triangles (▲).


   4
St u d e n ts w ill a cti v e ly e n g a g e i n t h e pro c e s s e s t h at c o n stit u t e cre ati o n a n d
p erform a n c e i n t h e arts (d a n c e, m u s i c, t h e atre, a n d v i s u al arts) a n d p arti c i p at e i n
v ari o u s rol e s i n t h e arts.



Theatre                                                                                      Visual Arts
1. Stu d e nts w ill cre ate a n d p erform th e atre pi e c e s a s                         1. St u d e n ts w ill m a k e w ork s of art t h at e x plore
w ell a s i m pro vis atio n al dra m a. Th e y w ill u n d ersta n d                        d iffere n t k i n d s of s u bje ct m att er, to p i c s, t h e m e s, a n d
a n d u s e th e ba sic ele m e nts of th e atre i n th e ir                                 m e ta p h ors. St u d e n ts w ill u n d ersta n d a n d u s e s e n s ory
c h ara cterizatio n s, i m pro vis atio n s, a n d pla y writi n g.                         e l e m e n ts, org a n iz ati o n al pri n c i pl e s, a n d e x pre s s i v e
Stu d e nts w ill e n g a g e i n i n divid u al a n d gro u p th e atric al                 i m a g e s to c o m m u n i c at e t h e ir o w n i d e a s i n w ork s of
a n d th e atre-relate d ta s k s, a n d w ill d e s crib e th e v ario u s                  art. St u d e n ts w ill u s e a v ari e ty of art m at eri als,
role s a n d m e a n s of cre ati n g, p erform i n g, a n d                                 pro c e s s e s, m e d i u m s, a n d t e c h n iq u e s, a n d u s e
pro d u c i n g t h e atre.                                                                  a p pro pri at e t e c h n olo g i e s for cre ati n g a n d e x h ibiti n g
                                                                                             v i s u al art w ork s.
St u d e n ts:
                                                                                             St u d e n ts:
  •   u s e i m pro v i s ati o n a n d g u i d e d pla y w riti n g to
      c o m m u n i c at e i d e a s a n d fe e li n g s (a)                                   •   pro d u c e a c oll e cti o n of art w ork s, i n a v ari e ty of
  •   i m itat e v ari o u s e x p eri e n c e s t hro u g h p a n to m i m e, pla y               m e d i u m s, b a s e d o n a ra n g e of i n d i v i d u al a n d c oll e cti v e
      m a k i n g, dra m ati c pla y, story dra m atiz ati o n, storyt e lli n g,                  e x p eri e n c e s (a)
      rol e pla y i n g, i m pro v i s ati o n a n d g u i d e d pla y w riti n g (b)          •   k n o w a n d u s e a v ari ety of s o urc e s for d e v elo pi n g a n d
  •   u s e la n g u a g e, v o i c e, g e st ure, m o v e m e n t a n d o b s erv ati o n         c o n v e yi n g id e a s, i m a g e s, th e m e s, s y m bols, a n d e v e nts i n
      to cre at e c h ara ct er a n d i n t era ct w it h ot h ers i n                             th e ir cre atio n of art (b)
      i m pro v i s ati o n, re h e ars al, a n d p erform a n c e (c)                         •   u s e t h e e l e m e n ts a n d pri n c i pl e s of art to c o m m u n i c at e
  •   cre at e pro p s, s c e n ery, a n d c o st u m e s t hro u g h i n d i v i d u al           s p e c ifi c m e a n i n g s to ot h ers i n t h e ir art w ork (c)
      a n d gro u p effort (d)                                                                 •   d uri n g t h e cre ati v e pro c e s s, refl e ct o n t h e effe cti v e n e s s
  •   i d e n tify a n d u s e, i n i n d i v i d u al a n d gro u p e x p eri e n c e s,          of s e l e ct e d m e d i u m s or t e c h n iq u e s to c o n v e y i n t e n d e d
      s o m e of t h e rol e s, pro c e s s e s, a n d a cti o n s for p erform i n g              m e a n i n g s (d)
      a n d cre ati n g t h e atre p i e c e s a n d i m pro v i s ati o n al dra m a          •   i d e n tify a n d u s e, i n i n d i v i d u al a n d gro u p e x p eri e n c e s,
      w it h i n t h e s c h o ol/c o m m u n ity, a n d d i s c u s s w a y s to                  s o m e of t h e rol e s a n d m e a n s for d e s i g n i n g, pro d u c i n g,
      i m pro v e t h e m (e).                                                                     a n d e x h ibiti n g art w ork s a n d d i s c u s s w a y s to i m pro v e
                                                                                                   t h e m (e).
This is evident, for example, when students:
                                                                                             This is evident, for example, when students:
 ▲ develop a point of view on an issue then use improvisation to
      convey that point of view to an audience                                                ▲ research various architectural elements and design a building
 ▲ recall or observe a simple action or moment, such as shopping                                  based on their research and on their plan for its use
     for a pair of shoes, cooking from a recipe, typing a letter, and                         ▲ develop an image that is appropriate for a lino cut, transfer it to
     imitate the experience through pantomime                                                     the linoleum and print it using more than one color
 ▲ create and act out character charades by using a prop (e.g.,                               ▲ develop a painting from their drawing of a still-life focusing on
     hats) so specific to the character that they indicate what/who                               composition and color value
     the character is (age, gender, occupation)                                               ▲ research the style of a selected sculptor and design a work based
 ▲ select an appropriate scene to perform for a younger class:                                    on that style but expressing the students' ideas.
     devise the props, costumes and set pieces and rehearse and
     perform the piece
 ▲ suggest the role conflict plays in drama; write scenes with and
     without a conflict; discuss the differences.




   STANDARD 1



                                                                                                                                                                                    5
Standard 1—Creating, Performing, and
Participating in the Arts                                                                                                Commencement-General Education



Dance                                                                                        Music
1. St u d e n ts w ill p erform s e t d a n c e form s i n form al a n d                     1. St u d e n ts w ill c o m p o s e ori g i n al m u s i c a n d p erform
i nform al c o n t e xts a n d w ill i m pro v i s e, cre at e, a n d                        m u s i c w ritt e n b y ot h ers. Th e y w ill u n d ersta n d a n d u s e
p erform d a n c e s b a s e d o n t h e ir o w n m o v e m e n t i d e a s.                 t h e b a s i c e l e m e n ts of m u s i c i n t h e ir p erform a n c e s a n d
Th e y w ill d e m o n strat e a n u n d ersta n d i n g of                                  c o m p o s iti o n s. St u d e n ts w ill e n g a g e i n i n d i v i d u al a n d
c h ore o gra p h i c pri n c i pl e s, pro c e s s e s, a n d stru ct ure s                 gro u p m u s i c al a n d m u s i c-re lat e d ta s k s, a n d w ill
a n d of t h e rol e s of v ari o u s p arti c i p a n ts i n d a n c e                      d e s crib e t h e v ari o u s rol e s a n d m e a n s of cre ati n g,
pro d u cti o n s.                                                                           p erform i n g, re c ord i n g, a n d pro d u c i n g m u s i c.
St u d e n ts:
                                                                                             St u d e n ts:
 • p erform m o v e m e n ts a n d d a n c e s t h at re q u ire
                                                                                              • c o m p o s e si m ple pi e c e s for at le a st t w o m e di u m s, i n clu di n g
      d e m o n strati o n of c o m pl e x st e p s a n d p att ern s a s w e ll a s
                                                                                                   c o m p uters (MIDI) a n d oth er ele ctro n ic i n stru m e nts.
      a n u n d ersta n d i n g of c o n t e xt u al m e a n i n g s (a)
                                                                                                   (P i e c e s m a y c o m bi n e m u sic w ith oth er art form s s u c h a s
 • cre at e d a n c e st u d i e s a n d fu ll c h ore o gra p h i e s b a s e d o n
                                                                                                   d a n c e, th e atre, vis u al arts, or film/vid e o.) (a)
      i d e n tifi e d a n d s e l e ct e d d a n c e m o v e m e n t v o c a b u lary (b)
                                                                                              • s i n g a n d/or pla y re cre ati o n al i n stru m e n ts a c c urat e ly,
 • a p ply a v ari e ty of c h ore o gra p h i c pro c e s s e s a n d
                                                                                                   e x pre s s i v e ly, a n d w it h g o o d to n e q u ality, p itc h, d urati o n,
      stru ct ure s a s a p pro pri at e to pla n a d u e t or e n s e m bl e
                                                                                                   lo u d n e s s, t e c h n iq u e, a n d (s i n g i n g) d i cti o n (b)
      p erform a n c e (c).
                                                                                              • u s e c o m m o n s y m b ols (n otati o n) to p erform m u s i c o n
                                                                                                   re cre ati o n al i n stru m e n ts (c)
This is evident, for example, when students:
                                                                                              • i d e n tify a n d d e s crib e t h e rol e s, pro c e s s e s, a n d a cti o n s
 ▲ perform a dance which is student choreographed using an                                         n e e d e d to pro d u c e profe s s i o n al c o n c erts a n d m u s i c al
     excerpt from a selected contemporary piece of music                                           t h e atre pro d u cti o n s (d)
 ▲ develop the choreography for a duet and plan the rehearsal                                 • e x pla i n t h e c o m m erc i al-m u s i c rol e s of pro d u c er,
     program to achieve the dance                                                                  re c ord i st, p u bli c re lati o n s d ire ctor, re c ord i n g c o m p a n y
 ▲ view a dance company's practice sessions, observe how the                                       e x e c u ti v e, c o n tra ctor, m u s i c i a n s, u n i o n offi c i als,
     dancers develop and integrate their movements and expressions                                 p erform ers, e tc. (e)
     for their own piece and in concert with the other dancers, and
     then analyze and describe the process                                                   This is evident, for example, when students:
 ▲ work as part of a group to research a particular style of dance,
                                                                                              ▲ compose a 32 bar musical piece with a simple melody and
     develop and create choreography based on that research, and
                                                                                                  appropriate harmony on an electronic keyboard or piano
     then perform the piece as an ensemble.
                                                                                              ▲ play a guitar with acceptable tone quality, good technique and
                                                                                                  correct rhythm to accompany a song
                                                                                              ▲ play on a dulcimer an eight measure melody based on a familiar
                                                                                                  folk song
                                                                                              ▲ participate in a concert production as a performer,
                                                                                                  composer/arranger, program annotator, music librarian, stage
                                                                                                  hand, etc.
                                                                                              ▲ write a short narrative after interviewing a local commercial
                                                                                                  music person about their career activities.




                Key ideas are identified by numbers (1).
          Performance indicators are identified by bullets (•).
             Sample tasks are identified by triangles (▲).



   6
St u d e n ts w ill a cti v e ly e n g a g e i n t h e pro c e s s e s t h at c o n stit u t e cre ati o n a n d
p erform a n c e i n t h e arts (d a n c e, m u s i c, t h e atre, a n d v i s u al arts) a n d p arti c i p at e i n
v ari o u s rol e s i n t h e arts.



Theatre                                                                                     Visual Arts
1. Stu d e nts w ill cre ate a n d p erform th e atre pi e c e s a s                        1. St u d e n ts w ill m a k e w ork s of art t h at e x plore
w ell a s i m pro vis atio n al dra m a. Th e y w ill u n d ersta n d                       d iffere n t k i n d s of s u bje ct m att er, to p i c s, t h e m e s, a n d
a n d u s e th e ba sic ele m e nts of th e atre i n th e ir                                m e ta p h ors. St u d e n ts w ill u n d ersta n d a n d u s e s e n s ory
c h ara cterizatio n s, i m pro vis atio n s, a n d pla y writi n g.                        e l e m e n ts, org a n iz ati o n al pri n c i pl e s, a n d e x pre s s i v e
Stu d e nts w ill e n g a g e i n i n divid u al a n d gro u p th e atric al                i m a g e s to c o m m u n i c at e t h e ir o w n i d e a s i n w ork s of
a n d th e atre-relate d ta s k s, a n d w ill d e s crib e th e v ario u s                 art. St u d e n ts w ill u s e a v ari e ty of art m at eri als,
role s a n d m e a n s of cre ati n g, p erform i n g, a n d                                pro c e s s e s, m e d i u m s, a n d t e c h n iq u e s, a n d u s e
pro d u c i n g t h e atre.                                                                 a p pro pri at e t e c h n olo g i e s for cre ati n g a n d e x h ibiti n g
                                                                                            v i s u al art w ork s.
St u d e n ts:
                                                                                            St u d e n ts:
  •   w rit e m o n olo g u e s a n d s c e n e s to c o m m u n i c at e i d e a s a n d
                                                                                              • cr e a t e a c o ll e c t i o n o f art w ork, i n a v ari e t y o f m e d i u m s,
      fe e li n g s (a)
                                                                                                b a s e d o n i n s tr u c t i o n a l a s s i g n m e n t s a n d i n d i v i d u a l a n d
  •   e n a ct e x p eri e n c e s t hro u g h p a n to m i m e, i m pro v i s ati o n,
                                                                                                c o ll e c t i v e e x p e ri e n c e s to e x plore p erc e pti o n s, i d e a s, a n d
      pla y w riti n g, a n d s cri pt a n aly s i s (b)
                                                                                                v i e w p o i n ts (a)
  •   u s e la n g u a g e, t e c h n iq u e s of s o u n d pro d u cti o n
                                                                                              • cre at e art w ork s i n w h i c h t h e y u s e a n d e v al u at e d iffere n t
      (arti c u lati o n, e n u n c i ati o n, d i cti o n, a n d p hra s i n g),
                                                                                                k i n d s of m e d i u m s, s u bje cts, t h e m e s, s y m b ols, m e ta p h ors,
      t e c h n iq u e s of b o d y, m o v e m e n t, p o st ure, sta n c e, g e st ure,
                                                                                                a n d i m a g e s (b)
      a n d fa c i al e x pre s s i o n a n d a n aly s i s of s cri pt to p ers o n ify
                                                                                              • d e m o n strate a n in cre asin g le v el of co m p ete n c e in u sin g th e
      c h ara ct er(s); i n t era ct w it h ot h ers i n i m pro v i s ati o n,
                                                                                                ele m e nts a n d prin ciple s of art to cre ate art w orks for
      re h e ars al, a n d p erform a n c e; a n d c o m m u n i c at e i d e a s a n d
                                                                                                p ublic e x hibitio n (c)
      fe e li n g s (c)
                                                                                              • refl e ct o n t h e ir d e v e lo p i n g w ork to d e t erm i n e t h e
  •   d e s i g n a n d b u ild pro p s, s e ts, a n d c o st u m e s to
                                                                                                effe cti v e n e s s of s e l e ct e d m e d i u m s a n d t e c h n iq u e s for
      c o m m u n i c at e t h e i n t e n t of t h e pro d u cti o n (d).
                                                                                                c o n v e y i n g m e a n i n g a n d a dju st t h e ir d e c i s i o n s
  •   m ak e actin g, dire ctin g, a n d d e sig n c h oic e s th at s u pport
                                                                                                a c c ord i n gly (d).
      a n d e n h a n c e th e inte nt of th e class, sc h ool, a n d /or
      co m m u nity prod u ctio n s (e).
                                                                                            This is evident, for example, when students:
This is evident, for example, when students:                                                 ▲ do a series of drawings of posed figures and then incorporate one
                                                                                                 or more of those figures into a painting to express a specific
 ▲ write and perform an original monologue which expresses a
                                                                                                 theme
     struggle over a decision of whether to engage in a particular
                                                                                             ▲ use one medium or technique in more than two works to
     activity with peers
                                                                                                 indicate their skill with that medium or technique
 ▲ select an example of visual art (paintings, reproductions,
                                                                                             ▲ develop an idea for a work of art, research the various ways in
     photographs, postcards); study the visual art for setting, mood,
                                                                                                 which that idea has been expressed by other artists and at other
     and characterization; and improvise a scene ending in a tableau
                                                                                                 times, select the appropriate medium or technique for that
 ▲ perform a reader's theatre piece concentrating on voice and
                                                                                                 work and complete the work
     gestures to convey nuances of character, mood and meaning
                                                                                             ▲ produce a computer generated design in which they use their
 ▲ create a floor plan of a set design for a play
                                                                                                 understanding of composition, color, line, space.
 ▲ assume various roles of theatrical personnel, both onstage and
     backstage, to assure the success of a school production.




   STANDARD 1



                                                                                                                                                                                     7
Standard 1—Creating, Performing, and
Participating in the Arts                                                                                              Commencement-Major Sequence



Dance                                                                                   Music
1. St u d e n ts w ill p erform s e t d a n c e form s i n form al a n d                1. St u d e n ts w ill c o m p o s e ori g i n al m u s i c a n d p erform
i nform al c o n t e xts a n d w ill i m pro v i s e, cre at e, a n d                   m u s i c w ritt e n b y ot h ers. Th e y w ill u n d ersta n d a n d u s e
p erform d a n c e s b a s e d o n t h e ir o w n m o v e m e n t i d e a s.            t h e b a s i c e l e m e n ts of m u s i c i n t h e ir p erform a n c e s a n d
Th e y w ill d e m o n strat e a n u n d ersta n d i n g of                             c o m p o s iti o n s. St u d e n ts w ill e n g a g e i n i n d i v i d u al a n d
c h ore o gra p h i c pri n c i pl e s, pro c e s s e s, a n d stru ct ure s            gro u p m u s i c al a n d m u s i c-re lat e d ta s k s, a n d w ill
a n d of t h e rol e s of v ari o u s p arti c i p a n ts i n d a n c e                 d e s crib e t h e v ari o u s rol e s a n d m e a n s of cre ati n g,
pro d u cti o n s.                                                                      p erform i n g, re c ord i n g, a n d pro d u c i n g m u s i c.
In a d d iti o n to t h e Ge n eral E d u c ati o n p erform a n c e i n d i c ators,
                                                                                        In a d d iti o n to t h e Ge n eral E d u c ati o n p erform a n c e i n d i c ators,
st u d e n ts:
                                                                                        st u d e n ts:
  • u s e a v ari e ty of s o urc e s to fi n d d a n c e i d e a s (a)
                                                                                          • compose a collection of w orks for w ind, string, percussion,
  • s e l e ct d a n c e stru ct ure s for u s e i n c h ore o gra p h i c
                                                                                               vocal, keyboard, or ele ctronic m edia that de monstrates an
       proje cts (b)
                                                                                               u nderstanding and application of th e m usical ele m e nts and
  • p erform d a n c e s re q u iri n g u s e of m ore s o p h i sti c at e d
                                                                                               m usic-related te ch nology (a)
       p erform a n c e e l e m e n ts s u c h a s d y n a m i c s, p hra s i n g,
                                                                                          • m o n itor a n d a dju st t h e ir p erform a n c e a n d c o m p o s iti o n al
       m u s i c ality, e x pre s s i o n (c)
                                                                                               t e c h n iq u e s, i d e n tify i n g stre n gt h s a n d are a s for
  • u s e a v ari e ty of c h ore o gra p h i c a p pro a c h e s w it h a n y
                                                                                               i m pro v e m e n ts (b)
       n u m b er of d a n c ers, pro p s, a n d p erform a n c e s p a c e s (d)
                                                                                          • i m pro vis e a n d arra n g e e xt e n d e d m u sic al c o m p o sitio n s
  • d e m o n strat e a bility to w ork effe cti v e ly a s d a n c er,
                                                                                               t h at e x h ibit c o h e s i v e n e s s a n d m u s i c al e x pre s s i o n (c)
       c h ore o gra p h er, d ire ctor, c o st u m er, li g h ti n g d e s i g n er,
                                                                                          • i n c h oral a n d i n stru m e n tal e n s e m bl e s, re a d d iffi c u lt/v ery
       m a n a g er (e).
                                                                                               d iffi c u lt m u s i c (NYS SMA l e v e l V or VI); e x h ibit
                                                                                               i n d e p e n d e n t c o n trol o v er to n e q u ality, i n to n ati o n,
This is evident, for example, when students:
                                                                                              rh yt h m, d y n a m i c s, b ala n c e, bl e n d, e x pre s s i o n, a n d
 ▲ select dance structures based on traditional forms and                                      arti c u lati o n; a n d re s p o n d a p pro pri at e ly to t h e g e st ure s
     choreograph them into a dance, selecting the music                                        of t h e c o n d u ctor (d)
 ▲ create a dance appropriate for elementary school children and                          • a d o pt at l e a st t w o of t h e rol e s t h e y i d e n tify a s n e e d e d
     instruct the children in bodily movements and dance vocabulary                           (c o m p o s er, arra n g er, c o p y i st, c o n d u ctor, p erform er,
 ▲ prepare and perform a dance recital which shows a high level of                             a n n o u n c er, i n stru m e n t m a k er or pro v i d er, pro gra m
     expression, dynamics, musicality and phrasing                                             a n n otator, re c ord i st) to pro d u c e t h e p erform a n c e of a
 ▲ create and develop audition pieces that demonstrate knowledge                               m u s i c al c o m p o s iti o n i n t h e cla s sro o m (e)
     of high level choreographic principles                                               • i n p erform i n g gro u p s, pro d u c e m u s i c al p erform a n c e s b y
 ▲ arrange, prepare and audition for dance companies,                                          p e er-l e d s m all e n s e m bl e s a n d s e cti o n s of larg er
     participating in the process with poise and professionalism                               e n s e m bl e s (f).
 ▲ interpret an existing piece of choreography through reflection
     (e.g., journal writing) and a uniquely personal approach to                        This is evident, for example, when students:
     performance.
                                                                                         ▲ compose a one movement work for his /her own instrument or
                                                                                             voice that demonstrates knowledge of the elements of music and
                                                                                             compositional techniques
                                                                                         ▲ describe the strengths and weaknesses of their performance in a
                                                                                             music journal
                                                                                         ▲ show improvement over time by recording multiple
                                                                                             performances of a musical composition on an audiotape
                                                                                         ▲ improvise and/or arrange a popular song for the school jazz
                                                                                             band or show choir
                                                                                         ▲ play his/her instrument exhibiting control of tone quality,
                                                                                             technique, etc., when playing alone or in a performing
                                                                                             organization
                                                                                         ▲ perform a solo or duet at a NYSSMA evaluation festival
                                                                                         ▲ write about the composer of a standard piece of music while
                                                                                             he/she is learning to perform the work
                                                                                         ▲ work with peers to produce a recital for friends and parents
                                                                                         ▲ through a peer group rehearsal improve a section of a large
                                                                                             group musical performance.
               Key ideas are identified by numbers (1).
         Performance indicators are identified by bullets (•).
            Sample tasks are identified by triangles (▲).


   8
St u d e n ts w ill a cti v e ly e n g a g e i n t h e pro c e s s e s t h at c o n stit u t e cre ati o n a n d
p erform a n c e i n t h e arts (d a n c e, m u s i c, t h e atre, a n d v i s u al arts) a n d p arti c i p at e i n
v ari o u s rol e s i n t h e arts.



Theatre                                                                                  Visual Arts
1. Stu d e nts w ill cre ate a n d p erform th e atre pi e c e s a s                     1. St u d e n ts w ill m a k e w ork s of art t h at e x plore
w ell a s i m pro vis atio n al dra m a. Th e y w ill u n d ersta n d                    d iffere n t k i n d s of s u bje ct m att er, to p i c s, t h e m e s, a n d
a n d u s e th e ba sic ele m e nts of th e atre i n th e ir                             m e ta p h ors. St u d e n ts w ill u n d ersta n d a n d u s e s e n s ory
c h ara cterizatio n s, i m pro vis atio n s, a n d pla y writi n g.                     e l e m e n ts, org a n iz ati o n al pri n c i pl e s, a n d e x pre s s i v e
Stu d e nts w ill e n g a g e i n i n divid u al a n d gro u p th e atric al             i m a g e s to c o m m u n i c at e t h e ir o w n i d e a s i n w ork s of
a n d th e atre-relate d ta s k s, a n d w ill d e s crib e th e v ario u s              art. St u d e n ts w ill u s e a v ari e ty of art m at eri als,
role s a n d m e a n s of cre ati n g, p erform i n g, a n d                             pro c e s s e s, m e d i u m s, a n d t e c h n iq u e s, a n d u s e
pro d u c i n g t h e atre.                                                              a p pro pri at e t e c h n olo g i e s for cre ati n g a n d e x h ibiti n g
                                                                                         v i s u al art w ork s.
In a d d iti o n to t h e Ge n eral E d u c ati o n p erform a n c e i n d i c ators,
st u d e n ts:                                                                           In a d d iti o n to t h e Ge n eral E d u c ati o n p erform a n c e i n d i c ators,
  • w rit e pla y s to c o m m u n i c at e t h e ir i d e a s a n d fe e li n g s (a)   st u d e n ts:
  • c olla b orat e i n t h e d e v e lo p m e n t of ori g i n al w ork s w h i c h       • pro d u c e c o m pre h e n s i v e a n d w e ll org a n iz e d
      refl e ct life e x p eri e n c e s (b)                                                    c o m m e n c e m e n t p ortfoli o s of t h e ir w ork (a)
  • u s e v o c al, m o v e m e n t, a n d b o d y t e c h n iq u e s to cre at e          • re v e al t hro u g h t h e ir w ork a bro a d i n v e sti g ati o n of a
       c o m pl e x c h ara ct ers i n m o n olo g u e s, oral i n t erpre tati o n,            v ari e ty of i n d i v i d u al i d e a s a n d at l e a st o n e t h e m e
       a n d s c e n e st u d y (c)                                                             e x plore d i m a g i n ati v e ly a n d i n d e pt h (b)
  • cre at e pro p s, s c e n ery, a n d c o st u m e s for d iffere n t styl e s of       • g i v e e v i d e n c e t h at t h e y h a v e d e v e lo p e d a n e m erg i n g
       pla y s (d)                                                                              p ers o n al styl e (c)
  • c arry o u t a cti n g, d ire cti n g, a n d d e s i g n c h o i c e s w h i c h       • u s e s e l e ct e d m e d i u m s a n d t e c h n iq u e s a n d s e l e ct t h e m o st
       s u p p ort a n d e n h a n c e t h e i n t e n t of a pro d u cti o n (e).              a p pro pri at e m e d i u m s a n d t e c h n iq u e s to c o m m u n i c at e
                                                                                                t h e ir i d e a s (d).
This is evident, for example, when students:
                                                                                         This is evident, for example, when students:
 ▲ write a play to submit for a student playwrighting competition
     (e.g., Very Special Arts) following competition guidelines                           ▲ produce a portfolio with at least ten completed works, together
 ▲ use improvisation to discover issues of concern for teenagers and                          with sketches, notes and research that were used in the
     develop original pieces into script format                                               development of those works
 ▲ use oral interpretation to convey the nuances of character and                         ▲ include in their portfolios drawings which show their ability to
     feeling in a student selected narrative poem                                             draw from observation and from their imagination
 ▲ select an absurdist piece (e.g., a Pinter or Albee play) to produce                    ▲ include in their portfolios one example of a work which was
     which highlights sophisticated levels of theatrical understanding                        student generated, researched and developed
 ▲ participate in an internship in theatre technology or business                         ▲ use electronic imaging (film, computers, video,cd/rom, etc.) to
     management with a local college, community or professional                               create individual images.
     theatre production.




  STANDARD 1



                                                                                                                                                                                9
Standard 2—Knowing and Using Arts
Materials and Resources                                                                                                                                       Elementary



Dance                                                                                   Music
2. St u d e n ts w ill k n o w h o w to a c c e s s d a n c e a n d d a n c e-          2. St u d e n ts w ill u s e tra d iti o n al i n stru m e n ts, e l e ctro n i c
re lat e d m at eri al fro m librari e s, re s o urc e c e n t ers,                     i n stru m e n ts, a n d a v ari e ty of n o n tra d iti o n al s o u n d
m u s e u m s, st u d i o s, a n d p erform a n c e s p a c e s. St u d e n ts          s o urc e s to cre at e a n d p erform m u s i c. Th e y w ill u s e
w ill k n o w v ari o u s c are er p o s s ibiliti e s i n d a n c e a n d              v ari o u s re s o urc e s to e x p a n d t h e ir k n o w l e d g e of
re cre ati o n al o p p ort u n iti e s to d a n c e. St u d e n ts w ill               li st e n i n g e x p eri e n c e s, p erform a n c e o p p ort u n iti e s,
att e n d d a n c e e v e n ts a n d p arti c i p at e a s a p pro pri at e             a n d/or i nform ati o n a b o u t m u s i c. St u d e n ts w ill i d e n tify
w it h i n e a c h s e tti n g.                                                         o p p ort u n iti e s to c o n trib u t e to t h e ir c o m m u n iti e s’
                                                                                        m u s i c i n stit u ti o n s, i n cl u d i n g t h o s e e m b e d d e d i n ot h er
St u d e n ts:                                                                          i n stit u ti o n s (c h urc h c h o irs, i n d u stri al m u s i c
 • d e m o n strat e k n o w l e d g e of d a n c e re s o urc e s i n v i d e o,       e n s e m bl e s, e tc.). St u d e n ts w ill k n o w t h e v o c ati o n s a n d
      p h oto gra p h y, pri n t, a n d li v e p erform a n c e (a)                     a v o c ati o n s a v a ila bl e to t h e m i n m u s i c.
 • u n d ersta n d t h e c o n c e pt of li v e p erform a n c e a n d
      a p pro pri at e c o n d u ct (b)
                                                                                        St u d e n ts:
 • d e m o n strat e a k n o w l e d g e of d a n c e-re lat e d c are ers (e.g.,
                                                                                         • u s e cla s sro o m a n d n o n tra d iti o n al i n stru m e n ts i n
      d a n c er, c h ore o gra p h er, c o m p o s er, li g h ti n g d e s i g n er,
                                                                                              p erform i n g a n d cre ati n g m u s i c (a)
      h i stori a n, t e a c h er) (c).
                                                                                         • c o n stru ct i n stru m e n ts o u t of m at eri al n ot c o m m o n ly
                                                                                              u s e d for m u s i c al i n stru m e n ts (b)
This is evident, for example, when students:
                                                                                         • u s e c urre n t t e c h n olo g y to m a n i p u lat e s o u n d (c)
 ▲ discuss the differences between watching a dance performance                          • i d e n tify t h e v ari o u s s e tti n g s i n w h i c h t h e y h e ar m u s i c
     on video and watching a live performance                                                 a n d t h e v ari o u s re s o urc e s t h at are u s e d to pro d u c e m u s i c
 ▲ talk to a visiting artist (dancer, choreographer, composer,                                d uri n g a ty p i c al w e e k; e x pla i n w h y t h e p arti c u lar ty p e of
     lighting director) about what he/she does.                                               m u s i c w a s u s e d (d)
                                                                                         • d e m o n strat e a p pro pri at e a u d i e n c e b e h a v i or, i n cl u d i n g
                                                                                              att e n ti v e li st e n i n g, i n a v ari e ty of m u s i c al s e tti n g s i n a n d
                                                                                              o u t of s c h o ol (e)
                                                                                         • d i s c u s s w a y s t h at m u s i c i s u s e d b y v ari o u s m e m b ers of
                                                                                              t h e c o m m u n ity (f).

                                                                                        This is evident, for example, when students:
                                                                                         ▲ use common items (e.g., keys, classroom blinds, measuring
                                                                                             sticks) as “found sounds” to improvise a group composition
                                                                                         ▲ make a shaker from a paper tube to accompany a Native
                                                                                             American dance or Latino song
                                                                                         ▲ change pitch or timbre of a sound on the synthesizer
                                                                                         ▲ keep a log of locations where they hear music in the community
                                                                                             or home
                                                                                         ▲ exhibit appropriate behavior when listening to music in the
                                                                                             school’s auditorium
                                                                                         ▲ describe in class the ways music is used at home and in their
                                                                                             community.




               Key ideas are identified by numbers (1).
         Performance indicators are identified by bullets (•).
            Sample tasks are identified by triangles (▲).


  10
St u d e n ts w ill b e k n o w l e d g e a bl e a b o u t a n d m a k e u s e of t h e m at eri als a n d re s o urc e s
a v a ila bl e for p arti c i p ati o n i n t h e arts i n v ari o u s rol e s.



Theatre                                                                                     Visual Arts
2. St u d e n ts w ill k n o w t h e b a s i c to ols, m e d i a, a n d                     2. St u d e n ts w ill k n o w a n d u s e a v ari e ty of v i s u al arts
t e c h n iq u e s i n v olv e d i n t h e atri c al pro d u cti o n. St u d e n ts         m at eri als, t e c h n iq u e s, a n d pro c e s s e s. St u d e n ts w ill
w ill lo c at e a n d u s e s c h o ol, c o m m u n ity, a n d                              k n o w a b o u t re s o urc e s a n d o p p ort u n iti e s for
profe s s i o n al re s o urc e s for t h e atre e x p eri e n c e s.                       p arti c i p ati o n i n v i s u al arts i n t h e c o m m u n ity
St u d e n ts w ill u n d ersta n d t h e jo b o p p ort u n iti e s                        (e x h ibiti o n s, librari e s, m u s e u m s, g all eri e s) a n d u s e
a v a ila bl e i n all a s p e cts of t h e atre.                                           a p pro pri at e m at eri als (art re pro d u cti o n s, sli d e s, pri n t
                                                                                            m at eri als, e l e ctro n i c m e d i a). St u d e n ts w ill b e a w are of
St u d e n ts:                                                                              v o c ati o n al o pti o n s a v a ila bl e i n t h e v i s u al arts.
 • v i s it t h e at ers, t h e atre-re lat e d fa c iliti e s, a n d/or to uri n g
      c o m p a n i e s to o b s erv e a s p e cts of t h e atri c al pro d u cti o n (a)   St u d e n ts:
 • u s e t h e library/m e d i a c e n t er of t h e ir s c h o ol or                        • u n d ersta n d t h e c h ara ct eri sti c s of v ari o u s m e d i u m s
      c o m m u n ity to fi n d story dra m atiz ati o n m at eri al or ot h er                   (t w o-d i m e n s i o n al, t hre e-d i m e n s i o n al, e l e ctro n i c i m a g e s)
      t h e atre-re lat e d m at eri als a n d to v i e w v i d e ota p e s of                    i n ord er to s e l e ct t h o s e t h at are a p pro pri at e for t h e ir
      p erform a n c e s (b)                                                                      p urp o s e s a n d i n t e n t (a)
 • att e n d t h e atri c al p erform a n c e s i n t h e ir s c h o ol a n d                • d e v e lo p s k ills w it h e l e ctro n i c m e d i a a s a m e a n s of
      d e m o n strat e a p pro pri at e a u d i e n c e b e h a v i or (c)                       e x pre s s i n g v i s u al i d e a s (b)
 • s p e a k w it h t h e atre profe s s i o n als a b o u t h o w t h e y pre p are         • k n o w a b o u t s o m e c u lt ural i n stit u ti o n s (m u s e u m s a n d
      for a n d p erform t h e ir jo b s (d).                                                     g all eri e s) a n d c o m m u n ity o p p ort u n iti e s (art fe sti v als) for
                                                                                                  lo o k i n g at ori g i n al art a n d talk i n g to v i s iti n g arti sts, to
This is evident, for example, when students:                                                      i n cre a s e t h e ir u n d ersta n d i n g of art (c)
                                                                                             • g i v e e x a m p l e s of a d u lt s w h o m a k e t h e ir li v i n g s i n t h e
 ▲ visit the high school to observe the rehearsal of a play and
                                                                                                  art s prof e s s i o n s (d).
     participate in a question and answer session with the
     production staff
                                                                                            This is evident, for example, when students:
 ▲ search the school library for a story suitable to develop into a
     play                                                                                    ▲ use a draw/paint computer program to create graphic images
 ▲ discuss and adhere to guidelines for proper behavior when                                 ▲ visit a museum and write a short report of what they saw
     attending a theatrical production, behavior which enhances                              ▲ engage a visiting artist in talk about what that artist does, how
     enjoyment and supports the efforts of the performers                                        he/she does it and why.
 ▲ prepare interview questions to use in a discussion with a theatre
     professional.




  STANDARD 2



                                                                                                                                                                                   11
Standard 2—Knowing and Using Arts
Materials and Resources                                                                                                                                           Intermediate



Dance                                                                                          Music
2. St u d e n ts w ill k n o w h o w to a c c e s s d a n c e a n d d a n c e-                 2. St u d e n ts w ill u s e tra d iti o n al i n stru m e n ts, e l e ctro n i c
re lat e d m at eri al fro m librari e s, re s o urc e c e n t ers,                            i n stru m e n ts, a n d a v ari e ty of n o n tra d iti o n al s o u n d
m u s e u m s, st u d i o s, a n d p erform a n c e s p a c e s. St u d e n ts                 s o urc e s to cre at e a n d p erform m u s i c. Th e y w ill u s e
w ill k n o w v ari o u s c are er p o s s ibiliti e s i n d a n c e a n d                     v ari o u s re s o urc e s to e x p a n d t h e ir k n o w l e d g e of
re cre ati o n al o p p ort u n iti e s to d a n c e. St u d e n ts w ill                      li st e n i n g e x p eri e n c e s, p erform a n c e o p p ort u n iti e s,
att e n d d a n c e e v e n ts a n d p arti c i p at e a s a p pro pri at e                    a n d/or i nform ati o n a b o u t m u s i c. St u d e n ts w ill i d e n tify
w it h i n e a c h s e tti n g.                                                                o p p ort u n iti e s to c o n trib u t e to t h e ir c o m m u n iti e s’
                                                                                               m u s i c i n stit u ti o n s, i n cl u d i n g t h o s e e m b e d d e d i n ot h er
St u d e n ts:                                                                                 i n stit u ti o n s (c h urc h c h o irs, i n d u stri al m u s i c
 • d e m o n strat e k n o w l e d g e of s o urc e s for u n d ersta n d i n g                e n s e m bl e s, e tc.). St u d e n ts w ill k n o w t h e v o c ati o n s a n d
      d a n c e t e c h n olo g i e s: li v e, pri n t, v i d e o, c o m p u t er, e tc. (a)   a v o c ati o n s a v a ila bl e to t h e m i n m u s i c.
 • d e m o n strat e k n o w l e d g e of h o w h u m a n stru ct ure a n d
      fu n cti o n affe ct m o v e m e n t i n p arts of d a n c e s a n d d a n c e s
                                                                                               St u d e n ts:
      t h at t h e y k n o w or h a v e c h ore o gra p h e d (b)
                                                                                                • u s e tra d iti o n al or n o n tra d iti o n al s o u n d s o urc e s,
 • d e m o n strat e k n o w l e d g e of a u d i e n c e/p erform er
                                                                                                     i n cl u d i n g e l e ctro n i c o n e s, i n c o m p o s i n g a n d p erform i n g
      re s p o n s ibiliti e s a n d re lati o n s h i p s i n d a n c e (c)
                                                                                                     s i m pl e p i e c e s (a)
 • d e m o n strat e k n o w l e d g e of d iffere n c e s i n p erform a n c e
                                                                                                • u s e s c h o ol a n d c o m m u n ity re s o urc e s to d e v e lo p
      v e n u e a n d t h e e v e n ts pre s e n t e d i n e a c h (d).
                                                                                                     i nform ati o n o n m u s i c a n d m u s i c i a n s (b)
                                                                                                • u s e c urre n t t e c h n olo g y to cre at e, pro d u c e a n d
This is evident, for example, when students:
                                                                                                     re c ord/pla y b a c k m u s i c (c)
 ▲ plan an appropriate venue for a dance they have developed                                    • i d e n tify a c o m m u n ity-b a s e d m u s i c al i n t ere st or rol e a n d
 ▲ use the computer or video to examine dance routines.                                              e x pla i n t h e s k ills, k n o w l e d g e, a n d re s o urc e s n e c e s s ary to
                                                                                                     p urs u e t h e i n t ere st or a d o pt t h e rol e (d)
                                                                                                • d e m o n strat e a p pro pri at e li st e n i n g a n d ot h er
                                                                                                     p arti c i p atory re s p o n s e s to m u s i c of a v ari e ty of g e nre s
                                                                                                     a n d c u lt ure s (e)
                                                                                                • i n v e sti g at e s o m e c are er o pti o n s re lat e d to t h e ir m u s i c al
                                                                                                     i n t ere sts (f).

                                                                                               This is evident, for example, when students:
                                                                                                ▲ use their voices, traditional instruments, or “found sounds” to
                                                                                                    create a sound composition which is appropriate for a holiday
                                                                                                    (e.g., Halloween)
                                                                                                ▲ collect and catalogue the concerts scheduled in their community
                                                                                                    for an upcoming month
                                                                                                ▲ prepare a solo for performance, use library materials at school
                                                                                                    or in the community to write a short paper on the composer of a
                                                                                                    solo work they are preparing
                                                                                                ▲ use a stereo cassette recorder and microphones to record a
                                                                                                    group composition of their peers and play it back in class
                                                                                                ▲ describe, in their log, a variety of community musical opportuni-
                                                                                                    ties in which students may participate
                                                                                                ▲ discover and report to the instrumental class lesson what skills
                                                                                                    are necessary to participate in the regional youth orchestra
                                                                                                ▲ exhibit proper audience behavior when attending a concert
                                                                                                    given by professional musicians
                                                                                                ▲ determine and record in the log what education and training are
                                                                                                    needed to become one of the following—a composer, arranger,
                                                                                                    professional musician, or other occupation associated with
                                                                                                    music.




                Key ideas are identified by numbers (1).
          Performance indicators are identified by bullets (•).
             Sample tasks are identified by triangles (▲).


  12
St u d e n ts w ill b e k n o w l e d g e a bl e a b o u t a n d m a k e u s e of t h e m at eri als a n d re s o urc e s
a v a ila bl e for p arti c i p ati o n i n t h e arts i n v ari o u s rol e s.



Theatre                                                                                    Visual Arts
2. St u d e n ts w ill k n o w t h e b a s i c to ols, m e d i a, a n d                    2. St u d e n ts w ill k n o w a n d u s e a v ari e ty of v i s u al arts
t e c h n iq u e s i n v olv e d i n t h e atri c al pro d u cti o n. St u d e n ts        m at eri als, t e c h n iq u e s, a n d pro c e s s e s. St u d e n ts w ill
w ill lo c at e a n d u s e s c h o ol, c o m m u n ity, a n d                             k n o w a b o u t re s o urc e s a n d o p p ort u n iti e s for
profe s s i o n al re s o urc e s for t h e atre e x p eri e n c e s.                      p arti c i p ati o n i n v i s u al arts i n t h e c o m m u n ity
St u d e n ts w ill u n d ersta n d t h e jo b o p p ort u n iti e s                       (e x h ibiti o n s, librari e s, m u s e u m s, g all eri e s) a n d u s e
a v a ila bl e i n all a s p e cts of t h e atre.                                          a p pro pri at e m at eri als (art re pro d u cti o n s, sli d e s, pri n t
                                                                                           m at eri als, e l e ctro n i c m e d i a). St u d e n ts w ill b e a w are of
St u d e n ts:
                                                                                           v o c ati o n al o pti o n s a v a ila bl e i n t h e v i s u al arts.
 • visit t h e atre t e c h n olo g y fa ciliti e s, i n clu di n g t h e lo c al h ig h
                                                                                           St u d e n ts:
      s c h o ol fa cility, a n d i nt era ct w it h profe s sio n als a n d
                                                                                            • d e v e lo p s k ills w it h a v ari e ty of art m at eri als a n d
      t h e atre st u d e nts to le arn abo ut t h e atre t e c h n olo g y (e.g.,
                                                                                                 c o m p e t e n c e i n at l e a st o n e m e d i u m (a)
      lig hti n g, sta gi n g, s o u n d, etc.) (a)
                                                                                            • u s e t h e c o m p u t er a n d ot h er e l e ctro n i c m e d i a a s
 • u s e t h e s c h o ol or c o m m u n ity library/m e dia c e nt ers a n d
                                                                                                 d e s i g n i n g to ols a n d to c o m m u n i c at e v i s u al i d e a s (b)
      ot h er re s o urc e s to d e v elo p i nform atio n o n v ario u s
                                                                                            • ta k e a d v a n ta g e of c o m m u n ity o p p ort u n iti e s a n d c u lt ural
      t h e atre-relat e d to pic s (b)
                                                                                                 i n stit u ti o n s to l e arn fro m profe s s i o n al arti sts, lo o k at
 • k n o w a b o u t l o c a l t h e a tri c a l i n s tit u ti o n s, a tt e n d
                                                                                                 ori g i n al art, a n d i n cre a s e t h e ir u n d ersta n d i n g of art (c)
      p erfor m a n c e s i n s c h o o l a n d i n t h e c o m m u n it y, a n d
                                                                                            • u n d ersta n d t h e v ari e ty of c are ers re lat e d to t h e v i s u al
      d e m o n s tra t e a p pro pri a t e a u d i e n c e b e h a v i or (c)
                                                                                                 arts a n d t h e s k ills n e c e s s ary to p urs u e s o m e of t h e m (d).
 • d i s c u s s v o c ati o n s/a v o c ati o n s w it h t h e atre profe s s i o n als
      a n d i d e n tify t h e s k ills a n d pre p arati o n n e c e s s ary for
                                                                                           This is evident, for example, when students:
      t h e atre v o c ati o n s/a v o c ati o n s (d).
                                                                                            ▲ mix paint in a range of shades and tints and apply the paint to
This is evident, for example, when students:                                                    their work with skill
                                                                                            ▲ use the computer to develop an idea for a project with sculpture
 ▲ visit the high school to discover how a lighting system works by
                                                                                            ▲ visit a museum and look at an original work of art and discuss
     participating in hands-on workshop experience with a lighting
                                                                                                the differences between the original and the reproduction
     technician
                                                                                            ▲ use the internet to explore images of public art.
 ▲ research various theatre history time periods in the library and
     on the computer internet to compile a class booklet on theatre
     history
 ▲ prepare a bulletin board with information about local school,
     college and community theatres including production schedules
     and student reviews of productions
 ▲ interview various theatre technology artists and report to the
     class on the preparation necessary to be trained for these
     careers.




  STANDARD 2



                                                                                                                                                                          13
Standard 2—Knowing and Using Arts
Materials and Resources                                                                                             Commencement-General Education



Dance                                                                                   Music
2. St u d e n ts w ill k n o w h o w to a c c e s s d a n c e a n d d a n c e-          2. St u d e n ts w ill u s e tra d iti o n al i n stru m e n ts, e l e ctro n i c
re lat e d m at eri al fro m librari e s, re s o urc e c e n t ers,                     i n stru m e n ts, a n d a v ari e ty of n o n tra d iti o n al s o u n d
m u s e u m s, st u d i o s, a n d p erform a n c e s p a c e s. St u d e n ts          s o urc e s to cre at e a n d p erform m u s i c. Th e y w ill u s e
w ill k n o w v ari o u s c are er p o s s ibiliti e s i n d a n c e a n d              v ari o u s re s o urc e s to e x p a n d t h e ir k n o w l e d g e of
re cre ati o n al o p p ort u n iti e s to d a n c e. St u d e n ts w ill               li st e n i n g e x p eri e n c e s, p erform a n c e o p p ort u n iti e s,
att e n d d a n c e e v e n ts a n d p arti c i p at e a s a p pro pri at e             a n d/or i nform ati o n a b o u t m u s i c. St u d e n ts w ill i d e n tify
w it h i n e a c h s e tti n g.                                                         o p p ort u n iti e s to c o n trib u t e to t h e ir c o m m u n iti e s’
                                                                                        m u s i c i n stit u ti o n s, i n cl u d i n g t h o s e e m b e d d e d i n ot h er
St u d e n ts:                                                                          i n stit u ti o n s (c h urc h c h o irs, i n d u stri al m u s i c e n s e m-
 • u s e d a n c e te c h n olo gi e s w ith o ut sig n ific a nt s u p ervisio n (a)   bl e s, e tc.). St u d e n ts w ill k n o w t h e v o c ati o n s a n d
 • are fa m ili ar w it h t e c h n iq u e s of re s e arc h a b o u t d a n c e (b)    a v o c ati o n s a v a ila bl e to t h e m i n m u s i c.
 • k n o w a b o u t re g i o n al p erform a n c e v e n u e s w h i c h pre s e n t
      d a n c e a n d h o w to p urc h a s e ti c k e ts a n d a c c e s s
                                                                                        St u d e n ts:
      i nform ati o n a b o u t e v e n ts (c)
                                                                                         • u s e tra d iti o n al, e l e ctro n i c, a n d n o n tra d iti o n al m e d i a for
 • k n o w a b o u t e d u c ati o n al re q u ire m e n ts of d a n c e-re lat e d
                                                                                              c o m p o s i n g, arra n g i n g, a n d p erform i n g m u s i c (a)
      c are ers (d)
                                                                                         • describe and compare the various services provided by
 • i d e n tify m ajor m u s cl e s a n d b o n e s a n d h o w t h e y fu n cti o n
                                                                                              community org a n iz ati o n s t h at pro m ot e m u s i c
      i n d a n c e m o v e m e n t (e).
                                                                                              p erform a n c e a n d li st e n i n g (b)
                                                                                         • u s e pri n t a n d e l e ctro n i c m e d i a, i n cl u d i n g re c ord i n g s, i n
This is evident, for example, when students:                                                  s c h o ol a n d c o m m u n ity librari e s to g at h er a n d re p ort
 ▲ select the appropriate dance technologies for a given                                      i nform ati o n o n m u s i c a n d m u s i c i a n s (c)
     performance                                                                         • i d e n tify a n d d i s c u s s t h e c o n trib u ti o n s of lo c al e x p erts i n
 ▲ know about the role that muscles play in dance and practice                                v ari o u s a s p e cts of m u s i c p erform a n c e, pro d u cti o n, a n d
     correct stretching exercises                                                             s c h olars h i p (d)
 ▲ attend a regional dance performance and report to the class                           • p arti c i p at e a s a d i s cri m i n ati n g m e m b er of a n a u d i e n c e
     about it                                                                                 w h e n li st e n i n g to p erform a n c e s fro m a v ari e ty of g e nre s,
 ▲ compile an ongoing calendar of community dance events and                                  form s, a n d styl e s (e)
     share this information with other students and the broader                          • u n d ersta n d a bro a d ra n g e of c are er o p p ort u n iti e s i n t h e
     community through the broadcast media, publications, or                                  fi e ld of m u s i c, i n cl u d i n g t h o s e i n v olv e d w it h fu n d i n g,
     on-line                                                                                  pro d u c i n g, a n d m ark e ti n g m u s i c al e v e n ts (f).
 ▲ attend a variety of dance performances and keep a journal/file of
     the obvious differences and similarities                                           This is evident, for example, when students:
 ▲ gather information, through research and interviews, about                            ▲ use an electronic keyboard and computer to compose and print
     dance-related careers and professional training, and establish a                        out a sixteen measure composition
     file for use and contributions by other students                                    ▲ report to the class on a major musical organization in the
 ▲ research and compare and contrast the movement and functions                              community and its schedule of performances for the school year
     of muscles and bones in dance and other physical activities,                        ▲ present a detailed oral report to the class based on information
     such as tennis, swimming, etc.                                                          gathered at the local library on a musician and his life which
                                                                                             includes recordings of some of the composer’s compositions
                                                                                         ▲ gather information about stereo systems from a local electronics
                                                                                             dealer
                                                                                         ▲ attend two different concerts and note similarities, differences
                                                                                             and personal reactions in their log
                                                                                         ▲ research and write a report on a musical career.




               Key ideas are identified by numbers (1).
         Performance indicators are identified by bullets (•).
            Sample tasks are identified by triangles (▲).


  14
St u d e n ts w ill b e k n o w l e d g e a bl e a b o u t a n d m a k e u s e of t h e m at eri als a n d re s o urc e s
a v a ila bl e for p arti c i p ati o n i n t h e arts i n v ari o u s rol e s.



Theatre                                                                                   Visual Arts
2. St u d e n ts w ill k n o w t h e b a s i c to ols, m e d i a, a n d                   2. St u d e n ts w ill k n o w a n d u s e a v ari e ty of v i s u al arts
t e c h n iq u e s i n v olv e d i n t h e atri c al pro d u cti o n. St u d e n ts       m at eri als, t e c h n iq u e s, a n d pro c e s s e s. St u d e n ts w ill
w ill lo c at e a n d u s e s c h o ol, c o m m u n ity, a n d                            k n o w a b o u t re s o urc e s a n d o p p ort u n iti e s for
profe s s i o n al re s o urc e s for t h e atre e x p eri e n c e s.                     p arti c i p ati o n i n v i s u al arts i n t h e c o m m u n ity
St u d e n ts w ill u n d ersta n d t h e jo b o p p ort u n iti e s                      (e x h ibiti o n s, librari e s, m u s e u m s, g all eri e s) a n d u s e
a v a ila bl e i n all a s p e cts of t h e atre.                                         a p pro pri at e m at eri als (art re pro d u cti o n s, sli d e s, pri n t
                                                                                          m at eri als, e l e ctro n i c m e d i a). St u d e n ts w ill b e a w are of
St u d e n ts:
                                                                                          v o c ati o n al o pti o n s a v a ila bl e i n t h e v i s u al arts.
 • u s e t h e atre t e c h n olo g y s k ills a n d fa c iliti e s i n cre ati n g a
                                                                                          St u d e n ts:
      t h e atri c al e x p eri e n c e (a)
                                                                                           • s e l e ct a n d u s e m e d i u m s a n d pro c e s s e s t h at c o m m u n i c at e
 • u s e s c h o ol a n d c o m m u n ity re s o urc e s, i n cl u d i n g
                                                                                                i n t e n d e d m e a n i n g i n t h e ir art w ork s, a n d e x h ibit
      library/m e d i a c e n t ers, m u s e u m s a n d t h e atre
                                                                                                c o m p e t e n c e i n at l e a st t w o m e d i u m s (a)
      profe s s i o n als, a s p art of t h e arti sti c pro c e s s l e a d i n g to
                                                                                           • u s e t h e c o m p u t er a n d e l e ctro n i c m e d i a to e x pre s s t h e ir
      pro d u cti o n (b)
                                                                                                v i s u al i d e a s a n d d e m o n strat e a v ari e ty of a p pro a c h e s to
 • v i s it lo c al t h e atri c al i n stit u ti o n s a n d att e n d t h e atri c al
                                                                                                arti sti c cre ati o n (b)
      p erform a n c e s i n t h e ir s c h o ol a n d c o m m u n ity a s a n
                                                                                           • i n t era ct w it h profe s s i o n al arti sts a n d p arti c i p at e i n
      i n d i v i d u al a n d p art of a gro u p (c)
                                                                                                s c h o ol- a n d c o m m u n ity-s p o n s ore d pro gra m s b y art
 • u n d ersta n d a bro a d ra n g e of v o c ati o n s/a v o c ati o n s i n
                                                                                                org a n iz ati o n s a n d c u lt ural i n stit u ti o n s (c)
      p erform i n g, pro d u c i n g, a n d pro m oti n g t h e atre (d).
                                                                                           • u n d ersta n d a bro a d ra n g e of v o c ati o n s/a v o c ati o n s i n t h e
                                                                                                fi e ld of v i s u al arts, i n cl u d i n g t h o s e i n v olv e d w it h
This is evident, for example, when students:
                                                                                                cre ati n g, p erform i n g, e x h ibiti n g, a n d pro m oti n g art (d).
 ▲ read and follow a lighting plot for a production, handling and
     focusing lighting instruments properly                                               This is evident, for example, when students:
 ▲ read a script for a production, then complete pictorial research
                                                                                           ▲ select a process or medium for their intended work of art and
     on the costuming and accessories of the time period before
                                                                                               describe their reasons for that selection
     designing costumes
                                                                                           ▲ interview a professional artist about what that artist does,
 ▲ write a short review of a local community performance for
                                                                                               his/her preparation, the organization of his/her business
     publication in the school newspaper
                                                                                           ▲ produce a mixed media work of art which uses the computer
 ▲ create a publicity campaign for the high school production.
                                                                                               image, the camera, the copy machine and other electronic
                                                                                               media.




  STANDARD 2



                                                                                                                                                                             15
Standard 2—Knowing and Using Arts
Materials and Resources                                                                                                 Commencement-Major Sequence



Dance                                                                                   Music
2. St u d e n ts w ill k n o w h o w to a c c e s s d a n c e a n d d a n c e-          2. St u d e n ts w ill u s e tra d iti o n al i n stru m e n ts, e l e ctro n i c
re lat e d m at eri al fro m librari e s, re s o urc e c e n t ers,                     i n stru m e n ts, a n d a v ari e ty of n o n tra d iti o n al s o u n d
m u s e u m s, st u d i o s, a n d p erform a n c e s p a c e s. St u d e n ts          s o urc e s to cre at e a n d p erform m u s i c. Th e y w ill u s e
w ill k n o w v ari o u s c are er p o s s ibiliti e s i n d a n c e a n d              v ari o u s re s o urc e s to e x p a n d t h e ir k n o w l e d g e of
re cre ati o n al o p p ort u n iti e s to d a n c e. St u d e n ts w ill               li st e n i n g e x p eri e n c e s, p erform a n c e o p p ort u n iti e s,
att e n d d a n c e e v e n ts a n d p arti c i p at e a s a p pro pri at e             a n d/or i nform ati o n a b o u t m u s i c. St u d e n ts w ill i d e n tify
w it h i n e a c h s e tti n g.                                                         o p p ort u n iti e s to c o n trib u t e to t h e ir c o m m u n iti e s’
                                                                                        m u s i c i n stit u ti o n s, i n cl u d i n g t h o s e e m b e d d e d i n ot h er
In a d d iti o n to t h e Ge n eral E d u c ati o n p erform a n c e i n d i c ators,   i n stit u ti o n s (c h urc h c h o irs, i n d u stri al m u s i c
st u d e n ts:                                                                          e n s e m bl e s, e tc.). St u d e n ts w ill k n o w t h e v o c ati o n s a n d
  • u s e t e c h n olo g i e s to re s e arc h, cre at e, p erform, or                 a v o c ati o n s a v a ila bl e to t h e m i n m u s i c.
       c o m m u n i c at e a b o u t d a n c e (a)
  • u n d ersta n d th e role s of d a n c ers, a u di e n c e, a n d cre ators i n
                                                                                        In a d d iti o n to t h e Ge n eral E d u c ati o n p erform a n c e i n d i c ators,
       a v ari e ty of d a n c e form s a n d c o n t e xts (b)
                                                                                        st u d e n ts:
  • p arti c i p at e i n, or o b s erv e, d a n c e e v e n ts o u ts i d e of
                                                                                          • d e v e lo p a cla s s ifi e d a n d a n n otat e d d ire ctory of n e arb y
       s c h o ol (c)
                                                                                               m u s i c-re lat e d e sta bli s h m e n ts s u c h a s i n stru m e n t a n d
  • k n o w a b o u t e d u c ati o n al re q u ire m e n ts of d a n c e-re lat e d
                                                                                               m u s i c re ta il ers, i n stru m e n t m a k ers a n d re p a ir p ers o n s,
       c are ers a n d h o w to pre p are for p o s s ibl e e n tra n c e i n to
                                                                                              re c ord i n g st u d i o s, u n i o n re pre s e n tati v e s, e tc. (a)
       t h o s e fi e ld s (d)
                                                                                          • i d e n tify w a y s t h at t h e y h a v e c o n trib u t e d to t h e s u p p ort
  • k n o w a b o u t g o o d n u triti o n, i njury pre v e n ti o n, a n d h o w
                                                                                               of t h e m u s i c al gro u p s of w h i c h t h e y are m e m b ers (b)
       to c are for t h e b o d y (e).
                                                                                          • e x pla i n o p p ort u n iti e s a v a ila bl e to t h e m for furt h er
                                                                                               m u s i c al gro w t h a n d profe s s i o n al d e v e lo p m e n t i n h i g h er
This is evident, for example, when students:
                                                                                               e d u c ati o n a n d c o m m u n ity i n stit u ti o n s (c).
 ▲ use the Internet or other means to research dance forms of the
     1920's                                                                             This is evident, for example, when students:
 ▲ intern with a local dance company
                                                                                         ▲ collect data on the music services available in the community
 ▲ research at least three institutions which have dance programs
                                                                                             such as recording studios, repair shops, retailers and
     in order to know the entrance requirements for each
                                                                                             instrument makers
 ▲ practice good nutrition and injury prevention techniques
                                                                                         ▲ volunteer to serve as music librarian ( or other necessary
 ▲ work alone or with a group of students to research current
                                                                                             positions such as secretary) for a performing group in which
     dance innovations through library and on-line resources and
                                                                                             they participate
     compile a bibliography of sources for class use, including
                                                                                         ▲ via the Internet or a computer data base, generate a list of
     relevant listservs, Home Pages, etc.
                                                                                             colleges that offer a particular program in a musical field (e.g.,
 ▲ alone or with a group, research the development of one style of
                                                                                             performance, instrument repair, electronics, arts production).
     dance by using a variety of sources, including archival files
 ▲ interview professionals in the dance industry to learn about
     educational, physiological, and logistical career requirements
     and document the interviews.




               Key ideas are identified by numbers (1).
         Performance indicators are identified by bullets (•).
            Sample tasks are identified by triangles (▲).


  16
St u d e n ts w ill b e k n o w l e d g e a bl e a b o u t a n d m a k e u s e of t h e m at eri als a n d re s o urc e s
a v a ila bl e for p arti c i p ati o n i n t h e arts i n v ari o u s rol e s.



Theatre                                                                                      Visual Arts
2. St u d e n ts w ill k n o w t h e b a s i c to ols, m e d i a, a n d                      2. St u d e n ts w ill k n o w a n d u s e a v ari e ty of v i s u al arts
t e c h n iq u e s i n v olv e d i n t h e atri c al pro d u cti o n. St u d e n ts          m at eri als, t e c h n iq u e s, a n d pro c e s s e s. St u d e n ts w ill
w ill lo c at e a n d u s e s c h o ol, c o m m u n ity, a n d                               k n o w a b o u t re s o urc e s a n d o p p ort u n iti e s for
profe s s i o n al re s o urc e s for t h e atre e x p eri e n c e s.                        p arti c i p ati o n i n v i s u al arts i n t h e c o m m u n ity
St u d e n ts w ill u n d ersta n d t h e jo b o p p ort u n iti e s                         (e x h ibiti o n s, librari e s, m u s e u m s, g all eri e s) a n d u s e
a v a ila bl e i n all a s p e cts of t h e atre.                                            a p pro pri at e m at eri als (art re pro d u cti o n s, sli d e s, pri n t
                                                                                             m at eri als, e l e ctro n i c m e d i a). St u d e n ts w ill b e a w are of
In a d d iti o n to t h e Ge n eral E d u c ati o n p erform a n c e i n d i c ators,
                                                                                             v o c ati o n al o pti o n s a v a ila bl e i n t h e v i s u al arts.
st u d e n ts:
                                                                                             In a d d iti o n to t h e Ge n eral E d u c ati o n p erform a n c e i n d i c ators,
  • i d e n tify c urre n t t e c h n olo g i e s, p u bli s h e d s cri pt e d
                                                                                             st u d e n ts:
       m at eri al, a n d pri n t a n d e l e ctro n i c re s o urc e s a v a ila bl e for
                                                                                               • d e v e lo p Co m m e n c e m e n t P ortfoli o s t h at s h o w
       t h e atri c al pro d u cti o n s (a)
                                                                                                    profi c i e n c y i n o n e or m ore m e d i u m s a n d s k ill i n u s i n g
  • i d e n tify c oll e g e a n d/or c o m m u n ity o p p ort u n iti e s i n
                                                                                                    a n d m a n i p u lati n g t h e c o m p u t er a n d ot h er e l e ctro n i c
       t h e atre aft er gra d u ati o n a n d t h e re q u ire m e n ts for
                                                                                                    m e d i a (a)
       a p pli c ati o n or p arti c i p ati o n (b)
                                                                                               • pre p are a p ortfoli o t h at m e e ts t h e a d m i s s i o n
  • c o o p erat e i n a n e n s e m bl e a s p erform ers, d e s i g n ers,
                                                                                                   re q u ire m e n ts of s e l e ct e d i n stit u ti o n s (b)
       t e c h n i c i a n s, a n d m a n a g ers to cre at e a t h e atri c al
                                                                                               • u n d ers t a n d t h e pr e p ara ti o n r e q u ir e d for p arti c u l ar art
       pro d u cti o n (c)
                                                                                                    prof e s s i o n s a n d a c q u ir e s o m e s k ill s of t h o s e prof e s s i o n s
  • d e s i g n a n i n d i v i d u aliz e d st u d y pro gra m (i.e., i n t ern s h i p,
                                                                                                    t hro u g h i n t er n s h i p s w it h l o c a l g a ll eri e s, m u s e u m s,
       m e n tors h i p, re s e arc h proje ct) i n a c h o s e n t h e atre, fil m,
                                                                                                    a d v erti s i n g a g e n c i e s, arc h i t e ct ural firm s, a n d ot h er
       or v i d e o v o c ati o n/a v o c ati o n a n d s h are t h e i nform ati o n
                                                                                                    i n stit u ti o n s (c).
       w it h t h e cla s s (d).
                                                                                             This is evident, for example, when students:
This is evident, for example, when students:
                                                                                              ▲ include in their portfolios works of art which show proficiency
 ▲ investigate and select a computer program for use in designing
                                                                                                  with two mediums
     floor plans and elevation drawings for a set design
                                                                                              ▲ investigate the admission requirements of two or three colleges
 ▲ attend local college and university drama days designed to
                                                                                                  or universities
     provide workshop experiences for high school students
                                                                                              ▲ investigate the preparation necessary for entrance into one of
     interested in pursuing theatre as a career and write a school
                                                                                                  the arts professions
     newsletter article about the experience
                                                                                              ▲ exhibit their works in a one-person show and write the accompa-
 ▲ form a production team for a play (producer, director, stage
                                                                                                  nying descriptive material.
     manager, technical director and house manager) to plan the
     necessary schedules and carry out the artistic concept of the
     director
 ▲ participate in a mentorship program with a theatre professional
     and report to the class about the experience.




   STANDARD 2



                                                                                                                                                                                    17
Standard 3—Responding to and Analyzing
Works of Art                                                                                                                                              Elementary



Dance                                                                                  Music
3. St u d e n ts w ill e x pre s s t hro u g h w ritt e n a n d oral                   3. St u d e n ts w ill d e m o n strat e t h e c a p a c ity to li st e n to
la n g u a g e t h e ir u n d ersta n d i n g, i n t erpre tati o n, a n d             a n d c o m m e n t o n m u s i c. Th e y w ill re lat e t h e ir criti c al
e v al u ati o n of d a n c e s t h e y s e e, d o, a n d re a d a b o u t.            a s s erti o n s a b o u t m u s i c to its a e st h e ti c, stru ct ural,
St u d e n ts w ill a c q u ire t h e criti c al v o c a b u lary to talk              a c o u sti c, a n d p s y c h olo g i c al q u aliti e s. St u d e n ts w ill u s e
a n d w rit e a b o u t a v ari e ty of d a n c e form s.                              c o n c e pts b a s e d o n t h e stru ct ure of m u s i c’s c o n t e n t a n d
                                                                                       c o n t e xt to re lat e m u s i c to ot h er bro a d are a s of
St u d e n ts:                                                                         k n o w l e d g e. Th e y w ill u s e c o n c e pts fro m ot h er
 • d e m o n strat e k n o w l e d g e of w ord s a n d s y m b ols (k i n e ti c,     d i s c i pli n e s to e n h a n c e t h e ir u n d ersta n d i n g of m u s i c.
      v i s u al, ta ctil e, a ural a n d olfa ctory) t h at d e s crib e
      m o v e m e n t (a)
                                                                                       St u d e n ts:
 • e x pre s s to ot h ers t h e ir u n d ersta n d i n g of s p e c ifi c d a n c e
                                                                                        • t hro u g h li st e n i n g, i d e n tify t h e stre n gt h s a n d w e a k n e s s e s
      p erform a n c e s, u s i n g a p pro pri at e la n g u a g e to d e s crib e
                                                                                             of s p e c ifi c m u s i c al w ork s a n d p erform a n c e s, i n cl u d i n g
      w h at t h e y h a v e s e e n a n d h e ard (b).
                                                                                             t h e ir o w n a n d ot h ers’ (a)
                                                                                        • d e s crib e t h e m u s i c i n t erm s re lat e d to b a s i c e l e m e n ts
This is evident, for example, when students:
                                                                                             s u c h a s m e lo d y, rh yt h m, h arm o n y, d y n a m i c s, ti m bre,
 ▲ describe the patterns that they see in a video of a dance, such                           form, styl e, e tc. (b)
     as, The March of The Wooden Soldiers                                               • discuss the basic means by w hich the voice and
 ▲ describe the bodily movement that they see in a dance and then                            i n stru m e n ts c a n alt er p itc h, lo u d n e s s, d urati o n, a n d
     imitate it.                                                                             ti m bre (c)
                                                                                        • d e s crib e t h e m u s i c’s c o n t e xt i n t erm s re lat e d to its s o c i al
                                                                                             a n d p s y c h olo g i c al fu n cti o n s a n d s e tti n g s (e.g., rol e s of
                                                                                             p arti c i p a n ts, effe cts of m u s i c, u s e s of m u s i c w it h ot h er
                                                                                             e v e n ts or o bje cts, e tc.) (d)
                                                                                        • d e s crib e t h e ir u n d ersta n d i n g s of p arti c u lar p i e c e s of
                                                                                             m u s i c a n d h o w t h e y re lat e to t h e ir s urro u n d i n g s (e).

                                                                                       This is evident, for example, when students:
                                                                                        ▲ listen to another student’s musical composition and identify
                                                                                            elements (such as rhythm, harmony, melody) that they liked
                                                                                            and disliked
                                                                                        ▲ describe, using correct terminology, the elements of music (such
                                                                                            as timbre, dynamics, form) heard in a musical recording
                                                                                        ▲ orally identify the meter of a song sung by their classmates
                                                                                        ▲ demonstrate with a rubber band how to raise and lower pitch
                                                                                        ▲ write a few sentences on a social function attended (such as a
                                                                                            wedding, bar mitzvah, etc.) and how music was used to enhance
                                                                                            the function
                                                                                        ▲ tell how music can set a mood in a particular setting (e.g.,
                                                                                            “happy” in an amusement park).




               Key ideas are identified by numbers (1).
         Performance indicators are identified by bullets (•).
            Sample tasks are identified by triangles (▲).


  18
St u d e n ts w ill re s p o n d criti c ally to a v ari e ty of w ork s i n t h e arts, c o n n e cti n g t h e
i n d i v i d u al w ork to ot h er w ork s a n d to ot h er a s p e cts of h u m a n e n d e a v or a n d
t h o u g h t.



Theatre                                                                                Visual Arts
3. St u d e n ts w ill refl e ct o n, i n t erpre t, a n d e v al u at e               3. St u d e n ts w ill refl e ct o n, i n t erpre t, a n d e v al u at e
pla y s a n d t h e atri c al p erform a n c e s, b ot h li v e a n d                  w ork s of art, u s i n g t h e la n g u a g e of art criti c i s m.
re c ord e d, u s i n g t h e la n g u a g e of dra m ati c criti c i s m.             St u d e n ts w ill a n aly z e t h e v i s u al c h ara ct eri sti c s of t h e
St u d e n ts w ill a n aly z e t h e m e a n i n g a n d rol e of t h e atre          n at ural a n d b u ilt e n v iro n m e n t a n d e x pla i n t h e s o c i al,
i n s o c i e ty. St u d e n ts w ill i d e n tify w a y s i n w h i c h               c u lt ural, p s y c h olo g i c al, a n d e n v iro n m e n tal d i m e n s i o n s
dra m a/t h e atre c o n n e cts to fil m a n d v i d e o, ot h er arts,               of t h e v i s u al arts. St u d e n ts w ill c o m p are t h e w a y s i n
a n d ot h er d i s c i pli n e s.                                                     w h i c h a v ari e ty of i d e a s, t h e m e s, a n d c o n c e pts are
                                                                                       e x pre s s e d t hro u g h t h e v i s u al arts w it h t h e w a y s t h e y
St u d e n ts:
                                                                                       are e x pre s s e d i n ot h er d i s c i pli n e s.
 • d i s c u s s t h e ir u n d ersta n d i n g, i n t erpre tati o n, a n d
                                                                                       St u d e n ts:
      e v al u ati o n of a t h e atri c al p erform a n c e, u s i n g b a s i c
                                                                                        • e x pla i n t h e ir refl e cti o n s a b o u t t h e m e a n i n g s, p urp o s e s,
      t h e atre t erm i n olo g y (a)
                                                                                             a n d s o urc e s of w ork s of art; d e s crib e t h e ir re s p o n s e s to
 • i d e n tify t h e u s e of ot h er art form s i n t h e atre
                                                                                             t h e w ork s a n d t h e re a s o n s for t h o s e re s p o n s e s (a)
      pro d u cti o n s (b)
                                                                                        • e x pla i n t h e v i s u al a n d ot h er s e n s ory q u aliti e s (s urfa c e s,
 • e x pla i n t h e re lati o n s h i p of t h e atre to fil m a n d v i d e o (c).
                                                                                             c olors, t e xt ure s, s h a p e, s iz e s, v ol u m e s) fo u n d i n a w i d e
                                                                                             v ari e ty of art w ork s (b)
This is evident, for example, when students:
                                                                                        • e x pla i n t h e t h e m e s t h at are fo u n d i n w ork s of v i s u al art
 ▲ view a scene or dramatic reading by their peers and describe the                          a n d h o w t h e art w ork s are re lat e d to ot h er form s of art
     theatrical elements such as setting, character, conflict, etc.                          (d a n c e, m u s i c, t h e atre, e tc.) (c)
 ▲ discuss how music, dance and the visual arts are used to                             • e x plai n h o w id e a s, th e m e s, or c o n c e pts i n th e vis u al arts
     enhance musical theatre productions                                                     are e x pre s s e d i n oth er dis cipli n e s (e.g., m ath e m atic s,
 ▲ compare how live theatre differs from filmed or taped                                     s ci e n c e, literature, s o cial stu di e s, etc.) (d).
     performances.
                                                                                       This is evident, for example, when students:
                                                                                        ▲ describe what they see in a work of art and tell what they think
                                                                                            the work of art is about
                                                                                        ▲ describe how lines might imply motion, color might convey
                                                                                            emotion and size might suggest distance in selected works of art
                                                                                        ▲ show how pattern can be found in a Mondrian painting and in a
                                                                                            familiar song.




  STANDARD 3



                                                                                                                                                                          19
Standard 3—Responding to and Analyzing
Works of Art                                                                                                                                                     Intermediate



Dance                                                                                         Music
3. St u d e n ts w ill e x pre s s t hro u g h w ritt e n a n d oral                          3. St u d e n ts w ill d e m o n strat e t h e c a p a c ity to li st e n to
la n g u a g e t h e ir u n d ersta n d i n g, i n t erpre tati o n, a n d                    a n d c o m m e n t o n m u s i c. Th e y w ill re lat e t h e ir criti c al
e v al u ati o n of d a n c e s t h e y s e e, d o, a n d re a d a b o u t.                   a s s erti o n s a b o u t m u s i c to its a e st h e ti c, stru ct ural,
St u d e n ts w ill a c q u ire t h e criti c al v o c a b u lary to talk                     a c o u sti c, a n d p s y c h olo g i c al q u aliti e s. St u d e n ts w ill u s e
a n d w rit e a b o u t a v ari e ty of d a n c e form s.                                     c o n c e pts b a s e d o n t h e stru ct ure of m u s i c’s c o n t e n t a n d
                                                                                              c o n t e xt to re lat e m u s i c to ot h er bro a d are a s of
St u d e n ts:                                                                                k n o w l e d g e. Th e y w ill u s e c o n c e pts fro m ot h er
 • d e m o n strat e k n o w l e d g e of t h e t e c h n i c al la n g u a g e u s e d i n   d i s c i pli n e s to e n h a n c e t h e ir u n d ersta n d i n g of m u s i c.
      d i s c u s s i n g d a n c e p erform a n c e s (a)
 • d e m o n strat e k n o w le d g e of c h ore o gra p h ic pri n ciple s a n d
                                                                                              St u d e n ts:
      pro c e s s e s (b)
                                                                                               • t hro u g h li st e n i n g, a n aly z e a n d e v al u at e t h e ir o w n a n d
 • e x pre s s t o o t h ers t h e ir u n d ers t a n d i n g of s p e c ifi c d a n c e
                                                                                                    ot h ers’ p erform a n c e s, i m pro v i s ati o n s, a n d c o m p o s iti o n s
      p erform a n c e s, i n cl u d i n g p erc e p ti o n s, d e s cri p ti o n s,
                                                                                                    b y i d e n tify i n g a n d c o m p ari n g t h e m w it h s i m ilar w ork s
      a n aly s e s, i n t erpre tati o n s, a n d e v al u ati o n s (c).
                                                                                                    a n d e v e n ts (a)
                                                                                               • u s e a p pro pri at e t erm s to refl e ct a w ork i n g k n o w l e d g e of
This is evident, for example, when students:
                                                                                                    t h e m u s i c al e l e m e n ts (b)
 ▲ write a short review of a high school dance performance                                     • d e m o n strat e a b a s i c a w are n e s s of t h e t e c h n i c al s k ills
 ▲ after viewing a video of a dance they compare their                                              m u s i c i a n s m u st d e v e lo p to pro d u c e a n a e st h e ti c ally
     interpretations with others in the group.                                                      a c c e pta bl e p erform a n c e (c)
                                                                                               • u s e a p pro pri at e t erm s to refl e ct a w ork i n g k n o w l e d g e of
                                                                                                    s o c i al-m u s i c al fu n cti o n s a n d u s e s (a p pro pri at e c h o i c e s of
                                                                                                    m u s i c for c o m m o n c ere m o n i e s a n d ot h er e v e n ts) (d)
                                                                                               • u s e b a s i c s c i e n tifi c c o n c e pts to e x pla i n h o w
                                                                                                    m u s i c-re lat e d s o u n d i s pro d u c e d, tra n s m itt e d t hro u g h
                                                                                                    a ir, a n d p erc e i v e d (e)
                                                                                               • u s e t erm i n olo g y fro m m u s i c a n d ot h er arts to a n aly z e
                                                                                                    a n d c o m p are t h e stru ct ure s of m u s i c al a n d ot h er arti sti c
                                                                                                    a n d lit erary w ork s (f).

                                                                                              This is evident, for example, when students:
                                                                                               ▲ listen to two musical compositions on the same theme (e.g.,
                                                                                                   celebrating a holiday) and point out similarities and differences
                                                                                               ▲ compare and contrast his/her performance of a solo with that of
                                                                                                   a professional recording
                                                                                               ▲ accurately describe the musical elements employed in an
                                                                                                   original composition or one written by peers
                                                                                               ▲ describe a technique (e.g., correct hand position or relaxed jaw)
                                                                                                   that will improve their tone in playing or singing
                                                                                               ▲ plan a social event and list the music (or musicians) that would
                                                                                                   support the occasion
                                                                                               ▲ use garden hoses (or other tubing) of differing lengths to
                                                                                                   demonstrate how the lengths affect pitch
                                                                                               ▲ suggest some classical pieces of music that may accompany a
                                                                                                   show of student art work or poetry and specify why the
                                                                                                   selections were chosen.




               Key ideas are identified by numbers (1).
         Performance indicators are identified by bullets (•).
            Sample tasks are identified by triangles (▲).


  20
St u d e n ts w ill re s p o n d criti c ally to a v ari e ty of w ork s i n t h e arts, c o n n e cti n g t h e
i n d i v i d u al w ork to ot h er w ork s a n d to ot h er a s p e cts of h u m a n e n d e a v or a n d
t h o u g h t.



Theatre                                                                              Visual Arts
3. St u d e n ts w ill refl e ct o n, i n t erpre t, a n d e v al u at e             3. St u d e n ts w ill refl e ct o n, i n t erpre t, a n d e v al u at e
pla y s a n d t h e atri c al p erform a n c e s, b ot h li v e a n d                w ork s of art, u s i n g t h e la n g u a g e of art criti c i s m.
re c ord e d, u s i n g t h e la n g u a g e of dra m ati c criti c i s m.           St u d e n ts w ill a n aly z e t h e v i s u al c h ara ct eri sti c s of t h e
St u d e n ts w ill a n aly z e t h e m e a n i n g a n d rol e of t h e atre        n at ural a n d b u ilt e n v iro n m e n t a n d e x pla i n t h e s o c i al,
i n s o c i e ty. St u d e n ts w ill i d e n tify w a y s i n w h i c h             c u lt ural, p s y c h olo g i c al, a n d e n v iro n m e n tal d i m e n s i o n s
dra m a/t h e atre c o n n e cts to fil m a n d v i d e o, ot h er arts,             of t h e v i s u al arts. St u d e n ts w ill c o m p are t h e w a y s i n
a n d ot h er d i s c i pli n e s.                                                   w h i c h a v ari e ty of i d e a s, t h e m e s, a n d c o n c e pts are
                                                                                     e x pre s s e d t hro u g h t h e v i s u al arts w it h t h e w a y s t h e y
St u d e n ts:
                                                                                     are e x pre s s e d i n ot h er d i s c i pli n e s.
 • u s e th e te c h n iq u e s a n d v o c ab ulary of th e atre criticis m,
                                                                                     St u d e n ts:
      both writte n a n d oral, to dis c u s s th e atre e x p eri e n c e s a n d
                                                                                      • d i s c u s s a n d w rit e t h e ir a n aly s e s a n d i n t erpre tati o n s of
      i m pro v e i n divid u al a n d gro u p p erform a n c e s (a)
                                                                                           t h e ir o w n w ork s of art a n d t h e art of ot h ers, u s i n g
 • e x a m i n e a n d d i s c u s s t h e u s e of ot h er art form s i n a
                                                                                           a p pro pri at e criti c al la n g u a g e (a)
      t h e atre pro d u cti o n (b)
                                                                                      • i d e n tify, a n aly z e, a n d i n t erpre t t h e v i s u al a n d s e n s ory
 • e x pla i n h o w dra m a/t h e atre e x p eri e n c e s re lat e to ot h er
                                                                                           c h ara ct eri sti c s t h at t h e y d i s c o v er i n n at ural a n d
      lit erary a n d arti sti c e v e n ts (c).
                                                                                           h u m a n-m a d e form s (b)
                                                                                      • c o m p are t h e w a y s i d e a s a n d c o n c e pts are c o m m u n i c at e d
This is evident, for example, when students:
                                                                                           t hro u g h v i s u al art w it h t h e v ari o u s w a y s t h at t h o s e i d e a s
 ▲ direct a group of their peers and give specific recommendations                         a n d c o n c e pts are m a n ife st e d i n ot h er art form s (c).
     for improving a small group performance                                          • c o m p are t h e w a y s i d e a s, t h e m e s, a n d c o n c e pts are
 ▲ design a set, develop costumes or write a song for a scene of a                         c o m m u n i c at e d t hro u g h t h e v i s u al arts i n ot h er
     play and explain why the project is appropriate                                       d i s c i pli n e s, a n d t h e v ari o u s w a y s t h at t h o s e i d e a s,
 ▲ compare and contrast a dramatic reading and a silent reading of                         t h e m e s, a n d c o n c e pts are m a n ife st e d w it h i n t h e
     a particular passage.                                                                 d i s c i pli n e (d).

                                                                                     This is evident, for example, when students:
                                                                                      ▲ write an interpretation of Horace Pippin's Domino Players after
                                                                                          class analysis of the images and composition
                                                                                      ▲ discuss the way in which the black and white and gray of the
                                                                                          painting enhances the meaning of Picasso's Guerinca
                                                                                      ▲ analyze the engineering skills and the political skills, in
                                                                                          addition to his artistic vision that the artist, Christo, needed in
                                                                                          order to complete the Wrapping Of The Reich Stag in 1995.




  STANDARD 3



                                                                                                                                                                          21
Standard 3—Responding to and Analyzing
Works of Art                                                                                                       Commencement-General Education



Dance                                                                                  Music
3. St u d e n ts w ill e x pre s s t hro u g h w ritt e n a n d oral                   3. St u d e n ts w ill d e m o n strat e t h e c a p a c ity to li st e n to
la n g u a g e t h e ir u n d ersta n d i n g, i n t erpre tati o n, a n d             a n d c o m m e n t o n m u s i c. Th e y w ill re lat e t h e ir criti c al
e v al u ati o n of d a n c e s t h e y s e e, d o, a n d re a d a b o u t.            a s s erti o n s a b o u t m u s i c to its a e st h e ti c, stru ct ural,
St u d e n ts w ill a c q u ire t h e criti c al v o c a b u lary to talk              a c o u sti c, a n d p s y c h olo g i c al q u aliti e s. St u d e n ts w ill u s e
a n d w rit e a b o u t a v ari e ty of d a n c e form s.                              c o n c e pts b a s e d o n t h e stru ct ure of m u s i c’s c o n t e n t a n d
                                                                                       c o n t e xt to re lat e m u s i c to ot h er bro a d are a s of
St u d e n ts:                                                                         k n o w l e d g e. Th e y w ill u s e c o n c e pts fro m ot h er
 • m a k e c o m p ari s o n s of t h e n at ure a n d pri n c i pl e s of d a n c e   d i s c i pli n e s to e n h a n c e t h e ir u n d ersta n d i n g of m u s i c.
      to ot h er arts (a)
 • a n aly z e a n d d e s crib e s i m ilariti e s a n d d iffere n c e s i n
                                                                                       St u d e n ts:
      d iffere n t d a n c e form s a n d styl e s (b)
                                                                                        • t hro u g h li st e n i n g, a n aly z e a n d e v al u at e t h e ir o w n a n d
 • d e s crib e a n d c o m p are a v ari e ty of c h ore o gra p h i c
                                                                                             ot h ers’ p erform a n c e s, i m pro v i s ati o n s, a n d c o m p o s iti o n s
      a p pro a c h e s u s e d i n t h e cre ati o n of d a n c e s (c).
                                                                                             a n d s u g g e st i m pro v e m e n ts (a)
                                                                                        • re a d a n d w rit e critiq u e s of m u s i c t h at d i s pla y a bro a d
This is evident, for example, when students:
                                                                                             k n o w l e d g e of m u s i c al e l e m e n ts, g e nre s, a n d styl e s (b)
 ▲ compare the rhythm found in a particular dance with the                              • u s e a n ato m ic al a n d oth er s ci e ntific term s to e x plai n th e
     rhythm in a musical piece and with the rhythm found in a                                m u sic al effe ctiv e n e s s of v ario u s s o u n d s o urc e s—
     painting                                                                                tra ditio n al, n o ntra ditio n al, a n d ele ctro n ic (c)
 ▲ do a short research paper in which they trace the origins of                         • u s e a p pro pri at e t e c h n i c al a n d s o c i o-c u lt ural t erm s to
     modern dance                                                                            d e s crib e m u s i c al p erform a n c e s a n d c o m p o s iti o n s (d)
 ▲ observe several choreographers working to create their dances                        • i d e n tify a n d d e s crib e t h e c o n trib u ti o n s of b ot h lo c ally
     and then compare, contrast, and describe the processes                                  a n d i n t ern ati o n ally k n o w n e x e m plars of h i g h q u ality i n
 ▲ interview a choreographer regarding the origins of the ideas for                          t h e m ajor m u s i c al g e nre s (e)
     the choreography, including cultural, esthetics, personal, and                     • e x pla i n h o w p erform ers, c o m p o s ers, a n d arra n g ers m a k e
     other influences and document that interview to share with the                          arti sti c d e c i s i o n s (f).
     class
 ▲ write a detailed report of the influence of dance education on the                  This is evident, for example, when students:
     student's understanding of other cultures and other disciplines.
                                                                                        ▲ listen to a peer’s performance and complete an evaluation form
                                                                                            suggesting areas in need of improvement
                                                                                        ▲ use correct terminology when reporting on a school concert for
                                                                                            the school newspaper for one performing organization
                                                                                        ▲ explain how overtones are produced and demonstrate them on a
                                                                                            string instrument by playing harmonics
                                                                                        ▲ explain how sound is produced on a traditional or electronic
                                                                                            instrument
                                                                                        ▲ in the log describe the music and the impact the music had on a
                                                                                            social occasion such as a birthday party, parade, etc.
                                                                                        ▲ develop a list of professional musicians in a particular idiom
                                                                                            (i.e., jazz saxophone, classical tenor, etc.)
                                                                                        ▲ analyze a solo performance and explain the artistic decisions
                                                                                            evident in the performance.




               Key ideas are identified by numbers (1).
         Performance indicators are identified by bullets (•).
            Sample tasks are identified by triangles (▲).


  22
St u d e n ts w ill re s p o n d criti c ally to a v ari e ty of w ork s i n t h e arts, c o n n e cti n g t h e
i n d i v i d u al w ork to ot h er w ork s a n d to ot h er a s p e cts of h u m a n e n d e a v or a n d
t h o u g h t.



Theatre                                                                                       Visual Arts
3. St u d e n ts w ill refl e ct o n, i n t erpre t, a n d e v al u at e                      3. St u d e n ts w ill refl e ct o n, i n t erpre t, a n d e v al u at e
pla y s a n d t h e atri c al p erform a n c e s, b ot h li v e a n d                         w ork s of art, u s i n g t h e la n g u a g e of art criti c i s m.
re c ord e d, u s i n g t h e la n g u a g e of dra m ati c criti c i s m.                    St u d e n ts w ill a n aly z e t h e v i s u al c h ara ct eri sti c s of t h e
St u d e n ts w ill a n aly z e t h e m e a n i n g a n d rol e of t h e atre                 n at ural a n d b u ilt e n v iro n m e n t a n d e x pla i n t h e s o c i al,
i n s o c i e ty. St u d e n ts w ill i d e n tify w a y s i n w h i c h                      c u lt ural, p s y c h olo g i c al, a n d e n v iro n m e n tal d i m e n s i o n s
dra m a/t h e atre c o n n e cts to fil m a n d v i d e o, ot h er arts,                      of t h e v i s u al arts. St u d e n ts w ill c o m p are t h e w a y s i n
a n d ot h er d i s c i pli n e s.                                                            w h i c h a v ari e ty of i d e a s, t h e m e s, a n d c o n c e pts are
                                                                                              e x pre s s e d t hro u g h t h e v i s u al arts w it h t h e w a y s t h e y
St u d e n ts:
                                                                                              are e x pre s s e d i n ot h er d i s c i pli n e s.
 • arti c u l a t e a n u n d ers t a n d i n g, i n t erpr e t a ti o n, a n d
                                                                                              St u d e n ts:
      e v a l u a ti o n of a t h e a tr e p i e c e a s dra m a a n d a s a r e a li z e d
                                                                                               • u s e t h e la n g u a g e of art criti c i s m b y re a d i n g a n d
      pro d u c ti o n, u s i n g a p pro pri a t e criti c al v o c a b u lary (a)
                                                                                                    d i s c u s s i n g criti c al re v i e w s i n n e w s p a p ers a n d jo urn als
 • e v al u at e t h e u s e of ot h er art form s i n a t h e atre
                                                                                                    a n d b y w riti n g t h e ir o w n criti c al re s p o n s e s to w ork s of
      pro d u cti o n (b)
                                                                                                    art (e it h er t h e ir o w n or t h o s e of ot h ers) (a)
 • e x pla i n h o w a t h e atri c al pro d u cti o n e x e m plifi e s m ajor
                                                                                               • e x pla i n t h e v i s u al a n d ot h er s e n s ory q u aliti e s i n art a n d
      t h e m e s a n d i d e a s fro m ot h er d i s c i pli n e s (c).
                                                                                                    n at ure a n d t h e ir re lati o n to t h e s o c i al e n v iro n m e n t (b)
                                                                                               • a n aly z e a n d i n t erpre t t h e w a y s i n w h i c h p oliti c al,
This is evident, for example, when students:
                                                                                                    c u lt ural, s o c i al, re li g i o u s, a n d p s y c h olo g i c al c o n c e pts a n d
 ▲ view different productions of the same scene from Taming of the                                  t h e m e s h a v e b e e n e x plore d i n v i s u al art (c)
     Shrew, comparing and contrasting the various mediums (video,                              • d e v e lo p c o n n e cti o n s b e t w e e n t h e w a y s i d e a s, t h e m e s, a n d
     film and live performance)                                                                     c o n c e pts are e x pre s s e d t hro u g h t h e v i s u al arts a n d ot h er
 ▲ analyze the impact of costuming, hair and makeup in helping to                                   d i s c i pli n e s i n e v ery d a y life (d).
     establish character
 ▲ write a critical paper analyzing the themes of a play.                                     This is evident, for example, when students:
                                                                                               ▲ discuss the point of view of a critic in a local newspaper who has
                                                                                                   reviewed a local exhibition
                                                                                               ▲ analyze the way in which a work of art by Leon Golub expresses
                                                                                                   a political point of view
                                                                                               ▲ write a review of a student exhibition.




  STANDARD 3



                                                                                                                                                                                      23
Standard 3—Responding to and Analyzing
Works of Art                                                                                                                  Commencement-Major Sequence



Dance                                                                                      Music
3. St u d e n ts w ill e x pre s s t hro u g h w ritt e n a n d oral                       3. St u d e n ts w ill d e m o n strat e t h e c a p a c ity to li st e n to
la n g u a g e t h e ir u n d ersta n d i n g, i n t erpre tati o n, a n d                 a n d c o m m e n t o n m u s i c. Th e y w ill re lat e t h e ir criti c al
e v al u ati o n of d a n c e s t h e y s e e, d o, a n d re a d a b o u t.                a s s erti o n s a b o u t m u s i c to its a e st h e ti c, stru ct ural,
St u d e n ts w ill a c q u ire t h e criti c al v o c a b u lary to talk                  a c o u sti c, a n d p s y c h olo g i c al q u aliti e s. St u d e n ts w ill u s e
a n d w rit e a b o u t a v ari e ty of d a n c e form s.                                  c o n c e pts b a s e d o n t h e stru ct ure of m u s i c’s c o n t e n t a n d
                                                                                           c o n t e xt to re lat e m u s i c to ot h er bro a d are a s of
In a d d iti o n to t h e Ge n eral E d u c ati o n p erform a n c e i n d i c ators,      k n o w l e d g e. Th e y w ill u s e c o n c e pts fro m ot h er
st u d e n ts:                                                                             d i s c i pli n e s to e n h a n c e t h e ir u n d ersta n d i n g of m u s i c.
  • e x pre s s to ot h ers t h e ori e s a b o u t t h e n at ure of d a n c e a n d
       t h e u n d erly i n g a s s u m pti o n s t h at p e o pl e h a v e a b o u t
                                                                                           In a d d iti o n to t h e Ge n eral E d u c ati o n p erform a n c e i n d i c ators,
       d a n c e (a)
                                                                                           st u d e n ts:
  • d e s crib e a n d a n aly z e s i m ilariti e s a n d d iffere n c e s
                                                                                             • a s s e s s, d e s crib e, a n d e v al u at e t h e d e v e lo p m e n t of t h e ir
       b e t w e e n i n d i v i d u al p erform a n c e s, a n d b e t w e e n form s
                                                                                                  p ers o n al c o n trib u ti o n s to t h e ir o w n, t h e ir s c h o ol’s, a n d
       a n d styl e s of d a n c e, p a st a n d pre s e n t (b)
                                                                                                  t h e ir c o m m u n ity’s m u s i c al life b y a p pro pri at e ly u s i n g
  • d e s crib e a n d d efe n d a n e x pla n ati o n of w h y p e o pl e d a n c e,
                                                                                                  m u s i c al a n d s o c i o-c u lt ural t erm s a n d c o n c e pts
       b a s e d o n e x p eri e n c e i n d a n c e, w it n e s s i n g ot h ers, a n d
                                                                                                 (c o n trib u ti o n s a n d s k ills of m u s i c i a n s, fu n cti o n s of m u s i c
       st u d y i n g c o n t e xts (c).
                                                                                                  i n s o c i e ty, e tc.) (a)
                                                                                             • d e m o n strat e a pra cti c al k n o w l e d g e of s o u n d pro d u cti o n
This is evident, for example, when students:
                                                                                                  a n d arc h it e ct ural a c o u sti c s to pre d i ct t h e g e n eral effe cts
 ▲ compare the positions of two different critics of dance                                        o n s o u n d of ro o m s h a p e s, b u ild i n g c o n stru cti o n
 ▲ develop a personal resource file for information about dance,                                  pra cti c e s, a n d c o m m o n a b s orb ers (b).
     dance theory etc.
 ▲ develop and give multi-media presentation that explain theories                         This is evident, for example, when students:
     of dance to younger students
                                                                                            ▲ write a detailed report of the student’s involvement in and
 ▲ observe a variety of professional dance company performances
                                                                                                contribution to music classes and music activities for a college
     or rehearsals and develop a matrix that categorizes similarities
                                                                                                application
     and differences along styles of dance
                                                                                            ▲ select a venue for a small vocal ensemble where the size of the
 ▲ research and present a paper defending assumptions and values
                                                                                                facility and acoustics are appropriate for the size of the group.
     regarding the importance of dance in a specific culture
 ▲ write a detailed description of the student's involvement and
     commitment to dance and dance training for a college
     application.




               Key ideas are identified by numbers (1).
         Performance indicators are identified by bullets (•).
            Sample tasks are identified by triangles (▲).


  24
St u d e n ts w ill re s p o n d criti c ally to a v ari e ty of w ork s i n t h e arts, c o n n e cti n g t h e
i n d i v i d u al w ork to ot h er w ork s a n d to ot h er a s p e cts of h u m a n e n d e a v or a n d
t h o u g h t.



Theatre                                                                                 Visual Arts
3. St u d e n ts w ill refl e ct u p o n, i n t erpre t, a n d e v al u at e            3. St u d e n ts w ill refl e ct u p o n, i n t erpre t, a n d e v al u at e
pla y s a n d t h e atri c al p erform a n c e s, b ot h li v e a n d                   w ork s of art, u s i n g t h e la n g u a g e of art criti c i s m.
re c ord e d, u s i n g t h e la n g u a g e of dra m ati c criti c i s m.              St u d e n ts w ill a n aly z e t h e v i s u al c h ara ct eri sti c s of t h e
St u d e n ts w ill a n aly z e t h e m e a n i n g a n d rol e of t h e atre           n at ural a n d b u ilt e n v iro n m e n t a n d e x pla i n t h e s o c i al,
i n s o c i e ty. St u d e n ts w ill i d e n tify w a y s i n w h i c h                c u lt ural, p s y c h olo g i c al, a n d e n v iro n m e n tal d i m e n s i o n s
dra m a/t h e atre c o n n e cts to fil m a n d v i d e o, ot h er arts,                of t h e v i s u al arts. St u d e n ts w ill c o m p are t h e w a y s i n
a n d ot h er d i s c i pli n e s.                                                      w h i c h a v ari e ty of i d e a s, t h e m e s, a n d c o n c e pts are
                                                                                        e x pre s s e d t hro u g h t h e v i s u al arts w it h t h e w a y s t h e y
In a d d iti o n to t h e Ge n eral E d u c ati o n p erform a n c e i n d i c ators,   are e x pre s s e d i n ot h er d i s c i pli n e s.
st u d e n ts:
  • d e v e lo p a criti c al v o c a b u lary t hro u g h t h e re a d i n g a n d     In a d d iti o n to t h e Ge n eral E d u c ati o n p erform a n c e i n d i c ators,
       d i s c u s s i o n of profe s s i o n al criti c i s m (a)                      st u d e n ts:
  • e x pla i n t h e m e a n i n g a n d s o c i e tal fu n cti o n of d iffere n t      • u s i n g t h e la n g u a g e of art criti c i s m, d e s crib e t h e v i s u al
       ty p e s of pro d u cti o n s (b)                                                       a n d fu n cti o n al c h ara ct eri sti c s of w ork s of art a n d
  • d e s i g n a pla n for i m pro v i n g p erform a n c e s, u s i n g p a st               i n t erpre t t h e re lati o n s h i p s of w ork s of art o n e to a n ot h er,
       a n d pre s e n t critiq u e s (c)                                                      to d e s crib e t h e i m p a ct of t h e w ork o n t h e v i e w er (a)
  • e x plore v ari o u s ot h er art form s a n d t e c h n olo g i e s, u s i n g       • d e m o n strat e a n u n d ersta n d i n g of art criti c i s m, art
       t h e m i n t h e atre proje cts (d)                                                    h i stori e s, a n d a e st h e ti c pri n c i pl e s a n d s h o w t h e ir
  • e x plai n h o w t h e atre c a n e n h a n c e ot h er s u bje cts i n t h e              c o n n e cti o n s to w ork s of art (b)
       c urric ulu m (e)                                                                  • g i v e e v i d e n c e i n t h e ir Co m m e n c e m e n t P ortfoli o s t h a t
  • c o m p are a n d c o n tra st t h e atre, fil m, a n d v i d e o (f).                     t h e y h a v e re s e arc h e d a t h e m e i n-d e p t h a n d t h a t i n t h e ir
                                                                                              re s e arc h t h e y h a v e e x plore d t h e w a y s t h e t h e m e h a s
This is evident, for example, when students:                                                   b e e n e x pre s s e d i n ot h er d i s c i pli n ary form s (c).
 ▲ read a review of a local theatre production analyzing the critic's
                                                                                        This is evident, for example, when students:
     writing style, approach to priorities in the production, and
     conclusions about the play in performance, discussing the points                    ▲ write a review of a local art exhibition
     of agreement and disagreement                                                       ▲ discuss the role of museums and galleries in defining what
 ▲ make two diagrams showing the differences between tragedy                                 current art is
     and melodrama, and comedy and farce                                                 ▲ compare the way in which the migration of the African-
 ▲ keep a journal of the process involved in creating a monologue;                           Americans to the north is depicted in Jacob Lawrence's series of
     comment on improvements made in the monologue content and                               paintings The Great Migration with the description of that
     performance                                                                             migration in the history textbooks.
 ▲ investigate commedia dell'arte and form an improvisational
     troupe to perform at area schools
 ▲ work with an elementary teacher to incorporate theatre
     practices in the teaching of social studies
 ▲ compare different versions of the same play performed live, on
     film or on tape; compare a traditional interpretation of a play
     with a contemporary interpretation, or a musical production of a
     former drama.




  STANDARD 3



                                                                                                                                                                             25
Standard 4—Understanding the Cultural
Dimensions and Contributions of the Arts                                                                                                                         Elementary



Dance                                                                                        Music
4. St u d e n ts w ill k n o w d a n c e s fro m m a n y c u lt ure s a n d                  4. St u d e n ts w ill d e v e lo p a p erform i n g a n d li st e n i n g
ti m e s a n d re c o g n iz e t h e ir re lati o n s h i p to v ari o u s                   re p erto ire of m u s i c of v ari o u s g e nre s, styl e s, a n d
c u lt ural, s o c i al, a n d h i stori c c o n t e xts. St u d e n ts w ill                c u lt ure s t h at re pre s e n t t h e p e o pl e s of t h e w orld a n d
re c o g n iz e t h at d a n c e i s p erform e d i n m a n y d iffere n t                   t h e ir m a n ife stati o n s i n t h e U n it e d Stat e s. St u d e n ts
c u lt ural s e tti n g s a n d s erv e s m a n y fu n cti o n s i n d i v ers e             w ill re c o g n iz e t h e c u lt ural fe at ure s of a v ari e ty of
s o c i e ti e s.                                                                            m u s i c al c o m p o s iti o n s a n d p erform a n c e s a n d
                                                                                             u n d ersta n d t h e fu n cti o n s of m u s i c w it h i n t h e c u lt ure.
St u d e n ts:
 • i d e n tify b a s i c d a n c e m o v e m e n ts t h at are ty p i c al of t h e
                                                                                             St u d e n ts:
      m ajor w orld c u lt ure s (a)
                                                                                              • i d e n tify w h e n li st e n i n g, a n d p erform fro m m e m ory, a
 • e x pla i n t h e s e tti n g s a n d c irc u m sta n c e s i n w h i c h d a n c e i s
                                                                                                   b a s i c re p erto ire of folk s o n g s/d a n c e s a n d c o m p o s e d s o n g s
      fo u n d i n t h e ir li v e s a n d t h o s e of ot h ers, b ot h p a st a n d
                                                                                                   fro m t h e b a s i c c u lt ure s t h at re pre s e n t t h e p e o pl e s of t h e
      pre s e n t (b).
                                                                                                   w orld (a)
                                                                                              • i d e n tify t h e titl e s a n d c o m p o s ers of w e ll-k n o w n e x a m pl e s
This is evident, for example, when students:
                                                                                                   of cla s s i c al c o n c ert m u s i c a n d bl u e s/ja zz s e l e cti o n s (b)
 ▲ discuss the dance forms of the Plains Indians                                              • i d e n tify t h e pri m ary c u lt ural, g e o gra p h i c al, a n d
 ▲ explain the role that dance plays in their community (e.g.,                                     h i stori c al s e tti n g s for t h e m u s i c t h e y li st e n to a n d
     weddings, proms, festivals).                                                                  p erform (c).

                                                                                             This is evident, for example, when students:
                                                                                              ▲ sing folk music common to a period of history in the United
                                                                                                  States
                                                                                              ▲ recognize and identify some simple pieces of music such as the
                                                                                                  tango, march and waltz and name the countries and composers
                                                                                                  most associated with the selections
                                                                                              ▲ record in a log the folksongs sung in class along with the
                                                                                                  country of origin
                                                                                              ▲ in music class make a pin map which shows the country of
                                                                                                  origin of folksongs and recordings.




               Key ideas are identified by numbers (1).
         Performance indicators are identified by bullets (•).
            Sample tasks are identified by triangles (▲).


  26
St u d e n ts w ill d e v e lo p a n u n d ersta n d i n g of t h e p ers o n al a n d c u lt ural forc e s t h at
s h a p e arti sti c c o m m u n i c ati o n a n d h o w t h e arts i n t urn s h a p e t h e d i v ers e c u lt ure s of
p a st a n d pre s e n t s o c i e ty.



Theatre                                                                                       Visual Arts
4. St u d e n ts w ill g a i n k n o w l e d g e a b o u t p a st a n d pre-                  4. St u d e n ts w ill e x plore art a n d artifa cts fro m v ari o u s
s e n t c u lt ure s a s e x pre s s e d t hro u g h t h e atre. Th e y w ill                 h i stori c al p eri o d s a n d w orld c u lt ure s to d i s c o v er t h e
i n t erpre t h o w t h e atre refl e cts t h e b e li efs, i s s u e s, a n d                rol e s t h at art pla y s i n t h e li v e s of p e o pl e of a g i v e n
e v e n ts of s o c i e ti e s p a st a n d pre s e n t.                                      ti m e a n d pla c e a n d to u n d ersta n d h o w t h e ti m e a n d
                                                                                              pla c e i nfl u e n c e t h e v i s u al c h ara ct eri sti c s of t h e art
St u d e n ts:
                                                                                              w ork. St u d e n ts w ill e x plore art to u n d ersta n d t h e
 • dra m atiz e stori e s a n d folk tal e s fro m v ari o u s c u lt ure s (a)
                                                                                              s o c i al, c u lt ural, a n d e n v iro n m e n tal d i m e n s i o n s of
 • e n g a g e i n dra m a/t h e atre a cti v iti e s i n cl u d i n g m u s i c,
                                                                                              h u m a n s o c i e ty.
      d a n c e, a n d g a m e s w h i c h refl e ct ot h er c u lt ure s a n d e t h n i c
                                                                                              St u d e n ts:
      gro u p s (b)
                                                                                               • lo o k at a n d d i s c u s s a v ari e ty of art w ork s a n d artifa cts
 • d i s c u s s h o w cla s sro o m t h e atre a cti v iti e s re lat e to t h e ir
                                                                                                    fro m w orld c u lt ure s to d i s c o v er s o m e i m p orta n t i d e a s,
      li v e s (c).
                                                                                                    i s s u e s, a n d e v e n ts of t h o s e c u lt ure s (a)
                                                                                               • lo o k at a v ari ety of art w ork s a n d artifa cts fro m div ers e
This is evident, for example, when students:
                                                                                                    c ult ure s of t h e U n it e d Stat e s a n d id e ntify s o m e
 ▲ read a folk tale in which animals play important roles;                                          disti n g u is h i n g c h ara ct eristic s (b)
     improvise being animals, comparing and contrasting the                                    • cre at e art w ork s t h at s h o w t h e i nfl u e n c e of a p arti c u lar
     "cultures" of animals and human beings                                                         c u lt ure (c).
 ▲ attend a community ethnic festival to learn about a particular
     culture, then share dances, songs and games learned at the                               This is evident, for example, when students:
     festival with another class at school
                                                                                               ▲ examine the Spanish style of architecture of the Southwest and
 ▲ discuss responses to a theatrical performance explaining what
                                                                                                   describe the ways in which that architecture differs from
     ideas and feelings were conveyed and why the audience
                                                                                                   architecture in New England used for the same purposes
     sympathized or was displeased with the main character.
                                                                                               ▲ discuss the ways in which the depiction of space differs in
                                                                                                   Egyptian art with the way it is depicted in Renaissance art and
                                                                                                   conjecture about the reasons for the differences
                                                                                               ▲ study the style of the Australian Aboriginal art and create a
                                                                                                   work using that style but expressing their own ideas about
                                                                                                   nature and animals.




  STANDARD 4



                                                                                                                                                                             27
Standard 4—Understanding the Cultural
Dimensions and Contributions of the Arts                                                                                                           Intermediate



Dance                                                                                Music
4. St u d e n ts w ill k n o w d a n c e s fro m m a n y c u lt ure s a n d          4. St u d e n ts w ill d e v e lo p a p erform i n g a n d li st e n i n g
ti m e s a n d re c o g n iz e t h e ir re lati o n s h i p to v ari o u s           re p erto ire of m u s i c of v ari o u s g e nre s, styl e s, a n d
c u lt ural, s o c i al, a n d h i stori c c o n t e xts. St u d e n ts w ill        c u lt ure s t h at re pre s e n t t h e p e o pl e s of t h e w orld a n d
re c o g n iz e t h at d a n c e i s p erform e d i n m a n y d iffere n t           t h e ir m a n ife stati o n s i n t h e U n it e d Stat e s. St u d e n ts
c u lt ural s e tti n g s a n d s erv e s m a n y fu n cti o n s i n d i v ers e     w ill re c o g n iz e t h e c u lt ural fe at ure s of a v ari e ty of
s o c i e ti e s.                                                                    m u s i c al c o m p o s iti o n s a n d p erform a n c e s a n d
                                                                                     u n d ersta n d t h e fu n cti o n s of m u s i c w it h i n t h e c u lt ure.
St u d e n ts:
 • i d e n tify t h e m ajor d a n c e form s of s p e c ifi c w orld c u lt ure s
                                                                                     St u d e n ts:
      p a st a n d pre s e n t (a)
                                                                                      • i d e n tify t h e c u lt ural c o n t e xts of a p erform a n c e or
 • i d e n tify s o m e of t h e m ajor d a n c e arti sts fro m d i v ers e
                                                                                           re c ord i n g a n d p erform ( w it h m o v e m e n t, w h ere c u lt urally
      c u lt ure s (b)
                                                                                           a p pro pri at e) a v ari e d re p erto ire of folk, art, a n d
 • s h o w h o w s p e c ifi c d a n c e form s are re lat e d to t h e c u lt ure
                                                                                           c o n t e m p orary s e l e cti o n s fro m t h e b a s i c c u lt ure s t h at
      fro m w h i c h t h e y c o m e (c).
                                                                                           re pre s e n t t h e p e o pl e s of t h e w orld (a)
                                                                                      • i d e n tify fro m a p erform a n c e or re c ord i n g t h e titl e s a n d
This is evident, for example, when students:
                                                                                           c o m p o s ers of w e ll-k n o w n e x a m pl e s of cla s s i c al c o n c ert
 ▲ attend a dance performance of an ethnic group and describe the                          m u s i c a n d bl u e s/ja zz s e l e cti o n s (b)
     characteristics of that dance                                                    • d i s c u s s t h e c urre n t a n d p a st c u lt ural, s o c i al, a n d
 ▲ discuss dance as ritual in an African group                                             p oliti c al u s e s for t h e m u s i c t h e y li st e n to a n d p erform (c)
 ▲ research the dance forms of the ethnic group from which they                       • in performing e nse mbles, read and perform repertoire in a
     come or the dance forms of their teenage culture                                      culturally a u t h e n ti c m a n n er (d).
 ▲ create a sequence and dance after investigating poems from
     Africia, India, Asia and South America to discover their                        This is evident, for example, when students:
     rhythmic and metric structure.
                                                                                      ▲ compile a list of listening selections categorized by countries or
                                                                                          cultures of the world
                                                                                      ▲ identify, from listening selections, different forms of jazz
                                                                                          including blues, Dixieland, boogie woogie, modern, and cool.
                                                                                          Name musicians associated with each of the Jazz forms
                                                                                      ▲ discuss how work songs have helped workers during their labors
                                                                                      ▲ after hearing a professional recording of a Sousa march, identify
                                                                                          important stylistic concerns and discuss how to apply them in
                                                                                          their own performance.




              Key ideas are identified by numbers (1).
        Performance indicators are identified by bullets (•).
           Sample tasks are identified by triangles (▲).


  28
St u d e n ts w ill d e v e lo p a n u n d ersta n d i n g of t h e p ers o n al a n d c u lt ural forc e s t h at
s h a p e arti sti c c o m m u n i c ati o n a n d h o w t h e arts i n t urn s h a p e t h e d i v ers e c u lt ure s of
p a st a n d pre s e n t s o c i e ty.



Theatre                                                                                     Visual Arts
4. St u d e n ts w ill g a i n k n o w l e d g e a b o u t p a st a n d
pre s e n t c u lt ure s a s e x pre s s e d t hro u g h t h e atre. Th e y                 4. St u d e n ts w ill e x plore art a n d artifa cts fro m v ari o u s
w ill i n t erpre t h o w t h e atre refl e cts t h e b e li efs, i s s u e s,              h i stori c al p eri o d s a n d w orld c u lt ure s to d i s c o v er t h e
a n d e v e n ts of s o c i e ti e s p a st a n d pre s e n t.                              rol e s t h at art pla y s i n t h e li v e s of p e o pl e of a g i v e n
                                                                                            ti m e a n d pla c e a n d to u n d ersta n d h o w t h e ti m e a n d
St u d e n ts:                                                                              pla c e i nfl u e n c e t h e v i s u al c h ara ct eri sti c s of t h e art
 • i m pro v i s e s c e n e s b a s e d o n i nform ati o n a b o u t v ari o u s c u l-   w ork. St u d e n ts w ill e x plore art to u n d ersta n d t h e
      t ure s (a)                                                                           s o c i al, c u lt ural, a n d e n v iro n m e n tal d i m e n s i o n s of
 • cre at e i n t erc u lt ural c e l e brati o n s u s i n g pro p s, s e tti n g s,       h u m a n s o c i e ty.
      a n d c o st u m e s (b)
 • e x pla i n h o w dra m a/t h e atre e x p eri e n c e s re lat e to t h e m-            St u d e n ts:
      s e lv e s a n d ot h ers (c).                                                         • d e m o n strat e h o w art w ork s a n d artifa cts fro m d i v ers e
                                                                                                  w orld c u lt ure s refl e ct a s p e cts of t h o s e c u lt ure s (a)
This is evident, for example, when students:                                                 • d e m o n strat e t h e w a y s i n w h i c h s o m e p arti c u lar art
 ▲ explore a ritual within a culture which marks a "rite of                                       w ork s a n d artifa cts refl e ct i m p orta n t a s p e cts of t h e
     passage," then improvise a performance which marks an                                        d i v ers e c u lt ure s of t h e U n it e d Stat e s (b)
     important event in the students' own lives                                              • create art w orks that reflect a particular historical period
 ▲ create a Native American Festival representing various tribes                                  of a culture (c).
     and demonstrate the cultural indicators of each tribe e.g.,
     rituals, costume, governmental structure, family life, etc.)                           This is evident, for example, when students:
 ▲ explain how a dramatic performance on video or film depicts a                             ▲ research the totems and other artifacts of the Northwest Indians
     feeling or event they may have experienced.                                                 and discuss how those images are connected with their rituals
                                                                                                 and their beliefs about family and clan
                                                                                             ▲ look at traditional Japanese art and identify its visual
                                                                                                 characteristics
                                                                                             ▲ examine the patterns of Mexican textiles and create a work in
                                                                                                 which they invent a pattern based on those ideas.




  STANDARD 4



                                                                                                                                                                     29
Standard 4—Understanding the Cultural Dimensions
and Contributions of theArts                                                                                          Commencement-General Education



Dance                                                                                   Music
4. St u d e n ts w ill k n o w d a n c e s fro m m a n y c u lt ure s a n d             4. St u d e n ts w ill d e v e lo p a p erform i n g a n d li st e n i n g
ti m e s a n d re c o g n iz e t h e ir re lati o n s h i p to v ari o u s              re p erto ire of m u s i c of v ari o u s g e nre s, styl e s, a n d
c u lt ural, s o c i al, a n d h i stori c c o n t e xts. St u d e n ts w ill           c u lt ure s t h at re pre s e n t t h e p e o pl e s of t h e w orld a n d
re c o g n iz e t h at d a n c e i s p erform e d i n m a n y d iffere n t              t h e ir m a n ife stati o n s i n t h e U n it e d Stat e s. St u d e n ts
c u lt ural s e tti n g s a n d s erv e s m a n y fu n cti o n s i n d i v ers e        w ill re c o g n iz e t h e c u lt ural fe at ure s of a v ari e ty of
s o c i e ti e s.                                                                       m u s i c al c o m p o s iti o n s a n d p erform a n c e s a n d
                                                                                        u n d ersta n d t h e fu n cti o n s of m u s i c w it h i n t h e c u lt ure.
St u d e n ts:
 • e x pla i n t h e i n t era cti o n of p erform er a n d a u d i e n c e i n
                                                                                        St u d e n ts:
      d a n c e a s a s h are d c u lt ural e v e n t (a)
                                                                                         • i d e n tify fro m p erform a n c e s or re c ord i n g s t h e c u lt ural
 • i d e n tify t h e c u lt ural e l e m e n ts i n a v ari e ty of d a n c e s
                                                                                              c o n t e xts of a furt h er v ari e d re p erto ire of folk, art, a n d
      dra w n fro m t h e folk a n d cla s s i c al re p ertori e s (b)
                                                                                              c o n t e m p orary s e l e cti o n s fro m t h e b a s i c c u lt ure s t h at
 • re c o g n iz e s p e c ifi c c o n trib u ti o n s of d a n c e a n d d a n c ers
                                                                                              re pre s e n t t h e p e o pl e s of t h e w orld (a)
      to t h e ir o w n li v e s a n d to p e o pl e i n ot h er ti m e s a n d
                                                                                         • i d e n tify fro m p erform a n c e s or re c ord i n g s t h e titl e s a n d
      pla c e s (c).
                                                                                              c o m p o s ers a n d d i s c u s s t h e c u lt ural c o n t e xts of
                                                                                              w e ll-k n o w n e x a m pl e s of cla s s i c al c o n c ert m u s i c a n d
This is evident, for example, when students:
                                                                                              bl u e s/ja zz s e l e cti o n s (b)
 ▲ describe their feelings and responses to a live dance                                 • re lat e w e ll-k n o w n m u s i c al e x a m pl e s fro m t h e 17t h
     performance and the effects that their responses might have on                           c e n t ury o n w ard w it h t h e d o m i n a n t s o c i al a n d h i stori c al
     the performers                                                                           e v e n ts (c).
 ▲ view a performance of modern dance and see if they can spot the
     traditional folk elements present                                                  This is evident, for example, when students:
 ▲ discuss the role that dance plays in the lives of a specific
                                                                                         ▲ write program notes for a concert of folksongs and art songs
     cultural group
                                                                                             that identify for the audience the source of the songs and how
 ▲ research and choreograph a performance that demonstrates the
                                                                                             the song was used
     differences and similarities of dances that originated in various
                                                                                         ▲ identify dance forms in music and write a report which details
     cultures
                                                                                             the time period these dance forms were performed, costumes
 ▲ develop a presentation that uses dance to communicate
                                                                                             worn during the period and the impact they had on the music
     information about another discipline, e.g., history, literature,
                                                                                             performed
     science
                                                                                         ▲ compile an annotated list of some important musical composi-
 ▲ in collaboration with another student, research, develop, and
                                                                                             tions from the 1600’s to the 2000’s with references to significant
     choreograph a dance dialogue between the approaches to dance
                                                                                             historical and social events.
     of two different cultures
 ▲ attend several dance performances during the school year that
     reflect a range of styles and approaches to choreography and
     then compare and contrast the influence of culture on the styles.




               Key ideas are identified by numbers (1).
         Performance indicators are identified by bullets (•).
            Sample tasks are identified by triangles (▲).


  30
St u d e n ts w ill d e v e lo p a n u n d ersta n d i n g of t h e p ers o n al a n d c u lt ural forc e s t h at
s h a p e arti sti c c o m m u n i c ati o n a n d h o w t h e arts i n t urn s h a p e t h e d i v ers e c u lt ure s of
p a st a n d pre s e n t s o c i e ty.



Theatre                                                                                     Visual Arts
4. St u d e n ts w ill g a i n k n o w l e d g e a b o u t p a st a n d                     4. St u d e n ts w ill e x plore art a n d artifa cts fro m v ari o u s
pre s e n t c u lt ure s a s e x pre s s e d t hro u g h t h e atre. Th e y                 h i stori c al p eri o d s a n d w orld c u lt ure s to d i s c o v er t h e
w ill i n t erpre t h o w t h e atre refl e cts t h e b e li efs, i s s u e s,              rol e s t h at art pla y s i n t h e li v e s of p e o pl e of a g i v e n
a n d e v e n ts of s o c i e ti e s p a st a n d pre s e n t.                              ti m e a n d pla c e a n d to u n d ersta n d h o w t h e ti m e a n d
                                                                                            pla c e i nfl u e n c e t h e v i s u al c h ara ct eri sti c s of t h e art
St u d e n ts:
                                                                                            w ork. St u d e n ts w ill e x plore art to u n d ersta n d t h e
 • re a d a n d v i e w a v ari e ty of pla y s fro m d iffere n t c u lt ure s
                                                                                            s o c i al, c u lt ural, a n d e n v iro n m e n tal d i m e n s i o n s of
      (a)
                                                                                            h u m a n s o c i e ty.
 • u s i n g t h e b a s i c e l e m e n ts of t h e atre (e.g., s p e e c h, g e st ure,
                                                                                            St u d e n ts:
      c o st u m e, e tc.), e x pla i n h o w d iffere n t t h e atri c al
                                                                                             • a n aly z e w ork s of art fro m d i v ers e w orld c u lt ure s a n d
      pro d u cti o n s re pre s e n t t h e c u lt ure s fro m w h i c h t h e y
                                                                                                  d i s c u s s t h e i d e a s, i s s u e s, a n d e v e n ts of t h e c u lt ure t h at
      c o m e (b)
                                                                                                  t h e s e w ork s c o n v e y (a)
 • arti c u lat e t h e s o c i e tal b e li efs, i s s u e s a n d e v e n ts of
                                                                                             • e x a m i n e w ork s of art a n d artifa cts fro m U n it e d Stat e s
      s p e c ifi c t h e atri c al pro d u cti o n s (c).
                                                                                                  c u lt ure s a n d pla c e t h e m w it h i n a c u lt ural a n d h i stori c al
                                                                                                  c o n t e xt (b)
This is evident, for example, when students:
                                                                                             • cre at e art w ork s t h at refl e ct a v ari e ty of c u lt ural
 ▲ read a play by a contemporary foreign playwright who writes                                    i nfl u e n c e s (c).
     about a social issue; analyze how the issue is depicted in the
     drama                                                                                  This is evident, for example, when students:
 ▲ recreate a Kabuki theatre performance piece using appropriate
                                                                                             ▲ compare the way the human figure is depicted in Byzantine art
     makeup, costuming, set design and acting style showing an
                                                                                                 with the way it is depicted in High Renaissance art and explore
     understanding of Japanese customs
                                                                                                 the reasons for the differences
 ▲ read a work from another century and/or another country and
                                                                                             ▲ select a style of art from the 20th century, study the
     write a report explaining how the play realistically portrays life
                                                                                                 characteristics of that style, research one artist who painted in
     in that time period.
                                                                                                 that style and make a work of art using that style but
                                                                                                 expressing the students' point of view or idea.




  STANDARD 4



                                                                                                                                                                                    31
Standard 4—Understanding the Cultural Dimensions
and Contributions of theArts                                                                                                      Commencement-Major Sequence



Dance                                                                                           Music
4. St u d e n ts w ill k n o w d a n c e s fro m m a n y c u lt ure s a n d                     4. St u d e n ts w ill d e v e lo p a p erform i n g a n d li st e n i n g
ti m e s a n d re c o g n iz e t h e ir re lati o n s h i p to v ari o u s                      re p erto ire of m u s i c of v ari o u s g e nre s, styl e s, a n d
c u lt ural, s o c i al, a n d h i stori c c o n t e xts. St u d e n ts w ill                   c u lt ure s t h at re pre s e n t t h e p e o pl e s of t h e w orld a n d
re c o g n iz e t h at d a n c e i s p erform e d i n m a n y d iffere n t                      t h e ir m a n ife stati o n s i n t h e U n it e d Stat e s. St u d e n ts
c u lt ural s e tti n g s a n d s erv e s m a n y fu n cti o n s i n d i v ers e                w ill re c o g n iz e t h e c u lt ural fe at ure s of a v ari e ty of
s o c i e ti e s.                                                                               m u s i c al c o m p o s iti o n s a n d p erform a n c e s a n d
                                                                                                u n d ersta n d t h e fu n cti o n s of m u s i c w it h i n t h e c u lt ure.
In a d d iti o n to t h e Ge n eral E d u c ati o n p erform a n c e i n d i c ators,
st u d e n ts:
                                                                                                In a d d iti o n to t h e Ge n eral E d u c ati o n p erform a n c e i n d i c ators,
  • d e m o n strat e a n u n d ersta n d i n g of d a n c e a s a s h are d
                                                                                                st u d e n ts:
       c u lt ural e v e n t w h e n g i v i n g pre s e n tati o n s (d a n c e, l e ct ure,
                                                                                                  • a n aly z e m u s i c fro m v ari o u s c u lt ure s o n t h e b a s i s of its
       v i d e o, w ritt e n re p ort) (a)
                                                                                                      fu n cti o n s, g i v i n g e x a m pl e s a n d d e s cribi n g u s e s to w h i c h
  • de monstrate a kno wledge of cultural ele m e nts in dance
                                                                                                       m u s i c i s p u t i n t h o s e c u lt ure s (a)
       prese ntations of folk a n d cla s s i c al re p ertori e s (b)
                                                                                                  • i n p erform i n g e n s e m bl e s, re a d a n d p erform re p erto ire i n
  • pre p are form al pre s e n tati o n s t h at u s e m at eri als a b o u t
                                                                                                       a c u lt urally a u t h e n ti c m a n n er a n d u s e c u lt ure-b a s e d
       d a n c e a n d d a n c ers of ot h er ti m e s a n d pla c e s (c).
                                                                                                       crit eri a for a s s e s s i n g p erform a n c e s, t h e ir o w n a n d
                                                                                                       ot h ers’ (b).
This is evident, for example, when students:
 ▲ write the explanatory notes for one segment of a dance festival                              This is evident, for example, when students:
     showcasing various ethnic dances
                                                                                                 ▲ compile a list of musical compositions that exemplify the
 ▲ write a short research paper on the contributions of dance to a
                                                                                                     significant characteristics of the major world cultures; describe
     specific culture and the ways in which dance expresses the
                                                                                                     important musical dimensions and the salient cultural
     values and beliefs of that culture
                                                                                                     attributes of each
 ▲ work in a group to develop and present a comparison of dance
                                                                                                 ▲ play rhythmic patterns in an authentic manner when
     steps, styles, and forms of various cultures
                                                                                                     performing different forms of Jazz
 ▲ develop a presentation that integrates dance into another art
                                                                                                 ▲ perform in a culturally-based ensemble (e.g., steel drum band,
     form (e.g., storytelling, visual art, choral singing).
                                                                                                     gospel choir, or German brass band).




               Key ideas are identified by numbers (1).
         Performance indicators are identified by bullets (•).
            Sample tasks are identified by triangles (▲).


  32
St u d e n ts w ill d e v e lo p a n u n d ersta n d i n g of t h e p ers o n al a n d c u lt ural forc e s t h at
s h a p e arti sti c c o m m u n i c ati o n a n d h o w t h e arts i n t urn s h a p e t h e d i v ers e c u lt ure s of
p a st a n d pre s e n t s o c i e ty.



Theatre                                                                                   Visual Arts
4. St u d e n ts w ill g a i n k n o w l e d g e a b o u t p a st a n d                   4. St u d e n ts w ill e x plore art a n d artifa cts fro m v ari o u s
pre s e n t c u lt ure s a s e x pre s s e d t hro u g h t h e atre. Th e y               h i stori c al p eri o d s a n d w orld c u lt ure s to d i s c o v er t h e
w ill i n t erpre t h o w t h e atre refl e cts t h e b e li efs, i s s u e s,            rol e s t h at art pla y s i n t h e li v e s of p e o pl e of a g i v e n
a n d e v e n ts of s o c i e ti e s p a st a n d pre s e n t.                            ti m e a n d pla c e a n d to u n d ersta n d h o w t h e ti m e a n d
                                                                                          pla c e i nfl u e n c e t h e v i s u al c h ara ct eri sti c s of t h e art
In a d d iti o n to t h e Ge n eral E d u c ati o n p erform a n c e i n d i c ators,
                                                                                          w ork. St u d e n ts w ill e x plore art to u n d ersta n d t h e
st u d e n ts:
                                                                                          s o c i al, c u lt ural, a n d e n v iro n m e n tal d i m e n s i o n s of
  • c o n d u ct a n i n-d e pt h i n v e sti g ati o n of t h e w ork s of a g i v e n
                                                                                          h u m a n s o c i e ty.
       c u lt ure or pla y w ri g h t (a)
                                                                                          In a d d iti o n to t h e Ge n eral E d u c ati o n p erform a n c e i n d i c ators,
  • cre at e a m u lti c u lt ural t h e atre fe sti v al of e x c erpts fro m
                                                                                          st u d e n ts:
       pla y s re pre s e n ti n g v ari o u s c u lt ure s (c).
                                                                                            • pre s e n t a b o d y of w ork w it h i n t h e ir p ortfoli o t h at
                                                                                                refl e cts t h e i nfl u e n c e s of v ari e ty of c u lt ural styl e s (a)
This is evident, for example, when students:
                                                                                            • i n t erpre t t h e m e a n i n g of w ork s a n d artifa cts i n t erm s of
 ▲ read the plays of Sophocles, Aeschylus, and Euripides from the                                t h e c u lt ure s t h at pro d u c e d t h e m (b)
     ancient Greek time period and write a paper which compares                             • e x pla i n h o w c u lt ural v al u e s h a v e b e e n e x pre s s e d i n t h e
     and contrasts their style and themes and discusses the impact                               v i s u al arts, h o w art w ork s h a v e b e e n u s e d to bri n g a b o u t
     each had on staging                                                                         c u lt ural c h a n g e a n d h o w t h e art of a c u lt ure h a s b e e n
 ▲ produce a festival of plays from different cultures centered on                               i nfl u e n c e d b y art w ork s c o m i n g fro m o u ts i d e t h at
     the same theme.                                                                             c u lt ure (c).


                                                                                          This is evident, for example, when students:
                                                                                           ▲ write a short research paper exploring how the depictions of
                                                                                               war in The Third of May by Goya and Napoleon On The
                                                                                               Battlefield at Eylau by Gros differ one from another
                                                                                           ▲ discuss the influence of African art on Picasso's Demoiselles
                                                                                               D’Avignon
                                                                                           ▲ look at the body of work in their portfolios and describe what
                                                                                               they consider to be their style and indicate what has influenced
                                                                                               that style.
                                                                                           ▲ compare the work of regionalist artists who documented life of
                                                                                               the ordinary people in a given place; such as Thomas Hart
                                                                                               Benton, John Stuart Curry, and Grant Wood with the Harlem
                                                                                               Renaissance artists like William H. Johnson, Jacob Lawrence,
                                                                                               Aaron Douglas, and Romare Bearden.




  STANDARD 4



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34
                                             Samples of Student Work
The samples of student work included in this section are intended to begin the process of articulating the
performance standards at each level of achievement. This collection is not yet adequate for that purpose in either
numbers or scope of examples. Since samples of student work in the Arts usually take forms other than the
written word, only a few examples are included here. Most examples will be included on a multimedia format
which is under production. As New York State continues to collect work samples from the schools for inclusion in
this document and the multimedia format, we expect a much clearer understanding of the performance standards
to be evident.

Neither are these samples presented as models of excellence. They vary in degree of “acceptable” achievement.
Some are “competent;” others “more proficient.” All are meant to provide examples of the kind of work students
might produce to demonstrate progress toward the standards.




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Description: A detailed PDF explaining the standards for learning and teaching art.