An Introduction to Opera
Teacher and Student Guide
Preparation materials for The Santa Fe Opera
2014 Spring Tour
Spring Tour Sponsors
The Guilds of The Santa Fe Opera, Inc.
New Mexico Arts - a division of the Department of Cultural Affairs
The National Endowment for the Arts: Art Works
The Maurice R. and Meta G. Gross Foundation
Dear Teacher:

The enclosed Study Guide is the most important component of the preparation packet
sent prior to the performance of True North.

If time permits, please spend a class period reviewing the material with your students
utilizing the links to five musical excerpts. The printed material contains pertinent points
about the story, theater, operatic music, and the conventions of opera including the
classical singing tradition.

The foundation you build together greatly enhances the student’s performance
experience.

If you must limit yourself to only one activity, play and discuss the musical excerpts, the
audio is what is important.

We thank you for the opportunity to present to your students and original introduction to
the world of classical opera and look forward to a brief dialogue with students following
the performance.
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This guide may be used in preparation of or as a follow-up to the performance of the one-act
introduction to opera True North. The running time of this piece is approximately 40 minutes,
with a brief introduction and approximately 10 minutes for an audience question and answer
session after the performance, for a total of 50 minutes for the entire presentation. It is presented
in English.
Within these materials you will find:
 Opera Terms
 General Questions and Answers about the world of Opera and The Santa Fe Opera
 Study Guide for use with links to Youtube
 Synopsis of our presentation
 10 Commandments for Audience Members
 Guide for correlation to Common Core Standards
The best sources for additional information are your local public library and the Internet.
Both sources generally have numerous, images, drawings and reproductions to share with your
students. Opera recordings DVDs, and videos are often available at public libraries and there are
many podcasts and downloads available on the Internet.
Opera DVDs are available at most rental stores or via Netflix. Met at the Movies is another
opportunity to experience world class opera.
BACKSTAGE TOURS OF THE SANTA FE OPERA are free and offered year round to
teachers and students. For details or to schedule a field trip, contact Kyle Gray at The Santa Fe
Opera (505) 946-2407 or kgray@santafeopera.org.
If you have suggestions to expand or enhance these materials, please let us know by contacting
the Opera at:
The Santa Fe Opera
Education and Community Programs
P.O. Box 2408
Santa Fe, New Mexico 87504-2408
(505) 986-5928
awalters@santafeopera.org
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OPERA TERMS
Accompanist: in our performances we use a pianist to provide the instrumental music
supporting the singers. The accompanist is of equal importance in these performances. The
accompanist develops the rhythms and harmonies which underline the emotions and meanings of
the sung words.
Accompaniment: The music underneath a solo line or melody which literally accompanies and
supports the tune. Often it lays the harmonic foundation on which the melody rests.
Aria: a melody for solo voice with orchestral accompaniment. Aria means air in Italian.
Aside: A private or secret comment from an actor directed (originally from the side of his
mouth) to the audience that the other characters on stage cannot hear.
Bel canto: Translates from the Italian as “beautiful singing”. Refers to a style of singing
emphasizing beauty of tone, phrasing, and ornamented passages
Bravo: Italian term meaning “fine” or “brave”, similar to "go team" for a football game, is a
shout of approval when a singer (particularly a male singer) has pleased you with their singing.
Feel free to shout BRAVO! if our singers please you, or for a female singers shout BRAVA! or
for the entire group BRAVI!
Cast: the people chosen to play or sing certain parts in an opera.
Chord: A combination of three or more consonant (not clashing) tones sounded simultaneously.
Chorus: A piece of music for singing in unison.
Coloratura: Elaborate ornamentation of melody. Also refers to the voice type which specializes
in this kind of singing.
Dissonant: is the quality of sounds which seems unstable, and has an aural need to resolve.
Duet: when two voices sing together.
Encore: means “again” in French. To repeat, play or sing again.
Ensemble: when a group of singers sings together.
Fanfare: A flourish of brass instrument (s), usually trumpets, generally sounded to announce
the entrance of royalty or high government official.
Finale: The last scene in an opera.
Harmony: the combining of notes simultaneously to produce consonant (blending) sounds, often
called a chord.
Improvisation: Music that is invented without preparation and usually based on melody or
themes heard earlier.
Interval: The distance between two notes heard as the difference in pitch between two tones.
Intervals are specified as major, minor, augmented, and diminished.
Key: The tonal center of a musical piece.
Libretto: Literally the word means “little book”. A libretto is the book (similar to a short play)
which is therefore the words to which music is set which will be sung by the singers.
Modal: music that is called modal often has less diatonic functionality and changes key less
often than other music
Motif: A recurring subject, theme, or idea.
Musical: a show with singing, dancing and spoken dialogue. Examples from Broadway are The
Lion King and Les Miserables.
Quartet: Four voices singing together. (or four instruments playing together)
Opera: an Italian word meaning "works" and shortened from "opera in musica" or "works in
music." Opera is music drama. Besides the characters who sing, the music itself is dramatic, not
only setting the tone or mood for a scene but often playing a role itself as it comments on the
action.
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Overture: an orchestral piece of music at the beginning of an opera, often introducing themes
and melodies heard later in the piece.
Patter song: A song or aria, usually comic, in which the greatest number of words, delivered
rapidly, are fitted into the shortest space of time, with the music supporting their inflection.
Pit: the space usually below stage level where the orchestra plays.
Premiere: first performance.
Quartet: A song or instrumental piece intended for four performers.
Range: the distance from high to low pitches that a voice is capable of producing.
Recitative: a type of sung speech for a single voice often accompanied by the harpsichord
(a plucked keyboard stringed instrument similar in look but smaller than a piano. Recitatives
may also be accompanied by the full orchestra for more important moments in the story.
Refrain: A phrase or group of phrases repeated at intervals throughout a song, especially at the
end of each stanza.
Rehearsal: practice times prior to a performance when all the elements of the opera are brought
together … things such as the timing of entrances and exits, the movements of characters on the
stage (called “blocking”). Rehearsals usually involve many repetitions of these actions, along
with the music and words so a performance flows with ease.
Role: the character that the singer portrays.
Rhythm: Uniform or patterned recurrence of a beat or accent.
Score: a complete book containing all of the instrumental and vocal parts of the opera. It is what
the conductor uses to conduct the opera.
Staccato: Short, disconnected and separated instrumental or vocal pitches, indicated in notation
by a dot above or below the printed note on a page. They are the opposite of long sustained
pitches connected which are legato … Italian for connected.
Sustain: To hold or make continuous. To keep a sound vibrating as opposed to short choppy
attacks and releases of notes known as staccato. (see above) For singers and wind players the
steady and uninterrupted flow of breath results in a sustained sound. For strings, keeping the bow
in touch with the string results in sustained sound.
Tempo, tempi: the speed at which the music is performed. Tempi is the plural term.
Tonal: the term is most often used to refer to Major-Minor tonality--also called diatonic tonality
or functional tonality--the system of musical organization of most popular music in much of the
world today
Trill: Musical ornamentation comprised of two neighboring pitches alternating back and forth
rapidly which originally aided instruments that had no ability to sustain a pitch (like a guitar) to
give the false impression of sustaining.
Trio: when three voices sing together.
Triplet: A group of three notes to be performed in the time of two of the same notes.
Voice Categories: Soprano: The highest female voice which is generally given to heroines,
young girls, or leading women’s roles. Mezzo soprano: Literally medium-soprano. This voice
type is often assigned to older women in the story such as Mothers or older sisters (think of
Cinderella’s sisters.) The lower (deeper) sound of the voice is excellent for portraying age or
evilness such as a witch. Tenor: The higher male voice which often is assigned to the hero, the
leading man, perhaps a son or lover. Baritone: A medium-low man’s category of voice but not
the lowest voices (reserved for Basses). Baritones often portray a heroine’s older brother or even
father, however this type character is more often assigned to a bass, who also play villains (the
bad guy) or it’s opposite a super hero or mythic figure.
Waltz: An instrumental or vocal composition in triple meter.
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WHAT TO REMEMBER WHEN WATCHING AN OPERA
Conventions of opera
1. In most operas, everything is sung. Therefore, we need to adjust to the
sustained style of singing the words which may require a bit of getting
used to -- like listening to someone with a foreign accent -- at first a
little strange, but easily understood as you become accustomed to the
accent.
2. Stories told through song need to be filled with highly emotional situations. The singing
and music serve to express and heighten these emotions. Therefore, opera depends
frequently on stories which are larger than life and deal with universal themes such as
love, passion, death, or revenge.
3. Sometimes, in order to make the plot of the opera more intriguing, or to illustrate a
central theme, the stories rely on devices such as that of mistaken identity, co-exisitng
timelines, or on incredible events (that would seem impossible in real life.) For the sake
of a good story, the audience needs to ‘go along’ with or accept certain premises or
events, even if they seem ridiculous. When we do this, we are ‘suspending our disbelief,’
that is dismissing our instinct to doubt or not believe what is happening. Audiences do
this all the time when watching plays and movies. In an opera, someone may not
recognize his/her own sister simply because the sister is wearing a simple disguise or
characters may appear on the stage together but not see each other. We ‘suspend our
disbelief’ and ‘go along’ with the premise.
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QUESTIONS
ANSWERS
1. What is Opera?
A musical drama performed by actors in
costume, with lighting, scenery and stage
movement, wholly or mostly sung to an
orchestral accompaniment.
2. Why are operas sung?
Singing is thought to be a better means of
expressing emotion and ultimately serving
the drama. Music reaches our feelings more
directly.
3. What different kinds of artists are
needed to put on an opera?
Composer, librettist, musicians, conductor,
soloists, chorus, director, costume, scenic
and lighting designers, makeup artists,
painters, stage hands, wigmakers and more.
4. In what way do opera singers differ
from pop, country, rap and rock
singers?
Opera singers are trained to project their
voices in large spaces. They fill theaters
with sounds that they produce without the
aid of microphones.
5. What does it take to be an opera singer?
Besides a beautiful, natural voice, lots of
hard work, years of study and training to get
that very special sound. They must also
study acting, dance, ballet and they learn to
sing in many different languages.
6. Are operas sung in English?
Yes, and also in as many languages as the
countries from which they originate.
7. Why should I go to an opera if it is
sung in a language I don't understand?
Not understanding a foreign language
shouldn’t keep you from the opera. You can
prepare before the opera by reading the
libretto of the opera or the story it is based
upon. In opera the music creates atmosphere
and conveys strong feelings which enhances
understanding and enjoyment. At most opera
theaters supertitles--English translations of
what is being sung--are found above the
stage. At The Santa Fe Opera titles are
displayed on seatbacks.
8. What does a composer do?
They write the music for the opera, for both
singers and orchestra.
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9. What is a librettist?
They write the libretto (Italian for 'little
book'). In other words, the text for the
musical play, all the words that the artists
sing
10. There are many types of voices in
opera. Can you name a few?
Female voices: soprano, mezzo-soprano and
contralto; Male voices: tenor, baritone and
bass. (See opera terms for definitions of each)
11. Which is the highest female voice?
Soprano.
12. Which is the lowest female voice?
Contralto.
13. Which is the highest male voice?
Tenor.
14. Which is the lowest male voice?
Bass.
15. How many instruments does an opera
orchestra have?
That depends on the opera. Some operas
call for as few as 10 and some as many as 90
or even 100. The standard size is 80.
16. Since when have operas been
performed?
The first operas were written around 1597,
which was 417 years ago.
17. How old is The Santa Fe Opera?
This is our 58th Season.
18. Why is opera such an expensive
performing art?
In part, because there are so many people
involved in its production.
19. How many people work for the Santa
Fe Opera during one summer?
As many as 600 paid staff plus hundreds of
volunteers.
20. Are there operas written today?
Noted composers of the 20th century have
written operas including Poulenc, Strauss
and Stravinsky. Known for championing
new opera, this summer The Santa Fe Opera
presents the American premiere of Dr. Sun
Yat-sen by Huang Ruo.
21. How can I learn more about opera?
Read stories about operas, attend The Santa
Fe Opera's Family Opera Production and
Family Nights, listen to Youtube and CD
recordings, tune in to live opera broadcasts
on the radio, watch televised operas, Met at
the Movies and opera DVDs. You may also
visit www.operainfo.org.
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10 Guidelines for Audience Members
You can take these commandments to any theater or performance hall in the world and set a shining
example for those around you.
1. Do not talk: The first and greatest commandment. This applies not only to the times the
performers are singing, but also during the overture, other musical passages and dialogue.
2. Do not open wrapped candies or bags of snacks: Performers can hear noises in the audience
which might interfere with their concentration.
3. Do not pop your gum or crunch candies in your neighbor's ear: These noises are often in
great contrast to the beautiful music of the performers.
4. Do not rustle your program: or any paper. It is very distracting.
5. Do not wear loud-ticking watches, beepers or jangling jewelry: Just imagine how jarring a
watch alarm would be during a quiet moment in the performance. Theater ushers will collect
and monitor pagers for emergencies.
6. Do not snap or zip open and close purses or backpacks: If you know that you will need
something from inside your bag leave it open on your lap during the performance.
7. Do not arrive late, leave early or walk around during a performance: This is disruptive to
both the performers and the audience.
8. Do applaud: The conductor as he enters the orchestra pit. Conductors may not appear onstage,
but bring all of the musical elements together for a spectacular performance. Other opportunities
include applauding the concertmaster or mistress, the first violin in an orchestral performance,
and soloists as they arrive on stage in orchestral performances. Often performers will recognize
the pianist accompanying them, they deserve applause too.
9. Do shout BRAVO! or Brava or Bravi. Bravo is for a particularly good performance by a male
soloist, Brava for a female soloist and Bravi for an ensemble of two or more performers.
10. Do throw flowers: whenever possible and appropriate at the final bow of your favorite
performer, carefully aimed to land on stage without falling into the orchestra pit or hitting the
singer.
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TRUE NORTH
Story: Kathleen Clawson and Andrea Fellows Walters
Original Music: Frederick Frahm
Additional Music: Opera, Broadway, and popular music favorites
Duration: One act, 40 minutes in length, 50 total with introduction and Q and A
Stage Director: Kathleen Clawson
Music Director: Kirt Pavitt
Characters
Melody
Webster
Sara
Josh
Abigail Mitchell, Soprano
Andrew Lovato, Baritone
Rachel Hall, Soprano
Joshua Dennis, Tenor
Melody – a composer, traveling to NYC to workshop a new opera—married to Webster
Webster – a librettist, traveling to NYC to workshop a new opera—married to Melody
Joshua – coming back from a recording session in Los Angeles, heading home to NYC—planning to
propose to Sara—has ring with him.
Sara – coming back from a recording session in Los Angeles, heading home to NYC
In True North our two couples, Melody and Webster and Sara and Josh, find themselves stranded at the
airport. In a coincidence that only happens at an airport, Melody and Josh were once in a relationship,
but have not seen each other in years. A brief reunion takes place, causing each person to consider what
it is that made them fall in love, marked by moments of confusion and jealousy. All resolves happily
with Josh posing a most exciting question to Sara.
The piece is a dramatic journey that attempts to address the questions of what makes a compelling story
and what stories do we tell again and again, particularly in Opera. It incorporates musical works from
opera, Broadway, and the world of popular music that are familiar to all. Most all of the works will be
sung in English, however in choosing and setting the music every attempt has been made to honor the
original intention of the piece. Featured works include passages from:
BIG/COFFEE BLACK/Maltby and Shire
THE MAGIC FLUTE/BEI MANNERN/Mozart
OKLAHOMA/PEOPLE WILL SAY WE’RE IN LOVE/Rodgers and Hammerstein
LOOK AT THAT FACE/Bricusse and Newley
COSI FAN TUTTE/UN’AURA AMOROSA/Mozart
KISS ME KATE/WUNDERBAR/Porter
COSI FAN TUTTE/AH GUARDA, SORELLA/Mozart
MY GUY/Robinson
BLESS THE BROKEN ROAD/Hummon, Boyd, Hanna
SATURDAY NIGHT/SO MANY PEOPLE/Sondheim
HIGH SOCIETY/WELL DID YOU EVAH/Porter
HANDS, EYES, HEART/Vaughan Williams
And a new piece by composer Frederick Frahm I CARRY YOUR HEART WITH ME.
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Questions for Discussion with Students
The following links and accompanying questions are derived from music from TRUE NORTH to assist
you in preparing your students for live performance of TRUE NORTH. If you find that you do not
have time for the discussion questions, please play the excerpts only.
Play link # 1 Un’aura amorosa (Her Beauty’s a Wonder), from Così fan tutte by Mozart sung by
Fritz Wunderlich
https://www.youtube.com/watch?v=PYwggUfzAFc
Describe the singing you hear in this example. Use as many different descriptive words as you can think
of. Is there a name for this kind of singing? How is it different other singing? What else do you hear?
Play link # 2 Hands, Eyes, Heart from Four Last Songs by Vaughan Willliams, sung by Glenda
Maurice
https://www.youtube.com/watch?v=-e2neEGlHX0
Describe how this song makes you feel and why? What is the mood of this piece? Could you give it a
color? What language do you think is being sung? Following this question you may read the text:
HANDS, EYES, HEART
Hands give him all the measure of my love
Surer than any word
Eyes be deep pools of truth
Where he may see a thought more whole than constancy
Heart in his keeping be at rest,
And live as music and silence meet
And both are heard.
Does hearing the words change your mind about the way the song made you feel?
Play link # 3 Coffee Black from Big by Maltby and Shire sung by John Pizzarelli
https://www.youtube.com/watch?v=mZCfMXQjoLs
Describe how this song makes you feel and why? What is the mood of this piece? Could you give it a
color? How does it compare it to the last example? What does each song tell you about the person
singing it? Does either of the two songs make you feel like dancing? If yes, what about the song does
that?
Play link # 4 followed just after by link #5 Ah Guarda, Sorella from Così fan tutte by Mozart sung
by Miah Persson and Anke Vondung and My Guy by Smokey Robinson sung by Mary Wells
https://www.youtube.com/watch?v=zuhHb2ElpCA
https://www.youtube.com/watch?v=r1M5eEJeT38
After listening to both musical examples, ask what makes them similar to each other and what makes
them different. Ask your students to compare and contrast how the singers deliver the songs? Is there a
difference in intensity? In expression? Ask if they prefer one over the other and why.
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Teacher’s Key and Guide
The following prompts are provided to assist teachers in a discussion with students.
Link #1 is 4 min, 28 sec
Playing even a portion, will serve as a prompt for the questions. The text translates simply to:
Her beauty’s a wonder
Her presence restores me
And when she is near me
My joy is complete!
The purpose of this line of inquiry is to introduce Opera and operatic singing at the beginning of your
preparation. In addition to tuning ears to the classical singing voice, this is an opportunity to discuss
assumptions and stereotypes and hopefully pique interest and curiosity. Answers to these questions will
likely vary from the simplistic: “loud” “I don’t understand it” to the more complex “larger than life in
sound and singing style” “presence of orchestra” “no alteration or amplification of the voice.”
You may want to collect the descriptive terms offered to revisit after experiencing the live performance.
Link #2 is 1 min, 32 sec
The primary objective for this question is to introduce and explore the connection between music and
feeling. If possible spend time with the qualities shared by music, color, and feeling.
Link #3 you need only play 41 sec of the link. You may play the entire link which utilizes scat
singing—vocal improvisation with wordless vocables, nonsense syllables or without words at all—but it
is not necessary to this lesson.
The intent in this line of inquiry is to guide students to note the strong rhythmic character prominent in
this song as opposed to a weaker rhythmic character in the previous example. This example comes from
a musical, Big. Dancing plays a significant role in conveying story in musicals. In order to initiate the
interaction of the body and its movements with the music, strong rhythmic drive and pulse must be
present in the music. A more casual style of singing of this example is in stark contrast to the more
formal quality of the previous example. As your students compare the two examples, keep in mind that
in our opera, these two characters are in love. The two songs are positioned to reveal something about
their characters and about particular moments in the story.
Link #4 is 4 min, 31 sec; Link #5 is 2 min, 31 sec (with a short ad at the beginning)
(A note: on the first link, the translated text appears at the bottom of the video.)
The first example is from an opera and the two characters are singing about their situation. The second
is a popular radio song sung by vocalist who is not a character in a story. She uses her own personal
style of singing to express herself. In our opera these two songs, one from the operatic tradition and one
from the popular tradition, are presented in a mash-up, combining both types of singing to comment on
their situation.
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From COMMON CORE STATE STANDARDS FOR ENGLISH LANGUAGE ARTS &
LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS
Speaking and Listening Standards K-5
Grade 3 students:
Comprehension and Collaboration
1. Engage effectively in a range of
collaborative discussions (one-onone, in groups, and teacher-led) with
diverse partners on grade 3 topics
and texts, building on other’s ideas
and expressing their own clearly.
a) Come to discussions prepared,
having read or studied required
material; explicitly draw on that
preparation and other information
known about the topic to explore
ideas under discussion.
b) Follow agreed-upon rules for
discussions (e.g., gaining the floor in
respectful ways, listening to others
with care, speaking one at a time
about the topics and texts under
discussion).
c) Ask questions to check
understanding of information
presented, stay on topic and link
their comments to the remarks of
others.
d) Explore their own ideas and
understanding in light of the
discussion.
Grade 4 students
Grade 5 students:
1. Engage effectively in a range of
collaborative discussions (one-onone, in groups, and teacher-led)
with diverse partners on grade 4
topics and texts, building on other’s
ideas and expressing their own
clearly.
a) Come to discussions prepared,
having read or studied required
material; explicitly draw on that
preparation and other information
known about the topic to explore
ideas under discussion.
b) Follow agreed-upon rules for
discussions and carry out assigned
roles.
c) Post and respond to specific
questions to clarify or follow up on
information, and make comments
that contribute to the discussion and
link to the remarks of others.
d) Review the key ideas expressed
and explain their own ideas and
understanding in light of the
discussion.
1. Engage effectively in a range of
collaborative discussions (one-onone, in groups, and teacher-led)
with diverse partners on grade 5
topics and texts, building on other’s
ideas and expressing their own
clearly.
a) Come to discussions prepared,
having read or studied required
material; explicitly draw on that
preparation and other information
known about the topic to explore
ideas under discussion.
b) Follow agreed-upon rules for
discussions and carry out assigned
roles.
c) Post and respond to specific
questions to clarify or follow up on
information, and make comments
that contribute to the discussion and
elaborate on the remarks of others.
d) Review the key ideas expressed
and draw conclusions in light of
information and knowledge gained
from the discussions.
13
From COMMON CORE STATE STANDARDS FOR ENGLISH LANGUAGE ARTS &
LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS
Language Standards K-5
Grade 3 students:
Knowledge of Language
4. Determine or clarify the meaning of
unknown and multiple-meaning word
and phrases based on grade 3 reading
and content, choosing flexibly from a
range of strategies.
a) Use sentence-level context as a
clue to the meaning of a word or
phrase.
b) Determine the meaning of the new
word formed when a known affix is
added to a known word (e.g.,
agreeable/disagreeable,
comfortable/uncomfortable,
care/careless, heat/preheat).
c) Use a known root word as a clue to
the meaning of an unknown word
with the same root (e.g., company,
companion).
d) Use glossaries or beginning
dictionaries, both print and digital, to
determine or clarify the precise
meaning of key words and phrases.
Grade 4 students:
Grade 5 students:
4. Determine or clarify the
meaning of unknown and
multiple-meaning word and
phrases based on grade 4
reading and content, choosing
flexibly from a range of
strategies.
a) Use context (e.g., definitions,
examples, or restatements in
text) as a clue to the meaning of
a word or phrase.
b) Use common, gradeappropriate Greek and
Latiaffixes and roots as clues to
the meaning of a word (e.g.,
telegraph, photograph,
autograph).
c) Consult reference materials
(e.g., dictionaries, glossaries,
thesauruses), both print and
digital, to find the
pronunciation and determine or
clarify the precise meaning of
key words and phrases.
4. Determine or clarify the meaning of
unknown and multiple-meaning word
and phrases based on grade 5 reading
and content, choosing flexibly from a
range of strategies.
a) Use context (e.g., cause/effect
relationships and comparisons in text)
as a clue to the meaning of a word or
phrase.
b) Use common, grade-appropriate
Greek and Latin affixes and roots as
clues to the meaning of a word (e.g.,
photograph/photosynthesis).
c) Consult reference materials (e.g.,
dictionaries, glossaries, thesauruses),
both print and digital, to find the
pronunciation and determine or clarify
the precise meaning of key words and
phrases.
5. Demonstrate understanding of word
relationships and nuances in word
meanings.
a) Distinguish the literal and
nonliteral meanings of words and
phrases in context (e.g., take steps).
b) Identify real-life connections
between words and their use (e.g.,
describe people who are friendly or
helpful).
c) Distinguish shades of meaning
among related words that describe
states of mind or degrees of certainly
(e.g., knew, believed, suspected,
heard, wondered).
5. Demonstrate understanding
of figurative language, word
relationships, and nuances in
word meanings.
a) Explain the meaning of
simple similes and metaphors
(e.g., as pretty as a picture) in
context.
b) Recognize and explain the
meaning of common idioms,
adages, and proverbs.
c) Demonstrate understanding
of words by relating them to
their opposites (antonyms) and
to words with similar but not
identical meanings (synonyms).
5. Demonstrate understanding of
figurative language, word
relationships, and nuances of word
meanings.
a) Interpret figurative language,
including similes and metaphors, in
context.
b) Recognize and explain the meaning
of common idioms, adages, and
proverbs.
c) Use the relationship between
particular words (e.g., synonyms,
antonyms, homographs) to better
understand each of the words.
14
PERFORMANCE STANDARDS
LANGUAGE ARTS
Strand I
Content Standard 1
Grade 4
Benchmark 1-A
Performance Standards – 2 and 4
Grade 5
Benchmarks 1-A
Performance Standards – 1 and 2
Addressed by preparing for and attending performance and may further be explored in post-performance
classroom discussion.
Grade 4
Benchmark 1-C
Performance Standards – 1 and 4
Grade 5
Benchmark 1-C
Performance Standards – 3, 4, 5, 6
Would be addressed in post-performance classroom exercises.
Strand III
Content Standard 3
Grade 4
Benchmark 3-A
Performance Standards – 1, 2, and 3
Benchmark 3-B
Performance Standards – 1 and 5
Grade 5
Benchmarks 3-B
Performance Standards – 1, 2, and 3
Grade 6
Benchmarks 3-B
Performance Standards – 1 and 2
Grade 7
Benchmarks 3-B
Performance Standards – 1, 2, and 3
Grade 8
Benchmarks 3-B
Performance Standards – 1, 2, and 3
Opportunity to address during post performance classroom discussion and exercises.
MUSIC STRAND
Standard 2
Grades 4 and 5
Benchmark 2-A – 1 and 3
Grades 6-8
Benchmark 2-A - 3
Addressed in preparing for and attending performance and discussion post-performance.
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Standard 3
Grades 4 and 5
Benchmark 3-B - 1
Grades 6-8
Benchmark 3-B -1
Addressed in preparing for and attending performance.
Standard 4
Grades 4 and 5
Benchmark 4-A – 1
Grades 6-8
Benchmark 4-A – 1 and2
Benchmark 4-B - 1
Addressed in preparing for, attending performance, and post-performance classroom discussion.
Standard 5
Grades 4 and 5
Benchmark 5-C – 1
Grades 6-8
Benchmark 5-C – 1 and 2
Addressed in preparing for, attending performance, and post-performance classroom discussion.
Standard 6
Grades 4 and 5
Benchmark 6-A – 3
Grades 6-8
Benchmark 6-A – 3
Addressed in preparing for, attending performance, and post-performance classroom discussion.
Standard 7
Grades 4 and 5
Benchmark 7-A – 3
Grades 6-8
Benchmark 7-A – 2
Addressed in preparing for, attending performance, and post-performance classroom discussion.
Standard 8
Grades 4 and 5
Benchmark 8-A – 1 and 2
Grades 6-8
Benchmark 8-A – 1 and 2
Addressed in attending performance.
THEATRE/DRAMA STRAND
Standard 3
Grades 4 and 5
Benchmark 3-A – 1 and 2
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Addressed in preparing for, attending performance, and post-performance classroom discussion.
Standard 5
Grades 4 and 5
Benchmark 5-A
Benchmark 5-B
Benchmark 5-C – 1, 2, and 3
Grades 6-8
Benchmark 5-A – 1, 2, and 3
Benchmark 5-B - 1
Benchmark 5-C – 1, 2, and 3
Addressed in preparing for, attending performance, and post-performance classroom discussion.
Standard 6
Grades 6-8
Benchmark 6-B – 1 and 2
Benchmark 6-C - 2
Addressed in preparing for, attending performance, and post-performance classroom discussion.
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