Student Learning Objective Examples – Theater Arts

RI Arts Educators

Teacher Evaluation Demonstration Project

2012-2013

Participating Districts: Cumberland, RI

South Kingstown, RI

Warwick, RI

Project supported by:

Rhode Island Arts Learning Network

Rhode Island State Council on the Arts

Very Special Arts RI

Table of Contents

Introduction ..................................................................................................................................... 5

Measuring Student Progress and Outcomes in the Arts.............................................................. 5

How do arts educators determine priority content standards for SLOs? ................................ 6

What quantitative baseline data do arts educators use to determine rigorous targets for student learning? ..................................................................................................................... 9

What common tools are available to arts educators to measure and communicate student learning? .................................................................................................................................. 9

What sources of evidence do arts educators use to measure student learning? .................... 10

Development of Student Learning Objectives – Guidance from RIDE ....................................... 10

Student Learning Objective Examples - Music ............................................................................ 14

Evaluating Music Performances ............................................................................................... 14

Music..................................................................................................................................... 14

Music Literacy .......................................................................................................................... 16

Music..................................................................................................................................... 16

Beat Competency ...................................................................................................................... 18

Music, Grade 1, year long ..................................................................................................... 18

Rhythmic Patterns ..................................................................................................................... 20

Music, grade 1, year long ...................................................................................................... 20

Building And Applying A Descriptive Musical Vocabulary .................................................... 21


Instrumental Music Performance Fluency ................................................................................ 23


General Music Composition ..................................................................................................... 25


Playing the Recorder ................................................................................................................. 28


Elements of Proficient Recorder Performance ......................................................................... 29


I’ve Got Rhythm ....................................................................................................................... 31

Choral Music, High School, year long.................................................................................. 31

Musical Blog – Let’s Talk Relationships .................................................................................. 33

Music, High School, year long ............................................................................................. 33

Guitar Basic Proficiency and Performance Skills ..................................................................... 35

Music, High School, semester .............................................................................................. 35

Student Learning Objective Examples - VAD.............................................................................. 36

Observational Drawing ............................................................................................................. 36

Document prepared by: UCLA Center X, Northeast Region

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VAD ...................................................................................................................................... 36

VAD, grade 9-12 ................................................................................................................... 38

VAD, High School ................................................................................................................ 40

Drawing from Observation, grade 2 year long ..................................................................... 41

Written Response to Art............................................................................................................ 43

VAD ...................................................................................................................................... 43

Comparing Work, grade 4, year long.................................................................................... 45

Visual Storytelling .................................................................................................................... 46

VAD, grade 5, year long ....................................................................................................... 46

Visual Storytelling Rubric .................................................................................................... 48

Self-Portrait ............................................................................................................................... 49

VAD, grade 6, semester ........................................................................................................ 49

Self Portrait Rubric ............................................................................................................... 51

Photoshop Selection Tool Mastery ........................................................................................... 53

VAD, grade 9-12 ................................................................................................................... 53

Perspective Drawing ................................................................................................................. 54

VAD, High School, semester ................................................................................................ 54

Visual Arts Rubric ................................................................................................................ 57

Picasso/Matisse Paint Off ......................................................................................................... 59

VAD, grades 10-12, semester ............................................................................................... 59

Positive/Negative Black and White Art .................................................................................... 62

VAD, grades 10-12, semester ............................................................................................... 62

Depth of Field Photography ...................................................................................................... 64

VAD, grades 11,12, semester ............................................................................................... 64

Advanced Perspective Drawing ................................................................................................ 66

VAD, grade 12, year long ..................................................................................................... 66

Student Learning Objective Examples – Theater Arts ................................................................. 68

Drama I: Theatrical Performance Skills .................................................................................. 68

Theater Arts, grade 9-12, semester ....................................................................................... 68

Scene Study ............................................................................................................................... 70

Theater Arts, grade 9-12 ....................................................................................................... 70

Appendix – Examples of Pre-Assessments................................................................................... 71

Evaluating Musical Performance Pre-Assessment ................................................................... 71

Vocabulary Pre-Assessment ..................................................................................................... 75

Music Literacy .......................................................................................................................... 81

Music Literacy SLO Pre-Assessment Rubric K-6 .................................................................... 85

Observational Drawing Pre-assessment grades 1-2 .................................................................. 86

Observational Drawing Pre-assessment grades 3-4 .................................................................. 88

ELA Pre-Assessment grades 5-6 .............................................................................................. 91

Observational Drawing Pre-assessment Grades 5-6 ................................................................. 94

Written Response to Art Pre-Assessment grades 1-2 ............................................................... 99

Written Response to Art Pre-Assessment grades 3-4 ............................................................. 101


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Appendix – Meeting Notes ......................................................................................................... 104

February 1, 2013 Gathering and Work Session ...................................................................... 104

February 19, 2013 ................................................................................................................... 109


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Introduction

The Rhode Island Department of Education (RIDE) is requiring all teachers to be evaluated using the new Rhode Island Model for the 2012-13 school year. The Rhode Island Model relies on multiple measures to paint a fair, accurate, and comprehensive picture of teacher effectiveness. All teachers will be evaluated on three criteria:

1. Professional Practice – A measure of effective instruction and classroom environment as defined in the Teacher Professional Practice Rubric.

2. Professional Responsibility – A measure of instructional planning and the contributions teachers make as members of their learning community as defined in the

Teacher Professional Foundations Rubric.

3. Student Learning – A measure of an teacher’s impact on student learning through demonstrated progress toward academic goals (Student Learning Objectives, with the

Rhode Island Growth Model in tested grades and subjects).

Scores from each of the three criteria will be combined to produce a final effectiveness rating of:

Highly Effective, Effective, Developing, or Ineffective. Districts are developing unique models and approaches, aligned with and supported by the state system. Full implementation is scheduled for the 2012-13 school year.

District approaches to evaluation of practice and responsibility are familiar aspects of a professional accountability system, and are relatively constant processes across grade levels and content areas. However, documenting student learning and progress is a grade and contentdependent endeavor. Reliable approaches to assessing student growth are in the earliest stages of development.

Measuring Student Progress and Outcomes in the Arts

The arts are established as one of six core subject areas in Rhode Island. Like other core subject areas that are not state tested, educators must find ways to meaningfully connect student learning objectives (SLOs), arts GSEs, school curricula and student need. The Rhode Island Arts

Learning Network and the RI Department of Education have supported a process for arts educators to work together and develop:



Common rubrics for describing and measuring the quality of student work;



Processes for teachers to secure baseline student data; and



Model SLOs to target student progress for use in measuring teacher performance.

Three Rhode Island districts have embarked on creating appropriate measures in the area of the arts. Teachers in the three funded districts (Warwick, Cumberland, and South Kingstown) have


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begun crafting student learning objectives that can satisfactorily meet the requirements of the RI model and measure their student’s growth in skills in their subjects.

Two of the three districts (Warwick and South Kingstown) met together on February 1, 2013 to discuss progress, share lessons learned and brainstorm solutions to common challenges. This meeting was facilitated by UCLA Center X, with representatives from RIDE and RISCA in attendance. Full notes are included as an Appendix.

In addition, UCLA Center X, RIDE, and RISCA met on February 19, 2013 to answer some of the questions raised at the February 1 gathering. Full notes from this meeting are also included as an Appendix.

How do arts educators determine priority content standards for SLOs?

Warwick teachers developed SLOs for both music and visual arts in September. The team met by discipline, with each discipline spending 2 days developing SLOs. Two SLOs were developed for both music and VAD. The SLOs were written in a generic form that could be used K-12.

The content of the SLOs was selected based on content that was measureable.

Music: Performing a piece of music and critiquing a performance

VAD: Observational drawing and critiquing a work of art

The priority content standards that were identified were:

M1-1 a, b, & c: Students show evidence of music literacy (reading, writing, and understanding of the symbols of sound)

M1-2b: Students show evidence of improvising, composing, and arranging

M3-1 a, b: Students perform music alone and with others in a variety of settings

M4-2 a : Students evaluate music

VAD1-1 a, c: Students demonstrate knowledge and application of Visual Art and Design concepts

VAD1-2b: Students demonstrate knowledge and skill of media, tools, techniques, and processes of Visual Art and Design

VAD4-1: Students reflect upon, analyze and evaluate the work of self and others

Elementary and middle school art and music faculty members in South Kingstown met and discussed priority content standards.

Visual Art grades K-2 priority content standards are:

VAD 1-1a. identifying and exploring basic VAD concepts: line, shape, form, texture, color, pattern, and contrast

VAD 1-1b. experimenting with a variety of strategies and techniques to address artistic problems (e.g., “What colors will I use to make a cloudy sky?”)

VAD 1-1c. exploring visual representation based on observation


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VAD 1-1d. maintaining a portfolio of self-created art work and explaining basic art concepts learned

VAD 1-2a. recognizing and exploring media, tools, techniques, and processes while creating two-and three-dimensional works of art and design

VAD 1-2b. demonstrating knowledge of basic art vocabulary relating to describing lines, colors, and shapes

VAD 2-1a. identifying a variety of purposes for making visual art and design

Visual Art grades 3-4 priority content standards are:

VAD 1-1a. Describing and applying basic VAD concepts: line, shape, form, texture, color, organization of visual compositions, emphasis/focal point, pattern, balance/symmetry, and contrast

VAD 1-1b. applying basic strategies and techniques to address artistic problems

VAD 1-1c. using observation to develop a visual representation of basic objects

VAD 1-1d. maintaining a portfolio of self-created art work and explaining art concepts learned

VAD 1-2a. identifying and using media, tools, techniques, and processes with basic skill, while creating two-and three-dimensional works of art and design

VAD 1-2b. demonstrating knowledge of basic art vocabulary relating to painting techniques and processes, and media techniques and processes

VAD 2-1a. comparing different purposes for making visual art and design (e.g., telling a story, communicating ideas and emotions, creating functional objects)

Visual Art grades 5-6 priority content standards are:

VAD 1-1a. applying VAD concepts for intended purposes and explaining the effects: line, shape, form, texture, color schemes/groups, pattern, balance/symmetry, and contrast

VAD 1-1b. applying and revising strategies and techniques to address artistic problems

VAD 1-1c. using observation to develop a visual representation of a variety of shapes, with some accuracy

VAD 1-1d. documenting personal progress through a portfolio of self-created art work identifying strengths and weaknesses

VAD 1-2a. explaining purposes for using different media, tools, techniques, and processes with basic skill while creating two-and three-dimensional works of art and design

VAD 1-2b. demonstrating knowledge of vocabulary of media, techniques, and processes (e.g., vocabulary relating to printmaking, lino block, brayer/inking)

Music grades K-2 priority content standards are:

(prioritized by relative importance)

M3-1a. singing a varied repertoire of music from diverse cultures, including unison songs and patterns with musical accuracy


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M3-1b. playing songs, classroom instruments, and body percussion (e.g., drums, shakers, rhythm sticks, barred instruments)

M4-2a. evaluate using age-appropriate music vocabulary to critique music

(e.g., “I can hear a steady beat.” “I can hear how the music gets louder.”)

M4-1a identifying and describing basic musical elements of pitch and rhythm in selected pieces of music (e.g., high/low, fast/slow, loud/soft…)

M1-1a. reading, writing, and performing simple rhythmic patterns using iconic or standard notation, including: quarter note/rest, eighth notes (paired), sixteenth notes, half note/rest

M1-1c. reading, writing, and performing simple patterns of pitch using solfege (e.g., sol-mi, lasol-mi, mi-re-do, la-sol-mi-re-do)

M4-2b. using purposeful movement and drawings to demonstrate an awareness of the aesthetic qualities evoked by music

M4-1b. identifying simple musical forms (e.g., phrase/echo; verse/refrain; AB, ABA)

M1-2b. improvising rhythmic patterns to accompany songs

M1-2a. improvising songs to accompany play activities

Music grades 3-4 priority content standards are:


M3-1a. singing a varied repertoire of music from diverse cultures, including rounds, ostinatos, and descants with musical accuracy

M1-1a. reading, writing, and performing simple rhythmic patterns using standard notation, including: whole note/rest, sixteenth note patterns, eighth-quarter-eighth syncopation, dotted quarter-eighth/eighth-dotted quarter, and dotted half note

M1-1c. reading, writing, and performing patterns of pitch and known songs using solfege and absolute pitch letter names (e.g., recorder B, A, G, E, and D, barred instruments using treble clef patterns)

M3-1b. playing classroom instruments, pitched and unpitched, with musical accuracy

M4-2b. using appropriate music vocabulary to identify aesthetic qualities in music and explain personal preferences for a specific musical composition (e.g., “When the tempo speeds up, it makes me feel nervous.”

M2-1b. identifying the use of music in various cultures and time periods through discussion about the cultures represented in the school population and beyond

M2-1a. using the terminology of music in discussing individual preferences for specific music from diverse cultures

M4-1c. identifying and classifying timbres using specified categories

M4-2a. using age-appropriate music vocabulary to critique music (e.g., “I hear a crescendo before the cymbal crash.”)

M4-1a. describing music and identifying melody, rhythm, harmony, and timbre using appropriate music terminology

M4-1b. identifying simple musical forms (e.g., AABA, AABB, rondo)


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Music grades 7-8 priority content standards are:


M3-1a. singing a varied repertoire including up to 3 parts using treble and bass clefs with musical accuracy

M3-1b. playing a varied repertoire representing various genres, styles, cultures using acoustic or electronic musical instruments with musical accuracy (ensembles at a level of difficulty: 2-3 on a

6 point scale)

M1-1a. reading, writing, and performing rhythmic patterns using standard notation, including augmentation and diminution

M1-1b. reading, writing, and performing patterns in a variety of meters, including 3/8, 2/2, changing meters)

M1-1c. reading, writing, and performing patterns of pitch (pentatonic and diatonic major, minor, and modes) and known songs using solfege and absolute letter names

M4-2a. evaluate, developing and applying three specific criteria provided for critiquing music

(e.g., dynamics, diction, and articulation)

M2-1a. listening to and describing the distinguishing characteristscs of representative musical genres and styles from two or more cultures

M2-1b. explaining how music has historically reflected social functions and changing ideas and values

What quantitative baseline data do arts educators use to determine rigorous targets for student learning?

What common tools are available to arts educators to measure and communicate student learning?

Music teachers in South Kingstown have each created individual SLOs, but are working to ensure that the rubrics have similar rating criteria, no matter what the grade level. Music staff agreed to use 4 point rubrics, with a 4 representing “exceeds the standard.” This standardization will allow students to better understand their scores. Music rubrics and SLOs were discussed and edited for clarity. Historical baseline data was confirmed by colleagues to give the SLOs

“medium” validity (e.g., “the typical incoming 3rd grade student does not have prior experience playing the recorder”).

Some music SLOs measure mastery, and some measure growth. For the grade 5 band SLO, results are tiered. All students must show some growth, but the rate of growth may vary depending on the student. For this SLO, the same technique we use to establish SMART goals was used: where the greatest “gap” existed (between what was expected and what was actually accomplished) was the focus for the SLO.

Art teachers began a discussion about what a standards-based rubric criteria looks like K-12. We eliminated the effort component since it is not one of the VAD GSE's. At the elementary and


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middle school level, we settled on three basic components of a rubric: creativity, craftsmanship and art concepts. Each of these three areas can be adjusted to meet the needs of a particular lesson.

What sources of evidence do arts educators use to measure student learning?

South Kingstown developed a holistic performance objective. Music is unique as an art form because it involves a performance of a group of individual musicians who collaborate to make a whole sound. The successful dynamic relationship among musicians performing within ensembles is an essential component for quality music performance. During live performances, musicians make aesthetic judgments and respond in order to craft a quality interpretation.

Because SLOs need to reflect what is important and rigorous within our discipline, it is appropriate that one SLO be a holistic performance objective. The assessment of this aspect of music learning requires carefully leveled rigorous rubrics. It also requires the participation of music colleagues who will attend performances and collect evidence of student learning utilizing the rubrics. Their input will provide the reliability and validity necessary to evaluate musicians in a performance setting.

Development of Student Learning Objectives

– Guidance from RIDE

The districts involved in this work have developed their student learning objectives using the following guidance from RIDE.

PRIORITY OF CONTENT

Objective Statement: Describe the overall objective, including whether it focuses on progress

(i.e., students’ content knowledge and skills will grow within an interval of instruction) or mastery (i.e., students will to meet a particular bar or standard within an interval of instruction).

The objective is:

 focused on major area(s) of learning at the grade level

 addresses important curriculum targets, school or district priorities, or an important objective based upon recent trends or results from data

 broad enough that it captures the major content of an extended instructional period

 focused enough that it can be measured

 written by a content-alike team of educators or administrative team, if possible/appropriate

Rationale: Describe the reasoning for this objective, including whether it is aligned to a schoolwide SLO, and what data informed this decision.


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 The rationale provides a clear description of the importance of the selected content, including a justification for and explain why the objective was chosen—for example, baseline evidence suggested students were struggling with specific clusters of the

CCSS in Math.

 The priority of the content has been agreed upon by a grade-level or content-alike team of educators whenever possible.

 For school-wide SLOs: The priority of the content has been informed by school and district priorities and agreed upon by the administrative team.

Aligned Standards: Specify the CCSS, RI GSEs/GLEs, or other RI/national standards to which this objective is aligned.

 The objective is aligned to all appropriate grade level or grade span standards.

 The objective incorporates grade level literacy or numeracy standards, when applicable.

Students: Specify the number of and grade/class of students to whom this objective applies.

 The exact number of students is articulated for each grade, level, or section while recognizing that the exact number of students may shift across the school year.

Interval of Instruction: Specify whether this objective applies to the entire academic year, one semester, or some other interval of instruction.

 The objective applies to a long-term instructional period, such as an academic year or semester.

 For educators who work with students on a shorter cycle, the length of the interval of instruction is explained/justified.

RIGOR OF TARGET(S)

Baseline Data: Describe the pre-test or baseline information/data available for this student population that informed the target(s) (e.g., are students entering without, with, or above the necessary prerequisite knowledge or skills?).

 The objective incorporates the use of information from students’ past performance or baseline data. This may include pre-test data from the beginning of the year, or may include data from these students in their previous grade

 If baseline data isn’t available for this specific student population, data about a similar student group is referenced. o This may include a different group of students that the teacher taught in previous years. For example, a teacher can identify trends areas where students typically struggle on this content. o This may include reference to national norms about student achievement in this area.

Target(s): Describe where you expect students to be at the end of the interval of instruction. If baseline data suggest meaningful differences in prerequisite knowledge or skills, targets should be tiered to be both rigorous and attainable for students at various levels.

 The target is measureable and rigorous, yet attainable for the interval of instruction.


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 If necessary, the target is tiered so as to be both rigorous and attainable for all students included in the SLO.

Rationale for Target(s): Explain how the target(s) was/were determined (e.g., pre-test, baseline, or historical data on your current students, or historical data from past students). Explain why it is appropriate (both rigorous and attainable) for all students.

 The Rationale for Target explains how the specific targets were determined. This should include an explanation of the following: o available baseline data, or o historical data for current students, or o historical data for similar or comparable past students, o rate of progress norms, o or a combination of this information, as available

QUALITY OF EVIDENCE

Evidence Source(s): Describe what assessment(s) you will use to measure student learning and why the assessment(s) is/are appropriate for measuring the objective. At least one source of evidence is required, but multiple sources may be used. If a common assessment exists, it must be used as the primary source of evidence.

 When possible, the attainment of the objective will be measured by a common assessment or measure, developed or selected by a grade level or content-alike team of educators, or the District. If such a measure does not exist, efforts should be made to develop/select a common assessment as soon as possible. o The assessment may be in the form of a traditional test, a performance assessment, a common project, a research assignment, a presentation, or another type of assessment o Above all else, the type of assessment chosen should be sufficient to measure the objective; sometimes the objective will need more than one source of evidence to be adequately measured

 The evidence measures the standards addressed by the objective.

 The evidence requires students to demonstrate a high level of cognitive processing, including higher-order thinking skills such as analysis, evaluation and synthesis. These skills fall into Webb’s Depth of Knowledge Level 3: Strategic Thinking and Level 4:

Extended Thinking. For more information see CAS Criteria & Guidance, page 15.

 The evidence provides multiple ways for students to demonstrate their knowledge/understanding.

Administration: Describe how the assessment will be administered (e.g., once or multiple times; during class or during a designated testing window; by the classroom teacher or someone else).

 A thorough explanation of the assessment’s administration, including how often and when it is administered (e.g., at the beginning of the year and every six weeks thereafter), is provided.

 The assessment is administered in the most appropriate manner for the specific assessment. This may include: o according to the assessment’s administration protocol (if available)


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o in a standardized manner (students are assessed under the same conditions, or in the same amount of time) o In a non-standardized manner (students are assessed under different but appropriate conditions, such as with accommodations for reading or extended time).

Scoring: Describe how the evidence will be collected and scored (e.g., scored by the classroom teacher individually or by a team of teachers; scored once or a percentage double-scored).

 Evidence sources with automatic or objective scoring (such as an online test or multiple-choice items) are scored using those processes.

 Evidence sources with teacher-based scoring, such as essays, projects, presentations, etc., are scored using a scoring guide or rubric. Ideally the scoring guide or rubric was created collaboratively by grade level or content-alike teams of educators. o The scoring process uses examples of student work that illustrate different levels of performance and guide the scoring process. o When possible, a percentage of the evidence will be scored by more than one educator, either through collaborative scoring, blind scoring, or double scoring.

The next section of this report includes examples of student learning objectives that have been developed across the three participating districts. Associated pre-assessments are included as appendices.


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Student Learning Objective Examples - Music

Evaluating Music Performances

Music

The student will evaluate a music performance by using an age appropriate evaluation tool with specific criteria and will justify their critique using the appropriate music vocabulary.

Music vocabulary is essential to the understanding of what the students hear when listening to music. Evaluating and responding to what they hear is an important component of their learning and provides them the opportunity to improve their performance. Writing is an important skill for all students to develop and aligns with our district strategic plan to increase the proficiency of writing.

Aligned Standard M 4 – 2 a :

Students evaluate music by … FILL IN APPROPRIATE

GRADE SPAN

ELA – WHST 2 : Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. (FILL IN

APPROPRIATE GRADE)

ELA – W 4: Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. (FILL IN APPROPRIATE GRADE)

Baseline Data Pre-test on grade appropriate music vocabulary.

Targets

(1) ____ number of students scored ____ on pre-test



The students participated in a listening exercise and responded by critiquing the piece.

The scores were… _____________

Examples:

1. 90% of students will be proficient at evaluating a musical performance using appropriate musical vocabulary along with writing and listening skills.

2. 10% of students will be nearly proficient at evaluating a musical performance using appropriate musical vocabulary along with writing and listening skills.

Pre-test data showed that about _____% of students obtained a passing score on the pretest. After learning the content throughout the quarter,


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Rubrics and Evidence:

Description

Source 1 (High)

Example: Completion of

Common Task – You Be

The Adjudicator it is reasonable to expect that 90% of students will reach proficiency and10% will reach nearly proficient.

Administration

Students will complete the

Common Task – You Be the

Adjudicator assignment within 1-3 class periods. This will be assigned by the end of the 3 rd

quarter.

Scoring

Students will be scored using the

Common Task rubric provided.

This common task rubric will be scored by the classroom teacher.

Nearly proficient and proficient assignments will be double scored by another music teacher to ensure rigor and calibration between department members.

Submitted by Warwick Schools


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Music Literacy

Music

Students will be able to read music using standard notation, write notes on the staff, and perform either an original composition or a song from the standard repertoire using either voice or instruments.

The music curriculum in the Warwick Public Schools focuses on reading and writing musical notation as well as performance skills across all grade levels. Developing music literacy skills prepares students to participate in band, chorus, and general music and can deepen students’ appreciation of music throughout their lives. A pre-test at the beginning of the year showed weakness in the area of ______ (reading musical notation, writing musical notation, performing).

This objective incorporates mathematics which is a school-wide focus this year.

Aligned Standard RI Arts GSEs (Music) M1-1 (a, b, c): Students show evidence of music literacy (reading, writing, and understanding of the symbols of sound) by (a) FILL IN YOUR GRADE SPAN HERE

RI Arts GSEs (Music) M1-2 (b): Students show evidence of improvising, composing and arranging by (b): FILL IN YOUR

GRADE SPAN HERE

Baseline Data

Targets

RI Arts GSEs (Music) M3-1 (a or b): Students perform music alone and with others in a variety of settings : FILL IN YOUR GRADE

SPAN HERE

Common Core Math Standards

Connection to math standards can depend on grade level. Please refer to Common Core Standards for Math Example: Grade 3: 3.NF:

Develop understanding of fractions as numbers. 1. Understand a fraction 1/b as the quantity formed by 1 part when a whole is partitioned into b equal parts; understand a fraction a/b as the quantity formed by a parts of size 1/b.

Baseline data can be in the form of (1) a performance-based pre-test in which students play or sing a short excerpt from standard musical notation scored using a district-wide performance rubric. (2) A written pre-test with about 10 questions on reading and/or writing musical notation.

Targets will depend on baseline data findings.

Examples:

(1) ____ number of students who scored ____ on pre-test will score

____ on summative assessment.





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The target is determined from previously referenced baseline data. This target is appropriate and rigorous because all students will show growth of either one level or be required to perform a more complex piece of music.


Description

Source 1 (High)

A written test developed by music teachers in the district will be used to assess reading and writing musical notation. Student performance will be scored using a district wide performance rubric

(pre and post assessments can be the same, or different).


Administration

Students will be assessed with the written assessment and with the performance rubric in the 3 rd

quarter of the year. Assessment will take place over 1-2 class periods.

Scoring

The music teacher will be solely responsible for scoring all assessments.


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Beat Competency

Music, Grade 1, year long

Students in grade 1 will perform a steady beat using instruments and body percussion while singing familiar songs.

Maintaining consistent tempo and beat while performing is a critical component of developing musicianship which allows the performer to present an artistically balanced piece of music that is aesthetically pleasing to the listener. Aligning one's internal rhythmic pulse with an external standard is essential to cohesive ensemble play.

Aligned Standard RI GSE M3 (K-2) a. Students perform music alone and with others in a variety of settings; b. playing songs, classroom instruments and body percussion

Baseline Data

Targets

Performance assessments will be administered in class and graded by me using a rubric constructed from several online sources. Assessment will be done at mid year to determine if the target is attainable, and again at the end of the year to ascertain whether targets were met.

Assessment and rubric will be available for review by the mid-year conference.

100% of students will score 3 or or better on end-of-year assessment which requires them to maintain a steady beat while singing a familiar song.

Phyllis Weikart (High Scope Educational Research Foundation) found that 61% of first graders could match an external beat using bilateral movement (patting the head with both hands) in a beat coordination screening test. After a year of music instruction that number had increased to 100%.


A version of the HighScope Beat Competence Analysis Test (Weikart, 1987), using the bilateral non-locomotor movements (patting knees, patting head) to the steady beat of music was used to assess beat competence. A piece of recorded instrumental music was used in this assessment.

Each child was rated on a scale of 1 through 4 on each of these items, the score representing the rater's assessment of each child's ability to identify and match the steady beat over a series of 32 beats. Children's musical timing was characterized as follows:


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4. Accurate and consistent; 24 - 32 beats matched

3. Sometimes accurate and consistent; 16- 23 beats matched

2. Steady and even, but off the beat; 8 - 15 beats matched

1. Uneven and off the beat; 0-7 beats matched

Rating points equate to the following standards:

4 = Exceeds the standard

3 = Meets the standard

2 = Progressing

1 = Making insufficient progress

Submitted by South Kingstown Schools


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Rhythmic Patterns

Music, grade 1, year long

Students in grade 1 will notate simple rhythmic patterns using iconic standard notation, including quarter notes/rests, eighth notes (paired) in simple meters of 2 or 4.

Students must learn note values and how they are notated within varying meters in order to sing and play music with accuracy. Reading, writing and performing rhythm patters is evidence of music literacy.

Aligned Standard RI GSE M1(K-2) 1

Baseline Data

Targets

Based on information collected from a similar assessment with last year’s first grade, this target should prove to be both sufficiently rigorous and attainable.

80% of students will score 3 out of 5 or better on end-of-year assessment which requires them to identify rhythmic patterns by drawing pictures of quarter notes/rests and eighth notes, 50% of students will score 4 out of 5 or better.


Written exams will be administered in class and graded by me using a rubric constructed from several online sources. Assessment and rubric will be available for review by the mid-year conference.



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Building And Applying A Descriptive Musical Vocabulary


Melody, Rhythm, Harmony, Dynamics, Timbre, Form, Style, and Expressive Qualities

To become future consumers and supporters of the art of music, students must develop the ability to listen critically. By analyzing music in terms of its formal elements, students will learn to access and accurately apply a rich musical vocabulary. Students will be challenged to make cross-curricular connections to science (the science of sound), social studies (historical periods and styles), foreign language (Italian terms) and language arts (writing about music).

Aligned Standard NATIONAL MUSIC STANDARDS

6. Listening to, analyzing, and describing music.

8. Understanding relationships between music, the other arts, and disciplines outside the arts.

9. Understanding music in relation to history and culture.

RHODE ISLAND MUSIC GSE

Music Enduring Understanding 4 - Aesthetic Judgment

M 4 (3-4) –1 Students analyze and describe music by:

(A.) describing music and identifying melody, rhythm, harmony, and timbre using appropriate music terminology.

(B.) identifying simple musical forms (e.g., AABA, AABB, rondo)

(C.) identifying and classifying timbres using specified categories(e.g., instruments of the orchestra, jazz combos, world instruments of idiophones, aerophones, chordaphones, membranaphones)

M4 (3-4)- 2 Students evaluate music by:

A) Using age-appropriate music vocabulary to critique music (e.g.,

“The tempo is allegro in the A section.” “I hear a crescendo before the cymbal crash.”)

B) Using appropriate music vocabulary to identify aesthetic qualities

Baseline Data in music and explain personal preferences for a specific musical composition (e.g., “When the tempo speeds up, it makes me feel nervous”.)

The critical listening baseline test assesses the students’ abilities to correctly identify music terms related to formal elements. 45% of the students scored at or below 50% on the pre-test. 45% of the students scored between 50% and 75% on the pre-test. 10% of the students scored 75% on the pretest. The pre-test indicates that students have the prerequisite knowledge necessary to continue building upon the basic music vocabulary that they have developed in grades k-3


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Targets

3

PROFICIENT

There are 94 students in the 4 th

grade. Four students will be given an alternate assessment based upon their individual requirements. The target for the remaining 90 students is a s follows:

Given a specific listening example, 80% (72) students will achieve a 3

(Proficient) on the Critical Listening Rubric. 20% (18) students will achieve a 2 (Competent) on the critical listening rubric.


CRITICAL LISTENING RUBRIC

LEVEL

4

ADVANCED

DESCRIPTION

Refers to 3 or more musical elements with accurate, descriptive and supportive evidence along with relevant connections to the musical excerpt (style, genre)

The student is able to provide a description of the use of at least 2 elements with supportive evidence along with relevant connections to the musical excerpt.

2

COMPETENT

OR

The student is able to provide a description of at least 2 musical elements, one with accurate and supportive evidence along with relevant connections to the musical excerpt and the other(s) without descriptive or supportive evidence or relevant connections to the musical excerpt

The student is able to supply an accurate description of only 1 musical element with supportive evidence or relevant connections to the musical excerpt

OR

The student is able to provide accurate description of the use of 2 or more

1

DEVELOPING musical elements without supportive evidence or relevant connections to the musical excerpts.

The student refers to only 1 musical element without descriptive or supportive evidence or relevant connections to the musical excerpts



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Instrumental Music Performance Fluency


For this mastery goal, fifth grade band students will perform solos of increasing complexity as the year progresses.

In 5 th

grade beginning band, there are fundamental skills and comprehension that must be acquired by students in the homogenous instrumental groupings prior to the “mixed ensemble” playing experience that begins in 6 th

grade. The solos “of increasing complexity” allow the student to master one new concept at a time, with each song building upon what was learned in the solos prior. The assessments require constant progress, and yet allow for individual students to progress at their own rate. The baseline data that informed this decision was based upon last year’s 5 th grade class’s progress, which is clarified below. The number of students scoring

“proficient” or better is an area that needs improving.

Aligned Standard

Baseline Data

This SLO aligns with RI State Music GSE M3-1b: playing instruments with musical accuracy.

Baseline data was gathered from last year’s fifth grade band population.

Only 53% of last year’s fifth grade band demonstrated proficiency by individually performing 11 or more solos of increasing complexity.

Therefore, 47% did not demonstrate proficiency. Here is the complete breakdown of the data:

21% of students scored 1-5 mastery solos

26% of students scored 6-10 mastery solos

Beginning

Emerging

27% of students scored 11-15 mastery solos Proficient

26% of students scored 16-20 mastery solos Exemplary

Targets 0% of 159 students (0 students)will score Beginning

1-5 mastery solos

20% of 159 students (32 students)will score Emerging

6-10 mastery solos

60% of 159 students (95 students)will score Proficient

11-15 mastery solos

20% of 159 students (32 students)will score Exemplary

16-20 mastery solos

60% of the 5 th

grade band students will perform 11-15 solos with rhythmic and melodic accuracy (demonstrating proficiency) by June 1 st

.

20% of the 5 th grade band students will perform 16-20 solos with


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rhythmic and melodic accuracy (exemplary), and 20% of the 5 th

grade band students will perform 6-10 solos with rhythmic and melodic accuracy (emerging). No band students will perform less than 6 solos with rhythmic and melodic accuracy (beginning) by June 1 st

.

The targets were determined using historical data. Prior to three years ago, 85% of students usually attained proficiency or better, but that was with 30 classes per week of 5 th

grade band. Two years ago, with band enrollment staying consistent, there were 20 classes of 5 th

grade band

(with therefore higher class sizes), and the percentage of students attaining proficiency was closer to 70%. Last year, with band enrollment again staying consistent, there were only 10 classes per week (but class sizes were in some cases triple the norm), and the

“proficiency or exemplary” rate dropped to 53%. The decline in the number of students scoring proficient or exemplary needs to be addressed, as this requires the acquisition of a crucial foundation in instrumental performance. These targets are rigorous, but attainable as before and after school help will be made available to all 5 th

grade band students.


The solo performance of 11-15 melodies of increasing complexity with rhythmic and melodic accuracy.

The student will perform solos of increasing complexity for a music teacher. In order to

“master” the solo, it must be played with melodic and rhythmic accuracy. For validity, 20% of the 5 th

grade band students will play one of the solos for the Performance Festival, and will be given a rating by music adjudicators there. The Performance Festival Rubric is a common assessment agreed upon by music education colleagues in South Kingstown in collaboration with music professors at URI.

As students master skills required to perform a melody, they share their solo during class time as well as before or after school. Each student will have multiple opportunities to do the assessments between October and June 1 st

. The Performance Festival is in April.

The classroom music teacher will score most solos, the University of Rhode Island music students will score 20% of the solos on “Sawmill Creek,” using a common rubric that aligns with our GSEs.



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General Music Composition


6 th Grade general music students will compose an 8 bar melody for the piano. Their composition will be in 4/4 meter and will use at least 5 different notes.

In 6 th

grade general music, students who are not participating in band, chorus, or orchestra classes gain musical literacy through learning to play a piano keyboard. They will develop a deeper music comprehension in a creative way, thus meeting a depth of knowledge of 4.

Successful completion of the composition project requires musical creativity and evaluation. A depth of knowledge 4 activity is defined as one that asks students to “create” or “analyze and synthesize information from multiple sources.” (Webb, Norman L. and others: “Web Alignment

Tool” July 2005, Wisconsin Center of Educational Research, University of Wisconsin-Madison)

The composition project asks students to create an original music composition, but also requires a synthesis of previously learned information about rhythm, meter, melodic contour, and tension and release patterns in music. Students will also benefit from developing self-confidence in trying a new way of self-expression. Students will connect in a very personal way with music, as composing requires self-expression and making preferential choices.

Aligned Standard This objective aligns with RI State Music GSE M1-2b: students show evidence of improvising, composing, and arranging by composing melodic variations or short original melodies based on specific

Baseline Data

Targets parameters. In South Kingstown’s curriculum, it aligns with our grade

6 grade span expectation M1-2b.1. This objective also aligns with

National Music Standard #4: Composing and arranging music within specified guidelines.

Baseline data is based upon previous 6 th grade general music classes.

As they neither play and instrument or sing in the school chorus, there has been little application of musical concepts to actual performance.

The composition project is rigorous as it requires a depth of knowledge

3 and 4 to assimilate musical learning into the creation of a new original work. A depth of knowledge 3 activity is defined as one that asks students to “apply a concept in other contexts,” or “revise,” or

“construct.” In the composition project, students construct an original melody as described before, but also revise this melody using the rubric as an evaluation and editing tool.

80% of the 6 th

grade general music classes will successfully complete the original composition, scoring between 12 and 16 (out of 16) on the rubric. The remaining 20% will score between 4 and 11 (out of 16) on the rubric.

The rubric delineates between “almost meets standard” (2), “meets


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standard” (3), and “exceeds standard” (4) in four categories: meter, rhythm, melody, and tonality.

This target was chosen based upon historical data from past students.

Many need extra scaffolding and support as they initiate this new form of self-expression and creativity. It is more rigorous than skill acquisition, and some students may struggle with this new task. This target was partially based upon the fact that some students are pulled out of general music for a series of weeks for reading or math interventions. This will influence a student’s ability to complete the project, due to the long term absences.


Evidence will be collected from students in May. A rubric assessment has been edited and validated by a collaboration of 4 music teachers in South Kingstown, and was piloted last year.

The rubric specifies criteria for an original composition including melody, rhythm, meter, and tonality.

The project begins in April, with a series of scaffolded mini-lessons in preparation for the larger project. Compositions are due in May.

15 out of 43 of the student compositions will be scored by other certified members of South

Kingstown’s music staff, to check for scoring consistency. The other student compositions will be scored by the classroom music teacher, using the same common assessment rubric.


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QuickTime™ and a

decompressor are needed to see this picture.



February 2013

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Playing the Recorder


Students will play a minimum of 8 short pieces from their recorder songbook at a proficient level.

Most third grade student are having their first experience with playing a musical instrument. It is important at this stage of development to master familiar songs in order to build confidence for future instrumental endeavors, as well as learn basic wind instrument technique and basic musicianship.

Aligned Standard RIGSE’s



M3 (3-4) –1 Students perform music alone and with others in a variety of settings



M1 (3-4)-1 Students show evidence of music literacy (reading, writing, and understanding of the symbols of sound) (Not sure if I want reading to be part of it at this level)

Baseline Data

Targets

In previous years, I observed the average number of songs played proficiently was approximately 4. Through more targeted teaching and data gathering, I expect to have that number increase by 50%.

The average number of songs played at proficient level per class will be at least 6/8 by year’s end.


Students will be assessed using a teacher-created rubric adapted from multiple online sources.



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Elements of Proficient Recorder Performance


Students will play a minimum of 7 short songs from the Recorder Karate Method at a proficient level.

For most grade 3 students, playing recorder in general music will be their first experience learning a musical instrument. Through the mastery of familiar songs, students are able to concentrate on basic technique and musicianship. These skills will enable students to pursue the study of more advanced instruments in middle and high school.

Aligned Standard NATIONAL MUSIC STANDARDS

2. Performing on instruments, alone and with others, a varied repertoire of music.

5. Reading and notating music.

7. Evaluating music and music performances.

RHODE ISLAND MUSIC GSE

Music Enduring Understanding 1

M1 (3-4)-1 Students show evidence of music literacy (reading, writing, and understanding of the symbols of sound) by a.

reading, writing, and performing rhythmic patterns using standard notation, including: whole note/rest, sixteenth-note patterns, eighthquarter-eighth syncopation, dotted quarter-eighth/eighth-dotted quarter, b.

reading, writing, and performing simple patterns in meters of 2/4,

3/4, 4/4, and 6/8

reading, writing, and performing patterns of pitch (e.g., la-so-mi-redo-la,-so, do-la-so-fa-mi-re-do, ti) and known songs using solfege (e.g.,

Sourwood Mountain, Chairs to Mend, Cancion de cuna) and absolute pitch letter names (e.g., recorder B, A, G, E, and D , barred instruments using treble clef patterns)

Baseline Data

Music Enduring Understanding 3

M3 (3-4) –1 Students perform music alone and with others in a variety of settings b. playing classroom instruments, pitched and unpitched, with musical accuracy (e.g., recorders, castanets)

Students need to play 9 songs to earn a black belt. In previous years students have broken down into 3 groups. 5 % of students were able to play 3 pieces at a proficient level. 60% of students were able to play 6 pieces at a proficient level. 35% of students were able to play 7-9


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pieces at a proficient level.

Targets 1) 80% (61) students will earn 9 belts by the end of the year. 20% (15) students will earn 6 belts by the end of the year.

2) 80% (61) students will achieve a rating of “proficient” on the

Recorder Performance Rubric playing a piece at their own level (Belt level 1-9)

3) 20% (15) students will achieve a rating of “developing” on the recorder Performance Rubric playing a piece at their own level (Belt level 1-9)


Prior to grade 3 students have little or no experience studying a musical instrument. Using the

Suzuki Method of instruction is the best way to instill confidence in young players. Every technique used in playing the recorder is slowly introduced and practiced with many repetitions.

From the beginning the student learns to produce a beautiful tone on his or her instrument, and to play with musical expression. The student learns this technique by observing and echoing the teacher. Frequent informal group performances take place during music class to reinforce students’ confidence in their musicianship. Note reading is not the primary goal of this method.

Students will begin to develop sight reading skills once they feel confident in their ability to play the instrument successfully. This technique also makes it possible to group students so that the more advanced students can model good technique for their peers.

RECORDER PERFORMANCE RUBRIC

EXPERT PROFICIENT

4 3

DEVELOPING

2

NEEDS

IMPROVEMENT

1

70%-80% Correct Below 70% FINGERING 90% - 100%

Correct

80%-90%

Correct

# of Belts Nine

RECORDER KARATE BELTS

7-8 6 Less than 6

White Belt – Hot Cross Buns (GAB)

Yellow Belt – Gently Sleep(GAB)

Orange Belt – Merrily We Roll Along(GAB)

Green Belt – It’ Raining (EGAB)

Purple Belt – Old MacDonald (DEGAB)

Red Belt – Twinkle Little Star (DEF#GAB)

Blue Belt – Saints Go Marching In (DGABCD)

Brown Belt– Amazing Grace (DEGABCD)

Black Belt – Ode to Joy (DGABCD)



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I’ve Got Rhythm

Choral Music, High School, year long

Students will improve their music sight reading ability by identifying, performing, and notating at least 4 consecutive measures of rhythms which include whole, half, quarter, eighth, sixteenth, and dotted note values in simple meters of 4/4 and ¾, and the compound meter 6/8.

The Rubric for Holistic Arts Event Evaluation as it applies to music, which was developed at the

Arts Educator Evaluation Meetings, requires that students be proficient in showing “evidence of music literacy by performing with age appropriate melodic and rhythmic accuracy at a consistent tempo.” Reading and demonstrating rhythmic notation accurately is essential for performance at the high school level within our district and at state and national competitions, auditions, and ratings festivals.

Aligned Standard RI GSE:

M1 (9-12) -1 Students show evidence of music literacy (reading, writing, and understanding of the symbols of sound) a.

Reading a vocal score of up to four staves. b.

Accurately and expressively sight reading music with minimal rhythmic, pitch, and dynamic errors at a grade span below full ensemble/class performance level.

Baseline Data

M3 (9-12) -1 Students perform music alone and with others in a variety of settings… a.

Singing a varied repertoire in a variety of focused ensemble settings with musical accuracy

National Standards for Music Education:

1. Singing, alone and with others, a varied repertoire of music.

5. Reading and notating music.

The ability to read music is not a prerequisite of chorus creating a diverse community of learners. In order to familiarize myself with the levels of ability in the class, I annually implement a “Choral Hearing” during the first few weeks of school at which students are asked to sing for me privately, one at a time. They receive ahead of time a Choral

Hearing Prep Sheet and Rubric. In a brief 4-7 minute hearing the criteria outlined determines their range, intonation during a familiar tune, tone quality, ability to harmonize, capacity for recall, and sight reading ability. I will be using scores from the latter as my baseline data for this learning objective.

Targets Students will have four opportunities to produce formal written evidence of learning as measured by the 2nd and 3 rd quarter exams, a


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mid-term exam, and a 4 th

quarter formal assessment, each including a section of audial identification, reading, and notation. The expectation is that the 38% of students who scored a 4 or 5 on the baseline (Choral

Hearing) will be able to produce 2 scores at least one level higher than the baseline. Additionally, the 38% of students who scored 3 or below on the baseline will be able to produce 2 scores at least two levels higher than the baseline. The remaining 23% of students who scored higher than 5 on the baseline will maintain their scores on all 4 exams and improve on at least 2 exams.

I will measure student progress using music exam rubrics that are closely aligned with school, state and national standards. Based upon their beginning of the year choral hearing, all students have room to grow at least one level. No student produced a sight reading score of

10/10.


The four evidence sources for this SLO are formal audio assessments

1.

Quarter 2 formal assessment

2.

3.

4.

A section of the mid-term exam



All assessments will be administered in class by me, and will be scored by me shortly thereafter.



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Musical Blog – Let’s Talk Relationships

Music, High School, year long

Students will improve their understanding of the complexities of compositions and further appreciate accurate execution in musical performances by evaluating not only the accuracies of elements but also by comparing and contrasting voice parts, pieces, and sections of performed music, and making connections to other disciplines or experiences.

To gain a deeper understanding of how the elements and organization of music connects to the artistic processes and directly reflects the style and meaning of pieces, students in this frequently and high-performing ensemble will more thoughtfully evaluate performances, focus on comparing and contrasting, and will begin to recognize the connection to other subjects, disciplines, or experiences.

Aligned Standard M2 (9-12)-2

Students show evidence of connecting music to the arts and other disciplines a.

explaining how elements, artistic processes, and organizational principles are used in similar and distinctive ways in the various arts

M 4 (9-12) -2

Students evaluate music a.

developing and applying four specific criteria provided for critiquing music (e.g., dynamics, intonation, tone, and blend:

“The clarinets were in-tune with the strings and played with an open-focused sound.”)

Baseline Data

Targets b.

using aesthetic criteria to compare and contrast various interpretations of the same work c.

(e.g., “The grave section from the Bach overture was more

Romantic than Baroque.”)

In my previous years of experience with this performing ensemble, performance evaluations of self and others has illustrated that although students consistently improved at superficially identifying inaccuracies of elements of music, very few students either attempted, or were able, to critically listen and respond to performances at an analytical level.

Based on last year’s evaluations, in comparing, contrasting, and connecting to other voice parts, sections, or pieces, only 0.5% of


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students consistently met the standard, 1% approached the standard, and 83% were below standard. The expectation is that in the URI

Choral Festival final SLO evaluation 71.43% of students will meet the content standard, 21.43% will exceed the content standard, and 7.14% will approach the standard.

Last year’s performance evaluations consistently showed that in several opportunities throughout the year, only 3 or 4 students in the ensemble were proficient at comparing and contrasting voice parts or sections, and only 1 or 2 were proficient at making connections to other pieces or experiences. For the purpose of this objective, students this year will use at least four performance opportunities to evaluate themselves or others according to the rubric, comment not only on each element in the criteria, but also reflect greater investigation of the work by comparing pieces, sections and voice parts and making connections to other aspects of their lives.


The three evidence sources for this SLO are post performance self-evaluations:

1.

Quarter 2 December Jazz- students will selfevaluate their performance.

2.

Quarter 3 Berklee High School Jazz Festival- students will have an opportunity to not only self-evaluate, but to also compare their performance to that of three other high school groups from around the country.

3.

Quarter 4 URI Choral Festival- students will have an opportunity to not only selfevaluate, but to also compare their performance to that of three other high school groups from around the state.

All evaluations will be administered by me and scored in a timely manner by me in accordance with the SKHS Choral Program standard rubric for performance evaluation.



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Guitar Basic Proficiency and Performance Skills

Music, High School, semester

The objective is to increase the number of students scoring at a basic level of proficiency on technical skills on the guitar.

The objective was chosen to monitor student progress toward achieving and demonstrating proficiency in understanding musical notation, rhythm, and other basic elements of music. I know that this is a worthy area of focus because without these skills any type of musical progress would be greatly limited.

Aligned Standard

Baseline Data

SLE: A4

It has been my experience that students enrolled in the beginning or basic guitar class have had little or no instruction in music theory or note reading. Though a few of them often can play a few chords most cannot read music at a basic proficiency level. Within the first few classes I will give each student a short assessment to determine their basic skills (if any).

Targets I feel that 90% of my students will achieve a basic level of proficiency and 10% will achieve a “developing” status of understanding and utilizing the basic elements of music, melodic and rhythmic notation, and simple chords and accompaniment. I am going to measure student learning by individual performance based tasks (summative and formative assessments given throughout the semester) which have rubrics for grading and self reflection for students.

I feel that the 90% proficiency/10% developing rate is an appropriate yet challenging goal for me professionally. I tend to have smaller class sizes and motivated students that sign up for this class so this goal is attainable. This is an appropriate target because the students will be practicing and building upon skills throughout the semester. I will be using data from formative assessments from the 2010-2011 & 2011-

2012 school year as the baseline for this target.


Benchmark data will be collected through classroom performance/participation and formative assessments with rubrics.



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Student Learning Objective Examples - VAD

Observational Drawing

VAD

Students will be able to use observation to develop a visual representation of objects and show evidence of problem solving using basic visual arts concepts including (FILL IN GRADE

SPAN APPROPRIATE CONCEPTS…

EXAMPLE GRADE 3… visual composition, shape, line, form, texture, emphasis/focal point, and balance/symmetry VAD1 (3-4)-1a, VAD 1 (3-4)-1c).

Drawing from observation is a focus of the VAD curriculum at all grade levels. Drawing from observation is a skill that applies, develops, and reinforces many of the art concepts in our curriculum. Drawing from observation makes valuable connections to other content areas particularly in math with concepts including reasoning with shapes and their attributes (Gr. 1-4), proportion, comparative measure, scale, creating space and form (gr. 5-8), and modeling with geometry (Gr. 9-12). NOTE: The data used to inform this decision will vary depending on the grade level. Elementary teachers who select a grade of students they have worked with before can identify the data as a review of their previous portfolio and your own observations whereas secondary teachers will need to use a pre-test and cite the results of the pretest.

Example: The data I used to identify this SLO comes from having worked with these same students for the past several years. I have found that students need a lot of instruction and reinforcement of drawing skills.

Example: Students were given a pre-test on their observational drawing skills. The results showed that students need more grade level appropriate instruction and reinforcement of drawing skills to fulfill the requirements of the curriculum.

Aligned Standard VAD (grade span) 1-1a, c

VAD (grade span) 2-1b

CCSS Geometry, Measurement and Data

NOTE: When identifying the specific standard, refer to the CCSS for

Mathematics and review the headings of either Geometry or

Measurement and Data.

Baseline Data

Targets

Pre-test on observational drawing.

Example:

____ number of students scored 1 on the observational drawing rubric

____ number of students scored 2 the observational drawing rubric



Targets will depend on baseline data findings. Examples:


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Description

Source 1 (Medium)

Students will observe and draw an object(s). Students’ work will be assessed using a district wide observational drawing rubric (pre and post assessments can be the same, or different).

NOTE: Rubrics will be specific to grade spans.








The target is determined from previously referenced baseline data. This target is appropriate and rigorous because all students will show growth of either one level or be required to create a highly accurate and detailed drawing of a more complex subject.

Administration

Students will be assessed in the 3 rd

quarter of the year.

(Fill in appropriate quarter)

Assessment will take place over 1-2 class periods.

Scoring

The art teacher will be solely responsible for scoring all assessments.


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VAD, grade 9-12

Students will show progress in the use of observational drawing. Students will create a reasonably accurate visual representation of objects or their own hands with correct proportions, perspective and form, using appropriate techniques within the chosen medium of pencil.

Drawing from observation and applying techniques to address artistic problems are expectations listed under the Visual Arts and Design Grade Span Expectations, Enduring Understanding 1.

High School Assessment Targets require that students solve design problems and synthesize the use of art concepts through observational drawing by using strategies and techniques that address the design problem of drawing from life. Each year student come to CHS from two different middle schools in town as well as from other schools. Most students are freshmen but sophomores, juniors and seniors are also in Art 1. There is a wide variety of skill level and prior learning. A pre-test is required to evaluate student understanding of observational drawing. All students can improve their drawing skills.

Aligned Standard 1.2.1 Incorporate media, techniques and processes with competence, skill, and craftsmanship.

5.1.1 Synthesize the creative and analytic principles and techniques of the visual arts and selected other arts disciplines, the humanities, or the sciences.

RIArts GSEs VAD- VAD is the process of creative problem solving using both traditional and innovative media, tools, techniques and processes in order to make the imagined visible.

Baseline Data

VAD1-1c using observation to develop a reasonably accurate visual representation of a variety of shapes, proportionally and in perspective.

Pre-test on observational drawing:

____number of students scored a 1 on the observational drawing rubric




Targets The target is determined from previously referenced baseline data.

1. _____number of students who scored a__1__on their pre-test will score a ___2__on their summative assessment

2. _____number of students who scored a___2__on their pre-test will score a ___3__on their summative assessment

3. _____number of students who scored a___3__on their pre-test will maintain a score of __3_ or above on their summative assessment

4. _____number of students who scored a_4__on their pre-test will


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maintain a score of __4__on their summative assessment

The target is appropriate and rigorous because it challenges students to improve the skills that they have learned up to this point in their art education. Improving ones drawing, which is essentially improving ones ability to "see" is always difficult and challenging both for the professional artist and for students at any level in art.


Description

Source 1 (Medium)

Students will observe and draw their own hands two times. The first will be a pre-test and will occur within the first week of the third quarter. The second drawing will be 4-5 weeks after the first pre-test.

Both will be assessed with the same drawing rubric which will be specific to VAD GSEs

Source 2 (Medium)

Students will observe and draw an arrangement of objects (books, boxes) two times. The first will be a pretest and will occur within the first week of the third quarter. The second will be

5-6 weeks after the first.

Both will be assessed with the same drawing rubric which will be specific to VAD GSEs

Submitted by Cumberland Schools

Administration

Students will be assessed in the third quarter. Assessments will take place over 2 class periods

Students will be assessed in the third quarter. Assessments will take place over 2 class periods

Scoring

Assessments will be scored by both art teachers

Assessments will be scored by both art teachers


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VAD, High School

Students will show progress in observational drawing. Using proper techniques, each student will acquire the skills they need to develop an accurate representation of an object with attention to proportion, form and space.

Drawing from observation is a focus of the VAD curriculum at all grade levels, and it is also a skill that applies, develops and reinforces many of the art concepts in our curriculum. In addition, students come to CHS with a variety of skill levels and backgrounds. An observational drawing exercise serves as an appropriate baseline of what students are capable of and what their skill levels are as artists.

Aligned Standard

Baseline Data

1.2.1 Demonstrate knowledge of different art materials, techniques and processes

Students will select an object of choice and draw it focusing on proportion and form

Targets Targets will be tiered, set dependent on baseline findings:

Students who scored x on the pre-test will score y on the summative assessment.

The target is appropriate because it challenges students to improve the skills that they have acquired up to this point in their education.

Improving one’s drawing (which is basically improving one’s ability to

‘see’) is always challenging yet essential both for the professional artist as well as intermediate and advanced high school students.




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Drawing from Observation, grade 2 year long

All students (grade 2) will explore visual representations based on observations through a variety of artworks and with multiple media in order to improve their observation rendering skills.

Creating art works based on observation is a significant focus of the K- 12 Visual Arts & Design curriculum, so students must work on this skill in every grade. Direct instruction in creating artworks based on observation broadens the students’ schema for creating representational and imaginative images in future work of art and design. Students also use representational works of art to make their thinking and observations of concrete objects visible in other curriculum areas

(e.g. for scientific illustration, illustrations for non- fiction text, visualization of any text and as inspiration or illustrations for narrative text.) .

Aligned Standard This objective is aligned to the Rhode Island Visual Art Grade Span

Expectations (K-2), 1 (Creative Process) & 3 (Communication)

Students demonstrate knowledge and application of Visual Art and

Design concepts by

1:1a identifying and exploring basic VAD concepts: line, shape, color,

1:1c. exploring visual representation based on observation

1:1d. maintaining a portfolio of self-created art work and explaining basic art concepts learned

Baseline Data

Students demonstrate knowledge and skill of media, tools, techniques, and processes of Visual Art and Design by

1:2a. recognizing and exploring media, tools, techniques, and processes while creating two- and three- dimensional works of art and design

Students demonstrate the ability to communicate in the language of

Visual Art and Design by…

3:1b. exploring the use of colors, shapes, and lines to create a unique expression representing a feeling, idea or meaning

Second grade students at both schools have been exploring visual representation based on observation for the past two years. Data from scored rubrics has been collected from grade 1. This data show that on

Targets the drawing from observation rubric, all of the students showed an improvement from their grade 1 baseline drawings.

By the end of the year (2011-2012) 80%of the students scored a 3 or better on 1-2 drawing from observation rubric; 20% of the students scored a 3 on the K Drawing from observation rubric

At the end of the school year 2012-2013:

At the end of the school year 2012-2013, 85% of the students will score a 3 or better on the 1-2 drawing from observation rubric and 15% will score a 2 on the 1-2 drawing from observation rubric.


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Based on past teaching experience and researched based evidence, it has been shown that when students are given opportunities to create artworks based on observation, they will move from generalized representations to more accurate responses in their drawings. Their progress in drawing from observation from September to June of the year will by documented by their moving up on the rubric.

The rubrics used were created by the SK VAD K-4 teachers using guidelines and milestones suggested in Observation Drawing: a Framework for Teachers, by Nancy Smith and Drawing to

Learn DRAWI by Dr. Marvin Bartel, Ed.D.



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Written Response to Art

VAD

Students will communicate and justify their understanding of a work of art, either their own or the work of another, using the appropriate VAD concepts and vocabulary. Note: Make this more specific to your grade/course by listing specific concepts and vocabulary.

VAD vocabulary is essential for students to communicate their understanding of a work of art.

Evaluating and responding to what they see is an important component of their learning and provides them the opportunity to improve their personal work. Writing is an important skill for all students to develop and aligns with our district strategic plan to increase the proficiency of writing.

Aligned Standard VAD (grade span) 1-1 a … FILL IN APPROPRIATE GRADE SPAN

VAD (grade span) 4-1 … FILL IN APPROPRIATE GRADE SPAN

You may also find VAD (grade span) 2-1 a or VAD (grade span) 3-2 a aligns with the work you have selected

CCSS ELA – WHST 2 : Write informative/explanatory texts to examine

Baseline Data

Targets and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.

(FILL IN APPROPRIATE GRADE)

CCSS ELA – W 4: Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. (FILL IN APPROPRIATE GRADE 3-12)

For grades 1 & 2 look at ELA-W1 and/or ELA W2

Written pre-test on responding to a work of art . Through this assessment I was able to determine which vocabulary and concepts students relied on to respond to the work of art, and how they justified their opinions.

Examples:

1. 90% of students will be proficient at responding to a work of art using appropriate VAD vocabulary along with writing skills.

2. 10% of students will be nearly proficient at responding to a work of art using appropriate VAD vocabulary along with writing skills.

Note: The specific content that you identify that students will be proficient in will be determined by the grade span rubric.

Pre-test data showed that about _____% of students obtained a passing score on the pretest. After learning the content throughout the quarter, it is reasonable to expect that 90% of students will reach proficiency


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and10% will reach nearly proficient.


Description

Source 1 (High)

Example: Completion of Common Task –

Sources of Country

Music )

Administration

Students will complete the

Common Task – Sources of

Country Music assignment within 1-3 class periods. This will be assigned by the end of the 3 rd quarter.

Scoring

Students will be scored using the

Common Task rubric provided.

This common task rubric will be scored by the classroom teacher.

Nearly proficient and proficient assignments will be double scored by another VAD teacher to ensure rigor and calibration between department members.



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Comparing Work, grade 4, year long

Students will use a graphic organizer to compare their artwork with the artwork of others to gain deeper understanding of the meaning of works of art or design.

Making comparisons of their own and others artworks and asking questions about others’ artworks in order to gain deeper understanding of the meaning of works of art or design is an important focus of the K-12 Visual Arts & Design curriculum, so students must work on improving this skill in every grade. Direct instruction in using graphic organizers to help students make comparisons will improve their ability to reflect on, analyze and evaluate their own and others artworks. Understanding the concept of comparing and contrasting and asking proving questions will also reinforce the strategy used in other curriculum areas (e.g. critical reading and writing, scientific and historical analysis).

Aligned Standard

Baseline Data

Rhode Island Visual Art Grade Span Expectations (3-4) VAD 4-, d, f



VAD 4-1 d. Asking questions about others’ artwork relating to subject matter, colors, and shapes to gain a deeper understanding of the artwork’s meaning.



VAD 4-1 f. Comparing one’s own work with the work of others by describing similarities and differences of subject matter, colors, shapes, and ideas.

These students as third graders, had experience in using a graphic organizer to compare two exemplar artworks and also compare their own artwork to an exemplar. Baseline data was not collected on these specific students. It was collected historically on last year’s 4 th

grades using a teacher made rubric.

Targets At the end of the school year 2012-2013:

80% 0f the students will score a 3 or better in three areas of a teacher made rubric measuring * 1. quality of statements using a complete sentence to record evidence; *2. placement of accurate statements within the box and t chart (Similarities together and Differences in the lower boxes); and *3. understanding of subject matter, color, shape and ideas. 18% of the students will score 3 or better in two out of the three areas measured and 2% of the students will score a 3 or better in only one area of the rubric.


Students will be scored by the VAD teacher using the teacher created Box and T rubric based on the RIDE VAD 4-1: d and f.



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Visual Storytelling

VAD, grade 5, year long

Students at the 5 th grade level will demonstrate understanding of the concept of visual storytelling. Students will show this understanding through a narrative painting that tells a personally meaningful story. Their artwork will be graded using the Visual Storytelling rubric. A written reflection based on their narrative painting will also be used as evidence.

This objective focuses on progress because art-based skills develop gradually over time.

Storytelling is a big idea and a human tradition that connects people and shares ideas. Using storytelling as a way to look at artwork allows students to make cultural connections and interdisciplinary connections to ELA standards. Human figure drawing is a skill that is developed at the K-4 level in South Kingstown and therefore can be utilized in this SLO to create a painting of a personal memory that tells a story. Also, this SLO helps meet the South

Kingstown School District Strategic Plan 10-15 Objective AS2: Ensure that all students have access to a rigorous curriculum aligned to internationally benchmarked standards that are taught through multiple pathways.

Aligned Standard Rhode Island Visual Art Grade Span Expectations



VAD 2(5-6)-1 Students demonstrate knowledge and understanding of the role of Visual Art and Design in personal, cultural, and historical contexts



VAD 2(5-6)-1 b. Analyzing the connections between Visual

Arts and Design and other disciplines



VAD 3 (5-6) –1d. Students demonstrate the ability to communicate in the language of Visual Art and Design by comparing how their own works of art or design are symbolic

Baseline Data representations of events, ideas, feelings, or beliefs within the

 context of historic and contemporary art

Common Core State Standard Grade 5



W.5.3. Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences.

Narrative writing is a common core state standard for 5 th grade that is taught in their classroom. According to Hume (2008) a fifth grader can

“identify symbols, natural images, and objects used to create artworks”

(p. 14). Also, Hume states that a fourth grade child should be able to

“use facial proportions correctly; develop a more realistically proportioned human figure and show movement” (p. 12). Each of these abilities provides the 5 th grade student with the proper skills to clearly express a story through painting. The skills before completing this artwork is known based on the work of the K-4 elementary art teachers


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Targets in South Kingstown. All three teach figure drawing as discussed at our

Arts Educator Evaluation Project meetings.

Hume, H.D. (2008). The art teacher’s survival guide for elementary and middle schools. San Francisco, CA: Jossey-Bass.

By May, students will have completed a narrative painting that tells a story. They will have a written response that helps them to identify what their story is in the picture. Eighty-percent will score a 3 on the

Visual Storytelling rubric. Fifteen-percent will score a two on the same rubric. Five percent will either receive a 1 on the rubric or will not be able to be scored due to extenuating circumstances.

This target was determined based on historical data from K-4 art teachers in the district. By grade five students have been developing painting skills since kindergarten. They have also been taught how to draw the human figure, skills that are needed to complete a painting with characters from their story. The five percent was determined to account for the students who are pulled from art classes for special services and/or students who have physical or developmental disabilities.


The rubric will be administered to students prior to the lesson as a formative assessment tool.

The rubric will be completed in art class once the artwork is complete

Students will self-assess using this rubric. The art teacher will also assess using this rubric.

Three rubrics reflecting a high, middle and low score will be selected at random and crossreferenced with another district art teacher to endure validity.

The written reflection will have two parts. The first will be a brainstorming worksheet to develop their story. The second will be after their artwork is complete to write about how the story was expressed in the artwork. Both writing reflections will be completed in art class.

The answers on the written reflection will not be scored but will be checked to ensure completion. This is due to the nature of the artifact, it is subjective. However, if the student was able to write about their artwork’s story in complete sentences then they will have shown progress.



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Visual Storytelling Rubric

Criteria

Communication of plot, character, setting and conflict/ resolution

RI Visual

Art and

Design

(VAD)

GSE

Standards met

VAD 3-

1a.

VAD 3-

1b.

VAD 3-

1d.

Exceeds

Expectations

4

Many visual details clearly show all parts to the story

Meets

Expectations

3

Details are added that show most of the story

Approaching

Expectations

2

Few details are added and the story is unclear just by looking

Developing

Expectations

1

There is very little detail and the story is confusing

Score

Use of techniques

The students’ written reflection shows an understanding of Narrative Art and Visual

Storytelling

VAD 1-

1a.

VAD 1-

1b.

VAD 1-

2a.

VAD 4-

1a.

VAD 4-

1b.

VAD 2-

1a.

VAD 2-

1b.

VAD 1-

1d.

VAD 1-2a

All three painting techniques are visible and exhibit a great deal of skill

The students’ definition of narrative art is correct and they can name more than one narrative artist

All three painting techniques are shown

The students’ definition of narrative art is somewhat correct and they can name at least one narrative artist

Only one or two painting techniques are shown

The students’ definition of narrative art is unclear and they cannot yet name a narrative artist

It is unclear whether there are any painting techniques used

The student has not completed the writing reflection

Craftsmanship

The materials were handled in the best way possible to completely express original ideas. Paper is clean and neat

Materials were applied carefully to express original ideas. Paper is neat

The paint was somewhat messy and figures were not completely outlined. Paper is messy or wrinkled

The work is very messy and the figures are hard to identify.

Paper is wrinkled and/or torn

Total: _____x 2 + 60= ______ /100*

*Each point is worth two points 60 is added to the final score because that replaces zero as the lowest possible points, 0=60


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Self-Portrait

VAD, grade 6, semester

Students at the grade 6 level will demonstrate growth in the area of observation drawing through the creation of self-portrait. A baseline portrait will be done without any teacher instruction. A second portrait will be drawn later in the year with teacher instruction and after two drawing exercises to show growth.

Creating art works based on observation is a significant focus of the Rhode Island K- 12 Visual

Arts & Design curriculum. Direct instruction in creating artworks based on observation broadens the students’ schema for creating representational and imaginative images in future work of art and design. Developing drawing from observation skills will also assist the students’ picture-making and/or visualization abilities in other curriculum areas such as: scientific illustration, illustrations for non- fiction text, visualization of any text and as inspiration or illustrations for narrative text. Also, this SLO helps meet the South Kingstown School District

Strategic Plan 10-15 Objective AS2: Ensure that all students have access to a rigorous curriculum aligned to internationally benchmarked standards that are taught through multiple pathways.

Aligned Standard Rhode Island Visual Art Grade Span Expectations:



VAD 1-1a Students demonstrate knowledge and application of

Visual Art and Design concepts by identifying and exploring basic VAD concepts: line, shape, color,



VAD 1-1c. Students demonstrate knowledge and application of

Visual Art and Design concepts by exploring visual representation based on observation



VAD 1-1d. Students demonstrate knowledge and application of

Visual Art and Design concepts by maintaining a portfolio of self-created art work and explaining basic art concepts learned

Baseline Data

Targets

National Visual Arts Standards:



Content Standard #1: Understanding and applying media, techniques, and processes



Content Standard #2: Using knowledge of structures and functions

The baseline data for this objective will be the first attempt at a selfportrait in October. This will show where students’ skills are in drawing self-portraits from observation without any teacher instruction.

By April, student’s portfolios will contain two self-portraits completed through observation with mirrors. Both self-portraits will be graded using the Drawing from Observation Rubric. An increase in their score on the second portrait will demonstrate growth in drawing from


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observation skills. Eighty-percent will move from a two to a three on the 1-4 point scale of the rubric. Fifteen-percent will move from a one to a two on the same rubric. Five percent will not show an improvement on the rubric or will not be able to be scored due to extenuating circumstances.

Based on past teaching experience and researched based evidence, it has been shown that when students are given opportunities to create artworks based on observation, they will move from generalized representations to more accurate responses in their drawings. The sixth grade student is able to recognize more complex shapes to draw from including facial features and facial details. Information for this target was created using the guidelines and milestones suggested in

Observation Drawing: a Framework for Teachers, by Nancy Smith and

Drawing to Learn DRAWI by Dr. Marvin Bartel, Ed.D.

This target was also determined based on historical data from K-4 art teachers in the district. By grade six students have been developing self-portrait skills since kindergarten. It is a difficult process that needs to be scaffolded and be continued through high-school.

The five percent was determined to account for the students who are pulled from art classes for special services and/or students who have physical or developmental disabilities.


The Drawing from Observation Rubric, developed by K-6 South Kingstown art teachers will be used to measure achievement from the first and second self-portraits.

After the two self-portraits are completed, the art teacher will grade both using the Drawing from

Observation Rubric outside of class time.

The art teacher will score all self-portraits. Three portraits demonstrating a high, middle and low score will be cross-referenced with another district art teacher to ensure validity.



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Criteria

RI Visual

Art and

Design

(VAD)

GSE

Standard

Exceeds

Expectations

4

Meets

Expectations

3

Approaching

Expectations

2

Developing

Expectations

1

Score

Dra win g A

Dra wing

B

Self Portrait Rubric


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s met

Accuracy of facial proportion s

Accuracy of facial features

Accuracy of neck

Accuracy of

Shoulders

Creativity

Craftsman ship

VAD 1-

1c.

VAD 1-

2b.

VAD 1-

1b.

VAD 1-

1a.

VAD 1-

1b.

VAD 1-

1c.

VAD 1-

1c.

VAD 1-

1b.

VAD 1-

1c.

VAD 1-

1b.

VAD 4-

1b.

VAD 4-

1c.

VAD 1-

1a.

VAD 1-

1b.

VAD 1-

1d.

VAD 1-2a

All facial proportions are exactly correct according to the Facial proportions worksheet

All features are added with an exceptional amount of detail

The neck is in line with the jaw and some detail is added

The shoulders are “two heads wide” with some detail added

Many line variations have been used to fully express the different parts of the face and to show texture

The drawing was extremely neat with very defined lines

Facial features are mostly in proportion according to the

Facial

Proportions worksheet

Most of the visible features are added and some details are drawn

The neck is mostly in line with the jaw

The shoulders are mostly “two heads wide”

Some variations in line have shown some texture

The drawing was neat with clear lines and free from smudges

Some facial proportions are correct

The student has drawn most or some visible features with little detail

The neck is too small or too large

The shoulders are too small or too large

The students lines stay the same when they could change

The student’s pencil lines were slightly messy and/or the paper is wrinkled or ripped with smudges

The facial features are not yet in correct proportions

The student has drawn features with no detail or has not drawn some visible features

The neck is not added or not the correct proportions

The shoulders are not added or not the correct proportions

The student lines do not clearly represent the variety of lines and textures of the face

The pencil lines are unrecognizable and/or the paper is wrinkled and ripped with many smudges

Totals: Drawing A:______ x 2 + 60= ______ /100* Drawing B: _______ x 2 + 60= ______ /100 Improvement:

_______

_________

Student’s Initials: _____ Section: 6 ( )

*Each point is worth two points, 60 is added to the final score because that replaces zero as the lowest possible points, 0=6


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Photoshop Selection Tool Mastery

VAD, grade 9-12

Students will show mastery in the use of photoshop selection tools. Using proper techniques, each student will construct an image containing multiple layers to create a foreground, middleground, and background.

Creating visual depth on a two dimensional surface is basic to the VAD curriculum. Through the use of the photoshop selection tools, this concept is reinforced by both technology and personal visual expression.

Aligned Standard 1.2.1 Demonstrate knowledge of different art materials, techniques, and processes

1.1.1 Create artworks that use organizational principles and functions to solve specific visual arts problems.

4.1.1 Apply media, techniques and processes with sufficient skill, confidence, and sensitivity that their intentions are carried out in their artworks.

Baseline Data Students will produce a digital photographic image that suggests foreground, middleground, and background.

Targets 20 students out of 26 will achieve proficiency or better on the summative assessment.

The target is appropriate because it requires students to appropriately use selection tools in photoshop in a lesson that is a culmination of various skills learned in digital photography.




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Perspective Drawing

VAD, High School, semester

Students will create a unique solution for a perspective drawing by applying a variety of specific skills and techniques to illustrate the illusion of depth.

As an SKHS portfolio requirement, students must fulfill (7) essential projects from the

CREATING category; one of which is “an artwork that employs effect use of perspective.” An understanding of perspective is needed for all art students who create representational drawings.

In order to successfully convey the illusion of depth on a two-dimensional surface, artist must be knowledgeable and experienced in basic fundamentals and principles of perspective. In addition, the Rhode Island GSEs further state that students in grades 9-12 should be able to demonstrate

“visual representation of a variety of shapes, proportionally and in perspective”.

Aligned Standard VAD 1 (9-12) –1


Design concepts by… a. applying a variety of selected VAD concepts for two- and three - dimensional works of art and interpreting and evaluating. b. generating, applying, revising, and evaluating strategies and techniques to address artistic problems c. using observation to develop a reasonably accurate visual representation of a variety of shapes, proportionally and in perspective d. documenting and evaluating personal progress through a portfolio of self-created art work identifying strengths and weaknesses

VAD 1 (9-12) – 2 Students demonstrate knowledge and skill of media, tools, techniques, and processes of Visual Art and Design by… a. selecting and evaluating a variety of media, tools, techniques, and processes in creating two- and three dimensional works of art b. demonstrating knowledge of vocabulary of media, techniques, and process

VAD 3 (9-12) –1 Students demonstrate the ability to communicate in the language of Visual Art and Design by… b. creating a unique solution for a visual art or design problem


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Baseline Data

Targets

Many current Art 1 students participated in a visual arts class when they were in grade 7 at CCMS. Those students were exposed to introductory concepts of one-point perspective, however, other students who did not participate in visual art classes in grade 7 have very little previous experience with perspective drawing.

During a meeting at the high school, the district middle school teacher shared and modeled concepts that she presents in her class so that the current Art 1 teachers were aware of the middle school curriculum.

This information, in combination with student examples, will serve as our baseline data.

In addition, a survey regarding previous experience with drawing in perspective will provide a data for setting targets based on ability levels. After completing the student survey regarding previous knowledge of perspective drawing, I learned that 44% of my students have had previous experience with perspective drawing and 56% have not.*

* Baseline data for the semester 2 students will be collected in January

2013

Of the 44% of students who have had previous experience with perspective drawing, 20% of them will receive a 4 (Exceeds Standard) on their completed drawings and 80% will receive a 3 (Meets

Standard).

Of the 56% of students who have not had previous experience with perspective drawing, 80% of them will receive a 3 (Meets Standard) on their completed drawings and 20% will receive a 2 (Approaching

Standards).

Students will be assessed on a single perspective artwork that will be evaluated and scored based on a common Visual Arts Department rubric.

If a student does not receive a passing grade, he/she will have the opportunity to revise it up until the end of the respective quarter.

Since some of my students have had experience in perspective drawing and others have not, the expected outcome is also varied. Through differentiated instruction, I will provide opportunities for students to work at their varying ability levels, while developing new knowledge and skills.


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Student artworks that demonstrate the fundamental rules of perspective, which will be assessed using a common standardized rubric supported by the GSE’s.

Artworks will be administered by the classroom teacher over the course of approximately 10 class periods. Before the project is administered, there will be 4 days of guided instruction and practice sketches, where students will utilize specific techniques unique to perspective drawing.

All Art 1 teachers will review a sampling of perspective drawings from previous Art 1 students and provide feedback for scoring calibration. The perspective drawings, however, will be scored individually by the students’ own classroom teacher.



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Visual Arts Rubric

Exceeds

Standards

4

Requirements

Student has completed and exceeded all requirements displaying maximum effort.

Student consistently demonstrates knowledge of visual art and design concepts by successfully applying all applicable

Elements and

Principles of

Design.

Technique

Student work exhibits exemplary skill of media, tools, techniques and processes and demonstrates a higher level thinking to address artistic problems.

Creativity

Student work shows a sense of inventiveness and imagination.

Student creates highly developed solutions for a visual art

Meets Standards

3

Student has completed all requirements displaying maximum effort.

Student demonstrates knowledge of visual art and design concepts by applying most of the

Elements and

Principles of

Design.

Student work exhibits proper skill of media, tools, techniques and processes and demonstrates complex reasoning to address artistic problems.

Approaches

Standards

2

Student has partially completed requirements displaying some effort but lacking attention to detail.

Student demonstrates some understanding and application of visual art and design concepts but has applied only some of the Elements and Principles of Design.

Student work exhibits fair skill of media, tools, techniques and processes but demonstrates only basic reasoning to address artistic problems.

Student work shows original thought and/or uses source materials as inspiration.

Student creates a unique solution for a

Student work shows some original thought but relies on source materials.

Student creates a solution for a visual art or design


February 2013

Below Standard

1

Student has not completed requirements and shows no effort to improve.

Student demonstrates little to no evidence of understanding or application of visual art and design concepts.

Student work exhibits poor skill of media, tools, techniques and processes and lacks basic reasoning to address artistic problems.

Student work lacks original thought and is primarily copied from source materials.

Student reproduces an unoriginal solution for a visual art or

Evaluation GSE

VAD

(9-

12)

1.1 a

SKHS

Expectations

SLE A4

VAD

(9-

12)

1.1 b

VAD

(9-

12)

3.1 b

SLE A4

SLE A4

57

or design problem.

Composition

Student demonstrates complete knowledge of visual art and design concepts by successfully arranging all elements to create a thoughtprovoking composition

25-24 visual art or design problem.

Student demonstrates knowledge of visual art and design concepts by arranging all elements to address compositional unity but lacks attention to detail.

23-20 problem.

Student demonstrates some understanding of visual art and design concepts but struggles to arrange elements in order to address composition.

19-17 design problem.

Student demonstrates little to no evidence of visual art and design concepts and fails to arrange elements in order to address composition.

16-0 Total:

VAD

(9-

12)

1.1 b

SLE A4

Portfolio

Worthy:

Y / N


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Picasso/Matisse Paint Off

VAD, grades 10-12, semester

Students will demonstrate knowledge and understanding of the role of Visual Arts and Design in personal, cultural, and historical context by evaluating several unique purposes for making art through the identification of the similarities and differences of two famous artists, Pablo

Picasso and Henri Matisse.

To gain a true understanding of the unique style of an artist, students will compare and contrast one artist’s style and techniques to another. Instructional strategies that ask students to identify similarities and differences result in understanding content at a deeper level.



Design concepts by… a. applying a variety of selected VAD concepts for two- and three - dimensional works of art and interpreting and evaluating the effects. b. generating, applying, revising, and evaluating strategies and techniques to address artistic problems

VAD 1 (9-12) – 2 Students demonstrate knowledge and skill of media, tools, techniques, and processes of Visual Art and Design by… a. selecting and evaluating a variety of media, tools, techniques, and processes in creating two- and three dimensional works of art b. demonstrating knowledge of vocabulary of media, techniques, and process a. VAD 2 (9-12) –1Students demonstrate knowledge and understanding of the role of Visual Art and Design in personal, cultural, and historical contexts by… b. evaluating several unique purposes for making visual art and design

(e.g., telling a story; communicating ideas, personal beliefs, and emotions; creating functional objects; making political and social commentary) c. analyzing different cultures’ expectations and appreciation of the role of the artists in society


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Baseline Data

Targets

VAD 3 (9-12) –1 Students demonstrate the ability to communicate in the language of Visual Art and Design by… a.evaluating and applying media techniques, processes, and visual arts and design concepts to convey specific feelings, ideas, or meanings b. creating a unique solution for a visual art or design problem

After asking my students, I learned that although many of them may have heard of the artists Pablo Picasso and Henri Matisse, they have not studied their artwork in depth. This historic data aligns with what I have learned from discussions with the other art teachers in the district as well as from what I have observed in the past years at the high school. My baseline data will consist of a T chart that students will fill out on the first day of the unit. The students will be shown on a large screen 2 different paintings side by side, one by Picasso and one by

Matisse, both of the same subject matter, women. To serve as a pretest, the students are instructed to observe the paintings closely and list the similarities and differences between the two works. This T chart will serve as a baseline of the level of complexity and depth of the student’s initial responses to the two paintings.

All students will be able to identify (8) similarities and differences between two works. 80% of the students will respond at a higher level than they did on their pre-tests by also analyzing and interpreting the works, not just describing the works. These students include on their T charts (4 or more) responses that evaluate the works by referencing specific elements and principles of design and other advanced vocabulary on their written responses. 20% of the students will respond at a higher level beyond description in (3 or more) of their similarities and differences responses.

The students will analyze and critique the work of Picasso and Matisse, and they will also apply these concepts and techniques to the creation of their own artwork. At the end of the unit, the students will complete a second T chart and the results will be compared to their first one. In order to appreciate the significance of these two artists and their artwork, one must be able to formulate their own opinion of the works.

Students will be able to describe what they see, and analyze and interpret what is actually in the work in terms of its expressive properties, and to make judgments about, the work's personal and social values. Their writing will reflect a greater investigation of the work of these two artists because they studied the work of the two artists and created their own paintings.


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Positive/Negative Black and White Art

VAD, grades 10-12, semester

The student demonstrates the ability to communicate in the language of VAD by evaluating and applying media, techniques, process and visual arts and design concepts to convey a specific feeling, idea, or meaning in a series of Pen & ink and Scratch Art drawings in order to create a series of art works with the common theme of texture in natural objects.

Describe the reasoning for this objective, including whether it is aligned to a school-wide SLO, and what data informed this decision. Both Pen & Ink and Scratch Art represent a 4 week

Positive/Negative unit, 2 weeks for each assignment. The advanced methods and techniques of

Pen & Ink and Scratchboard in Art II are evidence of students’ growth and development of Black

& White and Positive & Negative concepts carried over from Art I. In Art I students created a

Hands assignment using Pen & Ink techniques with Sharpie markers as the medium. This was the first entry into their Visual Arts Portfolio. Students in Art II advance their skills with black and white illustrations using quill pens and liquid ink. Scratch Art also allows them to apply the concepts in a new way and further their studies of Positive/Negative concepts with a darker background and a white etching.

Aligned Standard VAD3 (9-12) Ext–1

Students demonstrate the ability to communicate in the language of

Visual Art and Design by… b. creating a unique solution for a visual art or design problem.

VAD 1 (9-12) –1


Design concepts by… b. generating, applying, revising, and evaluating strategies and techniques to address artistic problems d. documenting and evaluating personal progress through a portfolio of

Baseline Data self-created art work identifying strengths and weaknesses

VAD 1 (9-12) –2

Students demonstrate knowledge and skill of media, tools, techniques, and processes of Visual Art and Design by… b. demonstrating knowledge of vocabulary of media, techniques, and processes (e.g., digital, sculpture, found objects, assemblage

Many students participated in a visual arts class when they were in 9th grade at South Kingstown High School. Those students were exposed to introductory concepts of black &white art and Positive/Negative topics. Other students did not participate in visual art classes and have limited experience with black and white drawing. Discussions with the

Art I teachers and sharing what concepts were presented to the students


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Targets in their classes will serve as my baseline. Also looking back at student’s previous work from earlier art classes will be my baseline.

It is also important to mention that Art II is a mixed grade class of 10th,

11th, and 12th graders. Due to the mixed grades, survey information was meant to focus on necessary skills.

I learned that 67 % responded yes to information recall on positive/negative and 33% said no.

My target is as follows:



Of the 67% of students who responded yes, 20% of them will receive a 4 and 80% will receive a 3 on the new Art II positive/negative assignments.



Of the 33% of students who responded no, 80% of them will receive a 3 and 20% will receive a 2 on the new assignments.

Since some of my students have had experience with Black and White assignments and others have not, I have tiered my targets. Tiered targets are necessary to encourage rigor for all students. Through differentiated instruction, I will provide opportunities for students to work at their varying ability level, while challenging their newly acquired skills. Students will have multiple opportunities to practice and get feedback on their progress and will create Positive/Negative artwork with black/white scratch art. Students will have opportunities throughout the semester to receive extra help before and after school and weekly at art club.


VAD Assignment specific Rubrics for Pen & Ink and Rubrics for Scratch Art (Summative).

This SLO is based on two assignments for a total of four weeks total time.

The Visual Arts digital Fine Arts Portfolio will provide a guide for success for students.

Rubrics are handed out to students early on in the Unit.

VAD Assignment specific Rubrics for Pen & Ink and Rubrics for Scratch Art (Summative)

Rubrics for the Visual Arts are scored 4 down to 0.

Art II teacher is responsible for logging portfolio items completed into the electronic portfolio.

Students are advanced up one level and scoring is used to achieve the new portfolio level.



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Depth of Field Photography

VAD, grades 11,12, semester

Students will demonstrate knowledge of “depth of field” by comparing the effect of a variety of f-stops and evaluating which one best serves the focal point of the image.

As SLE A3 states, “All students will meet performance standards for technology literacy in their class” in order to fulfill their SKHS portfolio requirement. In photography, an understanding of

“depth of field” and how it is used is required for all students who produce quality, wellcomposed images. In order to successfully show control over “depth of field”, students in photography must be knowledgeable and experienced with the manual settings of a camera

(specifically aperture) and how they are used to manipulate the focal point of a photograph.

Aligned Standard

Baseline Data

VAD 1 (9-12) –1


Design concepts by… a. applying a variety of selected VAD concepts for two- and three - dimensional works of art and interpreting and evaluating. b. generating, applying, revising, and evaluating strategies and techniques to address artistic problems d. documenting and evaluating personal progress through a portfolio of self-created art work identifying strengths and weaknesses


While most students have had experience with digital point and shoot cameras, very few have previous experience with digital SLR cameras and even less have experience using manual camera settings.

Based on the current student performance, 12% of the students show knowledge of manual camera settings and control over “depth of field”, while 88% of the students show some knowledge of manual camera settings but lack control over proper use of “depth of field”.

In addition, student works from the 2 projects leading up to our unit on


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Targets

“depth of field”, in which students have used manual camera settings, will serve as our baseline.

By the end of the semester (January) 20% of the students will show complete control of “depth of field” and use it to help enhance the focus and concept of the image, receiving a 4 (Exceeds Standards).

70% of the students will show control of “depth of field” and use it to help enhance the focus of the image, receiving a 3 (Meets Standards).

And the remaining 10% of students will show some control of “depth of field” and continue to work on creating a focus of the image, receiving a 2 (Approaches Standards)

Since most of my students have not had experience in “depth of field”,

I have tiered my targets. Through differentiated instruction, I will provide opportunities for students to work at their varying ability level, while challenging their newly acquired skills.


A series of photos that compares varied “depths of field”, in addition to a student reflection that evaluates which one best serves the focal point of the image will act as the assessment to measure student learning.

The classroom teacher will administer the “depth of field” project over the course of 10 class periods. Before the project is administered, there will be 2 days of guided instruction and 2 days where students will experiment with a variety of f-stops before choosing/photographing the subject matter of their project.

The series of photos exhibiting “depth of field” will be collected and scored by the classroom teacher based on a visual arts rubric supported by the Photography curriculum, Rhode Island

GSE’s, and SKHS SLE A3.



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Advanced Perspective Drawing

VAD, grade 12, year long

Students will create a unique solution for a perspective drawing by applying a variety of specific skills and techniques to illustrate the illusion of depth.

An understanding of perspective is needed for all art students who create representational drawings. In order to successfully convey the illusion of depth on a 2 dimensional surface, artist must be knowledgeable and experienced in basic fundamentals and principles of perspective. Once that knowledge is established, students are then able to apply new and more advanced concepts to create unusual perspectives such as dramatic lighting, extreme foreshortening, exaggeration, and distortion.



Design concepts by… a. applying a variety of selected VAD concepts for two- and three - dimensional works of art and interpreting and evaluating. b. generating, applying, revising, and evaluating strategies and techniques to address artistic problems c. using observation to develop a reasonably accurate visual representation of a variety of shapes, proportionally and in perspective d. documenting and evaluating personal progress through a portfolio of self-created art work identifying strengths and weaknesses


VAD 3 (9-12) –1 Students demonstrate the ability to communicate in the language of Visual Art and Design by… b. creating a unique solution for a visual art or design problem


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Baseline Data

Most all Art 4/ AP students participated on Art 1 and Art 2 at the high school before enrolling in Art 4/AP studio Art. During these courses, students were exposed to introductory concepts of one-point and two- point perspective. Discussions with the art 1 and art 2 teachers in our department and sharing what concepts were presented to the students in their classes will serve as the baseline. These teachers will also be providing student work samples of perspective drawings the students created in those classes.

Targets All of my students will create a perspective drawing using one or 2 point perspective. In addition to traditional perspective concepts, 50% of the students will use foreshortening to create depth and mood and their drawings. 50% of the students apply perspective concepts in a new way by “breaking the rules” of perspective by emphasizing concepts such as extreme foreshortening, exaggeration, and/or distortion to create a unique solution for their drawings. The drawings will be scored using the AP Quality Drawing Rubric which is an adaptation of the AP College Board rubric.

All of my students have had some experience in perspective drawing at varying degrees of complexity and success. I have tiered my targets through differentiated instruction. I will provide opportunities for students to work at their varying ability level, while challenging their understanding and interpretation of perspective.




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Student Learning Objective Examples – Theater Arts

Drama I: Theatrical Performance Skills

Theater Arts, grade 9-12, semester

Students will demonstrate through a final “performance” project the theatrical skills that have been learned throughout the semester. This is a mastery goal.

I have chosen this objective because basic performance skills enhance communication skills

(overall). Not only will my students demonstrate that they have grasped major skills and concepts learned throughout the semester but they can prove synthesis through performance based tasks. This is a life skill that will be critical for interviews, jobs, public speaking, and leadership roles.

Aligned Standard

Baseline Data

SLE: A2, A4, National Theater Ed. Standards: Content Standard #2

(Acting by developing, communicating and sustaining characters.)

It has been my experience through teaching students of this age group that theatrical, performance concepts are not understood. I also conduct a short interview of each student during the first meeting of the class to give me insights into the vocal ability and experience of each student.

Targets At the conclusion of semester 1, 90% of my drama I students will demonstrate “proficiency” and 10% will show “developing” in performance skills such as vocal projection, clear diction, and character development (through a final performance). Student progress will be monitored (throughout the semester) through daily or weekly

(depending on skill instructed) performance tasks which use rubrics as a point of assessment.

I feel that the 90% proficiency/10% developing rate is an appropriate yet challenging goal for me professionally. I tend to have smaller class sizes and highly motivated students, so this goal is attainable. I think that this is an appropriate target because the students will be practicing individualized and small group tasks throughout the semester, and the final performance should be something that the students are readily able to accomplish. I based my 90% proficiency/10% developing rate on past student performance data from 2010-2011 & 2011-2012 school years (as a baseline).



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Benchmark data will be collected through developmental performance tasks with rubrics for student analysis and teacher grading. The final performance task will also be graded with a rubric and a student written self evaluation/critique.

Performance of project and use of appropriate rubric.

Assessment graded by teacher.

Student written assessment of the development and implementation of the final performance project that will demonstrate performance skills.



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Scene Study

Theater Arts, grade 9-12

Students will develop a character as part of a duet or group scene that showcases vocal characteristics techniques and movement to demonstrate the physical, social psychological dimensions of the character.

Many students enroll in Drama with the belief that reading the lines and speaking with a loud voice are the two most important elements of acting. One of the core goals of Theatre class is to both broaden and deepen students' understanding of the range of techniques and craft needed to effectively embody a character on stage.

Aligned Standard 1.2.1 Create characters using body, facial expression, and voice; demonstrate an understanding of stage directions and the purpose of set, lights, costume, properties, and space.

3.2.1 Demonstrate through drama common subjects, themes and characters from different cultures and historical periods.

5.2.1 Recognize that discipline, responsibility, creative thinking and cooperation in group projects are key to success in the arts, the

Baseline Data

Targets workplace, or life.

Students have had no instruction in Theatre prior to Drama 1

80% of students will perform at or above a 3

The use of extensive modeling, critique and feedback will help increase student progress. While the standards set (80% of students will perform at or above a 3) are achievable since students will have roles correspondent with their ability. It is the teacher's responsibility to set students up to succeed and showcase their skills.




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Appendix

– Examples of Pre-Assessments

Evaluating Musical Performance Pre-Assessment

Grades K-2

What do you hear??

Directions: Circle what you hear in the musical example:

1.

LOUD

2.

QUIET/SOFT

3.

FAST SLOW

UNEVEN EVEN

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4.

HIGH SOUND LOW SOUND

5.

RHYTHM BEAT

Grades 3-4

Listening Test

In each box write a complete sentence describing what you hear in the musical example. Use the music vocabulary words listed.

1.

Dynamics (Fortissimo, Forte, Piano, Pianissimo, Crescendo, Decrescendo)

2.

Tempo (Allegro, Accelerando, Andante, Ritardando)

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3. Timbre: Families of Instruments (Brass, Percussion, Woodwinds, Strings)

Voices (Soprano, Bass)

4. Form (circle what you hear):

AABA AABB ABACA (Rondo)

Grades 5-6

Listening Test

In each box write a complete sentence describing what you hear in the musical example. Use the music vocabulary words listed.

1.

Dynamics (Fortissimo, Forte, Mezzo-forte, Mezzo-piano, Piano, Pianissimo, Crescendo,

Decrescendo)

2.

Tempo (Vivace, Allegro, Andante, Adagio, Largo, Accelerando, Ritardando,)

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3. Timbre: Names of specific instruments and voice parts ( eg. Soprano, Alto, Tenor, Bass)

4. Form: (ABACA (Rondo), Theme and Variations, 12-Bar Blues)

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Vocabulary Pre-Assessment

The following PDF files are copies of a vocabulary quiz created on quizlet.com. You can print this or print a clean copy by going to www.quizlet.com

. You will need to recreate it because it seems that we did not save it on the site. It is quick and easy to do if you are intuitive with technology. I will also attach a copy of the PDF files which you can print and reproduce.

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Accent

Allegro

Andante

A cappella

Accelerando

Aria

Augmented

Balance

Chromatic

Crescendo

Decrescendo

Diction

Dissonance

Diminuendo

Duet

Flat

Form

Forte

Fortissimo

Grave

Harmony

Intonation

Legato

Marcatto

Grades 9-12

The following assessment is an example of the type of test you can use to gain your baseline data. You may modify the example to align with your course content and grade span.

The following template can include a variety of vocabulary specific to the course and grade level

(general music grade 7, music theory grade 11 etc.)

1.

Have students complete the vocabulary test

In example the words in red are geared to grades 7-9 while italic words for grades 10-12

2.

Select an excerpt for the listening and analysis portion related to the course and grade level

Define the following music terms

Melody

Modulation

Ornementation

Ostinato

Piano

Pianissimo

Pizzicato

Phrase

Quartet

Rallentando

Ritartando

Sforzando

Staccato

Sharp

Solo

Syncopation

Texture

Tenuto

Triplet

Trio

Transition

Timbre

Vivace

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Dynamics

Listen to the following excerpt and analyze what you hear using music vocabulary.

Articulation, Bowing, Diction

Expression, Style, Phrasing

Tone Quality, Intonation

Tempo, Rhythm, Precision

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Music Literacy

Instructions to Teacher

Grades K-2

1.

Dictate three or four rhythmic patterns using notes, notes patterns, and meters from the GSEs for grades K-2

2.

Have students perform grade span appropriate (M3(K-2)-1 a or b) melodic patterns using either voice, body, or instrument.

3.

Using a musical staff manipulative, have students read/notate pitch patterns associated with

M1(K-2)-1c

Grades 3-4

1.

Dictate three or four rhythmic patterns using notes, notes patterns, and meters from the GSEs for grades 3-4

2.

Have students perform grade span appropriate (M3(3-4)-1 a or b) melodic patterns using either voice or instrument.

3.


M1(3-4)-1c

Grades 5-6

1.

Dictate three or four rhythmic patterns using notes, notes patterns, and meters from the GSEs for grades 5-6

2.

Have students perform grade span appropriate (M3(5-6)-1 a or b) melodic patterns using either voice or instrument.

3.


M1(5-6)-1c

Music Literacy Pre-Assessment Rubric K-6

Dictation

3 - Rhythm pattern accurately written

2 – One error made in writing

1 – More than one error made

0 – Student could not notate

Solfege

3 – Sings or plays correct syllables

2 – One syllable wrong

1 – Multiple errors

Performance

4 – All pitches & rhythms accurate

3 – 1 or 2 pitch/rhythm errors made

2 – Several errors made

1 – Performance did not sound as written

Music Literacy Pre-Assessment Grades 7-12

The following rhythm test is an example of the type of test you can use to gain your baseline data. You may modify the example to align with your course content and grade span.

Pre Assessment should consist of both a rhythmic and short performance test.

1.Give students a rhythm test according to course content and grade span

2. Have students play or sing a short excerpt from standard musical notation scored using a district-wide performance rubric

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Music Literacy SLO Pre-Assessment Rubric K-6

Dictation

3 - Rhythm pattern accurately written

2 – One error made in writing

1 – More than one error made

Solfege

0 – Student could not notate

3 – Sings or plays correct syllables

2 – One syllable wrong

1 – Multiple errors

Performance

4 – All pitches & rhythms accurate

3 – 1 or 2 pitch/rhythm errors made

2 – Several errors made

1 – Performance did not sound as written

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Observational Drawing Pre-assessment grades 1-2

Circle the smaller object. Circle the object that is larger.

Draw one square that is smaller and one square that is larger.

_____________ _____________

_______________________________________________________________

These are all examples of _____________________. a.

colors b.

lines c.

shapes d.

texture

Turn these lines into shapes.

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_____________________________________________________________

Circle the geometric shapes.

Color the object that looks closer.

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Observational Drawing Pre-assessment grades 3-4

Which picture shows the correct proportion?

Horizon

Line

Draw these three objects into the setting using correct proportion.

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A flat figure of enclosed space. a.

shape b.

c.

d.

form line value

Color all of the geometric shapes.

Draw and label 4 geometric shapes.

____________ ____________ ____________ ___________

Draw 1 freeform shape

Using these 3 shapes, draw all three overlapping.

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Look at the image below. Which object is closest to you? How do you know?

_______________________________________________________________

_______________________________________________________________

______________________________________________________

Which is farthest away? How do you know?

________________________________________________________________________

________________________________________________________________________

____________________________________________________________

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ELA Pre-Assessment grades 5-6

1.

Using art vocabulary, describe what you see in the painting below.

2.

Using art vocabulary, compare the two works of art below. How are they alike and how are they different?

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3.

What feeling or mood does the artist portray in the following two works of art

AND how do you know this?

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Observational Drawing Pre-assessment Grades 5-6

The relation of one object to another with respect to size is. Circle correct answer. a.

Value b.

Proportion c.

Texture d.

Contrast

__________________________________________________________

Look at the two photos above. Compare how proportion is used in these images.

___________________________________________________________________________________

___________________________________________________________________________________

___________________________________________________________________________________.

Draw the parts of the face in proportion. Include as many details as possible.

Element of art that refers to the darkness or lightness of a surface. Circle correct answer. a.

b.

c.

Value

Texture

Pattern

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d.

Shape

__________________________________________________________________

Use your pencil to shade the value scale below.

Lightest Darkest

______________________________________________________________________________

In the boxes above, use shading to make these objects look 3 dimensional.

A flat figure created when lines meet to enclose a space. Circle correct answer. a.

Shape b.

Form c.

Line d.

Value

In the boxes below, draw AND label five geometric shapes

.

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_____________ ____________ _____________ ____________ _____________

In the box below, draw ONE freeform shape.

Any 3 dimensional object that can be measured from top to bottom, side to side, and front to back. Length, width, height. Circle correct answer. a.

Shape b.

Value c.

Form d.

Pattern

Draw the following forms:

Cylinder Cube Cone Pyramid

Element of art referring to the empty or open area between, around, above, below, or within objects. Circle correct answer. a.

Space b.

Contrast

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c.

Value d.

Shape

Looking at the image below, describe how the artist created a sense of space.

_________________________________________________________________

_________________________________________________________________

In the space below, use the following shapes, draw an image of the three overlapping.

______________________________________________________________________________

Compare the two images below. Explain how the artists used space.

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____________________________________________________________

____________________________________________________________

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Written Response to Art Pre-Assessment grades 1-2

1.

Circle the art elements that you see in this work of art.

Line Shape Color Pattern Texture

2.

Look at the painting below. How would you finish the sentences using describing words?

The dog is ____________________________________.

The girl is _____________________________________.

The waves are ________________________________.

The man is ___________________________________.

3.

What do you think is going on in this work of art? Write a story all about it.

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Written Response to Art Pre-Assessment grades 3-4

1.

Using art vocabulary, describe what you see in the work of art below.

2.

Look at the two photos below. Using art vocabulary, explain how they are alike and how are they different.

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3.

Using art vocabulary, explain what feeling or mood you think the artist is trying to portray in the work of art below?

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Appendix – Meeting Notes

February 1, 2013 Gathering and Work Session

RI Arts Education Evaluation Project

Feb. 1, 2013 gathering and work session

Summary Notes

The meeting was held at the Warwick Public Schools Administration Building, 34 Warwick

Lake Avenue. In attendance:

Warwick

South Kingstown

URI

Anne Siesel, Erica Meyer, Tricia Kammerer, Brian Flynn,

Christopher Pratt, Kristin Noonan, Kristine Gervais, Patricia

Huntington, Catherine Davis-Hayes

Jennifer Collins, Ann Bianchi, Mary Beth Florenz, Caroline

Law, Christine Pierce, Sarah Mayo, Kim Mather

Valerie Baker

Sherilyn Brown, Mary Lee Partington RISCA/Arts Learning

Network

RIDE Jessica Delforge

UCLA Center X Laureen Avery, Lisa DiMartino

The overall purpose of this gathering was to take stock of the progress in each district, using the gathering to share lessons learned and brainstorm solutions to common challenges.

The day began with introductions from all participants. The Cumberland School District was not represented, they indicate they are unable to continue with this work at this time. Sherry

Brown, Education Director for the RI State Council on the Arts (the funding agency) shared her impressions with the work done to date, underscoring the accomplishments of the group. She reminded the group of the question driving this work:

What does fair and effective evaluation for arts educators look like?

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The draft Multi-State SLO Rubric was distributed, and participants watched a short webinar from the NYS Department of Education on how to use this rubric to assess the quality and utility of SLOs. This draft rubric was developed by a national SLO Work Group convened by the Reform Support Network (RSN) that includes representatives from many of the Race to the

Top States, including Rhode Island. The goal of the effort was to produce a rubric that multiple states can use to evaluate the quality of SLOs.

The next block of time was devoted to a coaching duos process – a facilitated discussion where each district presented the highlights of their process and products to date and received targeted feedback from the group, potentially used to improve their next steps. Warwick and

South Kingstown are substantively different districts, and each approached the process differently.

South Kingstown presented first, highlighting the fact that there is no district-wide arts supervisor so all SLO evaluation is done by the principal. All arts educators in the district have been invited to participate, although some of chosen to develop SLOs somewhat in isolation. Elementary arts teachers have common planning time, and this was helpful to their process (secondary arts teachers do not). The majority of group work has been done during district work days.

South Kingstown has completed and is implementing SLOs for music (grades 1, 5, 6, and high school) and visual arts (grades 5, 6 and high school). The VAD SLOs include photography.

South Kingstown has also developed a high school level theater arts SLO.

SLOs have developed a number of unique features, including a holistic assessment. South

Kingstown arts educators are investigating and applying developmental levels to their standards as well.

The Warwick district presented next. Overall their process appears more centralized and standardized, bolstered by the presence of a district wide arts leader. One distinguishing feature of the Warwick SLOs is a requirement that they be tied to Common Core standards in

ELA or Math.

Warwick has completed and is implementing SLOs for music performance and literacy. In the visual arts domain, SLOs have been created for observational drawing and written response to art. Warwick has settled on coordinated SLOs in the visual arts (2) and music (2), though these are suggested and not mandated. The belief is that this will help focus on skills that build over the educational span for students. Warwick is focused on developing rubrics and common tasks for all grade levels at this point.

A unique feature of the Warwick products is a focus on using a standardized-type preassessment (multiple choice assessments) paired with a portfolio or task assessment as a summative post-test.

Following lunch, participants broke into grade and subject alike groups to score student work.

Mixed district pairings made this a particularly rich exercise. Educators found this a worthwhile exercise that provided useful feedback to improve the rubrics and processes they are using.

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During the course of the day a number of useful resources were shared, including a demonstration and discussion of the RI Arts Passport project and site, which launches on

Monday, February 4. http://www.riartspassport.com/

Anne Siesel also shared a website from Washington State with a variety of performance assessments for the arts. The Warwick group found this a useful resource as they developed their SLOs. http://www.k12.wa.us/Arts/PerformanceAssessments/default.aspx

Jessica Delforge clarified that “low” assessment is not an inferior choice, and can often be appropriate. She also stated that her RIDE team is in the process of sorting out the issues they are hearing about into problems with the model vs. problems with administrator training in using the model.

Overall, the day featured a wide-ranging and open discussion of the SLO process and products. There were a number of questions raised and discussed, with potential solutions and approaches discovered during this project. Sherry Brown noted that this discussion, along with additional findings from the remainder of the school year, need to become part of the project’s final public document.

Questions discussed included:



Has Rhode Island adopted the multi-state rubric? Does RIDE plan to do so?



The National Coalition for Core Arts Standards (NCCAS) has released a narrative framework document that details the rationale, goals, and strategy of the new National

Standards for Arts Education that are currently being written by five arts discipline teams in dance, media arts, music, theatre, and visual arts. What is the anticipated impact on the RI GSEs? The timeline?



How skilled are administrators in using SLOs to evaluate arts educators

– in terms of using SLOs, and in terms of understanding best practices in arts education?



Has anyone discussed the purpose of the pre-assessments with students? What has their reaction been, and how has this impacted your instruction?



How do you choose which class or course to focus on? What guidance or regulations apply to this decision? Is there a ‘right’ group of students to select?



How do you handle special populations, for example groups of students with severe and profound disabilities, that you may not expect to reach standards? Is there a place for alternate assessments in the SLO framework?



How can SLOs be used to promote or provide incentives for teacher growth and exploration, i.e. setting ‘stretch’ goals that they may not achieve but would learn from.



What is the process of setting targets? Is it a negotiation or agreement between the teacher and the administrator, or more uni-directional?

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

What role does collecting student work over time play vs. using calibrated tasks?



How does the process differ for arts educators who see students over multiple years vs. those who do not? How do mixed grade levels in one class fit into this process?

 How can you do assessment that doesn’t take away from already extremely limited instructional time in the arts? What is authentic assessment in the arts that also meets

RIDE expectations?

 How do we document and “count” student learning that occurs outside the rubrics and assessment, either because it is unexpected or exemplary?



How can the work of this group help improve the process for other arts educators, and how can what we have learned be scaled up?



How can you appropriately determine baseline data when no previous data exists?

What do you do when you start at ‘zero point’?



How do we define low, medium and high levels of rigor with assessments? What guidance or regulations apply here?



Does tying SLOs to common core standards in math or ELA translate instructionally and have an effect on how you teach, what you teach, or if you collaborate with teachers in other subject areas? Is this a meaningful activity without developing a deeper understanding of the common core standards among arts educators?



Can SLOs be tied to common core performance standards, such as persevering with a problem and attention to detail (as opposed to, or in addition to, content standards)?



How do you balance compliance with growth and creativity in this process?

The day concluded with a discussion of potential next steps. Participants were asked:

Are you comfortable that you have chosen an SLO that represents something meaningful and authentic in your classroom?

All present agreed they had.

Participants were asked to complete the RIDE survey on teacher evaluation if they have not done so yet: http://www.ride.ri.gov/EducatorQuality/EducatorEvaluation/EdEvalAnnounce.aspx

Sherry Brown reiterated the grant expectations for the districts – to complete their work and

‘finish the booklet’ of SLOs by the end of this school year. All should be thinking about potential next steps to promote and scale up this work.

Potential next steps:

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

Jessica Delforge (and RIDE) could be available to visit districts and participate in discussions on the guidance and regulations related to the SLO process. She could provide feedback on developed SLOs as part of this process.



RIDE and the RI Arts Learning Network expect to share the materials developed statewide, and beyond. This was part of the project design at the beginning.



RIDE should consider the addition of evaluating arts educators to the administrator training modules.



Participating districts would like additional clarification on some of the issues and questions raised today about rubrics and other pertinent items.



Consider an end of the year gathering (afternoon) to discuss and plan next steps

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February 19, 2013

RI Arts Education Evaluation Project

Feb. 19, 2013 follow up meeting

Summary Notes

The meeting was held at the Rhode Island State Council on the Arts (RISCA) offices, from 2-5.

In attendance:

Sherilyn Brown, Mary Lee Partington RISCA/Arts Learning

Network

RIDE Jessica Delforge

UCLA Center X Laureen Avery, Lisa DiMartino

The overall purpose of this gathering was to follow up on questions raised by educators at the

February 1, 2013 gathering and work session. The responses below represent a first draft of answers to questions posed, noting that RIDE is continuing to refine the process and additional documents and final answers may become available in June 2013. Educators are reminded that this is a process that they should be active partners in and may have to advocate for themselves at various points.

Updates from RIDE:

RIDE will be conducting trainings for evaluators of teachers, as a follow up to the existing trainings. The end of the year process focuses on scoring individual SLOs, highlighting two different SLOs. RIDE would like to highlight an arts SLO for this training. Jessica Delforge will reach out to Anne Siesel from Warwick Public Schools, and Jennifer Collins from South

Kingstown Public Schools for input from the teams on the SLO to be used.

RIDE is in the process of creating guidance and training to specifically address challenges associated with the development of SLOs. Training will be done online, utilizing an interactive e-module format. Districts are responsible for facilitating conversations and questions around the issues and processes. Summer training will also be focused on the creation of online modules for access by evaluators AND teachers.

The RIDE survey on teacher evaluation has been closed. RIDE is analyzing the results and will be developing messages, summaries, and changes to the process based on feedback.

More than 200 arts educators completed the survey.

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Questions and Answer:

(Please make sure to reference the RIDE FAQ site as well, http://www.ride.ri.gov/EducatorQuality/EducatorEvaluation/RIModelFAQ.aspx

)

Q: Has Rhode Island adopted the multi-state rubric? Does RIDE plan to do so?

A: RI has been integrally involved in creating the rubric, and RIDE is part of the multi-state

SLO group. RI has taken a more grassroots approach to SLO development than many other states. The rubric remains a resource for Rhode Island educators who wish to use it.

The rubric is still in development. RI may end up adapting or creating a model for the state that is more in keeping with the flexibility of our SLO design process.

An SLO Quality Check Tool that has many similarities has been up on our site since the beginning of the school year and can be accessed at: http://www.ride.ri.gov/EducatorQuality/EducatorEvaluation/Docs/SLO_quality_check_tool.p

df

Q: The National Coalition for Core Arts Standards (NCCAS) has released a narrative framework document that details the rationale, goals, and strategy of the new National

Standards for Arts Education that are currently being written by five arts discipline teams in dance, media arts, music, theatre, and visual arts. What is the anticipated impact on the RI

GSEs? The timeline?

A: NCCAS’s timeline is to have substantive portions of the standards in draft form ready for public review by June 2013. A web-based first version of the national standards is projected for September 2013. However, the RI Regents-approved Arts Grade Span Expectations, as well as the new national core arts standards, will both be appropriate for use in developing student learning objectives, curriculum, and assessment for at least the 2013-14 school year, and most likely beyond.

Q: How skilled are administrators in using SLOs to evaluate arts educators

– in terms of using

SLOs, and in terms of understanding best practices in arts education?

A: RIDE’s online modules and trainings coming up for the summer intends to build the knowledge of arts education practice, with a training focus on looking for good education practices. Teacher observations are comprised of 8 components; teachers get narrative feedback as well as being scored using a rubric.

We strongly suggest teachers have a conversation about best practice in arts education and good teaching with their evaluator prior to observation. Educators are encouraged to talk about it in terms of critical attributes and possible examples aligned with the observation rubric. Educators are encouraged to advocate for their own work and educate others, as well as advocating for this proactive preparation to be incorporated into the overall SLO process. Help your administrator understand what they may see in your classroom. Talk to your principal, work with your DEC (District Evaluation Committee) or

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central office staff. Let RIDE know if you think this should be incorporated into the process.

Check FAQs on the RIDE website for clarification on state policy.

Q: Has anyone discussed the purpose of the pre-assessments with students? What has their reaction been, and how has this impacted your instruction?

A: RIDE is developing guidance and training on pre- and post-assessments and best practices around them.

Q: How do you choose which class or course to focus on? What guidance or regulations apply to this decision? I s there a ‘right’ group of students to select?

A: The goal is to capture the majority of the students you teach. For example, if you teach multiple sections of a course you should include them all, and include all the students in the class. For teachers serving multiple schools, the principals should work together and with the educator to create an arrangement that works, whether that includes splitting the evaluation responsibilities, or focusing on students in one school based on the context of the situation, or another solution. This is ultimately a district decision.

Q: How do you handle special populations, for example groups of students with severe and profound disabilities, that you may not expect to reach standards? Is there a place for alternate assessments in the SLO framework?

A: Yes, alternate assessments are appropriate. It is also appropriate to use multiple evidence sources or tiered expectations. Teachers craft targets based on the students in front of them, so they should be able to craft targets that are appropriate for them.

Q: How can SLOs be used to promote or provide incentives for teacher growth and exploration, i.e. setting ‘stretch’ goals that they may not achieve but would learn from.

Q: How do you balance compliance with growth and creativity in this process?

A: Teachers should work with evaluators to set goals that are both rigorous and attainable.

RIDE is continuing to examine all aspects of the SLO process as it is implemented in RI, as well as explore other processes in different states. RIDE welcomes feedback on this particular concept and the evaluation team can always be reached at edeval@ride.ri.gov

.

Q: What is the process of setting targets? Is it a negotiation or agreement between the teacher and the administrator, or more uni-directional?

A: Guidance for sett ing targets can be found in RIDE’s Teacher Evaluation and Support

System Guidebook , starting on page 35. Additional supports for the target-setting process are currently being developed. Teachers are responsible for gathering baseline evidence and making determinations of where students should be at the end of the term, to be prepared to move onto to the next level or task. Targets are then submitted to their evaluator, who is responsible for approving SLOs. “80-20” is one model but not the only approach to setting targets, and may not be appropriate for arts educators.

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Q: What role does collecting student work over time play vs. using calibrated tasks?

A: Teachers can use portfolios as their evidence base with an accompanying rubric.

Q: How does the process differ for arts educators who see students over multiple years vs. those who do not? How do mixed grade levels in one class fit into this process?

A: Targets should be set appropriately based on the learning expected. Holistic assessment for a group is a good example of a format that may be comfortable and appropriate for a music teacher.

Q: How can you do assessment that doesn’t take away from already extremely limited instructional time in the arts? What is authentic assessment in the arts that also meets RIDE expectations?

A: Student work, portfolio, exhibition, and holistic approaches are all acceptable. The SLO is documentation of the curriculum and assessment that you are already doing . Time is limited, more limited for some courses and classes than others (for example, a class that only meets on Mondays when there are often holidays). You need to ensure targets are appropriate. There is an opportunity to adjust targets mid-year based on a discussion between the evaluator and teacher. Evaluators need to take note of things like excessive absence, a class that has only been able to meet infrequently, or a lack of basic materials and equipment.

Q: How do we document and “count” student learning that occurs outside the rubrics and assessment, either because it is unexpected or exemplary?

A: Different models for rubrics exist, in some the highest level is ‘meets expectations’, in others the highest level is ‘exceeds expectations’.

This may be a philosophical discussion in your district and a decision needed on which model to use. This discussion may also impact how student targets are set, since they need to be aligned with the rubric.

Q: How can the work of this group help improve the process for other arts educators, and how can what we have learned be scaled up?

A: This work is already impacting model refinement and the development of guidance and training at RIDE. RIDE will utilize the SLO samples developed by the arts educators and will continue to work with the team and arts educators statewide.

Q: How can you appropriately determine baseline data when no previous data exists? What do you do when you start at ‘zero point’?

A: RIDE is developing additional guidance and training on best practice for target setting to address this. Historical data is one way of collecting baseline information on students.

Creating pre- and post-assessments that are not appropriate to the arts does not make sense and is not required. Recording that a student has no prior learning in an art form, in or out of school, may be an important point to note as part of the baseline data.

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Arts educators are encouraged to assess prior knowledge in ways that are authentic to the arts, and that they already use.

Q: How do we define low, medium and high levels of standardization with assessments? What guidance or regulations apply here?

A: This item was just meant to provide background for the evaluator (i.e.- Is this an off the shelf assessment or a yearlong research project done in a classroom? ) High levels of standardization do not relate to high levels of quality – it just provides a frame for discussion between the teacher and evaluator. You should be using assessments that are appropriate in your arts classroom and that align with your Objective Statement.

Q: Does tying SLOs to common core standards in math or ELA translate instructionally and have an effect on how you teach, what you teach, or if you collaborate with teachers in other subject areas? Is this a meaningful activity without developing a deeper understanding of the common core standards among arts educators?

A: The Common Core State Standards provide a window into potential arts integration. It is up to the district to decide if arts integration is an effective strategy in the arts.

Q: Can SLOs be tied to common core performance standards, such as persevering with a problem and attention to detail (as opposed to, or in addition to, content standards)?

A: Again, this provides a good opportunity to work towards arts integration. Each district will need to decide if the performance standards can be incorporated into their EPSS system. Teachers can write these in as additional standards if they do not appear in the drop down menu.

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Student Learning Objective Examples – Theater Arts

RI Arts Educators

Teacher Evaluation Demonstration Project

2012-2013

Participating Districts: Cumberland, RI

South Kingstown, RI

Warwick, RI

Introduction

Measuring Student Progress and Outcomes in the Arts

How do arts educators determine priority content standards for SLOs?

What quantitative baseline data do arts educators use to determine rigorous targets for student learning?

What common tools are available to arts educators to measure and communicate student learning?

What sources of evidence do arts educators use to measure student learning?

Development of Student Learning Objectives

– Guidance from RIDE

Student Learning Objective Examples - Music

Evaluating Music Performances

Music

Music Literacy

Music

Beat Competency

Music, Grade 1, year long

Rhythmic Patterns

Music, grade 1, year long

Building And Applying A Descriptive Musical Vocabulary

Music, Grade 4, year long

Instrumental Music Performance Fluency

Music, Grade 5, year long

General Music Composition

Music, Grade 6, year long

Playing the Recorder

Music, grade 3, year long

Elements of Proficient Recorder Performance

Music, grade 3, year long

I’ve Got Rhythm

Choral Music, High School, year long

Musical Blog – Let’s Talk Relationships

Music, High School, year long

Guitar Basic Proficiency and Performance Skills

Music, High School, semester

Student Learning Objective Examples - VAD

Observational Drawing

VAD

VAD, grade 9-12

VAD, High School

Drawing from Observation, grade 2 year long

Written Response to Art

VAD

Comparing Work, grade 4, year long

Visual Storytelling

VAD, grade 5, year long

Visual Storytelling Rubric

Self-Portrait

VAD, grade 6, semester

Self Portrait Rubric

Photoshop Selection Tool Mastery

VAD, grade 9-12

Perspective Drawing

VAD, High School, semester

Visual Arts Rubric

Picasso/Matisse Paint Off

VAD, grades 10-12, semester

Positive/Negative Black and White Art

VAD, grades 10-12, semester

Depth of Field Photography

VAD, grades 11,12, semester

Advanced Perspective Drawing

VAD, grade 12, year long

Student Learning Objective Examples – Theater Arts

Drama I: Theatrical Performance Skills

Theater Arts, grade 9-12, semester

Scene Study

Theater Arts, grade 9-12

Appendix

– Examples of Pre-Assessments

Evaluating Musical Performance Pre-Assessment

What do you hear??

Grades 3-4

Listening Test

In each box write a complete sentence describing what you hear in the musical example. Use the music vocabulary words listed.

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