GRADE STRAND 6-8
DISPOSITIONS
Collaboration
Flexibility
Goal Orientation
Inquisitiveness
Openness and respect for the ideas and work of others
Responsible risk-taking
Self-Reflection
Self-discipline and Perseverance
CREATING
Imagine
Generate and conceptualize artistic ideas and work.
Standard: MU:Cr1.1.8a
Generate rhythmic, melodic and harmonic phrases and harmonic accompaniments within expanded forms
(including introductions, transitions, and codas) that convey expressive intent
Enduring Understanding
The creative ideas, concepts, and feelings that influence musicians’ work
emerge from a variety of sources.
Essential Question
How do musicians generate creative ideas?
Knowledge:
Skills:
Structure – In order to create and imagine Grades 6-8 might not need a
strong working knowledge of music notation and theory in its symbolic
form, however, they would need to have a developing understanding of it
aurally. This would enable them to manipulate rhythm, pitch, timbre,
dynamics and other elements of music in original creative ways.
Performing: Students will be able to sing, play (on all kinds of musical
instruments including those widely accepted as traditional classroom
instruments as well as those in emerging areas of music education such
as computers, tablets, phone apps and other emerging media). Students
will also express through movement. Movement is integrally woven to
sound and should be considered an essential skill to the performance
Context: In order to create and imagine Grades 6-8 would want to situate
or contextualize their musical expressions within a social sphere. Perhaps
a micro sphere such as their own context, or a more macro sphere such
as a larger cultural group. It is important to also contextualize within time
frames as culture is wedded to time period.
Creating: Improvisation, arranging and composition are essential skills to
creation. This may happen on paper, software or collaboratively in sonic
spaces with the assistance of recording media. Creation is often also
wedded to performance such as improvisation.
Evaluation Criteria: To evaluate Grades 6-8, teachers would look for
originality in ideas and relevance in students’ lives. If a musical idea
Aural & notational skills: melodic, rhythmic, harmonic through various
modalities including reading, listening, responding to aural stimuli and
“writing” such as codifying ideas in script on paper or other software type
Knowledge and Skills
6-8
page 1
created by a student seems important and meaningful to that student and
also demonstrates some understanding and mastery of musical elements,
the teacher might find this evaluation sufficient. It is important to note that
each context will be unique and teachers should not expect to find
evaluation such a simple process. Students will be exercising their
originality and individuality and uniformity should not be an end product.
Teachers must remain open to possibilities during the evaluation process.
Rubrics might assist, so long as the rubrics cast a wide enough net to
capture the unique nuances of each students’ musical creativities.
media. Aural skills imply an ability to “speak a language” and thus a
speaker might need to have a working vocabulary that facilitates
discussion and sharing. This should not be limited to words only. For
instance, a musical student should be able to communicate musically with
another musical student using supporting harmonies, melodies and other
forms of musical dialoging. Also, sounds might be recorded via MIDI,
audio or other pathways not limiting the idea of notational skills to staffs on
paper as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe historically)
also (as a way of advancing music education forward we should remain
open to new kinds of aural and notational skills that represent new musics
and musicianships where instruments and sounds that are emerging
and/or undiscovered still have opportunities for representation in contexts
such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers might be
able to assist in evaluating the clarity and accuracy of aural and notational
skills remaining open to new emerging possibilities. Students might be
able to come up with new kinds of notation. This should be encouraged
particularly in students who might have limited exposure to standardized
notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Knowledge and Skills
6-8
page 2
Plan and Make
Select musical ideas for various purposes and contexts.
Standard: MU:Cr2.1.8a
Select, organize, and document personal musical ideas for arrangements, songs, and compositions within
expanded forms that demonstrate tension and release, unity and variety, balance, and convey expressive
intent
.
Enduring Understanding
Musicians’ creative choices are influenced by their expertise, context, and
expressive intent.
Essential Question
How do musicians make creative decisions?
Knowledge:
Skills:
Structure – In order to plan and make Grades 6-8 might not need a strong
working knowledge of music notation and theory in its symbolic form,
however, they would need to have a developing understanding of it
aurally. This would enable them to develop pathways to both plan and
make musical decision
Performing: Students will be able to sing, play (on all kinds of musical
instruments including those widely accepted as traditional classroom
instruments as well as those in emerging areas of music education such
as computers, tablets, phone apps and other emerging media). Students
will also express through movement. Movement is integrally woven to
sound and should be considered an essential skill to the performance
Context: In order to plan and make Grades 6-8 would want to situate or
contextualize their musical plans within a social sphere. Perhaps a micro
sphere such as their own context, or a more macro sphere such as a
larger cultural group. It is important to also contextualize within time
frames as culture is wedded to time period.
Evaluation Criteria: To evaluate Grades 6-8, teachers would look for
planning and making of musical ideas that engage and excite students
motivating them in ways that seem relevant in students’ lives. If a musical
idea planned or made by a student seems important and meaningful to
that student and also demonstrates some understanding and mastery of
musical elements, the teacher might find this evaluation sufficient. It is
important to note that each context will be unique and teachers should not
expect to find evaluation such a simple process. Students will be planning
and making music as individuals and uniformity should not be an end
product. Teachers must remain open to possibilities during the evaluation
process. Rubrics might assist, so long as the rubrics cast a wide enough
net to capture the unique nuances of each student’s musical creativities.
Creating: Improvisation, arranging and composition are essential skills to
creation. This may happen on paper, software or collaboratively in sonic
spaces with the assistance of recording media. Creation is often also
wedded to performance such as improvisation.
Aural & notational skills: melodic, rhythmic, harmonic through various
modalities including reading, listening, responding to aural stimuli and
“writing” such as codifying ideas in script on paper or other software type
media. Aural skills imply an ability to “speak a language” and thus a
speaker might need to have a working vocabulary that facilitates
discussion and sharing. This should not be limited to words only. For
instance, a musical student should be able to communicate musically with
another musical student using supporting harmonies, melodies and other
forms of musical dialoging. Also, sounds might be recorded via MIDI,
audio or other pathways not limiting the idea of notational skills to staffs on
paper as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe historically)
also (as a way of advancing music education forward we should remain
open to new kinds of aural and notational skills that represent new musics
and musicianships where instruments and sounds that are emerging
and/or undiscovered still have opportunities for representation in contexts
such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers might be
able to assist in evaluating the clarity and accuracy of aural and notational
skills remaining open to new emerging possibilities. Students might be
able to come up with new kinds of notation. This should be encouraged
particularly in students who might have limited exposure to standardized
notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Standard: MU:Cr2.1.8b
Use standard and/or iconic notation and/or audio/ video recording to document personal rhythmic phrases,
Knowledge and Skills
6-8
page 3
melodic phrases, and harmonic sequences.
.
Enduring Understanding
Musicians’ creative choices are influenced by their expertise, context, and
expressive intent.
Essential Question
How do musicians make creative decisions?
Knowledge:
Skills:
Structure – In order to plan and make Grades 6-8 might not need a strong
working knowledge of music notation and theory in its symbolic form,
however, they would need to have a developing understanding of it
aurally. This would enable them to develop pathways to both plan and
make musical decision
Performing: Students will be able to sing, play (on all kinds of musical
instruments including those widely accepted as traditional classroom
instruments as well as those in emerging areas of music education such
as computers, tablets, phone apps and other emerging media). Students
will also express through movement. Movement is integrally woven to
sound and should be considered an essential skill to the performance
Context: In order to plan and make Grades 6-8 would want to situate or
contextualize their musical plans within a social sphere. Perhaps a micro
sphere such as their own context, or a more macro sphere such as a
larger cultural group. It is important to also contextualize within time
frames as culture is wedded to time period.
Evaluation Criteria: To evaluate Grades 6-8, teachers would look for
planning and making of musical ideas that engage and excite students
motivating them in ways that seem relevant in students’ lives. If a musical
idea planned or made by a student seems important and meaningful to
that student and also demonstrates some understanding and mastery of
musical elements, the teacher might find this evaluation sufficient. It is
important to note that each context will be unique and teachers should not
expect to find evaluation such a simple process. Students will be planning
and making music as individuals and uniformity should not be an end
product. Teachers must remain open to possibilities during the evaluation
process. Rubrics might assist, so long as the rubrics cast a wide enough
net to capture the unique nuances of each student’s musical creativities.
Creating: Improvisation, arranging and composition are essential skills to
creation. This may happen on paper, software or collaboratively in sonic
spaces with the assistance of recording media. Creation is often also
wedded to performance such as improvisation.
Aural & notational skills: melodic, rhythmic, harmonic through various
modalities including reading, listening, responding to aural stimuli and
“writing” such as codifying ideas in script on paper or other software type
media. Aural skills imply an ability to “speak a language” and thus a
speaker might need to have a working vocabulary that facilitates
discussion and sharing. This should not be limited to words only. For
instance, a musical student should be able to communicate musically with
another musical student using supporting harmonies, melodies and other
forms of musical dialoging. Also, sounds might be recorded via MIDI,
audio or other pathways not limiting the idea of notational skills to staffs on
paper as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe historically)
also (as a way of advancing music education forward we should remain
open to new kinds of aural and notational skills that represent new musics
and musicianships where instruments and sounds that are emerging
and/or undiscovered still have opportunities for representation in contexts
such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers might be
able to assist in evaluating the clarity and accuracy of aural and notational
skills remaining open to new emerging possibilities. Students might be
able to come up with new kinds of notation. This should be encouraged
particularly in students who might have limited exposure to standardized
notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Knowledge and Skills
6-8
page 4
Evaluate and Refine
Evaluate and refine selected musical ideas to create musical work(s) that meet appropriate criteria.
Standard: MU:Cr3.1.8a
Evaluate their own work by selecting and applying criteria including appropriate application of compositional
techniques, style, form, and use of sound sources.
.
Enduring Understanding
Musicians evaluate, and refine their work through openness to new ideas,
persistence, and the application of appropriate criteria.
Essential Question
How do musicians improve the quality of their creative work?
Knowledge:
Skills:
Structure – In order to evaluate and refine Grades 6-8 might not need a
strong working knowledge of music notation and theory in its symbolic
form, however, they would need to have a developing understanding of it
aurally. This would enable them to develop pathways to both plan and
make musical decisions. Students should be encouraged to explore
possibilities and note be limited by musical traditions that represent only
certain histories or cultures. Therefore, criteria should be broad to include
representation of compositional techniques, styles and forms from various
cultures and histories.
Performing: Students will be able to sing, play (on all kinds of musical
instruments including those widely accepted as traditional classroom
instruments as well as those in emerging areas of music education such
as computers, tablets, phone apps and other emerging media). Students
will also express through movement. Movement is integrally woven to
sound and should be considered an essential skill to the performance
Creating: Improvisation, arranging and composition are essential skills to
creation. This may happen on paper, software or collaboratively in sonic
spaces with the assistance of recording media. Creation is often also
wedded to performance such as improvisation.
Context: In order to evaluate and refine Grades 6-8 would want to situate
or contextualize their music within a social sphere. Perhaps a micro
sphere such as their own context, or a more macro sphere such as a
larger cultural group. It is important to also contextualize within time
frames as culture is wedded to time period.
Evaluation Criteria: To evaluate Grades 6-8, teachers would look for
students to evaluate and refine musical ideas in ways that engage and
excite students motivating them in ways that seem relevant in students’
lives. If a musical idea planned or made by a student seems important and
meaningful to that student and also demonstrates some understanding
and mastery of musical elements, the teacher might find this evaluation
sufficient. It is important to note that each context will be unique and
teachers should not expect to find evaluation such a simple process.
Students will be planning and making music as individuals and uniformity
should not be an end product. Teachers must remain open to possibilities
during the evaluation process. Rubrics might assist, so long as the rubrics
cast a wide enough net to capture the unique nuances of each student’s
musical creativities.
Aural & notational skills: melodic, rhythmic, harmonic through various
modalities including reading, listening, responding to aural stimuli and
“writing” such as codifying ideas in script on paper or other software type
media. Aural skills imply an ability to “speak a language” and thus a
speaker might need to have a working vocabulary that facilitates
discussion and sharing. This should not be limited to words only. For
instance, a musical student should be able to communicate musically with
another musical student using supporting harmonies, melodies and other
forms of musical dialoging. Also, sounds might be recorded via MIDI,
audio or other pathways not limiting the idea of notational skills to staffs on
paper as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe historically)
also (as a way of advancing music education forward we should remain
open to new kinds of aural and notational skills that represent new musics
and musicianships where instruments and sounds that are emerging
and/or undiscovered still have opportunities for representation in contexts
such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers might be
able to assist in evaluating the clarity and accuracy of aural and notational
skills remaining open to new emerging possibilities. Students might be
able to come up with new kinds of notation. This should be encouraged
particularly in students who might have limited exposure to standardized
notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Standard: MU:Cr3.1.8b
Knowledge and Skills
6-8
page 5
Describe the rationale for refining works by explaining the choices, based on Evaluation Criteria criteria
.
Enduring Understanding
Musicians evaluate, and refine their work through openness to new ideas,
persistence, and the application of appropriate criteria.
Essential Question
How do musicians improve the quality of their creative work?
Knowledge:
Skills:
Structure – In order to refine musical works, it is important to first define
what a work is. A work need not be written down on standard notation.
Also, grades 6-8 might not need a strong working knowledge of music
notation and theory in its symbolic form, however, they would need to
have a developing understanding of it aurally. This would enable them to
develop pathways to both plan and make musical decisions. Students
could evaluate and refine musics to help develop ideas and engage new
possibilities and creativities. This could be done individually and
collaboratively. This revision process is wedded to creativity as a second
layer to the initial creative process.
Performing: Students will be able to sing, play (on all kinds of musical
instruments including those widely accepted as traditional classroom
instruments as well as those in emerging areas of music education such
as computers, tablets, phone apps and other emerging media). Students
will also express through movement. Movement is integrally woven to
sound and should be considered an essential skill to the performance
Creating: Improvisation, arranging and composition are essential skills to
creation. This may happen on paper, software or collaboratively in sonic
spaces with the assistance of recording media. Creation is often also
wedded to performance such as improvisation.
Context: In order to refine Grades 6-8 would want to situate or
contextualize their musical plans within a social sphere. Perhaps a micro
sphere such as their own context, or a more macro sphere such as a
larger cultural group. It is important to also contextualize within time
frames as culture is wedded to time period.
Evaluation Criteria: To refine Grades 6-8, teachers would look for
revision of musical ideas that engage and excite students motivating them
in ways that seem relevant in students’ lives. Collaboration might be an
integral part of this process. Teachers might encourage this and act as
facilitators to the process “setting the table” for students to have
experiences that are fruitful to the collaborative approach. If a musical idea
under revision by a student or students seems important and meaningful
to them and also demonstrates some understanding and mastery of
musical elements, the teacher might find this evaluation sufficient. It is
important to note that each context will be unique and teachers should not
expect to find evaluation such a simple process. Students will be revising
music as individuals and uniformity should not be an end product.
Teachers must remain open to possibilities during the evaluation process.
Rubrics might assist, so long as the rubrics cast a wide enough net to
capture the unique nuances of each student’s musical creativities.
Aural & notational skills: melodic, rhythmic, harmonic through various
modalities including reading, listening, responding to aural stimuli and
“writing” such as codifying ideas in script on paper or other software type
media. Aural skills imply an ability to “speak a language” and thus a
speaker might need to have a working vocabulary that facilitates
discussion and sharing. This should not be limited to words only. For
instance, a musical student should be able to communicate musically with
another musical student using supporting harmonies, melodies and other
forms of musical dialoging. Also, sounds might be recorded via MIDI,
audio or other pathways not limiting the idea of notational skills to staffs on
paper as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe historically)
also (as a way of advancing music education forward we should remain
open to new kinds of aural and notational skills that represent new musics
and musicianships where instruments and sounds that are emerging
and/or undiscovered still have opportunities for representation in contexts
such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers might be
able to assist in evaluating the clarity and accuracy of aural and notational
skills remaining open to new emerging possibilities. Students might be
able to come up with new kinds of notation. This should be encouraged
particularly in students who might have limited exposure to standardized
notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Present
Share creative musical work that conveys intent, demonstrates craftsmanship, and exhibits originality.
Knowledge and Skills
6-8
page 6
Standard: MU:Cr3.2.8a
Present the final version of their documented personal composition, song, or arrangement, using
craftsmanship and originality to demonstrate the application of compositional techniques for creating unity
and variety, tension and release, and balance to convey expressive intent
.
Enduring Understanding
Musicians’ presentation of creative work is the culmination of a process of
creation and communication
Essential Question
When is creative work ready to share?
Knowledge:
Skills:
Structure – In order to present Grades 6-8 might need to have a strong
understanding of their or their peers original creative works. They also
may not need a strong working knowledge of music notation and theory in
its symbolic form, however, they would need to have a developing
understanding of it aurally. The aural component is integral to the
demonstration and presentation of creative works since the presentation
will happen aurally.
Performing: Students will be able to sing, play (on all kinds of musical
instruments including those widely accepted as traditional classroom
instruments as well as those in emerging areas of music education such
as computers, tablets, phone apps and other emerging media). Students
will also express through movement. Movement is integrally woven to
sound and should be considered an essential skill to the performance
Creating: Improvisation, arranging and composition are essential skills to
creation. This may happen on paper, software or collaboratively in sonic
spaces with the assistance of recording media. Creation is often also
wedded to performance such as improvisation.
Context: In order to present Grades 6-8 would want to situate or
contextualize their musical plans within a social sphere. Perhaps a micro
sphere such as their own context, or a more macro sphere such as a
larger cultural group. It is important to also contextualize within time
frames as culture is wedded to time period.
Evaluation Criteria: To evaluate presentation in Grades 6-8, teachers
would look for presentation that appears competent and confident
representing students’ musical ideas. These musical ideas should be
presented in ways that engage and excite students motivating them in
ways that seem relevant in students’ lives. If a musical idea presented by
a student or students seems important and meaningful to that student and
also demonstrates some understanding and mastery of musical elements,
the teacher might find this evaluation sufficient. It is important to note that
each context will be unique and teachers should not expect to find
evaluation such a simple process. Students will be presenting music as
individuals and uniformity should not be an end product. Teachers must
remain open to possibilities during the evaluation process. Rubrics might
assist, so long as the rubrics cast a wide enough net to capture the unique
nuances of each student’s musical creativities.
Aural & notational skills: melodic, rhythmic, harmonic through various
modalities including reading, listening, responding to aural stimuli and
“writing” such as codifying ideas in script on paper or other software type
media. Aural skills imply an ability to “speak a language” and thus a
speaker might need to have a working vocabulary that facilitates
discussion and sharing. This should not be limited to words only. For
instance, a musical student should be able to communicate musically with
another musical student using supporting harmonies, melodies and other
forms of musical dialoging. Also, sounds might be recorded via MIDI,
audio or other pathways not limiting the idea of notational skills to staffs on
paper as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe historically)
also (as a way of advancing music education forward we should remain
open to new kinds of aural and notational skills that represent new musics
and musicianships where instruments and sounds that are emerging
and/or undiscovered still have opportunities for representation in contexts
such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers might be
able to assist in evaluating the clarity and accuracy of aural and notational
skills remaining open to new emerging possibilities. Students might be
able to come up with new kinds of notation. This should be encouraged
particularly in students who might have limited exposure to standardized
notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Knowledge and Skills
6-8
page 7
PERFORMING
Select
Select varied musical works to present based on interest, knowledge, technical skill, and context.
Standard: MU:Pr4.1.8a
Apply personally-developed criteria for selecting music of contrasting styles for a program with a specific
purpose and/or context, and explain expressive qualities, technical challenges, and reasons for choices.
.
.
Enduring Understanding
Performers’ interest in and knowledge of musical works, understanding of
their own technical skill, and the context for a performance influence the
selection of repertoire.
Essential Question
How do performers select repertoire?
Knowledge:
Skills:
Structure – In order to perform Grades 6-8 might not need a strong
working knowledge of music notation and theory in its symbolic form,
however, they would need to have a developing understanding of it
aurally. This would enable them to develop pathways to both plan and
make musical decisions that are relevant to them. Teachers might seek
ways to engage all students, not just those who have fluency in standard
notation, but also include those who have little to no experience with
standard notation. Performance should be something all children have
access to and should represent a broad range of musics
Performing: Students will be able to sing, play (on all kinds of musical
instruments including those widely accepted as traditional classroom
instruments as well as those in emerging areas of music education such
as computers, tablets, phone apps and other emerging media). Students
will also express through movement. Movement is integrally woven to
sound and should be considered an essential skill to the performance
Context: In order to perform, teachers of Grades 6-8 would want to situate
or contextualize their musical selections for performance within a social
sphere. Students should be encouraged to participate in the selection of
musics for performance. Perhaps a micro sphere such as their own
context, or a more macro sphere such as a larger cultural group. It is
important to also contextualize within time frames as culture is wedded to
time period.
Evaluation Criteria: To evaluate performances of Grades 6-8, teachers
would look for performances of musical ideas that engage and excite
students motivating them in ways that seem relevant in students’ lives. It
would be essential that the teacher recognize their personal musical
biases and not impose them exclusively upon students. However,
teachers should be part of the process as all perspectives, particularly
those who have dedicated time to learning traditions, are integral to
evaluative process. If a musical idea presented by a student or students
seems important and meaningful to that student and also demonstrates
some understanding and mastery of musical elements, the teacher might
find this evaluation sufficient. It is important to note that each context will
be unique and teachers should not expect to find evaluation such a simple
process. Students will be performing music as individuals and uniformity
should not be an end product. In general music contexts, large ensembles
might be an option, but there may also be opportunities for smaller groups
or solos. Teachers must remain open to possibilities during the evaluation
process. Rubrics might assist, so long as the rubrics cast a wide enough
net to capture the unique nuances of each student’s musical creativities.
Creating: Improvisation, arranging and composition are essential
skills to creation. This may happen on paper, software or
collaboratively in sonic spaces with the assistance of recording
media. Creation is often also wedded to performance such as
improvisation.
Aural & notational skills: melodic, rhythmic, harmonic through various
modalities including reading, listening, responding to aural stimuli and
“writing” such as codifying ideas in script on paper or other software type
media. Aural skills imply an ability to “speak a language” and thus a
speaker might need to have a working vocabulary that facilitates
discussion and sharing. This should not be limited to words only. For
instance, a musical student should be able to communicate musically with
another musical student using supporting harmonies, melodies and other
forms of musical dialoging. Also, sounds might be recorded via MIDI,
audio or other pathways not limiting the idea of notational skills to staffs on
paper as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe historically)
also (as a way of advancing music education forward we should remain
open to new kinds of aural and notational skills that represent new musics
and musicianships where instruments and sounds that are emerging
and/or undiscovered still have opportunities for representation in contexts
such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers might be
able to assist in evaluating the clarity and accuracy of aural and notational
skills remaining open to new emerging possibilities. Students might be
able to come up with new kinds of notation. This should be encouraged
particularly in students who might have limited exposure to standardized
notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Knowledge and Skills
6-8
page 8
Knowledge and Skills
6-8
page 9
Analyze
Analyze the structure and context of varied musical works and their implications for performance.
Standard: MU:Pr4.2.8a
Compare the structure of contrasting pieces of music selected for performance, explaining how the elements of
music are used in each.
.
Enduring Understanding
Analyzing creators’ context and how they manipulate elements of music
provides insight into their intent and informs performance.
Essential Question
How does understanding the structure and context of musical works
inform performance?
Knowledge:
Skills:
Structure – In order to analyze, Grades 6-8 might not need a strong
working knowledge of music notation and theory in its symbolic form,
however, they would need to have a developing understanding of it
aurally. Here, the aural mode might be the primary pathway to engage
with analysis; however, there may be other modalities such as visual and
kinesthetic. This would enable students to develop multiple learning
pathways.
Performing: Students will be able to sing, play (on all kinds of musical
instruments including those widely accepted as traditional classroom
instruments as well as those in emerging areas of music education such
as computers, tablets, phone apps and other emerging media). Students
will also express through movement. Movement is integrally woven to
sound and should be considered an essential skill to the performance
Creating: Improvisation, arranging and composition are essential skills to
creation. This may happen on paper, software or collaboratively in sonic
spaces with the assistance of recording media. Creation is often also
wedded to performance such as improvisation.
Context: In order to analyze Grades 6-8 would want to situate or
contextualize their music within a social sphere. Perhaps a micro sphere
such as their own context, or a more macro sphere such as a larger
cultural group. It is important to also contextualize within time frames as
culture is wedded to time period.
Evaluation Criteria: To evaluate analysis of Grades 6-8, teachers would
look for analysis of musical ideas that are critical and demonstrate a
synthesis of musics to situated peoples. It is important to note that each
student will be unique and teachers should not expect to find evaluation
such a simple process. Students will be analyzing music as individuals
and uniformity should not be an end product. Teachers must remain open
to possibilities during the evaluation process. Rubrics might assist, so long
as the rubrics cast a wide enough net to capture the unique nuances of
each student’s musical creativities.
Aural & notational skills: melodic, rhythmic, harmonic through various
modalities including reading, listening, responding to aural stimuli and
“writing” such as codifying ideas in script on paper or other software type
media. Aural skills imply an ability to “speak a language” and thus a
speaker might need to have a working vocabulary that facilitates
discussion and sharing. This should not be limited to words only. For
instance, a musical student should be able to communicate musically with
another musical student using supporting harmonies, melodies and other
forms of musical dialoging. Also, sounds might be recorded via MIDI,
audio or other pathways not limiting the idea of notational skills to staffs on
paper as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe historically)
also (as a way of advancing music education forward we should remain
open to new kinds of aural and notational skills that represent new musics
and musicianships where instruments and sounds that are emerging
and/or undiscovered still have opportunities for representation in contexts
such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers might be
able to assist in evaluating the clarity and accuracy of aural and notational
skills remaining open to new emerging possibilities. Students might be
able to come up with new kinds of notation. This should be encouraged
particularly in students who might have limited exposure to standardized
notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Standard: MU:Pr4.2.8b
When analyzing selected music, sight-read in treble or bass clef simple rhythmic, melodic, and/or harmonic
notation.
.
Knowledge and Skills
6-8
page 10
Enduring Understanding
Analyzing creators’ context and how they manipulate elements of music
provides insight into their intent and informs performance.
Essential Question
How does understanding the structure and context of musical works
inform performance?
Knowledge:
Skills:
Structure – In order to analyze, students might benefit from the ability to
sight-read in treble or bass cleff simple rhythmic, melodic and/or harmonic
notation. But grades 6-8 might not need a strong working knowledge of
music notation and theory in its symbolic form. They would need to have a
developing understanding of it aurally. So all students should be entitled to
analyze through both standard notation as well as other pathways. This
would enable them to develop pathways during analysis of musical
decisions.
Performing: Students will be able to sing, play (on all kinds of musical
instruments including those widely accepted as traditional classroom
instruments as well as those in emerging areas of music education such
as computers, tablets, phone apps and other emerging media). Students
will also express through movement. Movement is integrally woven to
sound and should be considered an essential skill to the performance
Context: In order to analyze Grades 6-8 would want to situate or
contextualize their musical plans within a social sphere. Perhaps a micro
sphere such as their own context, or a more macro sphere such as a
larger cultural group. It is important to also contextualize within time
frames as culture is wedded to time period.
Evaluation Criteria: To evaluate analysis of Grades 6-8, teachers would
look for analysis of musical ideas that involve written and aural
engagement. While standard notation might be one possibility for a
teacher to engage students with in analysis, it should not be the primary
focus. Analysis can involve various kinds of notation. It is important to note
that each context will be unique and teachers should not expect to find
evaluation such a simple process. Students will be evaluating musics as
individuals and uniformity should not be an end product. Teachers must
remain open to possibilities during the evaluation process. Rubrics might
assist, so long as the rubrics cast a wide enough net to capture the unique
nuances of each student’s musical creativities.
Creating: Improvisation, arranging and composition are essential skills to
creation. This may happen on paper, software or collaboratively in sonic
spaces with the assistance of recording media. Creation is often also
wedded to performance such as improvisation.
Aural & notational skills: melodic, rhythmic, harmonic through various
modalities including reading, listening, responding to aural stimuli and
“writing” such as codifying ideas in script on paper or other software type
media. Aural skills imply an ability to “speak a language” and thus a
speaker might need to have a working vocabulary that facilitates
discussion and sharing. This should not be limited to words only. For
instance, a musical student should be able to communicate musically with
another musical student using supporting harmonies, melodies and other
forms of musical dialoging. Also, sounds might be recorded via MIDI,
audio or other pathways not limiting the idea of notational skills to staffs on
paper as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe historically)
also (as a way of advancing music education forward we should remain
open to new kinds of aural and notational skills that represent new musics
and musicianships where instruments and sounds that are emerging
and/or undiscovered still have opportunities for representation in contexts
such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers might be
able to assist in evaluating the clarity and accuracy of aural and notational
skills remaining open to new emerging possibilities. Students might be
able to come up with new kinds of notation. This should be encouraged
particularly in students who might have limited exposure to standardized
notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Standard: MU:Pr4.2.8c
Identity how cultural and historical context inform performances and result in different musical effects.
.
Enduring Understanding
Analyzing creators’ context and how they manipulate elements of music
provides insight into their intent and informs performance.
Essential Question
How does understanding the structure and context of musical works
inform performance?
Knowledge:
Skills:
Knowledge and Skills
6-8
page 11
Structure – In order to identify historical and cultural contexts as
they inform performances Grades 6-8 might need to be encouraged
to contextualize musics with people and time period. It would be
essential that musical authenticity and representations of people
remain high priorities in this structure.
Context: In order to analyze performances in relation to history and
culture Grades 6-8 would want to situate or contextualize their
musics within a social sphere. Perhaps a micro sphere such as their
own context, or a more macro sphere such as a larger cultural group.
It is important to also contextualize within time frames as culture is
wedded to time period.
Evaluation Criteria: To evaluate analysis of performances in relation
to history and culture Grades 6-8, teachers would look for analysis of
musical ideas that are culturally sensitive and accurate. It is
important to note that each context will be unique and teachers
should not expect to find evaluation such a simple process. Some
students might be situated in cultures remote or close to the musics
they are analyzing. Students will be analyzing music as individuals
and uniformity should not be an end product. Teachers must remain
open to possibilities during the evaluation process. Rubrics might
assist, so long as the rubrics cast a wide enough net to capture the
unique nuances of each student’s musical creativities.
Performing: Students will be able to sing, play (on all kinds of
musical instruments including those widely accepted as traditional
classroom instruments as well as those in emerging areas of music
education such as computers, tablets, phone apps and other
emerging media). Students will also express through movement.
Movement is integrally woven to sound and should be considered an
essential skill to the performance
Creating: Improvisation, arranging and composition are essential
skills to creation. This may happen on paper, software or
collaboratively in sonic spaces with the assistance of recording
media. Creation is often also wedded to performance such as
improvisation.
Aural & notational skills: melodic, rhythmic, harmonic through
various modalities including reading, listening, responding to aural
stimuli and “writing” such as codifying ideas in script on paper or
other software type media. Aural skills imply an ability to “speak a
language” and thus a speaker might need to have a working
vocabulary that facilitates discussion and sharing. This should not
be limited to words only. For instance, a musical student should be
able to communicate musically with another musical student using
supporting harmonies, melodies and other forms of musical
dialoging. Also, sounds might be recorded via MIDI, audio or other
pathways not limiting the idea of notational skills to staffs on paper
as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe
historically) also (as a way of advancing music education forward we
should remain open to new kinds of aural and notational skills that
represent new musics and musicianships where instruments and
sounds that are emerging and/or undiscovered still have
opportunities for representation in contexts such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers
might be able to assist in evaluating the clarity and accuracy of aural
and notational skills remaining open to new emerging possibilities.
Students might be able to come up with new kinds of notation. This
should be encouraged particularly in students who might have
limited exposure to standardized notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Knowledge and Skills
6-8
page 12
Interpret
Develop personal interpretations that consider creators’ intent.
Standard: MU:Pr4.3.8a
Perform contrasting pieces of music, demonstrating as well as explaining how the music’s intent is conveyed by
their interpretations of the elements of music and expressive qualities (such as dynamics, tempo, timbre,
articulation/style, and phrasing).
Enduring Understanding
Performers make interpretive decisions based on their understanding of
context and expressive intent.
Essential Question
How do performers interpret musical works?
Knowledge:
Skills:
Structure – In order to interpret and perform interpretations that
consider creators’ intenet, Grades 6-8 might first focus on history
and culture of the specific music. It would be critical to understand
the situated context of the music. This does not require students to
have a strong working knowledge of music notation and theory in its
symbolic form, however, they would need to have a developing
understanding of it aurally. This would enable them to develop
pathways to both plan and make musical decisions. Students would
first engage with the history and background of a music and then
interpret it through performances relying on their aural skills.
Performing: Students will be able to sing, play (on all kinds of
musical instruments including those widely accepted as traditional
classroom instruments as well as those in emerging areas of music
education such as computers, tablets, phone apps and other
emerging media). Students will also express through movement.
Movement is integrally woven to sound and should be considered an
essential skill to the performance
Creating: Improvisation, arranging and composition are essential
skills to creation. This may happen on paper, software or
collaboratively in sonic spaces with the assistance of recording
media. Creation is often also wedded to performance such as
improvisation.
Context: In order to interpret and perform interpretations Grades 6-8
would want to situate or contextualize their musical plans within a
social sphere. Perhaps a micro sphere such as their own context, or
a more macro sphere such as a larger cultural group. It is important
to also contextualize within time frames as culture is wedded to time
period.
Evaluation Criteria: To evaluate interpretations and performances
Grades 6-8, teachers would look for authentic and historically
accurate interpretations based on documented histories and
accounts of musical contexts. Aural skills would be relied upon here
so students might be capable of using their aural skills to enhance
their understanding and expressions of musical interpretations. It is
important to note that each context will be unique and teachers
should not expect to find evaluation such a simple process. Students
will be planning and making music as individuals and uniformity is
not an end product. Teachers must remain open to possibilities
during the evaluation process. Rubrics might assist, so long as the
rubrics cast a wide enough net to capture the unique nuances of
each student’s musical creativities.
Aural & notational skills: melodic, rhythmic, harmonic through
various modalities including reading, listening, responding to aural
stimuli and “writing” such as codifying ideas in script on paper or
other software type media. Aural skills imply an ability to “speak a
language” and thus a speaker might need to have a working
vocabulary that facilitates discussion and sharing. This should not
be limited to words only. For instance, a musical student should be
able to communicate musically with another musical student using
supporting harmonies, melodies and other forms of musical
dialoging. Also, sounds might be recorded via MIDI, audio or other
pathways not limiting the idea of notational skills to staffs on paper
as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe
historically) also (as a way of advancing music education forward we
should remain open to new kinds of aural and notational skills that
represent new musics and musicianships where instruments and
sounds that are emerging and/or undiscovered still have
opportunities for representation in contexts such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers
might be able to assist in evaluating the clarity and accuracy of aural
and notational skills remaining open to new emerging possibilities.
Students might be able to come up with new kinds of notation. This
should be encouraged particularly in students who might have
limited exposure to standardized notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Knowledge and Skills
6-8
page 13
Rehearse, Evaluate, Refine
Evaluate and refine personal and ensemble performances, individually or in collaboration with others.
Standard: MU:Pr5.1.8a
Identify and apply personally-developed criteria (such as demonstrating correct interpretation of notation,
technical skill of performer, originality, emotional impact, variety, and interest) to rehearse, refine, and
determine when the music is ready to perform.
.
Enduring Understanding
To express their musical ideas, musicians analyze, evaluate, and refine
their performance over time through openness to new ideas, persistence,
and the application of appropriate criteria.
Essential Question
How do musicians improve the quality of their performance?
Knowledge:
Skills:
Structure – In order to rehearse, evaluate and refine, Grades 6-8
students would need to be engaged in critical listening of their own
musics. This might also involve some peer-to-peer critiquing. Selfevaluation and refinement might be individual or participatory.
Students might not need a strong working knowledge of music
notation and theory in its symbolic form, however, they would need
to have a developing understanding of it aurally. This would enable
agency in students to develop their musical decision making skills.
Performing: Students will be able to sing, play (on all kinds of
musical instruments including those widely accepted as traditional
classroom instruments as well as those in emerging areas of music
education such as computers, tablets, phone apps and other
emerging media). Students will also express through movement.
Movement is integrally woven to sound and should be considered an
essential skill to the performance
Context: In order to rehearse, evaluate and refine, Grades 6-8 would
want to situate or contextualize their musical plans within a social
sphere. Perhaps a micro sphere such as their own context, or a more
macro sphere such as a larger cultural group. It is important to also
contextualize within time frames as culture is wedded to time period.
Evaluation Criteria: To evaluate rehearsal, evaluation and refinement
Grades 6-8, teachers would look for students to be essential agents
of the process. Here the teacher would act as facilitator and less as
autocrat. Students would be encouraged to make critical evaluations
of musical sounds. It is important to note that each context will be
unique and teachers should not expect to find evaluation such a
simple process. Students will be planning and making music as
individuals and uniformity is not an end product. Teachers must
remain open to possibilities during the evaluation process. Rubrics
might assist, so long as the rubrics cast a wide enough net to
capture the unique nuances of each student’s musical creativities.
Creating: Improvisation, arranging and composition are essential
skills to creation. This may happen on paper, software or
collaboratively in sonic spaces with the assistance of recording
media. Creation is often also wedded to performance such as
improvisation.
Aural & notational skills: melodic, rhythmic, harmonic through
various modalities including reading, listening, responding to aural
stimuli and “writing” such as codifying ideas in script on paper or
other software type media. Aural skills imply an ability to “speak a
language” and thus a speaker might need to have a working
vocabulary that facilitates discussion and sharing. This should not
be limited to words only. For instance, a musical student should be
able to communicate musically with another musical student using
supporting harmonies, melodies and other forms of musical
dialoging. Also, sounds might be recorded via MIDI, audio or other
pathways not limiting the idea of notational skills to staffs on paper
as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe
historically) also (as a way of advancing music education forward we
should remain open to new kinds of aural and notational skills that
represent new musics and musicianships where instruments and
sounds that are emerging and/or undiscovered still have
opportunities for representation in contexts such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers
might be able to assist in evaluating the clarity and accuracy of aural
and notational skills remaining open to new emerging possibilities.
Students might be able to come up with new kinds of notation. This
should be encouraged particularly in students who might have
limited exposure to standardized notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Knowledge and Skills
6-8
page 14
MU:Pr5.1.2b
Rehearse, identify and apply strategies to address interpretive, performance, and technical challenges of music.
Enduring Understanding
To express their musical ideas, musicians analyze, evaluate, and refine
their performance over time through openness to new ideas, persistence,
and the application of appropriate criteria.
Essential Question
How do musicians improve the quality of their performance?
Knowledge:
Skills:
Structure – In order to rehearse, identify and apply strategies to
interpretive, performance and technical challenges of music, Grades
6-8 students would need to be engaged in critical listening of their
own musics. This might also involve some peer-to-peer critiquing.
Self-evaluation and refinement might be individual or participatory.
Students might not need a strong working knowledge of music
notation and theory in its symbolic form, however, they would need
to have a developing understanding of it aurally. This would enable
agency in students to develop their musical decision making skills.
Performing: Students will be able to sing, play (on all kinds of
musical instruments including those widely accepted as traditional
classroom instruments as well as those in emerging areas of music
education such as computers, tablets, phone apps and other
emerging media). Students will also express through movement.
Movement is integrally woven to sound and should be considered an
essential skill to the performance
Context: In order to rehearse, evaluate and refine, Grades 6-8 would
want to situate or contextualize their musical plans within a social
sphere. Perhaps a micro sphere such as their own context, or a more
macro sphere such as a larger cultural group. It is important to also
contextualize within time frames as culture is wedded to time period.
Evaluation Criteria: To evaluate rehearsal, evaluation and refinement
Grades 6-8, teachers would look for students to be essential agents
of the process. Here the teacher would act as facilitator and less as
autocrat. Students would be encouraged to make critical evaluations
of musical sounds. It is important to note that each context will be
unique and teachers should not expect to find evaluation such a
simple process. Students will be planning and making music as
individuals and uniformity is not an end product. Teachers must
remain open to possibilities during the evaluation process. Rubrics
might assist, so long as the rubrics cast a wide enough net to
capture the unique nuances of each student’s musical creativities.
Creating: Improvisation, arranging and composition are essential
skills to creation. This may happen on paper, software or
collaboratively in sonic spaces with the assistance of recording
media. Creation is often also wedded to performance such as
improvisation.
Aural & notational skills: melodic, rhythmic, harmonic through
various modalities including reading, listening, responding to aural
stimuli and “writing” such as codifying ideas in script on paper or
other software type media. Aural skills imply an ability to “speak a
language” and thus a speaker might need to have a working
vocabulary that facilitates discussion and sharing. This should not
be limited to words only. For instance, a musical student should be
able to communicate musically with another musical student using
supporting harmonies, melodies and other forms of musical
dialoging. Also, sounds might be recorded via MIDI, audio or other
pathways not limiting the idea of notational skills to staffs on paper
as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe
historically) also (as a way of advancing music education forward we
should remain open to new kinds of aural and notational skills that
represent new musics and musicianships where instruments and
sounds that are emerging and/or undiscovered still have
opportunities for representation in contexts such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers
might be able to assist in evaluating the clarity and accuracy of aural
and notational skills remaining open to new emerging possibilities.
Students might be able to come up with new kinds of notation. This
should be encouraged particularly in students who might have
limited exposure to standardized notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Knowledge and Skills
6-8
page 15
Present
Perform expressively, with appropriate interpretation and technical accuracy, and in a manner appropriate to the audience and context.
Standard: MU:Pr6.1.8a
Perform the music with technical accuracy, stylistic expression, and culturally authentic practices in music
to convey the creator’s intent
.
Enduring Understanding
Musicians judge performance based on criteria that vary across time,
place, and cultures. The context and how a work is presented influence
the audience response.
Essential Question
When is a performance judged ready to present? How do context and the
manner in which musical work is presented influence audience response?
Knowledge:
Skills:
Structure – In order to present and perform music with technical
accuracy, stylistic expression and cultural authenticity
representative of the creator’s intent, Grades 6-8 students would
need to be engaged in several things at once. First the cultural
background and history of the creator would need to take focus. Next
students would need to engage critically in ways to empower their
ability to honestly represent this music. This might also involve
some peer to peer collaboration. The focus would be on the
authentic practices and performance accuracy as an outgrowth of
this preservation exercise. Students might not need a strong working
knowledge of music notation and theory in its symbolic form,
however, they would need to have a developing understanding of it
and a strong aural still. This would enable agency in students to
develop their musical decision making skills.
Performing: Students will be able to sing, play (on all kinds of
musical instruments including those widely accepted as traditional
classroom instruments as well as those in emerging areas of music
education such as computers, tablets, phone apps and other
emerging media). Students will also express through movement.
Movement is integrally woven to sound and should be considered an
essential skill to the performance
Context: In order to present this music authentically, Grades 6-8
would want to situate or contextualize their musical plans within a
social sphere. They would need to have venues to perform this
music that are also authentic and might require some creative
rethinking of traditional concert spaces. As some music is conducive
to stage and auditorium seating, others are more participatory and
conducive to another environment. It is important to also
contextualize within time frames as culture is wedded to time period.
Evaluation Criteria: To evaluate presentations of authentic
interpretation Grades 6-8, teachers would look for students to be
essential agents of the process. Here the teacher would act as
facilitator and less as autocrat. Students would be encouraged to
make critical evaluations of musical sounds. Students could be
evaluated on their actual musical accuracy and musical/cultural
honesty as well as their dedication to the process. It is important to
note that each context will be unique and teachers should not expect
to find evaluation such a simple process. Students will be planning
and making music as individuals and uniformity is not an end
product. Teachers must remain open to possibilities during the
evaluation process. Rubrics might assist, so long as the rubrics cast
a wide enough net to capture the unique nuances of each student’s
musical creativities.
Knowledge and Skills
Creating: Improvisation, arranging and composition are essential
skills to creation. This may happen on paper, software or
collaboratively in sonic spaces with the assistance of recording
media. Creation is often also wedded to performance such as
improvisation.
Aural & notational skills: melodic, rhythmic, harmonic through
various modalities including reading, listening, responding to aural
stimuli and “writing” such as codifying ideas in script on paper or
other software type media. Aural skills imply an ability to “speak a
language” and thus a speaker might need to have a working
vocabulary that facilitates discussion and sharing. This should not
be limited to words only. For instance, a musical student should be
able to communicate musically with another musical student using
supporting harmonies, melodies and other forms of musical
dialoging. Also, sounds might be recorded via MIDI, audio or other
pathways not limiting the idea of notational skills to staffs on paper
as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe
historically) also (as a way of advancing music education forward we
should remain open to new kinds of aural and notational skills that
represent new musics and musicianships where instruments and
sounds that are emerging and/or undiscovered still have
opportunities for representation in contexts such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers
might be able to assist in evaluating the clarity and accuracy of aural
and notational skills remaining open to new emerging possibilities.
Students might be able to come up with new kinds of notation. This
should be encouraged particularly in students who might have
limited exposure to standardized notation.
6-8
page 16
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Standard: MU:Pr6.1.8b
Demonstrate performance decorum (such as stage presence, attire, and behavior) and audience etiquette
appropriate for venue, purpose, context, and style.
.
Enduring Understanding
Musicians judge performance based on criteria that vary across time,
place, and cultures. The context and how a work is presented influence
the audience response.
Essential Question
When is a performance judged ready to present? How do context and the
manner in which musical work is presented influence audience response?
Knowledge:
Skills:
Structure – In order to demonstrate performance decorum, Grades 68 students would need to be remain faithful to traditions preceding
them as well as open to new practices of performance decorum in
the vernacular context.
Performing: Students will be able to sing, play (on all kinds of
musical instruments including those widely accepted as traditional
classroom instruments as well as those in emerging areas of music
education such as computers, tablets, phone apps and other
emerging media). Students will also express through movement.
Movement is integrally woven to sound and should be considered an
essential skill to the performance
Context: In order to demonstrate performance decorum, Grades 6-8
would want to situate or contextualize their musical experiences
within a social sphere. Perhaps a micro sphere such as their own
context, or a more macro sphere such as a larger cultural group. It is
important to also contextualize within time frames as culture is
wedded to time period.
Evaluation Criteria: To evaluate performance decorum Grades 6-8,
teachers would look for students to be essential agents of the
process. While traditions of practice will likely be the focus, teachers
might also be open to cultural phenomena manifested in particular
situated contexts. Teachers must remain open to possibilities during
the evaluation process. Rubrics might assist, so long as the rubrics
cast a wide enough net to capture the unique nuances of each
student.
Creating: Improvisation, arranging and composition are essential
skills to creation. This may happen on paper, software or
collaboratively in sonic spaces with the assistance of recording
media. Creation is often also wedded to performance such as
improvisation.
Aural & notational skills: melodic, rhythmic, harmonic through
various modalities including reading, listening, responding to aural
stimuli and “writing” such as codifying ideas in script on paper or
other software type media. Aural skills imply an ability to “speak a
language” and thus a speaker might need to have a working
vocabulary that facilitates discussion and sharing. This should not
be limited to words only. For instance, a musical student should be
able to communicate musically with another musical student using
supporting harmonies, melodies and other forms of musical
dialoging. Also, sounds might be recorded via MIDI, audio or other
pathways not limiting the idea of notational skills to staffs on paper
as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe
historically) also (as a way of advancing music education forward we
should remain open to new kinds of aural and notational skills that
represent new musics and musicianships where instruments and
sounds that are emerging and/or undiscovered still have
opportunities for representation in contexts such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers
might be able to assist in evaluating the clarity and accuracy of aural
and notational skills remaining open to new emerging possibilities.
Students might be able to come up with new kinds of notation. This
should be encouraged particularly in students who might have
limited exposure to standardized notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Knowledge and Skills
6-8
page 17
Knowledge and Skills
6-8
page 18
RESPONDING
Select
Choose music appropriate for a specific purpose or context.
Standard: MU:Re7.1.8a
Select programs of music (such as a CD mix or live performances) and demonstrate the connections to an
interest or experience for a specific purpose
.
Enduring Understanding
Individuals' selection of musical works is influenced by their interests,
experiences, understandings, and purposes.
Essential Question
How do individuals choose music to experience?
Knowledge:
Skills:
Structure – In order to select music appropriate for a specific
purpose or context, Grades 6-8 students would need to understand
the musical histories and contexts in which they are situated.
Performing: Students will be able to sing, play (on all kinds of
musical instruments including those widely accepted as traditional
classroom instruments as well as those in emerging areas of music
education such as computers, tablets, phone apps and other
emerging media). Students will also express through movement.
Movement is integrally woven to sound and should be considered an
essential skill to the performance
Context: In order to select music appropriate for a specific purpose
or context, Grades 6-8 would want to situate or contextualize their
musical experiences within a social sphere. Perhaps a micro sphere
such as their own context, or a more macro sphere such as a larger
cultural group. It is important to also contextualize within time
frames as culture is wedded to time period.
Evaluation Criteria: To evaluate the selection of music appropriate
for a specific purpose or context Grades 6-8, teachers would look for
students to be essential agents of the process.
Students will select music that represents cultures and contexts for
specific purposes. Teachers might help guide students in this
process, but students would be responsible for the bulk of the
responsibility. Teachers must remain open to possibilities during the
evaluation process. Rubrics might assist, so long as the rubrics cast
a wide enough net to capture the unique nuances of each student.
Creating: Improvisation, arranging and composition are essential
skills to creation. This may happen on paper, software or
collaboratively in sonic spaces with the assistance of recording
media. Creation is often also wedded to performance such as
improvisation.
Aural & notational skills: melodic, rhythmic, harmonic through
various modalities including reading, listening, responding to aural
stimuli and “writing” such as codifying ideas in script on paper or
other software type media. Aural skills imply an ability to “speak a
language” and thus a speaker might need to have a working
vocabulary that facilitates discussion and sharing. This should not
be limited to words only. For instance, a musical student should be
able to communicate musically with another musical student using
supporting harmonies, melodies and other forms of musical
dialoging. Also, sounds might be recorded via MIDI, audio or other
pathways not limiting the idea of notational skills to staffs on paper
as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe
historically) also (as a way of advancing music education forward we
should remain open to new kinds of aural and notational skills that
represent new musics and musicianships where instruments and
sounds that are emerging and/or undiscovered still have
opportunities for representation in contexts such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers
might be able to assist in evaluating the clarity and accuracy of aural
and notational skills remaining open to new emerging possibilities.
Students might be able to come up with new kinds of notation. This
should be encouraged particularly in students who might have
limited exposure to standardized notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Knowledge and Skills
6-8
page 19
Analyze
Analyze how the structure and context of varied musical works inform the response.
Standard: MU:Re7.2.8a
Compare how the elements of music and expressive qualities relate to the structure within programs of
music.
.
Enduring Understanding
Response to music is informed by analyzing context (social, cultural, and
historical) and how creators and performers manipulate the elements of
music.
Essential Question
How does understanding the structure and context of music inform a
response?
Knowledge:
Skills:
Structure – In order to compare how the elements of music and
expressive qualities relate to the structure within programs of music,
Grades 6-8 students would need to be aware of fundamental musical
elements and their expressive qualities and then apply them to
specific musical examples.
Performing: Students will be able to sing, play (on all kinds of
musical instruments including those widely accepted as traditional
classroom instruments as well as those in emerging areas of music
education such as computers, tablets, phone apps and other
emerging media). Students will also express through movement.
Movement is integrally woven to sound and should be considered an
essential skill to the performance
Context: In order to compare the elements and expressive qualities,
Grades 6-8 would want to situate or contextualize their musical
experiences within a social sphere. Perhaps a micro sphere such as
their own context, or a more macro sphere such as a larger cultural
group. It is important to also contextualize within time frames as
culture is wedded to time period.
Creating: Improvisation, arranging and composition are essential
skills to creation. This may happen on paper, software or
collaboratively in sonic spaces with the assistance of recording
media. Creation is often also wedded to performance such as
improvisation.
Evaluation Criteria: To evaluate elements of expressive qualities,
Grades 6-8 teachers would look for students to be capable of
identifying various musical elements and distinguishing them among
others with regard to their expressive qualities. Teachers must
remain open to possibilities during the evaluation process. Rubrics
might assist, so long as the rubrics cast a wide enough net to
capture the unique nuances of each student.
Aural & notational skills: melodic, rhythmic, harmonic through
various modalities including reading, listening, responding to aural
stimuli and “writing” such as codifying ideas in script on paper or
other software type media. Aural skills imply an ability to “speak a
language” and thus a speaker might need to have a working
vocabulary that facilitates discussion and sharing. This should not
be limited to words only. For instance, a musical student should be
able to communicate musically with another musical student using
supporting harmonies, melodies and other forms of musical
dialoging. Also, sounds might be recorded via MIDI, audio or other
pathways not limiting the idea of notational skills to staffs on paper
as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe
historically) also (as a way of advancing music education forward we
should remain open to new kinds of aural and notational skills that
represent new musics and musicianships where instruments and
sounds that are emerging and/or undiscovered still have
opportunities for representation in contexts such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers
might be able to assist in evaluating the clarity and accuracy of aural
and notational skills remaining open to new emerging possibilities.
Students might be able to come up with new kinds of notation. This
should be encouraged particularly in students who might have
limited exposure to standardized notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Knowledge and Skills
6-8
page 20
Standard: MU:Re7.2.8b
Identify and compare the context of programs of music from a variety of genres, cultures, and historical
periods.
.
Enduring Understanding
Response to music is informed by analyzing context (social, cultural, and
historical) and how creators and performers manipulate the elements of
music.
Essential Question
How does understanding the structure and context of music inform a
response?
Knowledge:
Skills:
Structure – In order to identify and compare the context of programs
of music from a variety of genres, cultures, and historical periods,
Grades 6-8 students would need to able to make distinctions and
situate among them in various contexts.
Performing: Students will be able to sing, play (on all kinds of
musical instruments including those widely accepted as traditional
classroom instruments as well as those in emerging areas of music
education such as computers, tablets, phone apps and other
emerging media). Students will also express through movement.
Movement is integrally woven to sound and should be considered an
essential skill to the performance
Context: In order to demonstrate context of programs, Grades 6-8
would want to situate or contextualize their musical experiences
within a social sphere. Perhaps a micro sphere such as their own
context, or a more macro sphere such as a larger cultural group. It is
important to also contextualize within time frames as culture is
wedded to time period.
Evaluation Criteria: To evaluate context of programs Grades 6-8,
teachers would look for students to demonstrate understanding of
music situated in contexts. Teachers must remain open to
possibilities during the evaluation process. Rubrics might assist, so
long as the rubrics cast a wide enough net to capture the unique
nuances of each student.
Creating: Improvisation, arranging and composition are essential
skills to creation. This may happen on paper, software or
collaboratively in sonic spaces with the assistance of recording
media. Creation is often also wedded to performance such as
improvisation.
Aural & notational skills: melodic, rhythmic, harmonic through
various modalities including reading, listening, responding to aural
stimuli and “writing” such as codifying ideas in script on paper or
other software type media. Aural skills imply an ability to “speak a
language” and thus a speaker might need to have a working
vocabulary that facilitates discussion and sharing. This should not
be limited to words only. For instance, a musical student should be
able to communicate musically with another musical student using
supporting harmonies, melodies and other forms of musical
dialoging. Also, sounds might be recorded via MIDI, audio or other
pathways not limiting the idea of notational skills to staffs on paper
as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe
historically) also (as a way of advancing music education forward we
should remain open to new kinds of aural and notational skills that
represent new musics and musicianships where instruments and
sounds that are emerging and/or undiscovered still have
opportunities for representation in contexts such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers
might be able to assist in evaluating the clarity and accuracy of aural
and notational skills remaining open to new emerging possibilities.
Students might be able to come up with new kinds of notation. This
should be encouraged particularly in students who might have
limited exposure to standardized notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Knowledge and Skills
6-8
page 21
Interpret
Support interpretations of musical works that reflect creators’/performers’ expressive intent.
Standard: MU:Re8.1.2a
Support personal interpretation of contrasting programs of music and explain how creators’ or performers’ apply
the elements of music and expressive qualities, within genres, cultures, and historical periods to convey
expressive intent.
Enduring Understanding
Through their use of elements and structures of music, creators and
performers provide clues to their expressive intent.
Essential Question
How do we discern the musical creators’ and performers’ expressive
intent?
Knowledge:
Skills:
Structure – In order to demonstrate how students support personal
interpretation of contrasting programs of music and explain how
creators and performers apply elements of music and expressive
qualities within genres, cultures and historical periods to convey
expressive intent, music with technical accuracy, stylistic
expression and cultural authenticity representative of the creator’s
intent, Grades 6-8 teachers would need students to be engaged in
several things at once. First the cultural background and history of
the creator would need to take focus. Next students would need to
engage critically in ways to empower their ability to honestly
represent this music. This might also involve some peer to peer
collaboration. The focus would be on the authentic practices and
performance accuracy as an outgrowth of this preservation exercise.
Students might not need a strong working knowledge of music
notation and theory in its symbolic form, however, they would need
to have a developing understanding of it and a strong aural still. This
would enable agency in students to develop their musical decision
making skills.
Performing: Students will be able to sing, play (on all kinds of
musical instruments including those widely accepted as traditional
classroom instruments as well as those in emerging areas of music
education such as computers, tablets, phone apps and other
emerging media). Students will also express through movement.
Movement is integrally woven to sound and should be considered an
essential skill to the performance
Context: In order to present this music authentically, Grades 6-8
would want to situate or contextualize their musical plans within a
social sphere. They would need to have venues to perform this
music that are also authentic and might require some creative
rethinking of traditional concert spaces. As some music is conducive
to stage and auditorium seating, others are more participatory and
conducive to another environment. It is important to also
contextualize within time frames as culture is wedded to time period.
Evaluation Criteria: To evaluate presentations of authentic
interpretation Grades 6-8, teachers would look for students to be
essential agents of the process. Here the teacher would act as
facilitator and less as autocrat. Students would be encouraged to
make critical evaluations of musical sounds. Students could be
evaluated on their actual musical accuracy and musical/cultural
honesty as well as their dedication to the process. It is important to
note that each context will be unique and teachers should not expect
to find evaluation such a simple process. Students will be planning
and making music as individuals and uniformity is not an end
product. Teachers must remain open to possibilities during the
evaluation process. Rubrics might assist, so long as the rubrics cast
a wide enough net to capture the unique nuances of each student’s
musical creativities.
Creating: Improvisation, arranging and composition are essential
skills to creation. This may happen on paper, software or
collaboratively in sonic spaces with the assistance of recording
media. Creation is often also wedded to performance such as
improvisation.
Aural & notational skills: melodic, rhythmic, harmonic through
various modalities including reading, listening, responding to aural
stimuli and “writing” such as codifying ideas in script on paper or
other software type media. Aural skills imply an ability to “speak a
language” and thus a speaker might need to have a working
vocabulary that facilitates discussion and sharing. This should not
be limited to words only. For instance, a musical student should be
able to communicate musically with another musical student using
supporting harmonies, melodies and other forms of musical
dialoging. Also, sounds might be recorded via MIDI, audio or other
pathways not limiting the idea of notational skills to staffs on paper
as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe
historically) also (as a way of advancing music education forward we
should remain open to new kinds of aural and notational skills that
represent new musics and musicianships where instruments and
sounds that are emerging and/or undiscovered still have
opportunities for representation in contexts such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers
might be able to assist in evaluating the clarity and accuracy of aural
and notational skills remaining open to new emerging possibilities.
Students might be able to come up with new kinds of notation. This
should be encouraged particularly in students who might have
limited exposure to standardized notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Knowledge and Skills
6-8
page 22
Evaluate
Support Evaluation Criterias of musical works and performances based on analysis, interpretation, and established criteria.
Standard: MU:Re9.1.8a
Apply appropriate personally-developed criteria to evaluate musical works or performances.
Enduring Understanding
The personal Evaluation Criteria of musical work(s) and performance(s) is
informed by analysis, interpretation, and established criteria.
Essential Question
How do we judge the quality of musical work(s) and performance(s)?
Knowledge:
Skills:
Structure – In order to demonstrate student’s understanding of
musics through the personally-developed criteria to evaluate musical
works or performance, students would need to establish their own
criteria through several rich experiences informing their
perspectives. This would come from exposure to and analysis of
various musics. Students would need to have a “context of
contexts.” Additionally they might also need to understand the
technical accuracy, stylistic expression and cultural authenticity
representative of the musical creator. Grades 6-8 students would
need to be engaged in several things at once. First the cultural
background and history of the creator would need to take focus. Next
students would need to engage critically in ways with the music to
empower their ability to honestly represent this music. This might
also involve some peer to peer collaboration. Students might not
need a strong working knowledge of music notation and theory in its
symbolic form, however, they would need to have a developing
understanding of it and a strong aural still. This would enable agency
in students to develop their musical decision making skills.
Performing: Students will be able to sing, play (on all kinds of
musical instruments including those widely accepted as traditional
classroom instruments as well as those in emerging areas of music
education such as computers, tablets, phone apps and other
emerging media). Students will also express through movement.
Movement is integrally woven to sound and should be considered an
essential skill to the performance
Context: In order to demonstrate student’s understanding of musics
through the personally-developed criteria to evaluate musical works
or performance, Grades 6-8 students would demonstrate students’
understanding of musics situated or contextualized within social
spheres..
Evaluation Criteria: To evaluate demonstration of student’s
understanding of musics through the personally-developed criteria
to evaluate musical works or performance Grades 6-8, teachers
would look for students to be essential agents of the process.
Students might need to demonstrate their musical mastery and
reproduction of music through performance or through analysis
through lenses of musical/cultural honesty. They might also be
evaluated based on their dedication to the process. It is important to
note that each context will be unique and teachers should not expect
to find evaluation such a simple process. Students will be planning
and making music as individuals and uniformity is not an end
product. Teachers must remain open to possibilities during the
evaluation process. Rubrics might assist, so long as the rubrics cast
a wide enough net to capture the unique nuances of each student’s
musical creativities.
Creating: Improvisation, arranging and composition are essential
skills to creation. This may happen on paper, software or
collaboratively in sonic spaces with the assistance of recording
media. Creation is often also wedded to performance such as
improvisation.
Aural & notational skills: melodic, rhythmic, harmonic through
various modalities including reading, listening, responding to aural
stimuli and “writing” such as codifying ideas in script on paper or
other software type media. Aural skills imply an ability to “speak a
language” and thus a speaker might need to have a working
vocabulary that facilitates discussion and sharing. This should not
be limited to words only. For instance, a musical student should be
able to communicate musically with another musical student using
supporting harmonies, melodies and other forms of musical
dialoging. Also, sounds might be recorded via MIDI, audio or other
pathways not limiting the idea of notational skills to staffs on paper
as this is a practice popularized and representative of a particular
music and culture (not the totality of musics around the globe
historically) also (as a way of advancing music education forward we
should remain open to new kinds of aural and notational skills that
represent new musics and musicianships where instruments and
sounds that are emerging and/or undiscovered still have
opportunities for representation in contexts such as these.
Evaluating – here the 6-8 teacher might also employ peer and selfevaluation so students become agents of the process. Teachers
might be able to assist in evaluating the clarity and accuracy of aural
and notational skills remaining open to new emerging possibilities.
Students might be able to come up with new kinds of notation. This
should be encouraged particularly in students who might have
limited exposure to standardized notation.
Vocabulary: pitch, tempo, timbre, phrase, harmony, melody, rhythm
Knowledge and Skills
6-8
page 23