Fine Arts
Standards-Based Course of Study
2004
Kindergarten – 12th Grade
Muskingum Valley Educational Service Center
205 N. Seventh Street
Zanesville, Ohio 43701
www.mvesc.k12.oh.us
Dr. Richard Murray, Superintendent
Dr. Judy VanVoorhis, Director of Curriculum, Instruction and Assessment
TABLE OF CONTENTS
Introduction .........................................................................................................................1
Opportunities to Learn.........................................................................................................2
MVESC Mission and Goals ................................................................................................3
Philosophy for a Fine Arts Education Program ...................................................................3
Bloom’s Taxonomy Comparison Sheet: Two Versions .....................................................4
Cognitive Process Dimension Key ......................................................................................6
Major Types and Subtypes of The Knowledge Dimension .................................................8
Creativity and Fine Arts Education .....................................................................................9
Ways to Motivate Students in Art .....................................................................................10
Ways to Motivate Students in Music.................................................................................10
Assessment and Intervention .............................................................................................10
Classroom Assessment ......................................................................................................10
Large Scale Assessment ....................................................................................................11
Intervention Strategies .......................................................................................................12
Classroom Level Intervention ...........................................................................................12
Intervention Rubrics ..........................................................................................................14
Types of Intervention ........................................................................................................14
Building Level Intervention ..............................................................................................16
District Level Intervention ................................................................................................17
Adapted Fine Arts Education for Special Needs Students ................................................17
Specific Learning Disabilities/Severe Emotional Disability .............................................18
Gifted and Talented Position .............................................................................................18
Differentiated Curriculum .................................................................................................21
Glossary of Educational Terms .........................................................................................29
Performing Arts Benchmarks and Indicators access page .................................................39
Music Committee Position Statements ..............................................................................40
K-4 Music Matrix ..............................................................................................................41
5-8 Music Matrix ...............................................................................................................45
9-12 Music Matrix .............................................................................................................50
Jazz Ensemble Goals .........................................................................................................55
Marching Band Performance Objectives ...........................................................................62
Marching Band Goals ........................................................................................................63
Keyboarding, Music Theory, Music History .....................................................................65
Keyboarding Technical Goals ...........................................................................................66
High School Music Theory Goals .....................................................................................67
High School Music History Goals .....................................................................................69
Music References ..............................................................................................................71
Music Periods, Styles, Composers Historical Outline .......................................................72
Internet Music Resources ..................................................................................................87
Fine Arts Committee Position Statements .........................................................................90
Visual Arts Benchmarks and Indicators access page ........................................................94
Visual Arts Matrix K-4......................................................................................................95
Visual Arts Matrix 5-8 ....................................................................................................101
High School Sequence of Media Development ...............................................................107
Visual Arts Matrix 9-12 ..................................................................................................112
Visual Art Vocabulary List .............................................................................................118
Creating a Rubric.............................................................................................................153
Elements of Design/Principles of Design ........................................................................154
Creativity/Originality ......................................................................................................154
Effort/Perseverance .........................................................................................................155
Craftsmanship/Skill/Consistency ....................................................................................155
Group Cooperative/Attitude ............................................................................................155
Web Sites.........................................................................................................................156
Art Galleries and Museums Web Sites ............................................................................156
Art Magazines .................................................................................................................157
Visual Art Resources and Publishers ..............................................................................159
Resources for CD-ROM and Art Videos.........................................................................160
Poster and Print Resources ..............................................................................................160
Slide Resources ...............................................................................................................161
General Art Supply Resources ........................................................................................161
Specialty Art Supply Resources ......................................................................................161
Ceramics ..........................................................................................................................163
Paints ...............................................................................................................................163
Baskets.............................................................................................................................163
Useful Reference Books for Art Teachers .......................................................................163
INTRODUCTION
Fine Arts K-12
This Fine Arts Course of Study has been prepared to provide quality educational programs for
students and is based on the Ohio Department of Education Comprehensive Arts model. The
course of study identifies the skills and concepts teachers are responsible for teaching, gives
parents and teachers a picture of what will be covered, and assures continuity to the educational
program.
Serving as a working guide to give direction for planning and instruction, it is not intended to
define or limit the teaching style or approach. That opportunity of choice is left to individual
teachers. This course of study reflects a set of agreements of what is essential to an effective fine
arts/music program and communicates those objectives to administrators, teachers, students and
the community.
Acknowledgements: MVESC personnel Karen Brown, Linda Martin, Carla Davis, Judy
VanVoorhis, Kim Tatman and the following Course of Study Committee Members:
Coshocton
Barry Hardesty
Sue Havelka
Mike Blowers
Myrtle Beall
Patricia Cheney
Jon Mattison
East Muskingum
Shelley Gallant
Amy Kennedy
Mary Ryan
Dawnell Graham
Franklin
Stuart Diamond
Martha Pollock
Janet Slack
Ann Sims
Maysville
Marge Overdorff
Kurt Dreier
Diana Fleegle
Gary Reichenbach
Kim Henderson
Morgan
Julia Wagner
Pam Lyons
Ridgewood
Jane Crow
Carissa Dickerson
Robin Hire
Stephen Snyder
River View
Keith Watson
Jim Bundy
Jan Zurowski
Rodney Stein
Tri-Valley
Janelle Gatton-Shirer
Amanda Blevins
West Muskingum
Kathy Hixson
Laura Gibson
Tori Alexander
Andrew Ruetz
Terry Curtin
Heather Beauchamp
1
OPPORTUNITIES TO LEARN
Students must be given reasonable opportunities to learn the skills and knowledge specified in the
model. All students must be provided with the necessary support by the school, including
courses, staffing, materials and equipment and facilities. Similarly, it is unfair to hold teachers
accountable for their students meeting the goals and objectives unless they too are ensured
adequate time, materials, space, professional development and other necessary conditions for
teaching, including reasonable class size and student load. Specific recommendations to support
school districts’ arts programs based on the national standards for arts education can be found in
Opportunity-to-Learn Standards for Arts Education (1995) developed by the Consortium of
National Arts Education Associations. These standards can provide guidance to districts as they
plan their program in the arts.
2
MUSKINGUM VALLEY EDUCATIONAL SERVICE CENTER
MISSION and GOALS
It is the mission of the Muskingum Valley Educational Service Center (MVESC) to make
connections to create services that contribute to learning.
Goals:
• MVESC will build the capacity to improve student performance at the school building
level to assist them in attaining an "excellent" rating on the Building Report Card.
• MVESC will perform as a highly efficient and effective organization, as measured by
performance excellence criteria, with all services being self-supporting.
• All MVESC school/district personnel will value our services as measured by
satisfaction surveys.
PHILOSOPHY FOR A FINE ARTS EDUCATION PROGRAM
We believe that fine arts education, including dance, drama/theater, music and visual art, is
essential to the basic education of all students in Ohio because:
•
•
•
•
the fine arts represent the most telling imprints of any civilization, serving as records
of history, expressions and beliefs.
the fine arts are basic symbol systems by which people communicate, express and
acquire understanding.
the fine arts represent forms of thinking and ways of knowing and participating with
the world through cognitive and sensory experiences.
the fine arts embody the deepest expression of our humanity.
Arts education experiences lead students to:
I.
II.
III.
IV.
V.
an understanding of the role of the fine arts in people's lives in which they come to
appreciate the artistic achievements of their own and other societies, past and present.
an ability to communicate through the fine arts in which they develop competencies
in perceiving, creative thinking, qualitative problem solving and technical
proficiency.
an ability to respond to the fine arts in which they perceive aesthetic relationships,
interpret meanings and judge significance.
an understanding of why people value the fine arts in which they formulate their own
personal philosophies of the fine arts.
to fully appreciate the impact of visual arts, students must be exposed and understand
the connections, relationships and application that ties visual art to other academic
disciplines, life experiences and careers which will encourage lifelong learning in the
visual arts.
3
BLOOM'S TAXONOMY COMPARISON SHEET –
TWO VERSIONS OF BLOOM'S TAXONOMY
ORIGINAL TAXONOMY
1.0
Knowledge
1.1
Knowledge of specifics
1.11
Knowledge of terminology
1.12
Knowledge of specific facts
1.2
Knowledge of ways and means of dealing with specifics
1.21
Knowledge of conventions
1.22
Knowledge of trends and sequences
1.23
Knowledge of classification and categories
1.24
Knowledge of criteria
1.25
Knowledge of methodology
1.3
Knowledge of universals and abstractions in a field
1.31
Knowledge of principles and generalizations
1.32
Knowledge of theories and structures
2.0
Comprehension
2.1
Translation
2.2
Interpretation
2.3
Extrapolation
3.0
Application
4.0
Analysis
4.1
4.2
4.3
Analysis of elements
Analysis of relationships
Analysis of organizational principals
Synthesis
5.1
5.2
5.3
Production of a unique communication
Production of a plan or proposed set of operation
Derivation of a set of abstract relations
Evaluation
6.1
6.2
Evaluation in terms of internal evidence
Judgments in terms of external criteria
5.0
6.0
4
THE REVISED TAXONOMY COGNITIVE PROCESS DIMENSION
1.0
Remember -- Retrieving relevant knowledge from long-term memory
1.1
Recognizing
1.2
Recalling
2.0
Understand -- Determining the meaning of instructional messages, including oral,
written and graphic communication
2.1
Interpreting
2.2
Exemplifying
2.3
Classifying
2.4
Summarizing
2.5
Inferring
2.6
Comparing
2.7
Explaining
3.0
Apply -- Carrying out or using a procedure in a given situation
3.1
Executing
3.2
Implementing
4.0
Analyze -- Breaking material into its constituent parts and detecting how the parts relate
to one another and to an overall structure or purpose
4.1
Differentiating
4.2
Organizing
4.3
Attributing
5.0
Evaluate -- Making judgments based on criteria and standards
5.1
Checking
5.2
Critiquing
6.0
Create -- Putting elements together to form a novel, coherent whole or an original
product
6.1
Generating
6.2
Planning
6.3
Producing
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THE COGNITIVE PROCESS DIMENSION KEY
a. Categories and Cognitive Processes
b. Alternative Names
c. Definitions and Examples
1.
1.1
1.2
2.
2.1
2.2
2.3
2.4
2.5
2.6
2.7
3.
3.1
a. REMEMBER
c. Retrieve relevant knowledge from long-term memory
a. RECOGNIZING
b. Identifying
c. Locating knowledge in long-term memory that is consistent with presented material (e.g.,
Recognize the dates of important events in U.S. history)
a. RECALLING
b. Retrieving
c. Retrieving relevant knowledge from long-term memory (e.g., Recall the dates of important
events in U.S. history)
a. UNDERSTAND
c. Construct meaning from instructional messages, including oral, written and graphic
communication
a. INTERPRETING
b. Clarifying, paraphrasing, representing, translating
c. Changing from one form of representation (e.g., numerical) to another (e.g., Paraphrase
important speeches and documents)
a. EXEMPLIFYING
b. Illustrating, instantiating
c. Finding a specific example or illustration of a concept or principle (e.g., Give examples of
various artistic painting styles)
a. CLASSIFYING
b. Categorizing, subsuming
c. Determining that something belongs to a category (e.g., concept or principle) (e.g., Classify
observed or described cases of mental disorders)
a. SUMMARIZING
b. Abstracting, generalizing
c. Abstracting a general theme or major point(s) (e.g., Write a short summary of the events
portrayed on a videotape)
a. INFERRING
b. Concluding, extrapolating, interpolating, predicting
c. Drawing a logical conclusion from presented information (e.g., In learning a foreign language,
infer grammatical principles from examples)
a. COMPARING
b. Contrasting, mapping, matching
c. Detecting correspondences between two ideas, objects and the like (e.g., Compare historical
events to contemporary situations)
a. EXPLAINING
b. Constructing models
c. Constructing a cause-and-effect model of a system (e.g., Explain the causes of important 18th
century events in France)
a. APPLY
c. Carry out or use a procedure in a given situation
a. EXECUTING
b. Carrying out
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3.2
4.
4.1
4.2
4.3
5.
5.1
5.2
6.
6.1
6.2
6.3
c. Applying a procedure to a familiar task (e.g., Divide one whole number by another whole
number, both with multiple digits)
a. IMPLEMENTING
b. Using
c. Applying a procedure to an unfamiliar task (e.g., Use Newton's Second Law in situations in
which it is appropriate)
a. ANALYZE
c. Break material into its constituent parts and determine how the parts relate to one another and to
an overall structure or purpose
a. DIFFERENTIATING
b. Discriminating, distinguishing, focusing, selecting
c. Distinguishing relevant from irrelevant parts or important from unimportant parts of presented
material (e.g., Distinguish between relevant and irrelevant numbers in a mathematical word
problem)
a. ORGANIZING
b. Finding coherence, integrating, outlining, parsing, structuring
c. Determining how elements fit or function within a structure (e.g., Structure evidence in a
historical description into evidence for and against a particular historical explanation
a. ATTRIBUTING
b. Deconstructing
c. Determine a point of view, bias, values or intent underlying presented material (e.g., Determine
the point of view of the author of an essay in terms of his or her political perspective)
a. EVALUATE
c. Make judgments based on criteria and standards
a. CHECKING
b. Coordinating, detecting, monitoring, testing
c. Detecting inconsistencies or fallacies within a process or product; determining whether a
process or product has internal consistency; detecting the effectiveness of a procedure as it is
being implemented (e.g., Determine if a scientist's conclusions follow from observed data)
a. CRITIQUING
b. Judging
c. Detecting inconsistencies between a product and external criteria; determining whether a
product has external consistency; detecting the appropriateness of a procedure for a given problem
(e.g., Judge which of two methods is the best way to solve a given problem)
a. CREATE
c. Put elements together to form a coherent or functional whole; reorganize elements into a new
pattern or structure
a. GENERATING
b. Hypothesizing
c. Coming up with alternative hypotheses based on criteria (e.g., Generate hypotheses to account
for an observed phenomenon)
a. PLANNING
b. Designing
c. Devising a procedure for accomplishing some task (e.g., Plan a research paper on a given
historical topic)
a. PRODUCING
b. Constructing
c. Inventing a product (e.g., Build habitats for a specific purpose)
7
THE MAJOR TYPES AND SUBTYPES OF THE KNOWLEDGE DIMENSION
MAJOR TYPES AND SUBTYPES EXAMPLES
A.
AA.
AB.
B.
BA.
BB.
BC.
C.
CA.
CB.
CC.
D.
DA.
DB.
DC.
FACTUAL KNOWLEDGE -- The basic elements students must know to be acquainted
with a discipline or solve problems in it
Knowledge of terminology-- Technical vocabulary, musical symbols
Knowledge of specific details and elements-- Major natural resources, reliable sources of
information
CONCEPTUAL KNOWLEDGE -- The interrelationships among the basic elements
within a large structure that enable them to function together
Knowledge of classifications and categories-- Periods of geological time, forms of
business ownership
Knowledge of principles and generalizations-- Pythagorean theorem, law of supply and
demand
Knowledge of theories, models, and Structures-- Theory of evolution, structure of
Congress
PROCEDURAL KNOWLEDGE -- How to do something, methods of inquiry, and
criteria for using skills, algorithms, techniques, and methods
Knowledge of subject-specific skills and algorithms-- Skills used in painting with
watercolors, whole-number division of algorithm
Knowledge of subject-specific techniques and methods-- Interviewing techniques,
scientific method
Knowledge of criteria for determining when to use appropriate procedures. Criteria used
to determine when to apply a procedure involving Newton's second law, criteria used to
judge the feasibility of using a particular method to estimate business costs
META COGNITIVE KNOWLEDGE -- Knowledge of cognition in general as well as
awareness and knowledge of one's own cognition
Strategic knowledge-- Knowledge of outlining as a means of capturing the structure of a
unit of subject matter in a textbook, knowledge of the use of heuristics
Knowledge about cognitive tasks, including appropriate contextual and conditional
knowledge-- Knowledge of the types of tests particular teachers administer, knowledge of
the cognitive demands of different tasks
Self-knowledge-- Knowledge that critiquing essays is a personal strength, whereas
writing essays is a personal weakness; awareness of one's own knowledge level
* Anderson, L.W. (Ed.), Krathwohl, D.R. (Ed., ), Airasian, P.W., Cruikshank, K.A., Mayer, R.E., Pintrich, P.R., Raths,
J., & Witrock, M.C. (2001). A taxonomy of learning, teaching, and assessing: A revision of Bloom's Taxonomy of
Educational Objectives (Complete edition). New York: Longman.
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CREATIVITY AND FINE ARTS EDUCATION
The following attitudes, beliefs and tactics are a combination of ingredients that promote
creativity:
•
•
•
•
•
•
•
•
•
•
•
a desire to work hard and at the edge of one's abilities and knowledge.
a willingness to drop unproductive ideas and temporarily set aside stubborn
problems.
a willingness to persist in the face of complexity, difficulty or uncertainty.
a willingness to suspend judgment so that all possibilities can be considered.
a belief in one's own standards of evaluation and the use of those standards to judge
the worth of one's ideas or work.
a desire to do something because it's interesting or personally challenging to pursue.
a desire to go beyond the obvious and break from habitual thinking.
an ability to use various tactics to reframe ideas and problems in order to generate
new perspectives.
an ability to find relationships between different ideas or events.
an ability to concentrate effort and attention for long periods of time.
a belief in doing something well for the sake of personal pride and integrity.
From Creativity and Art Education: A New Look at an Old Relationship by Craig Roland, NAEA
Advisory, Fall 1991, by THE NATIONAL ART EDUCATION ASSOCIATION. Reprinted with
permission.
WAYS TO MOTIVATE STUDENTS IN ART
Artist-in-residence
Book
Demonstration
Dramatization
Exhibitions
Field trips
Films
Have students write poetry
Have students write a story to illustrate
Interactive video
Invite adults from the community
Photocopies from books (laminated)
Photos from magazines
Professional guest artists
Reading
Recall of personal experiences
Relate artwork to their lives
Slides
Still-life objects
Student examples
Students' personal photographs
Students teach each other about an artist
Videos
From The Art Teacher's Book of Lists, Helen Hume, Prentice Hall, 1998. Paramus, New Jersey.
9
WAYS TO MOTIVATE STUDENTS IN MUSIC
Artist-in-residence/Assemblies
Book
Demonstrations
Dramatization-Interactive video
Films
Field trips-Professional guest artists
Have students write lyrics/compose
Have students write a story to illustrate
Interactive video
Invite adults from the community
Performances
Professional guest articles
Recall of personal experiences
Relate music to their lives
Student examples
Students perform for others
Students teach each other about musicians
Videos
ASSESSMENT AND INTERVENTION
Assessment in the competency-based fine arts program consists of two components: ongoing
classroom assessments and district-wide, grade-level assessments. Both are vital in providing
needed information for the overall success of the program. In order to be most effective, both
need to focus on the stated goals and objectives of the fine arts program.
One of the primary goals of assessment is to form instructional planning. It is directly linked to
decisions about the need to remediate, reinforce or extend student learning. Intervention
strategies cannot be planned until judgments have been reached about student performance based
upon a range of assessments, both formal and informal. Once assessment information has been
obtained, it can be evaluated and used to develop strategies to address identified students’ needs.
CLASSROOM ASSESSMENT
Using a variety of alternative assessments can help provide a clearer picture of learning and
provide a more solid foundation for intervention. Classroom assessment cannot be limited to
traditional testing. Most of the instructional and performance objectives found in the Fine Arts
Course of Study for Coshocton, Morgan and Muskingum County schools do not lend themselves
to traditional testing techniques.
During instructional activities, the teacher can be engaged in ongoing assessment based upon the
variety of student responses to questions, the kinds of student inquiries and the degree of student
involvement or participation. Interpreting classroom interactions as they take place is a form of
assessment that leads to intervention as the teacher modifies the instructional strategy or practice
10
being used. When verbal direction or explanation appears to be insufficient, the teacher can
model the skill or behavior. When the number of questions increases, the teacher can slow the
rate of instruction. When a group or groups of students working on a task appear to have
difficulty getting started, the teacher can target the individual groups to provide more elaborate
directions.
After instruction has taken place, more formal types of assessments may be employed. The
choice of assessment methods must take into account the nature of the instructional and
performance objectives to be assessed and the uses to be made of the assessment. Teachers need
to examine their instructional objectives and performance objectives carefully to determine the
intended focus of each objective. For example, the focus could be on content, skill development,
application, performance or production. Instructional and performance objectives lend
themselves to one or more assessment measures. These assessment measures can include such
things as questionnaires, rating scales such as rubrics and competency matrices, tests and actual
work products demonstrating that particular objectives have been met.
Selected objectives help to illustrate the advisability of alternative forms of assessment. These
assessment methods are illustrative only. Teachers are encouraged to be innovative in their
approaches to assessment.
LARGE SCALE ASSESSMENT
Large-scale assessments are used to determine how well a fine arts program is enabling students
throughout the district to achieve the knowledge and goals expected as part of that program.
School districts may use assessments developed commercially or by other school districts or
choose to develop their own.
Assessments developed externally must be examined for compatibility with a district's
competency-based performance objectives. Locally-developed assessments should be tied to
specific performance objectives at each grade level that reflect the local program in the fine arts.
Each of these options must meet the State Board of Education approved ethical standards
(Standards for the Ethical Use of Tests, Board Rule 3301-7-01) for standardized assessment
administration which include: all students at each grade level throughout the district receive the
same assessment; the assessment is scored in the same manner throughout the district; and it is
administered in an appropriate time frame.
School districts may use a combination of externally-developed and locally-developed assessments to
meet the requirements for district-wide, grade-level assessments. Comparing data from different
sources can be useful in verifying the accuracy of information, checking for gaps in information,
identifying overlooked problem areas and selecting new objectives for the program to address in the
future.
A competency-based program developed by individuals who understand human learning, curriculum
development and the fine arts will include intervention and assessment components that are
interrelated, build upon each other and are not necessarily linear. Assessment may be formal or
informal, but it should always guide the intervention strategies needed to improve learning and to
achieve the expected competencies. This does not mean a single assessment will necessarily indicate
the need for and/or kind of intervention that should be provided.
Intervention programs need to be based on the full range of assessments that are included in a district's
competency-based education program.
11
INTERVENTION STRATEGIES
Alternative or supplemental action designed to modify, extend or remediate student learning
relative to the specified performance objectives will sometimes be necessary. Intervention
services must be available to every student. Two important assumptions are:
•
•
intervention must always be based on assessment; and
intervention is a shared responsibility.
These assumptions under gird any successful intervention program. The relationship between
assessment and intervention is neither simple nor direct. Effective instructional strategies must be
based on the assessment of student performance. Absent this information, the intervention is
likely to have no impact on improving student achievement.
Intervention is a responsibility to be shared by educators, parents, students and members of the
community. In the broadest sense, intervention is the responsibility of all individuals who are
involved with student achievement. Minimally, intervention should be structured through three
successive levels -- the classroom, the building and the district. Ideally, these structures involve
students, teachers and parents, as well as building and district administrators. When a student's
need for intervention cannot be satisfactorily addressed by the teacher, building, and district
options must be available. Building-level options might include interclass groupings,
intervention assistance teams, tutorial programs and resource/intervention rooms and teachers.
District-level options might include summer school programs, extra hours programs like Saturday
school and required remedial academic courses. Provisions for intervention services, including
adequate resources and appropriate staff development, should be made at all three levels.
CLASSROOM LEVEL INTERVENTION
The primary responsibility for providing intervention rests with the teachers. The teacher must
identify the need for intervention, design the instructional form it will take and implement the
action. This requires a great deal of skill in classroom remediation, reinforcement, extension and
enrichment techniques. The teacher must be able to use content material, instruct for specific
skills and knowledge and group students for special needs. This includes not only those students
who are having difficulty in learning or need adaptations, but also those who are learning very
quickly and easily. The ability to understand and analyze assessment data and teach
prescriptively are crucial elements of effective intervention. A teacher who is astute, creative,
knowledgeable in the areas of pedagogy and a fine arts discipline is the key to an intervention
program that meets the needs of students. While courses of study and lesson plans focus on
group outcomes, intervention must focus on the individual student. Intervention in the classroom
can take place during a lesson, after a lesson, at the end of a unit or at the beginning or end of a
grade level. Any or all of these intervention models will accommodate one-to-one teacherstudent interaction, as well as various tutorial approaches. However, the most effective
intervention point occurs during regular instruction.
There are many instruction/intervention patterns found at the classroom level. Three of the most
commonly observed patterns are characterized by (1) whole group instruction followed by
remediation or extension for individual students, (2) whole-group instruction followed by
collaborative group work, and (3) group problem-solving strategies. These three patterns
12
represent some of the most typical classroom teaching/reteaching models. One-to-one teacherstudent interaction, tutoring situations other than those involving classroom teachers and students'
use of instructional technologies to discover and explore individually represent just a few of the
many other instructional models that can be used effectively.
In the first pattern, an exemplary whole-group lesson is designed to cause students to think about
the ideas that were presented, stimulate internalization of those concepts or skills and elicit
feedback as to how well the concepts or strategies are understood. Good whole-group instruction
models many of the components of effective communication. It is important that instruction be
viewed as interactive between teachers and students because understanding comes through
dialogue. Students have at least half the responsibility for learning in any instructional setting.
Despite this responsibility, learners respond at various rates and with varying levels of
understanding. Individual student responses provide teachers with opportunities to identify those
students who have or have not fully grasped a concept.
Teachers must possess a repertoire of teaching skills and strategies for initial intervention
episodes. This repertoire should include listening and questioning skills, conferencing strategies,
knowledge of the arts disciplines and ability to present concepts and ideas in formats that address
various learning style strengths and motivational levels. As the instructional dialogue continues,
the teacher has ample opportunity to elicit both formal and informal feedback from learners.
At some point in this process, the teacher must decide how many, as well as which of the learners
understand the lesson ideas well enough to go on to independent work. Additional efforts must
be made to assist students who are not ready to consolidate ideas and proceed independently.
This additional work is usually accomplished with individuals or small groups and is usually
directed by the teacher. The teacher may serve as a facilitator in the learning community. It is
important that teachers be competent diagnosticians in order to determine the nature of student
learning. Acknowledging student strengths is crucial to accommodating those strengths.
Understanding why students are having difficulty is crucial to overcoming that difficulty. When
these gaps in understanding have been addressed, the instruction activities related to learning the
initial concepts may be resumed. The development of a set of alternative strategies is an
important part of professional growth and is essential to meeting the intervention needs of
students.
The second pattern also involves initial interaction in a whole-group setting followed by
collaborative group work. Good instruction in this model is as dependent on two-way interaction
between teacher and student as it is in the instruction in the first model. The difference occurs
after this initial whole-group instruction. Rather than making determinations about the
appropriateness of intervention based only on teacher judgment, this model depends on students
working in groups to solidify concepts. Typically, after teacher-centered instruction, the students
are grouped to continue discussion and work on applications or extensions of the concepts and
skills presented in the lesson. At the core, this model assumes that students have learned at
different rates and with different degrees of understanding. It also assumes that students can
effectively communicate with and help each other to learn.
Group problem-solving strategies, the third pattern, usually presents students with situations to
explore, projects to complete or tasks to perform prior to their receiving any direct instruction.
13
Examination of the results of these efforts can facilitate the design of the next stage of instruction
so that it addresses common problems faced by the learners.
At the core of classroom intervention is effective instruction aimed at each student. In general,
this requires that instruction be focused as much upon the process of learning as upon what is
learned. Instruction must be paced to take into account the fact that students learn at different
rates. It must be structured so that applications or extensions of the concepts and skills provide
students with opportunities to internalize what has been presented. Diagnoses and remediation of
errors should take place as soon as possible in order to avoid the more formal intervention options
available at the building and district levels.
INTERVENTION RUBRICS
The following descriptions of student behavior and possible teacher intervention strategies
represent a range of observable characteristics and options. They are not intended to be allinclusive, but to provide guidance for teachers as they engage in normal instructional activities, to
identify students who are excelling, students who need additional help and students who need
modification of the task to ensure success. These rubrics are intended to stimulate practices
which extend, remediate or modify instruction in response to individual student need.
TYPES OF INTERVENTION
Extension: includes additional experiences offered to gifted or highly skilled students to
challenge and expand their understanding.
What to look for in student performance or behavior:
•
•
•
•
•
•
•
•
•
•
•
•
is engaged; anxious to complete assignment.
completes task enthusiastically; asks for more information.
tries to explore independently.
shows signs of boredom, indicating a need for additional challenges.
takes the lead in helping others.
volunteers for tasks.
elects to do a related activity outside of school.
responds to a particular topic with requests for additional opportunities.
is already proficient in the task.
provides sophisticated responses which demonstrate depth and breadth of understanding.
makes meaningful connections to subjects outside the topic.
achieves/performs at a higher level than others.
14
What teachers might do:
•
•
•
•
•
•
encourage the development of a special interest group.
provide access to the World Wide Web and other external information sources.
connect the student with a mentor/expert in the topic of interest.
offer peer tutoring, match the student with another student who needs remediation.
encourage the student to showcase work with commentary and explanation of project for
the school, public library or community venues.
ask "what if" questions; change the parameters of the assignment.
Remediation: includes experiences offered to those students who are not grasping a concept
or skill or are unable to complete a specific task for a variety of reasons.
What to look for in student performance or behavior:
•
•
•
•
•
•
•
•
•
•
•
is inattentive, off task, disruptive.
cannot answer questions requiring basic information.
cannot perform a task or has difficulty.
does not finish a task.
does not participate.
produces incorrect product or no product.
does not follow directions.
makes effort but gets information mixed up.
unable to apply information or learning.
unable to transfer learning to a new situation.
has noticeable change in behavior
What teachers might do:
•
•
•
•
•
•
adjust instruction to learning style.
one-on-one instruction.
develop student profile by talking with other teachers, intervention assistance team,
parent(s) and/or student to determine source of behavior/academic problem.
make directions clear and break them down into smaller steps.
develop and use a range of assessment strategies.
team with the school community to reinforce learning skills.
Modification: refers to a specific strategy developed for an individual student, prior
to or during instruction, to enable that student to have success.
What to look for in student physical/mental status:
•
•
•
has a cognitive disability (specific learning disability, developmental delay).
has a physical disability (vision/hearing/speech impairment, orthopedic disability,
neurological condition such as cerebral palsy or is medically fragile).
has health problems (allergies, heart condition, diabetes, respiratory problems).
15
What teachers might do:
•
•
•
•
•
•
•
•
•
•
consult with Special Education teachers.
be familiar with the Individual Education Plan (IEP) or 504 plan if one has been
prepared.
allow more time for completion of task as appropriate.
be aware of medical requirements.
meet with other teachers and appropriate specialists to determine usual adaptations and to
brainstorm adaptations as needed.
maintain contact with other staff involved with the student with special needs.
use team problem-solving including the student and parent.
develop curriculum intervention/modification that is practical for both student and
teacher.
focus on concept growth as a more important goal than activities or products.
take advantage of adapted technologies and computers.
BUILDING LEVEL INTERVENTION
When intervention strategies provided in the classroom are not sufficient to meet the needs of an
individual student, it is sometimes necessary to provide alternatives. These alternatives may
include interclass grouping, the establishment of an appropriately staffed resource or intervention
room; tutorial program; and a formal intervention assistance team established at the building
level.
Interclass groupings might occur at either the elementary or the secondary level. This option is
appropriate when groups are formed for short periods of time with highly fluid structures and
membership. Since intervention is best handled at the classroom level, this alternative should
only be used after the classroom teacher and/or intervention assistance team has decided that
options for intervention within the classroom cannot meet the needs of the student. Groups can
be formed when students are having difficulty or enjoying success in attaining the same or related
performance objectives and there is strong evidence that the reasons for the difficulty or success
are somewhat the same among numbers of students.
The establishment of an intervention or resource room is another alternative for schools. A center
such as this is a place where students can receive valuable one-on-one attention. The people
staffing a resource center must be knowledgeable about content methods and materials necessary
for the development of an intervention program. In addition, they must be able to implement
such a program. Students for whom a traditional classroom setting is either ineffective or
inefficient can benefit from an intervention center with new approaches to content, different
pacing, alternative methods of instruction and a variety of materials to use.
Tutorial programs offer practical ways to help students needing alternative instruction in the arts.
Tutorial programs offer learners much needed personal attention. Again, it is important that all
people acting as tutors, whether they are volunteers, other students or classroom teachers, receive
special training both in terms of methods and content appropriate for student needs.
16
DISTRICT LEVEL INTERVENTION
Students who have not had their needs met after involvement in classroom and building-level
intervention programs need to be placed in district programs. These programs might include a
highly individualized summer school program, a before- or after-school program during the
regular school year, and in the case of secondary students, a required remedial academic course or
post secondary enrollment option. These programs represent the most serious and potentially
costly intervention, and it is important that alternative instruction be given.
Often students in remedial programs have a history of difficulty in their course work. They have
not achieved expected performance levels through regular classroom instruction. Continuing to
use the same instructional techniques and materials with these learners will not produce success.
Intervention efforts should begin with diagnostic analyses that will reveal areas of fundamental
difficulty and misunderstanding. Connections should be made from what is known to what is to
be learned. Learners should have the opportunity to reconstruct knowledge in the context of new
materials. Skills need to be modeled for learners to imitate and then to use in a variety of
settings. Repeated opportunities to apply knowledge and skills need to be provided.
Schools should also intervene when very capable students require more complex challenges.
These students have exceeded performance expectations in the classroom. Continuing to use the
same instructional techniques and materials may not produce the significant learning gains these
students are capable of achieving. Opportunities to build upon classroom experiences are needed.
Applying knowledge and skills in new contexts and under different circumstances should enable
these students to be challenged.
ADAPTED FINE ARTS EDUCATION FOR SPECIAL NEEDS STUDENTS
Special needs students are to be provided educational opportunities in the fine arts in accordance
with federal and state law and federal regulations. They are to be placed in these programs
according to the least restrictive environment. As with other teachers who will serve these
students, fine arts teachers should be included when individual education plans are written.
The Fine Arts Course of Study has been written to include all students, handicapped as well as
non-handicapped. Special needs students usually can be educated successfully, following the
same overall philosophy, goals and objectives as non-handicapped students.
Teachers recognize that individualized education must be offered to special needs students.
Teachers will use various options in evaluating special needs students. Methods of instruction,
materials, equipment and tools, as well as specific activities will be adapted to accommodate the
needs of the special needs students. Fine Arts teachers should be provided with necessary media,
tools, etc., where necessary to adapt lessons for students with special needs.
Evaluation will reflect appropriate course of study objectives, individualized education plan (IEP)
objectives and learning styles. Teachers must be provided with appropriate professional
development, multi-factored evaluations and other pertinent information and materials to best
serve these students.
17
SPECIFIC LEARNING DISABILITIES/SEVERE EMOTIONAL DISABILITY
Disabled students shall be provided educational opportunities in accordance with federal, state
and local mandates. Specific Learning Disabilities (SLD), Cognitively Disabled (CD) and Severe
Emotional Disability (SED) students shall be provided instruction pursuant to this course of study
as is appropriate and as is consistent with their Individualized Education Programs.
Individualizing and personalizing instruction for these students may require adjusting course of
study subject objectives or the instructional means and/or materials. The subject objectives for an
SLD, CD or SED student may come from this course of study at grade level or from grade levels
other than the student's grade level. These students are to be provided appropriate learning
experiences to enable them to master course of study and IEP objectives at appropriate levels.
Students identified as Multiple Disabled (MD) will generally follow a functional curriculum.
While these students have diverse needs as stated on their Individualized Education Programs,
these needs can be addressed with proper planning through this course of study. Administrators,
specialists and the classroom teachers should be aware of all accommodations, modifications and
short-term and long-term goals of the student. The classroom teacher should have access to all
pertinent information. If needed, conference times should be made available by the
administration to allow the classroom teacher and special education teacher to implement ways of
meeting students' goals and objectives.
GIFTED AND TALENTED POSITION
Included in the producing portion of the subject objectives are activities designated as
"enrichment." The enrichment activities are presented for the purpose of accommodating
individual differences, motivating and challenging the keenly interested student and maintaining
that interest. These activities may be used for the learner who desires to explore more fully a
particular concept or focus area.
Following are suggested ways in which the fine arts teacher may encourage the talented student
on an independent basis:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
Inform parents of the student's exceptional talent.
Inform and encourage the classroom teacher to make use of this student's exceptional
talents whenever possible.
Provide additional performance opportunities.
Encourage participation in community theater groups, clubs and other fine arts
organizations.
Inform students of available camps and workshops that focus on fine arts.
Encourage private study.
Provide computer-assisted instructions in dance, drama/theatre, music or visual art theory
when possible.
Encourage participation in local and state contests.
Correlate fine arts talented and gifted programs with district talented and gifted programs.
Encourage attendance of cultural events.
Assist district gifted coordinators and/or teachers in the annual identification of students
who are talented in the fine arts.
18
Ways to Assist Students to Access the General Curriculum/Education
All students are guaranteed the opportunity to participate in the general curriculum and general
education activities in order to have exposure to typical learning, as well as to meet individual
goals and objectives. In addition, students are guaranteed an education in the "least restrictive
environment." Many times, however, it is necessary to explore ways to adapt the environment,
opportunities and materials to allow students to learn. These adaptations take on a variety of
forms.
Adaptations
Adaptations are based on the particular student's strengths and challenges. This is the broad
category that includes changes made to:
• the environment
• the curriculum
• the instruction
• assessment practices
ADAPTATIONS INCLUDE ACCOMMODATIONS AND MODIFICATIONS
Accommodations
Supports or changes that help a student access and demonstrate learning.
These do not substantially change:
•
instructional level
•
content
•
performance criteria
The changes allow a student equal access to learning and equal opportunity to demonstrate
knowledge.
Examples of accommodations include:
•
placement close to the front of the room to help a student with visual difficulties
to better see the board
•
use of an amplification system to help a student with a hearing impairment to
better understand the teacher's instruction
•
allowing a student who has motor impairment to verbally give answers to a test
that others take in a written format
•
allowing a medically fragile student to gain instruction via the internet or
teleconference instead of sitting in the classroom
19
Modifications
Significant changes in what a student is expected to learn and to demonstrate. This may result in
significant change in the types of support the student receives as well as changes in:
•
instructional level
•
content
•
performance criteria
These changes are based on the student's strengths and challenges and are made in order to
provide the student with meaningful and productive:
•
learning experiences
•
environments
•
assessments
Examples of modifications include:
•
providing 1-on-1 instruction to a student that has difficulty attending to
instruction in large groups
•
allowing a student to be responsible for only identifying the states, instead of
states and capitals
•
allowing a student to use a calculator to solve math problems
Curriculum Modifications and Adaptations - Nine Ways to Adapt
1. Size: Reduce the number of items that the learner is expected to complete or learn.
2. Time: Change the amount of time allowed for learning, testing, task completion. Allow for
breaks during this time, as well.
3. Level of Support: Increase the amount of personal assistance for the learner by using peer
buddies, assistants, tutors, etc.
4. Input: Provide a variety of ways that instruction is delivered by the use of visual supports,
hands-on learning, small group lessons, concrete examples, computers/internet, music, etc.
5. Difficulty: Adapt the skill level, problem type or the rules on how the learner may approach
the required work by the use of a calculator, "open book" or simplify task directions.
6. Output: Modify how the student may respond to instruction or produce information by the
use of computers or keyboards, verbal response, use of hands-on materials, answer specific
questions vs. open-ended essay questions, etc.
7. Participation: Adapt the extent to which a student may be involved in the task/lesson by
allowing the student to use his strengths and interests. For example: The student may type the
answers that the group tells him to type, the student may glue what the other students cut out, the
student may pass out the books and pick classmates to answer questions.
20
8. Alternate Goals: Change the expected outcome or goal for the student using the same
materials or curriculum as other students. For example: The student will only copy the spelling
words, while others will spell from memory, the student will match state names to the map while
others will locate state capitals, the student will participate in science by building the DNA model
while others build the model, label and answer questions.
9. Substitute Curriculum: Provide different instruction, materials and goals for a student. For
example: A student may learn computer/keyboarding skills while others are taking a language
test, a student may cut out food items from a magazine and create a picture book of favorite foods
while others are writing a creative story, a student will create his personal schedule for the day
while others are doing group circle or calendar time.
DIFFERENTIATED CURRICULUM
These forms and related information are accommodations and modifications to address current
teaching methods.
Differentiation Strategies: Accommodations for Regular/Special Education Classes
It is necessary that accommodations be made in your classroom for students because P.L. 94-142
provides that…"All handicapped students, including those in public or private institutions or
other care facilities, are educated with children who are not handicapped, and that special classes,
separate schooling, or other removal of handicapped children from the regular education
environment occurs only when the nature or severity of the handicap is such that an education in
regular classes with the use of supplementary aids and services cannot be achieved satisfactorily."
A. Adapting the Presentation of the Material
1. Break assignment into segments of shorter tasks
2. When content mastery is questionable, investigate the use of concrete concepts BEFORE
teaching abstract
3. Relate information to students' experiential base
4. Reduce the number of concepts introduced at any one time
5. Provide student with an overview of the lesson BEFORE beginning the lesson (Tell student
what student should expect to learn and why)
6. Monitor the level of language you use to communicate ideas (Are you using vocabulary and
complex sentence structure that are too advanced?)
7. Schedule frequent, short conferences with student to check for comprehension
8. Provide consistent review of any lesson BEFORE introducing new information
9. Allow student to obtain and retain information utilizing: cassette/tape recorders, typewriters,
interviews/oral reports, projects, calculators, dictation, computers.
10. Highlight important concepts to be learned in text or material (color code key points; outline;
study guides)
11. Space practice and drill sessions over time
12. Monitor the rate in which you present material (Do you talk too fast or give too much material
at one time?)
21
13. Give additional presentations
a. Repeat original presentations
b. Provide simpler, more complete explanations
c. Give additional examples
d. Model skills in several ways
14. Provide additional guided practice
a. Require more responses
b. Lengthen practice sessions
c. Schedule extra practice sessions
15. Make consequences more attractive
a. Increase feedback
b. Provide knowledge of results
c. Chart performance
d. Reward approximations
e. Give incentives to begin and to complete assignments
16. Recognize and give credit for student's oral participation in class
17. Make arrangements for homework assignments to reach home with clear, concise directions
18. Assign tasks at the appropriate level (lower reading/difficulty level)
19. Give tests orally
20. Other:
21. Other:
______
B. Adapting the Environment
1.
Use study carrels
2.
Use proximity seating
3.
Seat student in an area free from distractions
4.
Let student select the place which is best for his/her study
5.
Help keep student's space free of unnecessary materials
6.
Use checklists to help student get organized
7.
Use notebook for organized assignments, materials and homework
8.
Provide opportunities for movement
9.
Other:
10.
Other:
_______
C. Adapting Time Demands
1. Increase amount of time allowed to complete assignment/tests (Contract with student
concerning time allotment)
2. Reduce amount of work or length of tests (as opposed to allowing more time)
3. Teach time management skills (use of checklists, prioritizing time, prioritizing assignments)
4. Space short work periods with breaks or change of task
5. Set up a specific routine and stick with it
6. Alternate quiet and active time (short periods of each)
7. Give student a specific task to perform within specific time limits
8. Other:
9. Other:
_______
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D. Adapting the Materials
1. Visual Motor Integration
a. Avoid large amounts of written work (both in class and homework)
b. Encourage student to select the method of writing which is most comfortable (cursive or
manuscript)
c. Set realistic and mutually agreed upon expectations for neatness
d. Let student type, record or give answers orally instead of writing
e. Avoid pressures of speed and accuracy
f. Provide student with copy of lecture notes produced by teacher or peers
g. Reduce amounts of board work copying and textbook copying; provide student with
written information
h. Other:
i. Other:
_____________
2. Visual Processing
a. Highlight information to be learned (color coding, underlining, etc.)
b. Keep written assignments and workspace free from extraneous/irrelevant distracters
c. Worksheets should be clear and well-defined
d. Go over visual task with student and make sure student has a clear understanding of all
parts of the assignment BEFORE beginning
e. Avoid having student copy from the board (Provide student with a written copy of the
material. May use teacher's manual or lecture notes)
f. Other:
g. Other:
3. Verbal Processing
a. Give written directions to supplement verbal directions
b. Slow the rate of presentation
c. Paraphrase material using similar language
d. Keep statements short and to the point
e. Avoid use of abstract language (metaphors, idioms, puns, etc.)
f. Keep sentence structure simple, gradually introduce more complex sentences as student
masters the ability to comprehend them
g. Encourage feedback from student to check for understanding (Have student restate what
you have said using his/her own words)
h. Familiarize student with any new vocabulary BEFORE the lesson (Make sure student can
use this vocabulary, not just recognize it)
i. Reduce amount of extraneous noise such as conversations, TV, radio, noises from outside,
etc.
j. Alert student's attention to key points with such phrases as: "This is important, listen
carefully"
k. Ensure the readability levels of the textbooks used in class are commensurate with student's
language level
l. Utilize visual aids to supplement verbal information (Charts, graphics, pictures, etc., can be
used to illustrate written and spoken information)
m. Utilize manipulative, hands-on activities whenever possible; establish the concrete
experiences based BEFORE teaching more abstract concepts
n. ALWAYS demonstrate to student how the new material relates to material student has
previously learned
o. Other:
p. Other:
______
23
4. Organizational
a. Establish daily routine and attempt to maintain it
b. Make clear rules and be consistent enforcing them
c. Contract with student, using a reward for completion of the contract
d. Provide notebook with organized selections such as: assignments due, time
management schedules, prioritized to-do lists, calendar, study guides, homework, class
notes
e. Avoid cluttered, crowded worksheets by utilizing techniques such as:
1) Blocking - block assignments into smaller segments
2) Cutting - cut worksheets into fourths, sixths or eighths and place one problem
in each square
3) Folding - fold worksheets into fourths, sixths or eighths and place one problem
in each square
4) Color coding, highlighting or underlining important information on which the
student needs to focus
f. Hand out written assignments with expected dates of completion on which the student
needs to focus
g. To prevent misplaced assignments, provide student with file folders, notebooks or
trays in which he can immediately place his work
h. Set aside a specific time for cleaning desks, lockers, organizing notebooks, etc.
i. Teach goal-setting skills
j. Teach decision-making/prioritizing skills
k. Teach time management skills
l. Other:
m. Other:
E. Use of Groups and Peers
1. Utilize cooperative learning strategies when appropriate
2. Assign a helper to:
a.
Check understanding of directions
b.
Read important directions and essential material
c.
Copy of lecture notes
d.
Practice/review assignments
e.
Summarize important textbook passages (on tape or in person)
f.
Record material dictated by student
g.
Model appropriate responses
24
Accommodations for Children with Behavior Disorders
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
Contracts for behavior (list details: who, when, where, how often)
Increase verbal reinforcement
Provide a "stop and think" place
Take everything out of desk except what they are working on
Token Economy System (Behavior Contingency Plan)
Precision commands
Get eye contact prior to directions and instructions
Daily work check (list details)
Daily organizational checks (list details)
Change tasks every _____ minutes
Telephone answering machine contracts _____ times weekly
Sit by teacher during
Buddy/peer tutor for
Timer to complete tasks
Self-monitoring for
Recess contracts (list details)
Provide structured recess program
Tape recorder/video to record language, etc.
Counseling with _____________________________________________times weekly
as a mentor (adult-not current teacher)
Rules, reminder goals on desk, wall
Provide quiet place to complete work
Meeting with parents
times monthly by phone/person
Adapt work - more, less, harder, easier (see materials adapting) details
Other:
BEST Project *Utah State Office of Education* 1994 (with some adaptations)
25
2/14/03
MODIFICATIONS FOR:
The following checked accommodations should be in place in order to assist the above named
student in school.
Materials:
Highlighted texts
Study guides
Use of adapted or simplified texts
Materials that emphasize: Auditory/Visual/Tactile/Multi/teaching approach (circle)
Taped texts
Use of other's notes
Other:
Teaching/Presentation Methods:
Give oral cues and prompts
Check often for understanding
Provide student with manipulatives
Use peer partner/peer tutor
Emphasize: Auditory/Visual/Tactile/Multi/teaching approach (circle)
Quietly explain directions to student after entire class has been told
Emphasize critical information
Provide corrective feedback
Emphasize discovery learning
Use cooperative groups
Other:
Assignment Modifications:
Adjust length
Read aloud by student
Allow student to answer orally
Adapt assignments to student's level
Break directions/questions into steps
Emphasize: multiple choice/short answer/true-false/essay format (circle)
Allow student to demonstrate knowledge of material other than by traditional assignment
Explain:
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
Provide additional time to complete
Read to student by teacher or peer
Other:
26
Assistive Technology:
Use of calculator
Use of manipulatives
Use of dictionary (except on spelling tests)
Use of word processor or keyboard
Use of spellchecker (except on spelling tests)
Other:
Evaluation/Testing Modifications:
Adjust length
Read aloud by student
Allow student to answer orally
Break directions/questions into steps
Emphasize: multiple choice/short answer/true-false/essay format (circle)
Allow student to demonstrate knowledge of material other than by taking traditional tests,
explain:________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
Provide additional time to complete
Read to student by teacher or peer
Use of study guide and/or notes
Other:
Grades:
Avoid penalizing for spelling errors
Quarter and semester grades based on assignments, not tests
Grading determined by regular education and special education teacher
Grading at which the student is working
Other:
Behavior/Environment:
Provide positive verbal reinforcement
Provide tangible reinforcement
Ignore inappropriate behavior
Clarify consequences for behavior often
Verbalize disapproval and restate expectations clearly
Clarify rules and expectations (written/verbally) often
Preferential seating
Explain:_______________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
Frequent breaks, in what situations:
Reduce/eliminate distractions: How:__________________________________________
Use time out
Use proximity control
Behavioral contracts/charts
27
Other:
Communication with Parents:
Assignment notebook
Assignment folder
Request parent follow through
Communication with parents
Frequency: _____________________________________________________________________
Procedure: _____________________________________________________________________
Other:
28
GLOSSARY OF EDUCATIONAL TERMS
Achievement/Ability Discrepancy: A criterion often used to determine whether a child
has a learning disability. It asks, "Is the child working up to expectations?" Some scholarly
texts offer the formula from the ADA - Americans with Disabilities Act of 1990. This law
follows the principles established under Section 504. It provides for the protection from
discrimination of persons with disabilities and allows claims for compensatory and punitive
damages.
Achievement Test: A standardized test designed to efficiently measure the amount of knowledge and/or
skill a person has acquired, usually as a result of classroom instruction. Such testing produces a statistical
profile used as a measurement to evaluate student learning in comparison with a standard or norm.
Accommodations: Techniques and materials that allow individuals with LD to complete school or work
tasks with greater ease and effectiveness. Examples include spellcheckers, tape recorders and expanded
time for completing assignments.
Accountability: The demand by a community (public officials, employers and taxpayers) for school
officials to prove that money invested in education has led to measurable learning. "Accountability testing"
is an attempt to sample what students have learned, or how well teachers have taught, and/or the
effectiveness of a school principal's performance as an instructional leader. School budgets and personnel
promotions, compensation and awards may be affected. Most school districts make this kind of assessment
public; it can affect policy and public perception of the effectiveness of taxpayer-supported schools and be
the basis for comparison among schools. Accountability is often viewed as an important factor in
education reform. An assessment system connected to accountability can help identify the needs of schools
so resources can be equitably distributed. In this context, accountability assessment can include such
indicators as equity, competency of teaching staff, physical infrastructure, curriculum, class size,
instructional methods, existence of tracking, number of higher cost students, dropout rates and parental
involvement, as well as student test scores. It has been suggested that test scores analyzed in a
disaggregated format can help identify instructional problems and point to potential solutions.
Aesthetic: Feeling of emotion and beauty through expression in the fine arts.
Adaptive Behavior: A sort of "practical intelligence." It is usually measured by scales that identify how
well a person manages within his or her own environment.
Americans with Disabilities Act of 1990 (ADA): Federal legislation that prohibits employers from
discriminating against qualified individuals with disabilities in job application procedures, hiring, firing,
advancement, compensation, job training and other terms, conditions and privileges of employment 504
Plan development and implementation.
ADHD - Attention Deficit Hyperactive Disorder: A condition identified as a medical diagnosis by the
American Psychiatric Association's Diagnostic and Statistical manual III-Revised (DSM III-R). This
condition is also often called Attention Deficit Disorder (ADD) because of that usage in a previous edition
of DSM. Although it is not a service category under IDEA, children with this condition may be eligible for
service under other categories or under Section 504. Attention Deficit Disorder (ADD) - A severe
difficulty in focusing and maintaining attention. Often leads to learning and behavior problems at home,
school and work. Also called Attention Deficit Hyperactivity Disorder (ADHD). Attention Deficit
Disorder/Attention Deficit Hyperactivity Disorder (ADD/ADHD). Child with ADD or ADHD may be
eligible for special education under other health impairment, specific learning disability, and/or emotional
disturbance categories if ADD/ADHD condition adversely affects educational performance.
29
Alternative Assessment: An assessment in which students originate a response to a task or question.
Such responses could include demonstrations, exhibits, portfolios, oral presentations or essays. (Compare
to traditional assessment)
Authentic Assessment: Evaluating by asking for the behavior the learning is intended to produce. The
concept of model, practice, feedback in which students know what excellent performance is and are guided
to practice an entire concept rather than bits and pieces in preparation for eventual understanding. A
variety of techniques can be employed in authentic assessment. The goal of authentic assessment is to
gather evidence that students can use knowledge effectively and be able to critique their own efforts.
Authentic tests can be viewed as "assessments of enablement," in Robert Glaser's words, ideally mirroring
and measuring student performance in a "real-world" context. Tasks used in authentic assessment are
meaningful and valuable and are part of the learning process.
Autism: Developmental disability that affects communication and social interaction, adversely affects
educational performance, is generally evident before age 3. Children with autism often engage in repetitive
activities and stereotyped movements, resist environmental change or change in daily routines and have
unusual responses to sensory experiences.
Benchmark: A specific statement of what all students should know and be able to do at a specified time in
their schooling. Benchmarks are used to measure a student's progress toward meeting the standard.
Statement that provides a description of student knowledge expected at specific grades, ages or
developmental levels. Benchmarks often are used in conjunction with standards. (See standards)
Collaborative Learning or Cooperative Learning: An instructional approach in which students of
varying abilities and interests work together in small groups to solve a problem, complete a project or
achieve a common goal.
Cooperative Learning: A teaching method in which students of differing abilities work together on an
assignment. Each student has a specific responsibility within the group. Students complete assignments
together and receive a common grade.
Criterion-referenced Assessment: An assessment that measures what a student understands, knows or
can accomplish in relation to specific performance objectives. It is used to identify a student's specific
strengths and weaknesses in relation to skills defined as the goals of the instruction, but it does not compare
students to other students. (Compare to norm-referenced assessment)
Criterion Referenced Tests: A test in which the results can be used to determine a student's progress
toward mastery of a content area. Performance is compared to an expected level of mastery in a content
area rather than to other students' scores. Such tests usually include questions based on what the student
was taught and are designed to measure the student's mastery of designated objectives of an instructional
program. The "criterion" is the standard of performance established as the passing score for the test.
Scores have meaning in terms of what the student knows or can do, rather than how the test-taker compares
to a reference or norm group. Criterion referenced tests can have norms, but comparison to a norm is not
the purpose of the assessment.
Curriculum: The subject matter that is to be learned. A curriculum is usually described in terms of its
scope and sequence. One might examine the curriculum of a special school, for example, to determine
whether it matches the IEP of a student who had been recommended for enrollment.
Curriculum-based Assessment: A methodology of increasing importance in special education in which a
child's progress in the curriculum is measured at frequent intervals.
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Differentiation: The implementation of alterations or modifications to curriculum or instruction to better
meet the needs of the learner. Modifications can address content, process or product as well as depth,
breadth or pace.
Disability: A physical, sensory, cognitive or affective impairment that causes the student to need special
education. NOTE: There are significant differences in the definitions of disability in IDEA and Section
504.
Due Process: In general, due process includes the elements of notice, opportunity to be heard and to
defend one’s self. With regard to IDEA, due process refers to a specific set of procedures described in 23
IAC Part 226. With regard to Section 504, procedures are less clearly specified. With regard to student
discipline matters, the amount of process that is due is largely dependent upon the degree of jeopardy
involved.
DH - Developmentally Handicapped: Another term for educably mentally handicapped. Children under
this category have cognitive skills two standard deviations below the mean of 100 with performance scores
equally low in all areas. Adaptive behavior skills are also delayed.
Early Intervention (EI): Special education and related services provided to children under age of 5.
EHA - Education for All Handicapped Children Act: More commonly identified as P.L. 94-142. It
became effective in 1975 and has been significantly modified by the Individuals with Disabilities
Education Act (1977).
EMH - "educably mentally handicapped": An eligibility category under IDEA, including children
whose cognitive development is approximately one-half to three-fourths the average rate and is
accompanied by similar delays in adaptive behavior.
English as a Second Language (ESL): Classes or support programs for students whose native language is
not English.
Emotional and Behavioral Disorders: Also called EBDs, disorders characterized by consistently
aggressive, impulsive or withdrawn behavior, including schizophrenia. Each state classifies these
conditions differently. Clinicians generally consider behavior to be an EBD if it impairs personal, social,
academic and vocational skills.
Emotional Disturbance (ED): Disability category under IDEA; includes depression, fears, schizophrenia;
adversely affects educational performance.
FAPE - "free appropriate public education": Provision as required under IDEA. The Individuals with
Disabilities Act (IDEA), formerly PL 94-142, requires school districts to provide all eligible students with a
free appropriate public education (FAPE), which provides special education and related services allowing
personalized instruction and sufficient support services necessary to permit the child to benefit
educationally at the public's expense.
FERPA - Family Educational Rights and Privacy Act: A federal law that regulates the management of
student records and disclosure of information from those records. The Act has its own administrative
enforcement mechanism.
Formative Assessment: Observations which allow one to determine the degree to which students know or
are able to do a given learning task, and which identifies the part of the task that the student does not know
or is unable to do. Outcomes suggest future steps for teaching and learning. (See Summative Assessment)
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Gifted and Talented Education: A program or service designed to offer enrichment activities, additional
classes or programs for students identified as having high potential. Students qualify for service on the
basis of ability or achievement scores on state-approved identification tests. Multiple opportunities are
available for assessment, and a parent may request special testing. Gifted and talented education
programs/services vary from school to school.
Gifted Students: Pupils who are considered to have the capacity to achieve beyond the norm -- either
because of their IQ scores, their demonstrated ability in the classroom or both. Once limited to academic
skills, the definition of giftedness in many schools is expanding to include children with a wide variety of
talents.
Grade Equivalent: A score that describes student performance in terms of the statistical performance of
an average student at a given grade level. A grade equivalent score of 5.5, for example, might indicate that
the student's score is what could be expected of an average student doing average work in the fifth month of
the fifth grade. This score allows for a theoretical or approximate comparison across grades. It ranges
from September of the kindergarten year (K.O.) to June of the senior year in high school (12.9). Useful as
a ranking score, grade equivalents are only a theoretical or approximate comparison across grades. In this
case, it may not indicate what the student would actually score on a test given to a mid-year fifth grade
class.
HI - Hearing Impairment: Disability category under IDEA; permanent or fluctuating impairment in
hearing that adversely affects educational performance.
High Stakes Testing: Any testing program whose results have important consequences for students,
teachers, schools and/or districts. Such stakes may include promotion, certification, graduation or
denial/approval of services and opportunity. High stakes testing can corrupt the evaluation process when
pressure to produce rising test scores results in "teaching to the test" or making tests less complex.
Holistic Method: In assessment, assigning a single score based on an overall assessment of performance
rather than by scoring or analyzing dimensions individually. The product is considered to be more than the
sum of its parts, and so the quality of a final product or performance is evaluated rather than the process or
dimension of performance. A holistic scoring rubric might combine a number of elements on a single
scale. Focused holistic scoring may be used to evaluate a limited portion of a learner's performance.
Heterogeneous Grouping: An educational practice in which students of diverse abilities are placed within
the same instructional groups. This practice is usually helpful in the integration of children with
disabilities.
Higher-Order Thinking Skills: Understanding complex concepts and applying sometimes conflicting
information to solve a problem, which may have more than one correct answer.
Holistic Scoring: Using a scoring guide or anchor papers to assign a single overall score to a performance.
(See scoring guide)
Homogeneous Grouping: An educational practice in which students of similar abilities are placed within
the same instructional groups. The practice usually serves as a barrier to the integration of children with
disabilities.
House Bill 3 - HB3: This bill refers to the way in which Ohio adopted implementation of achievement and
diagnostic assessments.
IAT - Intervention Assistance Team:
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Individual Education Program (IEP): A written plan created for a student with learning disabilities by
his or her teacher(s), parents or guardians, the school administrator and other interested parties. The plan is
tailored to the student's specific needs and abilities and outlines goals for the student to reach. The IEP
should be reviewed at least once a year.
Individuals with Disabilities Education Act (IDEA): A landmark 1975 federal law, originally known as
the Education for All Handicapped Children Act. In exchange for federal money, schools must guarantee
that all children with disabilities receive a "free, appropriate public education." Different portions of the
law cover children from birth to age 21. The law has been amended several times but originally addressed
children with disabilities who were kept out of the public schools and taught either at home or institutions.
Inclusion: A process whereby students who are in the special education program enroll in general
education classes. The students are officially included on the general education roster and are graded by
the general education teacher, while continuing to receive support from the special education teacher
(compare with "mainstreaming"). The Individuals with Disabilities Education Act requires that disabled
children be educated in the "least restrictive environment" possible. (See "Individual with Disabilities
Education Act")
Indicator: A specific statement of knowledge that all students demonstrate at each grade level. These
indicators serve as checkpoints that monitor progress toward the benchmarks.
IQ: Shortened term for "intelligence quotient." It is supposed to reflect a person's mental capabilities, but
these tests have become more controversial in recent years. Critics claim they measure only a limited
number of intellectual abilities, primarily "school smarts," while others say the tests are biased against
members of some minority groups.
Learning Disabilities: Encompasses a wide variety of learning difficulties; the criteria for the label varies
from state to state. In general, a learning disability describes a discrepancy between a child's intelligence
and academic achievement. Some children have learning disabilities only in specific areas, such as reading
or math. An eligibility category under IDEA and described in detail within the statute.
Limited-English-Proficient Students: Students who speak a language other than English. They are either
immigrants or children born in the United States. Each state has a different way of ascertaining whether a
child is limited-English-proficient. Usually such students receive bilingual-education or English-as-asecond-language services.
Limited English Proficiency (LEP): A now out-of-fashion term describing students who are not yet able
to read, write, speak and understand English as well as their peers at their grade level. The new term:
English Language Learners (ELL).
LRE - least restrictive environment: A requirement of IDEA.
Mainstreaming: The practice of placing students with educational and/or physical disabilities in general
education classes. This helps special education and general education students learn to function socially
and academically together. The special education teacher maintains the students' attendance records and
grades. (Compare with "inclusion")
Mental Retardation: Disability category under IDEA; refers to significantly sub-average general
intellectual functioning with deficits in adaptive behavior that adversely affects educational performance.
MFE: A multifactored evaluation consists of an evaluation, conducted by a multidisciplinary team, of
more than one area of a child's functioning to ensure that no single procedure shall be the sole criterion for
determining a child's eligibility for an FAPE under the law.
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Modifications: Substantial changes in what the student is expected to demonstrate; includes changes in
instructional level, content and performance criteria, may include changes in test form or format; includes
alternate assessments.
Multiple Disabilities: Disability category under IDEA; concomitant impairments (such as mental
retardation-blindness, mental retardation-orthopedic impairment, etc.) that cause such severe educational
problems that problems cannot be accommodated in special education programs solely for one of the
impairments; does not include deaf-blindness.
Multicultural Education: An educational philosophy and curriculum that looks beyond curricula from the
white Western European tradition. Some multicultural education models highlight subjects from diverse
cultural, ethnic, racial and gender perspectives. Others represent an immersion in one culture, ethnicity or
race.
Music Therapist - MT: A specialist that uses music in the treatment of illness or injury.
National Percentile: A number that represents the percentage of students who scored at or below a given
point. For example, if a student scored at the 90 th percentile, it would mean that he or she scored higher
than 89 percent of the students who took that test.
Normal Curve Equivalent (NCE): Standard scores with a mean of 50 and a standard deviation of
approximately 21. The use of an NCE is an attempt to make different assessment comparable.
NCLB - No Child Left Behind: The No Child Left Behind Act of 2001 (NCLB) expands the federal
government's role in elementary and secondary education. The NCLB reinforces the Elementary and
Secondary Education Act of 1965 (ESEA) the main federal law regarding K-12 education. Through the
ESEA, the federal government's role in K-12 education was primarily one of providing aid to
disadvantaged students and investing in educational research and development. The NCLB emphasizes
accountability by making federal aid for schools conditional on those schools meeting academic standards
and abiding by policies set by the federal government. This new law sets strict requirements and
deadlines for states to expand the scope and frequency of student testing, revamp their accountability
system and guarantee that every classroom is staffed by a teacher qualified to teach in his or her
subject area. The NCLB requires states to improve the quality of their schools from year to year. The
percentage of students proficient in reading and math must continue to grow, and the test-score gap
between advantaged and disadvantaged students must narrow. The NCLB pushes state governments and
educational systems to help low-achieving students in high-poverty schools meet the same academic
performance standards that apply to all students.
Norm-referenced Assessment: An assessment designed to discover how an individual student's
performance or test result compares to that of an appropriate peer group. (Compare to criterion-referenced
assessment)
Normed Score: A score that compares the performance of an individual student to the performance of a
nationally representative group of students.
Occupational Therapy: A special education related service which is usually focused upon the
development of a student's fine motor skills and/or the identification of adapted ways of accomplishing
activities of daily living when a student's disabilities preclude doing those tasks in typical ways (e.g.,
modifying clothing so a person without arms can dress himself/herself).
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Objective: Precise statements which specify the performance or behavior a student is to demonstrate
relative to a knowledge or skill. Objectives typically relate to lessons or units, not "big ideas" such as
described by an outcome.
OHI - Other Health Impaired: Other Health Impaired is an area of disability that requires IEP
participation.
Other Health Impairment: Disability category under IDEA; refers to limited strength, vitality or
alertness due to chronic or acute health problems that adversely affects educational performance.
Outcome: A statement of what students should know and be able to do in order to demonstrate
achievement of a State Goal for Learning or a portion thereof. A learning outcome addresses the content of
one or more State Goal(s) for Learning; is broader in focus than a learning objective; probes the range and
depth of thinking skills appropriate to the State Goal(s) for Learning; is amenable to assessment; may
integrate Fundamental Learning Areas; and may reflect problems and tasks found outside the classroom.
Performance-based Assessment: Requires students to perform hands-on tasks, such as writing an essay
or conducting a science experiment. Such assessments are becoming increasingly common as alternatives
to multiple-choice, machine-scored tests. Also known as authentic assessment.
Performance Assessment: Systematic and direct observation of a student performance or examples of
student performances and ranking according to pre-established performance criteria. Students are assessed
on the result as well as the process engaged in a complex task or creation of a product.
Performance Criteria: A description of the characteristics to be assessed for a given task. Performance
criteria may be general, specific, analytical trait or holistic. They may be expressed as a scoring rubric or
scoring guide. (See rubrics and scoring guide)
Physical Therapy (PT): Related service; includes therapy to remediate gross motor skills.
Portfolio: An alternative way of assessing students in which the teacher and student collect and organize
the student's work throughout a course or class year. Grades are based on this packet of materials, which
measures the student's knowledge and skills, and often includes some form of self-reflection by the student.
Portfolio Assessment: An assessment process that is based on the collection of student work (such as
written assignments, drafts, artwork and presentations) that represents competencies, exemplary work or
the student's developmental progress.
Psychological Services: Related service; includes administering psychological and educational tests,
interpreting test results, interpreting child behavior related to learning.
Public Law(P.L.) 94-142: The Education for All Handicapped Children Act; enacted into law in 1975.
Quartile: The breakdown of an aggregate of percentile rankings into four categories: the 0-25th percentile,
26-50th percentile, etc.
Quintile: The breakdown of an aggregate of percentile rankings into five categories: the 0-20th percentile,
21-40th percentile, etc.
Reading Recovery: An individualized reading-skills program for students who are having difficulty
learning to read. Teachers are trained in a year-long course that emphasizes a whole-language approach
(reading within context rather than phonics) and integrates reading, writing and listening techniques.
Students who don't improve are eligible to receive 30 minutes of one-on-one instruction daily for up to 20
weeks.
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Rehabilitation Act of 1973: Civil rights statute designed to protect individuals with disabilities from
discrimination; purposes are to maximize employment, economic self-sufficiency, independence, inclusion
and integration into society.
Related Services: Services that are necessary for child to benefit from special education; includes speechlanguage pathology and audiology services, psychological services, physical and occupational therapy,
recreation, early identification and assessment, counseling, rehabilitation counseling, orientation and
mobility services, school health services, social work services, parent counseling and training.
Remediation: Process by which an individual receives instruction and practice in skills that are weak or
nonexistent in an effort to develop/strengthen these skills.
Rubric: Some of the definitions of rubric are contradictory. In general a rubric is a scoring guide used in
subjective assessments. A rubric implies that a rule defining the criteria of an assessment system is
followed in evaluation. A rubric can be an explicit description of performance characteristics
corresponding to a point on a rating scale. A scoring rubric makes explicit expected qualities of
performance on a rating scale or the definition of a single scoring point on a scale.
School-based (Site-based) Management: A plan that shifts decision-making authority from school
districts to individual schools. While these types of proposals vary, they usually give control of a school's
operation to a school council composed of parents, teachers and local administrators.
Section 504: Provision of the Rehabilitation Act of 1973 which prohibits recipients of federal funds from
discrimination against persons with disabilities.
Senate Bill 1: Ohio Senate Bill 1, signed into law in June, 2001, by Gov. Taft, calls for rigorous academic
standards that specify what every child must know in key subjects each year. Assessments based on those
standards hold schools accountable for ensuring that students make academic progress.
Seriously Emotionally Disturbed: An eligibility category under IDEA which is described in detail within
the statute.
Short-term objectives: A required component of an IEP. Each annual goal must have at least one shortterm objective.
Speech-Language Pathology Services (SLP): Related service; includes identification and diagnosis of
speech or language impairments, speech or language therapy, counseling and guidance. Services must be
provided by a licensed Speech/Language Pathologist.
Speech or Language Impairment: Disability category under IDEA; includes communication disorders,
language impairments, voice impairments that adversely affect educational performance.
Special Education: Special instruction for students with educational or physical disabilities, tailored to
each student's needs and learning style. Programs designed to serve children with mental and physical
disabilities. Such children are entitled to individualized education plans that spell out the services needed
to reach their educational goals, ranging from speech therapy to math tutoring. Traditionally, special
education has taken place in separate classrooms. Increasingly, the services may also be offered in regular
schools and classrooms.
Specific Language Disability (SLD): A severe difficulty in some aspect of listening, speaking, reading,
writing or spelling, while skills in the other areas are age-appropriate. Also called Specific Language
Learning Disability (SLLD). The official term used in federal legislation to refer to difficulty in certain
areas of learning, rather than in all areas of learning.
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Spiral Curriculum: The spiral curriculum refers to a learning process that involves revisiting recurring
knowledge and skills with increasing depth and complexity.
Standard Score: A score that is expressed as a deviation from a population mean.
Stanine: One of the steps in a nine-point scale of standard scores.
Standards: Statements of what students should know and be able to demonstrate. Various standards have
been developed by national organizations, state departments of education, districts and schools.
Standardized Tests: Assessments that are administered and scored in exactly the same way for all
students. Traditional standardized tests are typically mass-produced and machine-scored; they are designed
to measure skills and knowledge that are thought to be taught to all students in a fairly standardized way.
Performance assessments also can be standardized if they are administered and scored in the same way for
all students.
TBI -- Traumatic Brain Injury: An acquired injury to the brain caused by an external physical force or
by other medical conditions. The injury results in total or partial functional diability or psychosocial
impairment or both, that adversely affects a child's educational performance.
Teacher Certification: A process through which teachers become recognized by the state as expert
teachers, implying that a teacher has mastered the complex art of teaching. This is distinguished from a
"licensed" teacher, one who practices teaching but is not considered an expert.
Teacher Licensure: The process by which teachers receive state permission to teach. States typically
have minimum requirements such as the completion of certain coursework and experience as a student
teacher. Some states, faced with shortages of teachers in particular areas, grant teachers emergency
licenses and allow them to take required courses while they are full-time teachers.
Title I: The nation's largest federal education program, with a 1995 funding level of $7.2 billion. Created
in 1965 during the War on Poverty, Title I of the Elementary and Secondary Education Act serves remedial
education programs to poor and disadvantaged children in nearly every school district in the country.
Amendments to the law in 1994 were designed to tie the program to school wide and district wide reforms
based on challenging academic standards. Title I was formerly known as "Chapter I," a federally funded
program designed to improve the academic achievement of students scoring below the 50th percentile on
standardized tests. It's a reference to the Elementary and Secondary Education Act, and it was changed
several years ago. It was known as Chapter One of the same act.
Title IX: Bars gender discrimination in education facilities that receive federal funds. The full name of the
law is Title IX of the Education Amendments of 1972. Title IX cases, which have typically been filed at
the college level, have increasingly been filed against K-12 schools for sex equity in extracurricular sports.
Title VII: A federal program to make limited-English-proficient students proficient at the English
language. The full title of this program, created in 1984, is Title VII of the Elementary and Secondary
Education Act. Funding goes to alternative approaches to bilingual education, such as English immersion
programs, as well as traditional instruction in a student's native language.
Tracking: A common instructional practice of organizing student groups based on their academic skills.
Tracking allows a teacher to provide the same level of instruction to the entire group. Also called ability
grouping.
Validity: An indication that an assessment instrument consistently measures what it is designed to
measure, excluding extraneous features from such measurement.
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Visual Impairment Including Blindness - VI: Disability category under IDEA; impaired vision that
adversely affects educational performance.
Zone of Proximal Development: A level or range in which a student can perform a task with help.
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Performing Arts
Benchmarks, Standards
and Indicators
Dance (must link to web)
Drama/Theatre (must link to web)
Music (must link to web)
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MUSIC COMMITTEE POSITION STATEMENTS
The following position statements are derived from those published by the National Arts
Education Association. These position statements provide valuable insight into the planning,
development and implementation of quality art instruction. While these position statements do
not necessarily reflect current art education programming in the Coshocton, Morgan and
Muskingum County Schools, they may be considered for future program development.
Dedicated to their profession, the art teachers of Coshocton, Morgan and Muskingum Counties
strongly support these position statements. The statements address such issues as art instructor
certification, art competition, time allotments, instructor work load, availability of facilities and
resources; all critical components when making decisions regarding art education.
Who Should Teach Music?
Music should be taught by highly qualified teachers based on the Ohio Department of Education
guidelines.
How Should Music Teachers Be Scheduled?
Music, like other basic subjects in the curriculum, needs consistent, regular scheduling each week
in a time block long enough to allow for depth of instruction and depth of student learning. A
quality music program demands a sequential curriculum, which cannot be provided without
regularly scheduled times for music each week.
Time should also be provided for occasional field trips, such as a visit to a professional concert.
These visits should be long enough to allow students to experience the atmosphere of a
professional performance. Such visits also require careful preparation in preliminary lessons by
the teacher, careful structuring during the visit and follow-up discussion and possibly other
related projects.
Should A Music Teacher Have A Specially Designed Music Room?
Instruction in a music room has several advantages over instruction by an itinerant music teacher.
A music room allows for a greater variety of musical activities, equipment and materials and as
provides an appropriate acoustical environment. It permits time and energy that would be wasted
in carrying music materials from room to room to be used in a more productive way.
Do All Students Need Music Classes With A Music Teacher?
Yes. Music is a basic subject in the education of all children. No child should miss music in
order to attend remedial or gifted classes, or for any other activity. If such a class or activity is
essential at any time, then the student should be scheduled with another group for music. The
sequential, cumulative learning that takes place in a quality music program must not be broken.
What About Time To Travel Between Schools?
If the music teacher is scheduled at two or more schools during the same day, time should be
allocated to drive between schools in addition to planning periods and lunch time.
Travel reimbursement policies are established by the local districts. However, consideration
should be given to the music teacher who must use his/her own vehicle to travel from school to
school.
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K-4 Music Matrix
a. Historical, Cultural and Social Contexts: Students demonstrate knowledge and
understanding of a variety of music styles and cultures and the context of musical
expression or events, both past and present. Students identify significant
contributions of composers and performers to music heritage. Students analyze the
historical, social and political forces that have influenced the function and role of
music in the lives of people.
K-4 Benchmark A: Identify and demonstrate basic music forms.
K: Identify and demonstrate same and different.
1st: Identify and demonstrate echo and call/response.
2nd: Identify and demonstrate rounds/canons.
3rd: Identify and demonstrate AB form and verse/refrain form.
4th: Identify and demonstrate partner songs and rondo form.
K-4 Benchmark B: Identify and respond to music of historical and cultural origins.
K, 1st: Sing songs representing their cultures.
K, 1st, 2nd: Sing, listen and move to music from various historical periods.
K, 1st, 2nd, 3rd, 4th: Identify, listen and respond to music of different composers.
2nd: Identify and describe contrasting music styles (e.g., marches and lullabies).
3rd: Sing, listen and move to music from world cultures.
3rd: Discuss the purpose of music from selected historical periods.
4th: Sing and respond to music from world cultures.
4th: Discuss the life and times of composers from various historical periods.
K-4 Benchmark C: Recognize the interaction of people in music.
K: Recognize how sounds and music are used in daily life.
1st, 2nd: Recognize and describe how songs are used for a variety of occasions (e.g., birthday,
holiday).
3rd: Recognize and describe ways that music serves as an expression in various cultures.
4th: Recognize and describe ways that music serves as an expression in regional cultures.
b. Creative Expression and Communication: Students sing, play instruments,
improvise, compose, read and notate music.
K-4 Benchmark A: Sing and/or play instruments, alone and with others, demonstrating a
variety of repertoire using proper technique, accurate rhythm and pitch and appropriate
expressive qualities.
K: Sing, alone and with others, a varied repertoire of songs maintaining a steady beat.
K, 1st: Use the head voice to produce a light, clear sound.
K, 1st, 2nd, 3rd, 4th: Play, alone and with others, a variety of classroom instruments with proper
technique.
1st: Sing, alone and with others, a varied repertoire of songs with accurate rhythm and developing
accurate pitch.
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2nd: Sing, alone and with others, a varied repertoire of songs with accurate rhythm and pitch.
2nd, 3rd: Use the head voice to produce a light, clear sound and maintain appropriate posture.
3rd, 4th: Sing, alone and with others, a varied repertoire of songs with accurate rhythm and pitch
and appropriate expressive qualities.
4th: Use the head voice to produce a light, clear sound employing breath support and maintaining
appropriate posture.
K-4 Benchmark B: Read, write, improvise and compose melodies and accompaniments.
K: Improvise movement to songs and recorded music.
K: Use icons to represent the beat.
1st: Improvise on selected lyrics (text) of known songs.
1st: Read, write and perform using eighth notes, quarter notes and quarter rests.
1st: Read, write and perform tritonic (la-sol-mi) melodies on the treble staff in G-do, F-do and Cdo using a system (e.g., solfege, numbers or letters).
2nd: Improvise and compose simple rhythmic and melodic phrases.
2nd: Read, write and perform using eighth notes, quarter notes, half notes and quarter rests in 2/4
and 4/4 meter.
2nd: Read, write and perform using pentatonic (la-sol-mi-re-do) melodies on the treble staff in Gdo, F-do and C-do using a system (e.g., solfege, numbers or letters).
3rd: Improvise and compose simple rhythmic and melodic phrases and ostinati (e.g., compose a
melody for a poem, question/answer).
3rd: Read, write and perform using sixteenth notes, eighth notes, quarter notes, half notes and
quarter rests in 2/4 and 4/4 meter.
3rd: Read, write and perform extended pentatonic melodies with high do (do'-la-sol-mi-re-do) on
the treble staff in G-do, F-do and C-do using a system (e.g., solfege, numbers or letters).
4th: Improvise and compose short compositions using a variety of classroom instruments and
sound sources.
4th: Read, write and perform using sixteenth through whole note values, including a syncopated
rhythm of eighth-quarter-eighth in 2/4, 3/4 and 4/4 meter.
4th: Read, write and perform extended pentatonic melodies with hi do, low la and low sol (do',la-sol-mi-re-do-la'-sol') on the treble staff in G-do, F-do and C-do using a system (e.g., solfege,
numbers or letters).
4th: Read, write and perform melodies in treble clef.
c. Analyzing and Responding: Students listen to a varied repertoire of music and
respond by analyzing and describing music using correct terminology. Students
evaluate the creating and performing of music by using appropriate criteria.
K-4 Benchmark A: Identify and demonstrate elements of music using developmentally
appropriate music vocabulary.
K: Demonstrate contrasting elements of music (e.g., dynamics: loud/soft; rhythm: fast/slow;
melody: high/low).
K: Listen and respond to various music styles (e.g., march).
1st: Identify and demonstrate contrasting elements of music (e.g., dynamics: loud/soft; rhythm:
fast/slow; melody: high/low).
1st, 2nd: Identify and demonstrate elements of music using developmentally appropriate
vocabulary (e.g., rhythm, syllables, solfege).
1st: Identify same/different phrases.
42
2nd: Identify and respond to the patterns of same and different phrases in simple poems and
songs.
3rd, 4th: Identify and demonstrate elements of music using developmentally appropriate
vocabulary and music terms (e.g., quarter note, piano, forte).
3rd, 4th: Identify how elements of music communicate ideas or moods.
3rd: Identify and respond to simple music forms (e.g., rondo, AB).
4th: Identify and respond to music forms (e.g., round, canon, partner songs, call-response).
K-4 Benchmark B: Identify the sounds of a variety of instruments including orchestra,
band and classroom instruments
K: Identify the sources of a wide variety of sounds.
1st: Identify classroom instruments (e.g., tambourine, maracas, rhythm sticks, triangle,
woodblock, finger cymbals, drums) visually and aurally.
2nd: Identify selected music instruments (e.g., flute, trumpet, guitar, violin, sitar, congas,
bagpipes, synthesizer).
3rd: Identify the four families of orchestral instruments visually and aurally.
4th: Classify instruments by the four families of the orchestra.
4th: Describe the way sound is produced on various instruments and with the human voice.
K-4 Benchmark C: Discuss and evaluate individual and group music performance.
K: Identify when an individual is performing.
1st: Recognize and discuss individual and group performance.
2nd: Discuss individual and group music performance.
3rd: Discuss and evaluate individual music performance.
4th: Discuss and evaluate individual and group music performance.
d. Valuing Music/Aesthetic Reflection: Students demonstrate an understanding of
reasons why people value music and a respect for diverse opinions regarding music
preferences. Students articulate the significance of music in their lives.
K-4 Benchmark A: Reflect on their own performance and the performance of others.
K, 1st, 2nd, 3rd, 4th: Participate in developmentally appropriate music activities.
3rd: Develop criteria for reflecting on their performance.
4th: Develop criteria for reflecting on their performance and the performance of others.
K-4 Benchmark B: Demonstrate audience behavior appropriate for the context and style of
music performed.
K, 1st, 2nd, 3rd, 4th: Attend live music performances and demonstrate audience behavior
appropriate for the context and style of music performed.
K-4 Benchmark C: Demonstrate how music communicates meaning of text, feelings, moods
or images, and influences personal preferences.
K: Identify, discuss and respond to music written for specific purposes (e.g., holiday, march,
lullaby).
K: Listen and respond to various music styles (e.g., march, lullaby).
1st: Respond physically to a variety of age-appropriate music.
1st: Identify, discuss and respond to music written for specific purposes (e.g., holiday, march,
lullaby).
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2nd, 3rd, 4th: Respond physically, emotionally and/or intellectually (e.g., movement, written/oral
description) to a variety of age-appropriate music.
2nd, 3rd, 4th: Demonstrate how music communicates meaning of text, feelings and moods or
images.
3rd: Identify personal preferences for specific music selections.
4th: Identify and describe personal preferences for specific music selections.
e. Connections, Relationships and Applications: Students identify similarities and
differences between music and other arts disciplines. Students recognize the
relationship between concepts and skills learned through music with knowledge
learned in other curricular subjects, life experiences and potential careers in and
outside the arts. Students develop a desire for lifelong learning in music.
K-4 Benchmark A: Explain ways that music interrelates with other arts disciplines and
with various disciplines outside the arts.
K, 1st: Use music and/or found sounds together with dance, drama and visual art.
Observe connections between music experiences and another curricular subject (e.g., English
language arts).
K: Identify similar terms (e.g., patterns, texture) in the arts.
1st: Recognize connections between music experiences and another curricular subject (e.g.,
English language arts).
1st: Respond to music using dance, drama and visual art.
2nd: Recognize similarities and differences among the arts: music, dance, drama and visual art.
2nd: Identify and describe connections between music experiences and other curricular subjects
(e.g., English language arts, mathematics and social studies).
3rd, 4th: Interpret music through dance, drama and visual art.
3rd, 4th: Identify the use of similar elements (e.g., form, rhythm) in music and other art forms.
3rd, 4th: Explain ways that the basic principles (e.g., elements of music) and subject matter (e.g.,
topics, themes, lyrics) of music are interrelated with disciplines outside the arts.
K-4 Benchmark B: Describe how music is used in various cultures in the United States.
K: Sing songs representing their cultures.
1st: Identify various uses of music in their cultures.
2nd: Identify various uses of music in the United States.
3rd: Identify similarities and differences in music of the United States.
4th: Identify similarities and differences in music of the United States and various cultures.
K-4 Benchmark C: Identify and describe roles of musicians in various music settings.
K: Identify a musician.
1st: Recognize a musician.
2nd: Identify the role of a musician.
3rd: Discuss that some people write music, direct music and/or perform music as a job.
4th: Describe roles of musicians in various music settings.
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5-8 Music Matrix
a. Historical, Cultural and Social Contexts: Students demonstrate knowledge and
understanding of a variety of music styles and cultures and the context of musical
expression or events, both past and present. Students identify significant contributions of
composers and performers to music heritage. Students analyze the historical, social and
political forces that have influenced the function and role of music in the lives of people.
5-8 Benchmark A: Compare and contrast styles and forms of music from various historical
periods.
5th: Recognize, identify and demonstrate theme and variations in the music of various cultures
and/or historical periods.
5th: Compare and contrast opera and American music theatre.
5th: Research and identify music instruments from different historical periods and world cultures.
6th: Describe distinguishing characteristics of music forms (i.e., verse-refrain, AB, ABA, rondo,
canon, theme and variations) from various cultures and/or historical periods.
6th: Examine the chronological development of various music styles.
6th: Identify the major periods or genres in the development of world music history (e.g.,
Renaissance Period, Peking opera, Lali).
7th: Recognize, identify and demonstrate form in world music (e.g., Western and non-Western)
and popular music.
7th: Demonstrate how elements of music are used to create various music styles.
7th, 8th: Identify representative music examples from music literature and respond to the style of
the historical period of music.
8th: Examine Contemporary music styles and describe the distinctive characteristics in a
repertoire of exemplary works.
8th: Compare representative music examples from different historical time periods.
5-8 Benchmark B: Identify composers and classify them according to chronological
historical periods.
5th: Identify, listen and respond to music of different composers.
6th: Identify selected composers and their works and place them in the appropriate historical
period.
7th: Classify by composer and historical period a varied body of exemplary music works.
8th: Compare and contrast selected composers and their works.
5-8 Benchmark C: Describe how events during various historical periods have influenced
the development of music.
5th: Recognize and discuss the influence of American history on the development of folk music.
5th: Describe conditions under which music is created and performed in various cultures.
6th: Recognize and identify contextual elements (e.g., time, location, current events, culture,
social and political climate) that shape the development of music.
7th: Recognize and identify historical and cultural contexts (e.g., time and place of a music event)
that have influenced music.
8th: Discuss how current developments in music reflect society in reference to themselves, their
community and the world around them.
45
b. Creative Expression and Communication: Students sing, play instruments,
improvise, compose, read and notate music.
5-8 Benchmark A: Perform a piece of music, independently or in a group, with technical
accuracy and expression.
5th: Sing and/or play, alone and with others, using good posture and breath control, a varied
repertoire of music representing diverse genres and cultures with appropriate dynamics,
expression and tempo for the work being performed.
5th: Play a variety of instruments independently and with other contrasting parts.
5th, 6th, 7th, 8th: Respond appropriately to the cues of a conductor.
6th: Sing and/or play, alone and with others, using good posture and breath control throughout
their range, a varied repertoire of music representing diverse cultures with appropriate dynamic
expression and tempo for the work being performed.
6th: Play a variety of instruments, alone and with others, with increasingly complex rhythms and
melodic phrases.
7th, 8th: Sing and/or play, alone and with others, a varied repertoire of music representing diverse
genres and cultures showing expression and technical accuracy at a level that includes modest
ranges and changes of tempo, key and meter.
7th, 8th: Perform accurately, alone and in small and large groups, with good posture producing an
appropriate tone quality.
5-8 Benchmark B: Improvise or compose a short melody that includes key signature and
meter signature with proper notation in treble or bass clef.
5th: Create short melodies using traditional notation.
5th: Improvise melodies in a call-and-response setting.
5th: Read, write and perform rhythm patterns (in 2/4, 3/4 and 4/4 meter) using sixteenth through
whole notes including dotted half-note and syncopated rhythms.
5th: Read, write and perform diatonic melodies with fa and ti and the major scale on the treble
staff in G-do using a system (e.g., solfege, numbers or letters).
6th: Create and notate music compositions using one or more parts.
6th: Improvise melodies over a given bass line.
6th: Read, write and perform rhythm patterns in 2/4, 3/4, 4/4 and 6/8 meter.
6th: Identify whole steps and half steps in the major scales.
7th, 8th: Create music compositions using one or more parts in duple, triple and mixed meters.
7th, 8th: Improvise melodies using major scales.
7th, 8th: Read, write and perform rhythmic (including dotted rhythms) and melodic patterns in a
variety of meters.
7th: Identify whole steps, half steps and intervals in major scales.
8th: Identify whole steps, half steps and intervals in major and natural minor scales.
8th: Read and notate melodies in bass clef.
5-8 Benchmark C: Identify and recognize in a piece of music the following: clef, key
signature, meter signature, tempo, dynamic markings and note values.
5th: Identify key signatures.
6th: Recognize key signatures.
7th: Identify and use key signatures.
7th, 8th: Identify and/or notate the following concert pitch major scales [i.e., Band: C, F, Bb, Eb,
Ab; Strings: A, D, G, C, F].
7th: Read and notate melodies in bass clef.
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c. Analyzing and Responding: Students listen to a varied repertoire of music and
respond by analyzing and describing music using correct terminology. Students
evaluate the creating and performing of music by using appropriate criteria.
5-8 Benchmark A: Describe and evaluate a piece of music using developed criteria based on
elements of music and music vocabulary.
5th: Identify dynamics, tempo, meter and tonality in various pieces of music aurally.
5th: Identify terms related to form (e.g., DC al Fine; DC dal segno; DS al Coda; repeat signs, first
and second endings).
5th: Identify selected electronic and world music instruments.
6th: Distinguish the use of dynamics, meter, tempo and tonality in various pieces of music.
6th: Describe the principles of breathing techniques, good posture and tone production.
6th: Describe instruments used in Western traditional instrumental ensembles and in world music
ensembles.
7th: Apply music vocabulary to describe a varied repertoire of music.
7th: Describe use of meter and rhythm in music of various cultures.
8th: Compare and contrast a varied repertoire of music on the basis of how elements of music are
used to make the works unique and expressive.
5-8 Benchmark B: Analyze the structure of larger music works and the sections comprised
within.
5th: Analyze a piece of music using music vocabulary.
6th: Analyze a piece of music with more than one movement using elements of music.
7th: Analyze form identifying distinct sections of a larger music work.
8th: Identify components of larger music works (e.g., symphony, mass, concerto).
8th: Identify distinct sections in a larger music work aurally.
5-8 Benchmark C: Apply appropriate criteria to support personal preferences for music
choice and evaluate the quality and effectiveness of a music performance.
5th: Evaluate and describe individual and group performance.
5th: Differentiate between melody and harmony.
6th: Develop criteria for evaluating quality and effectiveness of music performances and
compositions.
7th: Apply detailed criteria for evaluating quality and effectiveness of music performance and
composition.
8th: Use appropriate criteria to support personal preferences for specific music works.
d. Valuing Music/Aesthetic Reflection: Students demonstrate an understanding of
reasons why people value music and a respect for diverse opinions regarding music
preferences. Students articulate the significance of music in their lives.
5-8 Benchmark A: Reflect on and describe how music performance and settings affect
audience response.
5th: Describe audience etiquette associated with various music performances and settings.
6th, 7th, 8th: Practice audience etiquette in selected music settings.
6th: Attend and reflect on a variety of live music performances.
7th, 8th: Participate in and reflect on a variety of live music performances and activities.
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5-8 Benchmark B: Reflect on why others may have different music preferences.
5th: Identify and discuss aesthetic qualities in their performance and in the performance of others.
5th: Demonstrate how music communicates meaning through text, feelings, moods or images.
5th: Identify elements of music that contribute to aesthetic qualities in a specific music work.
6th: Communicate ideas about the importance of music in everyday life.
6th: Describe the emotional connection to the musical experience.
7th: Discuss how music preferences reflect people's values.
8th: Explain how and why people use and respond to music.
5-8 Benchmark C: Justify one's personal preference of music choice using music
vocabulary.
5th: Explain how expressive music elements determine the quality of a composition.
5th: Develop and apply criteria to support personal preferences for specific music works.
6th: Critique a variety of music performances.
7th, 8th: Evaluate music performances and compositions based on elements of music.
7th, 8th: Develop and apply criteria based on elements of music to support personal preferences
for specific music works.
e. Connections, Relationships and Applications: Students identify similarities and
differences between music and other arts disciplines. Students recognize the
relationship between concepts and skills learned through music with knowledge
learned in other curricular subjects, life experiences and potential careers in and
outside the arts. Students develop a desire for lifelong learning in music.
5-8 Benchmark A: Compare and contrast common terms used in and for the interpretation
of music and other arts disciplines.
5th: Interpret music through dance, drama and visual art.
5th: Identify the use of similar elements in music and other art forms and compare how ideas and
emotions are expressed in each art form using the same elements.
5th: Define basic arts terms (e.g., texture, color, form, movement) associated with various art
forms and use them to describe music events.
6th: Describe ways that music relates to other art forms using appropriate terminology.
6th: Compare in music and other art forms how the characteristic materials of each art (e.g.,
sound in music, movement in dance) can be used to transform similar events, scenes, emotions or
ideas into works of art.
6th, 7th: Integrate art forms into a well-organized music presentation.
7th: Identify similarities and differences in the meanings of common terms used in the various
arts.
7th: Identify involvement in the arts as a listener, creator, performer.
8th: Compare in two or more art forms the common terms and contrasting definitions used for
various artistic elements.
8th: Describe how roles of creators, performers and others involved in music are similar to or
different from those in other art forms.
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5-8 Benchmark B: Demonstrate ways that subject matter of other disciplines is interrelated
with that of music.
5th: Describe how knowledge of music connects to learning in other subject areas.
6th: Compare and contrast subject matter common to music and other subject areas.
7th: Describe ways that technology is used in creating, performing and listening to music.
7th: Identify problem-solving and creative thinking skills used in music.
8th: Use technology in creating, performing and/or researching music.
8th: Use problem-solving and creative thinking skills experienced in other disciplines in music.
5-8 Benchmark C: Identify various ways music affects their lives.
5th: Discuss how culture influences music.
6th: Identify different functions and uses of music in their own and other cultures.
7th: Using elements of music, describe distinguishing characteristics of music from a variety of
cultures.
8th: Identify various uses of music in their daily experiences.
8th: Describe characteristics that make their music of choice applicable to their daily experiences.
5-8 Benchmark D: Identify various careers in music.
5th: Identify the specific skills needed to be a musician.
6th: Describe roles musicians assume in various cultures and music settings, and identify skills
needed for each role.
6th: Identify various careers for musicians (e.g., in education, in entertainment and to provide
technical support).
7th: Identify exemplary music role models and describe their activities and achievements in the
music field.
8th: Identify non-performing careers in music.
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9-12 Music Matrix
a. Historical, Cultural and Social Contexts: Students demonstrate knowledge and
understanding of a variety of music styles and cultures and the context of musical
expression or events, both past and present. Students identify significant
contributions of composers and performers to music heritage. Students analyze the
historical, social and political forces that have influenced the function and role of
music in the lives of people.
9-12 Benchmark A: Identify music forms from various cultures and historical periods and
create or perform representative repertoire with stylistic accuracy.
9th: Recognize and describe form in music literature of various historical periods.
9th: Compare various music styles from the United States, other cultures and historical periods.
9th: Recognize and classify western music literature by historical periods.
9th: Discuss and perform music literature from various composers.
10th: Compare and contrast music forms used in vocal and instrumental genres from various
historical periods.
10th: Interpret various music styles from the United States, other cultures and historical periods.
10th: Discuss and evaluate the performance of music from different historical time periods.
10th: Examine (e.g., listening, performing, score study) music literature of various composers.
11th: Identify and trace the development of music forms across historical periods.
11th: Analyze various music works on the basis of their stylistic qualities and the historical and
cultural contexts in which they were created.
11th: Compare and contrast the performance practices of music from various historical periods.
11th: Compare and contrast music selections from various composers and describe the
distinguishing characteristics of their works.
12th: Evaluate how music forms are influenced by history.
12th: Critique various music styles from the United States, other cultures and historical periods.
12th: Describe and demonstrate authentic performance practice representing the stylistic periods
of music history.
12th: Demonstrate through performance the stylistic differences of various composers and their
works.
Benchmark B: Research and explain how music and composers both influence and are
influenced by society and culture.
9th: Identify the social context from which music of various cultures evolved.
10th: Explain how technology has influenced the development of music over time.
11th: Explain how music reflects the political events of history.
12th: Explain how music reflects the social events of history.
50
b. Creative Expression and Communication: Students sing, play instruments,
improvise, compose, read and notate music.
Benchmark A: Sing and/or play, independently or in ensembles, demonstrating technical
and stylistic accuracy and musical expressiveness with appropriate responses to a leader's
cues and gestures.
9th: Sing or play, alone and/or in ensembles, a varied repertoire of music representing diverse
genres and cultures.
9th: Demonstrate technical accuracy, appropriate tone quality, articulation and expression for the
work being performed with good posture and breath control.
9th: Respond appropriately to the cues of a conductor or section leader.
9th, 10th: Demonstrate ensemble skills (e.g., balance, intonation, rhythmic unity, phrasing) while
performing as part of a group.
9th, 10th: Demonstrate sight-reading abilities.
10th: Interpret selected music while singing or playing alone and/or in ensembles and
demonstrate accurate use of various meters and complex rhythms.
10th: Perform a variety of phrases with attention to pitch and rhythmic accuracy and demonstrate
increased independence.
11th: Prepare and perform accurately a varied repertoire of music incorporating complex meters
and rhythms in major and minor keys.
11th: Perform an appropriate part in an ensemble and demonstrate well-developed ensemble
skills.
11th: Demonstrate advanced tonal concepts in singing or playing an instrument.
11th: Sing or play music compositions incorporating elements of music and demonstrating an
understanding of music style and form.
12th: Sing or play, alone and/or in ensembles, advanced music literature and demonstrate
accurate intonation and rhythm, fundamental skills, advanced technique and a high degree of
musicality.
12th: Sing or play a significant music composition incorporating elements of music and
demonstrating an understanding of music styles and form.
Benchmark B: Read, perform or compose music repertoire using a variety of tonalities
while demonstrating an understanding of the language of music.
9th, 10th, 11th, 12th: Improvise over given chord progressions and symbols.
9th: Identify and/or notate the following concert pitch major scales [i.e., Band: C, F, Bb; Strings:
A, D, G, C, F; Vocal/Choral: A, D, G, C, F, Bb, Eb].
9th: Read, perform and/or notate a one-octave chromatic scale, ascending and descending.
9th: Read and perform music with dotted eighth and sixteenth notes and syncopation in duple,
triple and compound meters.
9th: Define vocabulary in all rehearsed and performed music.
9th: Identify and/or notate concert pitch major scales [i.e., Band: C, F, Bb, Eb, Ab; Strings: A, D,
G, C, F; Vocal/Choral: E, A, D, G, C, F, Bb, Eb, Ab, Db].
10th: Read and perform literature appropriate for the instrument studied using the key signatures
in the Indicator above.
10th: Read complex rhythms in mixed meter.
10th: Incorporate expressive symbols and terms when sight-reading.
10th: Identify articulations, expressive symbols and terms.
51
10th: Identify and/or notate concert pitch major scales [i.e., Band: D, G, C, F, Bb, Eb, Ab;
Strings: E, A, D, G, C, F, Bb; Vocal/Choral: B, E, A, D, G, C, F, Bb, Eb, Ab, Db].
11th: Read and perform music literature in a wide variety of major and minor keys.
11th: Read and perform music literature that incorporates modal scales.
11th: Identify homophonic and polyphonic texture.
11th: Interpret articulations, expressive symbols and terms when performing.
11th: Sight-read major, minor and chromatic melodies.
12th: Identify and/or notate concert pitch major scales and selected minor forms [i.e., Band: D, G,
C, F, Bb, Eb, Ab, Db, Gb; Strings: E, A, D, G, C, F, Bb, Eb, Ab; Vocal/Choral: C#, F#, B, E, A,
D, G, C, F, Bb, Eb, Ab, Db, Gb, Cb].
c. Analyzing and Responding: Students listen to a varied repertoire of music and
respond by analyzing and describing music using correct terminology. Students
evaluate the creating and performing of music by using appropriate criteria.
Benchmark A: Analyze and evaluate music selections based upon established criteria.
9th: Analyze conducting patterns and gestures as they relate to music selections.
9th: Analyze and determine the correct technique (e.g., posture, breath support, hand position,
embouchure, vocal placement) required for proper tone production.
9th: Describe basic terminology and symbols used in a varied repertoire of music.
10th: Describe the use of elements of music as they relate to expression in a varied repertoire of
music.
10th: Identify the tonality of a given work in relation to intervals and scales both aurally and
visually.
11th: Demonstrate extensive knowledge of the technical vocabulary of music.
11th: Analyze a given work on the basis of how elements of music are used in the selection to
make it unique.
12th: Describe compositional devices and techniques (e.g., motives, imitation, suspension,
retrograde) that are used to provide unity, variety and tension and release in a music work.
Benchmark B: Analyze and respond to conducting patterns and gestures in relation to
interpretation of music performance literature.
9th: Analyze how conducting patterns and gestures guide musical interpretation of selected
pieces.
10th: Respond to conducting patterns and gestures to interpret selected pieces musically.
11th, 12th: Analyze how conducting patterns and gestures relate to musical interpretation of
various selections.
Benchmark C: Analyze common harmonic progressions in selected repertoire aurally.
9th: Identify traditional harmonic progressions (e.g., I-V-I) in selected repertoire aurally.
10th: Identify traditional harmonic progressions (e.g., I-IV-V-I) in selected repertoire aurally.
11th: Identify traditional harmonic progressions (e.g., I-vi-IV-V-I) in selected repertoire aurally
12th: Identify traditional harmonic progressions (e.g., I, vi, IV, ii, V7, I) in selected repertoire
aurally.
52
Benchmark D: Apply appropriate established criteria to evaluate a variety of music
performances.
9th: Develop and apply criteria for evaluating quality and effectiveness of their performances and
compositions and those of others.
10th: Evaluate the use of elements of music in music examples of contrasting genres and/or
cultures.
11th: Evaluate a selected performance of a specific music work based on selected criteria and
musical interpretation.
12th: Evaluate multiple performances of a specific music work based on selected criteria and
musical interpretation.
d. Valuing Music/Aesthetic Reflection: Students demonstrate an understanding of
reasons why people value music and a respect for diverse opinions regarding music
preferences. Students articulate the significance of music in their lives.
Benchmark A: Articulate and justify a personal philosophy regarding music in their life
and cite examples that contributed to this thinking.
9th: Assess how elements of music are used in a work to create images or evoke emotions.
10th: Describe how the use of elements of music affects the aesthetic impact of a music selection.
11th: Critique their performances or compositions in terms of aesthetic qualities.
12th: Respond to aesthetic qualities of a performance intellectually using music terminology.
12th: Form a personal philosophy about the purpose of music.
Benchmark B: Explain how people differ in their music preferences based on their
personal experiences.
9th: Discuss how people from different backgrounds use and respond to music.
10th: Explain how people from different backgrounds use and respond to music and cite specific
examples.
11th: Discuss how the purpose, meaning and value of music works change because of the impact
of life experiences.
12th: Explain how the purpose, meaning and value of selected music works change because of
the impact of life experiences.
Benchmark C: Develop and apply specific criteria for making informed, critical judgments
about quality and effectiveness of music works both written and performed.
9th: Select music works and performances based on knowledge of music concepts.
10th: Defend choices of music works and performances based on knowledge of music concepts.
11th: Evaluate music works and performances using criteria for aesthetic qualities.
12th: Alter music works, performances or composition presentations to enhance the quality of the
music selection.
53
e. Connections, Relationships and Applications: Students identify similarities and
differences between music and other arts disciplines. Students recognize the
relationship between concepts and skills learned through music with knowledge
learned in other curricular subjects, life experiences and potential careers in and
outside the arts. Students develop a desire for lifelong learning in music.
Benchmark A: Articulate similarities and differences between music and other content
areas.
9th: Explain how basic arts elements (e.g., form, texture) are used in similar and different
examples of music and other arts disciplines.
9th: Identify art forms that involve collaboration with multiple art forms (e.g., musical theater,
opera).
9th, 10th, 11th, 12th: Apply problem-solving and creative thinking skills used in music to other
content areas.
11th: Explain how the roles of creators, performers and others involved in the production and
presentation of the arts are similar and different.
12th: Recognize aesthetic characteristics common to all art forms.
Benchmark B: Apply technology in creating, performing and/or researching music.
9th: Explain the role of technology in creating, performing and listening to music.
9th, 10th, 11th, 12th: Incorporate subject matter common to music and other academic areas into a
music presentation.
10th: Demonstrate one or more uses of technology in creating, performing and listening to music.
11th, 12th: Use technology to create and/or perform various forms of music.
Benchmark C: Compare and contrast several cultures' music works based on the function
music serves, role of the musicians and conditions under which the music is performed.
9th: Describe the role of music and musicians in various cultures.
10th: Use accurate music terminology to describe similarities and differences in music from
various cultures.
11th: Compare a music work with another work of art (e.g., dance, drama, visual art) from the
same culture on the basis of similar non-arts influences.
12th: Compare and contrast different roles musicians assume in various cultures and music
settings, and describe skills and training needed.
Benchmark D: Articulate music avocation and career opportunities found in various
cultures and music settings and identify experiences necessary for success.
9th: Determine criteria to select music experiences that represent skills, abilities and
accomplishments (e.g., developing a portfolio).
10th, 12th: Explore and identify opportunities for lifelong involvement in music (e.g.,
religious/community music organizations, arts advocacy, consumer).
11th: Use criteria to select music experiences that represent skills, abilities and accomplishments
(e.g., developing a portfolio, college audition/admission, studio musician experience).
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JAZZ ENSEMBLE GOALS
Goal I: Historical, Cultural and Social Contexts: Understanding the Role of the
Arts in People's Lives
Student Objective
The student will:
A.
Be aware of social contexts of jazz music
B.
Explore career possibilities
Suggested Activities
A1.
Discuss historical contexts of music time line (R & B, Ballads, etc.)
Goal II: Personal Expression and Production
Student Objective
The student will:
A.
Show an understanding aurally and visually of Jazz form and styles
Suggested Activities
A1.
Performs various forms in keys including:
1.
(4#'s and 4 b's)
2.
Blues (12 Bar)
3.
Rhythm Tunes (AABA)
4.
Rock (pop tunes)
5.
Ballad, Tin Pan Alley, Dixieland, Big Band, Rhythm & Blues (Bebop)
B.
Aurally and visually identify various Jazz scales and modes
Suggested Activities
B1.
Performs the following scales and modes:
1.
Dorian
2.
Blues scale
3.
Mixolydian
4.
Pentatonic
5.
Diminished
6.
Whole Tone
7.
Lydian
8.
Phrygian
9.
Locrian
55
Goal II: Personal Expression and Production (Continued)
C.
Aurally and visually identify various Jazz chords
Suggested Activities
C1.
Performs various chords as applicable to each instrument.
MAJOR
MINOR
MINOR 7TH
56
HALF DIMINISHED 7TH
*HALF DIMINISHED 7TH MAY ALSO BE EXPRESSED AS
57
Goal II: Personal Expression and Production (Continued)
Student Objective
The student will:
D.
Describe and visually identify various implied rhythmic alterations
Rule 1. Quarter-notes are played short
Rule 2. Any note longer than a quarter-note is given its full time value
Rule 3. Single eighth notes are played short (and often accented)
Rule 4. Lines of eighth-notes are played with a "lift" in a long- short manner, the same as
eighth-note triplets
Rule 5. Two or more eighth-notes are slurred up to a quarter-note (or its equivalent).
Whatever follows is started by tonguing (T).
Suggested Activities
D1.
Performs the following rhythmic alterations
WRITTEN
PLAYED
58
Goal II: Personal Expression and Production (Continued)
Suggested Activities
D1.
Performs the following rhythmic alterations:
HEAVY ACCENT: Hold full value
HEAVY ACCENT: Hold less than full value
HEAVY ACCENT: Short as possible
STACCATO: Short-not heavy
LEGATO TONGUE: Hold full value
59
Goal II: Personal Expression and Production (Continued)
Student Objective
The student will:
F.
Describe and visually identify various timbre-effects
Suggested Activities
F1.
Performs the following timbre effects:
DU
False or muffled tone (Plunger closed)
WAH
Full tone-not muffled (Plunger open)
1.
2.
3.
4.
5.
6.
FLUTTER TONGUE-Roll tongue like a Spanish "R" (Trrrr).
GROWL-Use throat growl like a French "R."
THROAT HUM-Hum deep in throat while playing a note, this gives the tone a "rough"
quality.
ALTERNATE FINGERING-Repeated notes on Brass or Reed instruments are often
played with an alternate or "false" fingering on every other note.
HALF-VALVE-(Brass)-Used frequently for Rips, Fall-offs, Doits, Glissandos, etc.
Press valves halfway down.
HALF-HOLE-(Open Hole Reeds: clarinet, flute, etc.)
Use in a similar manner to half-value on brass instruments for Glissandos, Squeezes, Doits,
Smears, etc. Cover a portion of the open hole with finger and then slide open. Use on several
holes for "true" Glissando upwards.
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Goal II: Personal Expression and Production (Continued)
Student Objective
The student will:
G.
Aurally and visually identify various sectional textures.
Suggested Activities
G1.
Performs the various sectional/ensemble textures.
TUTTI (FULL BAND)
SOLI (SOLO SECTION)
SOLO AND RHYTHM (SOLO PLUS PIANO, BASS, SECTION DRUMS)
SOLO (INDIVIDUAL SOLOIST)
Goal III: Art Criticism: Responding to the Arts
Student Objective
The student will:
A.
Evaluate his/her own performance and the performance of others
B.
Respond to different styles (recordings)
C.
Identify different styles
Suggested Activities
A1.
Participate and/or attend Jazz Adjudicated events or festivals
B1.
Expressively respond to different styles of jazz literature in a written and/or verbal form.
C1.
Discuss a piece of music in terms of rhythm, articulation, etc.
Goal IV: Nature and Meaning of the Arts: Valuing the Arts
Student Objective
The student will:
A.
Understand role of jazz in history of music.
B.
Aurally and visually identify various jazz scales and modes.
Suggested Activities
A1.
Prepare program notes for concerts.
A2.
Compare and contrast a jazz musical selection that has been altered from its original form
to demonstrate jazz techniques (example: "St. Louis Blues March" - jazz selection in
traditional march form.)
B1. Performs the following scales and modes:
1. Dorian
2. Blues scale
3. Mix Lydian
4. Pentatonic
5. Diminished
6. Whole Tone
7. Lydian
8. Phrygian
9. Locrian
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MARCHING BAND
PERFORMANCE OBJECTIVES
The student will:
•
Communicate musical ideas both aurally and visually to an educated audience.
•
Perform music compositions that promote aural and visual development.
•
Develop a sense of musical and visual teamwork in which individual aural/visual ideas
present one large presentation.
•
Present musical and visual art ideas to audiences through performance (football games,
parades, competitions).
62
MARCHING BAND GOALS
Goal I: Historical, Cultural and Social Contexts: Understanding the Role of the Arts in
People's Lives
Student Objective
The student will:
A.
Understand the role of the marching band as viewed in the eyes of the educational and
local community.
Suggested Activities
The student will:
A1.
Play at football games, parades, concerts, and contests.
Goal II: Personal Expression and Production
Student Objective
The student will:
A.
Demonstrate an understanding of marching fundamentals.
B.
Demonstrate an understanding of balance and blend.
C.
Understand pitch tendencies pertaining to different instruments.
D.
Understand rhythmic coordination.
E.
Understand different medium of concert vs. marching percussion.
F.
Understand visual vs. musical impact.
Suggested Activities
The student will:
A1.
Demonstrate proper marching techniques, horn carriage and posture for all field
maneuvers.
B1.
Demonstrate understanding of proper blend and balance and the difference between
indoor/outdoor blend and balance.
B2.
Demonstrate balance as related to field placement.
B3.
Demonstrate ability to transfer indoor musical skills to outdoor performance.
C1.
Demonstrate ability to play in various conditions (cold, rain, snow vs. inside).
D1.
Demonstrate rhythm as related to footwork, body movement and music.
E1.
Batterie (instruments)
Pit
Stickings
Projections
Visual
F1.
Demonstrate understanding of role of color guard.
F2.
Coordinating visual "push" to relate to musical push.
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Goal III: Art Criticism: Responding to the Arts
Student Objective
The student will:
A.
Evaluate his/her own performance (individual or group).
B.
Critically evaluate other groups' performances.
Suggested Activities
The student will:
A1.
View video of marching shows, listen to tapes (adjudicator's tapes, personal tapes).
B1.
View other groups at football games, parades, contests.
Goal IV: Nature and meaning of Arts: Valuing the Arts
Student Objective
The student will:
A.
Understand different types of music on the field.
B.
Performance aspects (educating the community to value the arts through marching
shows).
Suggested Activities
The student will:
A1.
Understand parade, stand, pop, contest, classical, marches, etc.
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KEYBOARDING, MUSIC THEORY, MUSIC HISTORY
Theory, Keyboard and History High School Level I-IV Performance Objectives
Level I
The student will:
•
Develop or co-develop with others a presentation in one or more of the arts, grounding its
artistic merit within historical, social, cultural, critical and aesthetic parameters, and
taking into account the merit of the arts form or arts concepts in an indepth manner.
•
Develop and present a self-profile which takes advantage of current and available
technological advances and provides information about his/her development as an artist
and creative and critical thinker, and speculates about the application of attained
knowledge and skills beyond high school.
Level II
The student will:
•
Locate recurring ideological themes, images or symbols used in works of art, speculate
about the facts impacting their continuing presence and use a collection of works to
substantiate his position.
•
Communicate information about a concept or problem encountered using multiple
solutions/technologies and assess the effectiveness/impact of each approach.
•
Document works in which the arts contribute to living and learning in the community.
Level III
The student will:
•
•
•
Create or perform a body of work which contains and reflects exploration,
experimentation and development.
Present his/her own portfolio of work in terms of existing and recurring ideological
themes, images, symbols, styles and/or technologies.
Select a local arts event, work, structure, organization or institute and judge its merit in
terms of artistic, economic, social, political and environmental aspects.
Level IV
The student will:
•
Develop and present a public exhibition or performance of personal work which
represents the evolution of creative and critical thinking and the individual contributions
to the art form and subject it to an authentic review.
and/or
•
Organize a collection of personal artwork, use specific criteria and/or evidence to identify
its philosophical focus, stylistic features and overall emphasis, and subject it to an
authentic review.
•
Create a presentation strategy to implement a class/community-defined arts project.
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KEYBOARD TECHNICAL GOALS
Goal I: Historical, Cultural and Social Contexts: Understanding the Role of the Arts in People's
Lives
Student Objective
The student will:
A.
Observe varying keyboard styles throughout history.
Suggested Activities
The student will:
A1.
Attend a performance of a concert pianist and/or a Jazz pianist.
Goal II: Personal Expression and Production/Performance: Communicating Through the Arts
Student Objective
The student will:
A.
Play prescribed major and harmonic minor scales by tetrachord method or traditional fingerings.
B.
Play tonic, subdominant and dominant triads as block or broken chords in prescribed
keys.
C.
Play and/or transpose original or selected melodic passages in prescribed keys.
D.
Play major, minor, diminished and augmented triads above any root note.
E.
Play inversions of major and minor triads.
F.
Play block or broken chord accompaniments to accompany a familiar or original song.
Suggested Activities
The student will:
C1.
Play "Happy Birthday;" "American;" "Star Spangled Banner."
Goal III: Art Criticism: Responding to the Arts
Student Objective
The student will:
A.
Analyze music for characteristics unique to a specific style or period.
B.
Listen to and/or perform music that demonstrates knowledge of the composer's music
intent.
C.
Use critical analysis in the rehearsal or performance of a variety of musical styles.
Goal IV: Nature and meaning of Arts: Valuing the Arts
Student Objective
The student will:
A.
Develop an awareness of the aesthetic qualities in music.
B.
Demonstrate appropriate audience behavior for a variety of performance situations.
Suggested Activities
The student will:
A1.
Develop a sensitivity to the expressive qualities of music and describe the components
that contribute to aesthetic qualities.
B1.
After attending a performance, report on audience behavior and how it contributed to or
detracted from the performance.
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HIGH SCHOOL MUSIC THEORY GOALS
Goal I: Historical, Cultural and Social Contexts: Understanding the Role of the Arts in
People's Lives
Student Objective
The student will:
A.
Compare the theoretical uses of musical composition throughout history.
Suggested Activities
The student will:
A1.
Harmonize and analyze the rules of 18th century composition vs. 20th century in the
style/tradition of the period (Music of Mozart compared to Benny Goodman).
A2.
Trace how the evolutional development of various instruments has affected their
limitations and techniques/tone color. (Baroque trumpet vs. valve trumpet; harpsichord,
clavichord, piano, electronic keyboards)
Goal II: Personal Expression and Production/Performance: Communicating Through the
Arts
Student Objective
The student will:
A.
Investigate music in terms of its basic characteristics and traditional applications.
B.
Create/perform works in his/her selected medium.
C.
Develop and practice compositional skills.
Suggested Activities
The student will:
A1.
Use of rhythm in the classical era compared to Gershwin's use of syncopation.
B1.
Harmonize a hymn using 18th century rules of composition.
C1.
Correctly notate a syncopated pattern.
C2.
Create and notate a melody.
C3.
Follow correct voice leadings in harmonization.
Goal III: Art Criticism: Responding to the Arts
Student Objective
The student will:
A.
Use the correct technical language when discussing music.
B.
Analyze compositions inspired by the same subject matter.
Suggested Activities
The student will:
A1.
Cessura - not "railroad tracks."
A2.
Eighth note/sixteenth note.
A3.
Fermata - not "hold" or "bird's eye," etc.
B1.
Compare/contrast the requiems of Mozart and Berlioz.
B2.
Death - Danse Macabre vs. Mahler Symphonies
B3.
Nature - Vivaldi - Four Seasons: Beethoven - Pastoral Symphony; Grofe - Grand Canyon
Suite.
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Goal IV: Nature and Meaning of Arts: Valuing the Arts
Student Objective
The student will:
A.
Recognize the relationship between cultural and social attitude and emotional reaction to
a piece of music.
B.
Analyze the relationships among community values, local artistic expression and funding.
Suggested Activities
The student will:
A1.
Horst Wessel song (Nazi anthem) - Compare the reaction of a WWII German vs. a citizen
of one of the occupied countries.
A2.
Why do older people have trouble relating to rock music?
A3.
Gregorian Chant - then and now.
A4.
The difference between how Haydn and Berlin earned a living.
B1.
The rise (and fall) of the music publisher.
- Renaissance - no publishing - by hand - for the Church
- Romantic - one of the main sources of income for a musician
- Today - publishing has given way to the recording industry
B2.
The evolution of the school band and orchestra program and its importance through the
years.
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HIGH SCHOOL MUSIC HISTORY GOALS
Goal I: Historical, Cultural and Social Contexts: Understanding the Role of the Arts in
People's Lives
Student Objective
The student will:
A.
Describe the general context of a historical period in terms of events, socio-economic
factors and cultural and aesthetic tendencies.
B.
Describe the musical characteristics of each historical period in terms of the
compositional forms employed.
C.
Describe the relationship between various works from historical periods and the
important events of the time.
D.
Describe the musical characteristics of each historical period in terms of the important
uses of media; i.e., instruments, voices, tapes, synthesizers, etc.
E.
Trace the historical uses of texture in the major style periods of western music.
F.
Determine changes in the instrumentation of performing ensembles representing various
historical periods.
G.
Aurally identify a composition as belonging to a particular historical period.
Suggested Activities
The student will:
A1.
Compare the performance practices of composers within the same historical period; e.g.,
Brahms with Mendelssohn or Tchaikovsky.
B1.
Compare how particular musical components are used in two works from different style
periods; e.g., melodic and/or rhythmic differences between a Baroque and a classical
composition.
C1.
Analyze and compare the music of representative composers from major historical
periods.
E1.
Compare the application of textures in various historical periods, e.g., polyphonic
textures in the Renaissance as compared with contemporary techniques.
G1.
Analyze recorded examples to determine the performance practices of various style
periods and genres of music.
Goal II: Personal Expression and Production/Performance: Communicating Through the
Arts
Student Objective
The student will:
A.
Associate various composers with specific musical forms; e.g., Richard Strauss with the
tone poem, Beethoven with the symphony, Wagner with the opera.
B.
Describe general differences among the rhythmic structures of popular, folk, jazz and
classical styles.
C.
Describe various styles; e.g., march, polka, tango, tarantella.
Suggested Activities
A1.
Compare the stylistic interpretations of several recordings or performance of the same
work in terms of the authenticity of style.
C1.
Compare and contrast the stylistic characteristics of various locals, e.g., western/nonwestern, etc.
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Goal III: Art Criticism: Responding to the Arts
Student Objective
The student will:
A.
Compare nationalistic styles; e.g., those of Germany, Russia and Spain.
B.
Identify instances where the styles of given composers deviate from the styles of the
period in which they lived.
C.
Identify important works by a composer that summarize a style, deviate from an
established style or establish a new style.
Suggested Activities
The student will:
A1.
Compare and contrast the stylistic characteristics.
B1.
Analyze and compare diverse compositions from major style periods.
C1.
Associate various compositional techniques with specific composers and historical
periods.
Goal IV: Nature and Meaning of Arts: Valuing the Arts
Student Objective
The student will:
A.
Explore instances and roles of the arts in daily life.
B.
Articulate the content of a personal arts philosophy, share it with others and provide
evidence of it through a body of work.
C.
Articulate the basic nature and need for the arts.
D.
Demonstrate an awareness of how consideration of the audience/view shapes artistic
choices.
E.
Recognize the relationship between cultural and social attitude and emotional reaction to
an art form or an event.
F.
Align his/her choice of an arts career or vocation with a personal arts philosophy and a
body of work developed over time.
G.
Analyze the relationships among community values, local artistic expression and funding
for the arts.
Suggested Activities
The student will:
A1.
Develop a sensitivity to the expressive qualities of music and describe the components
that contribute to aesthetic qualities.
B1.
After attending a performance, report on audience behavior and how it contributed to or
detracted from the performance.
C1.
Trace the evolution of arts forms as agents for reflections of social change.
D1.
Explore the arts as a way to move the audience to change society.
E1.
Explore the role the arts have played as a teacher through history.
G1.
Interview decision makers/funders to ascertain their support for art projects.
70
Music References
Music Periods, Styles, Composers
Web Sites
Also Available:
Resource Guide (Separate Cover)
-Assessments: Benchmark, Indicator checklist, Rubrics
-Music Periods, Styles, Composers
-Listening Lists
-Websites
-References, Books, Magazines, etc.
-Correlations (Connections) to Professions and other
Disciplines
71
Music Periods, Styles, Composers
Historical Outline:
Antiquity (3000 B.C. - 400 A.D.)
General Characteristics
Egyptians were prominent in the development of music, especially for use in ceremonies.
The harp, lyre and lute families were the primary instruments. Greek influences included the
study of sound by Pythagoras, who established mathematical (acoustical) descriptions of pitch,
and Plato, who advocated the philosophy that music influenced personality and emotions. A
scale system was developed based on the use of tetrachords. It was during this period that tones
were given specific letter names.
The Romans were strongly influenced by Greek culture. Early Roman music served
mostly for ceremonial, military and social engagements, and the early brass instruments were
very important especially for these uses. The Roman music consisted of pure melodic lines
which were based on simple rhythms.
Middle Ages (400 A.D. - 1450)
General Characteristics
The Middle Ages saw the development of more structure to the independent melodic line
(monophony). Medieval music theory was still based on theory principles from the ancient times.
Only a few fragments of Greek or Roman music have been found from this entire period.
During the Middle Ages, the sacred music of the Catholic Church consisted primarily of
vocal chants which were sung in unison and without accompaniment. The secular music was
mostly Plainsong.
Counterpoint was developed which incorporated the use of several parts or melodies
sounding at the same time (polyphony). Polyphonic forms of music included organum and the
motet along with the use of counterpoint and canons. Secular music became more popular and
was performed by musicians known as troubadours and trouvères in France and Minnesingers
and Meistersingers in Germany.
Medieval instruments included the harp, vielle or fiedel, organistrum, psaltery, lute, flute,
recorder, shawms, natural trumpet and horn, bagpipes, drums and great organs in churches.
Renaissance period (1450 - 1600)
General Characteristics
During the Renaissance, there was a "reviving" of the human spirit and of the cultures of
ancient Greece and Rome. Individuality became increasingly respected and revered. This
movement, known as Humanism, reinfluenced the development of music.
The sound of the music of the Renaissance became more rich and full with clearer
voicing. Rhythms moved in a steady and flowing manner. The rhythmic flow included basic
meters with only agogic accents. Melodies were mostly modal with the harmony involving
chords, sometimes found in first inversions. Homophonic texture began which involved both
accompaniment to the melody with singers and/or instruments. Imitation was used often and
included three to six polyphonic voices. Some singers (Meistersingers) incorporated dynamic
contrasts using different numbers of voices. The architectural structure of vocal and instrumental
music became more developed with the use of many forms, such as the mass, motet, madrigal,
chanson, frottola, lauda, toccata, concerto, canzona, ricercar, fantasia, ground variations, masque
and others.
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The first attempts at music printing came shortly after the appearance of Gutenberg's
Bible (c. 1455). The first book of music ever printed is a Gradual; the date (probably c. 1473)
and the name of the printer are unknown. Petrucci adapted Gutenberg's process of printing, and
published music quickly became more available throughout Europe.
The primary focus during the Renaissance was music for the voice; however,
instrumental music became more popular. Most instruments were built in sets or families of
graduated sizes with soprano to bass voicing. The basic types of instrumental music included
those derived from vocal compositions, dance music, variations and freely composed and quasiimprovisatory works.
Instruments in use during the Renaissance included guitars, recorders, flutes, shawms,
cromornes, cornettos, natural trumpets, trombones, viols, organ, lutes and percussion instruments
(drums, bells, bell chimes, castanets, etc.). Many churches in Italy used one large organ and one
small organ. New instruments included those in the violin family, large copper timpani and the
harpsichord and clavichord.
REPRESENTATIVE COMPOSERS
Binchois, Gilles (1400 - 1460)
Byrd, William (1543 - 1623)
Cabezón, Antonio de (1510 - 1566)
Dunstable, John (1390 - 1453)
Du Fay, Guillaume (1400 - 1474)
Frescobaldi, Girolamo (1583 - 1643)
Gabrieli, Giovanni (1553 - 1612)
Hassler, Hans Leo (1562 - 1612)
Josquin des Prez (1440 - 1521)
Lassus, Orlande de (1532 - 1594)
Marenzio, Luca (1553 - 1599)
Monteverdi, Claudio (1567 - 1643)
Obrecht, Jacob (1450 - 1505)
Ockeghem, Johannes (1410 - 1497)
Palestrina, Giovanni Piegluigi da (1525 - 1594)
Tallis, Thomas (1505 - 1585)
Tavener, John (1490 - 1545)
Tye, Christopher (1505 - 1572)
Victoria, Thomás Luis de (1548 - 1611)
Willaert, Adrian (1490 - 1562)
Baroque Period (1600 - 1750)
General Characteristics
The Baroque Era was known as the continuo period by some music scholars. A continuo
bass line was often used and included a harmony instrument with two performers (keyboard with
cello or bassoon). Vocal music features the use of two practices: old style Renaissance
counterpoint in which the music dominated the text and modern style in which the text was of
prime importance. Church, chamber and theater performing styles were dominant, and
instrumental music became more important. New purely instrumental forms evolved as well.
Composers of vocal music attempted to musically portray the expressions or
interpretation on the texts. The new music exhibited a polarity of florid treble and firm bass.
Filler harmonies, not notated, were improvised as the accompanists realized the figured basso
73
continuo line. Two types of rhythm prevailed: the regular metrical rhythm vital to dance music
and a flexible, unmetrical rhythm founded on speech. Music notational practices included the use
of figured bass, barlines, meter and key signatures. New printing methods were produced, and by
the end of the eighteenth century, rounded noteheads appeared.
The Baroque period was divided into three distinct developmental time frames: Early,
Middle and Late.
Early Baroque (1600 - 1650)
• In the early Baroque Period two attitudes toward music performance predominated:
Prima Prattica (the first practice) -- the church conservative Stile Antico, the sober
style which was a continuation of the Palestrinian style of overlaid voices; and the
Progressive -- chamber and or ornamented "Luxuriant Style."
Vocal music still dominated. The madrigal text carried over, influencing expression
of emotion within a single piece. The melody was harmonically supported and they
created all kinds of intervals such as an augmented fourth. Dissonance was permitted
when the harmony was stable. Motives would contrast with smooth, long lines and
quick moving, spastic melodic lines. "Parlando" was used to enunciate a text of
ornamentation of long notes.
•
The harmony was diatonic. Chromaticism was used for emotion and expressions of
the text. Harmonies were generated by the bass line (basso continuo or
thoroughbass). Chords above the root position bass were usually single chords.
Harmony was non-functional; that is, not tending toward tonic.
•
Text was declamatory and expressive with a strong, regular pulse. Rhythm was
dance inspired.
•
Texture of the music was two-part, a continuo bass and melodic line; trio texture was
two upper melodic parts with bass (the middle part filled in, imitating the higher part
through parallel thirds, sixths).
•
Chamber duets were found in instrumental music.
•
Chamber theater style was used.
•
Forms of music included multi-section (Ritornello) variations (ostinato, strophic),
and solo song (monody) with accompaniment.
•
Dynamics were essentially loud and soft. Very few markings were present.
•
Early keyboard styles were the canzona, ricercar and toccata.
Middle Baroque (1650 - 1700)
• Text-dominated vocal music began to die out.
•
Short, shifting sections began to expand into larger sections. "Parts" were all
supported by the harmony of the time, and now relationships resulted between the
chords.
74
•
Definite styles and forms developed, which included aria types. Instrumental forms
were the sonata, suite and overture (which affected later instrumental form
development). There were two overture types: Italian (three distinct sections) and
French (two sections, each repeated).
•
Rhythm began to stabilize, and more stylized dance patterns resulted in sonatas,
suites and overtures.
Late Baroque (Early 1700 - 1750)
• Instrumental music began to overshadow vocal writing.
•
Trumpets and timpani were placed at the top of instrumental scores; strings and
continuo were added above the horn and flute.
•
A continuo orchestration was developed.
•
Range and technical abilities were expanded.
•
More structure and tone color developed.
•
Melodic lines began to expand in length; normal long, extended, continuous lines
resulted; themes were incomplete (fugue subject ending), and repetition and
sequence were common.
•
Harmony: root movements by fifths were planned; moving bass line; chords changed
quickly with IV, V or VI chords changing frequently per measure which resulted in
faster harmonic rhythm.
•
Two kinds of fast harmonic rhythms were used: free improvisatory (preludes, toccata
or introductory sections), and patterns, repetitions or recurring rhythmic patterns,
mechanical rhythm.
•
The texture was consistent throughout; "luxuriant" ornamented counterpoint.
•
Musical forms were controlled by continuous expansion and were non-sectional;
fugal-type development; binary form was the exception -- rounded binary form
prevailed (e.g., Bach Italian suites [partitas], and English and French suites); sonatas
dominated ensemble music.
Baroque Instrumental Music
• There were four principal instrumental types: dance music or stylized dance music
intended for listening; quasi-improvisatory pieces; variations; and contrapuntal works
(ricercar and ensemble canzona types).
•
Stylized instrumental dance music evolved into the suite; the basic format was
allemande, courante, sarabande, gigue (with additional movements optional
anywhere within the sequence).
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•
The fugue grew out of organ ricercar and the ensemble canzona eventually became
the sonata da chiesa.
•
Principal types of organ music were quasi-improvisatory pieces (usually named
toccatas), the fugue, and the chorale prelude which included the chorale fantasia,
chorale partita and chorale prelude.
•
Composers of organ works were Girolamo Frescobaldi and Bernardo Pasquini in
Italy and Dietrich Buxtehude in Germany.
•
There were three principal instrumental compositions for ensembles: the sonata da
chiesa and related forms, the suite (sonata da camera) and related forms and the
concerto.
•
Some sonatas were written for solo instrument with basso continuo, but most sonatas
written during the last third of the 17th century were primarily trio sonatas; a few
were written for unaccompanied solo violin.
•
Construction of instruments in the violin family flourished (Amatis, Stradivarius and
Guarneri).
•
Baroque instruments included the harpsichord, organ, pianoforte, violin, viola da
gamba, cello, timpani, natural horn and natural trumpet, recorder, oboe, bassoon,
transverse flute, trombone and percussion.
REPRESENTATIVE COMPOSERS
Bach, Johann Sebastian (1685 - 1750)
Corelli, Arcangelo (1653 - 1713)
Couperin, Francois (1688 - 1733)
Frescobaldi, Girolamo (1583 - 1643)
Froberger, Johann Jakob (1616 - 1667)
Gabrieli, Giovanni (1553 - 1612)
Handel, George Fredrick (1685 - 1759)
Lully, Jean-Baptiste (1632 - 1687)
Monteverdi, Claudio (1567 - 1643)
Pachelbel, Johann (1653 - 1706)
Purcell, Henry (1659 - 1695)
Rameau, Jean-Philippe (1683 - 1764)
Scarlatti, Domenico (1685 - 1757)
Schütz, Heinrich (1585 - 1672)
Telemann, Georg Philipp (1681 - 1767)
Vivaldi, Antonio (1678 - 1741)
76
Classical Period (1750 - 1820) -- The Age of Enlightenment
General Characteristics
The Classical period, known as the Age of Enlightenment, brought about many changes
in the style of music performance and the form of music construction. Unlike those works
composed during the Baroque period, which frequently emphasized improvisational or
ornamental techniques (figured bass, ornamentation, trills, etc.), compositions of the Classical
period emphasized tuneful, simple, singable melodies, simple harmony, major and minor modes,
strict formal structure and contrasting dynamics. "Classical" music became more formal, light in
texture and considered by many to be more enjoyable. Instrumental music became more
important. The following characterizes this development and provides additional information
regarding the Classical period:
•
A large portion of the music in this period was instrumental.
•
The principle genres of instrumental music composed between c. 1770 through c.
1820 were the symphony, sonata, solo concerto, chamber music and opera.
•
The structural principal most often used for a movement was sonata form or variant
thereof (sonata-rondo, sonata form used in a concerto, abridged sonata).
•
The use of theme and variation form continued to develop in the Classical period.
•
The Viennese Classical idiom, an important part in the development of this period,
was a synthesis of galant, empfindsamer and learned styles. In the 1770s this
Viennese Classical style was firmly established, especially in the instrumental music
of Haydn.
•
The middle works of Haydn were characterized by clarity, balance and restraint. The
same traits were present in the late works of Mozart and the early works of
Beethoven and Schubert.
•
Haydn and Mozart developed the characteristic style of the string quartet, each
composing sets of quartets.
•
Mozart used a three-movement overall scheme for his piano concertos. The first
movement utilized sonata form; the second movement of the piano concerto was
usually an instrumental aria; the third movement a type of rondo.
•
Other instrumental forms included the symphonie concertante, divertimenti,
cassation, nocturno and serenade.
•
Although the exact number is not known, Mozart composed approximately 50
symphonies and 26 string quartets.
•
Etude books appeared in Paris after 1785. The earliest publications were for flute
and violin. Piano étude books were published in the early 19th century.
77
•
Haydn considered himself to be primarily a composer of vocal music. He wrote
numerous operas, masses and other sacred and secular vocal works; he also
composed 104 symphonies.
•
Considered by many to be Haydn's most significant contribution were his two
oratorios, The Creation and The Seasons, his symphonies and his string quartets.
•
Gluck worked to reform opera in his Orpheus and Euridice.
•
Beethoven was an innovator with his development of the form of the symphony. His
innovations included commencing a symphony in a key other than its tonic and
modulations to a key a third removed.
•
Singing schools were started in America to improve the quality of singing in church.
•
The first native-born American to compose a secular song is considered to be Francis
Hopkinson.
•
Francis Hopkinson (1737 - 1791), James Lyon (1735 - 1794), William Billings (1746
- 1800) and John Antes (1740 - 1811) all flourished in the second half of the 18th
century as the first native-born North American composers.
BASIC CLASSICAL STYLE
According to Joseph La Buta in Teaching Musicianship in the High School Band
(1997),10 Classical melodies were basically diatonic with simple construction and were tuneful,
folk-song-like and very singable. The musical phrases were short, mostly symmetrical and
cadenced frequently. Harmony was mostly simple and included seventh chords, limited
chromatic alteration and modulations to closely related keys. Harmonic rhythm was slow and
evenly spaced. Simple meters were dominant with barline regularity, the emphasis being on the
measure rather than the beat as in the Baroque period. The texture was largely homophonic.
Dynamics allowed sudden changes in volume with crescendos and diminuendos suddenly moving
from pianissimo to fortissimo.
BASIC CLASSICAL PERFORMANCE PRACTICE
Music of the Classical period included light, thin, restrained, gay and delicate qualities.
The performance style required the use of light, precise, restrained articulation along with
staccatos performed lightened and separated. The brass were to generally underplay the volume
and use refined dynamics in comparison to the woodwinds and strings.
REPRESENTATIVE CLASSICAL COMPOSERS
Bach, Carl Philipp Emanuel (1714 - 1788)
Beethoven, Ludwig van (1770 - 1827)
Gluck, Christoph Willibald (1714 - 1787)
Haydn, Franz Joseph (1732 - 1809)
Mozart, Wolfgang Amadeus (1756 - 1791)
Salieri, Antonio (1750 - 1825)
78
Classicism to Romanticism
General Characteristics
The latter years of the 18th century involved many changes in cultural and political
events. The French Revolution led the way to most of these changes. Many musical
compositions were composed with heroic attributes emphasized. Musical drama and dramatic
tension began to increase. Instrumental ensembles became important for massed ceremonial and
commemorative activities.
•
The Paris Conservatoire and the National Guard Band were established.
•
National archives began to include collections of valuable instruments.
•
Many works were written for commemorative purposes and for massed ensembles,
thus leading to the development of wind band instrumental music and ensembles.
•
At the time of the French Revolution there were several important European
composers. The London school of pianist-composers included J.B. Cramer, Muzio
Clementi, Jan L. Dussek, John Field and George Pinto.
•
Leading Bohemian composers active in Vienna were Václav Jan Tomásek, Jan
Václav Vorísek and Johann Nepomuk Hummel (Beethoven's chief rival in Vienna).
•
Hummel's style was Mozartean, a restrained Classicism, neat and delicate, with
emphasis on fluent technique and textural clarity.
•
Beethoven contributed many important developmental procedures, among them
thematic transformation, fugue and variation.
•
Beethoven's best-known symphony, Symphony No. 5, marks the first use of
trombones in a symphony.
•
Much of the 19th century Romantic music was rooted in Beethoven's music.
•
The doctrine of nationalism gained strength in the middle quarter of the 19th century.
Romantic Period (1820 - 1900)
General Characteristics
The Classical era evolved into a newer period in which many "classical" aspects were
altered, expanded and enhanced. This was a time when music and the other arts emphasized
expressive elements, many based on emotion and feeling, along with spiritual aspects. Thus,
variety in sound, instrumentation and expression prevailed. The following characterize the
development:
•
The Romantic period brought about musical characteristics that emphasized lyricism,
chromatic themes, long sequences, chromatic harmony, harmonic color and new
instrumental color.
79
•
The major musical forms included: symphonic poem, music drama (e.g., opéra
comique, Leitmotif), symphonic variations, symphony development, art songs for
voice, character pieces for piano and the concerto.
•
Nationalism in music became important in the second half of the 19th century as
composers began to utilize native folk songs or emphasized some national or ethnic
element in their music.
•
Along with the freedom of form development and variety in sounds came the
extension and added length to many musical works.
•
The orchestra grew in size and instrumentation.
•
"Program music" incorporated ideas to express, refer or describe something, or to tell
a story (e.g., Beethoven's Pastoral Symphony, Berlioz' Symphonie Fantastique).
•
Many new instruments were invented and new ways of performing (fingerings, key
systems, valves, mouthpieces, reeds, etc.) were developed.
•
Instrumental innovations included the Albert system for the clarinet, the Heckel
system for the bassoon and the Boehm system for the flute and clarinet.
•
Machine-tuned timpani were developed.
•
Instrumental music compositions for winds and performances of instrumental
ensembles increased.
•
Chopin, Mendelssohn and Schumann were early Romantic period leaders in the
development of character pieces for piano.
•
Schumann's main musical contributions were Lieder and piano music.
•
Paganini advanced violin playing through his virtuosic performances and innovative
bowing and fingering techniques, thus improving orchestral string performances.
•
There were two primary types of music in America during the Romantic period:
native/popular and art music.
•
Lowell Mason pioneered music education and established music in the curriculum in
the Boston schools in 1837. He was also a prolific hymn writer who composed
and/or arranged more than 1,600 hymns.
•
Stephen Foster was America's principal son writer; he composed more than 150
songs of varying style.
•
The New York Philharmonic (Philharmonic Symphony Society of New York) was
the first permanent American symphony orchestra (1842).
80
•
Singing schools in America continued with two main leaders: William B. Bradbury
(1816 - 1868) and Lowell Mason (1792 - 1872).
•
Wagner composed and produced many great works, particularly his music dramas.
He utilized large ensembles, and many of his works were of great length.
•
Verdi composed 28 operas and other instrumental and vocal compositions.
•
Liszt composed secular cantatas and oratorios and has been credited as the originator
of the symphonic poem.
•
Brahms is considered by many to have been the most inventive and accomplished
19th century composer.
•
Anton Bruckner composed 11 symphonies and other instrumental and vocal works.
He wrote fine sacred choral music. The Ninth Symphony has been considered his
best orchestral work.
•
Five major composers in Russia led the way for nationalism in music (frequently
referred to as the Russian Five): Mily Balakirev, César Cui, Modest Musorgsky,
Nikolai Rimsky-Korsakov and Alexander Borodin.
•
The symphonic suite was first developed by Rimsky-Korsakov (e.g., Scheherazade).
BASIC ROMANTIC STYLE
Lyricism and the use of long sequences were emphasized. Musical lines were both
diatonic and chromatic and stated in either major or minor modes. Melodies were singable with
more expressive emotion than those of the Classical period. The instrumental and vocal colors
were expanded with the increase of instrumentation and/or voices and size. The harmonic
elements often emphasized seventh, ninth and eleventh chords along with the use of chromatic
progressions. Wide dynamic ranges were common. Scoring sometimes varied from monophony
to large masses of sound. Instruments included complete families, thus adding to the orchestral
color.
BASIC ROMANTIC PERFORMANCE PRACTICE
The Romantic period involved many changes in style. Variety included many contrasts:
loud/soft volume, heavy/light articulation, thick/thin texture, dark/light sonority, intense/relaxed
expression, complex/simple color and programmatic/absolute development.
REPRESENTATIVE ROMANTIC COMPOSERS
Balakirev, Mily (1837 - 1910)
Berlioz, Louis-Hector (1803 - 1869)
Bizet, Georges (1838 - 1875)
Borodin, Alexander (1833 - 1887)
Brahms, Johannes (1833 - 1897)
Bruckner, Anton (1824 - 1896)
Chopin, Frédéric (1810 - 1849)
Cui, César (1835 - 1918)
81
Dvorák, Antonin (1841 - 1904)
Fauré, Gabriel (1845 - 1924)
Foster, Stephen Collins (1826 - 1864)
Franck, César (1822 - 1890)
Glinka, Mikhail (1804 - 1857)
Liszt, Franz (1811 - 1886)
Mahler, Gustav (1860 - 1911)
Mendelssohn (Bartholdy), Felix (1809 - 1847)
Mussorgsky, Modest (1839 - 1881)
Paganini, Niccolò (1782 - 1840)
Puccini, Giacomo (1858 - 1924)
Rimsky-Korsakov, Nikolai (1844 - 1908)
Rossini, Gioacchino (1792 - 1868)
Saint-Saëns, Camille (1835 - 1921)
Schubert, Franz Peter (1797 - 1828)
Schumann, Robert (1810 - 1856)
Scriabin, Alexander (1872 - 1915)
Sibelius, Jean (1865 - 1957)
Smetana, Bedrich (1824 - 1884)
Strauss, Richard (1864 - 1949)
Tchaikovsky, Peter (1840 - 1893)
Verdi, Giuseppe (1813 - 1901)
Wagner, Richard (1813 - 1883)
Weber, Carl Maria von (1786 - 1826)
Wolf, Hugo (1860 - 1903)
Contemporary Period (1900 - present)
General Characteristics
The development of music continued with a growing reaction to Romanticism. Many
varieties of change, alteration and experimentation resulted. Composers chose many styles of
writing which have included impressionism, nationalism, neoromanticism, neoclassism,
serialism, pointillism, minimalism, experimentalism (determinant and indeterminant forms),
electronic, jazz, popular (country, rock and roll, rap, alternative) and others. This period has been
known as "The Age of Diversity." The following characterize the development and musical
styles:
•
Impressionism: the Contemporary period started with this movement. The music
emphasized an atmosphere of vague sounds, lack of precise formal development and
varied musical color. Tonality was still prevalent with the use of irregular phrases,
nontraditional harmony, dissonances which were not resolved, parallel chords which
utilized altered tones and special selected instruments that portrayed special images.
Claude Debussy and Maurice Ravel were the leaders of French Impressionism.
Other composers of Impressionism were Florent Schmitt, Ottorino Respighi and
Frederick Delius.
82
•
Nationalism: the movement began in the late 19th century and continued into the 20th
century. Composers utilized native folk songs or emphasized some national or ethnic
element in their music. Leaders were the Russian and Czechoslovakian composers,
and concepts of the nationalistic movement continue today. Composers
incorporating nationalism in some of their works included Mikhail Glinka, Bedrich
Smetana, Jean Sibelius, Edward Elgar, Ralph Vaughan Williams, Béla Bartók, Zoltán
Kodály, Heitor Villa-Lobos, Carlos Chávez and George Gershwin.
•
Neoromanticism: some contemporary composers chose to incorporate older musical
elements of the Romantic period into new music of the twentieth century. These
elements included more emphasis on melodic writing, tonal centers or tendencies
toward tonality and use of similar construction forms. Expressive performance
emphasis was again highlighted. The music of David Del Tredici incorporated many
of these elements.
•
Neoclassicism: similar in concept to neoromanticism, neoclassicism in 20th century
music incorporated 17th and 18th century musical elements into contemporary
composition. The concepts of contrapuntal writing, as used by J.S. Bach, were
particularly used along with a reuse of other particular construction styles and forms
(suite, toccata, madrigal, opera, etc.). Neoclassicism was incorporated by composers
such as Igor Stravinsky, Paul Hindemith, Sergei Prokofiev and a group of French
composers known as Les Six: Georges Auric, Louis Durey, Arthur Honegger, Darius
Milhaud, Francis Poulenc and Germaine Tailleferre.
•
Serialism: Arnold Schoenberg and his students Alban Berg and Anton Webern are
credited with developing a new style of music construction. The new style, known as
12-tone music or dodecaphony, used all 12 chromatic pitches (pitch classes)
contained in an octave, with each tone equally emphasized. The sound was actually
"a tonic" or atonal, meaning without tonality. A special system to organize the order
and style of the use of these 12 tones was created. This system involved the use of a
"tone row" or "series of tones" within a basic pattern. From this established tone
row, the series could appear in different forms such as forward (prime), backward
(retrograde), inverted, inverted backward (retrograde inversion), and/or in different
transpositions. This construction system allowed for as many as 48 variations.
Multiple tones sounding together created new harmonic sounds. Many current
composers use serialistic elements combined with other contemporary writing
techniques.
•
Pointillism: Anton Webern is credited with the adaptation of this painting concept to
music. Composing asthmatic music, isolated notes were constructed in a very
pointed or disjunct manner and blended to create certain tone colors and variations of
timbres; for example, a musical line would appear with wide leaps and extreme
intervals and could call for varying articulations, volumes, registers, mutes and other
special effects. Both Webern and Schoenberg used this construction technique.
Currently, many composers utilize pointillistic techniques.
83
•
Minimalism: in the late 1960s a musical construction technique used "repetition," an
ostinato-type concept. This repetition was of short figures, based on a specific
rhythm or series of tones, or both elements were used together, which served as the
basis of the entire work. Many early minimalistic works were quite lengthy with
static harmonies. Today, many composers incorporate this construction technique
along with other contemporary techniques to reiterate musical ideas in their works.
Major composers utilizing minimalism as a dominant construction technique include
La Monte Young, Philip Corner, Terry Riley, Philip Glass and Steve Reich.
•
Experimentalism (determinant and varying indeterminant forms): experimentalism
has often been referred to as "chance music" and "aleatoric music." John Cage led
the way with this form of compositional creativity. Music that was predetermined
and scored in such a manner as to allow performers to vary such elements as length,
volume, tone sequences, form, etc., was referred to as the "determinant" form of
chance music. When musicians were given the opportunity to decide independently
on the choices of sounds (not necessarily scored) such as the length, volume, tone
sequences, form, etc., this form of chance music was called "indeterminant."
Although these forms of chance music involved different sounding performances,
more variation was possible with the indeterminant forms.
•
Electronic music: since the invention of recording devices in the late 19th century,
sound technology has significantly improved and has allowed varying forms of stored
sounds, manipulated sounds and produced sounds, from the early use of magnetic
tape to those generated by computer and synthesizer, many new techniques have been
utilized by composers. Contemporary composers who have utilized this medium
include Philip Glass, Pierre Schaeffer, Karlheinz Stockhausen, John Cage, Pauline
Oliveros and Luicano Berio.
BASIC CONTEMPORARY STYLE
Contemporary -- also called "modern" or "20th century" -- style involves a variety of
musical characteristics. No particular set of restraints applies to the many types and styles as
addressed in the categories above. Some characteristics include the use of fragmented melodies,
dissonance, wide ranges of expression, extreme range demands, varied instrument choices,
special effect sounds and linear melodic lines. Other characteristics are polyrhythms, atonality,
polytonality, multiple meter changes, asymmetric rhythms and meters, densities of sound (i.e.,
layers of sonorities and intensities) and new sounds artificially generated.
BASIC CONTEMPORARY PERFORMANCE PRACTICE
To interpret contemporary performance practices properly, the music of this period
requires research into the composer's life and compositional style. Rhythms, meters and
segmentation of notes seem to have greater emphasis than in earlier periods of music. Performers
should follow written musical notation and interpretation marks precisely. Dissonances serve a
most important role and need proper balance. Performance accuracy is essential to make the
special effect sounds and sections convincing.
84
REPRESENTATIVE CONTEMPORARY COMPOSERS
Auric, Georges (1899 - 1983)
Babbitt, Milton (b. 1916)
Bartók, Béla (1881 - 1945)
Berg, Alban (1885 - 1935)
Berio, Luciano (b. 1925)
Britten, Benjamin (1913 - 1976)
Brown, Earl (b. 1926)
Cage, John (1912 - 1992)
Chávez, Carlos (1899 - 1978)
Cowell, Henry (1897 - 1965)
Copland, Aaron (1900 - 1990)
Crumb, George (b. 1929)
Debussy, Achille-Claude (1862 - 1918)
Del Tredici, David (b. 1937)
Durey, Louis (1888 - 1979)
Elgar, Edward (1857 - 1934)
Gershwin, George (1898 - 1937)
Glass, Philip (b. 1937)
Hanson, Howard (1896 - 1981)
Hindemith, Paul (1895 - 1963)
Holst, Gustav (1874 - 1934)
Honegger, Arthur (1892 - 1955)
Ives, Charles (1874 - 1954)
Kodály, Zoltán (1881 - 1967)
Ligeti, György (b. 1929)
Messiaen, Olivier (1908 - 1992)
Milhaud, Darius (1892 - 1974)
Musgrave, Thea (b. 1928)
Nono, Luigi (1924 - 1996)
Oliveros, Pauline (b. 1932)
Orff, Carl (1895 - 1982)
Penderecki, Krzystof (b. 1933)
Piston, Walter (1894 - 1976)
Poulenc, Francis (1899 - 1963)
Prokofiev, Sergei (1891 - 1953)
Ravel, Maurice (1875 - 1937)
Reich, Steve (b. 1936)
Riley, Terry (b. 1935)
Schaeffer, Pierre (b. 1910)
Schoenberg, Arnold (1874 - 1951)
Shostakovich, Dmitry (1906 - 1975)
Still, William Grant (1895 - 1978)
Stockhausen, Karlheinz (b. 1928)
Stravinsky, Igor (1882 - 1971)
Tailleferre, Germaine (1892 - 1983)
Varèse, Edward (1883 - 1965)
Villa-Lobos, Heitor (1887 - 1959)
85
Williams, Ralph Vaughan (1872 - 1958)
Webern, Anton (1883 - 1945)
Young, La Monte (b. 1935)
Comparative Historical Chronology:
The following serves as a resource to assist in making connections as outlined in the
National Standards for Arts Education -- What Every Young American Should Know and Be Able
to Do in the Arts.
8.
Content Standard: Understanding relationships between music, the other arts,
and disciplines outside the arts
9.
Content Standard: Understanding music in relation to history and culture11
The primary sources for the comparative historical chronology include the following: The
Timetables of History (1991), Cyclopedia (1995), A History of Western Music (1996), Exploring
Music (1989), The Development of Western Music (1990), The Enjoyment of Music (1963), and
Teaching Music through Performance in Band (1997). When these sources provided conflicting
information, every reasonable attempt was made to verify the dates listed as closely as possible.
Please note the following code for the comparison area:
H
A
DL
SI
Historical Event
Artistic Contribution
Daily Life
Scientific Contribution or Invention
86
Web Sites
Internet Music Resources
Elementary Music Teachers and Classroom Teachers:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
www.beethovenandcompany.com (music and classroom)
www.bradburnspts.com (parents and teachers)
www.friendshiphouse.com (primarily teachers)
www.jwpepper.com (instrumental)
www.maleckimusic.com (choral)
www.musicarts.com (all music)
www.musicmotion.com (music-many instruments-movement/action supplies)
www.musick8.com (plays, musicals, choral)
www.stantons.com (choral, instrumental, vocal, piano and organ-both sacred and secular)
www.westmusic.com (band and orchestra, primarily)
www.creatingmusic.com (Mort Subotnick's Web site) kids may play with sounds and
sketch with music
www.musictheory.net (interactive lessons for beginners to advanced students; eartraining; staff paper
www.teoria.com (skill-reinforcing exercises-identify intervals, chords and scales by ear)
www.good-ear.com (fine-tune the ears - identification skills on advanced jazz chords;
determine perfect pitch or not)
Additional Internet Sites:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
www.learnpianoonline.com (8 step-by-step lessons to be an advanced beginner)
www.piano.avijon.com/index.html (Piano Education Page - find a piano teacher; parent
guides)
www.mutopiaproject.org (free sheet music by well-known composers)
www.drumbum.com (huge selection of drum lessons)
www.judyanddavid.com/cma.html (songs to sing with children)
www.musicsimplymusic.com/tip-parents.htm (advice for parental support of kid
endeavors)
www.musicianshipbasics.com (theory quizzes)
www.harmonicvision.com (Music Ace-premier music theory software for Mac and
Windows)
www.codamusic.com/notepad (free music notation software-scores played back as a
MIDI file)
www.amazon.com (search by an artist's name or browse free downloads by musical
genre)
www.mp3.com (independent musician's works exposed and tunes from major-label
11.
artists)
12.
www.lessonplanspage.com (over 2,000 lesson plans for all grade levels)
13.
Activity Idea Place (1,450 + free theme-based lesson plans: for Pre-K and K)
14.
Lesson Planz.com-The Lesson Plans Search Engine (3,000 + resources/plans for all
grades)
15.
www.bear share.com
87
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
Music city.com (site suggested by MVESC)
www.cim.edu/index.php (School Voice Search Page for Music/Performing Arts)
www.cim.edu/d1Programs.php#inter (college students come and play for your students!!)
www.radio-locator.com (live access to any radio program you want!!)
www.freeplaymusic.com (also live access to any radio program you want!!)
www.freesheetmusic.com (with Adobe Reader get free music downloads)
www.The Arts Edge (The Kennedy Center) (music links by style)
www.World Internet Music (music links by style)
www.tucows.com - Anvil Studio 2002 (audio of composers, recorders and karaoke)
Google Search Net (burn CDs for $80 charge each - then use them at school)
Curricular Resources in Music:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
http://www.cln.org/Indisclaim.html>disclaimer
http://www.cln.org/themes/songs.html
http://www.menc.org (research on musical development of children before birth to age
nine)
http://www.teaching ideas.co.uk/music/musicresourcesteachers.htm
http://members.home.com/veeceet/index.html (over 50 children's songs)
http://www.acd.ucalgary.ca/~dkbrown/storsong.html (Children's Lit. Guide)
http://www.kidsdomain.com/holiday/xmas/music.html
http://www.playmusic.org/ (classical and orchestral studies)
http://www.teachers.net/lessons/sort.cgi?searchterm=Music
http://www.childrensmusic.org/ (teacher materials and songs)
http://www.cowboy.net/~mharper/Chmusiclist.html (projects, music sites)
http://dir.yahoo.com/entertainment/music/index.html (50 + subcategories)
http://members.tripod.com/~Trip/music/gallery.html (free music clip art)
http://www.isd77.k12.mn.us/resources/staffpages/shirk/k12.music.html
http://www.landofmusic.com/ (songs, games, movement, books)
http://jarl.cs.uop.edu/~cpiper/musiced.html (Content Standards and links)
http://hyperion.advanced.org/15413/ (theory, history, styles, instruments)
http://www.aosa.org (Orff Schulwerk-sing, insts., improvisation)
http://www.menc.org/guides/wlc/tg04/TeachersGuide.html (3/11 WL Concert)
www.music-expressions.com (innovative teaching tools)
www.scottforesman.com (active learning exp.-supports educators)
www.superscopetechnologies.com (change keys and tempo; record to CD)
www.artsacademyamerica.org (workshops in Music, Theatre, Visual Art)
http://www.mireap.net/cgi-bin/otherStates.mac/input (apply to districts - JOBS)
http://electronicportfolios.com/portfolios.html. (alt. Assessment.)
http://www.mcli.dist.maricopa.edu/tut/ (creating Web pages)
http://www.bsu.edu/web/cfa/music/mused/portfolios
www.mmoore7@utk.edu (Natl. Symposium on Multicultural Music)
www.mibac.com (Music Lessons 1 and 2, Fundamentals, Chds. Harmony)
www.musicgoals.com (Music Goals by eye and ear; Rhythm-Elem-Advanc.)
www.bandbasics.com (theory and notation bks. 1 and 2)
www.vipstrings@earthlink.net (beginning level string program)
www.kendallhunt.com (Jazz History Overview-paperback & 3 CDs)
www.berkleemusic.com (Jazz Composition: Theory and Practice)
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35.
36.
37.
38.
www.teacherideaspress.com (American Musicians Making History paperbk.)
www.eduscreen.com (Switched on Sound: 20th Cent. Music - Gr. 7, 8)
www.emediamusic.com (300 + song-based Piano and Keyboard Methods Bk.)
www.wadsworth.com/music _ d/ (PianoLab: an Introd. To Class Piano with CD)
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VISUAL FINE ARTS COMMITTEE POSITION STATEMENTS
The following position statements are derived from those published by the National Arts
Education Association. These position statements provide valuable insight into the planning,
development and implementation of quality art instruction. While these position statements do
not necessarily reflect current art education programming in the Coshocton, Morgan and
Muskingum County Schools, they may be considered for future program development.
Dedicated to their profession, the fine arts teachers of Coshocton, Morgan and Muskingum
Counties strongly support these position statements. The statements address such issues as art
instructor certification, art competition, time allotments, instructor work load, availability of
facilities and resources all critical components when making decisions regarding art education.
Who Should Teach Fine Arts?
Fine arts should be taught by highly qualified teachers based on the Ohio Department of
Education guidelines.
How Should Fine Arts Teachers Be Scheduled?
Fine arts, like other basic subjects in the curriculum, needs consistent, regular scheduling each
week in a time block long enough to allow for depth of instruction and depth of student learning.
A quality art program demands a sequential curriculum, which cannot be provided without
regularly scheduled times for art each week.
Time should also be provided for occasional field trips, such as a visit to an art museum. These
visits should be long enough to allow students to experience artworks in depth. Such visits also
require careful preparation in preliminary lessons by the art teacher, careful structuring during the
visit and follow-up discussion and possibly studio or art appreciation projects.
Should A Fine Arts Teacher Have An Art Room?
Instruction in an art room has several advantages over instruction by an itinerant art teacher. An
art room allows for a greater variety of equipment and materials. It provides space for display of
student artwork, as well as for display of art reproductions, nature forms and interesting textures,
papers and materials. It permits time and energy that would be wasted in carrying art materials
from room to room to be used by the art teacher for a few moments of study and contemplation
before starting a new art lesson - these moments can make the difference between a hurried,
superficial introduction to the art lesson and a skillful, challenging introduction.
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Who Should Manage Fine Arts Resources, Materials and Equipment?
A media or learning resource center contains a variety of art books, reproductions, films,
filmstrips, transparencies, art software and self-instructional materials to support the art
curriculum. Whatever the organization of purchasing supplies, the art staff of the school district
controls the specification of standards for art materials, equipment and resources. Materials and
equipment are under control of the art staff. If found materials are used, the educational purpose
in art, not the mere availability of inexpensive material, governs the learning activity. Itinerant
teachers are equipped for convenient transport of the necessary quantity and variety of materials.
Each art teacher should have access to appropriate software for available computers, audio-visual
equipment and art reference materials. Furniture, materials and equipment are planned and
budgeted for each art teacher and/or art room.
Do All Students Need Fine Arts Classes With A Fine Arts Teacher?
Yes. Art is a basic subject in the education of all children. No child should miss art in order to
attend remedial or gifted classes or for any other activity. If such a class or activity is essential at
any time, then the student should be scheduled with another group for art. The sequential,
cumulative learning that takes place in a quality art program must not be broken, thereby
depriving any student of an essential and basic understanding of visual arts.
Required Materials, Equipment, and Resources
Standards for materials or supplies, instructional aids, tools, and equipment are stated in this one
section, although these represent several different patterns of deployment, use, consumption,
deterioration, repair and budgetary planning.
While the recommended materials and procedures will vary from one district to another, one
intent of these standards is that every teacher and student shall have convenient access to the
materials and equipment needed.
The variety and complexity of art forms and of media of artistic expression make it difficult, if
not impossible, to specify the essentials of quality in all respects of educational process, art
product, management and budget. The two general factors are the quality of materials and
equipment and the variety of experiences essential to a comprehensive program in art.
In quality, many of the better school art supplies match those used by professional artists. This
must be so in many kinds of work, where even professional skill cannot achieve high quality with
poor materials. Yet for some types of art expression, inexpensive materials have been used by
artists in recognized masterpieces. In such cases it should be clear that the lesser the quality in
materials, the greater the artistic ability required.
Variety of materials is not a value in itself, but is a necessity if students are to understand through
experience the essentially unlimited variety of art expressions and the fundamental
interdependence of medium, form, expression and human individuality.
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How Many Classes Per Day Should A Fine Arts Teacher Be Assigned?
Five classes per day is recommended. Art teachers should also be allocated planning periods
equivalent to those of other teachers in the school. Quality art instruction requires thoughtful
preparation of materials careful selection of reproductions and/or slides of artworks of various
styles and periods arranging attractive art displays as well as lesson planning. Travel time, either
between schools or between classrooms if the art teacher is an itinerant one, should not be
considered part of a planning period.
Should Time Be Allocated Between Classes?
Yes. An itinerant art teacher who teaches in several classrooms needs time to unload one stock of
materials and load others onto a cart or into a carton, as well as time to briefly prepare the
presentation of the next lesson. An art teacher with an art room also needs time to briefly prepare
the introduction of the next lesson. While lesson planning must be done before the school day
begins and in view of the sequential art curriculum, a teacher needs a few moments before a class
begins to briefly prepare for his/her opening of the lesson. If the art teacher must travel to several
classrooms, these should not be scheduled consecutively in opposite ends of a building.
What About Time To Travel Between Schools?
If the art teacher is scheduled at two schools during the same day, time should be allocated to
drive between schools, in addition to planning periods and lunch time.
Travel reimbursement policies are established by the local districts. However, consideration
should be given to the art teacher who must use his/her own vehicle to travel from school to
school.
How Do We Foster Higher-Level Thinking?
Creative thinking requires utilization of special functions of the brain's hemisphere. With a
greater understanding of how the human brain functions, teachers can provide opportunities for
children to process information utilizing both hemispheres.
In order to be effective in teaching children to create art, teachers should be aware of the general
characteristics of children as they change from year to year. They should know that research,
study and experience contribute to the understanding of children and their creative development
as they grow from early childhood to adolescence.
Generalizations may be made on what is known about children and their art. Research has shown
that children go through definite stages of development in visual expression, although at different
rates, just as in other phases of development. Their growth in visual expression is affected greatly
by what and how they are taught. The pioneer work of Viktor Lowenfeld and studies by Jean
Piaget and Jerome Bruner on the creative and mental growth of children should be a part of every
teacher's knowledge. It must not be assumed, however, that because children are in the third
grade, they are going to draw in a certain way. Each child is an individual who will perform
within an individual pattern of growth and development, influenced by abilities, limitations,
interests and background of experiences.
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Understanding the general growth characteristics of children should not be limited to children of a
particular grade level for which the teacher is responsible. Instead, the teacher should have some
understanding of the characteristics of children at the various stages of development and how
their art needs are met at these different stages. It must be remembered that each child has an
individual growth pattern.
Although children are to be taught as individuals, the characteristics that they have in common
with children of similar ages and cultural backgrounds form the basis for teachers to begin
planning the activities through which children can develop in individual ways.
Teachers must be responsive to the uniqueness of each student. Teachers must remember that a
large part of a child's life is spent in classrooms. Optimum conditions for positive experiences
should, therefore, be provided, and the classroom environment should be reinforcing rather than
destructive to creative growth.
An important note: When children are given coloring books or ditto sheets and instructed to fill
in between the lines, inhibitions develop at an early age. These materials condition children that a
drawing must look a certain way in order to be acceptable. Yet, many teachers continue to pass
out ditto sheets for coloring as an art activity with the excuse that children are learning to stay
within the lines and are developing muscular control. This assumption is unfounded and
misleading; such approaches have crippling effects on creative development. Given enough
pages to fill in, children will stop making their own expressive drawings and will rely on outline
drawings made by adults. There is much to be gained by allowing and encouraging children to
draw and color their own pictures.
Creativity will flourish and develop in relation to the amount of encouragement children receive.
If not encouraged, this ability to create, to feel and to interpret fades and finally is lost. Art is a
means of keeping children's imaginations alive.
Helping Children See Art and Make Art (Primary Level, Grades 1-3), Kelly Fearing, Emma Lea
Mayton, Bill D. Francis, and Evelyn Beard, W.S. Benson and Company, Inc., Austin, Texas.
1982.
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Visual Arts Education
Place links to Fine
Arts Standards and
Indicators
Visual Art
VISUAL ART MATRIX: K-4
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a. Historical, Cultural and Social Contexts: Students understand the impact of
visual art on the history, culture and society from which it emanates. They
understand the cultural, social and political forces that, in turn, shape visual art
communication and expression. Students identify the significant contributions of
visual artists to cultural heritage. They analyze the historical, cultural, social and
political contexts that influence the function and role of visual art in the lives of
people.
Benchmark A: Recognize and describe visual art forms and artworks from various times
and places.
K: Distinguish between common visual art forms (e.g., painting, sculpture and ceramics) from
different cultures.
1st: Recognize and describe visual symbols, images and icons (e.g., flags, monuments and
landmarks) that reflect the cultural heritages of the people of the United States.
2nd: Place artworks and art objects in temporal order relating them to earlier times or the present.
3rd: Connect various art forms and artistic styles to their cultural traditions.
4th: Identify and describe artwork from various cultural/ethnic groups (e.g., Paleo Indians,
European immigrants, Appalachian, Amish, African or Asian groups) that settled in Ohio over
time.
Benchmark B: Identify art forms, visual ideas and images and describe how they are
influenced by time and culture.
K: Name and point out subject matter (e.g., common objects, people, places and events)
observed in artwork from various cultural heritages and traditions.
1st: Observe different styles of art from selected cultures and point out how artists use lines,
shapes, colors and textures.
2nd: Use historical artworks such as paintings, photographs and drawings to answer questions
about daily life in the past.
3rd: Identify and compare similar themes, subject matter and images in artworks from historical
and contemporary eras.
4th: Compare and contrast art forms from different cultures and their own cultures.
Benchmark C: Identify and describe the different purposes people have for creating works
of art.
K: Recognize that people create works of art and art objects for different purposes.
1st: Share artwork or an art object from their own cultural backgrounds and describe its purpose
(e.g., personal, functional or decorative).
2nd: Identify and compare the purpose of art objects (e.g., masks, puppets, pottery and weaving)
from various cultures.
3rd: Identify artworks from their communities or regions and communicate how they reflect
social influences and cultural traditions.
4th: Compare the decorative and functional qualities of artwork from cultural/ethnic groups
within their communities.
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Benchmark D: Place selected visual art exemplars (e.g., artists, art objects or works of art)
chronologically in the history of Ohio, the United States or North America and describe
how they contribute to and reflect the time period.
K: Use words or pictures to tell how art is made by selected artists.
1st: Listen to the life story of one or more culturally representative artists and identify his or her
works and artistic style.
1st: Identify works made by one or more visual artists in a selected historical period.
2nd: Distinguish the artistic style and subject matter in the artworks of two or more visual artists
from local, regional or state history.
3rd: Recognize selected artists who contributed to the cultural heritages of the people of the
United States.
4th: Select an Ohio artist and explain how the artist's work relates to Ohio history.
4th: Construct a simple timeline that places selected artists and their works next to historical
events in the same time period.
b. Creative Expression and Communication: Students create artworks that
demonstrate understanding of materials, processes, tools, media, techniques and
available technology. They understand how to use art elements, principles and
images to communicate their ideas in a variety of visual forms.
Benchmark A: Demonstrate knowledge of visual art materials, tools, techniques and
processes by using them expressively and skillfully.
K: Explore and experiment with a variety of art materials and tools for self-expression.
K: Identify and name materials used in visual art.
1st: Demonstrate beginning skill in the use of art materials and tools.
2nd: Demonstrate increasing skill in the use of art tools and materials.
3rd: Demonstrate skill and expression in the use of art techniques and processes.
3rd: Use appropriate visual art vocabulary when describing art-making processes.
4th: Identify and select art materials, tools and processes to achieve specific purposes in their
artworks.
Benchmark B: Use the elements and principles of art as a means to express ideas, emotions
and experiences.
K: Explore art elements to express ideas in a variety of visual forms (e.g., drawings, paintings
and ceramics).
1st: Identify visual art elements and principles using art vocabulary.
1st: Use selected art elements and principles to express a personal response to the world.
2nd: Establish and communicate a purpose for creating artworks.
2nd: Identify, select and use art elements and principles to express emotions and produce a
variety of visual effects.
3rd: Create two- and three-dimensional works that demonstrate awareness of space and
composition (e.g., relate art elements to one another and to the space as a whole).
3rd: Identify relationships between selected art elements and principles (e.g., color and rhythm).
4th: Discuss their artworks in terms of line, shape, color, texture and composition.
4th: Initiate and use strategies to solve visual problems (e.g., construct three-dimensional art
objects that have structural integrity and a sense of completeness).
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Benchmark C: Develop and select a range of subject matter and ideas to communicate
meaning in two-and three-dimensional works of art.
K: Generate ideas and images for artwork based on memory, imagination and experience.
1st: Invent imagery and symbols to express thoughts and feelings.
1st: Explore and use a range of subject matter (e.g., people, places, animals and nature) to create
original works of art.
2nd: Create artworks based on observation of familiar objects and scenes in the environment.
2nd: Compare the subject matter and ideas in their own artworks with those in the works of
others.
2nd: Demonstrate flexibility in their designs, representational drawings and use of art materials.
3rd: Recognize and identify a purpose or intent for creating an original work of art.
3rd: Create an original work of art that illustrates a story or interprets a theme.
4th: Create a narrative image (e.g., objects well-connected and in a sequence) that expresses an
event from personal experience.
Benchmark D: Recognize and use ongoing assessment to revise and improve the quality of
original artworks.
K: Select and share favorite, original artworks.
1st: Begin to use basic self-assessment strategies to improve artworks (e.g., make revisions and
reflect on the use of art elements).
2nd: Begin to revise work to a level of personal satisfaction.
3rd: Use feedback and self-assessment to improve the quality of artworks.
4th: Give and receive constructive feedback to produce artworks that meet learning goals.
c. Analyzing and Responding: Students identify and discriminate themes, media,
subject matter and formal technical and expressive aspects in works of art. They
understand and use the vocabulary of art criticism to describe visual features,
analyze relationships and interpret meanings in works of art. Students make
judgments about the quality of works of art using the appropriate criteria.
Benchmark A: Identify and describe the visual features and characteristics in works of art.
K: Respond to artworks by pointing out images and subject matter.
K: Relate their own experiences to what they see in works of art.
K: Recognize the similarities and differences between artistic styles.
1st: Notice and describe multiple characteristics (e.g., colors, forms, materials and subject matter)
in their own artworks and the works of others.
1st: Explore and describe how a selected art object was made.
1st: Describe the different ways that art elements are used and organized in works of art including
their own.
2nd: Use details (e.g., tilted objects, yellow-orange sun or striped shirt) to describe objects,
symbols and visual effects in artworks.
2nd: Compare and describe the form, materials and techniques in selected works of art.
2nd: Respond to the composition of artworks by describing how art elements work together to
create expressive impact (e.g., the relationship of colors and shapes to create a happy or fearful
mood).
3rd: Use details to describe the subject matter in artworks (e.g., subtle facial expressions,
distinctive clothing or stormy weather).
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3rd: Explain and describe how art principles are used by artists to create visual effects (e.g.,
balance used to create the effect of stability).
4th: Compare and contrast how art elements and principles are used in selected artworks to
express ideas and communicate meaning.
Benchmark B: Apply comprehension strategies (e.g., personal experience, art knowledge,
emotion and perceptual and reasoning skills) to respond to a range of visual artworks.
K: Ask and answer questions about the main ideas and stories in artworks.
K: Describe how selected artworks make them feel, and use examples from the works to explain
why.
1st: Describe how art elements and principles are organized to communicate meaning in works of
art.
1st: Connect their own interests and experiences to the subject matter in artworks.
2nd: Use context clues to identify and describe the cultural symbols and images in artworks.
3rd: Discuss different responses to, and interpretations of, the same artwork.
4th: Explain the function and purpose (e.g., utilitarian, decorative, social and personal) of selected
art objects.
4th: Describe how artists use symbols and imagery to convey meaning in culturally representative
works.
Benchmark C: Contribute to the development of criteria for discussing and judging works
of art.
K: Select and share a favorite visual work of art and tell their reasons for choosing it.
1st: Recognize and point out characteristics related to the quality of a work of art.
2nd: Recognize the difference between assessing the quality of artwork and their personal
preference for a work.
3rd: Identify successful characteristics that contribute to the quality of their own artwork and the
works of others.
3rd: Identify criteria for discussing and assessing works of art.
4th: Explain how an art critic uses criteria to judge artworks.
4th: Refer to criteria when discussing and judging the quality of works of art.
d. Valuing the Arts/Aesthetic Reflection: Students understand why people value
visual art. They present their beliefs about the nature and significance of selected
artworks and the reasons for holding these beliefs. Students reflect on and respect
diverse points of view about artworks and artifacts.
Benchmark A: Apply basic reasoning skills to understand why works of art are made and
valued.
K: Reflect on and ask questions about why people make art.
1st: Offer reasons for making art.
2nd: Create and communicate a definition of art.
3rd: Explain reasons for selecting an object they think is a work of art.
4th: Explain how works of art can reflect the beliefs, attitudes and traditions of the artist.
4th: Reflect on and develop their own beliefs about art (e.g., how art should look, what it should
express or how it should be made).
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Benchmark B: Form their own opinions and views about works of art and discuss them
with others.
K: Recognize that people have different viewpoints about works of art.
1st: Form their own opinions and views about works of art.
1st: Recognize that people (e.g., family, friends, teachers and artists) have different beliefs about
art and value art for different reasons.
2nd: Compare different responses (e.g., parent, peer, teacher and artist) to the same work of art.
2nd: Listen carefully to others' viewpoints and beliefs about art.
3rd: Ask clarifying questions about others' ideas and views concerning art.
4th: Support their viewpoints about selected works of art with examples from the works.
Benchmark C: Distinguish and describe the aesthetic qualities in works of art.
K: Notice and point out different ways that an artwork expresses a feeling or a mood.
1st: Describe the expressive qualities in their own works of art.
2nd: Talk about their thoughts and feelings when looking at works of art.
3rd: Distinguish between technical and expressive qualities in their own artworks.
4th: Describe the successful use of one expressive element in an artwork, using sensory details
and descriptive language.
e. Connections, Relationships and Applications: Students connect and apply their
learning of visual art to the study of other arts areas and disciplines outside the arts.
They understand relationships between and among concepts and ideas that are
common across subjects in the curriculum. Students recognize the importance of
lifelong learning and experience in visual art.
Benchmark A: Demonstrate the relationship the visual arts share with other arts
disciplines as meaningful forms of nonverbal communication.
K: Use visual symbols to represent the rhythms, beats and sounds they hear in music.
1st: Make connections between visual art, music and movement.
2nd: Use visual art materials to express an idea from a song, poem, play or story.
3rd: Interpret a favorite painting through movement or music.
4th: Identify and describe common themes, subject matter and ideas expressed across arts
disciplines.
4th: Describe how selected visual art elements or principles are used in one or two other arts
disciplines (e.g., color, unity, variety and contrast).
Benchmark B: Use the visual arts as a means to understand concepts and topics studied in
disciplines outside the arts.
K: Connect words and images by sketching or illustrating a favorite part of a story.
1st: Create a visual art product to increase understanding of a concept or topic studied in another
content area (e.g., mathematics--measurement; English language arts--sequencing a story;
geography--continents; science--balance).
2nd: Compare and contrast the importance of visual artists to society with the importance of
explorers, inventors or scientists.
3rd: Communicate mathematics, geography or science information visually (e.g., develop a chart,
graph or illustration).
4th: Relate concepts common to the arts and disciplines outside the arts (e.g., composition,
balance, form and movement).
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K-4 Benchmark C: Create and solve an interdisciplinary problem using visual art
processes, materials and tools.
K: Create artwork that explores a central theme across disciplines (e.g., family, communication
and culture).
1st: Demonstrate the relationship between and among art forms (e.g., create costumes and
scenery for a play).
2nd: Construct a three-dimensional model to represent a topic or theme from another subject area
(e.g., construct a model of a scene from history or the life story of a historical figure such as
Abraham Lincoln, Harriet Tubman or Susan B. Anthony).
3rd: Apply problem-solving skills from other subject areas (e.g., scientific method and inquiry
processes) to solve artistic problems.
4th: Demonstrate technical skill by creating an art product that uses common materials and tools
from different subject areas (e.g., ruler, compass, graph paper and computer).
Benchmark D: Describe how visual art is used in their communities and the world around
them and provide examples.
K: Recognize when and where people create, observe and respond to visual art.
1st: Identify and discuss artwork they see in their schools and local communities.
1st: Identify what an artist does and find examples of works by artists in their communities.
2nd: Share art work from a resource in their communities and describe its cultural context.
2nd: Describe ways they use visual art outside the classroom and provide examples.
2nd: Identify and discuss artists in the community who create different kinds of art.
3rd: Provide examples of different types of artists (e.g., muralists, industrial designers, architects
and book illustrators) and describe their roles in everyday life.
4th: Read biographies and stories about key artists from Ohio and describe how their work
reflects and contributes to Ohio history.
4th: Recognize and identify a range of careers in visual art (e.g., fashion designer, architect,
graphic artist and museum curator).
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VISUAL ART MATRIX: 5-8
a. Historical, Cultural and Social Contexts: Students understand the impact of
visual art on the history, culture and society from which it emanates. They
understand the cultural, social and political forces that, in turn, shape visual art
communication and expression. Students identify the significant contributions of
visual artists to cultural heritage. They analyze the historical, cultural, social and
political contexts that influence the function and role of visual art in the lives of
people.
5-8 Benchmark A: Compare and contrast the distinctive characteristics of art forms from
various cultural, historical and social contexts.
5th: Identify visual forms of expression found in different cultures.
5th: Compare and contrast art forms from various regions and cultural traditions of North
America.
6th: Compare and contrast visual forms of expression found throughout different regions and
cultures of the world.
6th: Identify universal themes (e.g., family, good versus evil and heroism) conveyed in artworks
across various times and cultures.
7th: Use multiple sources to research various art forms used for social, cultural or political
purposes.
7th: Describe how the same subject matter (e.g., portrait, landscape and still life) is represented
differently in works of art across cultures and time periods.
8th: Explain how social, cultural and political factors affect what artists, architects or designers
create.
8th: Discuss the role and function of art objects (e.g., furniture, tableware, jewelry and pottery)
within cultures.
5-8 Benchmark B: Create a work of art which incorporates the style or characteristics of
artwork from a culture other than their own.
5th: Compare and contrast the artistic styles observed in artwork from various cultures.
5th: Demonstrate the way art materials are used by artists to create different styles (e.g., paint
applied spontaneously in expressionism and more carefully in minimalism).
6th: Analyze and demonstrate the stylistic characteristics of culturally representative artworks.
7th: Provide insight into the factors (e.g., personal experience, interest, cultural heritage and
gender) that might influence an artist's style and choice of subject matter.
8th: Identify artworks that make a social or political comment and explain the messages they
convey.
5-8 Benchmark C: Demonstrate knowledge of historical influences on contemporary works
of art and make predictions about influences on the future of visual art.
5th: Examine how social, environmental or political issues affect design choices (e.g.,
architecture, public art and fashion).
6th: Investigate the roles and relationships between artists and patrons and explain the effect on
the creation of works of art.
7th: List sources of visual culture in a society (e.g., television, museums, movie theaters, internet
and shopping malls).
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8th: Identify examples of visual culture (e.g., advertising, political cartoons, product design and
theme parks) and discuss how visual art is used to shape people's tastes, choices, values,
lifestyles, buying habits and opinions.
8th: Consider and discuss how contemporary artworks contribute to and influence the future of
art.
5-8 Benchmark D: Research culturally or historically significant works of art and discuss
their roles in society, history, culture or politics.
5th: Explain how art galleries, museums and public art contribute to the documentation and
preservation of art history.
5th: Describe the lives, works and impact of key visual artists in a selected period of United
States history.
6th: Research the role of visual art in selected periods of history using a variety of primary and
secondary sources (e.g., print, electronic media and interviews with a museum curator).
7th: Select and organize artworks from the same historical period and analyze the relationships
between the works.
7th: Create a visual product that reflects current, cultural influences.
8th: Relate major works of art throughout time to the appropriate historical art movement.
b. Creative Expression and Communication: Students create artworks that
demonstrate understanding of materials, processes, tools, media, techniques and
available technology. They understand how to use art elements, principles and
images to communicate their ideas in a variety of visual forms.
5-8 Benchmark A: Apply knowledge of materials, tools, media, techniques and processes to
communicate subject matter, themes or ideas in a variety of visual forms.
5th: Use observational and technical skills to achieve the illusion of depth in two-dimensional
space (e.g., value, perspective and placement of objects).
5th: Explore different approaches to creating art (e.g., by artist, style or historical period).
6th: Demonstrate skill in changing (e.g., exaggerating and transforming) natural forms for
expressive purposes.
6th: Recognize and identify the qualities and characteristics of craftsmanship in original works of
art.
7th: Demonstrate a variety of techniques to create the illusion of depth.
7th: Apply the principles of design to construct a three-dimensional piece of artwork.
8th: Identify and apply criteria to assess content and craftsmanship in their works.
5-8 Benchmark B: Create two- and three- dimensional original artwork that demonstrates
personal visual expression and communication.
5th: Identify and communicate sources of ideas (e.g., personal experience, interests, nature or
common objects) for their artworks.
6th: Explore ways that art-making functions as a means of personal identification and expression.
6th: Use observation, life experiences and imagination as sources for visual symbols and images.
7th: Use a variety of sources to generate original ideas for art-making.
8th: Demonstrate an enhanced level of craftsmanship in original two- and three-dimensional art
products.
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5-8 Benchmark C: Achieve artistic purpose and communicate intent by selection and use of
appropriate media.
5th: Apply problem-solving strategies to improve the creation of artwork.
6th: Select and use appropriate materials and tools to solve an artistic problem.
7th: Apply observation skills to refine and improve their representational drawings (e.g., add
details, improve proportion, create distinctive images and coordinate objects spatially).
Experiment with style and demonstrate how the same subject can be portrayed in different ways
(e.g., a self-portrait interpreted in expressionism and through abstraction).
5-8 Benchmark D: Use current, available technology to refine an idea and create an
original, imaginative work of art.
5th: Use current, available technology to explore imagery and create visual effects.
6th: Use current, available technology to create original artworks.
7th: Use current, available technology as the primary medium to create an original work of art.
8th: Demonstrate increased technical skills by using more complex processes to design and create
two- and three- dimensional artworks.
5-8 Benchmark E: Identify and explain reasons to support artistic decisions in the creation
of art work.
5th: Identify reasons for personal, artistic decisions.
6th: Identify and defend artistic decisions using appropriate visual art vocabulary.
7th: Improve craftsmanship and refine ideas in response to feedback and self-assessment.
8th: Explain and defend their artistic decisions using appropriate visual art vocabulary.
c. Analyzing and Responding: Students identify and discriminate themes, media, subject
matter and formal technical and expressive aspects in works of art. They understand and
use the vocabulary of art criticism to describe visual features, analyze relationships and
interpret meanings in works of art. Students make judgments about the quality of works of
art using the appropriate criteria.
5-8 Benchmark A: Apply the strategies of art criticism to describe, analyze and interpret
selected works of art.
5th: Compare and analyze how art elements and principles are used for expressive purposes (e.g.,
strong mood, explosive shapes and rhythmic patterns).
5th: Compare the works of different artists on the basis of purpose and style (e.g.,
functional/nonfunctional and representational/abstract).
5th: Explain and discuss multiple meanings in selected artworks.
6th: Use appropriate vocabulary to identify the content in works of art created for different
purposes (e.g., functional, decorative and social and personal).
6th: Explain how art elements and principles are used in artworks to produce certain visual
effects (e.g., dynamic tension, textured surfaces, patterns and designs).
7th: Use appropriate vocabulary to explain how techniques, materials and methods used by artists
affect what the artwork communicates.
7th: Use appropriate vocabulary to explain how the elements and principles of art communicate
different meanings.
8th: Observe a selected work of art and explain how the artist's choice of media relates to the
ideas and images in the work.
8th: Identify professions that use art criticism (e.g., artist, museum curator, art critic and art
appraiser).
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5-8 Benchmark B: Present and support an individual interpretation of a work of art.
5th: Apply observation and analysis skills to derive meaning in a selected artwork and explain
their thought processes.
6th: Interpret selected works of art based on the visual clues in the works.
6th: Identify innovative approaches and techniques used by artists and provide examples of their
cultural and social significance.
7th: Interpret a work of art by analyzing the effects of history and culture on the work.
8th: Explain how personal experience influences their opinions of artworks.
5-8 Benchmark C: Establish and use criteria for making judgments about works of art.
5th: Use specific criteria individually and in groups to assess works of art.
6th: Use criteria for self-assessment and to select and organize works of art for a portfolio.
7th: Develop and use criteria to guide their reflections on a body of their own artworks.
8th: Analyze and discuss qualities in the artwork of peers to better understand the qualities in
their own artworks.
d. Valuing the Arts/Aesthetic Reflection: Students understand why people value
visual art. They present their beliefs about the nature and significance of selected
artworks and the reasons for holding these beliefs. Students reflect on and respect
diverse points of view about artworks and artifacts.
5-8 Benchmark A: Demonstrate aesthetic inquiry and reflection skills when participating
in discussions about the nature and value of art.
5th: Pose questions that can be answered by an aesthetic study of artworks.
5th: Recognize that different assumptions and theories of art lead to different interpretations of
artworks.
6th: Explain what makes an object a work of art using a range of criteria (e.g., the feeling it
evokes, the artist's style and choice of materials or the subject matter).
6th: Reflect on and generate a personal theory for how visual art should be viewed, interpreted
and valued.
7th: Observe selected artworks and describe the visual features and sensory qualities that evoke
feelings and emotions.
8th: Recognize how reflection can change beliefs about the nature and value of art.
8th: Articulate an understanding of different aesthetic theories (e.g., formal, expressive and
contextual) related to viewing and interpreting artworks.
5-8 Benchmark B: Analyze diverse points of view about artworks and explain the factors
that shape various perspectives.
5th: Explain how personal experience can influence choosing one artwork over another.
6th: Describe how culture, age, gender and attitude can affect a person's viewpoint on and
response to visual art.
7th: Ask clarifying questions to explain diverse viewpoints about selected works of art.
7th: Discuss personal beliefs, values, feelings and assumptions when explaining their own
perspectives on artwork and connect their responses to what they see in the work.
8th: Compare their viewpoints about a selected work of art with an art critic's viewpoint of the
same work.
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e. Connections, Relationships and Applications: Students connect and apply their
learning of visual art to the study of other arts areas and disciplines outside the arts.
They understand relationships between and among concepts and ideas that are
common across subjects in the curriculum. Students recognize the importance of
lifelong learning and experience in visual art.
5-8 Benchmark A: Demonstrate the role of visual art in solving an interdisciplinary
problem.
5th: Compare and contrast how visual art is used in musical, theatrical or dance productions and
provide examples.
6th: Collaborate with peers to depict major events in a selected decade of the 19th century.
7th: Create artwork (e.g., a satirical drawing, political cartoon or advertising campaign) that
expresses a personal comment about a social, environmental or political issue.
8th: Demonstrate different visual forms of representation for the same topic or theme (e.g.,
expressive, graphic and scientific).
5-8 Benchmark B: Apply and combine visual art, research and technology skills to
communicate ideas in visual form.
5th: Use technology to conduct information searches, research topics and explore connections to
visual art.
6th: Use computer skills to organize and visually display quantitative information on a chart, map
or graph.
7th: Apply computer skills to explore and create a range of visual effects to enhance projects and
presentations.
8th: Achieve an effective balance between creating computer-generated images and drawing their
own original images.
5-8 Benchmark C: Use key concepts, issues and themes to connect visual art to various
content areas.
5th: Use artwork to communicate and enhance understanding of concepts in other subject areas
(e.g., science, English language arts, mathematics and social studies).
6th: Compare the ways that selected ideas and concepts are communicated through the
perspective of visual art and through the perspectives of other academic disciplines.
7th: Demonstrate understanding of the relationship between words and images by applying text to
images and images to text (e.g., write descriptions of their artworks and illustrate a scene from a
literary work).
8th: Collaborate (e.g., with peers or a community artist) to create a thematic work that
incorporates visual art.
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5-8 Benchmark D: Use words and images to explain the role of visual art in community and
cultural traditions and events.
5th: Investigate the types of cultural objects artists create and their role in our everyday
environment.
6th: Describe the function of art in the daily life of their communities and cultures.
6th: Identify the ways in which science and technology influence the development of art in
various cultures.
7th: Describe how experiences in galleries, museums and other cultural institutions can enhance
daily life.
8th: Identify how aspects of culture influence ritual and social artwork.
8th: Explore ways to communicate and support the importance of art in their communities (e.g.,
become an arts advocate, a volunteer or member of a professional arts organization or patron of
the arts).
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HIGH SCHOOL SEQUENCE OF MEDIA DEVELOPMENT
The following objectives will be covered by the various school systems in Coshocton,
Morgan and Muskingum County. These objectives are oriented to cover the various media the
school systems offer. A medium not specifically listed could be introduced into one of three
general media headings.
I.
ART I
A.
DRAWING
1.
Objectives/Opportunities will be provided for each student to:
a.
b.
c.
develop skills of hand/eye coordination.
develop skills in the use of the basic design elements and the principles of composition.
develop skills in the use of various drawing media, techniques and interpretation.
B.
PAINTING
1.
Objectives/Opportunities will be provided for each student to:
a.
b.
c.
d.
develop skills in the use of the basic design elements and the principles of composition.
develop skills in the use of various painting media, techniques and interpretation.
develop an appreciation of original ideas and creative expression.
develop an understanding of the contribution of painters in the past to the development of
art.
C.
THREE-DIMENSIONAL ART
1.
Objectives/Opportunities will be provided for each student to:
a.
b.
develop skills of hand/eye coordination.
develop skills in the use of basic design elements and the principles of composition in the
third dimension.
develop skills in the use of various three-dimensional media, techniques and
interpretation.
develop an appreciation of original ideas and creative expression; i.e., art history and
appreciation.
develop an understanding of how good design in the third dimension is important in the
design of functional everyday objects of life (furniture, cars, etc.).
c.
d.
e.
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II.
ART II
A.
DRAWING
1.
Objectives/Opportunities will be provided for each student to:
a.
b.
c.
improve sketching ability and ability to see artistically.
use composition and design.
develop a personal drawing style.
B.
PAINTING
1.
Objectives/Opportunities will be provided for each student to:
a.
b.
c.
d.
further develop skills in the use of basic design elements and the principles of
composition/growth.
improve painting techniques/technical skills.
study in depth a previous painter's style and technique.
discover personal strengths in painting.
C.
THREE-DIMENSIONAL ART
1.
Objectives/Opportunities will be provided for each student to:
a.
b.
c.
further develop skills in the use of basic design elements and the principles of
composition in the third dimension.
improve three-dimensional media skills/techniques.
explore and research three-dimensional works of art.
III.
ART III
A.
DRAWING
1.
Objectives/Opportunities will be provided for each student to:
a.
b.
c.
improve sketching ability and ability to see artistically.
use composition and design.
develop a personal drawing style.
B.
PAINTING
1.
a.
b.
c.
d.
Objectives/Opportunities will be provided for each student to:
further develop skills in the use of basic design elements.
improve painting techniques/technical skills.
study in depth a previous painter's style and technique.
discover personal strengths in painting.
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C.
THREE-DIMENSIONAL ART
1.
Objectives/Opportunities will be provided for each student to:
a.
b.
c.
further develop skills in the use of basic design elements and the principles of
composition in the third dimension.
improve three-dimensional media skills/techniques.
explore and research three-dimensional works of art.
IV.
ART IV
A.
DRAWING
1.
Objectives/Opportunities will be provided for each student to:
a.
b.
use composition and design.
further develop a personal drawing style.
B.
PAINTING
1.
Objectives/Opportunities will be provided for each student to:
a.
b.
c.
improve painting techniques/technical skills.
study in depth a previous painter's style and technique.
develop a personal painting style.
C.
THREE-DIMENSIONAL ART
1.
Objectives/Opportunities will be provided for each student to:
a.
b.
d.
improve three-dimensional media skills/techniques.
explore and research three-dimensional works of art.
develop a personal working style.
V.
CLAY I
A.
FUNCTIONAL WORKS
1.
Objectives/Opportunities will be provided for each student to:
a.
b.
c.
develop skills of hand/eye coordination.
develop skills in the use of the media, techniques and interpretation.
develop an understanding of how good design in the third dimension is important in the
design of functional objects.
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B.
DECORATIVE WORKS
1.
Objectives/Opportunities will be provided for each student to:
a.
b.
develop skills in hand/eye coordination.
develop skills in the use of basic design elements and the principles of composition in the
third dimension.
develop an appreciation of original ideas and creative expression, clay history and
appreciation.
develop an understanding of how good design in the third dimension is important in the
design of decorative objects.
c.
d.
C.
THREE-DIMENSIONAL ART
1.
Objectives/Opportunities will be provided for each student to:
a.
b.
develop skills of hand/eye coordination.
develop skills in the use of basic design elements and the principles of composition in the
third dimension.
develop skills in the use of various three-dimensional media, techniques and
interpretation.
develop an appreciation of original ideas and creative expression, i.e.; art history and
appreciation.
develop an understanding of how good design in the third dimension is important in the
design of functional everyday objects of life (furniture, cars, etc.).
c.
d.
e.
VI.
CLAY II
A.
FUNCTIONAL WORKS
1.
Objectives/Opportunities will be provided for each student to:
a.
b.
further develop skills in the use of media, techniques and interpretation.
develop a personal style of working with clay.
B.
DECORATIVE WORKS
1.
Objectives/Opportunities will be provided for each student to:
a.
further develop skills in the use of basic design elements and the principles of
composition in the third dimension.
develop a personal style of working with clay.
b.
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VII.
APPLIED DESIGN
1.
Objectives/Opportunities will be provided for each student to:
a.
b.
further develop skills in the use of basic design elements and the principles of
composition.
develop a personal style.
VIII.
INDEPENDENT STUDY
1.
Objectives/Opportunities will be provided for each student to:
a.
b.
further develop skills in the student's choice of media.
further research related topics.
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VISUAL ART MATRIX: 9-12
a. Historical, Cultural and Social Contexts: Students understand the impact of
visual art on the history, culture and society from which it emanates. They
understand the cultural, social and political forces that, in turn, shape visual art
communication and expression. Students identify the significant contributions of
visual artists to cultural heritage. They analyze the historical, cultural, social and
political contexts that influence the function and role of visual art in the lives of
people.
Benchmark A: Explain how and why visual art forms develop in the contexts (e.g., cultural,
social, historical and political) in which they were made.
9th: Discuss the roles of visual art forms within social contexts.
9th: Explain the relationship of a selected work of art to the time period in which it was created.
9th: Research and describe the cultural values in various traditions that influence contemporary
art media.
10th: Explain how art historians, curators, anthropologists and philosophers contribute to our
understanding of art history.
10th: Make a presentation, using words and images, to show how visual art affects changes in
styles, trends, content and expressions over time.
11th: Research and report on the historical, cultural, social or political foundations of selected art
forms.
11th: Analyze a work of art and explain how it reflects the heritages, traditions, attitudes and
beliefs of the artist.
12th: Understand and apply knowledge of art history in oral and written discussions about
selected works of art.
Benchmark B: Compare works of art to one another in terms of the historical, cultural,
social and political influences evident in the works.
9th: Compare and contrast the stylistic characteristics of visual art from one historical period with
those of the previous time period.
10th: Explain the circumstances and events that influence artists to create monuments and sitespecific works.
11th: Explain how issues of time, place and culture influence trends in the visual arts.
12th: Identify and compare the relationships between artworks on the basis of history, culture and
aesthetic qualities.
Benchmark C: Explain ways in which selected, contemporary works of art relate to the
themes, issues and events of their contexts.
9th: Connect a variety of contemporary art forms, media and styles to their cultural, historical and
social origins.
9th: Explain how art history interrelates with the study of aesthetics, criticism and art-making.
10th: Investigate the recurrence of a particular style or technique (e.g., pointillism and realism) in
a contemporary art movement.
10th: Compare the artistic styles and subject matter in artworks by contemporary artists of
different cultures.
11th: Investigate and report on the influences of print and electronic media on contemporary art.
12th: Describe the use of technology as a visual art medium using computer-generated examples.
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Benchmark D: Select a culture and create an original work of art that demonstrates
understanding of a historical, social or political issue of the culture.
9th: Analyze major changes to selected artistic styles in art history and determine the historical,
social, political or artistic factors that influenced the change.
10th: Describe various sources (e.g., personal experience, imagination, interests, everyday events
and social issues) visual artists use to generate ideas for artworks.
11th: Research an artist or work of art of personal interest and write about the historical, social,
cultural or political factors influencing the artist or the work.
11th: Explain the process used to acquire and use knowledge from art history for art production.
12th: Determine the influence of community or cultural values on the choices artists make when
creating art.
12th: Incorporate knowledge and ideas from art history to produce innovative projects (e.g.,
independent study, senior portfolio and interdisciplinary projects).
b. Creative Expression and Communication: Students create artworks that
demonstrate understanding of materials, processes, tools, media, techniques and
available technology. They understand how to use art elements, principles and
images to communicate their ideas in a variety of visual forms.
Benchmark A: Demonstrate mastery of materials, concepts and personal concentration
when creating original artworks.
9th: Demonstrate perceptual skill when drawing from direct observation.
10th: Create original artworks in at least two three-dimensional media and several twodimensional media that show the development of a personal style.
11th: Create original works of art that demonstrate increased complexity and skill and which use
a variety of two-dimensional and three-dimensional media.
12th: Integrate the elements of art and principles of design using a variety of media to solve
specific visual art problems and to convey meaning.
Benchmark B: Create expressive artworks that demonstrate a sense of purpose and
understanding of the relationship among form, materials, techniques and subject matter.
9th: Use available technology (e.g., digital imagery, video and computer graphics) as a tool to
explore art techniques and to express ideas.
9th: Make informed choices in the selection of materials, subject matter and techniques to
achieve certain visual effects.
10th: Evaluate their choices of compositional elements in terms of how those choices affect the
subject matter of the work.
10th: Trace the origin of symbolism, imagery and metaphor in art and demonstrate the use of
these visual devices in their artworks.
11th: Create artwork that interprets a theme, idea or concept and demonstrates technical skill and
the perceptive use of visual art elements (e.g., show light sources, different vantage points and
local or subjective color).
11th: Create artworks that demonstrate a range of individual ideas, subject matter and themes
with at least one idea explored in depth.
12th: Solve visual art problems that demonstrate skill, imagination and in-depth understanding of
media and processes.
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Benchmark C: Engage in ongoing assessment to revise and improve artworks and to
produce a portfolio of works.
9th: Explain their artistic processes from conceiving an idea to completing a work of art.
9th: Develop criteria for assessing the quality of their artworks.
10th: Use criteria to revise works-in-progress and describe changes made and what was learned in
the process.
11th: Use feedback and self-assessment to organize a collection of their artworks in a variety of
media.
11th: Use self-assessment to reflect on the effectiveness of their processes and choice of subject
matter, materials and techniques to achieve their intent.
12th: Prepare a digital portfolio of artworks demonstrating knowledge of technology and its
application to visual art.
12th: Organize and display their original artworks as part of a public art exhibition.
12th: Prepare a portfolio of personal works demonstrating technical skill, a range of media and
various original solutions to two- and three-dimensional problems.
c. Analyzing and Responding: Students identify and discriminate themes, media,
subject matter and formal technical and expressive aspects in works of art. They
understand and use the vocabulary of art criticism to describe visual features,
analyze relationships and interpret meanings in works of art. Students make
judgments about the quality of works of art using the appropriate criteria.
Benchmark A: Apply the knowledge and skills of art criticism to conduct in-depth analyses
of works of art.
9th: Apply various methods of art criticism to analyze and interpret works of art (e.g., the
methods of Edmund Burke Feldman, Louis Lankford or Terry Barrett).
9th: Explain how form and media influence artistic decisions.
10th: Analyze the way media, technique, compositional elements and subject matter work
together to create meaning in selected artworks.
10th: Apply methods of art criticism in writing and speaking about works of art.
11th: Describe the relationship between the content or ideas in artworks and the artist's use of
media and compositional elements.
12th: Analyze and interpret the way in which the theme or meaning in an artwork expresses a
social, political or cultural comment and use examples from the artwork to support the
interpretation.
Benchmark B: Explain how form, subject matter and context contribute to meanings in
works of art.
9th: Research and describe the work of an artist on the basis of how the artist's choice of media
and style contribute to the meaning of the work.
10th: Understand how the structure and composition of an art form relate to its purpose.
11th: Explain how visual, spatial and temporal concepts integrate with content to communicate
meaning in artworks.
12th: Explain the role of galleries, museums, art periodicals and performances in interpreting
works of art.
12th: Examine and evaluate the role of print media, film and video in visual art.
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Benchmark C: Critique their own work, the works of peers and other artists on the basis of
the formal, technical and expressive aspects in the works.
9th: Use appropriate vocabulary to define and describe techniques, materials and methods that
artists use to create works of art.
9th: Analyze and describe the visual aspects of their own artworks and the work of others.
10th: Develop and use criteria to select works for their portfolios that reflect artistic growth and
achievement.
11th: Apply peer review and critique processes to a student exhibition.
12th: Construct a rationale for the merit of a specific work of art, using work that falls outside
their conceptions of art.
d. Valuing the Arts/Aesthetic Reflection: Students understand why people value
visual art. They present their beliefs about the nature and significance of selected
artworks and the reasons for holding these beliefs. Students reflect on and respect
diverse points of view about artworks and artifacts.
Benchmark A: Communicate how an aesthetic point of view contributes to the ideas,
emotions and overall impact of personal artworks and the works of others.
9th: Distinguish the aesthetic qualities in works of art and determine how the artist achieved the
effect.
10th: Articulate how individual beliefs, cultural traditions and current social contexts influence
response to the meanings in works of art.
10th: Formulate generalizations about the value of art from their experiences making and
responding to art.
10th: Develop aesthetic criteria for selecting a body of work for their portfolios that demonstrates
accomplishment, knowledge and skill in the visual arts.
11th: Explain how the value of a work of art is affected by the manner in which it is exhibited.
12th: Compare the ways in which the emotional impact of a specific artwork affects the
interpretation.
Benchmark B: Identify and analyze a variety of viewpoints on aesthetic issues and themes
in visual art and develop a personal point of view.
9th: Demonstrate logical reasoning when arguing the merit of a selected work of art and discuss
the arguments put forward by others.
10th: Justify the merits of specific works of art using theories that may be different from their
own conceptions of art.
11th: Analyze how society influences the interpretation of works of art.
11th: Identify aesthetic issues connected to the public display of works of art.
11th: Compare and contrast responses to works of visual art on the basis of how well the works
communicate intent and purpose.
12th: Apply critical thinking skills to synthesize the beliefs of significant philosophers about the
nature of art.
Benchmark C: Judge the merit of selected artworks and provide the aesthetic basis for
their positions.
9th: Research and explain various aesthetic theories in visual art.
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9th: Identify various sources for published reviews of artworks and use them to analyze and
understand different aesthetic perspectives.
10th: Develop and apply criteria that address the aesthetic characteristics in works of art (e.g.,
expressive or contextual).
11th: Explain how the context in which an artwork is viewed influences the way it is perceived
and judged.
12th: Demonstrate the ability to form and defend their judgments about the merits and
significance of works of art.
12th: Research and compare the reviews of different art critics of the same work of art.
e. Connections, Relationships and Applications: Students connect and apply their
learning of visual art to the study of other arts areas and disciplines outside the arts.
They understand relationships between and among concepts and ideas that are
common across subjects in the curriculum. Students recognize the importance of
lifelong learning and experience in visual art.
Benchmark A: Summarize and explain the impact of a historical event or movement (e.g.,
realism, feminism, modernism or postmodernism) on the development of visual art.
9th: Survey various art theories or movements and make a presentation (e.g., oral, written, visual
or multimedia) to explain one of them.
10th: Identify the philosophical beliefs, social systems and movements that influence the function
and role of art in people's lives.
11th: Identify ways in which culture has influenced the work of contemporary artists (e.g.,
photographers, painters and sculptors).
11th: Research and explain the relationships between specific artworks and major historical
events.
12th: Compare and contrast universal themes and sociopolitical issues in a variety of artworks
from different cultural contexts.
12th: Analyze the cultural influences on art in America today.
Benchmark B: Formulate and solve a visual art problem using strategies and perspectives
from other disciplines.
9th: Research and compare how visual art is used in a musical, theatre or dance production.
9th: Research and provide examples that show the relationship of visual art to other subjects in
the curriculum (e.g., English language arts, mathematics, social studies and science).
10th: Compare the media, materials and processes (e.g., perceiving, responding, creating and
communicating) used in visual art with those used in other arts disciplines.
10th: Explain commonalties between visual art and other disciplines.
11th: Research and demonstrate the relationships between visual art and other disciplines (e.g.,
ceramics--chemistry, photography--chemistry, mobile--physics, graphic art--technology).
12th: Select interdisciplinary visual art projects for a portfolio and write a description of the
processes used.
Benchmark C: List and explain opportunities for lifelong involvement in the visual arts.
9th: Research and report on careers in the visual arts and identify the experience, education and
training needed for each one.
9th: Investigate opportunities for lifelong involvement in the arts and arts-related careers.
10th: Identify ways to provide active support to the arts locally and nationally.
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11th: Identify art professions that require a portfolio for employment (e.g., architect,
photographer, graphic designer and book illustrator).
12th: Research one local, state or national professional arts organization for the visual arts and
describe ways that it advocates for arts education.
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VISUAL ART VOCABULARY LIST
ABSTRACT - A style of art that uses shapes, designs, textures and colors in a way that
emphasizes moods or feelings.
ABSTRACT EXPRESSIONISM - A New York 1940s painting movement whose subject is
revealed through the use of pure design elements and analysis. A harmony of materials revealing
raw visual interest.
ACADEMIC ART - Art that follows prescribed rules; not experimental.
ACANTHUS - A plant with a large leaf, frequently represented on columns, friezes and
moldings.
ACROPOLIS - The highest point of any ancient Greek city and the site of the temples. The
acropolis in Athens contained the Parthenon.
ACRYLIC - Pigment in a plastic binder medium; water-based paint that adheres to most
surfaces.
ADDITIVE SCULPTURE - Sculpture made by adding, combining or building up materials.
Modeling with clay and welding steel parts together are ways of making additive sculpture.
ADVERTISING - Printed, painted or spoken art that communicates positive aspects of a product
or idea to an audience in order to persuade them to do or buy something.
AERIAL PERSPECTIVE - The effect of distance or atmosphere that creates haziness or
changes in color.
AESTHETIC - The artistic qualities of art work; defined by visual, moral, social and
contemporary standards.
AESTHETIC QUALITIES - Cues within a work of art, such as literal, visual and expressive
qualities, which are studied during the art-criticism process. See also "Literal Qualities," "Visual
Qualities" and "Expressive Qualities."
AIRBRUSH - An air compressor is used to power this instrument to create color gradients,
highlight and shadow effects (atomizer).
ALLA PRIMA - Paint applied to canvas in one coat instead of applied layer by layer.
ALPHABET - A set of symbols or characters used to represent the sounds of a language.
ALTARPIECE - A religious work of art placed behind the altar of a church or site.
ALTERNATING PATTERN OR RHYTHM - A pattern or rhythm in which two or more
shapes, designs or colors repeat in a one-after-the-other sequence.
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AMERICAN SCENE PAINTING - (usually) paintings of the rural Midwest during the 1920s
and 1930s.
ANALOGOUS COLORS - Colors that are closely related, such as blue, blue-violet and violet -all of which have the color blue in common. Families of analogous colors include warm colors
(red, orange and yellow) and the cool colors (blue, green and violet).
ANATOMY - The structural makeup of the human body, including the muscles, bones, and
flesh.
ANIMATION - Moving art made by putting many pictures together. Each picture shows a small
change in movement. When the pictures are all shown quickly one after the other, the objects in
the pictures seem to move.
ANKH - Egyptian symbol for life.
APPLIED ART - Design principles applied to functional objects such as furniture and
metalwork.
APPLIQUÉ - A design made by stitching pieces of colored fabric onto a larger piece of cloth.
Appliqué is used for wall hangings and as decoration on clothing, quilts and pillows.
AQUATINT - An etching technique consisting of sprinkling a metal plate with powdered resin
and heating it to adhere, creating a dense or lightly granulated effect.
AQUEDUCT - An ancient Roman system of using gravity to bring water from the mountains to
the cities. Arched bridges were used for crossing valleys.
ARABESQUE - Decorative technique that uses curving plant forms; frequently used in Islamic
art.
ARCH - A curved structure over an opening such as a door or window. An arch may either stand
alone or support the walls around the opening.
ARCHAIC ART - Greek sculpture or vases from 620 to c. 500 BC; ancient art.
ARMATURE - A skeleton-like framework used to support figures of clay or paper-mâché. An
armature keeps a sculpted figure with parts that stick out from drooping or falling apart.
Armatures can be made of wire, piping, metal rods, rolled paper or similar materials.
ARMORY SHOW - An exhibit in New York in 1913 that introduced Paris-based Modernism to
America.
ARTIFACT - Hand-made object that represents a particular culture or period.
ARTS AND CRAFTS MOVEMENT - A return to the hand-made decorative arts during the
1930s.
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ART DECO - Applied design from the 1920s and 1930s derived from French, African, Aztec
and Chinese motifs.
ART GALLERY - A building where people can see and sometimes buy artworks.
ART MUSEUM - A place where artworks are shown and cared for.
ART NOUVEAU - An 1890s asymmetrical decorative style featuring sinuous forms based on
objects found in nature.
ASCENDER - That part of the lowercase letter that rises above the body of the letter, as in b, d,
f, h, k, l and t.
ASH CAN SCHOOL - Paintings of everyday life in the city done by a group of painters of
realism.
ASPHALTUM - A stop-out varnish employed in the intaglio process when long bites are
required. Usually mixed with turpentine or benzene for better control. Also one of the
ingredients in hard ground. Also employed in lithography by some printmakers in preference to
tusche. Called bitumen in older texts.
ASSEMBLAGE - A piece of art made by combining a collection of three-dimensional objects
into a whole. It can either be a free-standing sculpture or be mounted on a panel, and is usually
made from scraps, junk or various man-made or natural objects.
ASYMMETRICAL - Different on either side of a central axis.
ATMOSPHERIC PERSPECTIVE - A way of showing depth and distance in a painting by
using fading colors and hazy details in distant objects. (See also linear perspective).
AVANT GARDE - At the forefront of new developments in art.
BACKGROUND - Parts of an artwork that are in the distance and lie behind objects in the
foreground.
BALANCE - The arrangement of the parts of an artwork, to create a sense of equilibrium. The
weight or size of objects, their placement and colors are all balanced in a work of art. Balance is
a principle of design.
BARBIZON SCHOOL - French landscape artists who worked near Barbizon, France, c. 18351870.
BAREN - Usually associated with the printmaker of Japan. A slightly convex hand tool, about 5
inches in diameter, for burnishing the back of paper when printing from an inked relief block.
Many Western artists use an ordinary household tablespoon for the same purpose, though the
results are not necessarily equal in quality.
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BARK PAINTING - A type of art created by the Aborigines over 40,000 years ago. Paints were
made from plants, then designs were painted on bark.
BAROQUE - Detailed, swirling composition, diagonal lines, unusual viewpoints; period from
16th to mid 18th centuries.
BARREL VAULT - A half-round stone ceiling made by placing a series of arches from front to
back. Also known as a tunnel vault, it was developed by the Romans and adopted later by
Romanesque church builders.
BAS-RELIEF - A French word meaning "low-raised work." This art is also called relief
sculpture.
BASELINE - The imaginary horizontal line on which the base of letters or characters rests.
BASILICA - A long building that today is used as a Christian church; in Roman times, a public
place.
BAT - A plaster slab used to absorb excess moisture from clay.
BATIK - An Indonesian method of handprinting fabric by covering parts of the fabric with wax.
When the fabric is dyed, color does not adhere to the waxed areas. The wax is then removed,
leaving a design made by the undyed areas.
BATTEN - A narrow, then strip of wood used for a variety of purposes in art, e.g., ceramics or
framing.
BAUHAUS - A design school that existed in Weimar, Germany, from 1919 to 1933 until it was
closed by the Nazis.
BEAD - The line formed by a continuous weld, usually along a seam.
BEAM - The horizontal supporting unit of a structure, usually made of steel or wood.
BEAUX-ARTS - A tradition of the 19th and 20th centuries following principles of the French
Academy.
BENCH-HOOK - A wood or metal device to prevent linoleum from slipping while it is being
cut.
BESTIARY - An illustrated book in the Middle Ages that showed various real or imaginary
animals and told stories about their natures and habits. The stories often ended with a moral.
BINDER - A material which causes a state of cohesion.
BIOMORPHIC - Art based on irregular abstract forms found in nature.
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BISQUE WARE - The first heating of unglazed clay which turns the ware into a hard,
consolidated mass.
BLAUE REITER, DER (THE BLUE RIDER) - A group of avant-garde German
Expressionists.
BLEED - Printing beyond the edge of a sheet's trim marks so that the printed image extends to
the edge of the trimmed sheet. In preparing art for reproduction, the studio allows an additional
1/8" beyond the trim lines for a bleed.
BLEND - To mix colors together. Also to move smoothly from one color to another without
making a line.
BLIND CONTOUR DRAWING - A kind of drawing done in one continuous line, in which the
pencil is kept moving while the eyes remain on the object, never looking down at the paper.
BLOCK - In printing a piece of thick, flat material, such as cardboard, wood or a potato, with a
design on its surface, used to print repeated impressions of that design. In carving, a large solid
piece of a material, such as wood or stone, from which parts are cut away to form a sculpture.
BLOCKBOOK - Fifteenth-century books in which the text and illustration were cut from the
same block of wood.
BLOCK RELIEF PRINTING - A means of making prints by creating a raised design on a flat
surface. The design is inked or covered with color and stamped on paper or another surface.
BLUEPRINT - A copy of an architect's plan for a building.
BODY PROPORTIONS - The relationship of the sizes of one body part to another and to the
rest of the body. For example, the head usually makes up about one-seventh of a person's total
height.
BODY SIZE - Depth of the body of a piece of type measured in points.
BOLDFACE - Heavier version of a regular typeface, used for emphasis. Indicated BF.
BOOK OF HOURS - Illuminated Medieval books with prayers for specific times of the day.
BOOK OF THE DEAD - Painting and hieroglyphics on a papyrus scroll, placed in an Egyptian
tomb.
BRAYER - A small, hand-held rubber roller used to spread printing ink evenly on a surface
before printing.
BREAKFAST PIECE - Seventeenth-century Dutch still life that showed an interrupted meal.
BRONZE - A mixture of copper, tin and other metals. Because it is very strong and hard, bronze
lasts for a long time and is commonly used in cast sculpture.
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BRÜCKE, DIE (THE BRIDGE) - German Expressionist painters from Dresden working c.
1905.
BURIN - Called a graver by some authorities; a hand tool with a half-round wooden handle from
which projects a steel shaft sharpened to a square or lozenge section. Cutting edges of burins
vary in size and shape. Used for engraving metal or end-grain wood.
BURNISH - The process in which the unfired clay surface, usually when leather is hard, is
rubbed with a hard implement imparting a satin-like sheen to the clay.
BUTTRESS - A support or brace which counteracts the outward thrust of an arch or vault. A
flying buttress is an arch which reaches over a side aisle to support the heavy stone roof of a
cathedral.
BYZANTINE - Stylized religious art of the Eastern Roman Empire from 330-1453 AD.
CALIPERS - A tool for measuring thicknesses or distances between surfaces.
CALLIGRAPHIC EXPRESSIONISM - Dripping or pouring paint onto a canvas.
CALLIGRAPHY - Handwriting when considered as an art or craft.
CAMEO GLASS - A type of glass made first by the Romans, in which a raised molded design is
overlaid on a glass vessel and then fused to it, forming a cameo effect.
CAMEO-RELIEF - Carving in which the image stands above the background
CAMERA OBSCURA (DARK ROOM) - A darkened box used as a drawing aid in the 16th
century.
CAMERA READY - Type of art that has been completely prepared with carefully marked
instructions for the printer. A mechanical is camera ready.
CAMPANILE - Italian word for a bell tower; sometimes freestanding such as The Leaning
Tower of Pisa.
CAPITAL - The top element of a pillar or column. There are three basic types of capitals which
originated with the ancient Greeks: Doric, Ionic and Corinthian.
CARICATURE - A picture in which a person's distinctive features, such as nose, ears or mouth
are distorted or exaggerated.
CARTOON - Full-scale drawing for tapestry or wall painting; or a humorous or satirical
drawing.
CARTOON ART - The kind of art used in comics or cartoons. It usually has simple lines, uses
basic colors and tells a story in one picture or a series of pictures drawn in boxes called frames.
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CARTOUCHE - A lozenge shape that surrounds Egyptian names; or a frame of the same shape.
CARVE - To cut away unwanted parts from a block of wood, stone or other material, using
carving tools such as a chisel, knife or file. Carving is a way of making sculpture by cutting away
unwanted parts.
CARVING - A subtractive method of sculpture; taking away wood or stone.
CARYATID - A carved female figure that substituted for a column to support a roof.
CASEIN - A painting medium in which the pigment is bound with milk curd.
CAST - To copy a solid object by pouring a liquid, such as melted metal, clay, wax or plaster,
into a mold and letting it harden. The mold is then removed and a copy, or cast, is left in the
shape of the mold.
CASTING - Reproducing -- in plaster, bronze or plastic -- an original piece of sculpture made of
clay or a similar material.
CAST SHADOWS - Shadows made on the ground by objects.
CATHEDRAL - A large church structure, which houses the congregation of a Roman Catholic
Bishop. It contains his throne, called a cathedral.
CAVE ART - Prehistoric art found in caves.
CELTIC ART - Art produced from c. 450 BC to c. 700 AD by the Celts; mostly portable
objects.
CENTER OF INTEREST - The most important part in a work of art. All the other parts should
center around, provide background for or draw attention to the center of interest.
CENTERED TYPE - Lines of type set centered on the line measure.
CENTERING - The initial step in the throwing process, the manipulation of the clay mass into a
symmetrical mound in the exact center of the wheel head.
CERAMIC - Any object made of clay and fired.
CERAMICS - Objects made of clay that have been hardened by firing; also, the art of making
objects out of clay.
CHALICE - A cup used in religious observances that has a foot and a stem, often made of
precious materials.
CHALK - Calcium carbonate, used in gesso, mixed with colored pigment to make pastels.
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CHARACTERS - Individual letters, figures, punctuation marks, etc., of the alphabet.
CHARCOAL - A soft medium used to make drawings.
CHIAROSCURO - A renaissance system for describing an emergence of form, relying on value
changes from dark to light.
CHISEL - A metal tool with a cutting edge at the end of a handle. Chisels are used by sculptors
for carving stone, wood and other materials. In calligraphy, a chisel is a pen nib having the
square, flat shape of a sculptor's chisel.
CIRCLE - A round, two-dimensional shape in which every point on the outside line is the same
distance from the center.
CITYSCAPE - A picture of a city.
CLASSICAL - Originating in Greece and Rome; represents unadorned beauty.
CLOISONNÉ - An Asian technique for fusing ground glass to a metal surface decorated with
thin metal strips.
CLAY - A powdery kind of earth that becomes pliable and can be molded when it is mixed with
water or oil. Clay is used to make pottery and sculpture.
CODEX - Cut-sheet manuscript rather than a scroll; bound into book form.
COIL METHOD - A way of making pottery by winding rows of clay "ropes," one on top of
another, on a flat clay base. When the walls of the pot reach the desired height, they are shaped
and smoothed by hand. Much of the pottery of early cultures was made with this simple method,
which does not require complicated tools.
COLLAGE - A work of art created by gluing bits of paper, fabric, scraps, photographs or other
materials to a flat surface.
COLONNADE - A series of columns at regular intervals supporting a roof or arches.
COLOR - the hue value and intensity of an object. The primary colors are red, yellow and blue;
every color except white can be created by combining these three colors. Color is an important
element of design.
COLOSSAL ORDER - Freestanding or attached columns or pilasters that rise through several
stories.
COLOR SCHEME - The colors an artist uses and the way they are combined in an artwork.
COLOR SEPARATION - When color art is photographed at the printer, filters are used to
separate out individual colors, which, when combined in printing, will give the illusion of a fullcolor image.
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COLOR WHEEL - A circle divided into sections of different colors. It shows how colors can
be mixed or used together.
COLUMN - A large round pillar or post supporting part of a building.
COMPLEMENTARY COLORS - Colors that are opposites on the color wheel and contrast
with each other. For example, orange is the complement of blue, violet is the complement of
yellow, etc. When two complementary colors are mixed together, they make brown or gray.
When they are used side by side in a work of art, they create interesting contrasts. Adding a little
of a color's complement to it makes it duller.
COMPOSITION - The arrangement of shapes and colors of a painting or sculpture in a pleasing,
decorative or expressive, well-designed way. The term also refers to any work of art.
COMPREHENSIVE - More commonly referred to as a comp. An accurate layout showing type
and illustrations in position and suitable as a finished presentation.
CONDENSED TYPE - Narrow version of a regular typeface.
CONE - A device used to measure the heat work of a kiln.
CONSTRUCTIVISTS - A Russian group of artists who wished to reflect modern machinery and
technology; working c. 1913.
CONTÉ - A chalk stick available in black, gray, white, bistro (brown) and sanguine (red).
CONTEMPORARY ART - Generally defined as art produced during the second half of the 20th
century.
CONTOUR - The outline or edge of a figure or object. In contour drawing, a single, continuous
line is used to draw the outline of an object.
CONTRAPPOSTO - An S-curve or twist of the human figure caused by placing the weight on
one foot.
CONTRAST - A large difference between two things; for example, hot and cold, yellow and
purple, and light and shadow. Contrasting patterns or colors add excitement, drama and interest
to a picture.
CONVERGE - To come together at a single point. Parallel horizontal lines appear to converge
on the horizon in a painting.
COOL COLORS - The family of related colors ranging from the greens through the blues and
violets. (See also analogous colors.)
COPYFITTING - The process of counting characters and casting off to determine the amount of
space required for any given copy.
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COSTUME - Clothing characteristic of a particular time, place or people.
CRAYON ETCHING - A type of picture made by coating paper with several layers of wax
crayon and then scratching a design into the surface with a sharp object, revealing crayon colors
in underneath layers.
CRAYON RESIST - A type of picture in which wax crayon is used to cover certain areas of a
surface that the artist does not want to be affected by paint or another substance to be put over the
crayon. Since wax repels water, the paint will not cover the crayoned part.
CREATIVITY - the ability to design or make something new and original, using the imagination
rather than imitating something else.
CRENELLATION (BATTLEMENT) - The upper story of a castle that has openings for
archers alternating with solid walls.
CROMLECH - A circle of upright stones (dolmens) such as Stonehenge.
CROPPING - The selection and indication of an area of art to be used for reproduction.
CROSS-HATCHING - Shading done by drawing closely set parallel lines that crisscross.
Cross-hatching is used to show light and shadow in drawings, paintings and engravings.
CUBISM - Natural forms changed by geometrical reduction.
CUNEIFORM - Characters written on clay tablets by the Mesopotamians; a precursor to
hieroglyphics.
CUTOUTS - In art, pieces of paper or other material cut into realistic or abstract shapes and
arranged on paper to form designs and pictures.
CYAN - The blue used in color separation. Also called process blue.
CYLINDER - A round shape with two flat ends. Cans and pipes are cylinders.
DECORATIVE ARTS - Such arts as furniture making, glassblowing, rug and fabric design and
other handicrafts which result in functional objects that have great appeal for their beauty.
DEPTH - The third dimension of front to back or near to far, represented in an artwork by the
actual or apparent distance from bottom to top or front to back. Techniques of perspective are
used to create the illusion of depth in a two-dimensional painting.
DESCENDERS - That part of a lowercase letter that falls below the body of the letter, as in g, j,
p, q, and y.
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DESIGN - The structural elements of art (line, shape, form, color, value, texture, space and
movement) and the principles by which these elements are organized (rhythm, balance, emphasis,
proportion, harmony, and variety). Unity refers to design in which all parts work together to
create a sense of wholeness. The formal analysis of a work of art involves a discussion of the
work's design.
DETAIL - A small part of a work of art, enlarged to show a close-up of its features. Also, a
distinctive feature of an object or scene which can be seen most clearly close up.
DIMENSION - A measurement of either length, width or depth. Two-dimensional art, such as a
painting, has length and width. Three-dimensional art, such as sculpture, includes depth.
DIORAMA - A miniature artwork that includes a realistic background and three-dimensional
foreground objects. Seeing a diorama is like looking at a tiny, real scene.
DIPTYCH - Two painted panels that are usually hinged together.
DISPLAY TYPE - Type that is larger than text type, generally 14 points or larger. Also called
headline type.
DISTANCE - The third dimension of front to back or near to far, shown in a two-dimensional
painting by using techniques of perspective.
DISTORT - To change the way something looks by twisting it out of its proper or natural form
or by exaggerating some of its features. A work of art that is made in this way is distorted.
DOGE - A ruler or governor of Venice and Genoa.
DOME - A round roof shaped like half a sphere, supported by a circular or many-sided base.
DONOR - A client or patron of an artist who donates the work to an institution; in altarpieces the
donor and family were often included in the painting.
DORIC ARCHITECTURE - A style of Greek architecture characterized by large, fluted
columns.
DRAWING - Usually a work in pen, pencil or charcoal on paper.
DRY BRUSH - Technique in which a brush drags or skims undiluted paint over the surface of a
painting so that the paint is left only on raised points, to create a broken effect.
DRY MOUNT - The process of adhering two surfaces after the initial application of cement
(generally two-coat rubber cement) has dried.
DRYPOINT - Intaglio process. A medium whose prime characteristic is a soft, warm, velvety
line. The burr, which is responsible for this line, breaks down after repeating printing.
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DYNASTY - A period of time in which a single family has dominance over a people, such as the
Ming Dynasty in China.
EARTH COLORS - Colors found naturally in the environment.
EARTHENWARE CLAY - A low-fire clay, with maturation usually between 850 and eleven
hundred degrees centigrade.
EARTHWORKS - A deliberate moving of earth and change in natural topography designed by
artists.
EASEL - A stand on which the artist supports the picture when painting. Sketching easels are
light and collapsible; the largest studio easels are virtually items of furniture.
ECLECTICISM - The borrowing of a variety of styles from different sources and combining
them.
ELEMENT - Artistic design considerations such as color, line, texture, shape or form and space.
ELEMENTS OF DESIGN - Basic parts which are put together to compose an artwork. These
include line, shape, space, texture, color and value.
ELONGATE - Stretching an object or figure lengthwise, thus altering its proportions and making
it look taller and more slender.
ELONGATED - The deliberate vertical distortion of a figure; a form of stylization.
EMBOSSING - A method of creating a raised design or relief on a flat sheet of metal by
hammering a design into the back side.
EMBROIDERY - Decorative designs sewn on cloth with a needle and thread or yarn.
EMPHASIS - The use of opposing sizes or shapes, contrasting colors or other means to draw
attention to certain areas or objects in a work of art. Emphasis is a principle of design.
ENAMEL - Fuse glass powder to a metal surface through heating at high temperatures.
ENCAUSTIC - Pigment mixed with melted wax and resin, then applied to a surface while hot.
ENGOBE - A kind of slip often used when pottery is to be glazed. See also "Slip."
ENGRAVING - Intaglio process: the act of driving a burin or engraver through a plate. Relief
process: To incise lines in an end-grain block of wood. Also refers to the print obtained from an
engraved plate or a block of wood. When loosely used, covers all prints which utilize a press.
ENTABLATURE (ARCHITRAVE, FRIEZE AND CORNICE) - The structure above
columns in Classical architecture.
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ETCHING - A picture made by coating a paper, metal or plastic plate with wax and cutting or
scratching a design into the wax. A print of an etching can be made by covering the plate surface
with ink and pressing it onto paper or another flat surface to transfer the design.
EXHIBIT - A special show of a group of art works.
EXPRESSIONISM - The painting of feelings, sometimes with recognizable images, often
totally abstract.
EXPRESSIVE QUALITIES - The feelings, moods and ideas communicated to the viewer
through a work of art. This aesthetic quality is favored by emotionalism.
EXTENDED - Also called expanded. A wide version of a regular typeface.
EYE LEVEL - An imaginary line marking the level of a person's eyes. The horizon line always
appears to be at a person's eye level.
FACADE - The front of a building. The façade accents the entrance of a building and usually
prepares the visitor for the architectural style found inside.
FACE - That part of metal type that prints. Also, the style or cut of the type; typeface.
FANTASY - Something unreal that is invented by the imagination.
FERRULE - The metal part of a brush that connects the bristles to the handle.
FETTLING KNIFE - A special knife for working with clay.
FIBER ART - Art using thread, year or fabric, such as weaving.
FIGURE - The human or animal form used in creating art; e.g., figure-drawing.
FILBERT - A brush whose bristles form a flat, tapering shape.
FIRE - To bake shaped clay in a hot kiln to make it into hard pottery.
FIRING - Placing ceramic ware into a special oven and heating at high temperatures until it is
mature.
FIXATIVE - A thin liquid that is sprayed over pastels and drawings to keep them from smudging
or rubbing off the paper.
FLIP BOOK - An animated sequence in book form, made by drawing a single action on each
page and flipping the pages from back to front.
FLUX - (1) Any substance used to aid fusion of metals. (2) A material which combines with
surface impurities on metal, in effect, cleaning the metal.
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FOLK ART - Traditional art made by people who have not had formal art training but whose art
styles and craftsmanship have been handed down over the generations.
FOOT CUTTING - The process of incising and trimming the bottom of a clay object to form a
projecting circular base.
FOREGROUND - The part of a work of art that appears to be in front, nearest to the viewer.
FORESHORTENING - The technique of distortion in perspective (e.g., of the human figure) in
order for the subject to appear three-dimensional.
FORM - An object that has depth as well as height and width. For example, triangle, which is
two-dimensional, is a shape, but a pyramid, which is three-dimensional, is a form. Also, a style
of creating art according to a certain standard or technique.
FORTRESS - A place that is fortified, or strengthened and secured, by strong walls and
sometimes artillery.
FOUND OBJECT - An object not originally intended to be used as art, but treated as art or
included in an assembled work of art by an artist. A found object may be natural or man-made.
The use of found objects is a 20th century art form.
FOUR-COLOR PROCESS - Method of reproducing by separating the color image into red
(magenta), yellow, blue (cyan) and black to create four printing plates, which when combined,
produce the full-color original.
FOURTH DIMENSION - Motion in time, a dimension in addition to length, width, and depth,
which became a focus in twentieth-century art. A mobile uses the fourth dimension because the
mobile is designed to show movement.
FREE-FORM - Having an irregular, or non-geometric shape. A free-form shape is made up of
curving, irregular lines.
FREE-STANDING - Sculpture which is designed to be seen from all sides, including the top,
and which usually supports itself and is not part of, or attached to, a wall or background.
FREEHAND - Drawn or sketched by hand without measuring and without using tracing paper,
ruler, compass or any other drawing instruments.
FRESCO - A painting technique in which artists apply wet colored plaster to a wet plaster wall.
A type of mural painting.
FRIEZE - Decorative relief of figures carved in a horizontal band around a building. Friezes
were popular in Greek architecture.
FROTTAGE - Textural rubbing on paper done with crayon, oil or pencil.
FUNCTIONAL - Practical or useful.
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FUTURISM - An Italian art movement that tries to show the rapid movement of machinery.
GALLERIES - Rooms where paintings or other art works are displayed and sold.
GENRE - In its most general sense, a distinctive type of work of art. Thus landscapes and
portraits are two genres of painting, just as plays and novels are genres of literature. In a more
restricted sense, the term is applied to scenes of everyday life. The latter sense is the more
common in discussion of painting.
GEODESIC DOME - A dome built by joining straight, lightweight bars into interlocking
geometric shapes. This system for building domes was developed by R. Buckminster Fuller, an
American architect and engineer.
GESSO - A heavy fluid used as a base coat for paint, traditionally made of plaster of Paris and
glue, but more recently of white pigment and a synthetic binder.
GESTURE - A movement of the hands, head or other part of the body that expresses a thought or
feeling.
GILD - A thin coat of gold leaf applied to the surface of a painting, frame or architecture.
GLAZE - A shiny coating fired onto pottery to decorate it and make it waterproof.
GLOSSY - Photoprint made on glossy paper. As opposed to matte.
GOLDEN SECTION - A proportion (in painting) of roughly 8 to 13 that was considered by
Renaissance masters to express perfect visual harmony.
GOTHIC - All medieval art produced during the period between mid-12th and early 15th
centuries.
GOUACHE - An opaque paint that can be dissolved in water or a painting using this type of
paint.
GOUGING - Cutting or scooping out a hole or groove in a surface such as wood or linoleum to
make a design for printing.
GRADATED WASH - A wash that is light at the top, where little color has been applied, and
that gradually becomes darker at the bottom, where more color has been applied.
GRADATION - A gradual, smooth change from light to dark, rough to smooth or one color to
another.
GREENWARE - Finished clayware that is dry but has not been heated into a homogeneous
mass.
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GREETING CARD - A card with a message, usually sent or given on a special occasion, such
as a birthday or holiday.
GRID - Horizontal and vertical lines drawn on a piece of paper, dividing it into equal squares.
An artist uses a grid to copy pictures by drawing what is in each of the squares separately.
GRISAILLE (LITERALLY GRAY) - A painting in shades of gray, sometimes on the outside
of an altarpiece.
GROG - Hard-fired, crushed clay that is added to clay to add texture and to help control
shrinkage.
GROUT - A substance composed of glue and cement, which is used to fill the joints in masonry
or the cracks between the tesserae in a mosaic.
GUILD - An organization of people in the Middle Ages who all did the same kind of work.
Merchants, painters, sculptors and other craftsmen each had their own guilds.
HALFTONE - A continuous tone image that in order to reproduce is photographed through a
screen so that the tones are translated into a series of extremely tiny dots for printing. The screen
breaks up the tones into dots, densely or sparsely placed depending on the quality desired, that
when seen from a normal viewing distance, give the illusion of a continuous tone.
HANDICRAFTS - Crafts such as pottery, baskets, rugs, candles and dozens of other useful or
decorative items that people traditionally make by hand.
HEADING - Bold or display type used to emphasize copy.
HIEROGLYPHICS - A system of writing using pictures rather than words and letters. Usually,
the term hieroglyphics refers to the ancient writing system of the Egyptians.
HIGH RELIEF - In relief sculpture, a form that extends at least halfway out of the background.
(See also middle relief, low relief).
HIGHLIGHT - To center attention on or emphasize through use of color.
HONE - To sharpen a cutting edge to its finest edge.
HORIZON - A level line where water or land seems to end and the sky begins.
HORIZON LINE - An actual or imaginary line in a work of art that represents the place where
the sky and earth appear to meet. Vanishing points are located on the horizon line.
HORIZONTAL - Straight, level and parallel to the horizon.
HUE - Another word for color, such as red, yellow or green.
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ICONIC EXPRESSIONISM - A style in which the painting is dominated by a form, usually
centralized.
IDEOGRAM - A picture or symbol used in a writing system that represents a thing or idea
instead of a letter or specific word, as in Chinese writing.
ILLUMINATED MANUSCRIPT - A manuscript, popular during the Medieval period, in which
the pages are decorated with silver, gold and rich colors. Often these manuscripts contain small
pictures known as illuminations or miniatures.
ILLUMINATION - The decoration of manuscript pages, often with gold leaf and brilliant
colors.
ILLUSTRATION - A design or picture in a book or magazine that explains the text or shows
what happens in the story.
IMAGERY - The imaginative expression of objects, feelings, ideas and experiences in art.
Imagery can depict both physical and nonphysical things.
IMPASTO - A term referring to thick layers of paint applied to the surface of a work. The
thicker the layers and lumps on a canvas, the more impacted the painting is said to be.
IMPRESSIONISM - An outdoor painting technique that shows the changing effects of light and
color.
INK - A kind of medium used to make drawings. An artwork made with ink.
INTAGLIO - An incised or engraved design in a plate in one or more mediums.
INTAGLIO RELIEF - Sculpture in which the surface of the image is below the surface of the
background.
ITALIAN RENAISSANCE - Revival of classical art, literature and learning based on
humanism.
INTERMEDIATE COLROS (TERTIARY COLORS) - Colors which are a mixture of a
primary color and it's neighboring secondary color such as blue-green, red-yellow, red-orange.
INTENSITY - The brightness or dullness of a hue or color. For example, the intensity of the
pure color blue is very bright; if a lighter or a darker color is added to blue, the intensity is less
bright.
ITALIC - Letterform that slants to the right.
JUSTIFY - Act of justifying lines of type to a specified measure, right and left, by putting the
proper amount of interword space between words in the line to make it even.
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KEY - The prevailing tone of a painting. A predominantly light painting is said to have a high
key, a predominantly dark one a low key.
KEYLINE - A mechanical in which all elements are prepared on a single paste-up board with no
copy overlays. All instructions are marked on and the printer performs all shooting and stripping
operations from the single board.
KILN - A special furnace that reaches very high temperatures and is used to bake or fire clay to
produce pottery.
KINETIC SCULPTURE - A kind of art introduced in the 1930s that expresses motion in time
by including elements that are moved either by natural forces, such as wind (as in a mobile), or by
devices, such as motors and cranks.
KITSCH - Artwork, often mass-produced, that goes beyond good taste.
KORE - Stiffly standing archaic Greek female sculpture, clothed.
KOUROS - Archaic Greek male figure, unclothed.
LANDSCAPE - A view of natural outdoor scenery, such as mountains, rivers, fields or forests.
LATEX - Formerly raw rubber; now any rubber-like plastic mass.
LAYOUT - Preliminary drawings made by the designer to indicate the proposed plan for the
final design. Layouts may range from small quick thumbnails, to roughs, to comprehensives,
each made with increasing attention to detail and accuracy of presentation as a guide for the
studio, client and/or printer.
LEAD - A kind of soft metal. Lead is often used in stained glass. It holds together the pieces of
colored glass.
LEADING - Space inserted between lines of typeset material.
LEATHER-HARD CLAY - In the semi-dry state, similar in consistency to leather. The clay is
no longer malleable, yet is still soft enough for carving and joining, with slip applied to the seam.
LETTERSPACING - Space inserted between characters.
LINE - A continuous mark with length and direction, created by a point that moves across a
surface. A line can vary in length, width, direction, curvature and even color. Line can be twodimensional (created by moving a pencil on paper), three-dimensional (created with string or
wire) or even implied (not represented by an actual line but suggested by the boundaries of a
shape or form). Line can also refer to the outline or shape of an object.
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LINEAR - Involving or consisting of lines; looking like a line, narrow or elongated.
LINEAR PERSPECTIVE - Showing depth and distance in a picture with converging liens. In
linear perspective, lines that are parallel in nature get closer together and objects get smaller in
the distance (see also atmospheric perspective).
LINOLEUM CUT - Relief process. A block of battleship linoleum cut into with engraving
tools, gouges, knives, etc., wherein the image to be printed is raised above the surface. Also a
print from such a block.
LINTEL - A horizontal beam over an opening, such as a window or door, that supports the
structure above it.
LITHOGRAPHIC CRAYON - A special crayon made of wax, grease or a similar material,
used to draw a design that is made into a lithograph.
LITHOGRAPHIC STONES - Imported limestone or other calcareous stone in slabs of varying
dimensions, about three to four inches thick. The stones are hard but brittle, compact yet porous
and vary in color from a grayed yellow through gray to blue and blue-gray (the darker the color,
the harder and more dense is the stone).
LITHOGRAPHY - Planographic process. Prints are obtained from a stone on which an image
has been drawn with grease-like substances. This surface phenomenon, after chemical treatment,
operates on the antipathy.
LOCAL COLOR - The objective color of an object or surface, independent of any modifications
caused by, for example, reflections or atmospheric conditions. Thus, the local color of a distant
hillside may be green, even though to the eye, it looks blue. See aerial perspective. Can also
mean the dominant color in a painting.
LOGO - A symbol that identifies a business, club or other group. Logos are often made of a few
artistically drawn letters or shapes (see also trademark).
LOGOTYPE - Commonly referred to as a logo. Two or more type characters which are joined
as a trademark or a company signature. Not to be confused with a ligature, which consists of two
or more normally connected characters.
LOOM - Any type of framework used for weaving fibers at right angles to make cloth.
LOST PATTERN PROCESS - A casting process in which the pattern is enclosed in the mold,
then removed by some destructive process such as melting or dissolving.
LOST-WAX (CIRE PERDUE) - A method of creating a wax mold of a sculpture, then heating
the mold to melt out the wax and replacing it with molten metal.
LOW RELIEF - In relief sculpture, a very slight extension of a form out of the background (see
also relief and middle relief).
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LOWERCASE - The small letters, as opposed to capitals, in an alphabet.
MACRAMÉ - The art of knotting coarse twine or cord in a geometric pattern. Macramé is used
to make such things as plant hangers, wall hangings, jewelry and handbags.
MAGENTA - The red used in color separation. Also called process red.
MALLET - A type of hammer with a large blunt, barrel-shaped head, often mad of wood.
Sculptors use a mallet to hit against a chisel when cutting wood, stone or another solid material.
MANDORLA - An almond-shaped background, enclosing the figure of a sacred figure in a glory
of light.
MAQUETTE - A small three-dimensional model for a larger piece of sculpture.
MARBLE - A kind of stone from which sculpture can be carved. An artwork made of marble.
MARIONETTE - A small, complete figure, usually of a person or animal and made of wood,
that is moved from above by strings that are attached to its jointed arms, legs and body.
MASKING - Blocking out a portion of an illustration to prevent it from being reproduced.
MASS - The area inside a shape.
MAT - A cut-out cardboard border placed around a picture to frame and display it.
MECHANICAL - The type and art prepared as camera-ready copy for the printer. All elements
are cemented in accurate position on a board and any overlays so that the printer can photograph
and strip the elements precisely as specified.
MEDALLION - A large medal usually worn around the neck on a heavy chain, ribbon or rope.
MEDIA-The physical materials, such as clay, paint and plastics, used to give a work of art its
material form. Media also refers to the processes, such as glazing, stenciling and chiseling, by
expression characterizes an artist’s struggle. Materials per se are merely physical substances, but
when the artist exploits their qualities to express an idea, them or feeling, they become amendium,
a means through which artists’ ideas are realized. Plural of medium.
MEDIUM - The material an artist uses - oil, watercolor, pen and ink, chalk and so on (see also
media).
MEGALITH - A block of stone basically unchanged, but sometimes arranged in lines or circles
of standing stones.
MIDDLE GROUND - The part of a work of art that lies between the foreground and the
background.
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MIDDLE RELIEF - In relief sculpture, a form that extends about one-quarter of the way out of
the background (See also high relief, low relief).
MIHRAB - A small niche in a mosque wall (qibla) that shows the direction of Mecca.
MIRROR IMAGE - The "flopped-over" picture that occurs when prints are made from
linoleum, wood or metal plates. Words are printed in reverse, for example.
MOAT - A deep, wide trench around a fortress or castle, often filled with water.
MOBILE/STABILE - Terms coined to describe work created by Alexander Calder: the mobile
is a hanging, movable sculpture; the stabile rests on the ground, but may also have moving parts.
MOBILE - A type of sculpture in which objects are suspended and balanced so that they are
moved by currents of air. The mobile as an art form was introduced by Alexander Calder in the
1930s.
MODEL - A person who poses for an artist. Also, a small-sized copy of something. For
example, architects make small models of buildings with furnishings.
MODELING - (in sculpture) transforming clay or wax into a form; (in painting) varying the
colors to suggest a three-dimensional quality.
MODIFIED CONTOUR DRAWING - A line drawing made by looking at an object and
drawing it with one continuous line, occasionally glancing down at the drawing to check the lines
and proportions (See also blind contour drawing).
MOLA - An appliqué design made by the Cuna Indians in which several layers of cloth are sewn
together and the top layers are cut and turned to show the colors underneath.
MOLD - (1) A shell containing a reverse image of a model or master which serves as a shaping
container when filled with a temporarily liquid material and which becomes the casting when it
has hardened. (2) To shape by pressure.
MONOCHROMATIC - A color scheme that involves different values of a single color.
MONOCHROME - A painting done in variations of a single color, made by adding black or
white to the basic hue to create its shades and tints.
MONOGRAM - A design made from the initials of a name. Monograms are often printed on
caps, ties, shirts, towels, handkerchiefs and linens.
MONOTYPE - A kind of printmaking in which a picture or design is painted on a nonabsorbent
surface, such as metal or glass. The design is then pressed onto a piece of paper. Usually, only
one transfer can be made this way.
MONUMENT - A building, statue or other structure especially built to remember and honor a
person or event.
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MOSAIC - A picture or design made by fitting into plaster or cement tiny pieces of colored
paper, glass, tile, stone or other similar materials.
MOUNT - To attach a picture to a larger piece of paper or cardboard, leaving a wide border
around it.
MOVEMENT - The arrangement of the parts of a design to create a sense of motion by using
lines that cause the eye to move over the work. Also, a tendency or trend by artists during a
period to use certain techniques or methods.
MURAL - A large painting that covers a wall. It can be painted directly on the wall or on wood,
paper or canvas to be attached to the wall.
MYTHICAL - Made-up, invented, or imaginary. Mythical animals, people and objects usually
originated in ancient legends or myths.
NATURALISM - Imagery that appears natural.
NEARIKA - A kind of art that originated in early Mexico in which colored yarn or string is
glued on a background to form a solid design.
NEEDLEPOINT - A kind of stitchery made of very small stitches on a fabric screen.
NEGATIVE SPACE - The space not occupied by an object itself but circulating in and around
it, contributing to the total effect of the design.
NEUTRAL - A color not associated with a hue. Neutral colors include black, white, gray and
brown. A hue can be neutralized by adding some of its complement to it.
NIB - A point that fits on the end of a calligraphy pen and regulates the flow of ink. Nibs come
in many sizes from very thin or fine to broad and flat.
NONOBJECTIVE - Without a recognizable object.
NONFUNCTIONAL - Created mainly for decoration rather than practical use.
ODALISQUE - Term used to refer to a painted reclining woman, from the word for a Turkish
harem slave.
OIL PAINT - A kind of opaque paint made by mixing colored pigment with a special kind of oil.
ONE-POINT PERSPECTIVE - A form of linear perspective in which all lines appear to meet
at a single point on the horizon.
ONION DOME - A bulbous, pointed dome frequently seen in Byzantine architecture.
OPAQUE - Something that cannot be seen through; the opposite of transparent.
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OPENING - The second step in the throwing process, establishing an opening in the middle of
the centered clay mound.
OPTICAL MIXING - The blending by the eyes of pure colors placed next to each other in a
work of art. For example, if dots of yellow are placed next to dots of blue, the colors will appear
to merge into a bright green color when viewed from a distance. Optical mixing is important in
Impressionistic painting.
ORGANIC - Free form, or a quality that resembles living things. The opposite of mechanical or
geometric.
ORIGINAL - Unusual, different or creative, such as original art or ideas. Original can also mean
the actual or initial work of art, rather than a copy.
OUTLINE - A line that shows the edge of an object. Outlines show two-dimensional shapes.
OVERLAPPING - One shape or part covering up some part or all of another. Overlapping
objects appear closer, and this is a perspective technique used to show distance in pictures.
OVERLAY - A transparent or translucent sheet placed over art or mechanical. A tissue overlay
is used for simple instructions to the printer while a copy overlay, generally on an acetate sheet,
carries camera-ready copy to be photographed by the printer.
PAINTERLY QUALITY - That quality of a work of art that allows brush strokes to show and
lets us see that it is a painting.
PALETTE - The tray or board on which colors are mixed.
PAPER-MACHE - An art material made of paper torn into strips or made into pulp and mixed
with paste or glue. It can be molded into various shapes when wet and produces a solid material
that is quite strong when it dries. It is used to make molds of decorative and functional objects.
PAPYRUS - Marsh plant from which paper was first made in Egypt; a scroll painted on this
material.
PARCHMENT - Thin tanned animal hide (often kid or lamb), used for illuminated manuscripts.
PARTHENON - A marble building constructed about 440 B.C. in Athens, Greece, as a temple to
the Greek goddess Athena. It is perhaps the greatest masterpiece of Greek architectural style.
PASTEL - A kind of crayon. Pastels can be made of oil or of charcoal. Oil pastels are like
crayons; charcoal pastels are like chalk.
PASTEUP - Camera-ready copy with all elements in position on a board. Often used as a
synonym for "mechanical," although the paste-up may actually be only one portion of the entire
mechanical.
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PATINA - Originally, the natural color of oxidized metal surfaces; more recently, the surface
coloring given to various materials such as metal, wood and plaster when used in relation to
sculpture.
PATTERN - The repetition of shapes, lines or colors in a design. The pattern can also be a
model or mold designed to be copied.
PEDIMENT - A triangular shape at the end of a building formed between the peak of the sloping
roof and the top edge of the wall. In Greek architecture, pediments were often decorated with
carved relief figures.
PERSPECTIVE - The representation of three-dimensional objects on a flat, two-dimensional
surface. Perspective is achieved by creating a sense of depth and distance. There are two types
of perspective: linear and atmospheric.
PHOTOGRAPH - A picture taken with a camera.
PICA - Typographic unit of measurement; 12 points equal 1 pica and 6 picas equal 1 inch. Also
a typewriter with 10 characters per inch.
PICTOGRAPH - Drawn or painted symbols representing things, ideas or stories. Before
alphabets were developed, people communicated using such picture symbols.
PIGMENT - Fine colored powder that, when combined with various liquid mixtures (water and a
binding agent, for example), makes paint.
PINCH METHOD - A method of hand-building pottery by pressing, pulling and pinching a ball
of clay into the desired shape.
PLANE - A curved or flat continuous surface defined by edges.
PLANOGRAPHY - An area of printmaking which includes lithography and serigraphy.
PLASTIC - (1) A material malleable enough to be manipulated by hand. (2) A synthetic
coherent material.
PLASTICINE - An oil based clay, used for modeling. It usually stays workable and does not
dry out.
PLEIN AIR - Loose, fluid painting done outdoors, capturing effects of light and air.
POINT - Smallest typographical unit of measurement; 12 points equal 1 pica and 1 point equals
approximately 1/72 of an inch.
POINTILLISM (DIVISIONISM) - A method of painting developed in France in the 1880s in
which tiny dots of color are applied to a canvas. When viewed from a distance, the points of
color appear to blend together to make other colors and to form shapes and outlines. Pointillism
was part of the Postimpressionist movement.
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POLYCHROME - Many colored.
POLYPTYCH - A painting that consists of more than three panels hinged together.
POP ART - Objects from commercial art and the popular culture transformed into artworks.
PORCELAIN CLAY - A vitreous, high fire clay body, usually white.
PORTICO - A covered walkway or entrance to a building, often having a row of columns
supporting the roof.
PORTRAIT - A painting, sculpture, drawing, photo or other work of art showing a person,
several people or an animal. Portraits usually show just the face, but can include part or all of the
body, as well.
POSITIVE SPACE - The space occupied by an object as distinguished from negative space,
which circulates in and around it.
POST - A pillar, column or similar structure that supports a roof or beam. Posts were commonly
used in Greek-style architecture.
POSTER PAINT - A fairly inexpensive form of opaque watercolor used mainly for design work
rather than paintings.
POTTER'S WHEEL - A flat, spinning disc on which soft clay is placed and shaped by hand.
PRELIMINARY SKETCH - A sketch made to plan or determine the basic arrangement of a
design or a more complete artwork. A preliminary sketch is simpler and often smaller than the
final piece of art, but contains the same outlines and proportions.
PRESSED GLASS - Glass made by pouring into molds and pressing the inside by means of a
plunger.
PRIMARY COLORS - The hues red, yellow and blue, which in different combinations produce
all other colors except white. The primary colors cannot be produced by mixing any other colors
together.
PRIMING - A layer or layers of material applied to a canvas, panel or other painting support to
make it more suitable to receive paint by, for example, rendering it smoother or less absorbent.
Gesso is historically the best-known priming material.
PRINCIPLES OF DESIGN - Guidelines that aid in effectively arranging and composing
designs. These include balance, contrast, variety, pattern, rhythm, emphasis and unity.
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PRINT - A shape or mark made from a printing block or other object that is covered with wet
color and then pressed on a flat surface, such as paper or cloth. Most prints can be repeated by reinking the printing block. Prints can be made in many ways, including using an engraved block
or stone, transfer paper or a film negative. Printing is the art of making many copies of one
image.
PRINTING PRESS - A machine that can make printed copies by pressing an inked or colored
metal plate containing lines of type or an image onto sheets of paper that are threaded through the
machine. Printing presses are used to make books and newspapers, as well as copies of original
art.
PRINTMAKING - The art of making one or more copies of a design or picture such as an
etching or woodcut block.
PROFILE - An outline of an object, usually a drawing or painting of the side view of a person's
face.
PROGRESSIVE PATTERN OR RHYTHM - A pattern or rhythm that develops step-by-step,
as from larger to smaller or smaller to larger.
PROOFS - Typeset copy sent by the compositor to the client for checking and making
corrections.
PROPORTION - The relationship of the size of one part to another or to the whole. In painting
and sculpture, for example, an artist tries to achieve the right size or proportion of a nose to a
head and a head to a body.
PROPORTIONAL SCALE - A device used to determine the size of the art when it is enlarged
or reduced for reproduction.
PSALTER - A collection of psalms for devotional use.
PUPPET - A kind of doll that can be moved and made to look as if it were talking (see shadow
puppet).
PUTTI - Nude male infants, often with wings, used in Classical and Renaissance painting;
cherubs.
PYRAMID - An ancient building design found in Egypt and Central America, usually having a
square base and four triangular sides that meet in a point at the top. Pyramids were used as tombs
and for religious worship and ceremonies.
QUILT - A bedcover made by stitching two layers of fabric together, usually in an ornamental
design, and stuffing the layers with padding. Quilts are usually made out of odds and ends of
material.
RADIAL BALANCE - A design based on a circle with the features radiating from a central
point.
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RASP - A kind of file that has sharp, rough teeth that can cut into a surface. It is used in
sculpture and ceramics to shape materials such as wood, clay and plaster.
REALISM - A style of art in which artists try to show objects, scenes and people as they actually
appear.
REALISTIC - Looking like real people, objects or places as we actually see them. Realistic art
portrays lifelike colors, textures, shadows, proportions and arrangements.
RECTANGLE - A two dimensional shape with four sides and four right angles. The top and
bottom may be longer or shorter than the sides.
REFLECTION - An image given back by a reflecting surface, such as a mirror or a still lake.
REGISTER - The adjustment and readjustment of the separate plates, blocks, stones or screens
in color printing to assure proper alignment.
RELIEF - A type of sculpture that is halfway between solid free-standing sculpture and flat
painting. In a relief, figures rise up from a background that is flat or has hollowed-out parts.
RELIEF PRINT - A print obtained from a relief block. Certain collages on cardboard may be
inked and printed to produce relief prints. Also, metal plates may be printed as relief prints, in
addition to their being printed in the intaglio manner.
RENDER - To reproduce or represent by artistic means, such as drawing, painting or sculpture.
REPETITION - Repeating a part of or a pattern in a work of art. Repetition makes the parts of a
picture come together.
REPLICA - An exact copy or reproduction of an artwork, sometimes made on a smaller scale
than the original.
REPOUSSÉ - A relief in which the image is produced primarily by impact on the back of the
medium, usually soft sheet metal.
REPRESENTATIONAL - Very close to the way an object really looks. Many paintings and
drawings are representational. They look similar to the way things really look.
REPRODUCTION - An exact copy of an artwork sometimes made on a smaller scale than the
original.
RESIST - A type of art in which oil or wax, which will not mix with water, is used to block out
certain areas of a surface that the artist does not want to be affected by paint, varnish, acid or
another substance.
RETOUCHING - A process of correcting or improving art, especially photographs, before
negatives are made. Retouching is done with paints or dyes applied with brush or airbrush or via
various computer software packages.
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REVERSE - To change black and white relationships, negative to positive, and vice versa.
Generally refers to line art.
RHYTHM - Regular repetition of lines, shapes, colors or patterns in a work of art.
ROMAN - Letterform that is upright, like the type you are now reading.
ROMANTICISM - A type of painting that idealizes images; often with surrealistic or
imaginative compositions.
ROSE WINDOW - Large circular windows of stained glass found in Gothic cathedrals. A fine
example is observed on the façade of the Cathedral of Burgos in Spain.
ROUGH - A casual layout used to indicate the overall plan for a design.
RUBBING - A design made by rubbing a crayon or soft pencil over a paper covering a textured
object.
RUNNING STITCH - An embroidery stitch that is used to outline shapes.
SAND CASTING - A method of creating sculpture from molten material by pouring the material
into a cavity formed in a mold of wet sand.
SATIN STITCH - An embroidery stitch that is used to fill in shapes.
SATURATED COLOR - Hues undiluted with white, consequently deep and intense.
SCALE - The relationship between the sizes of parts in an artwork to their size in reality. If a
picture is drawn to scale, all of its parts are equally smaller or larger than the parts in the original.
SCALE DRAWING - A reproduction of a drawing in which the dimensions and sizes are in the
same ratio as in the original. Scale drawings are usually made by using a grid and can be smaller,
larger or the same size as the original.
SCALING - Calculating the proportions of art for enlargement or reduction to fit a particular
area.
SCORE - To cut into, but not all the way through, paper or thin cardboard in order to make a line
where it will bend easily. Scoring is often done with an X-acto knife. Also, in clay work, to
make small grooves or scratches in pieces of clay to be joined together. Scoring and applying slip
to the roughened surfaces creates a firm bond that holds pieces together.
SCRIBE - (metal) - A hard, pointed metal tool (sometimes tipped with a diamond) used to draw
on metal.
SCRIMSHAW - A folk art in which line drawings are carved or engraved into bone or ivory.
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SCRIPT - Typeface based on handwritten letterforms.
SCULPTURE - Art of reproducing objects in relief or in the round out of hard material by means
of chisel; carved work; art of modeling in clay or other plastic material, figures or objects to be
later cast in bronze or other metals; v.t. to represent by sculpture.
SEASCAPE - A picture of a scene at sea or a scene including a portion of the sea.
SECONDARY COLORS - Colors created by combining two of the three primary colors, red,
yellow and blue. The secondary colors are orange, green and purple: orange is a mixture of red
and yellow, green a mixture of blue and yellow and purple a mixture of red and blue.
SELF-PORTRAIT - A picture an artist makes of himself or herself.
SEPARATOR - A surfacing material used to prevent sticking or bonding and often used in
casting to prevent the casting material from sticking to the mold.
SERIFS - Short cross-strokes in the letterforms of some typefaces.
SERIGRAPHY - Stencil process. A method of producing original multicolored prints having a
real paint quality. Paint, ink or other color is forced through a stencil of silk each time for each
color required in the print.
SFUMATO - A subtle blending of colors in order to create a misty effect.
SHADE - A color to which black or another dark hue has been added to make it darker. For
example, black added to red produces a darker shade of red (See also tint).
SHADING - Showing gradations of lightness and darkness in a picture by darkening areas that
would be shadowed and leaving other areas light.
SHADOW PUPPET - A type of puppet that is moved behind a lighted screen so that only the
shape or silhouette is visible. These puppets are popular in Japan, China and Russia.
SHAPE - A definite form outlined by lines or a change in color or shading. Shape is an element
of design.
SILHOUETTE - An outline of a solid shape without any details inside, like a shadow. Most
silhouettes are of a person's profile, done in black or another dark solid color and attached to a
light background.
SIMPLIFY - To make simpler or more basic by removing details, ornamentation or complex
lines or parts. Realistic shapes may be simplified into geometric ones to make abstract art.
SKETCH - A simple, quick, rough drawing done without a lot of detail but catching the chief
features and a general impression of an object or scene. Sketches are usually made in preparation
for a later, more detailed work.
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SKYSCRAPER - A very tall building with many floors supported by a steel framework. The
first modern skyscraper was the Home Insurance Building in Chicago, designed in 1883 by
William LeBaron Jenney.
SLAB METHOD - A method of making pottery in which a thick, flat plate or slice of clay is cut
into shapes which are joined to form an object.
SLIP - A creamy mixture of clay and water or vinegar used to cement two pieces of clay, such as
a handle and cup, together or for dripping on pottery as decoration.
SOLDER - To bond metals using heat to melt in the joint between them; low temperature alloys
of lead which adhere to the two adjoining metal surfaces.
SPACE - The open parts between or inside shapes. Spaces have their own shapes and also serve
to make objects in artwork stand out. Space is an element of design.
SPEC BOOK - A catalog containing specimens of all the typefaces, in all sizes and variations,
available from a specific typesetter.
SPLIT COMPLEMENTS - One color plus the two colors that are on either side of its
complement on the color wheel. For example, the complement of blue is orange, and the two
colors on either side of orange are yellow-orange and red-orange. Therefore, the split
complements of blue are yellow-orange and red-orange.
SQUEEGEE - A flat, wood bar with a rubber blade. The tool used in pulling the printing ink
across the silkscreen to produce a print.
STABILE - An abstract sculpture that has movable parts similar to a mobile, but that is attached
to a solid, unmovable base rather than suspended.
STAINED GLASS - Pieces of brightly colored glass held together by strips of lead to form a
picture or design. Stained glass was first used in churches during the Middle Ages.
STATUE - A carved, modeled or sculpted three-dimensional figure, especially of a person or
animal, that stands up by itself.
STENCIL - A pattern consisting of a cut-out design used for printing. Paint, crayon or another
medium is pressed or applied over the stencil, filling in the cut-out spaces so that a design comes
through onto the paper underneath.
STENCILING - A method of printmaking using stencils and a coloring medium to create a
design or pattern on paper or another surface.
STILL-LIFE (NATURE MORTE) - A drawing, painting, collage or other artwork that shows
an arrangement of nonmoving, nonliving objects, such as fruit, flowers, bottles, books and other
objects of daily life. Usually, a still life is set indoors and contains at least one man-made object,
such as a vase or bowl.
147
STITCHERY - A kind of artwork in which designs or pictures are made by stitching yarn,
thread, string or other materials to a fabric backing.
STONEWARE CLAY - A high-fire, vitreous clay, with maturation usually above 1,200 degrees
centigrade.
STUDIO - The place where an artist or designer works.
STYLE - The name given to a group of works seen as belonging together because they resemble
each other in some particular way. Works in the same style share a common formal design,
subject matter, theme or function. Style names are sometimes identical with the culture that
produced the works, such as Egyptian, Roman= or Aztec. Other style names are derived from the
name of a given historical period, such as Gothic or Renaissance, while at other times a style
name refers to a characteristic visual quality that pervades a group or school of artists, such as
Cubist or hard Edge. Style also refers to the personal mannerisms or characteristics that
distinguish an artist's work from his or her contemporaries.
SUBTRACTIVE SCULPTURE - Making sculpture by removing material from a large block or
form. Marble, wood and soap carving are some types of subtractive sculpture.
SUMI-E - A kind of Japanese brush drawing done with simple, flowing, curving lines that are
created with careful brushstrokes.
SYMBOL - Something that stands for something else, especially a letter, figure or sign that
represents a real object or idea.
SYMBOLIC ORNAMENTATION - Decoration that uses symbolic figures to represent a story
or idea, often found in buildings, stained glass windows and other art forms of the Middle Ages.
SYMBOLISM - The use of a figure or design to stand for something else. Something concrete,
such as a lion, is usually used to represent an abstract quality, such as courage.
SYMMETRICAL - Having a kind of balance in which things on each side of a center line are
identical. For example, the halves of a person's face are symmetrical. The principle of symmetry
is important in drawing portraits.
SYMMETRY - A form of balance in which parts on both sides of a center line are the same.
TAPESTRY A picture or design woven or stitched in cloth and hung on a wall.
TECHNIQUE - The way an artist uses his or her tools. No two artists have exactly the same
technique.
TEMPERA - An opaque, water-soluble paint available in liquid or powder form. It is called
showcard or poster paint.
TENEBRISM - An effect such as chiaroscuro, with most figures in shadow, yet others in a shaft
of light.
148
TERRA COTTA - Unglazed, fired clay, usually of pinkish color.
TESSERAE - The individual pieces used in making a mosaic.
TERTIARY COLORS - See intermediate colors.
TEXT TYPE - Main body type, usually 12 point and smaller.
TEXTILE - A piece of woven cloth; fabric. Cotton, velour, silk, polyester and burlap are
examples of textiles.
TEXTURE - The way a surface looks and feels - rough, smooth, silky and so on.
THREE-DIMENSIONAL - Having length, width and depth. A sculpture is three-dimensional,
but a drawing is only two-dimensional since it is flat and has only length and width not depth.
THROW - The term used to denote the forming process on the potter's wheel, probably derived
from the initial act of propelling a ball of clay onto the wheelhead.
THUMBNAILS - Small, casual sketches used as a rough indication of a design plan.
TIE-DYE - Colorful cloth with designs of lines and circles. The designs are made because
objects are tied into the cloth with string. The wrapped areas resist the colored dye into which the
cloth is dipped.
TIFFANY GLASS - A style of glass designed in the early 20th century by Louis Comfort
Tiffany, using rich colors and the botanical forms and patterns characteristic of Art Nouveau.
TINT - A color to which white has been added. For example, white added to blue makes a
lighter blue tint (See also shade).
TITLE - The name given to a picture, sculpture or other piece of artwork, reflecting the main
idea of the work.
TONE - The tint, shade, brightness or value of color.
TORSO - The trunk, or main part of the human body, not including the head, arms and legs.
TOTEM - An object or image that serves as a symbol or emblem of a family, person, idea or
experience.
TOTEM POLE - A pole or pillar of wood carved and painted with totem images showing the
history, traditions and legends of the Northwest Indians.
TOWER - A tall, vertical structure that either stands free or is part of a building.
149
TRACERY - Decorative ornamental stone or wood patterns used between pieces of glass or on
walls.
TRADEMARK - A special design, name or symbol that represents a company or business. Most
trademarks are registered with the government and cannot be used by anyone else (See also log).
TRANSFER - To print or copy a drawing or design from one surface to another by bringing the
two surfaces into contact.
TRANSLUCENT - The ability to permit the passage of light but not image.
TRANSPARENT - Allowing light to pass through so that objects can be clearly seen
underneath; the opposite of opaque. Window glass, cellophane and watercolors are transparent.
TRIAD - Three colors equally spaced on the color wheel. For example, yellow, blue and red
form a triad as do green, purple and orange and so on.
TRIPTYCH - A painting done in three sections hinged together.
TROMPE L'OEIL (FOOL THE EYE) - A painting so real that you want to touch the objects.
TURRET - A small tower, usually containing stairs, that is located on the top of a building.
TUSCHE - Grease in liquid form used in making lithographs and serigraphs.
TWO-DIMENSIONAL - Having height and width, but not depth; flat. Paintings, drawings and
stitchery are examples of two-dimensional art forms.
TYPOGRAPHY - The art and process of working with and printing from type. Today's
technology, by mechanizing much of the art, is rapidly making typography a science.
UNIFIED - Having all parts look as if they belong together in a complete whole.
UNITY - The appearance of oneness or wholeness achieved when all parts of a work of art look
as though they belong together, are interrelated and balanced and produce a total desired effect.
Unity is a principle of design.
UNJUSTIFIED TYPE - Lines of type set at different lengths which align on one side (left to
right) and are ragged on the other.
UPPERCASE - Capital letters in an alphabet.
VALUE - The lightness or darkness of tones or colors. For example, white and yellow have a
light value and black and purple have a dark value. Value is an element of design.
VANISHING POINT - In linear perspective, the place on the horizon where parallel lines seem
to meet or converge.
150
VARIETY - An assortment of lines, shapes or textures in a work of art. Variety is a principle of
good design.
VAULT - An arched ceiling or roof made of stone, cement or brick.
VELLUM - Thinned calf-hide, prepared for writing.
VERTICAL - Straight up and down; perpendicular to the horizon.
VIEWFINDER - A rectangular opening, usually in cardboard, through which the artists looks at
the subject of the painting.
VIEWPOINTS - Sides from which an object can be seen. A shoe has many viewpoints; if you
put a shoe on a table, you can move around the table to see different views of the shoe.
VOID - An opening, gap, hole or empty space, often used in modern sculpture. Voids are an
important feature in the sculpture of Henry Moore.
WARM COLOR - A color that gives the feeling of warmth. Yellow-green, yellow, yelloworange, orange, red-orange, red and red-violet are warm colors.
WARP - The vertical threads that are attached to the top and bottom of a loom, through which
the weft is woven (See also weft).
WASH - The background of a watercolor picture prepared using thin, watery paint applied
quickly with large, sweeping brushstrokes.
WATERCOLOR - A transparent paint made by mixing powdered colors with a binding agent
and water. The term also refers to a painting done with watercolors.
WATERSCAPE - A painting of or including a body of water.
WEAVING - The interlacing of threads and other materials to create a textile design as an
integral part of cloth.
WEDGING - Cutting, pounding and kneading clay to mix it and get rid of air bubbles until it has
a smooth and even texture and is ready to use.
WEFT - The threads or strands of yarn that are woven back and forth across the warp threads to
make solid textile (See also warp).
WOOD ENGRAVING - Relief process. A block of end-grain wood cut into with burins,
gravers, tint tools, etc. A print from an end grain block.
WOODCUT - Relief process. A block of plank grain wood cut into with a knife and various
gouges, chisels, etc., wherein the image to be printed stands in relief above the rest of the block.
A print from such a block.
151
WORDSPACING - In composition, adding space between words to fill out line of type to a
given measure.
X-HEIGHT - The height of the main portion of a lowercase letter, not including ascender or
descender.
YARN - A strand-like fiber made of cotton, wool, or a man-made material and used for stitchery,
weaving, knitting, and appliqué.
152
CREATING A RUBRIC
Art teachers have always used specific standards for grading, but we might have been unaware
that we were creating a rubric. It is a term that comes from the Language Arts curriculum.
Simply, it means that you decide what is required to make an A, B, C, D or F by how well the
student meets your predetermined objectives. For example, if 30 points might be given for a
project that took 30 minutes, it could contain 10 points for originality, 5 points for use of color,
10 points for use of the entire page and 5 points for balance. This list contains some criteria you
might use.
Communicates well with the teacher
Completes work within a specific period
Creates personally expressive work
Demonstrates a positive attitude
Demonstrates consistently high quality of work
Demonstrates growth
Does creative problem solving
Explores several options
Has a personal involvement in subject
Has good work habits
Helps classmates to succeed
Is not deterred by degree of difficulty or complexity of project
Is open-minded to stylistic differences
Makes a sincere effort
Makes connections to other knowledge
Makes regular reflective journal entries
Meets contractual agreement (if any)
Participates in group activities and critiques
Perseveres
Reacts to criticism appropriately
Satisfies the restrictions of the problem
Selects appropriate media for expression
Shows dependability
Shows good craftsmanship
Shows self-satisfaction with quality of work
Takes personal and group responsibility
Takes risks
Uses class time effectively
Uses higher-level thinking skills
Uses materials and equipment responsibly
Uses resources effectively
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ELEMENTS OF DESIGN: LINE, TEXTURE, COLOR, SHAPE/FORM, VALUE, SPACE
AND MOVEMENT
PRINCIPLES OF DESIGN: RHYTHM, BALANCE, EMPHASIS, PROPORTION,
HARMONY AND VARIETY
A:
Planned carefully, made several sketches and showed an awareness of the elements and
principles of design; chose color scheme carefully, used space effectively.
B:
The artwork shows that the student applied the principles of design while using one or
more elements effectively; showed an awareness of filling the space adequately.
C:
The student did the assignments adequately; yet it shows lack of planning and little
evidence that an overall composition was planned.
D:
The assignment was completed and turned in; but showed little evidence of any
understanding of the elements and principles of art; no evidence of planning.
F:
The student did the minimum or the artwork was never completed.
CREATIVITY/ORIGINALITY
A:
The student explored several choices before selecting one; generated many ideas; tried
combinations or changes on several ideas; made connections to previous knowledge;
demonstrated outstanding problem-solving skills.
B:
The student tried a few ideas before selecting one; or based his or her work on someone
else's idea; made decisions after referring to one source; solved the problem in a logical
way.
C:
The student tried one idea and carried it out adequately, but it lacked originality;
substituted "symbols" for personal observation; might have copied work.
D:
The student fulfilled the assignment but gave no evidence of trying anything original.
F:
The student showed no evidence of original thought.
154
EFFORT/PERSEVERANCE
A:
The project was continued until it was as complete as the student could make it; gave
effort far beyond that required; took pride in going well beyond the requirement.
B:
The student worked hard and completed the project, but with a little more effort, it might
have been outstanding.
C:
The student finished the project, but it could have been improved with more effort;
adequate interpretation of the assignment, but incomplete; chose an easy project and did
it indifferently.
D:
The project was completed with minimum effort.
F:
The student did not finish the work adequately.
CRAFTSMANSHIP/SKILL/CONSISTENCY
A:
The artwork was beautifully and patiently done.
B:
With a little more effort, the work could have been outstanding; lacks the finishing
touches.
C:
The student showed average craftsmanship; adequate, but not as good as it could have
been, a bit careless.
D:
The student showed below-average craftsmanship, lack of pride in finished artwork.
F:
The student showed poor craftsmanship; evidence of laziness or total lack of
understanding.
GROUP COOPERATION/ATTITUDE
A:
The student worked toward group goals, effectively, performed a variety of roles in
group work, followed through on commitments, was sensitive to the feelings and
knowledge level of others, willingly participated in necessary preparation or work for
classroom.
B:
The student participated enthusiastically, followed through on commitments, performed
more than adequately, assisted in preparation and cleanup.
C:
The student mostly allowed others in the group to make all the decisions, did his or her
share of work adequately, assisted in preparation and cleanup when asked.
D:
The student allowed others to do most of the work, did participate minimally, did the
minimum amount.
F:
The student was part of the group but did almost nothing toward group goals, did a
minimal amount of preparation and cleanup.
From: The Art Teachers Book of Lists, Helen Hume, Prentice Hall, 1998. Paramus, New Jersey.
155
WEB SITES
amn.org -- Art Museum Network
art.com
artchive.com -- Mark Harden's Artchive is a place to view and download reproductions of art
work as well as information about the artists.
artcyclopedia.com -- Artcyclopedia Museum and Exhibit list. Find art museums worldwide.
crayola.com
coreartists.com
crystalproductions.com
fiskars.com
ilpi.com -- Art Source Museums
msstate.edu -- Fine Art Resource Directory
nyfa.org -- NYFA Interactive - View current artwork
wwar.org -- World Wide Arts Resource
ART GALLERIES AND MUSEUMS - WEB SITES
artic.edu -- Art Institute of Chicago
bentleygallery.com
codagallery.com
getty.edu -- "The Getty Model for art Education" and much more
goedhuiscontemporary.com -- Chinese contemporary artists
hackettfreedmangallery.com
louvrefr/anglais/comm_d htm
metmuseum.org -- Metropolitan Museum of Art
moma.org -- Museum of Modern Art
nga.gov -- National Gallery of Art
neuhoffgallery.com
okharris.com
robertmillergallery.com
156
ART MAGAZINES
All About Art. 1998. Prentice Hall
The Standard Periodical Directory, published by Oxbridge Communications, Inc., is in most
library reference rooms and lists hundreds of current publications. The following art-related
magazines were selected because they are well-established and have a large circulation.
African Arts, African Studies Center, University of California, Los Angeles, 405 Hilgard Ave.,
Los Angeles, California 90024-1301
Airbrush Action, 1985 Swarthmore Ave., PO Box 2052, Lakewood, New Jersey 08701
American Art (Smithsonian Studies in American Art), Rizzoli International, 300 Park Ave.,
South, New York, New York 10010
American Artist, BPI Communications, Inc., 1515 Broadway, 14th Floor, New York, New York
10036
American Art Therapy Association Newsletter, 1202 Allanson Rd., Mundelein, Illinois 600603808
American Ceramics, 9 E. 45th St., New York, New York 10017-2403
American Craft (formerly Craft Horizons), American Craft Council, 72 Spring St., New York,
New York 10012-4019
American Indian Art Magazine, 7314 E. Osborn Dr., Sta. B, Scottsdale, Arizona 85251-6148
American Photo (formerly American Photographer), Hachette Filipacchi Magazines, Inc., 1633
Broadway, New York, New York 10019-6741
Aperture, Aperture Foundation, Inc., 20 E. 23rd St., New York, New York 10010
Architecture, BPI Communications, Inc., 1515 Broadway, New York, New York 10036
Architectural Digest, Condé Nast Publications, Inc., 350 Madison Ave., New York, New York
10017-3136
Architectural Record, McGraw-Hill, 1221 Avenue of the Americas, 36th Floor, New York, New
York 10020-1095
Architectural Review, Audit House, Field End Rd., Eastcote, Ruislip, Middlesex, HA49 BR,
United Kingdom
Art Bulletin, College Art Association, Inc., 275 Seventh Ave., New York, New York 10001
Art in America, Brant Publications, Inc., 575 Broadway, New York, New York 10012-3230
Art Education Journal, National Art Education Assn., 1916 Assn. Dr., Reston, Virginia 220911590
Art of the West, Duerr & Tiemey Ltd., 15612 Highway 7, Sta. 2335, Minnetonka, Minnesota
55345-3551
Artforum, Artforum International Magazine, 65 Bleeker St., New York, New York 10012-2466
Artist's Magazine, F & W Publications, 1507 Dana Ave., Cincinnati, Ohio 45207-1056
Art Journal, College Art Association, Inc., 275 Seventh Ave., New York, New York 10001
ARTnews, Artnews Associates, 48 W. 38th St., New York, New York 10018-6238
Arts & Activities, 591 Camino de la Reina, Suite 200, San Diego, California 92108-3104
Art & Antiques, 3 E. 54th St., New York, New York 10022
Arts New York, Box 1215, Cooper Station, New York, New York 10276-1215
Canadian Art, Canadian Art Foundation, 6 Church St., 2nd Floor, Toronto, Ontario, M5E 1M1,
Canada
Canadian Forum, Canadian Forum, 804-251 Laurier Ave., West, Ottawa, Ontario, KIP 5J6,
Canada
157
Carnegie Magazine, 4400 Forbes Ave., Pittsburgh, Pennsylvania 15213-4007
Ceramics Monthly, 735 Ceramic Pl., Westerville, Ohio 43086
Darkroom & Creative Camera Techniques (formerly Darkroom Techniques), Preston Publishers,
7800 N. Merrimac Ave., Niles, Illinois 60714-3426
Draw Magazine, Whiz Bang Graphics, 43 Ankara Ave., #98, Brookville, Ohio 45309-1207
Fine Art Magazine, Sunstorm Arts Publishing Co., Inc., 1014 Drew Ct., Ronkonkoma, New York
11779
Glass Art, PO Box 260377, Littleton, Colorado 80126-0377
Handwoven, Interweave Press, Inc., 201 E. 4th St., Loveland, Colorado 80537-5601
Illustrator Art Instruction Schools, 500 S. 4th St., Minneapolis, Minnesota 55415-1592
Metalsmith, Society of North American Goldsmiths, 5009 Londonberry Dr., Tampa, Florida
33647
Metropolis, Bellerophon Publications, Inc., 177 E. 87th St., New York, New York 10128-2268
Native Peoples, The Arts and Lifeways, Media Concepts Group, Inc., 5333 North Seventh St.,
Suite C-224, Phoenix, Arizona 85014
OnLine Design, Online Design Publications, Inc., 2261 Market St., #331, San Francisco,
California 94114-1600
Paintworks, MSC Publishing, Inc., 243 Newton Sparta Rd., Newton, New Jersey 07860-2748
Popular Ceramics, Jones Publishing Inc., N7450 Aanstad Rd., PO Box 5000, Iola, Wisconsin
54945-5000
Popular Photography, 1633 Broadway, New York, New York 10019
Portraits, Holland & Edwards Publishing, Inc., 250 Mercer St., Apt. A-203, New York, New
York 10012-1144
Progressive Architecture, Penton Publishing, 600 Summer St., Stamford, Connecticut 06904
School Arts, 50 Portland St., Worcester, Maine 01608-2099
Sculpture Magazine, International Sculpture Center, 1050 17th St., NW, Washington, DC 200363587
Sculpture Review, National Sculpture Society, 1177 6th Ave., 15th Floor, New York, New York
10036-2705
Shutterbug, Patch Publishing, 5211 S. Washington Ave., Titusville, Florida 32780
Southwest Art, Cowles Magazine, Inc., 4 High Ridge Pk., Stamford, Connecticut 06905
Studies in Art Education, National Art Education Assn., 1916 Assn. Dr., Reston, Virginia 201911590
Studio Potter, Studio Potter, Inc., PO Box 70, Goffstown, New Hampshire 03045-0070
U.S. Art (Midwest Art), MSP Communications, 220 S. 6th St., Sta. 500, Minneapolis, Minnesota
55402-4501
Watercolor Magic, F & W Publications, 1507 Dana Ave., Cincinnati, Ohio 45207-1056
Wildlife Art News, Pothole Publications, Inc., PO Box 16246, Saint Louis Park, Minnesota
55416-0246
158
VISUAL ART RESOURCES AND PUBLISHERS
These resources should be willing to send a catalogue or list of available art resources upon
request.
A & F Video, PO Box 264, Geneseo, New York 14454 (books and videos)
Arthur Schwartz & Co., 234 Meads Mt. Rd., Woodstock, New York 12498 (art techniques)
Alarion Press, Inc., PO Box 1882, Ft. Collins, Colorado 80306-1882 (timelines, art history
projects, videos, workbooks)
Art Book Catalogue, 32 Shell Ave., Milford, Connecticut 06460
Art Image Publications, Inc., PO Box 568, Champlain, New York 12919-0568
ARTNews for Students, ARTNews, 48 West 38th Street, New York, New York 10018-6211
Arts & Activities, 591 Camino de la Reina, Suite #200, San Diego, California 92108-3104
Crizmac -- Art and Cultural Education Materials, PO Box 65928, Tucson, Arizona 85728-5928
Crystal Productions, PO Box 2159, 1812 Johns Dr., Glenview, Illinois 60025-6159
Dale Seymour Publications, 200 Middlefield Rd., Menlo Park, California 94025
Davis Publications, Inc., 50 Portland St., Worcester, Massachusetts 01608-2099
DK Publishing, Inc., (Dorline Kindersley), 95 Madison Ave., New York, New York 10016
Dover Publications, 31 E. 2nd St., Mineola, New York 11501
Getty Center for Education in the Arts, PO Box 909, 112 South Washington, Douglas, Michigan
49406-1909
Gibbs Smith Publisher, PO Box 667, Layton, Utah 84041
Glencoe/McGraw Hill, 936 Eastwind Dr., Westerville, Ohio 43081
J.L. Hammett Co., PO Box 9057, Braintree, Massachusetts 02185-9057
Heinemann, 361 Hanover Street, Portsmouth, New Hampshire 03801-3912
Knowledge Unlimited, PO Box 52, Madison, Wisconsin 53707-0052
Lakeshore Learning Materials, PO Box 6261, Carson, California 90810
Modern Learning Press, PO Box 167, Rosemont, New Jersey 08556-0167
Prentice Hall/Simon & Schuster, 240 Frisch Court, Paramus, New Jersey 07652
Scholastic, Inc., 555 Broadway, New York, New York 10012-3999
Grove's Dictionaries Inc., 150 Fifth Ave., Suite 916, New York, New York 10011 (The
Dictionary of Art)
Sax Arts & Crafts, Visual Art Resources Catalogue, PO Box 51710/Dept. SA, New Berlin,
Wisconsin 53151
School Arts, 50 Portland Street, Worcester, Massachusetts 01608-2099
Shambhala Publications, Inc., Horticultural Hall, 300 Massachusetts Avenue, Boston,
Massachusetts 02115
Teaching PreK-8, PO Box 182, Columbus, Ohio 43216-0182
Townsend Outlook Publishing, 20 E. Gregory Blvd., Kansas City, Missouri 64114
University of Illinois Press, 1325 South Oak St., Champaign, Illinois 61820
University of New Mexico Press, 1720 Lomas Blvd., NE, Albuquerque, New Mexico 871311591 (art and photography books)
University of Washington Press, PO Box 50096, Seattle, Washington 98145-5096
Walter Foster Publishing, Inc., 23062 La Cadena, Laguna Hills, California 92563-1352
West Educational Publishing, 620 Opperman Drive, PO Box 64779, St. Paul, Minnesota 551640779
Wild Berry Learning Systems, Rt. 3, Box 224A, Buckhannon, West Virginia 26201
Wilton, PO Box 302, Wilton, Connecticut 06897
159
Woodstocker Books division of Arthur Schwartz & Co., Inc., 234 Meads Mountain Road,
Woodstock, New York 12498-1016
RESOURCES FOR CD-ROM AND ART VIDEOS
A & F Video, PO Box 264, Geneseo, New York 14454
Alarion Press, Inc., PO Box 1882, Ft. Collins, Colorado 80306-1882
Art Instruction Software, 38 Balsam Dr., Medford, New York 11763
ArtsAmerica Inc., 12 Havemeyer Pl., Greenwich, Connecticut 06830
Broderbund Software, 500 Redwood Blvd., Box 6121, Novato, California 94948
Clearvue/eav, 6465 N. Avondale Ave., Chicago, Illinois 60631-1996
Crizmac, PO Box 65928, Tucson, Arizona 85728-5928
Crystal Productions, Box 2159, Glenview, Illinois 60025
M. Doggett Videos, 29909 Robin Rd., Plano, Texas 75007
L & S Video, Inc., 45 Stornowaye, Chappaqua, New York 10514-2321
Media for the Arts, 73 Pelham St., Newport, Rhode Island 02840
National Gallery of Art, Publications Mail Order Department, 2000B South Club Drive,
Landover, Maryland 20785
The Roland Collection, 1344 South 60th Ct., Cicero, Illinois 60650
Sax Visual Art Resources Catalogue, 2405 S. Calhoun Rd., PO Box 51710, New Berlin,
Wisconsin 53151-0710
Video Classroom Series, PO Box 1352, Dept. 4 West Chester, Pennsylvania 19380-0022
Western ITV, 1438 North Gower, Box 18, Los Angeles, California 90028
POSTER AND PRINT RESOURCES
These distributors have catalogues or lists, which they should send upon request.
Alarion Press, Inc., PO Box 1882, Ft. Collins, Colorado 80306-1882
Arti Grafiche Ricordi, Via Quaranta, 44, 20139 Milano (Italy) -- American Distributor, Imaginus,
Inc. (address below)
Art Education/Nordevco, PO Box 542, South Plainfield, New Jersey 07080 (multicultural art
prints)
Art Image Publications, Inc., PO Box 568, Champlain, New York 12919
Art Visuals, PO Box 925, Orem, Utah 84059 (timelines, modern art styles, multicultural sets,
women artists)
Crizmac, PO Box 65928, Tucson, Arizona 85728-5928
Crystal Productions, Box 2159, Glenview, Illinois 60025
Imaginus, Inc., 51 Harpswell St., Brunswick, Maine 04011-2549
Knowledge Unlimited, PO Box 52, Madison, Wisconsin 53707-0052
Modern Learning Press, PO Box 167, Rosemont, New Jersey 08556-0167
Museographs, The Lazar Group, Inc., 3043 Moore Ave., Lawrenceville, Georgia 30244
New York Graphic Society, PO Box 1469, Greenwich, Connecticut 06836
Parent Child Press, PO box 675, Hollidaysburg, Pennsylvania 16648-1675
Sandak, 180 Harvard Ave., Stamford, Connecticut 06902 (or 1633 Broadway, 6th Floor, New
York, New York 10019-6785)
Shorewood Fine Art Reproductions, 33 River Rd., Cos Cob, Connecticut 06807
University Prints, 21 East St., Winchester, Massachusetts 01890
160
SLIDE RESOURCES
American Library Color Slide Co., Inc., American Archives of World Art, PO Box 5810, Grand
Central Station, New York, New York 10163-5810
Davis Publications, Inc./Rosenthal Art Slides, 50 Portland St., Worcester, Massachusetts 016082099
Education Department, St. Louis Art Museum, Forest Park, St. Louis, Missouri (slide kits and
individual slides from the collection)
Department of Education Resources/Extension Programs, 6th St. and Constitution, NW,
Washington, DC 20565-0001
National Gallery of Art, Publications Mail Order Department, 2000B South Club Dr., Landover,
Maryland 20785
Sandak, 180 Harvard Avenue, Stamford, Connecticut 06902 (or 1633 Broadway, 6th Floor, New
York, New York 10019-6785)
School Arts, 50 Portland St., Worcester, Massachusetts 01608
Universal Color Slide Company, 8450 South Tamiami Trail, Sarasota, Florida 34238-2936
GENERAL ART SUPPLY RESOURCES
These established companies carry almost any supplies needed for art and art education, including
books, painting, sculpture, printmaking, paper, etc. Most of them will supply a catalogue on
request.
Binders Discount Art Center (formerly Co-op Artists' Materials), PO Box 53097 Atlanta, Georgia
30355
Cardinal Arts & Crafts, PO Box 626, Elk Grove Village, Illinois 60009-0626
Dick Blick Art Materials, PO Box 1267, Galesburg, Illinois 61401-1267
J.L. Hammett Company, One Hammett Place, PO Box 859057, Braintree, Massachusetts 021859057
Nasco Arts & Crafts, 901 Janesville Ave., Ft. Atkinson, Wisconsin 53538-0901 (and PO Box
3837, Modesto, California 95352-3837)
R.B. Walter, 1185 Corporate Dr., West, Arlington, Texas 76005
Sax Arts & Crafts, 2405 S. Calhoun Road, PO Box 51710, New Berlin, Wisconsin 53151-0710
School Specialty (formerly Chaselle Arts & Crafts) 1000 N. Bluemound Dr., Appleton,
Wisconsin 54913
S. & S. Arts and Crafts, Mill Street, Dept. 2021, Colchester, Connecticut 06415
Triarco Arts & Crafts, 14650 28th Ave. North, Plymouth, Minnesota 55447-4821
United Art & Education Supply, Box 9219, Fort Wayne, Indiana 46899
Utrecht Manufacturing Corp., 33 Thirty-Fifth St., Brooklyn, New York 11232
Welsh Products, Inc., PO Box 845, Benicia, California 94510
SPECIALTY ART SUPPLY RESOURCES
Aztek Airbrush (division of Testor Corporation), 620 Buckbee St., Rockford, Illinois 61104-4835
Badge-A-Minit, Ltd., Box 800, LaSalle, Illinois 61301
Badger Air Brush Company, 9128 W. Belmont Ave., Franklin Park, Illinois 60131-2895
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Bemiss-Jason Corporation, 37600 Central Ct., Newark, California 94560 (paper, yarn,
equipment)
Binney & Smith, Inc., 1100 Church Lane, PO Box 431, Easton, Pennsylvania 18044-0431 (all
Crayola products, Model Magic® brushes)
Brooks & Flynn, Inc., PO Box 2639, Rohnert Park, California 94927-2639 (everything for the
fabric artist)
Compleat Sculptor, Inc., 90 Van Dam St., New York, New York 10013
Crafty's Featherworks, Inc., PO Box 370, 2010 North Airport Rd., Overton, Nevada 89040
Createx, 14 Airport Park Rd., East Granby, Connecticut 06026 (poster and fabric color)
Dharma Trading Co., PO Box 150916, San Rafael, California 94915 (fiber arts supplies)
Dixon Ticonderoga Company, 2600 Maitland Center Pkwy., Suite 200, Maitland, Florida 327514160 (Prang® products, ColorArt® products)
Ed Hoy's International, 1620 Frontenac Rd., Naperville, Illinois 60563-1762 (supplies for stained
glass and glass fusing)
Empire Berol USA, Brentwood, Tennessee 37027 (Primacolor® products)
Fiskars, Inc., 3100 Dundee Rd., Suite 801, Northbrook, Illinois 60062 (special scissors)
Fletcher-Terry Company, 65 Spring Lane, Farmington, Connecticut 06032 (mat cutting and
framing equipment)
General Pencil Company, 3160 Bay Rd., Redwood City, California 94063
Gold's Artworks, 2100 N. Pine, Lumberton, North Carolina 28358 (papermaking supplies)
Grumbacher, 100 North St., Bloomsbury, New Jersey 08804-3092 (brushes, paints)
Harrisville Designs, Center Village, PO Box 806, Harrisville, New Hampshire 03450 (yarns,
looms, and other weaving supplies)
Hunt Manufacturing Company, One Commerce Square, 2005 Market Street, Philadelphia,
Pennsylvania 19103-7085 (pen points, ink)
Jiffy Foam, Inc., PO Box 3609, Newport, Rhode Island 02840 (Balsa-foam for carving)
Koh-I-Noor, Inc./Grumbacher, 100 North St., Bloomsbury, New Jersey 08804-3092 (technical
drawing pens, brushes)
Logan Graphic Products, 1100 Brown St., Wauconda, Illinois 60084-1192 (mat cutters)
Marvel Brush Company, PO Box 382, Hartsdale, New York 10530-0382
The Moll Company, PO Box 2816, Mansfield, Ohio, 44906 (heavy-duty easels made of metal
pipe)
Museum Stamps (Fine Art Distributors), PO Box 693, Manhattan Beach, California 90266
OMYA Color, 142 Berkeley St., Boston, Massachusetts 02116 (Artmache® and Plastiro® air-dry
modeling clays)
Polaroid Education Program, 72 Elizabeth St., #3, Salt Lake City, Utah 84102
Pro Chemical & Dye Inc., Box 14, Somerset, Massachusetts 02726
RIT Dye/The Softness Group, 381 Park Avenue South, New York, New York 10016
Riverside Paper Company, PO Box 179, 110 N. Kensington Dr., Appleton, Wisconsin 549120179
Sanford-Faber Corporation, 1711 Washington Blvd., Bellwood, Illinois 60104-1988 (Design® art
markers and pencils, Prismacolor® colored pencils)
Scratch-Art Company, PO Box 303, Avon, Massachusetts 02322-0303
Silkpaint Corporation, Box 18, Waldron, Missouri 64092-0018
Swest, Inc., 11090 N. Stemmons, Dallas, Texas 75229-4544 (jewelry and casting equipment)
Tandy Leather Company, 1400 Everman Pkwy., Ft. Worth, Texas 76140-5006
Walker Display Incorporated, 250 South Lake Ave., Duluth, Minnesota 55802 (display systems)
Whittemore Durgin, Box 2065 AD, Hanover, Massachusetts 02339 (stained glass supplies)
162
Ceramics
Aardvark Clay & Supplies, 1400 E. Pomona St., Santa Ana, California 92705-4812
AMACO (American Art Clay Co., Inc.), 4717 W. 16th St., Indianapolis, Indiana 46222-2598
(kilns, wheels, slab rollers and hand extruders, carts, equipment)
American Art Clay Co., Inc., 4717 W. 16th St., Indianapolis, Indiana 46222-2598
A.P. Green Industries, Inc., Green Blvd., Mexico, Missouri 65265
A.R.T. Studio Clay Company, 1555 Louis Ave., Elk Grove Village, Illinois 60007
Brent, 4717 W. 16th Street, Indianapolis, Indiana 46222 (electric wheels)
Creative Paperclay Company, 1800 South Robertson Blvd., Suite 907, Los Angeles, California
90035
Geil Kilns Company, 1601 W. Rosecrans Ave., Gardena, California 90249-3021
Great Lakes Clay & Supply Company, 120 S. Lincoln Ave., Carpentersville, Illinois 60110-1703
Hartman, 373 Poplar Road, Honey Brook, Pennsylvania 19344 (foam board manufacturing)
Laguna Clay Co., 61020 Leyshon Dr., Byesville, Ohio 43723 (740) 439-4355, Order # (800)
762-4354, FAX# (740) 439-4268
Mid-South Ceramic Supply, 12330 4th Ave., North, Nashville, Tennessee 37208-2714
Minnesota Clay USA, 8001 Grand Ave., South, Minneapolis, Minnesota 55404-4347
Orton, The Edward Orton Jr., Ceramic Foundation, PO Box 460, Westerville, Ohio 43081
(pyrometric cones, vent systems, autofire controllers)
Sheffield Pottery, Inc., U.S. Route 7, Box 399 Sheffield, Massachusetts, 01257
Skutt Ceramic Products, Inc., 2618 SE Steele St., Portland, Oregon 97202-4691
Spectrum Glazes, Inc., #33-40 Hanlan Rd., Woodbridge, Ontario, L4L 3P6, Canada
Vent-A-Kiln Corporation, 621 Hertel Ave., Buffalo, New York 14207
Paints
Chroma Acrylics, Inc., 205 Bucky Dr., Litiz, Pennsylvania 17543
Createx Colors, 14 Airport Park Rd., East Granby, Connecticut 06026
DEKA-Decart, Inc., Box 309, Morrisville, Vermont 05661-0309
DecoArt, PO Box 327, Stanford, Kentucky 40484 (all-purpose acrylic paint)
Baskets
Staker Baskets (Tim Staker), (740) 453-5041
USEFUL REFERENCE BOOKS FOR ART TEACHERS
American Art Directory, 1997-1998, 56th edition (R.R. Bowker, New Providence, New Jersey)
Animals, 14190 Copyright Free Illustrations (Dover Publications, New York, 1979)
Cerrito, Joan (editor), Contemporary Artists (St. James Press, Detroit, Michigan, 1996)
Chilvers, Ian, Harold Osborne, Dennis Farr, The Oxford Dictionary of Art (Oxford University
Press, New York, 1994)
Fagin, Gary, The Artist's Complete Guide to Facial Expressions (Watson-Guptill, New York,
1990)
Feldman, Edmund Burke, Varieties of Visual Experience, 3rd edition (Harry N. Abrams, Inc.,
New York, 1987)
163
Fleming, John, Hugh Honour, Nikolaus Pevsner, The Penquin Dictionary of Architecture
(Penguin Books, London, 1966, 1991)
Gair, Angela, Artist's Manual, A Complete Guide to Painting and Drawing Materials and
Techniques (Chronicle Books, San Francisco, 1996)
Hartt, Frederick, Art: A History of Painting, Sculpture and Architecture, 3rd edition (Harry N.
Abrams, Inc., New York, 1989)
Hobbs, Jack and Richard Salome, The Visual Experience (Davis Publications, Worcester,
Massachusetts, 1991)
Hogarth, Paul, The Artist's Manual: Equipment, Materials, Techniques (Mayflower Books, New
York, 1980)
Janson, H.W., History of Art, 5th edition (Harry N. Abrams, Inc., New York, 1995)
Kershaw, David, The Beginner's Guide to Portrait Painting (Chartwell Books, Inc., Secaucus,
New Jersey, 1994)
Levy, Vic, The Beginner's Guide to Figure Drawing (Chartwell Books, Inc., Secaucus, New
Jersey, 1993)
Lowenfeld, Viktor and W. Lambert Brittain, Creative and Mental Growth, 8th edition (MacMillan
Publishing Co., New York, 1987)
Lucie-Smith, Edward, Dictionary of Art Terms (Thames and Hudson, London, 1984)
Mayer, Ralph, A Dictionary of Art Terms and Techniques, 2nd edition (HarperCollins, New York,
1969, 1991)
Mayer, Ralph, The Artists' Handbook of Materials and Techniques, 5th edition (Viking/Penguin,
New York, 1991)
Page, Hilary, Color Right from the Start, Progressive Lessons in Seeing and Understanding Color
(Watson-Guptill, New York, 1994)
Saur, K.G., International Directory of Arts, 1997/98 edition, (Munich, 1997: auctioneers,
restorers, art periodicals, numismatics, antiques, museums and public galleries, Universities and
academic colleges, international)
Saur, K.G., Museums of the World (Reed Reference Publishing Co., Munich, 1995)
Skokstad, Marilyn, Art History (Harry N. Abrams, Inc., New York, 1995)
Strickland, Carol, and John Boswell, The Annotated Mona Lisa, A Crash Course in Art History
from Prehistoric to Post-Modern (Andrews and McMeel, Universal Press Syndicate Company,
Kansas City, Missouri, 1992)
Techniques of Great Masters of Art, 0-89009-879-4
The Twentieth Century Art Book (Phaidon Press, Limited, London, 1996)
Turner, Jane, editor, The Dictionary of Art, 34 volumes (Macmillan Publishers, Ltd., London;
Groves Dictionaries, Inc., New York, 1996)
Winters, Nathan B., Architecture Is Elementary (Gibbs Smith, Salt Lake City, Utah, 1986)
164