Mississippi Visual and Performing Arts Framework

2003 Mississippi Visual and Performing Arts Framework

MISSISSIPPI VISUAL AND PERFORMING ARTS FRAMEWORK

2003

Henry L. Johnson, Ed.D., State Superintendent of Education John W. Jordan, Ed.D., Deputy State Superintendent Bonita Potter, Ph.D., Associate State Superintendent of Academic Education Judy Couey, Bureau Director, Office of Curriculum and Instruction Wendy Tucker, Director, Office of Curriculum Sally W. Edwards, Visual and Performing Arts Specialist, Office of Curriculum

Mississippi Department of Education P. O. Box 771, Jackson, Mississippi 39205 Phone: (601) 359-2586 Web: http://www.mde.k12.ms.us 2003 Mississippi Visual and Performing Arts Framework

ACKNOWLEDGEMENTS

FRAMEWORK FACILITATOR

Teresa Aikens

The Mississippi Department of Education gratefully acknowledges the hard work and dedication of Teresa Aikens, for facilitating the development of a quality document to improve visual and performing arts education for our students. Teresa served as Visual and Performing Arts Specialist for the Mississippi Department of Education from July, 2000 to August, 2002.

MISSISSIPPI VISUAL AND PERFORMING ARTS FRAMEWORK REVISION COMMITTEE

The Mississippi Department of Education gratefully acknowledges the hard work and dedication of the following educators for developing a quality document to improve visual and performing arts education for our students.

DANCE COMMITTEE

Patricia Amacker McConnell, Chair Associate Professor of Dance, University of Southern Mississippi

Lillian Bell, Canton Elementary School, Canton Public School District Janis Cowart, McNair Elementary School, Humphreys County School District Opal Croke, Starkville High School, Starkville School District Jana Perkins, Power Academic and Performing Arts Complex, Jackson Public School District Tracy Smith, Petal Middle School, Petal School District Tammy Stanford, Hattiesburg High School, Hattiesburg Public School District Regina Withers, Dance Education Consultant, Moselle, MS

MUSIC COMMITTEE

Althea Jerome, Chair Assistant Professor of Music Education, University of Southern Mississippi

Kevin Bishop, Kosciusko High School, Kosciusko School District Dorothy Brasfield, Music Consultant, Edwards, MS Dr. Mark Butler, Professor of Music, Delta State University 2003 Mississippi Visual and Performing Arts Framework

Linda D. Gibbs, Watkins Elementary School, Jackson Public School District Patsy Gilmore, Richland Elementary School, Rankin County School District Elizabeth Gober, Madison Station Elementary School, Madison County School District Zachary Harris, Brookhaven High School, Brookhaven School District Daphne Johnson, Wesson Attendance Center, Copiah County School District Virginia Majure, Music Educator, Quitman, MS John Mixon, Oxford High School, Oxford School District Jacquelyn Perry, Mississippi Symphony Orchestra Linda Smith, Lumberton High School, Lumberton Public School District

THEATRE COMMITTEE

Sharon Wheeler, Chair Performing Arts Coordinator, Power Academic and Performing Arts Complex, Jackson Public School District

Charles Bosworth, Professor of Theatre, Mississippi Gulf Coast Community College, Perkinston Campus Morgan Gadd, Professor of Theatre, Millsaps College John Howell, Casey Elementary School, Jackson Public School District Jacquelyn Schulze, Natchez High School, Natchez-Adams School District Lelon Thompson, Power Academic and Performing Arts Complex, Jackson Public School District

VISUAL ARTS COMMITTEE

Dr. Vicki Bodenhamer, Chair Executive Director, Mississippi School of the Arts

Margaret Collier, Mississippi School for the Deaf, Jackson, MS Trisha Havard, George County Middle School, George County School District Marsha Iverson, Northwest Junior High School, Meridian Public School District Randy Jolly, Warren Central High School, Vicksburg Warren School District Nona Lee, Mendenhall Elementary School, Simpson County School District Nancy Ray, Poplar Springs Elementary School, Meridian Public School District Miriam Wahl, Lafayette Middle School, Lafayette County School District Dr. Lenagene Waldrup, Shaw School District Dr. Charles Waller, Oxford High School, Oxford School District Dr. Mary Jane Zander, Assistant Professor of Art, University of Mississippi 2003 Mississippi Visual and Performing Arts Framework

ADVISORY COMMITTEE MEMBERS

The Mississippi Department of Education expresses thanks to the distinguished members of the Advisory Committee who dedicated themselves to reviewing the drafts and providing guidance to the writing team.

Marshall Adams, Curator of Education, Mississippi Museum of Art Martha Barnett, Parkview Elementary School, Meridian Public School District Shirley Bilbo, Lucy Webb Elementary School, Greenville Public Schools Dr. Michael Brown, Professor and Head of Music Education, Mississippi State University Mary Chadwick, Poplarville High School, Poplarville Separate School District Dr. Gail Cheney, Curriculum and Instruction Supervisor, Cleveland School District Dr. Martha Cheney, Mississippi Arts Commission Donna Crisler, Rosa Scott Middle School, Madison County School District Dr. Read Diket, Professor of Art and Education, William Carey College Becky Dimino, Central School, West Point School District Angela Dussouy, Nora Davis Elementary School, Laurel School District Marie-Julie Etua, Louisville High School, Louisville Municipal School District Marsha Evans, Colmer Middle School, Pascagoula Separate School District Dianne Falkner, Music Education, University of Mississippi Dr. James Franklin, McLaurin Attendance Center, Rankin County School District Kay Franz, Power Academic and Performing Arts Complex, Jackson Public School District Jane Griffith, Magee Elementary School, Simpson County School District Cathy Henley, Picayune Memorial High School, Picayune School District Brenda Hunt, Noxapater Attendance Center, Louisville Municipal School District Jessica Jackson, Power Academic and Performing Arts Complex, Jackson Public School District Kathryn Lewis, Mississippi Alliance for Arts Education Dr. Kathryn C. Lewis, Assistant Professor of Art, Delta State University Amanda Long, Long Beach Middle School, Long Beach School District Charlie Magers, Eiland Middle School, Louisville Municipal School District Cindy Melby, Ward-Stewart Elementary School, Starkville School District Jennifer Mizenko, Associate Professor of Theatre Arts, University of Mississippi Tena Nalker, Brandon Elementary School, Rankin County School District Sally Ogden, Lipsey School, Brookhaven School District Sandra Polanski, Power Academic and Performing Arts Complex, Jackson Public Schools Rene Pulliam, Associate Professor of Theatre Arts, University of Mississippi Frances Rome, Morgantown Elementary School, Natchez-Adams School District Melissa Rustin, Gorenflo Elementary School, Biloxi Public School District Frances Schelver, Rosa Scott Middle School, Madison County School District Marjorie Selvidge, Oxford Elementary School, Oxford School District Nancie Simmons, Harper McCaughan Elementary School, Long Beach School District 2003 Mississippi Visual and Performing Arts Framework

Dr. Lucienne Simon, Assistant Professor of Art Education, University of Southern Mississippi Dr. Alan Spurgeon, Associate Professor of Music, University of Mississippi Janice Strickland, Hayes Cooper Center for Math, Science, Technology, Cleveland School District Dr. Lealan Swanson, Assistant Professor of Art, Jackson State University Dr. Charlotte Tabereaux, Director of Federal Programs, Rankin County School District Cheryl Thomas, Executive Director of Curriculum and Professional Development, Meridian Public School District Tommy Thompson, Grenada High School, Grenada School District Mary Wentworth, McLaurin Elementary School, Rankin County School District Dr. Bonnie Blu Williams, Associate Professor of Music, Mississippi College Bobbie Wynn, West Primary School, Natchez-Adams School District Dr. Craig Young, Assistant Professor of Instrumental Music, Mississippi College 2003 Mississippi Visual and Performing Arts Framework

TABLE OF CONTENTS

GENERAL INTRODUCTION...... i

DANCE Dance Introduction ...... D3 Dance Benchmarks...... D4 Elementary Introduction ...... D9 Kindergarten...... D10 First Grade ...... D15 Second Grade ...... D20 Third Grade...... D25 Fourth Grade...... D29 Middle School Introduction...... D34 Middle Level I...... D35 Middle Level II ...... D39 Middle Level III ...... D43 Middle Level IV...... D47 High School Introduction ...... D52 High School Level I ...... D56 High School Level II ...... D61 High School Level III ...... D61 High School Level IV...... D66 Literature Connections ...... D72 Technology Connections...... D78 Resources...... D83 Glossary...... D88

MUSIC Music Introduction ...... M4 Music Benchmarks...... M5 Elementary Introduction ...... M10 Kindergarten...... M11 First Grade ...... M16 Second Grade ...... M21 Third Grade...... M26 Fourth Grade...... M31 Keyboard, Beginner Level (K-4) ...... M35 Strings, Beginner and Intermediate Level (K-4)……………………………….M40 Middle School Introduction...... M48 Level I...... M51 Level II...... M55 Level III...... M60 Level IV ...... M64 Choral Performance ...... M70 Instrumental Performance...... M79 2003 Mississippi Visual and Performing Arts Framework

Small Group Jazz Improvisation...... M101 Keyboard, Intermediate Level ...... M106 High School Introduction ...... M110 General Music ...... M114 Choral Performance ...... M122 Instrumental Music ...... M142 Keyboard...... M158 Small Group Jazz Improvisation...... M162 Music Theory and Harmony/Literature ...... M170 Literature Connections ...... M177 Technology Connections...... M181 Resources...... M185 Glossary...... M191

THEATRE Theatre Introduction ...... T3 Theatre Benchmarks...... T4 Elementary Introduction ...... T9 Kindergarten...... T10 Grades 1 - 2 ...... T14 Grades 3 - 4 ...... T21 Middle School Introduction...... T29 Middle Level I – II ...... T30 Middle Level III – IV...... T36 High School Introduction ...... T43 High School Level I ...... T46 High School Level II ...... T54 High School Level III ...... T61 High School Level IV...... T69 Theatre Production...... T78 High Tech Video Production...... T84 Dramatic Criticism and Performance...... T90 Oral Interpretation/Readers’ Theatre...... T95 Literature Connections ...... T100 Technology Connections...... T106 Resources...... T112 Glossary...... T118

VISUAL ARTS Visual Arts Introduction ...... V4 Visual Arts Benchmarks ...... V5 Elementary Introduction ...... V10 Kindergarten...... V11 First Grade ...... V18 Second Grade ...... V24 Third Grade...... V30 2003 Mississippi Visual and Performing Arts Framework

Fourth Grade...... V37 Middle School Introduction...... V45 Middle Level I ...... V47 Middle Level II ...... V54 Middle Level III ...... V60 Middle Level IV...... V67 High School Introduction ...... V73 High School Level I ...... V80 High School Level II ...... V88 High School Level III ...... V96 High School Level IV...... V105 Ceramics I...... V115 Ceramics II...... V121 Drawing I...... V128 Drawing II...... V135 Painting I ...... V140 Painting II ...... V145 Photography...... V152 Literature Connections ...... V158 Technology Connections...... V178 Resources...... V181 Glossary...... V187

Advanced Placement Visual and Performing Arts Courses

Art History Music Theory Studio Art: Drawing - Portfolio Studio Art: 2D Design - Portfolio Studio Art: 3D Design - Portfolio

For questions concerning the Advanced Placement Program, contact: [email protected] (888)CALL 4 AP (Toll Free) www.collegeboard.org/ap

To order AP Publications, contact: AP Order Services P. O. Box 6670 Princeton, NJ 08541-6670 (609) 771-7243 2003 Mississippi Visual and Performing Arts Framework

STATEMENT OF PHILOSOPHY AND VISION FOR ARTS EDUCATION

(The following statement is an excerpt from the National Standards for Arts Education and is adopted as the philosophy and vision for arts education by The Mississippi Visual and Performing Arts Framework Revision Committee)

The arts have been part of us from the very beginning. Since nomadic peoples first sang and danced for their ancestors, since hunters first painted their quarry on the walls of caves, since parents first acted out the stories of heroes for their children, the arts have described, defined, and deepened human experience. All peoples, everywhere, have an abiding need for meaning—to connect time and space, experience and event, body and spirit, intellect and emotion. People create art to make these connections, to express the otherwise inexpressible. A society and a people without the arts are unimaginable, as breathing would be without air. Such a society and people could not long survive. The arts are one of humanity's deepest rivers of continuity. They connect each new generation to those who have gone before, equipping the newcomers in their own pursuit of the abiding questions: Who am I? What must I do? Where am I going? At the same time, the arts are often an impetus for change, challenging old perspectives from fresh angles of vision, or offering original interpretations of familiar ideas. The arts disciplines provide their own ways of thinking, habits of mind as rich and different from each other as botany is different from philosophy. At another level, the arts are society's gift to itself, linking hope to memory, inspiring courage, enriching our celebrations, and making our tragedies bearable. The arts are also a unique source of enjoyment and delight, providing the "Aha!" of discovery when we see ourselves in a new way, grasp a deeper insight, or find our imaginations refreshed. The arts have been a preoccupation of every generation precisely because they bring us face to face with ourselves, and with what we sense lies beyond ourselves. The arts are deeply embedded in our daily life, often so deeply or subtly that we are unaware of their presence. The office manager who has never studied painting, nor visited an art museum, may nevertheless select a living-room picture with great care. The mother who never performed in a choir still sings her infant to sleep. The teenager who is a stranger to drama is moved by a Saturday night film. A couple who would never think of taking in a ballet are nonetheless avid square dancers. The arts are everywhere in our lives, adding depth and dimension to the environment we live in, shaping our experience daily. The arts are a powerful economic force as well, from fashion to the creativity and design

i 2003 Mississippi Visual and Performing Arts Framework

that go into every manufactured product, to architecture, to the performance and entertainment arts that have grown into multibillion dollar industries. We could not live without the arts–nor would we want to. For all these reasons and a thousand more, the arts have been an inseparable part of the human journey; indeed, we depend on the arts to carry us toward the fullness of our humanity. We value them for themselves, and because we do, we believe knowing and practicing them is fundamental to the healthy development of our children's minds and spirits. That is why, in any civilization–ours included–the arts are inseparable from the very meaning of the term "education." We know from long experience that no one can claim to be truly educated who lacks basic knowledge and skills in the arts. If our civilization is to continue to be both dynamic and nurturing, its success will ultimately depend on how well we develop the capacities of our children, not only to earn a living in a vastly complex world, but to live a life rich in meaning. The vision this document holds out affirms that a future worth having depends on being able to construct a vital relationship with the arts, and that doing so, as with any other subject, is a matter of discipline and study. (Consortium, 1994, p.5)

Understanding that a quality visual and performing arts education is an essential part of the core academic program for all students, the United States Congress has defined the term “core academic subjects” as meaning English, reading or language arts, mathematics, science, foreign languages, civics and government, economics, arts, history, and geography (No Child Left, 2001). To assist districts and schools in developing curriculum for these academic subjects, the Mississippi Department of Education develops frameworks on which curriculum is to be based. The framework writing committee is composed of members nominated by superintendents and school administrators throughout the state. The Fine Arts Framework Revision Committee worked over a period of two years revising the 1996 Mississippi Fine Arts Framework. With the revision of the 1996 Mississippi Fine Arts Framework an important transformation has occurred. In the new Mississippi Visual and Performing Arts Framework, the revision committee has produced a document which celebrates the shared goals of all four arts disciplines – dance, music, theatre arts, and visual arts – while respecting the uniqueness of each respective art form. A review of national research findings and consensus of thought in arts education discloses five consistent components. These are presented as overarching goals of arts education. Five overarching goals common to all four arts disciplines form the basis for development of the framework. These goals reflect the vision embodied in The National Standards for Arts Education: What Every Young American Should Know and Be Able to Do in the Arts. The Mississippi Visual and Performing Arts Framework provides direction, focus, coordination, and guidance for schools in the areas of dance, music, theatre, and visual arts to meet the challenges of providing the quality arts education that our students need and deserve. Through the use of the framework, learners will benefit from an arts

ii 2003 Mississippi Visual and Performing Arts Framework education that empowers and enriches their lives, allowing them to develop more than an acquaintance with the arts. It is through this pathway of deeper engagement and knowledge that our children will find their own directions, make their unique contributions, discover who they are, and who they can become.

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MISSION STATEMENT

The mission of arts education in Mississippi is to ensure that students know and experience the uniqueness of the arts, understand themselves and their world by creating, expressing, and communicating meaning through the arts, and value the arts as humanity’s most essential and universal language transcending culture, time, and place.

OVERARCHING GOALS OF ARTS EDUCATION

Students will:

• Communicate ideas and feelings by creating and performing works of art; • Respond to, describe, analyze, interpret, and evaluate the complex characteristics of works of art; • Understand the roles and functions of artists and works of art in cultures, times, and places; • Perceive, understand, and appreciate the diverse meanings and values of art; • Make valid connections among the content of the arts, other subject areas, and everyday life.

With the identification of these overarching goals of arts education we are defining a comprehensive, specific vision of what students need to know and to be able to do in the arts. These goals are represented in the five consistent strands that run throughout this framework in the programs of study for Dance, Music, Theatre. and Visual Arts. These strands are Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. Within the programs of study, the required competencies relate to the five strands and state the content students need to acquire at each grade level from kindergarten through grade four. For middle school through high school, the required competencies relate to levels of learning rather than grade levels. These programs of study describe what to teach, not how to teach it. Respect for decision-making at the local school and district level is maintained through the use

iv 2003 Mississippi Visual and Performing Arts Framework of this framework as a guide for development of specific curriculum and instructional practices that best deliver the required content to the students within each district. The Mississippi Visual and Performing Arts Framework sets forth a rigorous standard for a comprehensive, sequential arts education experience that every student in Mississippi deserves. With student mastery of the content, visual and performing arts achievement in Mississippi schools will rival that of any other state. Offering the best, most complete learning opportunities to our students is what quality education is all about.

PURPOSE

The arts—Dance, Music, Theatre, and Visual Arts—are core components of a world-class education that will prepare Mississippi students to fully participate in global communities. The arts are deeply embedded in our visually and aurally saturated culture, from film to web sites and architecture to product design. The Mississippi Visual and Performing Arts Framework describes what students should know and be able to do in the arts to prepare them for life in our multi-dimensional world. This document provides an outline for local schools and districts to use as a guide to curriculum development for a comprehensive, sequential K-12 arts education in each of the arts disciplines.

USE OF THE FRAMEWORK

School districts shall use the programs of study in this framework as a basis for curriculum development of courses. Curriculum must be designed to cover the competencies listed in the program of study. The competencies are required to be taught. The teaching objectives, strategies, and assessments are suggested as indications of how competencies can be fulfilled. At the middle school and high school levels, some programs of study may be applied to curriculum development for more than one course. A list of the applicable courses is included in the description of each program of study. To facilitate application of the program of study to multiple courses, a Suggested Strategies and Assessments Chart for each applicable course is included following the program of study. Depending on the local school context, some secondary courses may be offered for one or one-half Carnegie unit, as listed in the Approved Courses for Secondary Schools in Mississippi. Both one Carnegie unit courses and one-half Carnegie unit courses must cover the competencies in the program of study corresponding to that course. Courses that are offered for one Carnegie unit will cover the competencies in greater depth than the courses offered for one-half Carnegie unit.

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LANGUAGE OF THE ARTS

In using this framework, some clarification of terms may be helpful. The most obvious change in the new framework is the title change from Mississippi Fine Arts Framework to Mississippi Visual and Performing Arts Framework. This change was made to reflect our wider vision and broader goals for arts education in our state. The new title is more encompassing of the many aspects of the arts important to the total educational experience we seek to provide our students. In this document, the term art is used to refer to creative works and processes employed in producing them, and the whole body of creative work in the art forms that make up our human cultural heritage. The terms art form and arts discipline are used interchangeably to refer to the individual areas of Dance, Music, Theatre, and Visual Arts. When this document refers to the arts, it means all activities in the four arts disciplines or art forms.

CYCLE

All Mississippi content area frameworks are on a six (6) year cycle. Approximately three years after a framework is implemented, a revision team is chosen to review the current framework and make changes and modifications based on best practices in the teaching of the arts as reflected in state and national trends. The pilot year (optional) for the Mississippi Visual and Performing Arts Framework is 2003-2004. The implementation year for the Framework is school year 2004-2005.

ORGANIZATION

The Mississippi Visual and Performing Arts Framework is comprised of four arts disciplines– Dance, Music, Theatre, and Visual Arts. Within each discipline, content is sequential from Kindergarten through Twelfth Grade. In order for students to achieve the level of competency necessary to successfully fulfill the Mississippi arts graduation requirement (1 Carnegie Unit of arts), they must have the opportunity to progress through each level of learning. This framework delineates that continuum for learning. The Framework is organized by grade levels from Kindergarten through Fourth Grade, with competencies defined for each grade level. At middle and high school, traditional grade level specifications are replaced by “levels of learning” with competencies defined for each level. The “levels of learning” more easily accommodate elective scheduling and courses of study that could include students from different grade levels who can demonstrate levels of proficiency. In middle and high school, programs of study are designated by these levels. In middle school, the levels are designated Middle School Level I, Middle School Level II, Middle School Level III, and Middle School Level IV. In high school, the levels are High School Level I, High School Level II, High School Level III, and High School Level IV. Proficient

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Level is attained after the equivalent of 1 Carnegie unit of study has been completed. Advanced Level is attained at the end of four years of study in an art discipline. For students in grades 9 – 12, proficient and advanced levels of achievement can be attained. A general description that includes the purpose, overview, suggested prerequisites, and courses that correspond to the program of study is found at the beginning of each program of study. These programs of study will guide the development of specific courses at the middle and high school levels. Following each program of study are suggested teaching strategies and suggested assessments for each course that is to based upon that program of study. To enhance the implementation of the framework, Literature Connections Technology Connections, Resources, and a Glossary are included at the end of each arts discipline section. The programs of study for the Mississippi Visual and Performing Arts Framework are formatted as follows:

DANCE Title of KINDERGARTEN Program of Study

CONTENT STRANDS:

Creating/Performing (CP) Aesthetics (A) Content Critical Analysis (CA) Connections (C) Strands History/Culture (HC)

COMPETENCIES and Suggested Teaching Objectives: Required Competency 1. Demonstrate a basic understanding of movement skills. (CP,CA,C)

a. Practice shifting body weight. b. Practice axial movements (bend, arch, reach, twist, turn). Suggested c. Distinguish right and left with body parts and movement. Teaching Objectives

STRANDS

The Mississippi Visual and Performing Arts Framework is comprised of five content strands: Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. These content strands are derived from the overarching goals of arts education that reflect the vision embodied in The National Standards for Arts Education: What Every Young American Should Know and Be Able to Do in the Arts. These strands are interwoven within each discipline and among all four arts disciplines. Comprehensive arts education requires the inclusion of all content strands in curriculum, instruction, and assessment.

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VISUAL AND PERFORMING ARTS DANCE MUSIC THEATRE VISUAL ARTS Creating/Performing

Four Arts Critical Analysis Disciplines Content History/Culture Strands Aesthetics

Connections

STRANDS AND CORRESPONDING OVERARCHING GOALS OF ARTS EDUCATION

Creating/Performing Strand – Creating works of art and performing works of art in Dance, Music, Theatre, and Visual Arts. Overarching Goal - Students will be able to communicate ideas and feelings by creating and performing works of art.

Critical Analysis Strand – Taking account of what is presented, constructing interpretations, and making judgements of the merit or significance of the work or body of work. (Stewart, 1997, p. 7) Overarching Goal - Students will be able to respond to, describe, analyze, interpret, and evaluate the complex characteristics of works of art.

History/Culture Strand – Understanding art in the historical and cultural context in which it was created. Overarching Goal – Students will understand the roles and functions of artists and works of art in cultures, times, and places.

Aesthetics Strand – The philosophical treatment of art in general, a broad focus concerned with art, beauty, and experiences with art and beauty in general – Beliefs about art. (Stewart, 1997, p. 7) Overarching Goal – Students will perceive, understand, and appreciate the diverse meanings and values of art.

Connections Strand – Determining commonalties among Dance, Music, Theatre, and Visual Arts as well as among other subject areas and everyday living. Overarching Goal – Students will make valid connections among the arts, other subject areas, and everyday life.

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COMPETENCIES

Competencies describe what all students should know and be able to do in the arts. They represent the most enduring knowledge, concepts, and skills in an arts discipline, the “big ideas.” Competencies correlate to the content standards found in the National Standards for Arts Education, and demonstrate sequential progression of mastery of content. The competencies are intentionally broad in order to allow school districts and teachers the flexibility to create a curriculum that meets the unique needs of their students. Competencies are required to be taught to all students. The order and combinations in which competencies are taught may be organized to accommodate those needs.

SUGGESTED TEACHING OBJECTIVES

Suggested teaching objectives are not required to be taught. These objectives serve as a guide indicating how competencies can be fulfilled through a progression of content and concepts at each level. Many of the objectives are interrelated rather than sequential, which means that objectives are not intended to be taught in the specific order in which they are presented. Multiple objectives can and should be taught at the same time. School districts may use the suggested objectives or may write their own objectives that meet or exceed those suggested, based upon needs of students at the local level.

SUGGESTED TEACHING STRATEGIES AND ASSESSMENTS

The purpose of the Suggested Teaching Strategies and Assessments chart following each program of study is to assist school districts and teachers in the development of possible methods of organizing the competencies and objectives to be taught, as well as presenting ideas on the teaching of competencies and objectives. The suggested teaching strategies and assessments are offered as examples for stimulating ideas about how competencies and objectives might be addressed in the classroom. These strategies and assessments are a set of basic methods designed to be only a starting point for innovative teaching. Integration of concepts, competencies, and content results in maximum curricular connections, time on task, and opportunities for students.

BENCHMARKS

Grade level cluster benchmarks have been established to assist educators in ensuring that students receive a sequential and comprehensive arts education. Benchmark charts for each arts discipline are found in the introduction to each discipline section.

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REFERENCES

Consortium of National Arts Education Associations. (1994). National Standards for

Arts Education. Reston, VA: Music Educators National Conference.

No Child Left Behind Act of 2001, Pub. L. No. 107-110, s 5551.

Stewart, Marilyn. (1997). Thinking Through Aesthetics. Worcester, MA: Davis

Publications.

2003 Mississippi Visual and Performing Arts Framework

DANCE

“I want all of my students and all of my dancers to be aware of the poignancy of life at that moment. I would like to feel that I had, in some way, given them the gift of themselves.”

Martha Graham

Dance 1

2003 Mississippi Visual and Performing Arts Framework

DANCE

TABLE OF CONTENTS

Introduction…………………………………………………………………………………..3

Dance Benchmarks...... 4

Elementary Introduction ...... 9

Kindergarten ...... 10

First Grade...... 15

Second Grade...... 20

Third Grade...... 25

Fourth Grade...... 29

Middle School Introduction...... 34

Middle School Level I………………………………………………………………….…..35

Middle School Level II...... 39

Middle School Level III...... 43

Middle School Level IV ...... 47

High School Introduction ...... 52

High School Level I...... 56

High School Level II...... 61

High School Level III...... 66

High School Level IV...... 72

Literature Connections...... 78

Technology Connections ...... 83

Resources...... 84

Glossary...... 88

Dance 2 2003 Mississippi Visual and Performing Arts Framework

DANCE

INTRODUCTION

DANCE, the art of human movement, is a perfect educational model for learning to be perceptive and expressing thoughts, sensations, feelings and ideas, all essential for the development of communication and a construct for learning the creative process. Students studying dance learn an awareness that guides the logical sensory execution of movement. They learn to recognize and distinguish human energy that is turned into the performance of illusions and the language of metaphors that transform through time and space into art. The training and study of dance enhances the scope and diversity of learning about life and the human experience. Dance creates community and is celebrated throughout the world. No matter where one goes, the phenomenon of dance is celebrated and its repertoires are a dynamic part of every culture. Dance is a form of theatre that ranges from the ecstatic and lively, to the tender and gentle telling of matters of the heart. In many cultures, dance is an expression of a life force and a description of peoples’ spirits and beliefs. Dance communicates in ways which words cannot. It can explain the inexplicable, and can awaken our social consciousness. Dance is the expression of the myths, symbols, and rituals of a culture, told through stories that can be a narrative of life. Building understanding through the dance experience requires learning to intelligently translate dance into meaning through the interpretation of the dances of an individual choreographer or of an entire nation. As a means to self-discovery, students learn to make their own dances, created from their most beautiful thoughts. They become involved in various aspects of technical production and come to understand others by learning dances of their ancestors and friends in the community. The Dance section of the Mississippi Visual and Performing Arts Framework offers a program of study that is developmentally and sequentially balanced to assist with elementary, middle school, and high school dance curriculum development at the local and district level.

Dance 3 2003 Mississippi Visual and Performing Arts Framework

DANCE BENCHMARKS

Goal 1: Students will communicate ideas and feelings by creating and performing dance. Content Strand: Creating/Performing (CP)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

By the end of Grade 4, students will: By the end of Grade 8, students will: By the end of one year of study,* By the end of four years of study, proficient students will: advanced students will:

Demonstrate movement through the Demonstrate anatomically-correct Incorporate kinesthetic and sensorial Know and perceive performance of application of the elements of dance movement skills with increasing understanding within performance of dance concentration and focus on technique dance technique and terminology

Respond spontaneously through Demonstrate improvisational skills Understand improvisation as a way to Know and apply improvisation to movement to various stimuli: alone and as a group originate dances performance and dance-making sound, colors, textures, objects, and imagery

Create movement solutions alone and Apply choreographic principles Understand choreographic forms and Understand and apply choreographic with a partner using the elements of structures in dance composition forms in dance-making dance

Identify basic productions elements of Demonstrate a basic understanding of Demonstrate experimental dimensions Apply innovative dimensions to dance dance dance production of dance production productions

*the equivalent of 1 Carnegie unit Dance 4 2003 Mississippi Visual and Performing Arts Framework

DANCE BENCHMARKS

Goal 2: Students will respond to, describe, analyze, interpret, and evaluate the complex characteristics of dance. Content Strand: Critical Analysis (CA)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

By the end of Grade 4, students will: By the end of Grade 8, students will: By the end of one year of study,* By the end of four years of study, proficient students will: advanced students will:

Observe and discuss the similarities Describe the similarities and Know and understand human Compose and evaluate dance studies and differences in human movement differences in human movement, movement, the elements of dance, utilizing abstract movement and the and the elements of dance recognizing the elements of dance and how these communicate ideas, elements of dance thoughts, and feelings

Describe dance by responding Interpret movements by reporting on Know and distinguish dance Analyze and critique the context of through writing, drawing, and the content of varied dance structures, forms, and themes in dance from a variety of perspectives performing experiences various dance studies

Identify how personal experiences Know how personal experiences Understand personal experiences as it Understand how personal relate to dance influence the making of dance influences the interpretation and the perspectives influence dance critique making of dance

*the equivalent of 1 Carnegie unit Dance 5 2003 Mississippi Visual and Performing Arts Framework

DANCE BENCHMARKS

Goal 3: Students will understand the role and functions of dancers and dance in cultures, times, and places. Content Strand: History/Culture (HC)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

By the end of Grade 4, students will: By the end of Grade 8, students will: By the end of one year of study,* By the end of four years of study, proficient students will: advanced students will:

Observe and identify the styles of Recognize and understand diversity of Compare and contrast various dance Critique historical and cultural dances dance in various cultures and dance in relation to cultural styles and artists, styles, cultures, and traditions traditions throughout history traditions and apply to dance studies

Perform dances from various cultures Perform with emerging technical Perform with advanced technical Competently perform various styles and traditions proficiency dances from various proficiency dances from various from a broad spectrum of cultures cultures and traditions cultures and traditions

*the equivalent of 1 Carnegie unit Dance 6 2003 Mississippi Visual and Performing Arts Framework

DANCE BENCHMARKS

Goal 4: Students will perceive, understand, and appreciate the diverse meanings and value of dance. Content Strand: Aesthetics (A)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

By the end of Grade 4, students will: By the end of Grade 8, students will: By the end of one year of study,* By the end of four years of study, proficient students will: advanced students will:

Appreciate dance movement through Perceive meaning of dance movement Perceive and understand meaning of Know and understand meaning of written, visual, and verbal responses through written, visual, and verbal dance movement through written, dance movement through written, responses visual, and verbal responses visual and verbal responses

Appreciate the sensorial discovery of Perceive and practice the sensorial Understand the sensorial discovery of Know and value the sensorial human movement discovery of human movement human movement discovery of human movement

Identify and appreciate from a Evaluate and discuss from an Know and respond from an individual Understand that values and meanings personal perspective the great dance individual perspective the great dance perspective to great dance works, assigned to great dance works in works, innovators and performers works, innovators and performers innovators and performers individual innovators and performers is diverse and based upon individual perspectives

Practice patronage of dance and the Practice and advocate the patronage Practice and advocate the patronage Exemplify the patronage of dance and arts of dance and the arts of dance and the arts the arts

*the equivalent of 1 Carnegie unit Dance 7 2003 Mississippi Visual and Performing Arts Framework

DANCE BENCHMARKS

Goal 5: Students will make valid connections among the arts, other subject areas, and everyday life. Content Strand: Connections (C)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

By the end of Grade 4, students will: By the end of Grade 8, students will: By the end of one year of study,* By the end of four years of study, proficient students will: advanced students will:

Recognize the connections between Understand the connections between Exhibit the connections between living Promote the connections between living and learning through dance living and learning through dance and learning through dance living and learning through dance

Identify practices of healthful living Practice and understand healthful Demonstrate a knowledge of family Network and produce a community living and community dance dance project

Identify dance careers Know and examine dance careers Practice skills leading to dance Develop skills leading to dance careers careers

*the equivalent of 1 Carnegie unit Dance 8 2003 Mississippi Visual and Performing Arts Framework

DANCE

INTRODUCTION Grades K-4

Children in Grades K - 4 are ready and eager to learn. The creative dance experience will trigger excitement. They will love to move! Young students are just learning concepts of space and they often are more easily organized in “herds” when moving through the space. They are not adept at controlling their body energy when moving in space. Large full movements will be quite challenging. Freezing a shape for more than a few seconds is not easy since the body’s energy is in constant flow. When children take a shape, they tend to hold it for a specified number of counts, and then collapse out of it; they have accomplished a major dance concept, stillness and movement. The safety rules for movement experiences can be organized within the lesson. These rules include reminders of personal space and consideration of classmates’ personal space. Children love a structured dance experience. By playing dance problem- solving games, children can be empowered with their own movement voice: Each child will acquire a solid foundation in developing creativity and making dances. Children can become all of the characters of a story in “dance-a-story exploration/improvisation.” Children in Kindergarten through Fourth Grade are interested in their own creativity, and enjoy the chance to share their own movement accomplishments, showing them to others.

Dance 9 2003 Mississippi Visual and Performing Arts Framework

DANCE KINDERGARTEN

DESCRIPTION OF PROGRAM OF STUDY:

As with all disciplines, a well-rounded education in dance includes a range of educational processes. The elementary school years focus on dance as a creative movement experience that is to be incorporated into the curriculum to achieve an increased learner outcomes by employing enriching techniques that demand the involved responses of multiple intelligences, especially that of the kinesthetic. This program of study is to be used by the Dance Specialist and or Classroom Teacher in developing dance curriculum for kindergarten students in the following:

Elementary Dance Arts Integrated in the Elementary Classroom

Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands,Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Dance 10 2003 Mississippi Visual and Performing Arts Framework

DANCE KINDERGARTEN

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Demonstrate emerging understanding of movement skills. (CP)

a. Experience shifting body weight in various directions. b. Experience axial movements (e.g., bend, arch, reach, twist, turn) and motor skills. c. Distinguish right and left with body parts and movement. d. Experience locomotor movements (e.g., roll, crawl, walk, gallop, hop, jump, leap).

2. Engage in movement problem-solving dance experiences. (CP)

a. Exhibit awareness of different components of human energy (e.g., strong, weak, soft, hard, push, pull). b. Apply positional and level concepts while executing shapes and movement (e.g., beside, in front of).

3. Respond through movement to verbal instruction and to various stimuli. (CP)

a. Create shapes in high, middle, and low levels alone and with partners. b. Maintain personal space while traveling through space and responding to images, sounds, and color words. c. Perform simple movements in response to verbal instruction.

4. Identify diversity of movement choices. (CP, CA)

a. Recognize simple changes in a performance. b. Explain the pattern or order of various performed movement choices.

5. Know that dances vary throughout cultures, times, and places. (CP, HC)

a. Display celebration/enjoyment of dance. b. Observe traditional dances from various cultures.

Dance 11 2003 Mississippi Visual and Performing Arts Framework

6. Recognize factors that contribute to the creation, meaning, and beauty of dance. (A)

a. Observe a higher level class while engaging in the compositional process. b. Explain what factors add to the beauty of a dance (e.g., technical skill of dancers, choreographic and production elements).

7. Identify the connections between dance, other disciplines, and artful living. (A, C)

a. Students recognize some physical and social functions of dance. b. Cultivate audience skills and behaviors. c. Identify aspects of dance that relate to other subject areas.

Dance 12 2003 Mississippi Visual and Performing Arts Framework

Dance, Kindergarten

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,d Students experience locomotor movement (walk, Teacher observation of run, hop, jump) in various directions (forward, student movement choices backward, sideways), such as traveling through the space hopping backwards.

b Students demonstrate a variety of non- Teacher observation locomotor/axial movements (bend, twist, stretch, swing) using nature as a model, such as trees swaying to and fro in the wind.

c Students demonstrate right and left sides of the Teacher observation body by moving to a musical beat and responding to tempo changes.

2 a Students exhibit awareness of different forces Teacher observation of (hard/soft), such as using hard energy like soldiers student processing marching, and soft energy like a falling leaf. evidenced in movement

b Students create a shape in a specific level (low, Teacher observation middle, high) and a specific positional relationship (beside, in front of) to a real or imaginary square.

3 a Students create connecting and disconnecting Student and teacher shapes, such as elbow-to-knee or head-to-shoulder, observation of movement on various levels and partner relationships (e.g., accuracy of given criteria opposite levels), with straight and curved lines.

b Students demonstrate the ability to define and Teacher observation maintain individual space while dancing (e.g., movements do not make contact or deliberately invade other dancer’s individual space while skipping).

c Students accurately follow movement directions Teacher and student from teacher or other students (e.g., travel sideways observation in low level in a fast tempo).

4 a Students engage in an improvisation of bending and Teacher evaluation of stretching using large and small adaptations. (e.g., answers using the image of a rubber band, students exhibit large and small degrees of elasticity in various body parts). Students analyze movement choices through a question/answer verbal format.

5 a Students learn a traditional dance from the United Teacher observation of States and another country and perform. dance

Dance 13 2003 Mississippi Visual and Performing Arts Framework

Dance, Kindergarten

b Students view cultural dance videos and/or cultural Teacher evaluation of dance performance groups. Students describe descriptions costumes and movements presented in the cultural dances.

6 a,b A small group of higher level students perform a Teacher observation of simple square dance for the younger students. The dance and discussion higher level students break into groups to engage the younger students in the performance. Following the dance session, the upper level students engage the younger students in a discussion about what factors contributed to the rhythm and beauty of their dance. What makes the creation of the square dance (choreography) come alive?

b Students identify differences in pedestrian Teacher observation movement behavior and dance. Playing follow the leader, teacher begins by leading students, alternating between pedestrian movement behavior and dance movements. Students take turns playing leader demonstrating the alternating movements.

After attending a live dance concert, students 7 a discuss social meanings of dance and practice Teacher observation audience behaviors within a classroom.

Students identify different dance forms and describe c various features by drawing lines suggesting the Teacher observation movements’ characteristic of the dance form. Using an artwork of futuristic style (e.g., paintings by Giacomo Balla) students compare the movements in their drawings to the artwork. Students respond to the questions: What is the same? What is different?

Dance 14 2003 Mississippi Visual and Performing Arts Framework

DANCE FIRST GRADE

DESCRIPTION OF PROGRAM OF STUDY:

As with all disciplines, a well-rounded education in dance includes a range of educational processes. The elementary school years focus on dance as a creative movement experience that is to be incorporated into the curriculum to achieve increased learner outcomes by employing enriching techniques that demand the involved responses of multiple intelligences, especially that of the kinesthetic. This program of study is to be used by the Dance Specialist and or Classroom Teacher in developing dance curriculum for first grade students in the following:

Elementary Dance Arts Integrated in the Elementary Classroom

The five major strands of study in the dance discipline are: Creating/Performing, Critical Analysis, Culture/History, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Dance 15 2003 Mississippi Visual and Performing Arts Framework

DANCE FIRST GRADE

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Acquire a basic understanding of movement skills. (CP)

a. Isolate parts of the body. b. Develop physical fitness components: flexibility, coordination, agility, endurance, and strength. c. Perform basic axial and locomotor movements (e.g., walk, skip, jump, hop, roll, crawl).

2. Engage in movement problem solving experiences while demonstrating kinesthetic awareness of movement. (CP, CA, C)

a. Recognize and manipulate large muscle groups (head and neck, abdominals, torso, shoulders and arms, back, and legs). b. Use body alone and with partners to create geometric shapes and other forms.

3. Develop a basic understanding of the elements of dance. (CP, CA)

a. Explore changes in energy to evoke dynamics (swing, percussive, vibratory) alone and with a partner. b. Respond to a musical beat and changes in tempo while traveling through all levels of space. c. React to textural and color images with movement.

4. Identify and describe diversity of movement choices. (CP, CA)

a. Perform different movement choices. b. Explain use of different movement choices by other dancers. c. Observe and discuss how dance is different from other forms of human movement (such as sports, everyday gestures).

Dance 16 2003 Mississippi Visual and Performing Arts Framework

5. Identify purposes and functions of dance in cultures, times, and places. (A, C)

a. Identify meaning of cultural dance. b. Use historical literature as content for dance movement.

6. Cultivate an appreciation for the creation and beauty of dance. (A)

a. Use any available resources to learn a dance. b. Experience the beauty of dance through the use of technical skills, composition, and production elements. c. Articulate individual reactions to a dance.

7. Identify connections between dance and other disciplines. (A,C)

a. Examine science concepts inherent in human movement and dance (e.g., gravity, gravitational pull, Newton’s Laws). b. Identify use of the arts in daily life.

Dance 17 2003 Mississippi Visual and Performing Arts Framework

Dance, First Grade

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,b,c Students articulate various body parts and Teacher observation of demonstrate non-locomotor/axial movements (bend, movement accuracy and twist, stretch, swing, freeze) showing range in clarity of isolations and space, and isolation movements (e.g., twist upper specific articulations extremities like a washing machine, with large and small movements).

b,c Students demonstrate accurately a capacity of Teacher observation of movement through locomotor movements (walk, movement accuracy run, jump, gallop, hop, crawl, roll) with intensity and increased energy (e.g., while taking turns, students execute walk, run, jump with fast and slow tempo).

2 a Students perform short movement problems Student descriptions and emphasizing the elements of responses to peer work shapes/lines/curves/circles using movements of regarding the given criteria specific large muscle groups.

b Students create letters of the alphabet or geometric Teacher and student shapes using movements of large muscle groups observations of by: performance clarity and creating a specific design with the body or accuracy of a “secret bodies letter” (audience reads the traveling them as floor patterns secret letter/geometric using body parts to trace or carve a specific shape) design in space.

3 b Students perform motor skills using levels in space Teacher observation of (low, middle, and high) in straight, curved, and creative exploration of circular pathways, such as crawling in middle level energy, space, and time in a curved, spatial pattern. related challenges

4 a Students improvise various components of human Teacher and student energy that are opposites (e.g., soft/hard, observation and light/strong, stiff/loose). Students may move like a discussion of the true soft marshmallow or like a piece of hard candy. likeness to a literal source

5 a Students improvise movement that is expressive of Verbal explanations of different imitative behaviors (e.g., walk like a duck, representational slither like a snake) and name the various actions movement choices and generated movements.

b Students identify and describe imitative and Teacher analysis of expressive movement behaviors (e.g., practice student pictures of cultural social expressive/imitative gestures such as dance regarding costume, “thumbs up”, “ waving hello”, “hand shake”, “traffic gender, and formation controller”, “choral director”, “referee”).

Dance 18 2003 Mississippi Visual and Performing Arts Framework

Dance, First Grade

6 a,b Students name and perform a folk or traditional Teacher observation of the dance from another culture (e.g., La Raspa, Troika, quality of the movement Hora). ideas generated

a Students observe different dance movements and discuss how they are similar and different in terms of one of the elements of dance (such as space) by observing body shapes, levels, and pathways.

7 a Students utilize movement to demonstrate concepts Student explanations of from other subjects such as, science, health, meanings/curricular ties of mathematics (e.g., students will recreate the solar chosen movement system by each student representing the planets, the sun and the moon, mimicking rotation).

b Students give examples of how dance is like other areas of study and paralleled in life (e.g., rhythm in music and visual art, everyday movement and gestures).

Dance 19 2003 Mississippi Visual and Performing Arts Framework

DANCE SECOND GRADE

DESCRIPTION OF PROGRAM OF STUDY:

As with all disciplines, a well-rounded education in dance includes a range of educational processes. The elementary school years focus on dance as a creative movement experience that is to be incorporated into the curriculum to achieve increased learner outcomes by employing enriching techniques that demand the involved responses of multiple intelligences, especially that of the kinesthetic. This program of study is to be used by the Dance Specialist and or Classroom Teacher in developing dance curriculum for second grade students in the following:

Elementary Dance Arts Integrated in the Elementary Classroom

Dance 20 2003 Mississippi Visual and Performing Arts Framework

DANCE SECOND GRADE

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Acquire a basic understanding of movement skills with increasing proficiency. (CP, C)

a. Demonstrate physical fitness components: flexibility, coordination, agility, endurance, strength, control. b. Demonstrate the ability to vary control and direct forces of human energy used in basic axial and motor skills. c. Properly demonstrate and create locomotor movements with various accompaniment while employing spatial concepts of direction and pathways (e.g., sideways, curved, zigzagged).

2. Exhibit movement problem-solving experiences while demonstrating kinesthetic awareness of movement. (CP, CA)

a. Use improvisation to discover movements in response to texture, sound, and color movement problems. b. Respond through movement to a wide range of stimuli, music, books, pictures, rhymes, and/or props. c. Explore basic actions of the body while traveling (alone and with partners) through space in a given spatial pattern or design (e.g., circle, line, square).

3. Develop a greater understanding of the elements of dance. (CP, CA)

a. Vary the time-value given to a specific movement to discover composition/movement possibilities. b. Create shapes and movements using different spatial levels and positional concepts (e.g., low level shape in front of an object). c. Create visual art to represent time, space, or energy in movement.

Dance 21 2003 Mississippi Visual and Performing Arts Framework

4. Compose and describe movement with guided criteria. (CP, CA, A)

a. Create a phrase of shapes that demonstrate a beginning, middle, and end. b. Create a sequence of movements that demonstrates how dance is different from other movements, such as sports or common gestures.

5. Understand the purposes of dance in relation to other cultures, times, and places. (CP, CA, HC, C)

a. Perform folk and traditional dances of other countries. b. Understand how dance is used as a form of storytelling in various cultures. c. Identify and relate the relationship of dance in society to celebrations and family customs.

6. Perceive the meaning and beauty of dance. (CA, A)

a. Identify and name dance movement using correct dance terminology. b. Use dance terminology to identify and describe dance components within an observed or performed dance.

7. Identify and distinguish valid connections between dance, other subject areas, and everyday life. (CA, C)

a. Explain how the arts are used in daily life. b. Identify examples of how dance relates to other subject areas.

Dance 22 2003 Mississippi Visual and Performing Arts Framework

Dance, Second Grade

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,b Students demonstrate accurately a combination of Student ability to analyze axial movement utilizing dance technique, bend, movement choices and to swing, twist, rotate, right and left sides, and upper name specific axial and lower body halves (e.g., upper body swing movement and involved down and up, twist upper body right and left, and parts of self and others swing right leg side to side).

a,c Students demonstrate accurately a combination of Student analysis of locomotor movements (walk, run, gallop, jump, hop, movement choices and crawl) in various pathways (forward, backward, side, naming of locomotor and diagonal, curved, and straight). Students gallop chosen pathways of self forward 4-counts, run in a circle 4-counts, jump and others backwards in a diagonal pathway 4-counts.

2 a Students improvise translation of a variety of actions Teacher observation of (e.g., weave, encircle, scoot, drip, melt, pounce, accuracy in movement push, pull, resist) by drawing three word cards from representation of action a hat and choosing an order in which to improvise words them.

b Students express understanding of concepts in Student justification of other subject areas, such as mathematical movement studies and concepts, by transposing ideas to movement verbal analysis of others communication or explanation of given stimuli.

c Students combine sculpted body forms by working Teacher observation of with a partner on various actions, creating opposites movement accuracy of (e.g., tall/short, wide/thin). Students mold partners oppositional concepts into shapes and connect opposite shapes.

3 a Students recall a movement phrase (sit, jump, run) Teacher observation taught by the teacher and manipulate the tempo.

b Students create design in the body demonstrating Students drawings of symmetry and asymmetry, and understanding of symmetrical and three-dimensional shapes in space. asymmetrical shapes

4 a Students create a movement phrase with a Students-created chart beginning, middle, and end and identify each of describing the three these parts of the sequence in student’s own work parts/sections of each and work of others. On a sheet of paper, students study draw or describe each of the three shapes.

a Students improvise, create, and perform a dance Student-created list of sequence based on personal ideas of the story The partner skills in each Sun, The Moon, and The Silver Baboon, integrating presented dance the following partner skills: copying, leading, following, mirroring.

Dance 23 2003 Mississippi Visual and Performing Arts Framework

Dance, Second Grade

b Students observe and discuss how dance is Student ability to record different from other forms of human movement. reactions and reflections of discoveries in movement comparison discoveries

5 a Students perform folk/traditional dances from List three cultural dances various cultures with competence and confidence and describe the history (e.g., Kinder Polka, Oslo Waltz). and meaning of each

b,c Students accurately answer questions about dance Teacher evaluation of in a particular culture and time period (e.g., In students’ answers colonial America, why and in what setting did people dance? What did the dances look like?)

6 a Students create a dance phrase with assigned Performance checklists of components (swing, undercurve, etc .) and identify specific movement criteria and describe order and method of criteria presented listed in the order shown by each group. Students write the order of the components as they are being performed.

b Students take an active role in a class discussion Write a reaction to another about interpretations of and reactions to dance in dance describing involved terms of content (ideas, meaning, and movement content choices) and dance style. Students read and share their reactions about the dance presented.

7 a Students explain feelings evoked by responding to Groups develop rhythm and sounds with movement. Students use movement and sound to water colors to express feelings of happy, sad, etc. relate to a given emotion

b Students examine use of art in immediate Teacher questioning and surroundings, home, school, TV, and social settings, review of factual and reference use of movement and sound in information before and advertising. after a movement-infused lesson

b Students present a movement explaining an English Teacher observation skill such as punctuation, capitalization, and indenting paragraphs. Students create a movement to specify a capital letter or punctuation mark (small ball with body to represent a period) as the teacher reads a sentence.

Dance 24 2003 Mississippi Visual and Performing Arts Framework

DANCE THIRD GRADE

DESCRIPTION OF PROGRAM OF STUDY:

As with all disciplines, a well-rounded education in dance includes a range of educational processes. The elementary school years focus on dance as a creative movement experience that is to be incorporated into the curriculum to achieve increased learner outcomes by employing enriching techniques that demand the involved responses of multiple intelligences, especially that of the kinesthetic. This program of study is to be used by the Dance Specialist and or Classroom Teacher in developing dance curriculum for third grade students in the following:

Elementary Dance Arts Integrated in the Elementary Classroom

Dance 25 2003 Mississippi Visual and Performing Arts Framework

DANCE THIRD GRADE

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Acquire a basic understanding of movement skills with increasing proficiency. (CP, CA, C)

a. Employ proper alignment in weight transfers while performing movement. b. Demonstrate anatomical knowledge of major body parts through arranging and creating axial movements. c. Show a variety of combinations of basic motor skills and locomotor movement.

2. Exhibit movement problem-solving experiences while demonstrating kinesthetic awareness of movement. (CP, CA)

a. Use improvisational skills to problem solve through assembling movements of creating new movement. b. Organize the steps to an everyday task and perform, employing elements of dance (e.g., changing time, value, range/size of movement). c. Discuss and justify movement choices.

3. Develop and utilize elements of dance in movement. (CP, CA)

a. Create symmetrical and asymmetrical shapes alone and with partners, emphasizing positive and negative spaces. b. Explore movement qualities of dynamics: sustain, suspend, swing, percussive, vibratory, and collapse. c. Collaborate with a partner (sharing weight, mirroring, leading, copying) to create and explore movement possibilities.

4. Compose and describe movement with guided criteria. (CP, CA)

a. Formulate and sequence locomotor and non-locomotor movement for levels in space using directions and pathways. b. Create a sequence with a beginning, middle, and end with or without rhythmic accompaniment.

Dance 26 2003 Mississippi Visual and Performing Arts Framework

5. Understand the purposes and functions of dance across cultures, times, and places. (CP, CA, HC, C)

a. Understand how dance is used in various cultures as a celebration of life experiences and community events. b. Understand how dance has been used as a form of communication throughout history.

6. Perceive and understand the meaning and beauty of dance. (A)

a. Recognize components of dance forms to include costume, music, formation, movement, and gender. b. Respond to dance by expressing an understanding of content through writing, music, drama, painting, sculpting, etc.

7. Distinguish and use valid connections between dance and other disciplines. (A, C)

a. Employ the use of the art disciplines to comment or reflect on current issues as well as historical issues. b. Articulate similarities of the elements of the dance in relation to elements of other arts disciplines.

Dance 27 2003 Mississippi Visual and Performing Arts Framework

Dance, Third Grade

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,b Students demonstrate movement with a Student evaluations of skill combination of axial movement utilizing dance mastery by scale using techniques right and left side, upper-half and lower- video performance of half of the body, and combinations of body technique class isolations, with emphasis on body placement, control, and some balance skills.

2 a Students create stationary and mobile geometric Audience responses and designs (triangles, squares, rectangles) with bodies interpretations of alone and with partners. movement design

a,b,c Students present, discuss, and justify interesting Student descriptions of solutions for creating and presenting a movement presented work and model of the circulatory system. reflections of movement representation

3 a Students create design in the body demonstrating Teacher and personal symmetry and asymmetry, using both straight and observation (using a curved lines. mirror) of accuracy in movement design

4 a Students improvise the happenings of each stage of Student writings and the water cycle and properly sequence the stages. drawings of each part of the cycle with noted characteristics of each

5 a,b Students discuss the design of the circle and its Student characterizations common use in dances of all countries. Learn the of a Russian dance Russian folk dance, the Troika, a running circle performer describing the dance, and invite a cultural group to perform. history, meaning, and methods of their craft

6 a Students add performance components to a dance Written critique of the study (e.g., choosing costumes, music, formations). effectiveness of Conduct surveys of audience members of other performance components dancers.

7 a Students engage in a current event movement study Discuss new ideas and with emphasis on the effects of society and its greater emotional people. understanding after the completion of the process

Dance 28 2003 Mississippi Visual and Performing Arts Framework

DANCE FOURTH GRADE

DESCRIPTION OF PROGRAM OF STUDY:

As with all disciplines, a well-rounded education in dance includes a range of educational processes. The elementary school years focus on dance as a creative movement experience that is to be incorporated into the curriculum to achieve increased learner outcomes by employing enriching techniques that demand the involved responses of multiple intelligences, especially that of the kinesthetic. This program of study is to be used by the Dance Specialist and or Classroom Teacher in developing dance curriculum for fourth grade students in the following:

Elementary Dance Arts Integrated in the Elementary Classroom

Dance 29 2003 Mississippi Visual and Performing Arts Framework

DANCE FOURTH GRADE

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Demonstrate a basic understanding of movement skills. (CP, CA)

a. Employ proper alignment in weight transfers while performing and creating movement. b. Demonstrate anatomical knowledge of major body parts through arranging and creating axial movements with and without locomotor movements in various directions and pathways.

2. Demonstrate a problem-solving experience integrating kinesthetic awareness of movement. (CP, CA)

a. Use improvisational skills to problem-solve through assembling or sequencing movement and creating new movement. b. Discuss and justify own movement choices and evaluate movement choices presented by others.

3. Apply elements of dance to movement studies. (CP, CA)

a. Explore one or more elements of dance simultaneously: space, time, shape and energy through improvisation. b. Collaborate with a partner (sharing weight, mirroring, leading, copying) to create and explore movement possibilities.

4. Compose, analyze, and compare movement with guided criteria. (CP, CA, A)

a. Formulate and sequence movement that includes various energies, shapes, and transitions. b. Create a sequence with a beginning, middle, and end with or without partners or rhythmic accompaniment.

Dance 30 2003 Mississippi Visual and Performing Arts Framework

5. Understand and compare the purposes and functions of dance across cultures, times, and places. (CA, HC, C)

a. Relate to how dance is used in various cultures as a celebration of life experiences. b. Understand how dance has been used as a form of communication throughout history. c. Understand the role of dance in Mississippi.

6. Perceive and understand the diverse meaning, creation, and beauty of dance. (A)

a. Perform dances to communicate personal meaning. b. Develop self-awareness and confidence through dance.

7. Translate the connections between dance, other disciplines, and everyday life. (A, C)

a. Associate the use of the art disciplines to comment or reflect on current issues as well historical issues. b. Employ use of the arts in daily life. c. Articulate similarities of the elements of dance in relation to the elements of other arts disciplines.

Dance 31 2003 Mississippi Visual and Performing Arts Framework

Dance, Fourth Grade

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a Students create an axial movement and a locomotor Teacher observation movement using the upper extremities. Combine the two, if possible, and vary the time, space, and energy through improvisation e.g. twist arms while skipping, and travel fast and slow with hard and soft energy. At any freeze, students name the axial movement, locomotor movement, specific body parts utilized, and descriptions of the elements utilized.

2 b Students perform and explain personal movement Compare movement of choices that represent the line from a poem (e.g., groups assigned the same "From now on all these planes need to be large line parachutes").

3 a Students create movement for each syllable of Teacher and student one’s name and improvise continual alteration of evaluation of movement two elements at a time. clarity by syllable and correct number of elements represented

b Students experience weight sharing and mirroring in Teacher evaluation of depth and describe the emotions, findings, and non- written reflections verbal communication involved (e.g., students hold hands with partner and improvise push/pull and counter-balance in order to create weight-sharing shapes). Students write reflections of learning /findings through movement sessions.

4 a,b In a small group, students develop a vocabulary Teacher and student word with movement, adding a cause and effect to evaluation of the chart form a three-part phrase. Students complete a chart showing the three parts of each phrase labeled in the correct order.

5 b Students brainstorm three instances where dance is Teacher and student used as communication. Students write the three evaluation of short story main ideas of each presented dance study and use ideas to develop a short story.

6 a Students transpose ideas about a given subject into Teacher and student movement expression (e.g., recycling, smoking). evaluation of poster Students design a picture to be used as a poster based on ideas generated from the research and development of thematic movement.

7 c Students create a human solar system using Pre and post quiz on the movement and voice to share important information solar system (dance, drama, science).

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Dance, Fourth Grade

d Students compare and discuss use and effects of Teacher evaluation of rhythm and form in visual art, music, and dance. students contribute to discussion

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DANCE

MIDDLE SCHOOL INTRODUCTION

Through kinesthetic education, children at this age freely express themselves by dancing, and enjoy working in groups to share their ideas and dreams. The use of kinesthetic educational experiences is a valuable way to meet the individual needs of learners through employing techniques that involve multiple intelligences. Middle school students typically have high energy spurts, like growth spurts, and can be motivated through this energy to work individually on problem-solving experiences in movement. Because they are inventive, middle school students generally love to experiment with new ways of doing things. They are exuberant in their desire to create, and enjoy forming gender friendships through dance with other students. They will also learn an appreciation of moving together as a large group or a small group in sharing their dance accomplishments. This is an opportune time to experience making connections between dance and other subject areas. They will be intrigued by making connections to dances of various cultures. They pride themselves in increasing their sophistication of historical knowledge relating to dance. Middle school students delight in benefiting from the investigation of different dance styles and sharing this learning with other students. Students will find it fun to work toward the presentation of a large-scale dance production. Focus and concentration will be a challenge to them while continuing to grow through their learning, discussion, research, and experimentation.

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DANCE MIDDLE SCHOOL LEVEL I

DESCRIPTION OF PROGRAM OF STUDY:

As with all disciplines, a well-rounded education in dance includes a range of educational processes. The middle school years focus on dance as a creative movement experience that is to be incorporated into the curriculum to achieve increased learner outcomes by employing enriching techniques that demand the involved responses of multiple intelligences, especially that of the kinesthetic. This program of study is to be used by the Dance Specialist and or Classroom Teacher in developing dance curriculum for middle school level I students in the following:

Middle School Dance Arts Integrated in the Middle School Classroom

The five major strands of study in the dance discipline are: Creating/Performing, Critical Analysis, Culture/History, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of on-going instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students in their district. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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DANCE MIDDLE SCHOOL LEVEL I

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Demonstrate a basic understanding of movement skills while applying anatomical knowledge. (CP, C)

a. Exhibit balance for an increasing duration of time. b. Identify planes in space (e.g.,vertical, horizontal, sagittal). c. Recognize and name the following muscles: rectus abdominis, hamstrings, quadriceps, pectorals, gluteus maximus. d. Recognize and name the following bones: femur, pelvic girdle, sternum, spine, ribs, patella, clavicle, scapula.

2. Demonstrate movement problem solving experiences integrating basic movement skills. (CA, CP)

a. Resolve composition problems through the democratic process. b. Demonstrate rearrangements of movement sequences. c. Use improvisation as a tool for problem-solving.

3. Translate elements of dance into improvisation and composition. (CP)

a. Create a rhythmic pattern from the auditory experience into the kinesthetic experience. b. Memorize and repeat movement experiences. c. Create a dance using a given spatial design.

4. Compose, analyze, and appraise choreographic movement choices. (CA)

a. Demonstrate and explain how sound, music, spoken text, and costume affect movement choices and the meaning of dance. b. Design multiple solutions to a given movement problem. c. Identify ineffective movement and establish corrective measures.

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5. Demonstrate and gain a better understanding of dance forms and styles. (CP, HC)

a. Perform traditional dances from diverse cultures. b. Understand cultural influences and the purpose and function of dance styles.

6. Perceive and practice an appreciation for the creation, meaning, and beauty of dance. (A,C)

a. Create a dance that successfully communicates a topic of personal significance. b. Attend a concert, theater, or dance presentation. c. Discuss and demonstrate audience and performing arts etiquette for the classroom.

7. Build connections between living and learning through dance. (C)

a. To prevent injury, apply the correct usage of the body to everyday movement. b. Know how dance movements enhance healthy living. c. Create a movement study based on a literary connection. d. Create a shape composition using sculptures as a theme.

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Middle School Dance (Level I)

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 c,d Teachers prepare a “Bones and Muscles” packet Verbal test where students that students can use to draw the specified bones have to physically engage and muscles. Students find those muscles and those muscles to verbal bones on their own body. commands

2 a Divide the class into small groups. Each student Teacher observation and group selects their own 16-count rhythm phrase and class discussion creates movement for the phrase (e.g., using your favorite Disney video character, select a rhythm phrase and perform movement using that character’s qualities).

3 b Teacher divides the class into small groups. Each Teacher observation and group chooses a book that all students have read. prepared rubric based on They create movement phrases based on words, criteria of the project dialogue, and emotions displayed in the book.

4 c Students select a partner and perform movement Student self -evaluation skills for their partner. Each partner will identify form ineffective movement skills and assist the partner with corrections (e.g. pointed toes, posture alignment).

5 a,b Working in groups, students identify the beliefs, Performance rubric customs, traditions, arts, and achievements of a established at the time of culture. Using the cultural information, students assignment by students create a dance that will convey a personal and teacher perspective on a specific culture.

6 a Students research a social issue in their community Student, peer, and teacher and give a presentation in class on their personal evaluation views.

7 b In a large group format, students will list the physical Teacher -evaluation based and mental benefits of dance training. on compiled list

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DANCE MIDDLE SCHOOL LEVEL II

DESCRIPTION OF PROGRAM OF STUDY:

As with all disciplines, a well-rounded education in dance includes a range of educational processes. The middle school years focus on dance as a creative movement experience that is to be incorporated into the curriculum to achieve an increased learner outcomes by employing enriching techniques that demand the involved responses of multiple intelligences, especially that of the kinesthetic. This program of study is to be used by the Dance Specialist and or Classroom Teacher in developing dance curriculum for middle school level II students in the following:

Middle School Dance Arts Integrated in the Middle School Classroom Middle School Dance Performance

The five major strands of study in the dance discipline are: Creating/Performing, Critical Analysis, Culture/History, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of on-going instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students in their district. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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DANCE MIDDLE SCHOOL LEVEL II

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Demonstrate a basic understanding of movement skills while applying anatomical knowledge. (CP,C)

a. Develop an understanding of movement initiation. b. Practice falling, recovering, folding, and reaching. c. Demonstrate increasing anatomical and kinesthetic awareness, concentration, and focus in performing movement skills.

2. Demonstrate movement problem solving experiences integrating skills. (CA, CP)

a. Review contrast, transition, and phrasing. b. Utilize the democratic process in a small group collaborative experience to create a composition. c. Using improvisation as a tool, find a solution to a movement problem solving experience.

3. Translate elements of dance into improvisation and composition. (CP)

a. Demonstrate the ability to use a spatial pattern in a performance. b. Increase range of dynamics and movement qualities.

4. Compose, analyze, and appraise choreographic movement choices. (CP, CA)

a. Present an effective dance study demonstrating pedestrian and/or abstracted gestures. b. Appraise the novelty and validity of movement. c. Describe the way movement choices affect a dance.

5. Demonstrate and appreciate dances from different cultures, times, and places. (HC)

a. Identify dance etiquette in diverse cultures. b. Examine the role and function of dance in specific cultures.

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6. Perceive and practice an appreciation for the creation, meaning, and beauty of dance. (CA,C)

a. Know how personal perspectives influence the meaning of a dance. b. Demonstrate proper audience and performing arts etiquette.

7. Know and examine connections between living and learning through dance. (C, A)

a. Know how healthful living affects a dancer’s body. b. Examine role and function of dances in one’s family and community.

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Middle School Dance (Level II)

Middle School Dance Performance (See Page 51)

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 c Students form a circle to create a “class- Teacher and student choreographed circle dance.” Go around the circle response to the to allow each student to create a movement. performance of the circle dance

2 b Utilize photographs of sculptural forms as an aid to Teacher observation of a lesson in the use of space. Students will create a activity and discussion dance using positive and negative space. Have one student create a shape and have a second student fill in the empty space around the first shape. Students discuss use of positive and negative space.

3 a Students design a spatial pattern on paper, notating Teacher evaluation of movement qualities, timing, and level changes to be written design compared performed. Students test the design through a to the final physical physical demonstration. demonstration

4 b After the performance of student work, have a Teacher/peer evaluation of “peer-exchange and critiquing” session. The student portfolio/journal choreographer and dancer sit down and discuss the experience from conception to production. Student keeps record of work and comments in a portfolio/journal.

5 b Students name some of the important moments in Teacher observation of their lives. Create a ritual based on the discussion performance about this moment or rite of passage.

6 a After students have viewed a dance, students Teacher observation of formulate a personal perspective of the discussion performance. Students discuss personal perspectives of the performance.

7 a Students complete an “individual health Teacher-evaluation of the questionnaire” to determine their level of healthy questionnaire at the living. beginning and end of a term

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DANCE MIDDLE SCHOOL LEVEL III

DESCRIPTION OF PROGRAM OF STUDY:

Middle School Dance Arts Integrated in the Middle School Classroom Middle School Dance Performance

The five major strands of study in the dance discipline are: Creating/Performing, Critical Analysis, Culture/History, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students in their district. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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DANCE MIDDLE SCHOOL LEVEL III

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Demonstrate an understanding of movement skills while applying anatomical knowledge and correct terms. (CP,C)

a. Develop and demonstrate an understanding of movement initiation. b. Practice shifting weight of the body. c. Demonstrate elevation and landing. d. Develop movement using the following muscles: rectus abdominis, hamstrings, quadriceps, pectorals, gluteus maximus. e. Demonstrate and recognize planes in space: vertical, horizontal, sagittal. f. Demonstrate memorization and reproduction of several continuous movement sequences.

2. Demonstrate improvisation and choreography in movement problem solving experiences. (CA, CP)

a. Demonstrate variations of contrast, transition, and phrasing. b. Demonstrate dance structures and forms (e.g., AB, ABA, cannon, mirroring, narrative.)

3. Manipulate elements of dance into movement. (CP, CA)

a. Create movement using time, space, energy, and shape while using correct body alignment. b. Demonstrate ability to compare and contrast dance compositions in terms of space, time, and energy.

4. Compose and interpret choreographic movement choices. (CP, CA)

a. Effectively demonstrate the difference between pantomiming and abstracting a gesture. b. Demonstrate and explain how production elements affect movement choices.

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5. Construct and present dances reflective of cultures, times, and places. (CP, HC)

a. Perform basic dance positions, axial and locomotor movement, and patterns from different dance disciplines (e.g., modern, ballet, cultural specific dances). b. Describe and critique dance from a specific culture. c. Identify the movement aspects of ballet, modern, jazz, tap, and cultural dance. d. Understand and know the historical background of various types of dance. e. Competently identify dance disciplines from a variety of forms (e.g., modern, ballet, tap).

6. Perceive, practice, and advocate an appreciation for the creation, beauty and value of dance. (CA,C)

a. Discuss varying views of a dance concert. b. Identify possible aesthetic criteria for evaluating dance such as skill of performers, originality, visual and/ or emotional impact. c. Exhibit proper audience and performing arts etiquette.

7. Translate and apply connections between living and learning through dance. (C, A)

a. Identify dance careers. b. Demonstrate knowledge of dances in one’s family and community. c. Integrate science and dance by using a specific internal function of the human body and reproduce a movement phrase.

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Middle School Dance (Level III)

Middle School Dance Performance (See Page 51)

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 f Teacher demonstrates 4 to 6 movement sequences. Teacher observation of Allow students time to memorize and reproduce the performance rubric sequences given.

2 b Students create compositions using various themes, Video of performance and structures, and forms. Record and watch the video teacher evaluation of dances created by the class. Through discussion, evaluate the dancing. Notice what structures, themes, and forms were used.

3 a,b Using everyday gestures and movements found in Respond to the question, occupations, students create phrases using time, “How did the manipulation space, and energy. of the movement change the original form?”

4 b During the dance production process, students keep Portfolio/Journal entries a daily journal to express the differences they and questions experience in a specific dance piece/concert (e.g., How did the music, costumes, props, lights, etc… affect the movement choices?)

5 b Team project with history class. Choose historical Teacher observation of time periods in a specific culture and practice performance dances that were popular during these time periods. (e.g. medieval time period with maypole and chain dance; roaring 20’s with the Charleston).

6 c After a school assembly, identify positive and Teacher-prepared negative audience etiquette (e.g., Did everyone quiz/test enter the performance area quietly? Did everyone applaud appropriately?)

7 b Discuss family celebrations that have taken place, Teacher-prepared such as christenings, weddings, funerals, birthdays, performance rubric holidays, and religious celebrations. Create a movement ceremony depicting one of the celebrations.

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DANCE MIDDLE SCHOOL LEVEL IV

DESCRIPTION OF PROGRAM OF STUDY:

Middle School Dance Arts Integrated in the Middle School Classroom Middle School Dance Performance

The five major strands of study in the dance discipline are: Creating/Performing, Critical Analysis, Culture/History, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students in their district. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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DANCE MIDDLE SCHOOL LEVEL IV

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Demonstrate movement with an increasing concentration and focus on technique and terminology. (CP)

a. Demonstrate alignment and awareness of center. b. Demonstrate ability to initiate movement from different or specified origins (e.g., head, pelvis, hand, foot). c. Demonstrate correct usage of body in elevation and landing. d. Demonstrate movement understanding of fall and recovery, folding and reaching. e. Perform movements using the following muscles: rectus abdominis, ilio psoas, hamstrings, quadriceps, pectorals, latissimus dorsis, gluteus maximus, rotators, muscle groups, abductors and adductors. f. Recognize and expand vocabulary and knowledge of the skeletal system: femur, pelvic girdle, sternum, scapula, spine, ribs, patella, clavicle.

2. Recognize and demonstrate improvisation and choreographic choices in a movement problem solving experience. (CP,CA)

a. Create a compositional piece using contrast, transition, and phrasing. b. Create a composition using forms and structures (e.g., AB, ABA, cannon, mirroring, narrative). c. Formulate and answer aesthetic questions to guide choices (e.g., How much can one change affect the outcome of a dance?).

3. Apply elements of dance to choreographic process and principles. (CP)

a. Accurately identify and demonstrate basic dance steps, positions, and patterns. b. Increase range of dynamics, and movement qualities. c. Apply knowledge of choreographic principles to create student-choreographed work.

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4. Compose and critique choreographic movement choices. (CP, CA)

a. Appraise the novelty and validity of different types of movement. b. Identify and understand multiple solutions to a given movement problem.

5. Construct, present, and compare the diversity of dance in relation to cultures, times, and places. (CP, HC)

a. Competently perform traditional dances from diverse cultures. b. Competently perform basic dance positions, axial and locomotor movement, and patterns from different disciplines (e.g. modern, ballet). c. Demonstrate ability to compare the role of dance in different cultures and periods. d. Recreate a dance previously observed within a specific culture. e. Identify similarities and differences in dance of the past and present.

6. Perceive, practice, and advocate, an appreciation for the artistic value and beauty of dance. (A,C)

a. Collect information on one Community Arts opportunity. b. Actively publicize information on the arts activities within your community and school. c. Practice and promote proper audience and performing arts etiquette. d. Create, present, and evaluate a teacher-given dance study.

7. With increasing proficiency, translate and apply connections between living and learning through dance. (C, A)

a. Design a long-range plan for improving dance skills. b. Identify and examine dance careers in Mississippi and the United States. c. Find Mississippi pioneers in dance-related fields. d. Compare art forms in other disciplines to dance.

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Middle School Dance (Level IV)

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 d Students use improvisational skills to demonstrate Teacher observation several different ways to fall and recover, fold and reach (e.g. tripping, collapsing, melting).

2 a Students create movements using direct transitions. Teacher prepared rubric Create indirect transitions using the same on transitions movements (e.g., Go from point A to B in a direct path. Then go from point A to B using an indirect path).

3 b Students rehearse a choreographic work to refine Students evaluation paper the dynamics and movement qualities (e.g., Give with set criteria from the student images of qualities such as vibratory, teacher smooth, and wavy).

4 a In small groups, students create a dance that Teacher observation and successfully communicates a topic. Compare the graded written work differences in movement choices from group to group (e.g., How did group 1’s choices change the mood of the dance verses group 2’s choices?).

5 e Teacher and students arrange themselves in a Teacher observation and group and compose a movement phrase based on rubric for poster present dance styles. Watch a video of a historical information dance. Write a comparison of the two dances.

6 b With assistance from visual arts classes, students Teacher-organized Criteria devise a publicity campaign. Students create Sheet posters for their dance concert and distribute in their community.

7 c Students use the Internet to research Mississippi Teacher-organized Criteria pioneers in dance related fields. Create a multi- Sheet media presentation from the collected information.

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Dance Performance, Middle School Level IV

(This strategy chart is given as an example of how competencies and objectives from the Middle School Dance Level IV program of study can be used to teach a Level IV Dance Performance Class. Dance Performance Classes may be taught at Levels I, II, III, and IV using those respective programs of study.)

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,c,e,f Develop performance and musicality skills in a Teacher observation, self selected dance form (e.g., modern, ballet, jazz, tap, and peer evaluation of traditional). skills

2 a,c Develop structure and/or form using a coastal Teacher observation environment as a theme (e.g., dance movement exemplifies/imitates ocean wave motion).

3bStudents will memorize and repeat teacher-directed Teacher observation movement sequences. through rubric. Video and evaluate performance

4aCreate a sequence of movement ideas based on Teacher observation research of various Modern choreographers (e.g., through rubric. Video and Merce Cunningham, Alvin Ailey, Twyla Tharpe). evaluate performance

5bWithin a particular dance form, students discuss and Teacher observation and compare personal and class growth in technique discussion and performance skills.

6dCreate a complex project through an ever-changing Journal and/or portfolio environment (e.g., Group 1 changes shape/form reflection and placement in room every 16 counts as group 2 uses various locomotor skills and qualities of movement to move within group 1’s shape).

7dCreate a bank of action words used in a sports Journal and/or portfolio activity. Perform a dance study using the bank of reflection words.

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DANCE HIGH SCHOOL INTRODUCTION

In high school, training in dance technique and studying dance as a performing art are of major importance. Young people rapture in living to a greater degree when they acquire a sense of accomplishment in developing movement skills. They also pride themselves in studying dance as a discipline, from its academic point of view. The art and the discipline are not taught as separate entities, but are taught and practiced as a whole. The high school young person is able to examine aspects of self and his or her contribution to the world. Their sense of self as sensorial beings can be developed along with their capability to understand great things. Each of these aspects can be expressed through dance. While having fun, there is seriousness of purpose in their art-making and personal expression. Their thoughts can be expressed and even visualized in student choreography. The student is able to see the form and content of the dance and the dancer as one, learning a new way of viewing dance, and as something special that they can produce and to which they can contribute. Dance technique-training in different forms and styles at this level is a way young people learn about the larger world and learn various modes of expression. The High School Dance Framework is divided into different programs of study that can be used to develop curriculum for a variety of courses listed in the Approved Courses for the Secondary Schools of Mississippi. At the high school level, some programs of study may be applied to curriculum development for more that one course. A list of the applicable courses is included in the description of each program of study. To facilitate application of the program of study to multiple courses, a Suggested Strategies and Assessments Chart for each applicable course is included following the program of study. In order to accommodate the variety of scheduling formats throughout Mississippi schools, some arts courses are available for 1 or 1/2 credit. Courses offered for 1/2 credit must cover all the competencies in the designated program of study. Those courses earning 1 credit will cover all the competencies, but in greater depth and breadth than the 1/2 credit courses. A listing of these courses and the corresponding program of study to be used in developing curriculum for those courses follows:

Dance Course: Dance Program of Study:

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High School Dance I (Proficient) High School Level I High School Dance II (Proficient) High School Level II High School Dance III (Advanced) High School Level III High School Dance IV (Advanced) High School Level IV Dance Performance I (Proficient) High School Level I Dance Performance II (Proficient) High School Level II Dance Performance III (Advanced) High School Level III Dance Performance IV (Advanced) High School Level IV

Course Descriptions

DANCE I, Proficient (1/2 or 1 credit) Based on High School Dance Level I program of study. Districts may tailor the competencies to meet the specific focus of the course they are designing, but all competencies must be addressed. This course is designed to develop proficiency in at least one dance technique (e.g., modern dance, ballet, jazz dance, tap, dances of Africa, and various styles, or periods). This course may be repeated for up to 2 credits.

DANCE II, Proficient (1/2 or 1 credit) Prerequisite course: Dance I. Based on High School Dance Level II program of study. Districts may tailor the competencies to meet the specific focus of the course they are designing, but all competencies must be addressed. This course is designed to develop proficiency in at least one dance technique (e.g., modern dance, ballet, jazz dance, tap, traditional dance, and various styles, or periods). This course may be repeated for up to 2 credits.

DANCE III, Advanced (1/2 credit or 1 credit) Prerequisite course: Dance II. Based on High School Level III program of study. Districts may tailor the competencies to meet the specific focus of the course they are designing, but all competencies must be addressed. This course is designed to develop competency in one technique and proficiency in another technique (e.g., modern dance, ballet, jazz dance, tap, traditional dance, and various styles, or periods). This course may be repeated for up to 2 credits

DANCE IV, Advanced (1/2 or 1 credit) Prerequisite course: Dance III.

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Based on High School Level III Framework. Districts may tailor the competencies to meet the specific focus of the course they are designing, but all competencies must be addressed. This course is designed to develop competency in one dance technique and proficiency in another technique, (e.g., modern dance, ballet, jazz dance, tap, traditional dance, and various styles, or periods). This course may be repeated for up to 2 credits.

DANCE PERFORMANCE I, Proficient (1/2 or 1 credit) Prerequisite: Dance I, Dance II, or by permission of instructor. This course accommodates districts that want to offer specialized concentrated instruction in the theatrical or art-dance forms (e.g., modern dance, ballet, jazz dance, tap, traditional dance, and various styles, or periods). Dance Performance I must be based on the competencies delineated in the High School Level I (Proficient) Framework. Districts may tailor the competencies to meet the specific focus of the course they are designing, but all competencies must be addressed.

DANCE PERFORMANCE II Proficient (One semester or a full year, 1/2 or 1 credit) Prerequisite: Dance II, Dance Performance I, or by permission of instructor. This course accommodates districts that want to offer specialized concentrated instruction in the theatrical or dance forms (e.g., modern dance, ballet, jazz dance, tap, traditional dance, and various styles, or periods). Dance Performance II must be based on the competencies delineated in the High School Level II (Proficient) Framework. Districts may tailor those competencies to meet the specific focus of the course they are designing, but all competencies must be addressed.

DANCE PERFORMANCE III Advanced (One semester or a full year, 1/2 or 1 credit) Prerequisite: Dance II, Dance Performance II, or by permission of instructor. This course accommodates districts that want to offer specialized instruction in concentrated instruction in learning dance repertory, choreography, and presentation of dance works, from specific theatrical or dance forms (e.g., modern dance, ballet, jazz dance, tap, traditional dance, and various styles, or periods). Dance Performance III must be based on the competencies delineated in the High School Level III (Advanced) Framework. Districts may tailor those competencies to meet the specific focus of the course they are designing, but all competencies must be addressed.

DANCE PERFORMANCE IV Advanced (One semester or a full year, 1/2 or 1 credit)

Dance 54 2003 Mississippi Visual and Performing Arts Framework

Prerequisite: Dance III, Dance IV, Dance Performance III or by permission of instructor. This course accommodates districts that want to offer specialized instruction in learning dance repertory, choreography, and presentation of dance works, from specific theatrical or dance forms. (e.g., modern dance, ballet, jazz dance, tap, traditional dance, and various styles, or periods). Dance Performance IV must be based on the competencies delineated in the High School Level IV (Advanced) Framework. Districts may tailor those competencies to meet the specific focus of the course they are designing, but all competencies must be addressed.

Dance 55 2003 Mississippi Visual and Performing Arts Framework

DANCE HIGH SCHOOL LEVEL I (Proficient)

DESCRIPTION OF PROGRAM OF STUDY:

As with all disciplines, a well-rounded education in dance includes a range of educational processes. The secondary school years focus on dance as a creative movement experience that is to be incorporated into the curriculum to achieve increased learner outcomes by employing enriching techniques that demand the involved responses of multiple intelligences, especially that of the kinesthetic. This program of study is to be used in developing dance curriculum for high school level I students in the following:

Dance I Dance Performance I

The five major strands of study in the dance discipline are Creating/Performing, Critical Analysis, Culture/History, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of on going instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Dance 56 2003 Mississippi Visual and Performing Arts Framework

DANCE HIGH SCHOOL LEVEL I (Proficient)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Practice advancing, translating, and performing dance technique. (CP, CA)

a. Demonstrate appropriate alignment and a basic understanding of the anatomical structure and its function. b. Incorporate kinesthetic understanding and beginning proficiency of one dance technique while developing rhythmic skill. c. Establish a general knowledge of a second dance technique. d. Demonstrate a basic understanding of dance terminology. e. Recall extended movement phrases or sequences, using proper technique, and forces of human energy. f. Assess and create short-term goals for technical and performance improvement in dance skills.

2. Embellish and present movement problem-solving experiences. (CP, CA)

a. Understand and perform form and structure (theme and variation). b. Employ basic choreographic devices (repetition, staging, tempo, transposition). c. Choreograph duets and/or small group studies.

3. Utilize the elements of dance in structures, processes, and principles. (CP, CA)

a. Practice performance of improvised and choreographed movement with use of space, time, shape, and energy. b. Originate movement choices utilizing space, time, and energy concepts. c. Create a dance demonstration knowledge of dance history to include traditional, classical, and contemporary dance forms. d. Create dances that communicate meaning.

Dance 57 2003 Mississippi Visual and Performing Arts Framework

4. Compose and articulate dance as an art form. (CA)

a. Distinguish the difference between literal and abstract and determine how to create abstract movement. b. Create a short dance study in response to a given context. c. Demonstrate usage of dance terminology to communicate dance concepts. d. Recognize that one’s personal experience influences interpretation of a dance.

5. Understand and value the role and function of dance as a reflection of life, culture, history, and individual experience. (CA, HC, C)

a. View dances representive of world cultures. b. Compare major figures of American dance and their choreographic styles (e.g., Isadora Duncan, The German Expressionists, Ruth St. Denis, Ted Shawn, Martha Graham, Doris Humphrey, Charles Weidman) c. Know how the cultural context of dance determines the differing uses of space, time, and energy.

6. Perceive, know, and advocate the artistic value of dance, articulating the context and criteria of the dance experience. (CA, A)

a. Perceive and practice sensorial discovery of human movement. b. Critique the aesthetic elements of dance. c. Perceive artistic content through written, visual, and verbal responses. d. View and discuss great dance works, innovators, and performers. e. Demonstrate an understanding of choreographic styles. f. Demonstrate an understanding of translating movement in literary works. g. Patronize dance performances. h. Create dances based on individual feelings, thoughts, and ideas.

7. Create and adopt connections for artful living through the dance experience. (CP, CA, C)

a. Make connections with dance to one’s life and cultural experiences. b. Practice adopting healthful living practices (e.g., diet/nutrition, exercise, sleep). c. Apply knowledge of dance to create connections to aspects of the learning experience, and to other subject areas. d. Reflect on personal progress and personal growth in dance. e. Discuss how technology can be used to reinforce and enhance a dance.

Dance 58 2003 Mississippi Visual and Performing Arts Framework

High School Dance I

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,b,c,f Students use Vocabulary Sheets to create Teacher Observation movement sequences as they perform technical Portfolio _ a list of dance skills demonstrating alignment, awareness of center vocabulary and definitions core, strength, agility, balance, and students (e.g., parallel, plie, tendu, understand tempo, statis (active/passive) activity, C curve, drop swing). breath, and metered time. Videotape performance. Written test examining knowledge of dance terminology

2 a,c Students create structure or form (such as Video of performance, palindrome, rondo, or round) through brief dance teacher, self and peer studies, developing duets for demonstration. evaluation

3 a,b Students use improvisation to originate movement Teacher observation of utilizing negative and positive shape and space process and peer concepts. Use photographs of sculptural forms as a evaluation of outcome lesson aid (e. g., divide students into groups and have them combine shapes created in the group to create a fluid whole).

4 a,b,c,e Individual students practice with a communicative Teacher observation of gesture and learn to stylize the gesture from real to process, self and peer dance abstraction, changing the range in space, evaluation of videotape level in space, use of different body parts (e.g., outcomes picking out a common repetitive gesture, have students develop 3 movement qualities such as “come, go, stop, yes, no”).

5 a Study aesthetic qualities of unity, unison, and slow- Written student motion in relationship to court dance in various evaluations cultures and the relationships to other dances and life.

6 a,b,c Students demonstrate appropriate audience Teacher observation of behavior. Compare aesthetic criteria for evaluating discussion. Portfolio, dance, such as skill of performers, originality, visual Journal-recording, and /or emotional impact, variety and contrast (e.g., reflecting upon movement Have students pantomine an audience coming to a learning, and discoveries performance, acknowledging the conductor, and watching a performance).

7 a,b Students record meals eaten for one week and Portfolio and journal- reflect on healthy vs. unhealthy eating habits, comparing life-style to according to articles read about good nutrition. written articles

Dance 59 2003 Mississippi Visual and Performing Arts Framework

High School Dance Performance I

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,b,f Develop skills in selected theatrical dance or art- Teacher observation and dance form (e.g., modern dance, ballet, jazz dance, self and peer evaluation of tap, traditional) developing musicality and performance videotape performing several extended phrases Written test examining (e.g., Show students examples of various dance knowledge of dance forms. Have them chose a form and develop a 32 terminology count phrase demonstrating the selected form using video).

2 a,b,c Develop structure and form using the Recycle Teacher observation of theme to create a group dance. Utilizing previous process and peer developed movement sequences, have students evaluation of outcome combine and “recycle” to form new sequences.

3 a,b Students, as a group, memorize movement Teacher observation of sequences presented by the teacher and rearrange process, self and peer them in time and space. evaluation of outcomes and videotape of performance

4 b,c,d Create a sequence of movement ideas based on Teacher observation of movement researched via, books, video, and live process, self and peer concerts. evaluation of outcomes and videotape of performance

5 a,c Students discuss, compare, and contrast two dance Teacher observation of compositions in terms of spatial arrangement and discussion, written time (such as rhythm and tempo), from two different recording world cultures.

6 b,d Students create an interdisciplinary project with Portfolio, journal – dance, and two other subjects, examining aesthetic recording. Reflecting on values. Working with a teacher in another subject aesthetic responses and area, have dancers work with students from that discoveries class to illuminate or illustrate the given topic or text.

7 a,b,e,f Students create a Bank of Action Words used in Portfolio, journal - various ways in sports movement, and compare recording, reflecting upon them to words used in dance movement. movement learning and discoveries

Dance 60 2003 Mississippi Visual and Performing Arts Framework

DANCE HIGH SCHOOL LEVEL II (Proficient)

DESCRIPTION OF PROGRAM OF STUDY:

Dance II (Prerequisite: Dance I) Dance Performance II (Prerequisite: Dance II, Dance Performance I, or by permission of instructor)

The five major strands of study in the dance discipline are Creating/Performing, Critical Analysis, Culture/History, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Dance 61 2003 Mississippi Visual and Performing Arts Framework

DANCE HIGH SCHOOL LEVEL II (Proficient)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Practice advancing, translating and performing dance technique. (CP, CA)

a. Demonstrate a general understanding of the anatomical structure and its function, and the skeletal system as a whole. b. Incorporate kinesthetic understanding and proficiency of one dance technique while developing rhythmic skill. c. Establish a general knowledge of a second dance technique. d. Demonstrate a basic understanding of and ability to apply dance terminology. e. Recall and demonstrate movement phrases or sequences, using proper technique and understanding forces of human energy. f. Assess and employ short-term goals for technical and performance improvement in dance skills.

2. Embellish and present movement problem-solving experiences. (CP, CA)

a. Demonstrate an understanding of form and structure (e.g., theme and variation, motif and development, rondo, ABACAD). b. Demonstrate an understanding of basic choreographic devices (e.g., repetition, staging, tempo, transposition, augmentation, diminution, inversion). c. Choreograph dance studies for working alone and in a group. d. Create and revise a dance, articulating reasons for artistic decisions.

3. Utilize elements of dance in structures, processes, and principles. (CP, CA)

a. Practice performance of improvised and choreographed movement with intelligent use of space, time, shape, and energy. b. Originate movement choices expanding and utilizing space, time, and energy concepts. c. Choreograph dance studies that communicate social and/or personal meaning.

Dance 62 2003 Mississippi Visual and Performing Arts Framework

4. Compose, distinguish, and articulate dance as an art form. (CA, A)

a. Know the difference between literal and abstract and determine how movement choices communicate abstract ideas in dance. b. Create dance studies in response to a given theme or context. c. Demonstrate proficiency in using dance terminology to communicate dance concepts. d. Determine how one’s personal experience influences interpretation of a dance.

5. Understand, demonstrate, and value the role and function of dance as a reflection of life, culture, history, and individual experience. (CA, HC, C)

a. View dances representative of world cultures. b. Investigate major figures of American dance and their choreographic styles (e.g., Katherine Dunham, George Balanchine, Merce Cunningham). c. Create a chronology for dance within a historical period. d. Understand the role and function of dance in America. e. Demonstrate understanding of different theatrical forms of dance (modern, ballet) and how the forms developed. f. Perform dances from various cultures.

6. Know, and advocate the artistic value of dance, articulating the context and criteria of the dance experience. (CA, A)

a. Perceive and practice sensorial discovery of human movement. b. Critique dances and discuss similarities and differences in use of the elements of dance. c. Perceive artistic content through written, visual, and verbal responses. d. Evaluate great dance works, innovators, and performers. e. Patronize dance performances. f. Demonstrate an understanding of a favorite choreographic style. g. Demonstrate an understanding and accurate translation of movement in literary works.

7. Create and exhibit connections for artful living through the dance experience. (CP, CA, C)

a. Make valid connections to one’s life and cultural experiences. b. Adopt and utilize healthful living practices (e.g., diet/nutrition, exercise, sleep) c. Present an oral report on dance involving school, family, and community. d. Understand how dance functions as a part of everyday life and as a specialized field (career/discipline).

Dance 63 2003 Mississippi Visual and Performing Arts Framework

High School Dance II

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,b,c,f Develop proficiency-demonstrating technique using Teacher observation of center axial sequences, upper and lower body performance coordination, locomotor combinations, applying self- Written test examining correction. Students demonstrate ability to model knowledge of dance dance technique. terminology

2 b,c Students chain actions in a circle creating Teacher observation of movement improvisationally. Students recall and creating and response perform the movement with a certain quality (e.g., sustained, abrupt, swing, vibratory, collapse, or with punch, jab, and/or flow).

3 a,b In pairs, students focus on mirroring one another in Teacher observation of movement, explore the mirroring in other parts of process, response and the body besides the hands. Allow the mirroring to discussion expand and contract the space from being very close together to pulling far apart.

4 a,b,c Students play with hand gestures, dancing them Teacher observation of with different music stumuli. Transfer movement into process evaluation of the other body parts. Explore the use of gestures and outcome spoken language to create drama.

5 a,b,d Students analyze historical and cultural images Teacher observation of used in designing costumes for dance and compare discussion these to images in American film (e. g., students compare the costumes of early ballet with those used on stage today).

6 a,d,f Students reflect upon their progress and personal Portfolio, journal- growth during the study of dance (e.g., In a recording and reflecting grammatically correct essay have students assess upon the experience their awareness of movement and their use of their bodies since taking the course).

7 a,c Students record the oral history of the dance Portfolio, journal project, experience of a family member to use as thematic rubric material for a dance with videotape.

Dance 64 2003 Mississippi Visual and Performing Arts Framework

High School Dance Performance II

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,b,f,g Advance technique through learning selected Teacher observation of theatrical forms or art-dance (e.g., modern dance, performance videotape ballet, jazz, tap, traditional), self-monitoring of Written test examining postural alignment, applying dance conditioning and knowledge of dance therapy studies (e.g., Alexander, Barteniff, Pilates, terminology Laban).

2 b,c In a circle, students create movement Teacher observation of improvisationally. Recall and perform the creating and response movements with a certain use of various spatial levels, from the floor level to the air (e.g., Have each student introduce him or herself using a descriptive movement).

3 a,b Students explore space between themselves and Teacher observation of create various movement patterns (e.g., Choose process, response and one student to assume a shape, call out individual discussion students to add a shape to the previous one).

4 a,b,c Students perform ceremonial gestures performed in Teacher observation of a sequence to world music (e.g., Using music as process and peer stimulus, have students create movement evaluation of the outcome sequences using ceremonial gestures).

5 a,b,d Student analyze historical and cultural images of the Teacher observation of human form/body in dance and compare these to student discussion images of the body in contemporary media.

6 a,d,f Students reflect upon their individual progress and Portfolio, journal- 7 a personal growth by watching a video tape of their recording and reflecting on composition studies (e.g., In a grammatically correct personal growth through essay, students critique their progress and growth the experience by viewing themselves and reflecting on their experiences).

Dance 65 2003 Mississippi Visual and Performing Arts Framework

DANCE HIGH SCHOOL LEVEL III (Advanced)

DESCRIPTION OF PROGRAM OF STUDY:

Dance III (Prerequisite: Dance II or by permission of instructor) Dance Performance III (Prerequisite: Dance II, Dance Performance II or by permission of instructor)

The five major strands of study in the dance discipline are Creating/Performing, Critical Analysis, Culture/History, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Dance 66 2003 Mississippi Visual and Performing Arts Framework

DANCE HIGH SCHOOL LEVEL III (Advanced)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Practice advancing and refining technique into performance. (CP, CA)

a. Demonstrate understanding of the function of the muscles and the human anatomical structure. b. Accurately demonstrate skills of memorization and reproduction of movement sequences. c. Demonstrate rhythmic understanding (e.g. even intervals, uneven intervals, accent, random, rhythmic, metered: simple, duple, triple compound, and mixed). d. Develop proficiency in a second dance technique. e. Utilize imagery to develop sensory awareness. f. Apply and perform technical skill with optimum proficiency to axial and locomotor movement phrases. g. Practice teaching movement sequences to others. h. Recall extended movement phrases or sequences.

2. Construct and present moving problem solving experiences. (CP, CA)

a. Execute choreographic principles, devices,processes and structures (palindrome, repetition, staging, tempo, transposition, augmentation, diminution, inversion, accumulation). b. Create extended movement phrases. c. Choreograph a small group dance with coherence and aesthetic unity. d. Effectively communicate a social, political, or personal theme in a dance.

3. Synthesize the elements of dance into composing and presenting dances. (CP, A, CA)

a. Practice performance of improvised and choreographed movement with intelligent use of space, time, shape, and energy. b. Demonstrate ability to spatially project movement from the stage to an audience.

Dance 67 2003 Mississippi Visual and Performing Arts Framework

c. Improvise original time, space, and motional images and translate into dance composition through problem solutions exercises. d. Examine ways that dance is valued and conveys meaning by considering the dance from a variety of perspectives.

4. Analyze and appraise meaning communicated through dance. (CP, A, CA)

a. Demonstrate critical thinking when describing the function of the muscles in movement studies. b. Interpret non-literal dance studies. c. Analyze dance studies through observation, comparison, and discussion. d. Analyze and discuss the perceived intent of the choreographer. e. Analyze the influence of personal experiences on the dance experience. f. Develop clarity and proficiency in communicating concepts using dance terminology.

5. Understand, perform, and value the role and function of dance as a reflection of life, culture, history, and individual experience. (CA, HC, C)

a. Understand the phenomenon of dance in world cultures. b. Investigate major figures of American dance and their choreographic styles (e.g., Agnes DeMille, Paul Taylor, Jerome Robins, Alvin Ailey, Mark Morris). c. Create a chronology in a historical period (e.g. The Women’s Suffrage Movement). d. Understand various roles and functions of dance in America. e. Demonstrate understanding of different theatrical forms of dance (modern, jazz, ballet, tap) and how the forms developed. f. Analyze the style of a choreographer and create a dance in that style.

6. Perceive, present, and advocate the artistic value of dance, articulating the context and criteria of the dance experience. (CA, A)

a. Perceive and practice sensorial discovery of human movement. b. Critique the aesthetic elements of dance composition and performance determining context. c. Perceive artistic content through written, visual, and verbal responses. d. Compose a dance presenting an individual perspective of a great dance work. e. Utilize aesthetic principles of illusion, expression of emotion, and imitative qualities. f. Patronize dance performances. g. Examine and report upon arresting and aesthetic images in choreography.

Dance 68 2003 Mississippi Visual and Performing Arts Framework

7. Create and maintain connections for artful living through the dance experience. (CA, C)

a. Present dance in a school and community setting. b. Demonstrate knowledge of life choices on wellness and a healthy body. c. Develop and report on practices as related to the arts. e. Patronize concerts, theatrical presentations, and dance programs in the community. f. Investigate dance and its connections to other art disciplines and subject areas. g. Demonstrate how dance skills are applicable to a variety of careers.

Dance 69 2003 Mississippi Visual and Performing Arts Framework

High School Dance III

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,b,c,d, Students perform technical skills demonstrating Teacher observation of f alignment, awareness of center core strength, performance agility, control, balance, endurance in center axial Portfolio sequences, and locomotor combinations applying Teacher/student critique good modeling ability. Students maintain portfolio videotape of class with a list of dance vocabulary and definitions (e.g., performance parallel, plie, tendu, C curve, drop swing).

2 c,d Students explore with a partner the energies of Teacher observation of pushing and pulling, soft and hard, thin and heavy, process and peer without actually touching one another. evaluation of outcome

3 a,b,c,d Students, facing the others in the class, Teacher observation of improvisationally lead the entire class in a mirroring process, self and peer experience, with the limitation that the leader can evaluation of outcomes make only 1/4 turns in space, and no more. through observation of videotape

4 f,d After observing a videotape of contemporary Written evaluation using American modern dance choreography, students rubric write about what was communicated in the choreography using teacher-created criteria.

5 b,c Students identify and demonstrate longer and more Teacher observation complex steps and patterns than those attempted before from two different dance styles or traditions.

6 a,b,c Students list and discuss the aesthetic qualities of Portfolio, Journal- two contrasting traditional dance forms. Using video recording and reflecting clips, teacher leads discussion, identifying various upon movement aesthetic qualities. experiences, learning, and discoveries

7 b Student groups discuss nutrition for dancers, topics Teacher observation of and recommendations by experts, then complete a presentation presentation. demonstrating knowledge and understanding

Dance 70 2003 Mississippi Visual and Performing Arts Framework

High School Dance Performance III

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,b,c,d, Students advance technique through learning Teacher Observation of f selected theatrical forms or art-dance (e.g., modern performance. dance ballet, jazz, tap, traditional) applying self- Videotape of class correction and performing several extended phrases performance based upon with various dynamics. assigned phrases

2 c Students explore spatial element with a partner, Teacher observation of while maintaining movement limitations, defined by process and peer a spatial pathway from upstage to downstage, using evaluation of outcome only the depth of stage and symmetrical movement choices,

3 a,b,c,d Students create a duet while utilizing simultaniety Teacher observation of and reaction choices (e.g., With students in small process, self and peer groups or dyads, have students select a alpha evaluation of outcomes designation and as teacher randomly calls out letter through observation of that person initiates movement. Rest of the class videotape follows).

4 b,c,d Students abstract a series of gestural phrases, by Teacher observation of enlarging spatial range, composed as a group process and videotape project. outcomes assessment

5 a,b,c Students personify a historical dance figure in a Teacher observation and historical presentation (e.g., In coordination with rubric Social Studies class, have history students detail how dancer does or does not personify period and culture of person choosen by dancer).

6 a,b,c Students attend a local college/university dance Students reflect, respond concert to experience a live performance. and write a critique on aesthetic qualities of the concert

7 a,c Students create, produce and perform a Teacher observation of dance concert for their peers and their presentation and student parents. responses to questionnaire

Dance 71 2003 Mississippi Visual and Performing Arts Framework

DANCE HIGH SCHOOL LEVEL IV (Advanced)

DESCRIPTION OF PROGRAM OF STUDY:

Dance IV (Prerequisite: Dance III or by permission of instructor) Dance Performance IV (Prerequisite: Dance III, Dance Performance III or by permission of instructor)

The five major strands of study in the dance discipline are Creating/Performing, Critical Analysis, Culture/History, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Dance 72 2003 Mississippi Visual and Performing Arts Framework

DANCE HIGH SCHOOL LEVEL IV (Advanced)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Practice advancing and refining movement skills and dance technique into performance. (CP, CA)

a. Demonstrate a knowledge of the function of the anatomical structure and the science of human movement. b. Demonstrate advanced accomplishment of one dance technique. c. Demonstrate mastery of rhythmic understanding, even intervals, uneven intervals, accent, random, rhythmic, metered: simple, duple, triple compound, mixed, syncopation, non-metered (felt time). d. Demonstrate proficiency in a second dance technique. e. Demonstrate sensory awareness and understanding of how to instill imagery for heightened performance. f. Perform technical skill with optimum proficiency, applying performance skills to more complex axial and locomotor movement phrases. g. Practice teaching dance techniques and movement sequences to others. h. Recall and demonstrate extended movement phrases or sequences applying confidence and nuance.

2. Compose and arrange a movement problem solving experience. (CP, CA)

a. Understand choreographic principles, processes, and structures. b. Understand choreographic devices (palindrome, repetition, staging, tempo, transposition, augmentation, diminution, inversion, accumulation, contrast, and illusion). c. Create extended movement phrases with a wide range of movement qualities. d. Choreograph duets and/or small group dance studies for the informal setting, the proscenium stage, and non-traditional spaces (2 – 10 dancers). e. Guide other dancers through the experience of originating movement while improvising, and use that movement in choreography.

Dance 73 2003 Mississippi Visual and Performing Arts Framework

3. Synthesize the elements of dance into composing and presenting dances. (CP, CA)

a. Perform dance in the studio and on stage synthesizing the dance elements of space, time, shape and energy. b. Demonstrate ability to spatially direct focus and project movement from the traditional stage and other performance spaces to an audience. c. Improvise and compose original movement into new images of time, space, motional content.

4. Analyze and appraise meaning communicated through dance. (CP, CA, A)

a. Understand the function of the muscles and the impact of the science of movement/kinesiology on dance. b. Explore and understand non-literal dance studies. c. Analyze dance studies through observation, comparison, and discussion. d. Analyze and discuss the perceived intent of the choreographer and determine context. e. Analyze the influence of personal experiences on the dance making experience. f. Develop fluency in communicating concepts using dance terminology.

5. Research and perform dances as a reflection of life, culture, history, and individual experience. (CA, HC, C, A)

a. Delineate the unique characteristics of dance in various world cultures. b. Know major figures of American dance and their choreographic styles (e.g., Agnes De Mille, Paul Taylor, Jerome Robins, Alwin Ailey, Mark Morris) and emulate their choreographic style. c. Compare and contrast the role and significance of dance in different social/historical/cultural/political contexts. d. Understand and value the function and purpose of dance in America. e. Demonstrate understanding of different theatrical forms of dance (modern, jazz, ballet, tap) and how the forms developed. f. Demonstrate knowledge of different styles of two contemporary theatrical dance forms (e.g., Graham versus Lemon, Luigi versus Giordano).

6. Present and advocate the artistic value of dance, articulating the context and criteria of the dance experience. (CA, A)

a. Perceive and practice sensorial discovery of human movement. b. Critique the aesthetic elements of dance composition and performance and determine principles and theories of dance (e.g., illusion, expression of emotion and imitative qualities). c. Perceive and analyze dance studies and artistic content through written, visual, and verbal responses.

Dance 74 2003 Mississippi Visual and Performing Arts Framework

d. Establish aesthetic criteria following defined guidelines and apply to critiquing own work and the work of others. e. Develop an appreciation for great dance works, innovators, and performers. f. Patronize dance performances. g. Cultivate an appreciation for the creation and beauty of dance.

7. Present, promote, and utilize connections for artful living through the dance experience. (CA, C)

a. Develop heightened sensory awareness and understanding of the body in relation to one’s wellness and body image. b. Demonstrate knowledge of life choices on wellness and a healthy body (e.g., smoking, diet/nutrition, exercise, sleep, drug abuse). c. Demonstrate self-evaluation skills of technical progress and artistic integrity. d. Present a dance involving the community. e. Explore how dance functions as a part of everyday life and also as a specialized field. f. Articulate the connections among dance, the other arts, and other subject areas. g. Discuss the challenges facing professional performers maintaining healthy life styles.

Dance 75 2003 Mississippi Visual and Performing Arts Framework

High School Dance IV

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,b,c,d, Perform technical skills with clarity, musicality, and Teacher Observation of f varying movement qualities using floor work, center performance. Portfolio – a axial combinations, and locomotor skill. Students list of dance vocabulary respond to musical cues, tempo, metered time, and definitions. Videotape duration, phrasing, accent, and verbal cues. of class performance

2 a,b,d Students repeat a movement phrase. They then Teacher observation of create a derivative to that movement phrase. process and discussion

3 a,b,c Students practice creating transitions to shapes, Teacher observation of the going directly or indirectly to the next shape. Allow creative process, non-performing students to verbally comment on the discussion of self and peer transitions. evaluation

4 c,e,f Bring in college student or community dancers to Written evaluations using critique dance composition studies. rubric. Students respond, Revise dance studies based on guest comments. critique, and discuss

5 a,b,c Students create and perform a dance using a Native Teacher observation American poem or prayer for their creative impetus. . 6 b Students create an interdisciplinary project with Portfolio, Journal- music, theatre, and or visual arts students. recording and reflecting upon movement experiences, learning, and discoveries

7 b Invite a guest presenter to speak on the importance Written Test on application of fitness and exercise for healthy living and as of new terminology possible occupational choices. Provide handouts on new terminology.

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High School Dance Performance IV

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,b,c,d,f Students refine technique of a theatrical form or Teacher observation art-dance, and video (i.e., modern dance, Ballet, Portfolio performance jazz dance, tap, traditional dance). Videotape class performance

Students demonstrate center core strength, Teacher observation of advanced application of learning, bringing process and peer continuity to phrases, and nuance. evaluation of outcome

2 c Students develop imaginary spatial obstacles, to Teacher observation of create a movement phrase (e.g., a large sphere, process, self and peer a mud puddle, a tree). evaluation of videotape of outcomes

3 a,b,c,d Students create a duet, using weight sharing and Teacher observation of dependency. process and videotape outcomes assessment Using written test students respond

4 b,c,d Students create a dance study, utilizing Teacher observation and pedestrian gestural phrases. As director, outside questionnaire the work, compose a group dance. Writing responses

5 a,b,c Students discuss different functions of dance in Journal- recording and various cultures (i.e., ceremonial, social). reflecting experiences, learnings, and discoveries

6 a,b,c Show dance video of contempory choreography Teacher observation (e.g., Mark Morris, Paul Taylor). Students rubric of response for establish a series of comments and questions for created questions fellow students to respond and communicate their ideas.

7 a,c Students present dance for their peers Teacher criteria for and their parents. presentation

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LITERATURE CONNECTIONS

DANCE

The Literature Connections section is designed to serve as a guide and first-stop source for making cross-curricular connections. The titles are not extensive and other resources should be used in the classroom.

Kindergarten through Fourth Grade

Ackerman, Karen SONG AND DANCE MAN. New York: Random House, 1988. This Caldecott winner shows a grandfather how to “let loose” to relive his “Vaudeville Days” with his grandchildren.

Andreae, Guy GIRAFFEES CAN’T DANCE. This tale offers keen advice and a strong message about individuality and the power of dancing to the tune of a different drummer.

Bussell, Darcey YOUNG DANCER. New York: Dorling Kindedrsley, 1994. Introduces students to the basic concepts and history of dance.

Daly, Nikki PAPA LUCKY’S SHADOW. New York: Aladdin Paperbacks, 1999. Seeing how much her grandfather still loves to dance, a young girl learns to dance and plays his shadow in his street act.

Giff, Patricia ROSIE’S BIG CITY BALLET. New York: Puffin, 1999. Being a ballet dancer means hard work and little play. This story explains the difficulty of giving up the things you love to gain skill.

Hoff, Syd DUNCAN THE DANCING DUCK. New York: Clarion, 1994. While on the farm, Duncan is discovered by his owner to have dancing talent. He gains universal acclaim but does his final dance for his mom in the farm’s pond.

Jonas, Ann COLOR DANCE. New York: Greenwilliow, 1999. Dancers use sheer-colored scarves to show how colors mix. Colors are named. Good dance color-exploration exercise.

Jones, Bill T. DANCE. New York: Hyperion Books for Children, 1998. While dancing, Bill T. Jones, renowned choreographer, is photographed by Susan Kuklin, Simple text in the first person exhibits Jones’s feelings and abilities.

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Komaiko, Leah AUNT ELAINE DOES THE DANCE FROM SPAIN. 1993. Eager to see her aunt perform her Spanish dance, Katy waits in the wings and finds herself in the spotlight. A charming portrait of an ethnic dance.

Martin, Bill BARN DANCE. New York: Holt, 1988. A farm boy awakens in the middle of the night and is lured to the barn, where the animals are holding an old-fashion hoedown.

Moers, Hermann ANNIE’S DANCING DAY. New York: Horn Books, 1993. One day after dancing class, Annie pirouettes into the street and gets lost. She moves from adventure to adventure, and finally to home.

O’Conner, Jane NINA, NINA AND THE COPYCAT BALLERINA. 2000. Any little girl that experiences problems with competition in dance class will enjoy this book. Deals with individual growth and development of skills.

Pavlova, Anna I DREAMED I WAS A BALLERINA: A GIRLHOOD STORY. New York: Atheneum Books for Young Readers, 2001. A lovely concept, sure to appeal to youngsters who dream of dancing. Using the words of the famous ballerina, Anna Pavlova, the text tells the story in first person, of her first visit to the theater to see the ballet.

Rosenberg, Jane DANCE ME A STORY: TWELVE TALES FROM THE CLASSIC BALLET. New York: Thames & Hudson, 1993. The story of different famous classical ballets. The history of the classical ballet is traced through these works.

Schroeder, Alan RAGTIME TUMPIE. Boston: Joy Street Books, 1989. Nine-year-old Tumpie, a young black girl, who will later become famous as the dancer Josephine Baker (1906- 1975), longs to find the opportunity to dance amid the poverty and vivacious street life of St. Louis in the early 1900’s.

Tallchief, Maria TALLCHIEF: AMERICA’S PRIMA BALLERINA. New York: Viking, 1999. Maria Tallchief recounts her upbringing on an Osage reservation and her beginnings in the world of dance. The story is simple yet, the language is very rich and descriptive.

Van Laan, Nancy BUFFALO DANCE: A BLACKFOOT LEGEND. Boston: Little Brown and Co., 1993. This Native American folktale retells the story behind the beginnings of the dance ritual used before a buffalo hunt.

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Varriale, Jim KIDS DANCE: THE STUDENTS OF BALLET TECH. New York: Dutton Children’s Books, 1999. Stories and experiences of children in ballet. Students will learn about experiences of other children’s dance progression. Photo-essay book.

Wilder, Laura Ingalls DANCE AT GRANDPA’S. 1995. Family study using dance as an enjoyable experience. A young pioneer girl and her family attend a “winter time” party at her grandparents’ house in the Big Woods of Wisconsin.

Middle School

Au, Susan BALLET AND MODERN DANCE. London: Thames and Hudson, 1998. Covers 16th Century court ballet to recent trends. Well-illustrated and informative.

Bierhorst, John CRY FROM THE EARTH: MUSIC OF THE NORTH AMERICAN INDIANS. 1979. An overview of Native American Indian music and dance which includes its use within Native American Indian life.

Fonteyn, Margot COPPELIA. San Diego: Hasrdcourt & Brace, 1998. Based on Leo Delibe’s Balad After the Story, by E.T.A. Hoffman. A dollmaker schemes to pass his prizsed doll off as a real girl.

Ford, Carin LEGENDS OF AMERICAN DANCE AND CHOREOGRAPHY. Berkeley Heights: Enslow, 2000. Collected biographies of ten dedicated dancers and choreographers who worked in the United States.

Freedman, Russell MARTHA GRAHAM: A DANCER’S LIFE. New York: Clarion Books, 1998. Well illustrated with black and white photos. An excellent resource for students interested in reading a detailed biography about a dancer pursuing her own dance style.

Glover, Savion SAVION!: MY LIFE IN TAP. New York: W. Morrow, 2000. A biography about one of the best tap dancers in the world. Motivation for an aspiring tap student.

Haskins, James BLACK DANCE IN AMERICA: A HISTORY THROUGH ITS PEOPLE. 1990. Surveys the history of black dance in America from its beginnings with the ritual dances of African slaves, through tap and modern dance, to break- dancing. Includes brief biographies of influential dancers and companies.

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Jonas, Gerald DANCING: THE PLEASURE, POWER, AND ART OF MOVEMENT. New York: Harry N. Abrams, Inc., 1992. A beautifully illustrated book that explores great dance traditions, illuminating the any roles of dance in cultures around the world. Describes dance traditions from six continents.

Kistein, Lincoln FOUR CENTURIES OF BALLET: FIFTY MASTERWORKS. New York: Dover Publications, 1984. Surveys the five components of theatrical dance: choreography, gesture and mime, music, costume, scenery and décor, and traces their development over 400 years. Nearly 500 black and white illustrations.

Krista, Davida GEORGE BALANCHINE: AMERICAN BALLET MASTER. 1996. Biography of a choreographer who changed the idea of American ballet to a style of dancing.

McLaren, Clemence DANCE FOR THE LAND. New York: Atheneum Book 1999. This book shares the Hawaiian culture and language. About a hapahaole (“half-white” in Hawaiian) who finds the Hawaiian dance, the Hula, as a way of embracing her Hawaiian side.

O’Conner, Barbara KATHERINE DUNHAM: PIONEER OF BLACK DANCE. 2000. A biography of Katherine Dunham, the first choreographer to explore her past through dance. Explores the relationship of culture to dance.

Pinkney, Andrea ALVIN AILEY. 1993. A great picture biography of a dancer know for interpreting African dance movements through innovative choreography.

Price, Leontyne AIDA. San Diego: Gulliver Books, 1990. A picture book that retells the story of Verdi’s opera in which the love of the enslaved Ethiopian princess has for an Egyptian general brings tragedy to all involved.

High School

The selections below exemplify rhythm, connections, physicality, fluidity, dance as a communicative art, and the role of movement in description, character growth, and environmental definition.

Buck Pearl THE THREE DAUGHTERS OF MADAME LIANG. Explores the balance of culture, tradition, and modern

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ideas. Topics: Religion, Eastern culture, democracy, communism, beauty and tradition. Faulkner, William THE BEAR. Story of a young boy’s maturation. Topic: nature, growing, personal relationships.

Fitzgerald, F. Scott TENDER IS THE NIGHT. New York: Scribner, 1996. A story of social values. Topics: the Twenties, social values.

Fitzgerald, F. Scott THE GREAT GATSBY. New York: Scribner, 1995. Romantic love, violence, and class interactions set in the turbulent twenties. Topics: Twenties, politics, ambition, love.

Gaeddert, Louann B. A NEW ENGLAND LOVE STORY. Story of love and inspiration. Topics: Personal relationships, inspiration, creative work.

Hemingway, Earnest THE OLD MAN AND THE SEA. New York: Scribner, 1996. Tragic story of a man and the sea he both loved and feared. Topics: Environment, grace, courage, fate, independence, and heroism.

Hurston, Zora Neal THEIR EYES WHERE WATCHING GOD. New York: Harper Collins, 2000. Story of a young girl’s journey into adulthood and independence. Topics: Civil rights, environment, nature, religion and music.

Jowitt, Deborah TIME ON THE DANCING IMAGE. New York: William Marrow, 1989. History of classic ballet to modern dance. Looking at the cultural influences side by side. Good historical view of modern dance through cultural and artistic eyes.

Whitney, Phyllis STEP TO THE MUSIC. A young woman learns of love, allegiance, and cultural expectations. Topics: War, beauty, culture, tradition, slavery, and human dignity.

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TECHNOLOGY CONNECTIONS

DANCE

The Technology Connections section is designed to serve as a starting point for investigation into using technology in the dance instructional program. The Mississippi Department of Education does not endorse or recommend purchasing the following resources. Mississippi Department of Education suggests that all resources be thoroughly reviewed to accommodate the needs of individual districts. Please note technology changes on a daily basis, therefore, web sites, software, etc. which may be current on a given day may not be the next. Keep this in mind when using this as a resource.

VIDEOS

A Tribute to Alvin Ailey KULTUR – RM Arts, 1990. Barishnikow at Wolf Trap KULTUR, 1976. Creative Movement – A Step Towards Intelligence KULTUR, 1993. Dancetime – 500 years of Social Dance, vol. I and vol. II Dancetime Publications, 1980. Four by Ailey KULTUR – RM Arts, 1990. The Nutcracker: Bolshoi Ballet KULTUR, 1982. Stomp Out Loud HBO Home Video, 1997.

Web Sites

American Dance Festival http://www.americandancefestival.org Dance Educators of America http://www.DEAdance.com Dance Links http://www.dancer.com/dance-links Kennedy Center For The Performing Arts http://www.kennedy-center.org National Dance Association http://www.aahperd.org

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RESOURCES

DANCE

The “Resources” section is a listing of supplemental educational materials that may be helpful to teachers. This list is not comprehensive and is only offered as a starting point for investigation into possible resources. The Mississippi Department of Education does not endorse or recommend purchasing the following resources. Mississippi Department of Education suggests that all resources be thoroughly reviewed to accommodate individual districts’ needs.

BOOKS

Barlin, Anne TEACHING YOUR WINGS TO FLY: THE NONSPECIALIST GUIDE TO MOVEMENT ACTIVITIES FOR YOUNG CHILDREN. Santa Monica, CA: Goodyear Publishing Co., 1979.

Blakeslee, Michael, ed. NATIONAL STANDARDS FOR ARTS EDUCATION. Reston, VA: Music Educator National Conference, 1994.

Benzwie, Teresa A MOVING EXPERIENCE: DANCE FOR LOVERS OF CHILDREN. Zephyr Press, 1987.

Benzwie, Teresa MORE MOVING EXPERIENCES:CONNECTING ARTS, FEELINGS, AND IMAGINATION. Zephyr Press, 1996.

Boorman, Joyce CREATIVE DANCE IN THE FIRST THREE GRADES. Ontario, Canada: Longman Canada Limited, 1969.

Boorman, Joyce CREATIVE DANCE IN GRADES FOUR TO SIX. Ontario, Canada: Longman Canada Limited, 1971

Gilbert, Anne Green TEACHING THE THREE R’S THROUGH MOVEMENT EXPERIENCES. New York: Macmillan Publishing Co., 1977.

Gilbert, Anne Green TEACHING CREATIVE DANCE FOR ALL AGES. VA: The American alliance for Health, Physical Education, and Dance, 1992.

Humphrey, Doris THE ART OF MAKING DANCES. Pennington, NJ: Princeton Book Co., 1962.

Joyce, Mary 1ST STEPS IN TEACHING CREATIVE DANCE. Mountainview, CA: Mayfield, 1994.

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Meade, Virginia Hoge CALCROZE EURUTHMICS IN TODAY’S MUSIC CLASSROOM. New York: Schott Music Corporation, 1994.

Thompson, Myra K. JUMP FOR JOY. West Nyack, NY: Parker Publishing Co., 1993.

Weikert, Phyllis S. TEACHING FOLK DANCE SUCCESSFUL STEPS. Ypsilanti, MI: High/Scope Press, 1997.

Zakki, Jennifer Donohue DANCE AS A WAY OF KNOWING. York, MD: Stenhouse Publishers, 1997.

DANCE SUPPLY RESOURCES

Audio and Video Recordings:

Hoctor Educational Records, Waldwick, NJ 07463 Kingdom Tapes and Electronics, Lambs Creek Rd., P. O. Box 506, Mansfield, PA 16933, (800) 788-1122

Roper Records, Inc, 45-15 21st Street, Long Island City, NY 11101, (718) 786-2401, http://www.roperdancemusic.com (ballet CD’s) Wholesale Tape & Supply, 2841 Hickory Valley Rd., Chattanooga, TN 37421, (888) WTS TAPE

Barres, Mirrors: Alva’s ballet Barres, 1417 W. 8th St., San Pedro, Ca 90732, (310) 519-1314 Ballet Barres, Inc., P. O. Box 261206, Tampa, FL 33685, (800) 767-1199 Baum’s Discount Catalog of Dance, 106 S. 11th Ave., Philadelphia, PA 19107, (800) 626-9258 Bounceback, http://www.mjmc.freeserve.co.uk/products.htm Victoria’s Dance Theatrical Supply, 1331 Lincoln Ave., San Jose, Ca 95125, (800) 626-9258

Costumes: Art Stone, (800) 522-8997, http://www.artstonecostumes.com Attitudes Costumes & Dancewear, (888) 777-5036, http://www.attitudes-dancewear.com A Wish Come True, (215) 781-2000, http:/www.awishcometrue.com Body Wrappers, (212) 279-3492, http://www.bodywrappers.com Cicci, (724) 3487359, http://www.ciccidance.com Costume Gallery, (609) 386-6601, www.costumegallery.net Costume Wearhouse, (989) 894-0033, http://www.costumewearhouse.com Curtain Call, (888) 808-0801, http://www.tighe.com Dansco, (800) 326-7365, http://www.dansco.com Designworks, (800) 639-7805 Georgie Girl, (800) 292-1902 Leo’s Dancewear, (800) 736-LEOS, http://www.leosdancewear.com Liberts Dance Fashions, (800) 624-6480, http://www.liberts.com Loshin’s Dancewear, (800) 726-3009, http://www.loshins.com Naomi C. Brunson Designs, (703) 560-9534 Opening Night Glitters, (919) 846-0521, http://www.openingnightglitters.com

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Satin Stitches, (800) 48-SATIN, http://www.satinstitches.com Starmaker Designs, (517) 684-STAR Star Styled, (305) 885-4135, http://www.starstyled.com Weissman’s Designs, (314) 773-9000, http://www.weissmans.com Wolff Fording & Company, (800) 888-8496, http://www.dancecostume.com

Flooring: Harlequin Floors, American Harlequin Corp., 3111 W. Burbank Blvd., Burbank, CA 91505 (800) 642-6440, http://www.harlequinfloors.com Rosco, 36 Bush Avenue, Port Chester, NY 10573, (800) 767-2669 Stagestep, 2000 Hamilton Street, Suite C200, Philadelphia, PA (800) 523-0960 Victoria’s Dance Theatrical Supply, 1331 Lincoln Ave., San Jose, CA 95125, (408) 267-1446

COMPANIES AND ORGANIZATIONS

Cecchetti Council of America Kennedy Center Education Program 23393 Meadows Kennedy Center for the Performing Arts Flat Rock, MI 48134 Washington, DC 20566 (734) 379-6710 (202) 416-8813 http://www.cecchetti.org http://www.kennedy-center.org/education

Chicago National Association of Laban/Bartenieff Institute of Dance Masters Movement Studies 5411 E. State Street, Suite 202 234 5th Avenue, Rm 201 Rockford, IL 61608 New York, NY 10001 (815) 397-6799 (212) 213-1162 http://www.cnadm.com http://www.limsonline.org

Dance Educators of America Mississippi Alliance for Arts Education P. O. Box 607 3008 Navajo Circle Pelham, NY 10803 Hattiesburg, MS 39402 (914) 636-3200 http://www.martsalliamnce.com http://www.DEAdance.com Mississippi Arts Commission Dance Masters of America 239 N. Lamar Street, Suite 207 P. O. Box 60533, 214-10 41st Avenue Jackson, MS 39201 Bayside, NY 11361 (601) 924-0131http://www.arts.state.ms.us (718) 225-4293 http://www.dma-national.org Mississippi Dance Association P. O. Box 912 Dance Teacher Magazine Oxford, MS 38655 250 W. 57th St., Suite 420 New York, NY 10107 National Endowment for the Arts (212) 265-8890 and Education Information The John F. Kennedy Center DanceArtfx For the Performing Arts 2206 Stonecroft Drive Washington, DC 20566 Grafton, WI 53024 (202) 416-8871 http://www.DanceArtfx.com

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National Dance Association National Registry of Dance Educators 1900 Association Drive P. O. Box 254 Reston, VA 20191 Northport, NY 11768 (703) 476-3436 (631) 757-2107 http://www.aahperd.org/nda Society of Dance History Scholars National Dance Institute 291 RBN Box 22001 594 Broadway, Rm 805 Department of Dance New York, NY 10012 Brigham Young University (212) 226-0083 Provo, UT 84602 http://www.NationalDance.org (801) 378-2377 http://www.sdhs.org

CONTINUING EDUCATION FOR DANCE EDUCATORS

Al Gilbert Dance Seminars, 5701 West Adams Blvd., Los Angeles, Ca 90016 (323) 965-5500 American Academy of Ballet, 250 West 90th St., Suite 3A, New York, NY 10024 (212) 787-9500 American Dance Festival, Duke University, P. O. Box 90772, Durham, NC 27708 (919) 684-6402 http://www.americandancefestival.org Ballet Intensive From Moscow, P. O. Box 356, 47 West Division St., Chicago, IL 60610 (773) 404-0417 http://www.BalletRussianTeachers.com Bates Dance Festival, Bates College, 163 Wood St., Lewiston, ME 04240 (207) 786-6381 http://www.bates.edu/dancefest Benesh Institute, 36 Battersea Square, London SW11 3RA, England (020) 7326-8031 http://www.benesh.org City Center, 130 West 56th Street, New Yorkl, NY 10019 (212) 247-0430 http://www.citycenter.org Creative Dance Center, 12577 Densmore Avenue North, Seattle, WA 98133 (206) 525-6358 http://www.creativedance.org Dance Education Laboratory, 1395 Lexington Avenue, New York, NY 10128 (212) 415-5575 http://www.92ndsty,org Dance Notation Bureau, 151 West 30th “St., Suite 202, New York, NY 10001 (212) 564-0985 http://www.dancenotation.org Dance Space Center, 451 Broadway, 2nd Floor, New York, NY 10013 (212) 625-8369 http://www.dancespace.com Dance Teacher Summer Conference, 250 West 57th St., Suite 420, New York, NY 10107 (212) 265-8890, ext. 17 http://www.dance-teacher.com Florida Dance Masters, Inc., 2601 Antilles Dr., Winter Park, FL 3792 (407) 678-4407 Ohio State University Department of Dance, Sullivant Hall, 1813 North High St., Columbus, OH 43210 (614) 261-0722 http://www.dance.ohio-state.edu The Pilates Studio, 890 Broadway, New York, NY 10003 (212) 358-7676 http://www.pilates-studio.com Royal Academy of Dance, 15 Franklin Place, Rutherford, NY 07070 (201) 438-4400 http://www.rad.org.uk

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DANCE GLOSSARY

(Dance Terminology)

abrupt – A movement which is sudden, hard, or forceful. abstract – To remove movement from a particular or representative context and manipulate it. Based on an idea, source or subject which was originally naturalistic but which has been altered in some way such a simplification, exaggeration, or generalization. To take out of the ordinary. To remove movement from a particular representative text. acculturation – Bringing things from other cultures. action – To produce an effect. Movement. advocacy – Building favorable support, one that defends and maintain a cause. aesthetics – A guiding principle in matters of beauty and artistic taste. A heightened sensitivity of beauty. The branch of philosophy of art and artistic principles. aesthetic elements – Items considered in evaluating the value and impact of a work. aesthetic unity – When all elements required for completeness are present. agility – Moving with ease and smooth kinetic flow. alliance – A bond or connection. analysis – In art criticism, the step that investigates how the formal elements and content that make up a work of art are put together and how they function. appreciation – An understanding of things for themselves. art criticism – The analysis of art: Identifying and describing: Analysis: Interpretation: Judgment. art form – The general classifications of art; dance art, dance, music, theatre. art history – The cultural and historical settings of art. articulation – Clear and precise movement of the arms, legs, torso, head, feet, hand, Fingers, toes. artistic collaborator – Another artist who joins in the production of an artistic work.

Dance 88 2003 Mississippi Visual and Performing Arts Framework authentic assessment – Any performance assessment that mirrors real life, in the historical, present, or immediate future perspective, and represents meaningful instructional activities. avant-garde – Develops a new or experimental concept. axial movement – Motion occurring in one spot, moving around the axis of the body. body alignment – Correct body posturing. Reference points on the body are the top of the ear, middle of the shoulder girdle, the center of the hip, back of the knee cap, and front of the anklebone. Correct alignment of the head spine, and pelvis. call and response – A structure that is most often associated with African music and dance forms, like an antiphony in choral music. canon – A rhythmic pattern imitated exactly. A movement echo. chance dance – A method of choreographing a dance work through chance. choreography – The craft of creating and making dances. collapse – Movement characterized by passiveness, release of weight into gravity. communication – The process of exchanging or transmitting information between individuals through a common system of symbols, signs, or behavior. composition – The art of arranging elements of dance in creating aesthetic illusion. conception – Process of forming and understanding ideas. content – The meaning or significance of a work of art as distinguished from its form. context – The cultural, historical, social, philosophical, temporal ‘facts’ in the dance phenomenon. contrast – The degree of dissimilarity between two things. coordination – Harmonious functioning of body parts in movement. counter-balance – To oppose with equal weight or force so that the shape will not collapse. create – The process of conception, or to imagine to bring into being or existence to construct or invent.

Dance 89 2003 Mississippi Visual and Performing Arts Framework culture – A way of life of a group of people. The culture of a group of people is based on their interpretation of their world and lives, and their invented version of reality. A culture develops through an interplay between stability and changing of a group’s behavior patterns, social organization, ideas, meanings, values, things, and events. dance critic – A person whose job it is to describe, analyze, and interpret choreographic works. dance elements – The way that dance is transmitted through time, space, shape, and energy. dance journal – A record of original entry of experiences as related to dance training and study. dance literacy – An appreciation and fluency of dance knowledge as it pertains to terminology, world history, culture, and the history of dance. dance media – A supportive component to dance productions (e.g., music, slides, video tape). dance movement – Any human movement included in the act of dancing. dance notation – Written, printed, or computerized representation of dance that is used to remember and preserve dance. dance production – Concept and skills for making and producing the plan, organization, and preparation of the presentation of dance. dance study – A compositional assignment based on certain choreographic principles. It satisfies the parameters of the assignment, is lengthy enough to demonstrate understanding and shows a beginning, middle, and end. dance technique – A particular way or method of doing and understanding an identified movement or set of movements. dance thesis – A position, argument, or hypothesis based on dance research. direction – A dancer can travel forwards, backwards, sideways, and on a diagonal. A dancer can face towards the audience, or away, and still travel in all of the aforementioned directions. direct transition – Most direct route from A to B. discuss – To engage in oral or written discourse or correspondence.

Dance 90 2003 Mississippi Visual and Performing Arts Framework dynamics – The expressive content of human movement, sometimes called Efforts. Dynamics also manifest the interrelationships among the elements of weight, space, time, flow and force/energy. echoing – Repeating exactly a movement done before or previously. Also known as canon. elements – The use of the body moving in space and time with force/energy, and shape. elevation – The body’s pulsation into the air. enculturation – Being immersed in one’s own culture. endurance – The ability to withstand increased energy, heart rate, and strenuous activity for a period of time. energy – Exertion of power, or work. Ranges from very light to very strong; very free to very bound. One of the elements of dance. flexibility – The ability to bend and stretch to meet daily needs as well go beyond daily needs. focus – May be the direction the dancer is looking or where the energy of the movement is directed. folding – Allowing the limbs and body to envelope each other. fusion – United whole, merging of diverse elements. gravity – The quality of weight. healthful living – Maintaining daily habits to insure a sound mind, body, and spirit. hop – Goes into the air from one foot and lands on the same foot. illusion – A concept of how to trick the eye, trick of vision, a misconception, using the elements of dance that go beyond their virtual realities. imitative – To copy or mimic. impetus – Where the movement originates, a beginning.

Dance 91 2003 Mississippi Visual and Performing Arts Framework improvisation – A process of moving and spontaneously originating composition. Movement that is created spontaneously, ranging from free form to highly structured environments, but with an element of dance. Provides the dancer with the opportunity to bring together elements quickly, requiring focus and concentration. Improvisation is instant and simultaneous choreography and performance. indirect transition – To meander from A to B. interdisciplinary – Involving two or more disciplines (e.g., dance and music). interpretation – The step in art criticism in which the critic applies meanings to the form and content of a work of art. jump – Goes into the air from tow feet and lands on two feet, or from two feet to one foot. juxtaposition – The act or process of placing two or more things side by side. kinesphere – A movement space, or the space surrounding the body in stillness and in motion, which includes all directions and levels both close to the body and as far as the person can reach with limbs or torso. kinesthetic – Refers to the ability of the body’s sensory organs in the muscles, tendons, and joints to respond to stimuli while dancing. leap – Transfers the weight from one foot to the other, leaving the ground in between steps. levels – The height of the dancer in relation to the floor. There are 3 main levels: high, middle, and low. literal – Non-abstracted, verbatim, as written, following exact text. locomotion – To travel in space. To walk, run, hop, jump, leap, skip, gallop, slide, or crawl. medium – Material used to create dance. mirroring – To reflect the movements and positions of a partner(s) as if gazing into a mirror. motif – A recurring idea, shape or form that appears as a development in composition. movement – Physical motion.

Dance 92 2003 Mississippi Visual and Performing Arts Framework movement behaviors – the way in which individuals move consistently and naturally in life and dance. movement theme – A complete idea in movement that is manipulated and altered into variations. motivation – May be emotional and movement-based. It is the “why” of the dancer’s movement. multiple perspectives – Seeing more than one view of a subject at the same time. narrative – Choreographic structure which follows a story line, negative space – The space that surrounds or invades a form. organic – A natural forming of an integral whole. palindrome – Performing dance movement backward, then forward again. Retrograde. pantomime – Acting without words using only body language to convey a message or tell a story. pedestrian – Movement as it is performed or executed by the average person, non- stylized movement. percussive – Movement which is characterized by being hard energy, sudden and abrupt, sharp starts and stops, staccato jabs of energy. personal space – The “space bubble” or the kinesphere that one occupies; includes all levels, planes, and directions both near and far from the body’s center. philosophy – The study of our basic concepts and assumptions about reality, knowledge, and values. World views of individuals. phrase – A brief sequence of related movement that has a sense of continuity, rhythmic completion, thought of as a movement sentence, with a beginning, middle, and end, and a subject, noun, and verb. positive space – The dancer, the object, the material of the work. The occupant of the space. principles of dance – Those items used to critique and distinguish dance from random movement.

Dance 93 2003 Mississippi Visual and Performing Arts Framework production elements – Components used in a presentation (e.g., lighting, scenery, properties, costumes, sound). quality – What is produced by the dynamic action. Time, space qualities. The identifying attributes created by the release, follow-through, and termination of energy which are key to making movement become dance; typical terms denoting qualities include sustained swing, percussive, collapse, and vibratory, and effort combinations such as float, dab, punch, and glide. rearranging – A choreographic process, a movement phrase change so the beginning, middle, and end are reordered. repetition – To perform a single movement at least twice in a row. retrograde – To perform a dance movement backwards. revise – To do again, to make an improved version. rubric – Assessment instrument used for evaluation that includes criteria and scored levels of performance. sagittal – Referring to the median plane of the human body. sequence – A movement continuum or connected movement. skip – Step and a hop. shape – May be circular or square, symmetrical or asymmetrical, high, middle, or low: it is the shape the body makes or how one shapes the space. social organization – The patterning of human interdependence in a give society through the actions and decisions of its members. socialization – How a person is adjusted or fits into his or her own culture. spatial design – Sculpted design of bodies in space to accomplish an image or picture. spatial pattern – Direction of traveling through space. A floor plan or map of a dance. strength – Aptitude for increased energy and force exerted in movement. style – The personal signature of the dance. The way the dance achieves an individual identify in the world and in its genre.

Dance 94 2003 Mississippi Visual and Performing Arts Framework subjective – Originating within the artist rather than a reporting of what is seen. suspension – Movement that occurs in a movement of resistance to gravity, such as the instant in which the dancer hangs in space at the time of a leap or jump. Temporarily hanging in space, momentarily lingering in space. sustained – Movement that is smooth and unaccented; there is not an apparent start or stop, only continuity or equalized energy flow. swing – Pendular movement, in a count of 3, has a rise and fall, and a suspension. tap – The magical, principle of ordering. time – May be natural time, as in the breath or heartbeat; clock time, as in second, minutes, or hours; or metered time as in 2/4, 3/4, 6/8, or even mixed meter. Time includes beat, tempo, duration, repetition, rhythm, and unmetered time. One of the elements of dance. theories of dance – Guidelines and theorems used in the development and evaluation of a work. traditional dance – The term “traditional” refers to those dances and dance forms that have arisen out of a tradition of a people, such as the dances of bharata natyam, noh, or the folk dances of indigenous people of Europe or other areas. transition – Moving from one movement to the other. Change to next shape or movement. transpose – To render into another style or form of expression. unison – To move in exactly the same way at the same time. unity – Degree of oneness. One person relating to another. value – The degree of worth. vangaurd – A leader in the field. vibratory – Movement characterized by rapidly repeated bursts of percussive movements. video dance and film dance – Collaborative art forms in which aesthetic features of dance and video or film are integrated. wellness – Being in good health, physically, mentally, spiritually.

Dance 95 2003 Mississippi Visual and Performing Arts Framework

(Compiled and created by Patricia A. McConnell. Sections of a copyrighted book are in progress.)

Dance 96

2003 Mississippi Visual and Performing Arts Framework

MUSIC

“The creation of art forms requires the use of judgment, perceptivity, ingenuity, and purpose; in a word, intelligence. Art, no less than philosophy or science, issues a challenge to the intellect. The great works of music, sculpture, painting, en- graving and all other forms of artistic expression engage the mind, teaching lessons about order, proportion, and genius.”

William J. Bennett

2003 Mississippi Visual and Performing Arts Framework

MUSIC

TABLE OF CONTENTS

Introduction...... 4

Music Benchmarks...... 5

Elementary Introduction ...... 10

Kindergarten ...... 11

First Grade...... 16

Second Grade...... 21

Third Grade...... 26

Fourth Grade...... 31

Keyboard, Beginner Level (K-4)...... 35

Strings, Beginner and Intermediate Level ………………………………………….…..40

Middle School Introduction ...... 48

Middle School Level I...... 51

Middle School Level II...... 55

Middle School Level III...... 60

Middle School Level IV ...... 64

Middle School Choral Performance ...... 70

Middle School Instrumental Performance ...... 79

Middle School Small Group Jazz Improvisation...... 101

Keyboard, Intermediate Level ...... 106

High School Introduction ...... 110

High School General Music ...... 114

Music 2 2003 Mississippi Visual and Performing Arts Framework

High School Choral Performance...... 122

High School Instrumental Music...... 142

High School Keyboard ...... 158

High School Small Group Jazz Improvisation ...... 162

High School Music Theory and Harmony/Literature...... 170

Literature Connections...... 177

Technology Connections ...... 181

Resources...... 185

Glossary...... 191

Music 3 2003 Mississippi Visual and Performing Arts Framework

MUSIC

INTRODUCTION

Music is a performing art that mirrors human expression and experience. The sounds of instruments and of songs stimulate a human response that is not only heard, but also awakens and touches emotions. Responses to musical experiences include sensory, gross motor, fine motor, cognitive, communicative, and social. As such, music teaches about life and living, about thoughts and feelings, and about self and others. The world is literally filled with music. Every culture throughout history has incorporated music into the fabric of daily life. By learning about music and learning to make music, students become a part of the sequence of history. Therefore, such learning must be carefully planned and nurtured in a sequential manner. Experiencing music through listening, composing, and performing provides students with a means to acquire knowledge and to communicate it through the language of the senses. This connection with sounds, our bodies, and cognitive activity develops what education researcher Howard Gardner refers to as musical intelligence. It is a unique way of knowing and is basic to human brain development. Music develops critical thinking skills that are applicable to all disciplines requiring creative solutions. Concepts, facts, and higher order thinking skills are all connected through musical concepts. Consequently, music needs to occupy a central place in students’ lives and in the school curriculum. To facilitate the teaching and learning of music for all students throughout their school experience, the music portion of the Mississippi Visual and Performing Arts Framework clearly delineates what students should know and be able to do in the discipline of music, as they become educated citizens in today’s world.

Music 4 2003 Mississippi Visual and Performing Arts Framework

MUSIC BENCHMARKS

Goal 1: Students will communicate ideas and feelings by improvising, composing, arranging, and performing works of music. Content Strand: Creating/Performing (CP)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

By the end of Grade 4, students will: By the end of Grade 8, students will: By the end of one year of study,* By the end of four years of study, proficient students will: advanced students will:

Sing and/or play a variety of music Sing and/or play a varied repertoire of Perform in choral or instrumental selections alone and in groups music, alone and in large or small ensembles of varying sizes and Perform works of music that include ensembles descriptions combinations of instruments and voices as well as solo performances

Create and perform music using Create and perform original music Create and perform arrangements Create and perform original music and simple melodic and rhythmic patterns with simple melodic, rhythmic, and using a variety of music elements with arrangements in a variety of forms, harmonic patterns simple melodic, rhythmic, and styles, and genres harmonic patterns and accompaniments

*the equivalent of 1 Carnegie unit Music 5 2003 Mississippi Visual and Performing Arts Framework

MUSIC BENCHMARKS

Goal 2: Students will respond to, describe, analyze, interpret, and evaluate the complex characteristics of music. Content Strand: Critical Analysis (CA)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

By the end of Grade 4, students will: By the end of Grade 8, students will: By the end of one year of study,* By the end of four years of study, proficient students will: advanced students will:

Listen to, describe, and respond to Listen to, analyze, and describe music Listen to, analyze, and evaluate music Analyze and interpret music of various short works of music from varied repertoire in a variety of forms and styles historic periods, forms, and styles

Describe qualities of successful music Examine or develop criteria for Analyze music performances by using Evaluate the quality of music performances and identify elements evaluating the quality of music critical thinking and listening skills performances and compositions using and expressive qualities of music performances supported by musical terminology multiple criteria and various evaluation tools

Recognize, identify, and read music Recognize, identify, and read Demonstrate an understanding of Demonstrate the ability to read a full notation and symbols increasingly complex music notation music notation and symbols by score by describing how the elements and symbols reading and performing music of music are used

*the equivalent of 1 Carnegie unit Music 6 2003 Mississippi Visual and Performing Arts Framework

MUSIC BENCHMARKS

Goal 3: Students should understand the roles and functions of music and musicians in cultures, times, traditions, and places. Content Strand: History/Culture (HC)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

By the end of Grade 4, students will: By the end of Grade 8, students will: By the end of one year of study,* By the end of four years of study, proficient students will: advanced students will:

Recognize that music reflects the Demonstrate awareness of the role Analyze forms and subject matter in Assess the impact of music and culture, time, and place of its origin and function of music and musicians music that recur across cultures, musicians of various cultures, times, in cultures, times, and places. times, and places and places on society today

*the equivalent of 1 Carnegie unit Music 7 2003 Mississippi Visual and Performing Arts Framework

MUSIC BENCHMARKS

Goal 4: Students will perceive, understand, and appreciate the diverse meanings and value of music. Content Strand: Aesthetics (A)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

By the end of Grade 4, students will: By the end of Grade 8, students will: By the end of one year of study,* By the end of four years of study, proficient students will: advanced students will:

Interpret a variety of moods and Develop awareness of aesthetic Interpret the value of a musical work Evaluate selected musical works in feelings expressed by different music qualities in works of music in terms of aesthetic qualities terms of aesthetic qualities selections

*the equivalent of 1 Carnegie unit Music 8 2003 Mississippi Visual and Performing Arts Framework

MUSIC BENCHMARKS

Goal 5: Students should make valid connections among the arts, others subject areas, and everyday life. Content Strand: Connections (C)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

By the end of Grade 4, students will: By the end of Grade 8, students will: By the end of one year of study,* By the end of four years of study, proficient students will: advanced students will:

Recognize connections between Recognize broad concepts that music, Analyze the relationship of content in Integrate knowledge of music with music, the other arts, and other the other arts, and other subject areas music to other arts and other subjects knowledge in the other arts and other subject areas share in common subjects

Recognize ways that music and Understand the role of music and Analyze contributions of musicians Evaluate the role of music as a musicians are encountered in musicians in everyday life and the music industry to individuals, lifelong career or avocation everyday life their communities, and their cultures

*the equivalent of 1 Carnegie unit Music 9 2003 Mississippi Visual and Performing Arts Framework

MUSIC

ELEMENTARY INTRODUCTION (Kindergarten – Fourth Grade)

All students benefit from music education. Through musical experiences students discover their own musical interests and individual talents. Performing music provides a means of personal expression and a way to build self-confidence and a sense of self-worth. Participation in music education enables students to build music skills along with social skills that make them better citizens. Students from pre-kindergarten through grade four eagerly listen to and respond to music. They love to sing, to move, and to explore the world of musical sounds. Music making is a source of joy and students are often animated and exuberant in their responses to music. Development of performance skills occurs rapidly in this age group, much like their rapid acquisition of language and growth in physical size. Students in Kindergarten through Fourth Grade are open-minded about music. They have not formed many preferences and they are interested in a wide variety of music examples: instrumental and vocal, ancient and modern, patriotic and popular, multicultural and traditional. At this stage in music learning, exposure to a wide variety of music is very desirable. Basic elements of music (pitch, rhythm, harmony, dynamics, timbre, texture, and form) should be introduced during pre-kindergarten and continued in successive grade levels. These elements represent the core components of music study and serve as building blocks for music literacy. Skill development that occurs sequentially and increases in complexity should match the maturation and developmental level of the students. Through sequential music instruction, students’ understanding of music and their performing skills increase in proportion to their age and education level. The Elementary Music program of study serves as a guide in developing curriculum for students in grades K-4. Teachers are encouraged to select and implement unit topics, repertoire, teaching strategies, performance practices, and assessments that will enable students to meet the competencies stated for each grade level. Sample strategies and assessments are given for each competency. The benchmark chart establishes the progression of instruction for each goal area through grade clusters. The K-4 programs of study are to be used by the Music Specialist and Classroom Teacher in designing curriculum for the following:

Elementary Music K-4 Arts Integrated in the Elementary Classroom

Music 10 2003 Mississippi Visual and Performing Arts Framework

MUSIC KINDERGARTEN

DESCRIPTION OF PROGRAM OF STUDY:

The Kindergarten music program of study serves as a guide in developing curriculum for students in Kindergarten music classes or Kindergarten regular education classes. Teachers are encouraged to select and implement unit topics, repertoire, teaching strategies, performance practices, and assessments that will enable students to meet the competencies stated for each grade level. Sample strategies and assessments are provided for each competency. The benchmark chart in the music introduction section establishes the progression of instruction for each goal area through grade clusters. This program of study is to be used by the Music Specialist and or the Classroom Teacher in developing music curriculum for kindergarten students in the following:

Elementary Music Arts Integrated in the Elementary Classroom

The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Music 11 2003 Mississippi Visual and Performing Arts Framework

MUSIC KINDERGARTEN

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Sing and play a variety of short songs in limited melodic range with a steady beat. (CP)

a. Sing from memory, alone or with others a variety of rote songs including folk, ethnic, patriotic, nonsense, and seasonal songs. b. Sing a five-tone pentatonic melody on pitch while moving to a steady beat. c. Play a steady beat on classroom instruments.

2. Create sound effects and rhythmic accompaniment for songs, rhythms, and stories. (CP)

a. Improvise short melodies by singing or playing the pitches sol-mi-la” (5-3-6). b. Improvise rhythms and accompaniments by singing and playing instruments.

3. Listen to and respond to short works of music. (CA)

a. Distinguish between qualities of music such as low and high, soft and loud, fast and slow, and same and different. b. Respond to the beat and tempo of various music examples with appropriate movements and/or dramatization. c. Recognize the sound of brass, string, woodwind, percussion, and keyboard instrument families. d. Respond voluntarily to a selected musical piece.

4. Explore the variety of sounds produced in a performance. (CA)

a. Explain which sounds are most pleasing following a successful performance. b. Differentiate between types of performances such as choir and solo. c. Recognize differences in the quality of a solo or choral performance.

Music 12 2003 Mississippi Visual and Performing Arts Framework

5. Recognize basic music icons. (CA)

a. Recognize that the written form of music is different from the written form of language. b. Recognize the difference between moments of silence (rests) and moments of sound (notes). c. Identify simple music terms when presented aurally.

6. Respond to an introduction to music and musicians in various cultures, times, and places. (HC)

a. Listen to and describe music from various cultures and ethnic groups. b. Explore instruments and timbres of instrumental families from various cultures. c. Perform simple songs in the languages of various cultures.

7. Relate how music affects individual emotions. (A)

a. Explain feelings that may be evoked by specific examples of music. b. Express the idea or story of a music selection through movement, dance, and dramatization (role-play). c. Respond to music by painting, drawing a picture, or dictating a story.

8. Identify ways in which music and other disciplines taught in school are similar (C)

a. Recognize ideas and stories contained in the language of songs and relate them to the appropriate subject area (i.e. counting-math; colors-art). b. Identify word patterns and rhymes within a song text. c. Recognize the sequential arrangement of sections in a work of music.

9. Know that music is part of everyday life. (C)

a. Identify various ways people make music. b. Identify various uses of music in daily experience. c. Know there are different styles of music. d. Identify musical careers encountered in everyday life.

Music 13 2003 Mississippi Visual and Performing Arts Framework

Music, Kindergarten

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 b Students sing Johnny Works With One Hammer. Teacher observation of Add the body movements using the following: One singing voice, accurate hammer-one fist; Two- two fists; Three-add a foot; pitch, and steady Four-add the other foot; Five-add head. After beat is beat. internalized and performed correctly, add instruments instead of using body percussion. Students sing alone (or divide the class into five groups) and add one person (or group) to the singing and playing each time. ART CONNECTION: Builder by Jacob Lawrence.

2 b Students learn a train song such as Little Red Teacher observation and Caboose or Down at the Station. Listen to the chart of individual student instrumental selection, The Little Train of the progress with the steady Caipira, by Villa Lobos. Discuss ideas about sounds beat, documenting that the train makes as it moves on the track. Use mastery in duple, triple, either body percussion and sounds or rhythm and quadruple divisions of instruments to improvise (create) train sound simple and compound accompaniment for your selection. Students decide meters which sounds should be heard throughout and which should come only at the beginning and the end. Perform the accompaniment while the song is played. Then class is divided using half for singing and half for playing the accompaniment.

3 b Students listen to “Ballet of the Unhatched Chicks” Teacher observation of from Pictures at an Exhibition by Mussorgsky. Ask children’s creative children to imagine what it would be like to be a dramatization baby chick inside an egg. Talk about how the chicks get out of the egg (Science connection). Children respond to the music by beginning with their body folded as small as possible, then moving as they think the chicks would move to get out of the shell.

4 b Using teacher-selected examples, students identify Play two different or distinguish between the following performances: selections and ask the a cappella choir or accompanied choir; students to identify on adults/children, man/woman. Discuss the paper or by raising their differences. hand to indicate example 1, or keep hands on knees if it is example 2

5 a Teacher makes a rhythm chart using symbols Observe the rhythm representing sound and silence. The teacher asks pattern created as students to respond to sounds by tapping hands on students clap their rhythms legs. Observe rests with silence. Children may individually, record results, create different rhythm patterns to perform using indicating “success” or sticks to create rhythm patterns on the floor. “needs help”

Music 14 2003 Mississippi Visual and Performing Arts Framework

Music, Kindergarten

When students perform a simple pattern consistently, add the pattern to be played on instruments to a song of your choice, such as a march.

6 c Students listen and describe the purpose of the Listen and observe Counting Song, a Mexican folk song. After identifying the language and what the song is about, students listen again and hold up fingers for the Spanish numbers as they are sung. On the refrain (la-la), keep the steady beat. Students learn the song in Spanish. When they have learned the song, they improvise dance movements on the refrain and use maracas to accent the beat. (Alternate song: Days of the Week)

7 a,b Students contrast Jump That Jody with Teacher observation Kabalevsky’s A Sad Story. Children describe both songs, telling how each song makes them feel, and how it makes them want to move. Children create movements that go with each song. Use scarves or ribbons to create movement for A Sad Story.

8 a Students read a book about "Teddy Bears" and Teacher observation. learn the song, Teddy Bear. Children explain the Note students who know song, then perform appropriate movement to the colors, can count, and song. After viewing pictures of Teddy bears, follow instructions students compare the pictures with their Teddy bears at home. Students describe and draw their Teddy bear. On another day students bring their Teddy bears and group them together by color. Count the number in each group. Determine which is the largest/smallest. Sing the colors such as, “Yellow bear, yellow bear, turn around, Blue bears, blue bears, touch the ground, etc.” Decorate the bears with a different shape on each. Students then group bears by shapes. Count. Sing again with shapes substituted in the song. SCIENCE CONNECTION: talk about where bears live, hibernation, etc.

9 b Teacher selects several music examples that are Teacher observation heard in different places. Students identify where they are most likely to hear the music. Make sure the selections are obvious, such as church organ, circus music, parade music, etc. Prepare a picture chart for the children to respond to by circling the image on the chart that matches the music selection.

Music 15 2003 Mississippi Visual and Performing Arts Framework MUSIC FIRST GRADE

DESCRIPTION OF PROGRAM OF STUDY:

The First Grade Music program of study serves as a guide to develop curriculum for students in First Grade music classes or First Grade regular classes. Teachers are encouraged to select and implement unit topics, repertoire, teaching strategies, performance practices, and assessments that will enable students to meet the competencies stated for each grade level. Sample strategies and assessments are given for each competency. A benchmark chart establishes the progression of instruction for each goal area through grade clusters. This program of study is to be used by the Music Specialist and or the Classroom Teacher in developing music curriculum for first grade students in the following:

Elementary Music Arts Integrated in the Elementary Classroom

Music 16 2003 Mississippi Visual and Performing Arts Framework MUSIC FIRST GRADE

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Sing complete songs within an octave range and play simple rhythmic accompaniment. (CP)

a. Sing and play alone and with others a variety of songs using appropriate techniques and dynamics. b. Sing with accurate pitch and rhythm. c. Sing music from a variety of sources. d. Sing and chant ostinatos, and call and responses. e. Play a steady beat.

2. Using a variety of melodic and rhythmic instruments, create dramatizations of songs, poems, and stories. (CP)

a. Improvise short melodies by using set rhythmic patterns on pitched instruments. b. Improvise rhythms and accompaniments by playing instruments.

3. Listen and respond to a variety of musical styles. (CA)

a. Distinguish between qualities of music such as soft and loud, low and high, fast and slow, same and different, and tone colors. b. Improvise a response to the beat and tempo of various music examples with appropriate movements or dramatization. c. Identify the sound of brass, string, woodwind, percussion, and keyboard instrument families.

4. Using simple vocabulary, describe the elements present in a high-quality performance. (CA)

a. Identify musical elements that relate to a successful performance. b. Recognize differences in the quality of a vocal or choral performance. c. Discriminate between different types of performances such as vocal, choir, band, and solo instruments.

Music 17 2003 Mississippi Visual and Performing Arts Framework

5. Recognize and identify basic music notation and symbols. (CA)

a. Recognize music symbols and traditional terms that demonstrate rhythm notation (i.e., quarter note, quarter rest, and eighth note). b. Identify basic dynamic notation such as p and f. c. Recognize the staff.

6. Know that factors influence musical compositions. (HC)

a. Listen to music from various cultures and ethnic groups. b. Describe music performances from various cultures. c. Identify and describe roles of musicians in daily life. d. Experience instruments and timbres of instrument families from various cultures. e. Perform songs in the languages of various cultures.

7. Respond to music through expression of moods, ideas, and feelings. (A)

a. Explain feelings expressed by specific examples of music. b. Express the idea or story of a music selection through movement, dance and dramatization (role-play). c. Respond to music by painting, drawing a picture, or dictating a story.

8. Recognize the message of the music in relation to other subject areas. (C)

a. Interpret ideas and stories contained in the language of songs and relate them to the appropriate subject area (e.g., reading, math, science). b. Identify word patterns and rhymes within a song text. c. Recognize the sequential arrangement of sections in a work of music.

9. Identify and discuss the various places that music is heard. (C)

a. Describe and illustrate various ways that people make music. b. Identify the presence and uses of music in everyday life. c. Recognize differences that exist in various styles/genre of music. d. Identify a variety of musical careers.

Music 18 2003 Mississippi Visual and Performing Arts Framework

Music, First Grade

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 b,e Song: Lucy Lockett, based on sol-mi-la. Students Teacher observation of learn the song using solfege syllables, then sing correct mallet technique, with the words. Instruments are added (Orff, steady beat, singing on keyboard, resonator bells) and played with the pitch, following instructions steady beat. Students sing with instrumental accompaniment. Make a small paper purse and tie a ribbon around it. Students stand in a circle, shoulder to shoulder. “Lucy” stands in the center. Students pass the purse behind their back. When the music stops, “Lucy” tries to identify who has the purse. If the student who has it succeeds in fooling “Lucy,” that child takes his/her place in the center of the circle. The game begins again.

2 a Use the song Lucy Lockett that was previously Teacher observation learned. Teacher sets the instrument for the pentatonic scale (1-2-3-5-6 or black notes on the keyboard). Students create a melody using the rhythmic pattern of the words. Play the improvised melody accompanied with a steady beat bourdon (1-5). (Expand the lesson by talking about form as you sing one verse and improvise the next).

3 c Teacher displays pictures of various instruments Teacher observation; or a and how they are played. Play recorded example of written test with pictures of instrumental music. Students listen to an example, instruments to identify; or identifying the instruments. Stop the recording circle the instrument being occasionally to ask for identification of instruments played heard. Listen again, asking students to pretend to play an instrument featured. Expand the lesson further by adding rhythm instruments to the steady beat while students march around the room.

4 a While preparing for a performance, teacher tape- Teacher observation; records the children singing in class. Students Evaluate their comments evaluate their sound, answering leading questions and assess your teaching about vocal quality, beginning sounds, endings, techniques diction, etc.

5 a Students create a four-measure rhythm pattern Teacher observation; Use using quarter notes, quarter rests, and eighth notes. a lap-size marker board for When students can perform their composition using students to hold it up as body percussion or instruments, they read and they finish creating their perform their rhythm pattern to a song such as The line for you to check Stars and Stripes Forever.

Music 19 2003 Mississippi Visual and Performing Arts Framework

Music, First Grade

6 a,b Teacher plays “Andante” from Haydn’s Symphony Teacher observation of no. 94 in G major, telling the students about the listening skills and ability culture in which Haydn was living. Describe the way to relate to musical people dressed, food, etc., and how he came to selections work and live at the palace of Prince Esterhazy as chief musician. Tell why he decided to write the Surprise Symphony. Students then listen for the surprise while the recording is played. Students pretend to be the prim, proper guests that were at the party, who fell asleep, only to be awakened by the “surprise” in the music.

Students listen to a song such as You’re a Grand 7 a,b,c Old Flag, then answer questions about the mood of Teacher observation the song. Students listen again and add movement to accompany the words. Students can march to the beat. Students discuss the word “emblem” and draw a flag.

Students learn the song, Open A Book, by Margaret 8 a Jones and Carmino Ravosa. Teacher plays the Teacher observation song for the children to hear. Students determine the message of the song. (Note the long vowel sounds of “e” and “o.” Note the worlds that we discover through books). Create a storybook parade with the characters mentioned: Cinderella, Alice in Wonderland, Old King Cole. When students know the stories, divide them into groups to make a book cover for one of the characters mentioned. As you sing the song, assign the characters to students who come on stage with their book cover in front of their face until you sing the chorus. They will fold their book closed and become that character. Take turns.

Students find something at home that makes a 9 a musical sound (pot lids, spoons, comb, etc.) and Teacher observation bring it to class. Students could also make an instrument such as a shaker (beans, rice, or popcorn in a can) or a rain stick (wrapping paper roll with rocks or bean inside to slide up and down with ends taped closed) or jingles (coke top rings strung on a wire). Students play their instrument to the beat accompanied by a selected soundtrack.

Music 20 2003 Mississippi Visual and Performing Arts Framework

MUSIC SECOND GRADE

DESCRIPTION OF PROGRAM OF STUDY:

The Second Grade Music program of study serves as a guide to develop curriculum for students in Second Grade music classes or Second Grade regular classes. Teachers are encouraged to select and implement unit topics, repertoire, teaching strategies, performance practices, and assessments that will enable students to meet the competencies stated for each grade level. Sample strategies and assessments are given for each competency. The benchmark chart establishes the progression of instruction for each goal area through grade clusters. This program of study is to be used by the Music Specialist and or the Classroom Teacher in developing music curriculum for second grade students in the following:

Elementary Music Arts Integrated in the Elementary Classroom

Music 21 2003 Mississippi Visual and Performing Arts Framework

MUSIC SECOND GRADE

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Sing using appropriate tone quality, posture, diction, and breathing and play accompaniment using correct mallet technique. (CP)

a. Sing and play alone and with others a variety of songs using appropriate techniques and dynamics. b. Sing expressively with appropriate dynamics, phrasing, and interpretation. c. Sing and chant ostinatos and call and responses. d. Students will be able to play simple ostinato patterns.

2. Improvise melodies and rhythms using the pentatonic scale. (CP)

a. Improvise short melodies by singing or playing on pitched and un-pitched instruments. b. Improvise rhythms and accompaniments by playing instruments. c. Create a song by using rhyming words and improvising "answers" in the same style.

3. Listen to music of diverse cultures and styles and identify distinguishing characteristics. (CA)

a. Demonstrate perceptual skill by moving to, answering questions about, or describing aural examples of music from diverse cultures. b. Interpret a music selection with appropriate movements or dramatization. c. Compare the sounds of different instruments of orchestras, bands, and other cultures. d. Identify AB and ABA form.

4. Using simple music vocabulary, describe the musical elements that contribute to performance excellence. (CA)

a. Explain musical elements that relate to a successful performance. b. Recognize excellence in the quality of a vocal or choral performance. c. Perform and evaluate individual and/or group performance.

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5. Relate music/notation symbols to a written melodic line. (CA)

a. Recognize increasingly difficult music symbols that demonstrate rhythm notation (i.e., eighth rest, half note, half rest, whole note, whole rest). b. Read and respond to simple notated melodies, rhythms, and dynamic. c. Compose a short song within specified guidelines.

6. Compare and contrast music examples from different cultures, times, and places. (HC)

a. Listen to music from various cultures and ethnic groups and compare and contrast performance styles. b. Perform music from various cultures and create musical instruments from various cultures. c. Discuss the role and function of music and musicians. d. Perform using instruments and timbres of instrumental families from various cultures.

7. Describe the musical characteristics that affect moods, responses, and feelings. (A)

a. Compare the feelings expressed by specific examples of music. b. Interpret the idea or story of a music selection through movement, dance, and dramatization (role-play). c. Respond to and describe music by painting or drawing a picture, or writing a story.

8. Identify musical expression as it relates to other subject areas. (C)

a. Identify ideas and stories contained in the language of songs and relate them to the appropriate subject area. b. Understand word patterns and rhymes within a song text. c. Recognize the sequential arrangement of sections in a work of music.

9. Describe the ways that music affects everyday life. (C)

a. Describe various ways that people make music. b. Understand the presence and uses of music in everyday life. c. Describe different music styles and genres. d. Identify careers in music. e. Demonstrate audience behavior appropriate for a musical performance.

Music 23 2003 Mississippi Visual and Performing Arts Framework

Music, Second Grade

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,b Song: Hawaiian Rainbows (phrase, pitch, rhythm). Teacher observation Sing Hawaiian Rainbows. Students identify the shape of rainbow, drawing a rainbow in the air to indicate each phrase. Students identify the singing voice, and the correct rhythm. After students can sing and make curves for the phrases, they are divided into groups to create smooth and flowing movements for each phrase. Students discuss the dynamics of the piece. Are there crescendos and decrescendos?

2 a,b Using a rhyme such as “2,4,6,8, meet me at the Observe rhythm writing garden gate. If I’m late, don’t wait. 2,4,6,8,” students and instrument playing for determine the rhythm of the chant and write it out technique (on paper, on the floor with sticks). Play the rhythm with unpitched percussion instruments and play the rhythm of the words using the pentatonic scale on a melody instrument. Teacher plays a bourdon on the Bass Xylophone. Students say the rhyme with rhythmic accompaniment. Students play an improvised melody on a tuned instrument, then create a melody for singing the words instead of playing them. Develop an ABACA performance by using the improvisation for A, the vocal rhythmic rhyme for B, and sung melody of the rhyme for C. Teacher divides the class so that each group has a task for which they are responsible.

3 d Students listen to a recorded example of a minuet, Teacher observation of The teacher identifies the form. The students create student body movements movements for the sections of the minuet to become more aware of the dance form.

4 a,b Students are divided into several small groups. Teacher observation and Each group designs a rubric, discussing the rubric elements that could be used to evaluate a singing performance (beginnings, endings, dynamics, etc.). Make a list. Each group performs an example to be evaluated by the other students using the rubric. You may want students to give a bad example first, then correct their performance to make sure that they grasp the evaluation process.

5 a,b Teacher writes a song such as Pease Porridge Hot Teacher observation on a poster board. Students pat legs to the rhythm. Using what they learned about notes on the staff, they name the notes. If instruments are available, students play the notes (if there are no instruments

Music 24 2003 Mississippi Visual and Performing Arts Framework

Music, Second Grade

available, make and copy a paper keyboard), students create other rhythmic accompaniments and improvise other melodies on the rhythm. (Use black keys on the piano if you have no barred instruments.)

6 a,b,d Students learn the song, Chee Chee Koolay, a folk Teacher observation song from Ghana. Students echo-sing the song and discuss patterns in the song from Ghana, and other African countries. Note that people communicate with drums. After students know the song, they play "Follow the Leader" with African instruments (or drums). Discuss that children are sung to from infancy in Africa and this song is probably a mixture of different dialects and has no meaning but is a play song. First phrase-hands on head (imitate); Second phrase-hands on shoulders (imitate); Third phrase-hands on hips (imitate); fourth phrase-grasp ankles (imitate); and fifth phrase-fall to the ground (imitate). Students create their own movements as they think children might do in Ghana.

7 a,b,c Materials needed: Book, What a Wonderful World, Teacher observation and Louis Armstrong’s recording of What A Wonderful World (available on RCA Victor Beginner’s Guide to Jazz-CD-ROM). Teacher plays the recording, turning the pages with the singer as he performs the text. Students create a movement that will identify the word that you speak (“trees,” “red roses,” “bloom,” etc.). Students move with the music using movements that they have just created. (This lesson could be expanded in many directions. Use your creativity.)

8 a Students learn the song, Recycle Rap, or other Teacher observation song about recycling. Students discuss the importance of recycling. Students discuss rap, listen to the rap, discuss the text, pointing out the rhyming words to help with memorization. Students create movement. (If this is not available, let the students make their own rap about recycling and add their own rhythmic accompaniment.)

9 d Students find and bring pictures of various Teacher observation performing artists. They may also bring a recorded example to play by that artist (specify importance of choosing examples that are appropriate for the classroom). Students tell what they know about the artist. After playing a short example, discuss the jobs of all the people it took to create the recording.

Music 25 2003 Mississippi Visual and Performing Arts Framework

MUSIC THIRD GRADE

DESCRIPTION OF PROGRAM OF STUDY:

The Third Grade Music program of study serves as a guide to develop curriculum for students in Third Grade music classes and Third Grade regular classes. Teachers are encouraged to select and implement unit topics, repertoire, teaching strategies, performance practices, and assessments that will enable students to meet the competencies stated for each grade level. Sample strategies and assessments are given for each competency. The benchmark chart establishes the progression of instruction for each goal area through grade clusters. This program of study is to be used by the Music Specialist and or the Classroom Teacher in developing music curriculum for third grade students in the following:

Elementary Music Arts Integrated in the Elementary Classroom

Music 26 2003 Mississippi Visual and Performing Arts Framework

MUSIC THIRD GRADE

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Sing partner songs and two-part rounds with expressive voice control and play accompaniments using crossover mallet techniques. (CP)

a. Sing and/or play partner songs and simple rounds using appropriate vocal techniques and dynamics. b. Sing with accurate pitch and rhythm. c. Recognize and sing music of different styles. d. Play pitched instruments using crossover patterns.

2. Compose short melodies and rhythmic patterns. (CP)

a. Create short melodies by singing or playing on pitched instruments. b. Create rhythms and accompaniments on various instruments. c. Create and perform an original melodic and/or rhythmic song.

3. Listen to and identify simple forms, orchestral instrument families, and melodic movement. (CA)

a. Identify the melodic movement used in a composition. b. Identify the sounds of various instrumental families of the orchestra and band in selected works of music c. Perform appropriate movements or dramatization to selected works of music. d. Identify AB, ABA, AABB, and rondo form.

4. Using music vocabulary, describe the characteristics of a musical performance. (CA)

a. Explain musical characteristics that relate to performance excellence. b. Compare the quality of various vocal or choral performances. c. Describe and evaluate individual and/or group performance and compositions.

Music 27 2003 Mississippi Visual and Performing Arts Framework

5. Identify note values in a written melodic line. (CA)

a. Recognize increasingly difficult music symbols that demonstrate rhythm notation (i.e., whole note, whole rest, key, and meter signature). b. Identify the treble clef and bass cleft line and space note names. c. Read and play rhythm notation.

6. Demonstrate an understanding of various styles or cultures through interpretive movement. (HC)

a. Dramatize/perform music from various cultures and ethnic groups. b. Describe the role and function of music and musicians from various cultures. c. Perform music and dance using instruments from various cultures.

7. Understanding that musical characteristics affect moods, responses, and feelings. (A)

a. Compare and contrast feelings expressed by specific examples of music. b. Dramatize the idea or story of a music selection. c. Interpret music through painting, drawing a picture, movement, or writing.

8. Describe ways in which other subject areas are interrelated with music.

a. Identify ideas and stories contained in the language of songs and relate them to the appropriate subject area. b. Explain the sequential arrangement (sequencing of thoughts, numbers, etc.) of sections in a work of music. c. Identify ways in which the principles and subject matter of music are related to other disciplines.

9. Distinguish various musical styles heard in everyday life. (C)

a. Describe the presence and use of music in everyday life. b. Compare and contrast different music styles. c. Compare and contrast various ways that people make music.

Music 28 2003 Mississippi Visual and Performing Arts Framework

Music, Third Grade

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 d Teacher defines and introduces partner songs. Teacher observation Students echo the definition. After learning the songs Sandy Land and Bow, Belinda, students are divided into two groups. One group sings Sandy Land. The other group sings Bow Belinda. Group one and two now sing Sandy Land and Bow Belinda together.

2 a Students learn the song, I Got a Letter, and tap the Teacher observation. rhythm to the words, I got a letter this morning, oh, Checklist: Correct mallet yes. Students are grouped in pairs and create technique melody patterns for the rhythm of the words using notes E, G, A, B on resonator bells, xylophones, or glockenspiels. The first student will end on G or (do) and the second student will end on E (la).

3 c,d Students listen to Springfield Mountain. While Teacher observation listening, the students sway when the repeating of oral response section is heard and pat knees when the new activity section is heard. Students name the sections heard in the song. After the sections have been identified, instruct the students about AB form. Students are then placed in four groups to dramatize the text. Three of the groups act out two verses and the fourth group acts out the refrain. The students may use butcher paper, scarves, and blankets as props.

4 c While listening to Tideo, students read and play Teacher observation of rhythm notation, including quarter notes, quarter oral response activity rests, eighth notes, eighth rests, half notes, half rests, dotted half rests, whole notes and whole rests using lummi sticks.

c Students will sing a well-known round in 2-4 parts Teacher observation of and describe and evaluate the singing quality, written activity blend, diction, and overall expressiveness of the performance.

c Students will work in groups to create an 8 measure Student responses to each pattern using known note values, and melodic performance pitches on barred and percussion instruments. Each group will perform for the class with the class evaluating according to the use of the appropriate note values, melodic pitches, dynamics, and sense of ensemble.

5 b On a worksheet, students will name the line and Teacher observation of space notes of the treble clef and bass clef. written activity

Music 29 2003 Mississippi Visual and Performing Arts Framework

Music, Third Grade

6 a,d Students listen to La Raspa, a Mexican song, and Teacher observation of Bob Marley’s, The Sun is Shining, a Reggae song. student responses and After listening, students list the various instruments discussion following that are heard in each song and discuss instrument listening activity families from the two different cultures.

7 a,c Students listen to recordings of Rimsky-Korsakov’s Teacher observation of Flight of the Bumblebee, and Bobby McFerrin and student listening, student Yo Yo Ma’s Flight of the Bumblebee. After listening, self-evaluation of the students make a list of similarities and discussion and visual differences. They then discuss the mood or their artworks feelings about each piece. Students listen to the pieces again. On art paper they draw how the music makes them feel when the music is heard.

8 b Teacher introduces the Mexican chant Bate, Bate, Teacher observation and translating the Spanish words and discussing the verbal feedback of meaning. Students think of new words that fit the student-created verses rhythm of piece, write new verses and read them to the class.

9 c Students imagine that they are a conductor or Teacher assessment of singer, research each career, and write a paper. each student’s written They will then compare and contrast the careers in work; teacher and peer appreciation. After comparing and contrasting the evaluation of student careers, students name conductors and/or singers discussion they know.

Music 30 2003 Mississippi Visual and Performing Arts Framework

MUSIC FOURTH GRADE

DESCRIPTION OF PROGRAM OF STUDY:

The Fourth Grade Music program of study serves as a guide to develop curriculum for students in Fourth Grade music classes and Fourth Grade regular classes. Teachers are encouraged to select and implement unit topics, repertoire, teaching strategies, performance practices, and assessments that will enable students to meet the competencies stated for each grade level. Sample strategies and assessments are given for each competency. The benchmark chart establishes the progression of instruction for each goal area through grade clusters. This program of study is to be used by the Music Specialist and or the Classroom Teacher in developing music curriculum for fourth grade students in the following:

Elementary Music Arts Integrated in the Elementary Classroom

Music 31 2003 Mississippi Visual and Performing Arts Framework

MUSIC FOURTH GRADE

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Sing two and three-part rounds, echo songs, and countermelodies with a wider range, and play accompaniments using syncopated rhythm patterns on pitched and un-pitched instruments. (CP)

a. Sing and/or play two and three part rounds, echo songs, and countermelodies using appropriate vocal techniques, dynamics, and phrasing. b. Sing with appropriate tone quality while increasing vocal range. c. Sing music from a variety of places, including Mississippi. d. Sing from memory a repertoire that incorporates simple harmonies. e. Play syncopated accompaniments using pitched and un-pitched instruments. f. Sing in groups, focusing on blending, matching dynamics, and responding to the conductor.

2. Compose short melodies using steps, leaps, and repeats. (CP)

a. Create increasingly complex melodies by singing or playing on pitched instruments. b. Create and correctly echo simple rhythms and melodic ostinato accompaniments by playing instruments. c. Create an original song and accompaniment using a variety of sound sources. d. Improvise simple variation on familiar melodies.

3. Listen and respond to music and instruments of diverse cultures and styles. (CA)

a. Describe the instrumentation of a music composition. b. Dramatize characteristics identified in a music composition with appropriate movement. c. Analyze increasingly complex forms (i.e., theme and variations, suite, overture, call-response).

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4. Describe qualities of successful musical performances. (CA)

a. Describe musical elements that relate to a successful performance. b. Dramatize and interpret musical performances. c. Analyze recorded music examples as a model for performance. d. Devise criteria for evaluating performance or compositions.

5. Develop music reading skills for treble clef. (CA)

a. Perform basic rhythmic, melodic, and dynamic symbols and notation while reading and performing music. b. Read lines and spaces of treble clef and bass clef notation.

6. Recognize that music reflects the culture, time, and place of its origin. (HC)

a. Recognize and discuss by genre or style music examples from various historical cultures and ethnic groups. b. Identify instruments and timbres of instrument families from various cultures.

7. Interpret a variety of moods and feelings communicated through various music selections. (A)

a. Illustrate the feelings expressed in music performances by painting, drawing a picture, moving, or writing a story/poem. b. Interpret the idea or story of a music selection by performing on instruments appropriate to the piece.

8. Compare and contrast the meaning of common terms used in the arts and other subject areas (i.e., line, form, rhythm, texture, contrast, and color). (C)

a. Identify similarities and differences in the meanings of common terminology of art forms such as music, drama, and dance, with literature and poetry. b. Analyze sequential arrangement (sequencing of thoughts, numbers, etc.) within various art forms. c. Identify ways in which the principles of music are related to other disciplines.

9. Recognize ways that music and musicians are encountered in everyday life. (C)

a. Compare and contrast the qualifications for various musical careers. b. Identify and describe roles of musicians in various musical settings, cultures, and careers.

Music 33 2003 Mississippi Visual and Performing Arts Framework

Music, Fourth Grade

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a Teacher introduces a three part round and gives the Teacher observation of definition. Students echo the definition. Use a song students’ singing such as Hey, Ho! Nobody Home, and divide students accuracy into three groups. The teacher brings in each group appropriately while performing the song.

2 a While singing Hambone, students take turns creating Teacher observation and melodies on the quarter rests on pitches E, G. A, B- checklist record flat, and D, using resonator bells, xylophones, or documenting which glockenspiels. students have performed

3 a Students listen to a recording of a song from another Teacher observation of culture, such as, Kye, Kye, Kule, from African students’ oral responses Folksongs: Children’s Songs from Ghana. After following the listening listening, students discuss the instruments heard in activity the composition.

4 b Students discuss and sing a song that tells a story, Teacher observation of such as Clementine. After singing, students are dramatization and singing placed in two groups to dramatize the text. Group I acts out the verses, group II acts out the refrain. Students use feathers, boxes, buckets and paper “rocks.”

5 b Given a barred instrument and mallets, the student Teacher observation of plays a song such as Mary Had a Little Lamb, with mallet technique attention to mallet technique.

6 b After listening to a song such as Cielito Lindo, Teacher observation of students will identify instruments and timbre heard student listening and within the recording. responses

7 b After listening to a symphony selection such as Teacher observation of Symphony no. 94, by Haydn, “The Surprise student listening and Symphony,” the students will illustrate their musical drawing feelings by drawing a picture or writing a story/poem.

8 b Students sing a song about time such as, Take Time Teacher observation of in Life. After singing, they work in pairs to find out student singing and how many months it will take from the present date to listening; read and/or complete elementary school, middle school, and high respond to students’ school. Students may also think of other ways to written work spend time in life: “How many months until I finish college?” or “How many months until the last day of school?”

9 a,b After identifying various musical careers, students list Teacher observation of the qualifications of each, then compare and contrast student responses. each career.

Music 34 2003 Mississippi Visual and Performing Arts Framework

MUSIC KEYBOARD, BEGINNER LEVEL (Kindergarten through Fourth Grade)

DESCRIPTION OF PROGRAM OF STUDY:

The beginning level keyboard framework is designed to guide teachers in developing a keyboard music curriculum for students in the early grades. Keyboard study may take place using an acoustic piano, portable electronic keyboards, or in a laboratory setting with multiple keyboards connected to a computer. The competencies and strategies are closely related to the K-4 general music framework. Individual schools or school districts make decisions about when students begin keyboard study. Teachers are encouraged to consider the age of the child and his/her prior music experiences when designing the keyboard curriculum. Competencies in this framework apply to beginners, and are not designed for specific grade levels. This program of study is to be used in developing music curriculum for kindergarten through fourth grade students in the following:

Elementary Keyboard

Students in these grades follow a yearlong program of study. Teachers are encouraged to select repertoire and implement performance practices and assessments that will enable students to meet the competencies stated. Sample strategies and assessments are given for each competency. The benchmark chart in the general music introduction establishes the progressions of instruction for each goal area grouped by grade cluster. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Music 35 2003 Mississippi Visual and Performing Arts Framework

MUSIC KEYBOARD, BEGINNER LEVEL (K-4)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Play a variety of music selections alone or in groups. (CP)

a. Use proper posture and hand position while sitting at the keyboard. b. Demonstrate understanding of high, medium, and low pitch ranges in selected keyboard repertoire.

2. Create and perform music using simple melodies and rhythms. (CP)

a. Create melodic motives on the keyboard to illustrate up and down. b. Improvise a composition using staccato and legato melodies.

3. Listen to, describe, and respond to short works of music. (CA)

a. Describe characteristics of a melody or rhythm used in a keyboard composition. b. Describe basic elements of form in music.

4. Describe qualities of successful keyboard performances. (CA)

a. Identify expressive qualities of a keyboard performance: soft, loud, fast, slow, etc. b. Evaluate accuracy of rhythm, melody, and style in keyboard performances.

5. Recognize and identify music notation and symbols. (CP, CA)

a. Recognize music symbols that demonstrate rhythmic notation and values (i.e., quarter note, quarter rest, eighth note bar lines, and measures). b. Know the letter names of line and space notes on treble and bass clefs. c. Demonstrate knowledge of music symbols/icons by playing on the keyboard.

6. Recognize that music reflects the culture, time, and place of its origin. (CP, HC)

a. Listen to and perform music from various cultures, and ethnic groups. b. Understand the role of music and musicians in selected cultures, times, and places.

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7. Experience a variety of moods and feelings expressed by different keyboard selections. (CP, A)

a. Compare and contrast emotions or moods expressed when listening to or performing specific examples of music. b. Know that keyboard selections can convey various ideas or stories.

8. Recognize connections between music, the other arts, and other subject areas. (CA, C)

a. Compare ways a composer uses dynamics to tell a musical story with the way an author, a painter, a mime, or a dancer tells a story. b. Analyze the sequential arrangement of phrases or sections in a work of music compared to the order of events in a story.

9. Recognize ways that music and musicians are encountered in everyday life. (C)

a. Know various ways that people make music. b. Analyze the presence, use, and effect of music in everyday life. c. Demonstrate beginning knowledge of a variety of music styles. d. Compare and contrast the qualifications for various musical careers.

Music 37 2003 Mississippi Visual and Performing Arts Framework

Music, Beginner Keyboard

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a Use teacher-made charts to demonstrate posture at Teacher observation of the piano. Students select correct posture and hand student's ability to select position from the charts. proper image

1 a Students hold an imaginary ball in each hand and Teacher observation of move individual fingers on keys as teacher calls out student’s hand position finger numbers. and fingers

1 b The teacher will play a short keyboard motive. Teacher observation of Students will identify the pitch range of the example accuracy of student played by answering high, medium, or low. responses

2 a While using a cloth mallet, the student will play a Teacher and/or peer glissando on the keyboard to illustrate the up and observation down sounds in the song Hickory, Dickory, Dock.

3 b Students listen to the teacher or a classmate Teacher observation of perform a short piece, then they identify the form of student responses the piece (e.g. AB, ABA, etc.).

4 a Students will use terms such as soft/loud, Teacher observation of smooth/jerky, fast/slow, and short/long to describe student's ability to apply and evaluate keyboard performances. accurate terms

5 a Students play five-note scale patterns from a chart Teacher observation of that shows quarter note, half note, and eighth note student reading examples.

5 c Students will play the correct bass or treble clef Teacher/peer observation pitch on the keyboard when the teacher points to a note on a staff notation chart.

6 b Students listen to dance pieces from different time Teacher assessment of periods (e.g., minuet, waltz, boogie-woogie). student’s oral or Discuss or demonstrate the different types of demonstrated responses movement that would accompany each dance selection.

7 a Students listen to two brief keyboard performances Teacher and/or peer of a lullaby and a march. After hearing the evaluation of student examples, they choose from a teacher-made chart response and rationale that shows 4-6 pictures of people doing different things, including resting and marching. Students select a picture from the chart and explain why they made the choice.

Music 38 2003 Mississippi Visual and Performing Arts Framework

Music, Beginner Keyboard

8 a Listen to or perform a short keyboard piece such as Teacher observation of Country Gardens, by Schumann. Students compare student's ability to connect the beginning, middle, and end of the music to a sequence in music to story such as Little Red Riding Hood. sequence in stories

9 b Discuss the different types of keyboards that have Teacher made chart of been used throughout history. Create a list of student responses and keyboards used today, and where/how they might evaluation of student’s be used in music making. knowledge of keyboards based on their discussion

Music 39 2003 Mississippi Visual and Performing Arts Framework

MUSIC Strings, Beginner and Intermediate Level (Kindergarten through Fourth Grade)

DESCRIPTION OF PROGRAM OF STUDY:

The beginning level strings framework is designed to guide teachers in developing a strings music curriculum for students in the early grades. Classes meet only once or twice per week. Teachers are encouraged to select and implement unit topics, repertoire, teaching strategies, performance practices, and assessments that will enable students to meet the competencies stated. Sample strategies and assessments are given for each competency. There is also a benchmark chart that establishes the progression of instruction for each goal through grade clusters. The competencies and strategies are closely related to the MS-beginner music framework. Individual schools or school districts make decisions about when students begin strings class. Teachers are encouraged to consider the age of the child and his/her prior music experiences when designing the strings curriculum. Competencies in this framework apply to beginners, and are not designed for specific grade levels. This program of study is to be in developing music curriculum for kindergarten through fourth grade students in the following:

Elementary Strings

Students in these grades follow a yearlong program of study. Teachers are encouraged to select repertoire and implement performance practices and assessments that will enable students to meet the competencies stated. Sample strategies and assessments are given for each competency; there is also a benchmark chart in the instrumental music introduction that establishes the progression of instruction for each goal area grouped by grade cluster. The competencies are printed in bold face type and are required to be taught. For an explanation of the content strands, see the general introduction section of the Mississippi Visual and Performing Arts Framework. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level.

Music 40 2003 Mississippi Visual and Performing Arts Framework

For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Music 41 2003 Mississippi Visual and Performing Arts Framework

MUSIC

Strings, Beginner and Intermediate Level (K-4)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Sing and play a variety of music selections alone or in groups. (CP)

a. Use proper posture and hand position while holding stringed instrument. b. Demonstrate understanding of high, medium and low pitch ranges in selected stringed repertoire.

2. Create and perform music using simple melodies and rhythms. (CP)

a. Identify and play scales. b. Create melodic motives on the instrument to illustrate up and down. c. Improvise a composition using staccato and legato melodies.

3. Listen to, describe, or respond to short works of music. (CA)

a. Describe characteristics of a melody or rhythm used in a string composition. b. Describe basic elements of form in music.

4. Describe qualities of successful string performances. (CA)

a. Identify expressive qualities of a string performance: soft, loud, fast, slow, etc. b. Evaluate accuracy of rhythm, melody, and style in stringed performances.

5. Recognize and identify music notation and symbols. (CP, CA)

a. Recognize music symbols that demonstrate rhythmic notation (i.e., quarter note, quarter rest, eighth note). b. Know the letter names of line and space notes on treble and bass clefs. c. Identify note/rest values, bar lines and measures. d. Demonstrate knowledge of music symbols/icons by playing on respective stringed instrument.

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6. Recognize that music reflects the culture, time, and place of its origin. (CP, HC)

a. Listen to and perform music from various cultures, and ethnic groups. b. Understand the role of music and musicians in selected cultures, times, and places.

7. Experience a variety of moods and feelings expressed by different string repertoire. (CP, A)

a. Compare and contrast emotions or moods expressed when listening to or performing specific examples of music. b. Know that stringed selections can convey various ideas or stories.

8. Recognize connections between music, the other arts, and other subject areas. (CA, C)

a. Compare ways a composer uses musical elements to tell a musical story like the way an author, a painter, a mime, or a dancer tells a story. b. Compare ways music and other subjects are related.

9. Recognize ways that music and musicians are encountered in everyday life. (C)

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Elementary Strings, Beginner

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1aStudents discuss beforehand the finger position to be Teacher observation of used, what strings to be played. discussion

a Students learn correct left and right hand positions, and Teacher observation practice bowing long, slow bows on open strings.

2aStudents practice easy scales such as D, G, and C by Playing test, teacher placing their fingers on colored tape guides on the observation fingerboard to insure proper note placement.

b Students will improvise simple melodies which Teacher observation demonstrate the ability to move up and down within a simple scale.

c Students will improvise a simple melody which Playing test, teacher demonstrates the ability to utilize both staccato and observation legato bowings.

3aStudents listen to related works of composers whose Teacher observation pieces they are playing and discuss differences and similarities of rhythm, style, tempo, and melody.

b Students listen to a work of a well-known composer in Written assessment the Classical period and demonstrate ability to identify basic formal elements.

4aStudents will identify and define the simple expressive Teacher evaluation of qualities (fast/slow, simple meters, forte/piano, etc.) student response or contained within a recording of an orchestral written work performance.

b Students will evaluate recorded examples of the Student evaluation instrumental sounds (based on a grading scale of 1-5) of using scale the entire class in the categories of accuracy of rhythm (whole to eighth notes) and style.

5aStudents use flashcards to review different types of Teacher evaluation of notes and rests. Then they write music staff, notes, and worksheet corresponding rests to create measures of music on a worksheet.

b Students memorize names of lines and spaces of their Written test clef, then make flashcards to review with each other.

c Students label a rhythm worksheet with appropriate Teacher evaluation of counts and symbols denoting its expressive quality. rhythm worksheets

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Elementary Strings, Beginner

c,d Students identify and play music from a lesson book that Visual and aural demonstrates different types of bowing (dynamic observation by teacher markings and tempo). 6aStudents will listen to and discuss stringed instruments Teacher observation of incorporated into various styles of music. discussion

b Students will listen as their teacher reads a story about Teacher observation of a composer and will then answer questions about the discussion story.

7aStudents describe the feeling or mood expressed in a Teacher observation of piece of music, and explain those conclusions. discussion

b While listening to a musical selection, students will Teacher observation illustrate a story evolved by the music.

8aStudents listen to a variety of styles of music and view Teacher-led discussion examples of a variety of styles of visual art, describing of aesthetic how music and visual art evoke involuntary responses. experiences

b Students will discuss how historical events influence a Teacher observation composer’s writings.

9aStudents will complete a chart of all the music heard for Student-created chart five straight days. Included in this chart should be a description of who was making the music, the purpose of the music, and how it affected their mood and attitude.

b Students discuss the places they hear music, such as Teacher observation advertising, CD’s, cartoons, cell phones, videos, and radio, and determine what the music communicates and how it delivers a message in each application.

c Each student will demonstrate the ability to alter a given Teacher and student melody (nursery song or other simplistic melody) on observation and their instrument to exhibit at least 2 different styles of feedback music.

d Students will examine several musical careers and Written assessment describe the different qualifications for each.

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Elementary School Strings, Intermediate

Comp. Obj. Suggested Suggested Teaching Strategies Assessment 1bStudents will play chorales to develop a more mature Peer evaluation sound. Students play in smaller, chamber groups, through small student listening to each other. critique groups

2aStudents learn 1 and 2 octave scales, and Teacher observation corresponding minor scales. and evaluation of performance.

b,c Students improvise, alone and in small groups. Evaluation of creativity Students create and perform a four-measure melody. and resolution of the melody

3aStudents play Classical, Baroque, and pop music, then Teacher evaluation of identify composer and discuss different structures of written work or each through written work or class discussion. discussion

b Students identify time signature, key signature, tempo, Teacher observation and dynamic markings of a piece before it is played.

4aStudents listen to a CD and watch a music video and Observation of discuss the music elements in each piece. teacher-led discussion

b Students take a playing test. Evaluation of playing test

5aStudents play scales using different rhythms, then Evaluation of complete a worksheet. worksheet

6aStudents listen to CD’s of various genres and styles of Teacher observation string music and participate in class discussion.

b Students research cultures in which various Teacher evaluation of compositions studied originated identifying cultural presentations influences that affected the composer and the music, and sharing findings in creative presentations.

7aStudents listen to live and recorded music, discuss the Evaluation of teacher- feelings and emotions inspired by the music, and led discussion determine how the elements of music are used to create those feelings.

b Students will listen to exemplary recordings of concert Teacher evaluation of material and analyze how the music elicits various written essays responses. Students then compose an essay describing their reactions to the nuances of the music.

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Elementary School Strings, Intermediate

8aDiscuss arts programs in their school such as drama, Evaluation of teacher- choir, art, and how these groups interact. led discussion

b Students identify similarities between music and math, Worksheets such as how note values are like fractions, crescendo and decrescendo are like greater than/less than signs, and patterns in music phrases are similar to number patterns.

9bStudents discuss the importance of music in their lives Evaluation of and the impact of music on others. discussion

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MUSIC MIDDLE SCHOOL INTRODUCTION

Students studying music at the middle school level continue to build on skills acquired during earlier grades. In grades 5-8 students are still very eager to create, perform, and respond to music. At the same time, they are beginning to form opinions about music that influence their personal choices. As knowledge about music increases, students begin to make choices about their music participation and preferences. Interest in peers and popular culture also affects student decision-making. The middle school years provide an excellent time for students to reap benefits of music study. In the early grades students are introduced to basic elements of music: rhythm, melody, harmony, form, and expression. These elements represent the core components of music study and serve as building blocks for music literacy. Increasing music literacy and performing skills enables middle school students to undertake more challenging repertoire. In addition, performing music provides a means of personal expression and a way to build self-confidence and a sense of self-worth. In this time of rapid physical growth, music study offers an outlet for expanding thoughts and ideas that helps students to know themselves better. Students who have identified special interests or talents may want to consider options for more serious study or to examine the possibility of a career in music.

Middle School General Music

The goal of this program of study is to continue sequential music instruction that leads to music literacy, educated music consumers, and lifelong learning in music. With that goal in mind, during the middle school years, students are expected to increase skills in performing, creating, and responding to music. Courses may be prescribed or elected, depending upon decisions made at the school district level. The Middle School Music programs of study, Levels I, II, III, and IV, serve as a guide in developing curriculum for students in grades 5-8. Students in these grades may receive music instruction in a yearlong program of study, in a semester course, or in a 9-week term. Nine-week and semester courses will introduce all the competencies in the designated program of study. Yearlong courses will cover all the competencies, but in greater depth and breadth than semester or 9-week courses. Curriculum may encompass a general music approach and/or choral music performance. Teachers are encouraged to select and implement unit topics, repertoire, teaching strategies, performance practices, and assessments that will enable students to meet the competencies stated for each grade level. Sample strategies and assessments are given for each competency. The benchmark chart establishes the progression of instruction for each goal area grouped by grade clusters. This program of study is to be used by the Music Specialist and or the Classroom Teacher in developing music curriculum for Levels I, II, III, and IV students in the following:

Middle School General Music (9 week, semester, or yearlong course) Arts Integrated in the Middle School Classroom

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Middle School Choral Performance

Students at the middle school level who choose to pursue choral performance identify with the sounds of singing and its expressive qualities. The idea of singing for an audience stimulates them to work hard for performance goals. By this time, students are able to sing in two and three parts. Vocal maturation results in an entirely different singing sound from the earlier grades. The middle school years are an excellent time to develop vocal technique, increase music literacy skills, and learn basic elements of music theory. The Middle School Choral Performance program of study serves as a guide to develop curriculum for choral performance classes that include students in grades 5-8. Students in these grades may receive music instruction in a yearlong program of study, in a semester course, or in a 9-week term. Nine-week and semester courses will introduce all the competencies in the designated program of study. Yearlong courses will cover all the competencies but in greater depth and breadth than semester or 9- week courses. Teachers are encouraged to select choral repertoire and implement performance practices and assessments that will enable students to meet the competencies stated for each grade level. Sample strategies and assessments are given for each competency; the benchmark chart establishes the progression of instruction for each goal area grouped by grade clusters. This program of study is to be in developing music curriculum for Levels I, II, III, and IV students in the following:

Middle School Choral Performance (9 week, semester, or yearlong Course) Middle School Musical Performance (Choral) (9 week, semester, or yearlong course)

Middle School Instrumental Performance

The idea of learning to play an instrument is very attractive to middle school students. Many students at this level have spent years thinking about playing one particular instrument or being a member of a band or orchestra. Previous music study yields rapid progress when students begin to play an instrument. Yet instruments offer challenges that inspire a new commitment to the discipline of music study and practice. Support of peers and interest from parents is particularly helpful as students begin to learn an instrument. Once past the initial challenges of learning an instrument, students begin to understand the benefits of playing together in an ensemble. Listening skills, critical thinking, and problem solving become very important to the performing group. The middle school level is an excellent time for students to expand their knowledge of music literature and their appreciation for many kinds of music. The Middle School Instrumental Performance program of study serves as a guide for developing curriculum for instrumental performance classes that include students in grades 5-8. Students in these grades follow a yearlong program of study. Teachers are encouraged to select instrumental repertoire and implement performance practices and assessments that will enable students to meet the competencies stated for each grade level. Sample strategies and assessments are given for each competency; the

Music 49 2003 Mississippi Visual and Performing Arts Framework benchmark chart establishes the progression of instruction for each goal area grouped by grade clusters. This program of study is to be used in developing music curriculum for Levels I, II, III, and IV students in the following:

Middle School Band Middle School Instrumental Ensemble Middle School Strings Middle School Musical Performance (Instrumental)

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MUSIC MIDDLE SCHOOL LEVEL I

DESCRIPTION OF PROGRAM OF STUDY:

The Middle School Level I program of study serves as a guide in developing music curriculum for students in Fifth Grade or at the beginning middle school level. Teachers are encouraged to select and implement unit topics, repertoire, teaching strategies, performance practices, and assessments that will enable students to meet the competencies stated for each level. Sample strategies and assessments are given for each competency. The benchmark chart in the Music Introduction section establishes the progression of instruction for each goal area through grade clusters. This program of study is to be used by the Music Specialist and or the Classroom Teacher in developing music curriculum for level I students in the following:

Middle School General Music Arts Integrated in the Middle School Classroom

The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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MUSIC MIDDLE SCHOOL LEVEL I

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Sing and/or play, alone and in groups, a variety of music, by imitation and from short notated patterns, using basic performance techniques, including attention to pitch, meter, tempo, and dynamics. (CP)

a. Sing and/or play alone and with others a variety of songs using appropriate techniques and dynamics. b. Sing with accurate pitch and rhythm while incorporating beginning breath control techniques. c. Sing music from a variety of cultures, times, and traditions. d. Sing music written in two parts.

2. Compose and/or improvise short vocal and/or instrumental phrases in pentatonic and major scales, using simple meters, basic rhythm, and melodic patterns. (CP)

a. Improvise increasingly difficult melodies by singing or playing instruments in two part harmonies. b. Improvise rhythms and accompaniments by playing instruments. c. Create and notate an original musical composition.

3. Listen to and describe a varied repertoire of short music examples. (CA)

a. Analyze instrumentation of a music selection. b. Identify the characteristics of a music composition. c. Analyze increasingly difficult musical forms.

4. Differentiate between performances of higher and lower quality. (CA)

a. Evaluate music performances. b. Analyze musical elements of a successful performance.

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5. Read from music notation that includes treble clef pitches, basic rhythm notation (including sixteenth, eighth, quarter, half, and whole notes with corresponding rests), basic meter signatures, and basic dynamic markings. (CA)

a. Understand counting, playing, or singing from increasingly difficult musical notation such as syncopation. b. Demonstrate knowledge of melodic, rhythmic, and dynamic notation.

6. Demonstrate awareness of music and musicians in various cultures, times, and places. (HC)

a. Listen to and identify music from various cultures and ethnic groups. b. Perform music from various cultures. c. Investigate the role and function of music and musicians. d. Understand how various cultures use different musical instruments and vocal techniques to create culturally unique music.

7. Develop and use a vocabulary to describe the mood and feelings expressed in different music selections. (A)

a. Interpret feelings expressed by specific examples of music. b. Develop a musical idea or story that will express moods or feelings.

8. Describe connections between music, the other arts, and other subject areas. (C)

a. Identify poetic characteristics of song lyrics. b. Recognize the sequential order of musical events. c. Describe the ways in which the principles and subject matter of other disciplines are related to music.

9. Describe the role of music and musicians in everyday life. (C)

a. Demonstrate various ways that people make music. b. Evaluate the use and effect of music in everyday life. c. Identify careers associated with music.

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Middle School Music, Level I

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a Students sing traditional songs such as Down by the Teacher observation and Riverside, and Fais Dodo, a French folk song. feedback about vocal performance

2 c Students create and notate an eight-measure Teacher assessment of rhythm pattern that includes at least one sixteenth written student responses. note, dotted half note, triplet, and tie. Record student progress on mastery of rhythm notation

3 c Students listen to works such as “Fossils” from Teacher observation of Saint-Saens, Carnival of the Animals. When the student movement while repeated section is heard, the students tap the beat. listening When the new sections are heard, they snap fingers, pat shoulders, or nod heads to determine the form of AABCADA.

4 a After listening to a musical selection, students Teacher evaluation of develop a rubric to determine the quality of the student-made rubric performance.

5 a While singing songs, students read tap beats to Teacher observation of syncopated ostinato accompaniments. student participation

6 a, b, d After listening to a work such as Ragupati Ragava Teacher observation of Raja Ram several times, students discuss the student listening and instruments heard in the piece. They plan a student-planned rhythm performance of the song and create rhythm patterns patterns to be played on various sized hand drums.

7 a, b Students listen to works such as Copland’s Teacher observation and Hoedown from Rodeo, and Gershwin’s feedback related to “Summertime” from Porgy and Bess. After listening, student participation and they develop a musical story for each piece based story-telling on the moods or feelings portrayed in the music. Students may use movement with props such as scarves, skimmers, streamers, and hats.

8 b After singing songs such as Erie Canal, students Teacher observation of identify rhyming words in the song text. They write students’ oral and written the words on the chalkboard and think of other responses words that would fit the rhythm.

9 b After listening to examples of classical and jazz Teacher observation of music, students discuss the differences heard in student listening and relation to instruments, feelings, or mood. The discussion students then discuss and evaluate how these types of music are used, and the way their use affects people in today’s society.

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MUSIC MIDDLE SCHOOL LEVEL II

DESCRIPTION OF PROGRAM OF STUDY:

The Middle School Level II program of study serves as a guide to develop music curriculum for students in sixth grade or those who have completed Middle School Music Level I. Teachers are encouraged to select and implement unit topics, repertoire, teaching strategies, performance practices, and assessments that will enable students to meet the competencies stated for each level. Sample strategies and assessments are given for each competency. The benchmark chart in the Music Introduction section establishes the progression of instruction for each goal area through grade clusters. This program of study is to be used by the Music Specialist and or the Classroom Teacher in developing music curriculum for level II students in the following:

Middle School General Music Arts Integrated in the Middle School Classroom

The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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MUSIC MIDDLE SCHOOL LEVEL II

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Sing and/or play, alone and in groups, a variety of music expressively and with rhythmic accuracy, by imitation and from notated patterns of increasing difficulty. (CP)

a. Sing or play a varied repertoire alone and in groups. b. Sing or play using appropriate performance techniques, expression, and accuracy from a broad literature of music. c. Sing or play music in unison and in two and three part harmonies. d. Sing or play music in a variety of meters, tonalities and styles.

2. Compose and/or improvise short vocal and/or instrumental musical examples using a variety of rhythm patterns, pentatonic or major and minor scales, various vocal and/or instrumental timbres, and basic written music notation. (CP)

a. Improvise melodies and rhythms employing the voice, body percussion, and a variety of instruments using pentatonic scales or major and minor scales. b. Create simple accompaniments to songs and speech using a variety of sound sources. c. Compose original pentatonic or major melodies and rhythms using notation or instruments.

3. Listen to and describe a varied repertoire of compositions and performances, including American popular music. (CA)

a. Identify elements of music heard in a varied repertoire of music selections. b. Analyze music compositions for musical forms representing diverse genres. c. Identify and describe characteristics of musical styles.

4. Identify and describe characteristics of quality performances. (CA)

a. Develop criteria for evaluating quality music performances. b. Analyze and evaluate classroom and public performances for quality.

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5. Recognize and identify notation that includes: treble clef and bass clef pitches, sharps and flats, basic rhythmic notation, complex rhythms, basic meter signatures, and basic Italian dynamic terms and corresponding symbols. (CA)

a. Read and interpret music notation in treble clef and bass clef. b. Demonstrate knowledge of how to read a grand staff in musical scores. c. Recognize, identify and describe tempo, dynamic, and expression markings in written music. d. Use appropriate terminology to describe components of a musical score.

6. Determine the role and function of music and musicians in different cultures, times, and places. (HC)

a. Recognize and discuss music and musicians from the United States. b. Recognize and discuss music and musicians from outside the United States. c. Discuss the role and function of music in various cultures, times, and places.

7. Analyze a wide variety of music for expressive qualities, using both musical and aesthetic vocabulary. (A)

a. Demonstrate understanding of mood or feelings expressed while performing or listening to music. b. Analyze the elements of music that evoke or represent a certain mood or feeling in specific examples of music. c. Identify and compare musical qualities that express artistic meaning and value.

8. Analyze connections between music, the other arts, and other subject areas. (C)

a. Compare and contrast shared artistic elements (e.g., flow, line, texture, color/tone, mood, contrast) among music, visual arts, dance, and theatre. b. Analyze connections between music, language, and literature. c. Identify the relationship of musical rhythm to mathematical properties.

9. Know the importance of music and musicians in everyday life. (C)

a. Analyze ways music and other arts are integrated into the experience of daily life. b. Discover ways the arts are incorporated into various communications media and technology.

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Middle School Music, Level II

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,b,c,d Students sing “Siyahamba,” using good diction and Teacher and peer tone, with several rhythmic or melodic ostinatos as observation, discussion of accompaniment, played on percussion instruments. proper performance technique, rhythm, and pitch accuracy

2 b Students improvise a rhythmic accompaniment to a Observation of stability of song with hand clapping, keeping an appropriate clapping in relation to beat sense of beat and tempo. and rhythm

c Students compose a pentatonic melody of 16 beats Observation of in 4/4 meter for original or selected lyrics/poetry, or compositional process and without lyrics, using barred percussion instruments original melody (product) or keyboards.

3 a,b Students listen for rondo form in “New Hampshire Evaluation of order of Hornpipe” from On Golden Pond movie soundtrack contrasting section of form and create a listening graph to show the continuity on student graphs of design and sections of the form, based on the contrast of elements, themes, and style.

4 a Videotape a classroom performance of a song. After Evaluation of guidelines viewing the video, each student makes a list of and checklist suggestions to improve the performance in order to compile a set of classroom guidelines for singing or playing instruments in the future. Combine ideas to compile a checklist.

5 a,b Students re-write short examples of treble clef notes Teacher evaluation of transposed into the bass clef staff keeping the same student-made rubric letter names.

a Students sing patterns from notated familiar songs, Teacher/peer observation using solfege syllables and letter names. of rhythm and beat stability

6 a, b, c Students watch video programs of traditional music- Evaluation and discussion making from various countries or cultures, then of student observations discuss and write descriptions of the differences and statements between American/European music-making and those on the video(s).

7 c Students listen to two or more recorded versions of Evaluation of student lists the same musical selection and list different musical characteristics, moods, and meaning.

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Middle School Music, Level II

8 a Students listen to excerpts from Pictures at an Student oral and written Exhibition by Mussorgsky while viewing responses representative paintings to describe the way that Evaluation of student sounds symbolize the visual content of the choices paintings. Choose a work of visual art to connect to a personal favorite musical selection.

9 a,b Students listen for music outside of the classroom Evaluation of student lists and compile a list of musical selections and where and statements. they were heard, stating their opinion on the function and purpose of these selections.

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MUSIC MIDDLE SCHOOL LEVEL III

DESCRIPTION OF PROGRAM OF STUDY:

The Middle School Level III program of study serves as a guide to developing music curriculum for students in Seventh Grade or those who have completed Middle School Music Level II. Teachers are encouraged to select and implement unit topics, repertoire, teaching strategies, performance practices, and assessments that will enable students to meet the competencies stated for each level. Sample strategies and assessments are given for each competency. The benchmark chart in the Music Introduction section establishes the progression of instruction for each goal area through grade clusters. This program of study is to be used by the Music Specialist and or the Classroom Teacher in developing music curriculum for level III students in the following:

Middle School General Music Arts Integrated in the Middle School Classroom

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MUSIC MIDDLE SCHOOL LEVEL III

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Sing and play, alone or in groups, a varied repertoire learned by imitation and from printed music scores, employing an increasing level of technical proficiency.

a. Sing and/or play, alone and in groups, a varied repertoire, from memory or musical scores. b. Sing and/or play using appropriate performance techniques, accuracy, and expression from a wide repertoire. c. Sing and/or play music in unison and in two and three parts, from memory or musical scores. d. Sing and/or play music in a variety of meters, tonalities, textures, and styles from various genres and cultures.

2. Compose and/or improvise vocal and/or instrumental musical examples using major and minor scales, standard and syncopated rhythms, and written music notation. (CP)

a. Improvise melodies and rhythms by singing, body percussion, and playing a variety of instruments. b. Improvise accompaniments by singing or playing instruments. c. Compose short original music selections employing melodies and rhythms using manuscript, instruments, or technology (e.g., MIDI, notation software, or sequencing software).

3. Listen to and describe a varied repertoire of compositions and performances, including global and American music. (CA)

a. Distinguish among various music elements within selected repertoire. b. Compare a variety of music styles within selected repertoire.

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4. Recognize the technical proficiency and expressive nature of successful performers and performances. (CA)

a. Identify characteristics that produce quality music performance. b. Recognize the impact of musical elements on the expressive nature of musical works.

5. Recognize treble and bass clef pitches, rhythmic notation, basic meters, basic Italian expressive markings (e.g., crescendo, fermata) and tempo markings (e.g., andante, allegro). (CA)

a. Read and perform music notation in treble clef and bass clef including triplets and tied notes. b. Recognize and describe dynamic and expression markings in written music. c. Use appropriate terminology to describe and analyze components of a music score. d. Sight-read short vocal or instrumental passages from music selections.

6. Compare and contrast the role and function of music and musicians in various cultures, times, and places. (HC)

a. Identify and compare music and musicians from inside and outside the United States. b. Discuss the role and function of music throughout history as it relates to the culture of its origin.

7. Describe aesthetic qualities in music from various cultures, times, and places. (A)

a. Describe and/or demonstrate the way elements of music evoke or represent moods or feelings. b. Analyze musical qualities that express artistic meaning and value.

8. Describe common elements shared among music, the other arts, and other subjects. (C)

a. Describe ways that similar ideas are communicated through various arts disciplines. b. Recognize common conceptual elements among the arts disciplines. c. Recognize mathematical properties of music and music business. d. Acknowledge the connection of language, literature, and science to music.

9. Analyze the role of music and musicians in everyday life. (C)

a. Compare and contrast careers in music and the arts to other careers. b. Compare different ways in which musicians perform.

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Middle School Music, Level III

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 b Students perform a song with expression by using Teacher observation of changes in dynamics to emphasize text or mood. changes in performance

2 a In two groups, students improvise contrasting Teacher observation of rhythmic and/or melodic ostinatos using a variety of group creative process instruments and/or body percussion to create a and performance of entire rondo form out of a familiar folk song, song

3 a Students list the types of sound or families of Checklist of instruments instruments heard in a recorded musical selection and/or sounds and review and discuss which instruments play the melody or of student statements main theme comparing the contrast among instrument families.

4 a Students record, discuss, and modify classroom Teacher evaluation of singing or playing of a musical selection in student comments and comparison to an established set of performance performance compared to guidelines in order to develop awareness of quality established guidelines in performance.

5 c,d Students circle, label, and define music symbols Teacher examination of and markings from the score of a song used in worksheet responses class.

6 a,b, Using a map worksheet, students match folk song Teacher examination of titles to areas and states of the United States map and responses according to regional and ethnic concentration, history, and traditions.

7 a,b Following class discussion of the mood of a song Student musical, oral text, students perform the selection making changes and/or written responses in tone, dynamics, and facial expression to express a variety of interpretations. Students then choose one interpretation that they feel expresses the most appropriate interpretation and discuss and/or write an explanation.

8 c Students compile total costs of classroom Teacher and peer instruments and resources from vendor catalogs evaluation of student and/or from Internet web sites, then rank the items figures and ranking in order of expense or importance to a classroom setting. 9 a Teacher and peer Students review university catalogs and list common evaluation of student and differing course requirements for music degrees responses and lists and other degree programs in order to understand the way people are educated for various careers.

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MUSIC MIDDLE SCHOOL LEVEL IV

DESCRIPTION OF PROGRAM OF STUDY:

The Middle School Level IV program of study serves as a guide to develop music curriculum for students in Eighth Grade or those who have completed Middle School Music Level III. Teachers are encouraged to select and implement unit topics, repertoire, teaching strategies, performance practices, and assessments that will enable students to meet the competencies stated for each level. Sample strategies and assessments are given for each competency. The benchmark chart in the Music Induction section establishes the progression of instruction for each goal area through grade clusters. This program of study is to be used by the Music Specialist and or the Classroom Teacher in developing music curriculum for level IV students in the following:

Middle School General Music Arts Integrated in the Middle School Classroom

The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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MUSIC MIDDLE SCHOOL LEVEL IV

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Sing and play a variety of music for small and large groups, expressively, and with rhythmic accuracy, and with proficient performance technique. (CP)

a. Sing and/or play, alone and in groups, a varied repertoire from memory or musical scores. b. Sing and/or play using appropriate performance techniques, expression, and accuracy in a variety of musical groupings from a range of musical literature.. c. Sing and/or play music in unison and with more than one part from memory or musical scores from diverse genres and cultures. d. Sing and/or play music in a variety of meters, tonalities, textures, styles, and interpretations.

2. Compose and improvise original music, selecting from a variety of performance media (vocal, instrumental, technological), using major and minor scales or chords, written in standard music notation. (CP)

a. Improvise or compose melodies and rhythms by singing, body percussion, and playing a variety of instruments to create unity and variety, tension and release, and balance. b. Improvise accompaniments or contrasting sections to songs by singing, using body percussion, or playing instruments. c. Compose original music selections employing melodies, rhythms, and/or various sound sources (manuscript, instruments, technology, MIDI, notation software, and sequencing software). d. Arrange simple pieces for voices or instruments.

3. Listen to, analyze, and describe compositions and performances, including selected global and American music. (CA)

a. Develop the uses of elements of music as the basis for analysis of musical style and structure. b. Use common elements of music to analyze and describe selected repertoire using appropriate terminology.

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4. Develop criteria for evaluating and analyzing the quality of musical performances. (CA)

a. Identify and define characteristics that produce quality music performance. b. Analyze personal and classroom performances for quality. c. Develop constructive criticism techniques.

5. Recognize and identify increasingly complex music notation and symbols including treble and bass clef, key signatures and accidentals, changing meters, various Italian terms or symbols (e.g., de capo al coda, caesura). (CA)

a. Read music notation in treble clef and bass clef. b. Read and compare scores that include multiple parts. c. Interpret dynamic and expression markings in written music. d. Use appropriate terminology to analyze and compare components among music scores. e. Sight-read simple melodies. f. Use standard notation to record musical ideas.

6. Demonstrate awareness of distinguishing characteristics of music and musicians in various cultures, times, and places. (HC)

a. Identify and compare various music practices within the United States. b. Identify and compare music and musicians from outside the United States. c. Analyze the role and function of music throughout history.

7. Develop awareness of aesthetic qualities in works of music. (A)

a. Analyze the way elements of music evoke or represent moods or feelings while performing and/or listening to music. b. Evaluate differences of opinion about musical qualities that express artistic meaning and value. c. Analyze the perceived purpose of a music composition.

8. Recognize the broad concepts that music, the other arts, and other subject areas share in common. (C)

a. Identify ways that similar ideas are communicated through various arts disciplines. b. Compare common conceptual elements among the arts disciplines. c. Analyze mathematical properties of music and music business. d. Interpret the connection of language and literature to music. e. Compare the scientific properties of acoustic and digital sound.

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f. Compare how the processes and media of various art disciplines (sound to music, movement to dance) can be used to interpret ideas, emotions, events, or scenes through art.

9. Evaluate the role of music and musicians in everyday life. (C)

a. Evaluate the role of music in a variety of places and events in society. b. Evaluate the way music and arts careers relate to other career areas. c. Compare cultures of the world through the functions music serves, roles of musicians, and conditions under which music is performed. d. Describe distinguishing characteristics of music genres and styles from various cultures.

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Middle School Music, Level IV

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,b,c,d Students sing two part (SA or SB) song accompanied Teacher and peer by chords on guitar and electronic keyboards, bass evaluation recording, line on bass xylophones, recorder descant and discussing and rehearsal unpitched percussion ostinatos. Work for balance, of modifications blend, intonation, expression, and interpretation. Adjust for dynamic balance and contrast among parts, proper tempo, correct notes, and proper technique.

2 a,b Students listen to recordings of standard 12-bar Teacher and peer blues songs. Perform the bass line of the standard observation and blues chord progression by singing and/or playing on discussion of validity of barred percussion or keyboards, or using sequencing improvisations to the software. Students explore vocal improvisations, in chords groups and/or alone, in relation to the blues chord progression. Write blues songs with lyrics and sections of improvisation. Record and make class CD’s or record through MIDI hardware/software that will notate MIDI files. Review accuracy of composed melodies in blues songs and balance between melodies and improvisations in songs on CD or software.

3 a,b Students listen to examples of disco and hip hop Teacher and peer songs that have lyrics appropriate to the school discussion of setting. Identify instruments/sounds used, meter, observations. key, and stylistic musical qualities common to each Teacher evaluation of genre. Make lists of instruments; using instruments, written work discover tonic and mode of key; feel strong and weak beats to identify meter; identify rhythmic, expressive, and texture qualities for style. Compare and contrast the two genres writing paragraphs on findings. Listen to examples and identify genre from criteria.

4 a Students identify songs they prefer to hear on radio, Review statements in watch on television music programs, or purchase. relation to criteria. Given guidelines, students explain what they value Observation of student and like about their choices. Compile list of various discussion student music choices.

5 a,b,c,d After viewing transparencies of a page from full Teacher observation and scores for both band and chorus, students compare, evaluation of discussion contrast, and discuss differences and similarities Teacher observation of such as clefs, key signatures, number of parts, students performing or layout). Use technical music terms about scores. conducting Students discuss similar and different characteristics Worksheet of scores. Students perform and/or conduct a song from a written full score. Label parts of new score example on a worksheet with proper terms.

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Middle School Music, Level IV

6 b Teacher prepares a list of classical and/or popular Teacher evaluation of music performers from around the world. Students essay and student choose a performer and research information about discussion them through library and/or internet sources. Students produce biographical essays and discuss performers.

7 a,b,c Discuss the value of patriotic songs and the way the Teacher observation of songs may make people feel about themselves and discussion their country. Compare America, America the Beautiful, Star Spangled Banner, and Battle Hymn of the Republic for stylistic and expressive qualities. Listen to national songs from other countries for similarities. Students choose one song and think about how it makes them feel and identify or analyze what qualities in the music cause these feelings. Discuss the value of patriotic songs and individual reactions to them.

8 a,b,d Students listen to or watch videos of scenes from Teacher evaluation of American musical theatre works (Broadway shows) written work such as Sound of Music, Annie, and Lion King. Examine certain familiar songs and/or scenes from the show for musical and plot connections, staging, characters and actions, and musical style. Students share reactions to performances. Students use teacher created criteria or suggestions about how to connect the music to the stage or media. Students watch a performance of musical theater outside of class on video or live performance, then write observations based on classroom guidelines.

e Students examine the way sound is made on a Teacher and peer piano, electronic keyboard, and computer MIDI evaluation of discussion soundcard. Find additional examples of instruments that have acoustic, electronic, and digital forms of sound production. Classify instruments and look for common instruments among the types of production.

9 a Students examine the way music is sold and Teacher evaluation of list marketed to students and society, including media, education, entertainment, and religion. Students create list of ways they consume music in a commercial way. Discuss the issues of musical choices and advertising. Students identify instances where music has influenced their ideas, the purchase of an item, or ways that music has been introduced to them.

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MUSIC MIDDLE SCHOOL CHORAL PERFORMANCE

DESCRIPTION OF PROGRAM OF STUDY:

The Middle School Choral Performance program of study serves as a guide to develop curriculum for choral performance classes that include students in grades 5-8. Students at the middle level who choose to pursue choral performance identify with the sounds of singing and its expressive qualities. The idea of singing for an audience stimulates them to work hard for performance goals. By this time, students are able to sing in two and three parts. Vocal maturation results in an entirely different singing sound from the earlier grades. This is an excellent time to develop vocal technique, increase music literacy skills, and learn basic elements of music theory. This program of study is to be used in developing music curriculum for middle school students, levels I-IV in the following:

Middle School Choral Music (Beginner/Intermediate) Middle School Musical Performance (Choral – Advanced)

The Middle School Choral Music Course applies to choral group or choral ensemble classes. The Middle School Musical Performance Course applies to classes in specialized or advanced choral music instruction in a particular musical form, or classes made possible by artist’s residency programs. Teachers are encouraged to select choral repertoire and implement performance practices and assessments that will enable students to meet the competencies stated. Sample strategies and assessments are given for each competency. The benchmark chart in the Music Introduction establishes the progression of instruction for each goal area grouped by grade cluster. The competencies in this program of study can be applied to curriculum development in these applications with the focus of the course guiding the development. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level.

For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts

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Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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MUSIC MIDDLE SCHOOL CHORAL PERFORMANCE

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Sing a varied repertoire of choral music selections alone and in groups using correct vocal technique. (CP)

a. Perform music that includes a variety of textures. b. Sing correctly using appropriate breath support and control throughout the vocal range. c. Sing, with expression and technical accuracy, a varied repertoire of vocal literature including some songs from memory.

2. Create and perform original choral music within specified guidelines. (CP)

a. Improvise rhythmic and melodic variations on specific melodies. b. Improvise original melodies in a given chord progression. c. Create compositions using traditional and non-traditional sound sources.

3. Listen to, analyze, and describe a varied repertoire of choral music. (CA)

a. Make critical judgements about musical works from a varied repertoire. b. Respond to a varied repertoire of music with expression appropriate to the work being performed. c. Discuss and demonstrate appropriate audience behavior.

4. Develop and apply criteria for evaluating choral performances. (CA, CP)

a. Evaluate the quality and effectiveness of performances by self and others, applying specific criteria appropriate for the style of music. b. Apply proposed criteria in personal listening and performing.

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5. Recognize and identify increasingly complex music notation and symbols. (CA, HC, A, C)

a. Demonstrate the ability to sight-read simple melodies. b. Identify and define the standard symbols of music notation. c. Sight read simple melodies and harmonies.

6. Demonstrate awareness of the role and function of music and musicians in cultures, times, and places. (HC)

a. Identify and describe choral music from a variety of cultures and places, including Mississippi. b. Identify and describe choral music and musicians from historic to contemporary time. c. Recognize the role of music in people’s lives in various cultures and places. d. Explain the characteristics of a particular work that cause it to be considered exemplary within the context of its cultural origin.

7. Recognize and appreciate individual perceptions of the diverse meanings and value of music. (A, CA, C)

a. Understand how choral music experiences produce a variety of responses. b. Offer constructive criticism of the quality and effectiveness of specific musical works by applying specific artistic criteria. c. Compare and discuss individual feelings and emotions evoked from listening to a specified work.

8. Compare and contrast choral music to the other arts and other subject areas. (C)

a. Compare the expressive qualities in choral music with other artistic endeavors. b. Describe ways in which the principles and subject matter of other disciplines are interwoven with those of music. c. Identify through cultural, historical, and societal perspectives the unity in thought and structure inherent in all disciplines. d. Define ways in which technology impacts vocal music in a global culture.

9. Understand the role of choral music in everyday life. (C)

a. Identify ways choral music, incorporated with other arts, is experienced in daily life. b. Describe ways the arts are incorporated into various communications media and technology. c. Identify careers in music and the arts.

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Middle School Choral Music (Beginner/Intermediate)

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a Students sing a cappella and accompanied music Teacher observation written in two or more parts.

b Students sight-sing simple melodies. Audio evaluation

c Students sing selected choral pieces with correct Teacher observation pitches and with moderate dynamics from memory.

2 a Students will improvise the rhythm and melody of Cooperative evaluation simple songs (e.g., “Mary’s Little Lamb” and “Twinkle, Twinkle Little Star”).

a Students will select a song of their choice and Audio evaluation improvise the existing rhythm.

b Students will create 8- and 16- measure Rubric of prescribed compositions for 1-2 voice parts over a given criteria harmonic accompaniment using I, ii, IV, V, and VI chords.

3 a Students judge musical performances and Rubric of prescribed compositions according to prescribed criteria. criteria

a Students identify the styles of and recall notable Written evaluation characteristics of the composers and arrangers of the music literature being studied.

b Students move in response to the characteristics of Teacher observation various music examples. Video

c Students compare and discuss appropriate behavior Teacher observation of during various types of musical performances. charts

c Students attend various types of performances and Teacher observation of respond to each performance using appropriate student behavior behavior.

4 a Students listen to musical performances and Small group evaluation discuss qualities inherent in each work.

b Students will develop a list of criteria for evaluating Rubric of prescribed the expressive qualities of a performance, watch a criteria taped or live performance, and adjudicate the performance based on the developed criteria.

5 a Students sight-read a simple melodic line. Teacher observation, Chart, aural evaluation

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Middle School Choral Music (Beginner/Intermediate)

5 b Students discuss the standard symbols of notation Written evaluation that are present in a given work for pitch, rhythm, dynamics, tempo, articulation, and expression.

6 a Students listen to and discuss performances of Teacher observation of Mississippi artists (e.g., Blues, rhythm and blues, oral presentations country, gospel).

b Students listen to and discuss musical Teacher generated rubric performances from antiquity to contemporary.

c Students sing music from a variety of cultures and Teacher observation of places (e.g., Africa, Latin America, Canada, student performance American Indian).

7 a Students explain the meaning of the text in various Cooperative evaluation musical works from an individual perspective.

b,c Students discuss the elements of music that create Written evaluation expressive qualities in a specified music selection.

b,c Students discuss feelings and emotions evoked Small group discussion after listening to a recording of their performance.

8 a Students demonstrate and compare legato and Cooperative evaluation staccato technique in both music and dance.

b Students discover the mathematical concepts Drill and practice involved in musical notation through drill and worksheets practice.

c Students recognize nationalism by examining the Teacher observation of cultural elements in a specified work (e.g., folk song, written and oral anthem, drum cadence). presentations

d Students contrast the musical notational devices Chart used by Beethoven and Danny Elfman.

9 a Students track music exposure in one day by Teacher evaluation of keeping a log of daily activities that include music. student logs

b Students play “Name that Jingle” and discuss the Teacher observation of impact of music in various media. student participation

c Students invite various performers to share their Interview sheets career experiences with the class (e.g., church Reports musicians, band members, composers, music technologists).

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Middle School Musical Performance (Choral - Advanced)

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1aStudents sing 3-6 part canons with good blend and Teacher observation vocal technique.

b Students sing in small ensembles with one student Audio evaluation on a part demonstrating good breath support and control throughout the range.

c Students sing selections from the Renaissance Teacher and Student Period by memory focusing on legato vocal line, Observation good breath support, and moderate dynamics.

2aStudents improvise rhythmic and melodic variations Audio evaluation on “Heart & Soul” using the sung syllable ‘bah’.

b Students create 8 and 16 measure compositions for Audio evaluation 2-4 voice parts over a given harmonic accompaniment using the I, ii, IV, V, and VI chores.

c Students create a composition to accompany a Video observation poem of their choice using only non-traditional vocal accompaniment.

3aStudents analyze and make critical judgments about Rubric or prescribed their choral performances. criteria

b Students describe the use of unity, repetition, and Teacher observation of variety and of tension and release in compositional student discussion structure and how these techniques evoke various individual responses.

c Students attend choral festivals, competitions, and Teacher observation of performances and demonstrate appropriate student behavior audience behavior.

4aStudents develop a list of at least five components Student discussion and of a quality musical composition that will be used by student notebook judges at festivals/competitions and apply them as they listen critically to themselves.

b Students develop criteria for evaluating and Teacher observation choosing music and help select appropriate student notebook literature for their own performances.

5aStudents sight-read a melody and transpose it from Aural evaluation treble to bass clef.

b Students identify, name, and define the function of Student worksheet quiz various music symbols in a choral selection being studied.

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Middle School Musical Performance (Choral - Advanced)

5cStudents sight-read, in unison, 4 and 8 measure Aural evaluation simple melodic lines one after the other and then combine them for harmony with students switching parts and clefs.

6aStudents listen to, describe, discuss, and perform Teacher evaluation music of Mississippi artists.

b Students sing and perform choral music from the Aural evaluation Renaissance to and including the 20th century.

c Students describe the role of the master musician in Teacher and student traditional African performance practice and perform evaluation of the a similar role using an African song. performance

d Students define the term “style” in music and Student worksheet quiz identify the style period of selected choral music excerpts.

7aStudents compare and discuss their individual Teacher observation responses to the various choral selections they have performed.

b Students write a critical review of a new music Student notebook selection explaining how the music evokes feelings and emotions.

c Students compare and discuss their responses to Teacher observation of vocal style, melodic form, and accompaniment upon student discussion hearing aural examples of various Native American songs.

8aStudents identify and relate the musical ABA for Student notebooks with ABA for in visual art and architecture. worksheet

b Students compare the relationship between opera Student notebook and literature and are able to explain these worksheet or quiz interrelationships.

c Students compare examples of music and visual Student notebook arts from the Baroque Period and identify similar worksheet or quiz characteristics in their style.

d Students listen to and then identify authentic CD Aural evaluation recordings of music from various Non-Western cultures that students are exposed to daily through the media.

9aStudents reflect on and discuss the impact of music Student notebook at important times in their lives such as family celebrations, holidays, and specific religious services.

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Middle School Musical Performance (Choral - Advanced)

b Students identify, describe, and contrast the various Teacher observation of jobs necessary to bring a musical theater production student discussion to the stage vs. a musical television production.

c Students describe the role of a composer and Graded notebook identify how the background of a composer may influence his or her work.

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MUSIC MIDDLE SCHOOL INSTRUMENTAL PERFORMANCE (Beginner and Intermediate)

DESCRIPTION OF PROGRAM OF STUDY:

The Middle School Instrumental Performance program of study serves as a guide for developing curriculum for instrumental performance classes that include beginning and intermediate students in grades 5-8. The idea of learning to play an instrument is very attractive to middle level students. Many students at this level have spent years thinking about playing one particular instrument or being a member of a band or orchestra. Previous music study yields rapid progress when students begin to play an instrument. Yet, instruments offer challenges that inspire new commitment to the discipline of music study and practice. Support of peers and interest from parents is particularly helpful as students begin to learn an instrument. The new wears off quickly when hard work is the only means to make progress. Once past the initial challenges of learning an instrument, students begin to understand the benefits of playing together in an ensemble. Listening skills, critical thinking, and problem solving become very important to the performing group. This is an excellent time for students to expand their knowledge of music literature and appreciation for many kinds of music. This program of study is to be used in developing dance curriculum for beginning and intermediate middle school students, levels I – IV, in the following:

Middle School Band Beginner/Intermediate Middle School Instrumental Ensemble Beginner/Intermediate Middle School Musical Performance (Instrumental) Middle School Strings (Proficient and Advanced)

The Middle School Band course applies to band classes in which beginning and intermediate students are enrolled. The Middle School Instrumental Ensemble Beginner/ Intermediate course applies to instrumental ensemble classes comprised of wind, percussion, strings, or keyboard instruments in distinct groups or combinations. The Middle School Strings course applies to middle school strings classes of beginner and intermediate students. The Middle School Musical Performance course applies to classes in specialized or advanced instrumental music instruction in a particular musical form, or classes made possible by artist’s residency programs. Teachers are encouraged to select instrumental repertoire and implement performance practices and assessments that will enable students to meet the competencies stated. Sample strategies and assessments are given for each competency. The benchmark chart in the general music introduction establishes the progression of instruction for each goal area grouped by grade cluster. The competencies in this program of study can be applied to curriculum development in these applications with the focus of the course guiding the development.

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Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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MUSIC MIDDLE SCHOOL INSTRUMENTAL PERFORMANCE (Beginner and Intermediate)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Perform a variety of instrumental selections alone and/or in groups. (CP)

Beginner: a. Perform with acceptable tone quality using proper instrumental techniques. b. Perform easy scales on wind, strings, and brass instruments and play easy rudiments on percussion instruments. c. Perform instrumental music that includes some variety of textures.

Intermediate: a. Perform with characteristic tone quality. b. Perform scales of increasing range and tempo on wind, strings, and brass instruments and play more complex rudiments on percussion instruments. c. Perform instrumental music that includes a greater variety of textures.

2. Create original instrumental music within specified guidelines. (CP)

Beginner: a. Complete the composition of an unfinished line of music using easy keys. b. Create and perform music using a variety of easy scales, rhythms, tempi, and styles.

Intermediate: a. Complete the composition of an unfinished line of music using more complex keys. b. Create and perform music using a greater and more complex variety of scales, rhythms, tempi, and styles.

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3. Listen to, analyze, and describe a varied repertoire of instrumental music. (CA)

Beginner: a. Analyze elementary rhythm patterns and their corresponding rests. b. Define, identify, demonstrate, and apply simple musical terms and symbols in selected works of instrumental music.

Intermediate: a. Analyze more complex rhythm patterns and their corresponding rests. b. Define, identify, demonstrate, and apply more complex musical terms and symbols in selected works of instrumental music.

4. Evaluate instrumental music performances. (CA)

Beginner: a. Evaluate simple musical elements within each individual performance. b. Evaluate simple musical elements within the group performance. c. Evaluate simple musical elements in performances of different groups, styles, and genres.

Intermediate: a. Evaluate more complex musical elements within each individual performance. b. Evaluate more complex musical elements within the group performance. c. Evaluate more complex musical elements in performances of different groups, styles, and genres.

5. Recognize and identify increasingly complex music notation and symbols. (CA)

Beginner: a. Demonstrate ability to read and notate simple musical symbols. b. Demonstrate the performance of simple interpretive markings for all music being studied.

Intermediate: a. Demonstrate ability to read and notate more complex musical symbols. b. Demonstrate the performance of more complex interpretive markings for all music being studied.

6. Understand music in relation to diverse cultures, times, and places. (HC)

Beginner: a. Demonstrate elementary knowledge of music history and cultural heritage related to instrumental music. b. Identify music and musicians in various cultures, times, and places.

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Intermediate: a. Demonstrate a greater knowledge of music history and cultural heritage related to instrumental music. b. Identify music and musicians in various cultures, times, and places.

7. Recognize and appreciate individual perceptions of the diverse meanings and value of music. (A, CA, C)

Beginner: a. Demonstrate a basic understanding of how music can communicate a variety of moods and feelings. b. Demonstrate a basic understanding of how music elements interact to produce a variety of responses from performers and audience.

Intermediate: a. Demonstrate a higher understanding of how music can communicate a variety of moods and feelings. b. Demonstrate a higher understanding of how music elements interact to produce a variety of responses from performers and audience.

8. Understand relationships between instrumental music, the other arts, and subject areas outside the arts. (C)

Beginner: a. Compare instrumental music to the other arts and other disciplines. b. Describe ways in which music relates to subject matter from other disciplines and life experiences.

Intermediate: a. Compare and contrast instrumental music to the other arts and other disciplines. b. Relate principles from other subject areas to those of music in meter, note values, music form, and music history.

9. Understand how music affects one’s quality of life. (C)

Beginner: a. Participate in cultural/musical life of the community through involvement in local and regional instrumental music and arts opportunities. b. Describe the affect of instrumental music in everyday life and how others’ lives can be improved through this music.

Intermediate: a. Participate more fully in cultural/musical life of the community through involvement in local and regional instrumental music and arts opportunities. b. Describe the affect of instrumental music in everyday life and how others’ lives can be improved through this music.

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Middle School Band (Beginner and Intermediate) The strategies for Middle School Band and Middle School Instrumental Ensemble are similar since they both apply to teaching beginner and intermediate wind and percussion instrumentalists. Teachers with combined woodwind brass, and percussion groups should use these strategies for Middle School Band, while those with homogeneous or smaller heterogeneous groups (such as woodwinds, brass, or percussion alone) should use the strategies for Middle School Instrumental Ensemble. Comp. Obj. Suggested Suggested Teaching Strategies Assessment

Beginner 1aSkilled instrumentalists (i.e. older students, other Teacher observation teachers) will demonstrate characteristic tone quality and students will imitate homogeneously prior to group playing.

b Students will demonstrate the ability to perform the Teacher and peer Bb concert scale (clarinets may make octave jump to observation avoid the break) or 4 rudiments.

c Students will perform multiple pieces with a difficulty Teacher and peer of Grade 1 individually and as a part of the large observation ensemble, demonstrating ability to count rests and listen to others while playing.

Intermediate 1aStudents will perform long tones throughout the Bb Teacher observation/peer concert scale (preferably along with an advanced comparison model for comparison), demonstrating characteristic tone quality.

b Students will demonstrate the ability to perform the Teacher evaluation of Bb, Eb, F, and Ab concert scales or 9 rudiments by performance performing them all with the ensemble at a tempo of eighth notes @ quarter note = 90 beats per minute.

c Students will perform multiple pieces with a difficulty Teacher observation of Grade 1.5 or 2 individually and as a part of the large ensemble, demonstrating ability to count rests and listen to others while playing.

Beginner 2aTeacher will begin a well-known melody with limited Teacher observation range in concert Bb and students will complete melody.

b Students will individually improvise a simple melodic Peer observation line using the Bb concert scale and rhythms consisting of whole, half, quarter, and eight notes and their respective rests. Other students in

Music 84 2003 Mississippi Visual and Performing Arts Framework

Middle School Band (Beginner and Intermediate)

ensemble will give feedback as to the creative use of the musical elements of pitch, rhythm, dynamic, tempi and style.

Intermediate 2aTeacher or student will play beginning of well-known Teacher/peer observation melody utilizing an octave or more range in concert F, Eb, or Ab while another student completes the tune.

b Students will individually improvise a simple melodic Peer line using F, Eb, or Ab concert scales and rhythms observation/feedback which include simple dotted rhythms and sixteenth- note groups. Other students in ensemble will give feedback as to the creative use of the musical elements of pitch, rhythm, dynamic, tempi and style.

Beginner 3aStudents will analyze and dictate rhythm patterns of Teacher evaluation of simple recorded or performed examples that utilize written work whole, quarter, half, and eighth note rhythms by using the appropriate numbers or syllables.

b Students will identify and define the simple musical Teacher evaluation of elements (fast/slow, simple meters, forte/piano, etc.) student response or contained within a recording of a band, orchestral, or written work choral performance.

Intermediate 3aStudents will analyze and dictate rhythm patterns of Teacher evaluation of recorded or performed examples that utilize sixteenth written work notes and dotted rhythms by using the appropriate numbers or syllables.

b Students will identify and define the musical Teacher evaluation of elements contained within a recording of a band, student response or orchestral, or choral performance. Elements should written work include varying levels of dynamics (mf, ff, pp, etc.), crescendo/decrescendo, triple and duple meter, and varying degrees of tempi (allegro vs allegretto, for example).

Beginner 4aStudents will evaluate recorded examples of their Student evaluation using own individual instrumental sounds (based on a scale grading scale of 1-5) in the categories of tone and rhythm (whole to eighth notes). Examples of correct instrumental sounds may then be played for comparison.

Music 85 2003 Mississippi Visual and Performing Arts Framework

Middle School Band (Beginner and Intermediate)

4bStudents will evaluate recorded examples of the Students evaluation using instrumental sounds (based on a grading scale of 1- scale 5) of entire ensemble in the categories of tone and rhythm (whole to eighth notes).

c Students will apply knowledge and awareness of Student evaluation using proper instrumental sounds by evaluating a simple scale recording of a different instrumental ensemble in the categories of tone and rhythm (based on a grading scale of 1-5).

Intermediate 4aStudents will evaluate recorded examples of their Student evaluation using own individual instrumental sounds (based on a scale grading scale of 1-5) in the categories of tone (throughout the known range), rhythm (including dotted rhythms and sixteenths), and articulation. Examples of correct instrumental sounds will then be played for comparison.

b Students will evaluate recorded examples of the Student evaluation using instrumental sounds (based on a grading scale of 1- scale 5) of the entire ensemble in the categories of tone (throughout the known range), rhythm (including dotted rhythms and sixteenths), and articulation.

c Students will apply knowledge and awareness of Student evaluation using proper instrumental sounds by evaluating a recording scale of a different ensemble (band, chorus, or strings) in the categories of tone, rhythm, and articulation (based on a grading scale of 1-5).

Beginner 5aStudents will identify and copy notation of whole, Written assessment of half, quarter, and eight notes and their respective music notation rests.

b Students will understand and be able to perform Teacher observation notes with the duration of whole, half, quarter, and eight notes and their respective rests, as well as forte and forte and piano and mezzo forte.

Intermediate 5aStudents will demonstrate knowledge of basic rhythm Written assessment of patterns and rests by using standard notation and music notation manuscript paper to write simple pieces dictated by the teacher which included dotted quarter/eighth rhythms and sixteenths.

b Students will be able to sight-read musical examples Teacher-created score with a level of difficulty of 1.5 on a scale of 1 to 6 with sheet very few mistakes or stops.

Music 86 2003 Mississippi Visual and Performing Arts Framework

Middle School Band (Beginner and Intermediate)

Beginner 6aStudents will be able to identity one composer and Written assessment one general characteristic from each of the five periods of Western Music (Renaissance, Baroque, Classical, Romantic, 20th Century) after listening to an excerpt of a significant musical work from each period.

b Students will be able to describe several similarities Written assessment or and differences between Western and several Non- teacher observation Western musical examples.

Intermediate 6aStudents will be able to identify several composers Written assessment and general characteristics from each of the five periods of Western Music (Renaissance, Baroque, Classical, Romantic, 20th Century) after listening to excerpts of significant musical works from each period.

b Students will be able to identify music from several Written assessment different Non-Western cultures and/or countries. Beginner 7aStudents will be able to list the musical elements that Teacher-led discussion affect the mood of the music that they are and observation of performing. Ways of increasing or decreasing the responses emotional content should also be identified.

b After listening to a simple recorded example, the Written assessment students will list the musical elements that dominated a given performance and what made that composition unique.

Intermediate 7aEach student will demonstrate the ability to alter a Teacher and student given melody (nursery song or other simplistic observation and feedback melody) on their instrument to exhibit at least 3 different emotional states (happy, sad, angry, indifferent, etc.).

b After listening to a recorded example (more complex Written assessment than Beginner), the students will list the musical elements that dominated a given performance and what made it unique.

Beginner 8aStudents will be able to describe the relationship Teacher observation between instrumental music and both dance and drama utilizing terms which are in common to all three art forms (meter/pacing, dynamic/projection, etc.).

Music 87 2003 Mississippi Visual and Performing Arts Framework

Middle School Band (Beginner and Intermediate)

8bStudents will demonstrate how basic rhythm patterns Teacher observation can be formulated mathematical sentences and each student will clap the correlating rhythm.

Intermediate 8aStudents will be able to identify the similarities of Written assessment meter and phrases in music with that of poetry and literature.

b Students will identify how a particular event or object Written assessment could be represented in terms of music, visual art, and dance.

Beginner 9aStudents will attend several musical performances Teacher-created not associated with the school. frequency chart

b Students will provide written examples of community Written responses events that are enhanced by music.

Intermediate Teacher-created 9aStudents will participate in musical performances not frequency chart associated with the school.

b Students will complete a chart of all the music heard Student-created chart for five straight days. Included in this chart should be a description of how often music was heard, at what location, and how it affected their mood and attitude.

Music 88 2003 Mississippi Visual and Performing Arts Framework

Middle School Instrumental Ensemble (Beginner and Intermediate)

The strategies for Middle School Instrumental Ensemble and Middle School Band are similar since they both apply to teaching beginner and intermediate wind and percussion instrumentalists. Teachers with homogeneous or smaller heterogeneous groups (such as woodwinds, brass, or percussion alone) should use these strategies for Middle School Instrumental Ensemble, while those with combined woodwind, brass, and percussion groups should use those strategies for Middle School Band.

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

Beginner 1aTeacher (or other chosen demonstrator) will perform Teacher observation beginning notes with characteristic tone quality and students will imitate.

b Students will demonstrate the ability to perform the Teacher and peer Bb concert scale (clarinets may make octave jump observation to avoid the break) or 4 rudiments.

c Students will perform multiple pieces with a difficulty Teacher and peer of Grade 1 individually and as a part of different- observation sized groups (duets, trios, etc.).

Intermediate 1aStudents will perform long tones throughout the Teacher observation/peer know range (preferably along with an advanced comparison model for comparison), demonstrating characteristic tone quality.

b Students will demonstrate the ability to individually Teacher evaluation of perform the Bb, Eb, F, and Ab concert scales or 9 performance rudiments by performing them all with a maximum of 3 mistakes or stops in eighth notes @ quarter note = 90 beats per minute.

Beginner 2aTeacher will begin a well-known melody with limited Teacher observation range in concert Bb and students will complete melody.

b Each student will improvise a simple melodic line Peer observation using the Bb concert scale and rhythms consisting of whole, half, quarter, and eight notes and their respective rests. Other students in class will give feedback as to the creative use of the musical elements of pitch, rhythm, dynamic, tempi and style.

Intermediate 2aTeacher or student will play beginning of well-known Teacher/peer observation melody utilizing an octave or more range in concert F, Eb, or Ab while another student completes the tune.

Music 89 2003 Mississippi Visual and Performing Arts Framework

Middle School Instrumental Ensemble (Beginner and Intermediate)

2bStudents will improvise a simple melodic line using Peer observation/feedback F, Eb, or Ab concert scales and rhythms which include simple dotted rhythms and sixteenth-note groups. Other students in class will give feedback as to the creative use of the musical elements of pitch, rhythm, dynamic, tempi and style.

Intermediate 3aStudents will analyze and dictate rhythm patterns of Teacher evaluation of recorded or performed examples that utilize written work sixteenth notes and dotted rhythms by using the appropriate numbers or syllables.

b Students will evaluate recorded example of the Student evaluation using instrumental sounds (based on a grading scale of 1- scale 5) of the entire class in the categories of tone and rhythm (whole to eighth notes).

Music 90 2003 Mississippi Visual and Performing Arts Framework

Middle School Instrumental Ensemble (Beginner and Intermediate)

b Students will evaluate recorded examples of the Student evaluation using instrumental sounds (based on a grading scale of 1- scale 5) of the entire class in the categories of tone (throughout the known range), rhythm (including dotted rhythms and sixteenths), and articulation.

c Student will apply knowledge and awareness of Student evaluation using proper instrumental sounds by evaluating a scale recording of a different ensemble (band, chorus, or strings) in the categories of tone, rhythm, and articulation (based on a grading scale of 1-5).

Beginner 5aStudents will identify and copy notation of whole, Written assessment of half, quarter, and eighth notes and their respective music notation rests.

Intermediate 5aStudents will demonstrate knowledge of basic Written assessment of rhythm patterns and rests by using standard music notation notation and manuscript paper to write simple pieces dictated by the teacher which includes dotted quarter/eighth rhythms and sixteenths.

b Students will be able to sight-read musical Teacher-created score examples with a level of difficulty of 1.5 on a scale sheet of 1 to 6 with very few mistakes or stops.

Beginner 6aStudents will be able to identify one composer and Written assessment one general characteristic from each of the five periods of Western Music (Renaissance, Baroque, Classical, Romantic, 20th Century) after listening to an excerpt of a significant musical work from each period.

Music 91 2003 Mississippi Visual and Performing Arts Framework

Middle School Instrumental Ensemble (Beginner and Intermediate)

6bStudents will be able to describe several similarities Written assessment or and differences between Western and several Non- teacher observation Western musical examples.

b Students will be able to identify music from several Written assessment different Non-Western cultures and/or countries.

Beginner 7aStudents will be able to list the musical elements Teacher-led discussion that affect the mood of the music that they are and observation of performing. Ways of increasing or decreasing the responses emotional content should also be identified.

b After listening to a simple recorded example, the Written assessment students will list the musical elements that dominated a given performance and what made it unique.

b After listening to a recorded example (more complex Written assessment than Beginner), the students will list the musical elements that dominated a given performance and what made that composition unique.

b Students will demonstrate how basic rhythm Teacher observation patterns can be formulated mathematically. Teacher will write simple mathematical sentences and each student will clap the correlating rhythm.

Music 92 2003 Mississippi Visual and Performing Arts Framework

Middle School Instrumental Ensemble (Beginner and Intermediate)

Intermediate 8aStudents will be able to identify the similarities of Written assessment meter and phrase in music with that of poetry and literature.

b Students will identify how a particular event or Written assessment object could be represented in terms of music, visual art, and dance.

Beginner 9aStudents will attend several musical performances Teacher-created not associated with the school. frequency chart

b Students will provide written examples of community Written responses events that are enhanced by music.

Intermediate 9aStudents will participate in musical performances Teacher-created not associated with the school. frequency chart

Music 93 2003 Mississippi Visual and Performing Arts Framework

Middle School Musical Performance, Instrumental

These strategies should be utilized by those ensembles formed for specialized or advanced instrumental music instruction (3rd year or top group in school with multiple ensembles) or ensembles made possible by artist’s residency programs.

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1aStudents will demonstrate an increasingly mature Teacher observation tone quality throughout the dynamic range coupled with vibrato (where applicable).

b Students will demonstrate the ability to individually Teacher and peer perform all concert scales up to 5 flats (Db) and 1 observation sharp (G) or 15 rudiments b performing them all with a maximum of 2 mistakes or stops in eighth notes @ quarter note = 120 beats per minute.

c Students will achievable proficiency on multiple Teacher and peer pieces with a difficulty of Grade 2.5 or 3 within the observation ensemble.

2aEach student will be able to successfully complete Teacher observation the final 2 measures of a recognizable 4-measure melody in duple or triple meter in the keys of Db, C, or G.

b Students will improvise a melody over a simple Teacher evaluation of I/ii/IV/V pattern in the keys of Bb, F, G, Eb, Ab, and performance Db in duple meter. Other students in ensemble will give feedback as to the creative use of the musical elements of form, rhythmic development, use of dynamic contrast, and style.

3aStudents will analyze and dictate rhythm patterns of Written assessment recorded or performed examples that utilize eighth not triplets and the combination of dotted eighth/sixteenth by using the appropriate numbers or syllables.

b Students will identify and define the musical Teacher evaluation of elements contained within a recording of a band, student response or orchestral, or choral performance. Elements should written work include both changing tempi and changing meters (i.e. from duple to triple meter).

4aStudents will develop an adjudication sheet Teacher evaluation of designed to judge individual instrumental written work performances which incorporates those musical elements determined by the student to be important to a quality individual performance. The sheet will then be used to judge an individual performance of a peer.

Music 94 2003 Mississippi Visual and Performing Arts Framework

Middle School Musical Performance, Instrumental

4bStudents will develop an adjudication sheet Teacher evaluation of designed to judge instrumental ensemble written work performances which incorporates those musical elements determined by the student to be important to a quality group performance. The sheet will then be used to judge the ensemble through the use of a recording.

c Students will utilize the adjudication sheets Teacher observation or developed in 4b to evaluate recordings of higher- evaluation of written work skilled orchestras or bands.

5aStudents will demonstrate knowledge of rhythm Written assessment of patterns and rests by using standard notation and music notation manuscript paper to write melodies dictated by the teacher which includes dotted eighth/sixteenth rhythms and triplets.

b Students will be able to sight-read musical Teacher-created score examples with a level of difficulty of 2 on a scale of sheet 1 to 6 with very few mistakes or stops.

6aStudents will be able to sight-read musical Teacher assessment of examples with a level of difficulty of 2 on a scale of written work or 1 to 6 with very few mistakes or stops. presentation

b Students will present indepth information about Teacher assessment of music from a Non-Western culture, including written work or instruments utilized, notation used, and ways in presentation which music is used in that particular culture.

7aAfter listening to the first movement of Beethoven’s Teacher evaluation of Symphony no. 6 (“Pathetique”), students will identify student responses those musical elements used by Beethoven to achieve the emotional content of the piece.

b After listening to Carnival of the Animals, students Teacher evaluation of will describe the ways in which Saint-Saens utilized student responses musical elements to represent the different animals.

8aStudents will provide a comparison between the Teacher assessment of form and elements of a musical composition and the student responses or form and elements of a dramatic play. written work

b Students will describe the way in which music Teacher evaluation of influences the enjoyment of a movie. Specifics student response or should include such factors as how different written work ensembles and genres are effectively used and how music can portray what is apparently happening inside a person’s mind.

9aStudents will organize a community musical event in Teacher observation honor of a person or community happening.

Music 95 2003 Mississippi Visual and Performing Arts Framework

Middle School Musical Performance, Instrumental

9bStudents will describe how the musical event Written assessment organized in 9a affected the community and/or the person being honored and how musical events can improve life in any community.

Music 96 2003 Mississippi Visual and Performing Arts Framework Middle School Strings (Beginner and Intermediate)

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

Beginner 1aStudents learn correct left and right hand positions, and Teacher observation practice bowing long, slow bows on open strings.

b Students practice easy scales such as D, G, and C by Playing test, teacher placing their fingers on colored tape guides on the observation fingerboard to insure proper note placement.

b Students discuss before hand what finger position to be Teacher observation of used, what strings to be played, and what time discussion signatures are used in playing a certain piece.

c Students identify and play music from a lesson book that Visual and aural demonstrates different types of bowing, dynamic observation by teacher markings, and tempos.

Intermediate 1aStudents will play chorales to develop a more mature Peer evaluation sound. through small student critique groups

b Students learn 1 and 2 octave scales, and Teacher observation corresponding minor scales using different rhythms, and evaluation of then complete a worksheet. performance and evaluation of worksheet

c Students play in smaller, chamber groups, listening to Peer evaluation each other. through small student critique groups

Beginner 2aTeacher will begin a well-known melody with limited Teacher observation range in and easy key and students will complete melody.

b Each student will improvise a simple melodic line using Peer observation a simple scale and rhythms consisting of whole, half, quarter, and eighth notes and their respective rests. Other students in class will give feedback as to the creative use of the musical elements of pitch, rhythm, dynamic, tempi, and style.

Intermediate 2aStudents improvise, alone and in small groups. Students Evaluation of creativity create and perform a four-measure melody. and resolution of the melody

Music 97 2003 Mississippi Visual and Performing Arts Framework Middle School Strings (Beginner and Intermediate)

Beginner 3aStudents use flashcards to review different types of Teacher evaluation of notes and rests. Then they write music staff, notes, and worksheet corresponding rests to create measures of music on a worksheet.

a Students identify time signature, key signature, tempo, Teacher observation and dynamic markings of a piece before it is played.

a Students label a rhythm worksheet with appropriate Teacher evaluation of counts and symbols under each measure and/or rhythm. rhythm worksheets

b Students listen to related works of composers whose Teacher observation pieces they are playing and discuss differences and similarities of rhythm, style, tempo, and melody.

b Students will differentiate among trill, tremolo, and Evaluation of student ‘s vibrato. ability to recognize technique played by teacher

Intermediate 3bStudents play Classical, Baroque, and pop music, then Teacher evaluation of identify composer and discuss different structures of written work or each through written work or class discussion. discussion

Beginner 4aStudents will evaluate recorded examples of their own Student evaluation individual instrumental sounds (based on a grading using scale scale of 1-5) in the categories of tone and rhythm (whole to eighth notes). Examples of correct instrumental sounds will then be played for comparison.

b Students discuss recent performances, how they felt Teacher observation before, during, and after, and the difference between being an observer and a participant.

Intermediate 4aStudents take a playing test. Evaluation of playing test

c Students listen to a CD and watch a music video and Observation of discuss the music elements in each piece. teacher-led discussion

Beginner 5aStudents memorize names of lines and spaces of their Written test clef, then make flashcards to review with each other.

Intermediate Teacher-created score 5bStudents will be able to sight-read musical examples sheet with a level of difficulty of 1.5 on a scale of 1 to 6 with very few mistakes or stops.

Music 98 2003 Mississippi Visual and Performing Arts Framework Middle School Strings (Beginner and Intermediate)

Beginner 6aStudents read about a major composer and prepare a Rubric creative presentation to report findings to the class.

b Students make a timeline including main events in a Rubric composer’s life and the historical events that occurred during the same time period.

Intermediate 6aStudents listen to CD’s of various genres and styles of Teacher observation string music and participate in class discussion.

Beginner 7aStudents describe the feeling or mood expressed in a Teacher observation of piece of music, and explain those conclusions. discussion

b After listening to a simple recorded example, the Written assessment students will list the musical elements that dominated a given performance and what made it unique.

7aIntermediate Teacher evaluation of Students will listen to exemplary recordings of concert written essays material and analyze how the music elicits various responses. Students then compose an essay describing their reactions to the nuances of the music.

a Students listen to live and recorded music, discuss the Evaluation of teacher- feelings and emotions inspired by the music, and led discussion determine how the elements of music are used to create those feelings.

Beginner 8aStudents listen to a variety of styles of music and view Teacher-led discussion examples of a variety of styles of visual art, describing of aesthetic how music and visual art evoke involuntary responses. experiences

b Students read and discuss an historical event, Teacher observation geographical location, or idea inspiring the composer to write the music that the students are playing.

Intermediate Evaluation of teacher- 8aStudents discuss arts programs in their school such as led discussion drama, choir, art, and how these groups interact.

Music 99 2003 Mississippi Visual and Performing Arts Framework Middle School Strings (Beginner and Intermediate)

Beginner 9aStudents perform at school, a local library, nursing Teacher observation home, mall, parent meeting, or other community site. and student evaluation of performance

b Students discuss the places they hear music, such as Teacher evaluation of advertising, CD’s, cartoons, cell phones, videos, and written work radio, and determine what the music communicates and how it delivers a message in each application. Students prepare a written description of the selected use of music.

Intermediate 9aStudents discuss the importance of music in their lives Evaluation of and the impact of music on others. discussion

Music 100 2003 Mississippi Visual and Performing Arts Framework

MUSIC MIDDLE SCHOOL SMALL GROUP JAZZ IMPROVISATION

DESCRIPTION OF PROGRAM OF STUDY:

This program of study is intended for Middle Level I-IV music students who elect to study improvisation through the medium of jazz. The small group ensemble may include instrumental, keyboard, and/or vocal performers. The framework for this course fosters developing knowledge of jazz improvisation as a performance skill. This program of study is to be used in developing music curriculum for middle school students in the following:

Middle School Small Group Jazz Improvisation

The Middle School Small Group Jazz Improvisation course is designed for students who have completed at least one year of instrumental music, keyboard, and/or choral music instruction. Teachers are encouraged to select repertoire and implement performance practices and assessments that will enable students to meet the competencies stated. Sample strategies and assessments are given for each competency. There is also a benchmark chart in the general music introduction that establishes the progression of instruction for each goal area grouped by grade cluster. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Music 101 2003 Mississippi Visual and Performing Arts Framework

MUSIC MIDDLE SCHOOL SMALL GROUP JAZZ IMPROVISATION

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Sing and/or play a varied repertoire of music, alone and in large or small ensembles. (CP)

a. Imitate melodic patterns or motives in a variety of keys. b. Improvise selected jazz melodies in major and minor keys. c. Practice playing and/or singing original jazz melodies in major and minor keys. d. Improvise melodies based on the standard harmonic progression of blues.

2. Create and perform original jazz music within specified guidelines. (CP)

a. Practice scales and/or melodies utilizing jazz rhythms. b. Create jazz rhythmic interpretation of selected melodies. c. Perform improvised solos in standard meters.

3. Listen to, analyze, and describe a varied repertoire of jazz music. (CA, HC)

a. Listen to bass lines and chord harmonies from various jazz selections. b. Distinguish between blues style and 32 bar (AABA) jazz forms. c. Listen to and analyze harmonic relationships in jazz repertoire. d. Listen to and describe recordings of significant jazz soloists and ensembles. e. Distinguish differences in performance practices within various jazz styles (e.g., ragtime, swing, bebop, jazz-rock, Latin).

4. Develop criteria for evaluating the quality of jazz music performances. (CA, HC)

a. Establish guidelines to assess jazz improvisation based on the elements of rhythm, melody, and harmony. b. Determine the characteristics of high-quality improvised jazz solos.

Music 102 2003 Mississippi Visual and Performing Arts Framework

5. Recognize and identify increasingly complex music notation and symbols. (CP, CA)

a. Read and improvise solos from melodies printed in treble or bass clef. b. Interpret chord symbols by performing an improvised solo within a given harmonic sequence.

6. Demonstrate awareness of the role and function of music and musicians in various cultures, times, and places. (HC, CA)

a. Examine the influence of jazz on music of the past and present centuries. b. Evaluate the cultural impact of the music of various jazz periods (e.g., ragtime, swing, bebop, jazz-rock, Latin). c. Recognize historical milestones and significant individual performers who influenced the development of jazz.

7. Develop awareness of aesthetic qualities of works of jazz music. (A)

a. Determine the value of jazz in the music-learning environment. b. Explore the role of jazz as a significant music development in 20th Century American music.

8. Recognize broad concepts that music, the other arts, and other disciplines share in common. (HC, C)

a. Compare and analyze events in jazz history with significant events in American history. b. Relate the concept of jazz improvisation to concepts of American democracy. c. Relate knowledge of American history and culture to the development of jazz as an American art form.

9. Understand the role of jazz music and musicians in everyday life. (HC, CA, C)

a. Acknowledge the impact of jazz and jazz musicians on the music, recording, and entertainment industries in America and elsewhere. b. Research opportunities in the local and regional community for musicians to record and/or perform jazz music.

Music 103 2003 Mississippi Visual and Performing Arts Framework

Middle School Small Group Jazz Improvisation

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 b Play the melody of a familiar song such as I’ve Been Teacher/peer observation Working on the Railroad. After playing the tune as it and feedback is written, vary notes in the tune to improvise a new version by altering the rhythm, pitches or tonality.

2 a Create a set of teaching cards demonstrating jazz Teacher observation and rhythm patterns such as swinging eighth notes, or student self-evaluation triplets. The ensemble will play scales in the selected rhythm as a warm-up exercise.

3 a The teacher will play a slow tempo jazz selection Teacher observation and (keyboard or recording). Ask students to hum the student self-evaluation chord roots of the harmony as they listen. As the students improve in their hearing and singing skill, invite them to play the chord roots on their instruments (singers imitate the bass line by singing).

4 c Students and teacher develop a rubric or create a Teacher and student checklist with a score range of 1-10 to assess created rubric or checklist performances in the basic elements of rhythm, melody, and harmony. Two or three students play improvised solos in a teacher-selected example. Other students evaluate the performances.

5 b The teacher will play a CD (music minus one type) Teacher, peer, and self- or a keyboard instrument to provide a harmonic evaluation of performance accompaniment. Individual students will take turns improvising a solo by interpreting a written sequence of chord symbols.

6 b Students develop a time line to trace the evolution Teacher observation of jazz through various periods, including the names of performers who helped establish the style.

7 a Download a midi file version of Thelonius Monk’s Teacher-led discussion song, Round Midnight. Students listen to the music (Are students making the and describe what they think the composer is trying connection between what to say in the words and the tune. They answer the they are learning and how question, “What can we learn from this composer it teaches lessons in life?) and text that will help us in school?”

8 a Students view selected portions of a video on the Teacher observation of history of jazz, such as Ken Burns’ film, Jazz. student discussion and Discuss developments in jazz as they relate to participation events of history reviewed in the film.

Music 104 2003 Mississippi Visual and Performing Arts Framework

Middle School Small Group Jazz Improvisation

9aObtain recordings of American orchestras such as Teacher assessment of Boston Pops or Cincinnati Pops. Listen to tracks on student responses the recordings to determine if elements of jazz are present. Determine how many selections on a single CD incorporate elements of jazz such as improvisation, syncopation, rhythmic comping in guitar or keyboard parts, etc.

Music 105 2003 Mississippi Visual and Performing Arts Framework

MUSIC KEYBOARD, INTERMEDIATE LEVEL (Middle School)

DESCRIPTION OF PROGRAM OF STUDY: The intermediate keyboard framework is designed to assist teachers in developing a keyboard music curriculum for students at the intermediate level. The competencies and strategies are closely related to the middle level general music framework. Individual schools or school districts make decisions about when students begin keyboard study. Teachers are encouraged to consider the age of the student and his/her prior music experiences when designing the keyboard curriculum. Competencies in this framework apply to students who have had some exposure to playing keyboard instruments, and are not designed for specific grade levels. This program of study is to be used in developing music curriculum for middle school students, levels I – IV, in the following:

Middle School Keyboard

Teachers are encouraged to select repertoire and implement performance practices and assessments that will enable students to meet the competencies stated. Sample strategies and assessments are given for each competency. The benchmark chart in the general music introduction establishes the progressions of instruction for each goal area grouped by grade cluster. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Music 106 2003 Mississippi Visual and Performing Arts Framework

MUSIC KEYBOARD, INTERMEDIATE LEVEL (Middle School)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Play a varied repertoire of keyboard music alone or in small groups. (CP)

a. Perform keyboard selections in a variety of tempos, styles, and keys. b. Learn proper finger numbers and placement on the keys.

2. Create and perform original music within specified guidelines. (CP)

a. Create short, original compositions using left and right hands. b. Improvise a composition based on a given bass line.

3. Listen to, analyze, and describe a varied repertoire of music. (CA)

a. Describe ways the elements of music are used in a composition. b. Compare and contrast a variety of music styles within selected repertoire. c. Recognize various types of keyboards by appearance and sound. d. Discriminate between use of black/white keys, up and down melodic direction, and high and low sounds on the keyboard.

4. Develop criteria for evaluating the quality of keyboard performances. (CA, CP)

a. Analyze characteristics that produce quality performances in solo keyboard repertoire. b. Establish guidelines for assessing the quality of individual and group performances.

5. Recognize and identify increasingly complex music notation and symbols. (CA)

a. Read music from the grand staff that includes ledger lines above and below the bass and treble clefs. b. Sight-read teacher-selected repertoire in major and minor keys.

Music 107 2003 Mississippi Visual and Performing Arts Framework

6. Demonstrate awareness of the role and function of music and musicians in cultures, times, and places. (HC, CA)

a. Recognize distinguishing characteristics of keyboard music within specific cultures, times, and places. b. Analyze the role and function of keyboard music in various cultures, times, and places.

7. Develop awareness of aesthetic qualities in works of music. (A)

a. Analyze elements in works of music that impart artistic meaning and value. b. Determine common characteristics of works of music that endure over time.

8. Recognize broad concepts that music, the other arts, and other subject areas share in common. (C, CA)

a. Discover ways that similar ideas are communicated through various arts disciplines. b. Recognize common conceptual elements among the arts disciplines. c. Understand the relationship between vibration and sound production.

9. Understand the role of music and musicians in everyday life. (C)

a. Identify needs and uses for keyboard music and musicians in daily life. b. Compare and contrast careers of keyboard musicians to other music careers, careers in the arts disciplines, and careers in other disciplines. c. Evaluate the role of keyboard music and musicians within the entertainment business.

Music 108 2003 Mississippi Visual and Performing Arts Framework

Music, Intermediate Keyboard

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a One student plays a repertoire selection for Teacher observation members of the class. Classmates identify the style and tempo of the selection.

2 a Develop a plan for an original keyboard composition Teacher and peer using five-finger melodies in left and right hand. The evaluation using a sequence might include: 4-measure introduction checklist to assess played by left hand; 4 measure melody played by elements of the piece right hand; 4 measure conclusion played by both hands.

3 a After listening to the first two sections of Fur Elise by Teacher evaluation of Beethoven, students describe the use of dynamics student response in the two sections.

4 a The teacher performs a selection from the student’s Teacher evaluation of repertoire, but plays it in a sloppy way. Afterward, student responses the students will describe what changes should be made to improve the performance.

5 b Students sight-read teacher-selected music that Student oral self- includes grand staff notation in C, F, and G major evaluation; teacher or peer and/or the relative minor keys. evaluation

6 a After playing or listening to teacher-selected Teacher observation of repertoire from cultures found in the United States student responses (e.g., Hispanic, African-American, Asian), students evaluate the use of music elements in each selection.

7 a Students and teacher discuss the expressive Teacher assessment of qualities of two contrasting selections (e.g., a student’s use of Clementi Sonatina and Claire de Lune, by vocabulary describing the Debussy). selections

8 c The student will play three chords, I, V, I, while Teacher assessment of holding down the sostenuto pedal; repeat the three student response chords without the pedal. Discuss the acoustical indicating an reasons for a difference in the sounds. understanding of the scientific principle of vibration

9 a Students conduct research to determine how often Discussion of the impact keyboard instruments are heard and seen during a as determined by the two-week period, where they were found, and student research whether they were being played, or were idle to determine the impact of keyboard instruments and music on daily life. Share findings and tabulate results.

Music 109 2003 Mississippi Visual and Performing Arts Framework

MUSIC

HIGH SCHOOL INTRODUCTION

The high school years serve as the culmination of years of music study. It is at this point that students synthesize and apply the music learning that began in early kindergarten experiences and continued through middle school. Students in grades 9- 12 are ready for challenging repertoire in choral and instrumental music, in large and small ensembles, and in some cases, in solo performances. They are also ready to employ music technology applications, basic knowledge of music theory, and performing technique on their respective instruments. This is a time to polish individual performance skills and to evaluate individual or ensemble performances. Instrumental and choral ensembles often participate in festivals and competitions in addition to school performances. The circle of music experience in high school broadens to include a wide variety of repertoire, performing groups, and performance types. Students in grades 9-12 may elect to take various high school music courses such as general music, choral, and/or instrumental music performance. The high school music framework is divided into separate programs of study that can be used to develop curriculum for a variety of courses listed in the Approved Courses for the Secondary Schools of Mississippi manual. For example, the High School Instrumental Music program of study will be used to develop curriculum for High School Band, High School Instrumental Ensemble, High School Performance Arts Special Course and Advanced Strings. Each High School Music program of study includes an introduction listing the courses that will use that particular program of study in building curriculum. For each program of study sample strategies and assessments are given at proficient and advanced levels. When developing curriculum, teachers are encouraged to select course content, incorporate technology, choose a diverse range of choral and instrumental repertoire, and implement performance practices and assessments that will enable students to meet the competencies stated for proficient and advanced levels. High school music courses build on sequential music instruction shaped by benchmarks established in grades K-8. Competencies in high school music 9-12 progress from proficient to advanced. The proficient level is attained by students who have completed courses of study involving relevant skills and knowledge that are equivalent to two semesters of study at the high school level. The advanced level of study is attained by students who have completed course work equivalent to three to four years of study. Students at the advanced level are expected to achieve competencies for the proficient as well as the advanced levels. Every student is expected to achieve the proficient level in at least one arts discipline by the time he or she graduates from high school.

Music 110 2003 Mississippi Visual and Performing Arts Framework

In order to accommodate the variety of scheduling formats throughout Mississippi schools, some arts courses are available for 1 or 1/2 credit. Courses offered for 1/2 credit must cover all the competencies in the designated program of study. Those courses earning 1 credit will cover all the competencies, but in greater depth and breadth than the1/2 credit courses. A listing of these courses and the corresponding program of study to be used in developing curriculum for those courses follows.

Music Course: Music Program of Study:

High School General Music High School General Music High School Choral Music High School Choral Performance High School Choral Ensemble High School Choral Performance High School Performing Arts Special Course (Choral Music) High School Choral Performance High School Voice High School Choral Performance High School Band High School Instrumental Performance High School Strings - Proficient High School Instrumental Performance High School Strings - Advanced High School Instrumental Ensemble High School Instrumental Performance High School Performing Arts Special Course High School Instrumental Performance (Instrumental) High School Keyboard High School Keyboard High School Small Group Jazz Improvisation High School Small Group Jazz Improvisation High School Music, Theory and High School Theory and Harmony/ Harmony/Literature Literature

Advanced Placement Music Theory Advanced Placement Curriculum

Course Descriptions

High School General Music (1/2 or 1 credit) This course includes basic instruction in music performance, music theory, and music literature. In addition, connections between music, other arts, and other subject areas are made.

High School Choral Music (1/2 or 1 credit) This course allows students to continue music learning through the study of choral performance repertoire. In addition to learning repertoire, students will continue to develop vocal technique, sight singing, and ear training skills. Students who choose to enroll in choral music courses in successive years are expected to master proficient competencies, and then pursue advanced competencies.

High School Choral Ensemble (1/2 or 1 credit) This course is an extension of High School Choral Music intended for students who choose to perform in a particular ensemble. Students are often required to audition for

Music 111 2003 Mississippi Visual and Performing Arts Framework choral ensembles. Groups may be large or small; they may focus on specific types of repertoire or music genre. Students who elect choral music ensemble courses in successive years are expected to master proficient competencies, and then pursue advanced competencies.

High School Performing Arts Special Course (Choral Music) (1/2 or 1 credit) This course is intended to provide specialized choral instruction in a specific category within the field of music (e.g. madrigal choir , sign language choir, vocal ensemble). The course draws upon musical expertise or knowledge of individual teachers that would not necessarily be widely practiced by all music teachers.

High School Voice (1/2 or 1 credit) This course is designed for individualized instruction in vocal performance. Course content will address vocal technique and music literacy skills. Solo repertoire will be assigned, and individual performance goals will be set. Students who elect to study voice in successive years are expected to master proficient competencies, and then pursue advanced competencies.

High School Band (1/2 or 1 credit) This large ensemble performance course is designed to include brass, wind, and percussion instruments. Individual student progress is often determined by repertoire selection, individual instruction, and accomplishment of stated progress requirements. Students who elect to play in high school band during successive years are expected to master proficient competencies, and then pursue advanced competencies.

High School Strings Proficient (1/2 or 1 credit) Advanced (1/2 or 1 credit) This course is intended for students who are continuing their study of string instruments or who wish to begin studying a stringed instrument. Instruction may be in small or large groups. Classes may be divided by instrument type (e.g., cello, guitar, violin) or may include a mixture of instruments. Students with different performance and experience levels may be included in the same class. Students who elect to study string instruments in high school during successive years are expected to master proficient competencies, and then pursue advanced competencies.

High School Instrumental Ensemble (1/2 or 1 credit) This course is intended for students who choose to perform in a particular instrumental ensemble. A wide variety of instrumental ensembles may exist in a single school (e.g., symphonic band, orchestra, brass choir, steel drum). Students are often required to audition for instrumental ensembles. Groups may be large or small; they may focus on specific types of repertoire or music genre. Students who elect instrumental music ensemble courses in successive years are expected to master proficient competencies, and then pursue advanced competencies.

High School Performing Arts Special Course (Instrumental) (1/2 or 1 credit) This course is intended to provide specialized choral and/or instrumental music instruction in a specific category within the field of music (e.g., African drumming,

Music 112 2003 Mississippi Visual and Performing Arts Framework instrumental/ensemble, blue grass band). The course draws upon musical expertise or knowledge of individual teachers that would not necessarily be widely practiced by all music teachers.

High School Keyboard (1/2 or 1 credit) This course is designed for students who wish to obtain or increase keyboard performance skills. Instructional methods will be determined in part by available equipment in the local school setting. In schools where only one piano or electronic keyboard is available, students will receive private or small group instruction. In settings where multiple keyboards are available in a technology laboratory, instruction may be individualized within keyboard classes for up to 20 students. Teachers may wish to screen individual student music and/or keyboard knowledge to determine acceptance and placement into keyboard classes.

High School Small Group Jazz Improvisation (1/2 or 1 credit) This course is offered to choral, and instrumental students, including strings and keyboard performers, who wish to develop jazz improvisation skills. Students may perform in individual or ensemble settings as they develop competencies at proficient and advanced levels. Teachers may wish to audition individual students to determine appropriate placement.

High School Music, Theory and Harmony/Literature (1/2 or 1 credit) This course examines the basic elements of music theory and music literature. Previous choral or instrumental music performing experience is a prerequisite for admission into this course. The analytical study of scales, keys, chords, and composition elements complements other high school music performance courses. A survey of music literature will broaden student knowledge of music as an art form, and will aid understanding of the connection between music theory and music literature. The survey of music literature will also involve the historical and cultural background of the various genres of music.

Advanced Placement Music Theory (1 credit) The Advanced Placement course curriculum is administered by the AP Central College board and developed by a committee of college faculty and AP teachers to cover the indepth, “information, skills, and assignments found in the corresponding college course.” http://apcentral.collegeboard.com. See the website for detailed information.

Music 113 2003 Mississippi Visual and Performing Arts Framework

MUSIC HIGH SCHOOL GENERAL MUSIC (Proficient and Advanced)

DESCRIPTION OF PROGRAM OF STUDY:

Students who elect to study general music at the high school level may pursue music learning through a variety of means. This course may include lecture, choral and/or instrumental performance, cooperative learning group activities, interdisciplinary or thematic studies within the school, and use of technology applications to create, perform, or research music as an art form. This program of study may be used to develop curriculum that includes study of music appreciation, music literature, or music in relation to other arts disciplines. Teachers are encouraged to examine a wide array of repertoire for students to study and perform, including American music and music of cultures outside the United States. Teachers are encouraged to select and implement unit topics, repertoire, teaching strategies, performance practices, and assessments that will enable students to meet the competencies stated for each level. Sample strategies and assessments are given for each competency. The benchmark chart in the Music Introduction section establishes the progression of instruction for each goal area through grade clusters. This program of study is to be used in developing music curriculum for high school students in the following:

High School General Music

The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Music 114 2003 Mississippi Visual and Performing Arts Framework

MUSIC HIGH SCHOOL GENERAL MUSIC (Proficient and Advanced)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Perform in choral or instrumental ensembles of varying sizes and descriptions. (CP)

Proficient: a. Perform a composition in a group setting with expression and technical accuracy demonstrating ensemble skills. b. Perform simple rhythmic compositions using appropriate dynamics and tempo.

Perform works of music that include combinations of instruments and voices. (CP)

Advanced: a. Perform with expression and technical accuracy music compositions as a soloist. b. Demonstrate the ability to perform music from a varied repertoire in a variety of ensemble combinations with and without accompaniment.

2. Create and perform arrangements using a variety of music elements. (CP)

Proficient: a. Improvise rhythmic melodic variations using traditional and nontraditional sources of sound in major and minor keys. b. Compose and perform a variety of stylistically appropriate short musical works. c. Improvise original melodies over given chord progressions.

Music 115 2003 Mississippi Visual and Performing Arts Framework

Create and perform original music and arrangements in a variety of forms, styles, and genres. (CP)

Advanced: a. Improvise rhythmic and melodic variations on a given melody demonstrating creativity in the use of musical elements. b. Construct a composition with a given chord progression in a consistent style, meter, and tonality supporting a specific genre or style of music. d. Improvise stylistically appropriate harmonizing parts.

3. Listen to, analyze, and evaluate music in a variety of forms and styles. (CA)

Proficient: a. Using critical thinking and listening skills, identify and analyze the basic elements of music. b. Decode and translate standard notational devices. c. Discuss and demonstrate appropriate audience and performance behavior.

Analyze and interpret music of various historic periods, forms, and styles. (CA, HC)

Advanced: a. Identify and describe compositional devices and techniques used to provide unity, diversity, tension, and release in a musical work. b. Analyze major musical works through identification of compositional devices and techniques using the vocabulary of music.

4. Analyze music performances by using critical thinking and listening skills. (CA, A)

Proficient: a. Judge music performances and compositions using prescribed criteria. b. Evaluate a musical performance in terms of its aesthetic qualities.

Evaluate the quality of music performances and compositions using multiple criteria. (CA, A)

Advanced: a. Develop criteria and evaluate the musical and expressive elements inherent in the informal and formal performance of a musical composition. b. Using prescribed or original evaluation criteria, assess a live or taped performance, composition, arrangement, or improvisation and compare to similar exemplary models.

Music 116 2003 Mississippi Visual and Performing Arts Framework

5. Demonstrate understanding of music notation and symbols by reading and performing music. (CP, CA)

Proficient: a. Demonstrate knowledge of the elements of rhythm and melody. b. Identify the basic elements of music. c. Evaluate expression and meaning through the development of an appropriate musical vocabulary. d. Use notation to record musical ideas.

Demonstrate the ability to read a full score by describing how the elements of music are used. (CP, CA)

Advanced: a. Demonstrate extensive knowledge of music that contains technical demands, expanded ranges, and varied interpretive requirements. b. Discover aurally and visually the properties and function of the musical elements in specified pieces. c. Identify and explain compositional devices and techniques and give examples of works using similar devices and techniques.

6. Analyze forms and subject matter in music that recur in various cultures, times, and places. (CA, HC, C)

Proficient: a. Discuss the historical development of music in various cultures and places from antiquity through the twentieth century. b. Know the development of various genres of American music. c. Know how elements, artistic processes, and organizational principles are used in similar and distinctive ways across genres.

Assess the impact of music and musicians in various cultures, times, and places on society today. (CA, HC, C)

Advanced: a. Determine and assess the function of music genres within global cultures. b. Evaluate music and its expressive elements within each of the historical periods. c. Interpret the components of genres of American music through historical and musical analysis while citing well known musicians and their compositions.

7. Interpret the value of a musical work in terms of its aesthetic qualities. (A)

Proficient: a. Recognize feelings and emotions evoked from listening to music. b. Determine the artistic value of specified musical works based upon an individual perspective.

Music 117 2003 Mississippi Visual and Performing Arts Framework

Evaluate selected musical works in terms of aesthetic qualities. (A)

Advanced: a. Communicate the aesthetic impact of arts performances seen live versus those recorded on audio or video. b. Explain the musical means a work uses to evoke feelings and emotions.

8. Analyze the relationship of the content in music to the other arts and other disciplines. (CA, C)

Proficient: a. Compare the expressive qualities in music with other artistic endeavors. b. Describe ways in which the principles and subject matter in other disciplines are interwoven with those of music.

Integrate knowledge of music and musicians with knowledge of the arts and other subject areas. (CA, HC, C)

Advanced: a. Analyze the elemental components and the organizational processes inherent to the creation of various art forms within the context of a given historical period or culture. b. Evaluate analytically an artistic work or set of compared works based upon a developed or prescribed system. c. Explain ways in which principles of music and principles in various disciplines outside the arts are related.

9. Analyze contributions of musicians and the music industry to individuals and communities. (CA, C)

Proficient: a. Explore the ways in which technology impacts music in a global culture. b. Identify careers associated with the music industry.

Evaluate the role of music as a career or avocation. (CA, C)

Advanced: a. Explore the choices available to individuals desiring to continue their musical experience and education. b. Explain the impact of a life that includes a variety of music experiences. c. Apply music skills to solve problems relevant to various careers. d. Research copyright and performance rights laws.

Music 118 2003 Mississippi Visual and Performing Arts Framework

High School General Music (Proficient and Advanced)

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

Proficient 1 a Students perform a simple composition by singing Teacher-made rubric or playing an instrument (recorder, xylophone, et al). Checklist

b Students perform simple rhythmic compositions Small group using appropriate dynamics and tempo. evaluation

Advanced 1 a Students sing or play an existing and an original Teacher observation composition. Rubric

b Students sing or play a composition with three or Student Performance more parts.

Proficient 2 a Students improvise rhythmic and melodic variations Teacher observation on specific melodies. Rubric checklist

b Students write and perform a minimum 32-measure Rubric/checklist composition beginning with a simple melody and adding chordal accompaniment, parts, voicings, and dynamic and tempo markings.

Advanced 2 a Using a simple chord progression (I, IV, V, I), Teacher observation students create answer phrases/melodies to a Rubric/ checklist question musical phrase.

b Students arrange pieces that preserve or enhance Teacher-made rubric the expressive effect of the music.

Proficient 3 a Students create a chart to compare and contrast Teacher evaluation of musical storytelling in works from different periods student chart of music history, for example, William Tell Overture and “Theme from Star Wars.”

c Students compare and discuss appropriate behavior Teacher observation during various types of choral/instrumental Written analysis performances. . Advanced 3 b Using a choral score, students listen to and analyze Teacher observation “Hallelujah Chorus” from Messiah by G. F. Handel. of student analysis

Music 119 2003 Mississippi Visual and Performing Arts Framework

High School General Music (Proficient and Advanced)

Proficient 4 a Students view a videotape performance of a high Teacher led school choir or band and evaluate the performance discussion of student based on an adjudication form designed for high evaluations school choir or band.

Advanced 4 b Students compare indicators of vocal or Teacher observation instrumental performance listed on no less than two of student adjudication forms for high school chorus or high evaluations school band.

Proficient 5 c Students listen to a performance of LeRoy Teacher evaluation of Anderson’s Bugler’s Holiday and make a list of student lists. dynamic levels heard in the selection using Italian terminology.

Advanced 5 b Students look at a score of "Prelude no.1” from Teacher observation Bach’s Well-Tempered Clavier and describe how of student the composer uses a repeating rhythm pattern to descriptions. unify the piece.

Proficient 6 a, b Students prepare a list of classical and/or popular Teacher/peer music performers from around the world. Students evaluation of oral choose a performer and research information about research reports and them through library, internet, or other sources. written copy

Advanced 6 a Students listen to celebration music from three Teacher observation world cultures, for example, Asian (Chinese New of student discussion Year), South American (Carnival/Brazil), and European (St. Patrick’s Day/Ireland). Students decide what makes the music appropriate for each celebration and what characteristics the selections have in common.

Proficient 7 a Students describe and discuss the various emotions Teacher observation that occur when listening to a selected work. of student discussion

b Students discuss the value of patriotic songs and Teacher observation the way the songs may make people feel about of student discussion themselves and their country. Compare America, America the Beautiful, Star Spangled Banner, and Battle Hymn of the Republic for stylistic and expressive qualities, as well as Sousa marching band pieces and other patriotic songs.

Music 120 2003 Mississippi Visual and Performing Arts Framework

High School General Music (Proficient and Advanced)

Advanced 7 a, b Students listen to and analyze national songs from Teacher observation other countries for similarities and differences. of student analysis

b Students listen to or watch videos of scenes from Teacher observation American musical theatre works such as Sound of of student comments Music, Annie, and Lion King. Students examine and discussion certain familiar songs and/or scenes from the show for musical and plot connections, staging, characters, actions, and music style.

Proficient 8 a Students examine and describe the way sound is Teacher / peer made on a piano, electronic keyboard, and evaluation of student computer MIDI soundcard. descriptions.

Advanced 8 b Students will write a research paper or create a Research paper presentation tracing the patronage of music from Bach to the present.

Proficient 9 a Students examine the way music is sold and Teacher observation marketed to their generation and society through of student discussion means of media, education, entertainment, and religion.

b Students interview a local musician (e.g., band Rubric, report director, church choir director, dance instructor) and write a report or create a presentation based on that interview.

Advanced 9 a Students research the various opportunities Rubric, report available for music as a vocation or avocation through sources such as internet, career labs, guidance counselors, community choirs/orchestras, etc., and write a report or create a presentation based on the findings.

b Students develop a list of ways music consumers Teacher/peer are influenced. Students discuss the issues of evaluation of musical choices and advertising. individual lists and discussion of musical choices

Music 121 2003 Mississippi Visual and Performing Arts Framework

MUSIC HIGH SCHOOL CHORAL PERFORMANCE (Proficient and Advanced)

DESCRIPTION OF PROGRAM OF STUDY:

This program of study is to be used in developing curriculum for use in a variety of choral performance courses. The focus of the course will guide the development of the specific curriculum based upon the competencies in this program of study. Competencies are provided at proficient and advanced levels to facilitate meeting needs of students at different levels. Curriculum developed from these competencies will foster increasing knowledge of: choral performance; the relationship of music elements, music theory, and technology to performance practices; repertoire encompassing a wide variety of forms, styles, and periods; historical/cultural connections of repertoire to events, times, places, other arts, and other disciplines. Teachers are encouraged to select and implement unit topics, repertoire, teaching strategies, performance practices, and assessments that will enable students to meet the competencies stated for each level. Sample strategies and assessments are given for each competency. The benchmark chart in the Music Introduction section establishes the progression of instruction for each goal area through grade clusters. This program of study is to be used in developing music curriculum for high school students in the following:

High School Choral Music High School Choral Ensemble High School Performing Arts Special Course (Choral Music) High School Voice

The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Music 122 2003 Mississippi Visual and Performing Arts Framework

MUSIC HIGH SCHOOL CHORAL PERFORMANCE (Proficient and Advanced)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Perform in choral ensembles of varying sizes and descriptions. (CP)

Proficient: a. Sing from a diverse repertoire with expression and technical accuracy using correct vocal technique. b. Read and perform a varied repertoire of music that demonstrates understanding of music notation, symbols, and expression. c. Use ensemble skills (e.g., balance, intonation, rhythmic unity).

Perform works of choral music that include combinations of instruments and voices. (CP, A)

Advanced: a. Perform an increasingly difficult repertoire in various ensembles with expression, technical accuracy, and correct posture and breathing techniques. b. Interpret the text and style of a varied choral repertoire with expression, technical accuracy, and a sense of the contribution of the individual within the group setting.

2. Create and perform choral arrangements using a variety of music elements. (CP)

Proficient: a. Improvise harmonies in varied styles. b. Improvise rhythmic and melodic variations on specific melodies. c. Compose original melodies in a given chord progression.

Music 123 2003 Mississippi Visual and Performing Arts Framework

Create and perform original choral music and arrangements in a variety of forms, styles, and genres. (CP)

Advanced: a. Create choral arrangements using all of the elements of music. b. Compose original choral works in a variety of forms, styles, and genres.

3. Listen to, analyze, and evaluate choral performances in a variety of forms and styles. (CA)

Proficient: a. Analyze the basic elements of choral music by using critical thinking and listening skills. b. Decode and translate standard notational devices. c. Use technical vocabulary to assess and analyze choral performances.

Analyze and/or interpret music of various historic periods, forms, and styles. (CA)

Advanced: a. Evaluate music performances and compositions using various criteria. b. Use accurate, technical vocabulary to assess and categorize music from various historical periods and cultures by genre or style.

4. Use critical thinking and listening skills to analyze choral performances. (CA)

Proficient: a. Judge music performances and compositions using prescribed criteria. b. Assess individual performances using prescribed or original evaluation criteria.

Evaluate quality choral performances and compositions using multiple criteria. (CA)

Advanced: a. Evaluate, both as an individual performer and as a member of a group, the musical and expressive elements inherent in the informal and formal performance of choral repertoire. b. Determine the effectiveness and/or appropriateness of various scoring rubrics for choral contests/festivals.

Music 124 2003 Mississippi Visual and Performing Arts Framework

5. Demonstrate understanding of music notation and symbols by reading and performing music. (CP, CA)

Proficient: a. Demonstrate the ability to read and perform a vocal score of up to four staves. b. Interpret musical content relative to dynamics, tempo, and articulation to communicate the text to the listener.

Demonstrate the ability to read a full score by describing how the elements of music are used. (CP, CA)

Advanced: a. Read music that contains technical demands, expanded ranges, and varied interpretive requirements. b. Analyze and describe the characteristic use of musical elements in a variety of choral works.

6. Analyze forms and subject matter in choral music that recurs in various cultures, times, and places. (CA, HC, C)

Proficient: a. Interpret, analyze, and categorize music in various genres or cultures. b. Explain the use of elements of music and expressive devices in music of various genres and cultures. c. Identify various roles that musicians perform, cite representative individuals who have functioned in each role, and describe their activities and achievements.

Assess the impact of music and musicians in various cultures, times, and places on society today. (CA, HC, C)

Advanced: a. Determine and assess the function of music genres within global cultures. b. Investigate the musical traditions of various cultures and the characteristics evident in each style or genre. c. Identify and explain the stylistic features of a given musical work that serve to define its aesthetic tradition and its historical or cultural context.

7. Interpret the value of a choral work in terms of its aesthetic qualities. (A)

Proficient: a. Explore and justify the artistic value of specific choral works. b. Recognize and identify the expressive qualities of a given choral work. c. Interpret the expressive meanings of the musical and/or compositional elements. d. Express individual perceptions and experiences within the context of specified choral works.

Music 125 2003 Mississippi Visual and Performing Arts Framework

Evaluate selected choral works in terms of aesthetic qualities. (A)

Advanced: a. Evaluate a given musical work in terms of its aesthetic qualities and explain the musical means it uses to evoke feelings and emotions. b. Determine the effectiveness of the presentation of the musical work in evoking appropriate or desired feelings or emotions.

8. Analyze the relationship of content in music to other arts and other subjects. (CA, HC, C)

Proficient: a. Compare the expressive qualities in music with those in other artistic endeavors. b. Describe ways in which the principles and subject matter of other disciplines are interwoven with those of music. c. Research choral music from cultural, historical, and societal perspectives to determine the relationship. d. Interpret music using broad-based knowledge and skills that clarify the context and content of musical selections. e. Recognize the ways in which technology impacts music in a global culture.

Integrate knowledge of music with knowledge in the other arts and other subjects. (CA, HC, C)

Advanced: a. Discover the elemental components and the organizational processes inherent to the creation of various art forms within the context of a given historical period or culture. b. Integrate the knowledge of the elemental components of various art forms with an evaluation of the effective use of each component. c. Analytically evaluate an artistic work or set of compared works based upon a developed or prescribed system. d. Evaluate the importance of each person involved in the creation of an artistic work. e. Analyze the relationship between choral music, literature, visual arts, politics, societal structure, and technology throughout various historical periods.

9. Analyze the role of choral music in everyday life. (C, CA, HC)

Proficient: a. Analyze the importance of vocal music in common celebrations in America. b. Analyze the impact the treatment of certain music elements has on a musical work. c. Identify sources of American choral music genres, and cite well-known musicians and compositions associated with them.

Music 126 2003 Mississippi Visual and Performing Arts Framework

Evaluate the role of choral music as a career or avocation. (C, CA, HC)

Advanced: a. Investigate choices available to individuals desiring to continue their musical experiences. b. Analyze the impact of a life that includes a variety of music experiences. c. Identify and describe choral music genres or styles that show the influence of two or more cultural traditions and how these affect the lives of individuals. d. Investigate laws pertaining to copyright and performance rights.

Music 127 2003 Mississippi Visual and Performing Arts Framework

High School Choral Music (Proficient and Advanced)

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

Proficient 1 a Students sing correctly using appropriate breath Small group observation support and control.

b Students perform choral literature in various cultures Teacher observation from antiquity through the 20th Century.

Advanced 1 a Students sing with expression and technical Video/Audio observation accuracy in accompanied and a capella selection.

b Students sing, with expression and technical Teacher observation accuracy, a concert or contest repertoire that demonstrates accurate understanding of the text, style, and genre of the music.

Proficient 2 a Students harmonize given melodies during warm-up Teacher observation exercises.

b Students create and perform rhythmic ostinati on a Teacher observation of given melody in a cooperative setting. performance

c Students create melodic “answer” phrases to Teacher observation teacher’s melodic “question” phrases.

Advanced 2 a Using a compositional computer program, students Rubric of prescribed create an arrangement of a given melody. criteria applied to composition

b Students create an original composition in various Rubric of prescribed forms including theme and variations. criteria applied to composition

Proficient 3 a Students evaluate a work using teacher and student Rubric prescribed criteria.

b Students identify standard notational devices (e.g., Teacher observation 1st and 2nd endings, D.C., D.S., Coda) in a given choral work.

Advanced 3 a Students critique various video/audio choral Rubric performances using student-generated criteria.

Music 128 2003 Mississippi Visual and Performing Arts Framework

High School Choral Music (Proficient and Advanced)

b Students describe distinguishing characteristics of Teacher observation, representative music genres and styles from various Chart historical cultures.

c Students identify sources of American music Reports, timeline, teacher genres; develop a historical timeline showing the observation of student evolution of these genres and styles; include well- participation known musicians, their compositions, and the public's reaction to the initial performance.

Proficient 4 a Students attend a concert and evaluate the choral Rubric, reports performance using teacher-prescribed criteria.

b Students evaluate individual performance using Student generated rubric student-prescribed criteria.

Advanced 4 a Using prescribed criteria, students assess a choral Written evaluation performance.

b Students evaluate another school’s contest/festival Rubric performance using various scoring rubrics or Adjudication forms adjudication forms.

Proficient 5 a Students perform a concert or contest repertoire Rubric and evaluate it according to teacher-prescribed criteria.

b Students perform choral works using appropriate Teacher observation interpretive elements.

Advanced 5 a Students read and perform vocal scores that include Small group evaluation technically difficult elements such as complex rhythms and atonal melodic lines.

b Students compare and contrast the way the Written or oral report of elements of music are used in choral works from findings antiquity through the 20th Century.

Proficient 6 a Students categorize, according to style, voicing, and Charts mood, performance of a visiting choral group.

b Students identify the differences between choral Teacher observation of ensembles from various historical periods through presentations cooperative presentations (e.g., PowerPoint, oral, written).

Music 129 2003 Mississippi Visual and Performing Arts Framework

High School Choral Music (Proficient and Advanced)

Advanced 6 a Students discuss the various functions of a Teacher observation prescribed piece such as African-American spirituals or gospels.

b Students explore movements inherent to a particular Small group presentation music genre. (e.g., African music, the Harlem Renaissance).

Proficient 7 a Students explain how a given work affects an Written evaluation individual performer.

b Students listen to a professional recording of a Teacher observation specified work, observing expressive qualities.

c Students compare and contrast feelings and Chart emotions evoked from listening to classical and popular love songs.

Advanced 7 a Students explain how a complex musical work Small group discussion evokes feelings and emotions.

b Students discuss the audience’s reactions to Video observation particular performances.

Proficient 8 a Students compare and contrast visual art, dance, Teacher observation of literature, technology, and music of the same oral presentation historical period.

b Students discover the mechanics of the diaphragm Observation of student by observing a dissected animal. (Integrated participation during Activity with Biology or AP) Biology class presentation

c Students compare and contrast the characteristics Written evaluation of music with other disciplines from a historical perspective.

d Students discuss the ways music videos have Teacher observation influenced people throughout the world.

Advanced 8 a Students explore the various forms in classical Rubric for chart works (such as 2-part, 3-part, rondo, sonata).

d Students chart a musical composition from its Teacher evaluation of inception to the performance by creating a pictorial timeline timeline.

Music 130 2003 Mississippi Visual and Performing Arts Framework

High School Choral Music (Proficient and Advanced)

Proficient 9 a Students perform a thematic music program based Teacher observation on a holiday or celebration.

b Students listen to and evaluate how the music Teacher observation of elements are used to invoke specific emotional class discussion or written responses in music written for movies. response

Advanced 9 a Students interview professional vocal musicians to Reports/Interviews discover the educational and talent requirements for their field of study.

b Students survey community members to discover Survey developed how music has impacted their lives. written analysis of data collected

Music 131 2003 Mississippi Visual and Performing Arts Framework

High School Choral Ensemble (Proficient and Advanced)

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

Proficient 1 a Students sing correctly using appropriate posture, Teacher observation breath support, and control.

b Students perform a variety of choral ensemble Teacher observation literature selections written in parts, improving blend, and matching dynamic levels..

Advanced 1 a Students sing with expression and technical Video/Audio observation accuracy both accompanied and a capella selections.

b Students sing an increasingly difficult repertoire Teacher observation representing musically and culturally diverse literature with expression and technical accuracy while responding to the conductor's cues.

Proficient 2 a Students harmonize given melodies during warm- Teacher observation up.

a Students create and perform rhythmic ostinati on a Teacher observation of given melody in a cooperative setting. performance

b Create melodic “answer” phrases to teacher’s Teacher observation melodic “question” phrases.

Advanced 2 a Using a compositional computer program, students Rubric of prescribed create an arrangement of a given melody. criteria applied to composition

b Students compose an original composition in a Rubric of prescribed prescribed form or genre. criteria applied to composition

Proficient 3 a Students evaluate a work using teacher prescribed Rubric criteria.

b Students identify standard notational devices (e.g., Teacher observation 1st and 2nd endings, D.C., D.S., Coda).

Advanced 3 a Students critique video/audio performance using Rubric student-generated criteria.

Music 132 2003 Mississippi Visual and Performing Arts Framework

High School Choral Ensemble (Proficient and Advanced)

b Students categorize performance repertoire Teacher observation, chart according to historical period or culture identifying characteristics that distinguish the period or culture.

Proficient 4 a Students attend a concert and evaluate the concert Rubric, reports program and performance using teacher-prescribed criteria.

b Students evaluate individual performance using Student generated rubric student-prescribed criteria.

Advanced 4 a Students describe and evaluate the ensemble's Teacher observation music performance using musical terminology, and develop suggestions for improvement.

b Students evaluate another school’s contest/festival Rubric and adjudication performance using various scoring rubrics or forms. adjudication forms.

Proficient 5 a Students listen to various choral works and evaluate Rubric according to teacher-prescribed criteria.

b Students perform choral works using appropriate Teacher observation interpretive elements.

Advanced 5 a Students sight-read increasingly difficult music. Teacher observation

b Students discuss musical elements used in choral Teacher observation works.

Proficient 6 a Students categorize music sung by visiting choral Teacher observation groups.

b Students identify the differences between choral Teacher observation ensembles from various historical periods and their purpose in the culture of the period.

Advanced 6 a Students discuss the function or purpose of a Teacher observation prescribed piece.

b Students explore movements inherent to a particular Teacher observation music genre (e.g., African music, Blues, Caribbean music).

Music 133 2003 Mississippi Visual and Performing Arts Framework

High School Choral Ensemble (Proficient and Advanced)

Proficient 7 a Students explain how a given work affects an Teacher observation individual performer.

b Students listen to a professional recording of a Teacher observation specified work, observing expressive qualities.

c Students discuss feelings and emotions evoked Teacher observation from listening to music.

Advanced 7 a Students explain how a complex musical work Teacher observation evokes feelings and emotions.

b Students discuss the audience’s reaction to Teacher observation particular performances and what factors contribute to evoking the noted reactions.

Proficient 8 a Students compare and contrast visual art and music Teacher observation of the same historical period.

b Students discover the mechanics of the diaphragm Observation by observing a dissected animal. (Integrated Activity with Biology).

c Students compare and contrast the characteristics Teacher observation of music with other disciplines from a historical perspective.

d Students discuss the ways music videos have Teacher observation influenced people throughout the world.

Advanced 8 a Students explore the sonata form in a classical Teacher observation work.

b Students identify and explain the features of any Chart given piece and list the steps a choral group goes through to perfect this selection for performance.

Proficient 9 a Students perform a thematic music program based Teacher observation on a holiday or celebration.

b Students listen to and evaluate ways music Teacher observation, elements are used to invoke specific emotional question and answer responses in music written for movies.

Music 134 2003 Mississippi Visual and Performing Arts Framework

High School Choral Ensemble (Proficient and Advanced)

Advanced 9aStudents investigate, compare, and evaluate the Reports/interviews roles of musicians throughout history and in various cultures including music careers in today's society.

b Students survey community members to discover Survey developed; written the various careers impacted or influenced by analysis of data collected music.

Music 135 2003 Mississippi Visual and Performing Arts Framework

High School Voice (Proficient and Advanced)

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

Proficient 1 a The student and teacher will collaborate to select Student and teacher- music from various eras, which the student learns created rubric addressing and performs. the components of high quality singing and performance

Advanced 1 b Students accurately interpret the text and style of a Teacher observation and varied choral repertoire including a sense of the rubric individual’s contribution to the ensemble.

Proficient 2 c Students create a melody in a given chord Teacher-made rubric progression.

Advanced 2 b Students compose three or more musical works of Rubric for original increasing difficulty in form. composition created by teacher and student

Proficient 3 b Using choral and solo student works provided by the Teacher-made rubric teacher, students decode and translate standard notational devices.

Advanced 3 b Students research, categorize, and discuss music Teacher observation of from various historical periods and cultures by genre student discussion or style.

Proficient 4 a Using a class-created adjudication form that states Teacher analysis of prescribed criteria, students judge live and/or video completed adjudication performances of vocal works of varied soloists form and/or ensembles.

Advanced 4 a Students evaluate solo and choral performances Adjudication rubric and from video or a live production according to a self- teacher observation generated adjudication rubric that addresses the musical and expressive elements of performance.

Proficient 5. a Students evaluate examples of choral works by Teacher observation of various composers from several eras of music student discussions history.

Music 136 2003 Mississippi Visual and Performing Arts Framework

High School Voice (Proficient and Advanced)

Advanced 5 a Students sing a selected voice part from a major Teacher observation and work such as Handel’s Messiah and explain the oral report technical intricacies contained therein.

Proficient 6 b Students listen to quality samples of folk music from Teacher observation a variety of places such as, Japan, Saudi Arabia, and/or written report Ethiopia, Jamaica, Ukraine, and Brazil. Explain orally, or in writing, the use of expressive devices including unique instruments.

Advanced 6 a Students study and listen to the celebratory music of Teacher observation five or more cultures. Analyze in a research paper Research paper how this music is used in terms of the culture in which it exists.

Proficient 7 c Students interpret the success of a choral/orchestral Oral or written report to work, such as Beethoven’s Ninth Symphony class regarding the expressive meanings and use of musical elements.

Advanced 7 a Students listen to a reflective, contemplative piece, Listening map such as Samuel Barber’s Agnus Dei and evaluate. A listening map will be created using appropriate signs and symbols to indicate the emotions evoked.

Proficient 8 a Students compare and contrast the complex story Multi-media presentation and music qualities of an opera with the writing demonstrating the major complexities of a novel, such as Andrew Lloyd points of how the Webber’s The Phantom of the Opera and William expressive qualities in Faulkner’s A Light in August. music work with the art of writing

Advanced 8 c Students look at Delacroix’s painting Liberty Teacher prescribed rubric Leading the People, listen to Beethoven’s Eroica – Presentation of findings in Symphony no. 3 and read about its history at a multimedia format http://www.greatdreams.com/eroica.htm and read Victor Hugo’s Les Miserable. For example, students draw a comparison between the political and social activity, art, and music of an era by analyzing works from that culture and time.

Proficient 9 a Students research the use of folk music in specific Musical collage of the folk areas of the country, such as celebrations, family music in America gatherings, or to retell a familiar story handed down.

Music 137 2003 Mississippi Visual and Performing Arts Framework

High School Voice (Proficient and Advanced)

Advanced 9aStudents visit a recording studio and watch or Oral and/or written report participate in a recording session. Students Teacher-created rubric interview the recording engineer and other personnel to discover the music and education requirements for holding their positions.

Music 138 2003 Mississippi Visual and Performing Arts Framework

High School Performing Arts Special Course, Choral (Proficient and Advanced)

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

Proficient 1 b Students as a group perform a repertoire of three or Teacher observation and more varied styles of music demonstrating an rubric for performance understanding of music notation and symbols.

Advanced 1 a The student will accurately interpret, in various Teacher and student choral ensemble combinations, the text and style of designed rubric a varied choral repertoire including a sense of the contribution of each individual within the group setting.

Proficient 2 b Given a known melody, the student will improvise Teacher designed rubric the rhythm and melody of the given melody. including style appropriateness and singability of the variation

Advanced 2 b Students compose original musical works in theme Rubric for original and variations, AB, and ABA forms for a soloist or compositions choir.

Proficient 3 a Students research and create an adjudication sheet Adjudication sheet for choral performance and use this instrument to Rubric for adjudication evaluate a live or taped choral performance.

Advanced 3 b Students listen to Handel’s Messiah, Puccini’s Teacher evaluation on LaBoheme, and Andrew Lloyd Webber’s Jesus research paper Christ Superstar (or other similar choral selections) and categorize each of the component parts by genre and style. Students write a paper comparing these works, identifying the differences and similarities.

Proficient 4 a Using a class created adjudication form, students Rubric for adjudication judge live and/or video performances of choral form using prescribed works of varied ensembles. criteria

Advanced 4 b Students collect various scoring rubrics from District Teacher evaluation of and State choral festivals, show choir contests, and student reports solo and ensemble festival for comparison purposes

Music 139 2003 Mississippi Visual and Performing Arts Framework

High School Performing Arts Special Course, Choral (Proficient and Advanced)

and determine the effectiveness and appropriateness of each scoring rubric collected and evaluate which rubrics could be used interchangeably and why. Students report findings.

Proficient 5 a Students perform a varied choral repertoire in three Teacher observation or more ensemble combinations Scoring rubric

Advanced 5 b Students select a 20th century classical vocal piece Teacher/peer observation by Vincent Persichetti (or other composer) and a and feedback Schubert art song for evaluation. Student will listen to selected pieces and interpret the musical content, relative to the elements, in communicating the text to the listener.

Proficient 6 a Students listen to holiday and special occasion Teacher observation music from various countries (i.e. Jamaica, Mexico, Japan, England, America). Students interpret the music of various cultures identifying how the use of specific instruments or musical elements affects the intent of the work.

Advanced 6 b After selecting a country for intensive study, Teacher evaluation students will research and investigate the use of research paper music in various kinds of celebrations. Students write a paper reporting the findings of the research including the origin of the musical traditions of the selected country.

Proficient 7 b Students will identify and orally describe the written Teacher developed rubric and performance sensitive qualities of selected works.

Advanced 7 b Students will listen to and research the historical Rubric describing debut of Stravinsky’s The Rite of Spring (Le Sacre presentation criteria du printemps). After hearing the work, students will evaluate the presentation in terms of the emotions it evokes. Prepare a presentation for a class describing the public reaction to this historical work. Compare this work to the work of contemporary artists whose works are criticized because they are misunderstood.

Music 140 2003 Mississippi Visual and Performing Arts Framework

High School Performing Arts Special Course, Choral (Proficient and Advanced)

Proficient 8 c Students will write a paper comparing/contrasting Teacher prescribed rubric the elements of each medium using the musical works of Debussy (i.e. Afternoon of a Faun) with the paintings of Claude Monet (i.e. Lillies).

Advanced 8 c Students will look at Delacroix’s painting Liberty Teacher prescribed rubric Leading the People, listen to Beethoven’s Eroica – Presentation of findings in Symphony no. 3 and read about its history at a multimedia format http://www.greatdreams.com/eroica.htm, listen to Les Miserables, and read Victor Hugo’s book of the same name to draw a comparison between the political and social activity, art, and music.

Proficient 9 a Students will make a poster from a list compiled of Rubric describing poster the different kinds of celebrations experienced in criteria America and discover, through listening, the music associated with each.

Advanced 9 a Students will create and present a series of Rubric criteria for brainstorm clouds that represent a variety of brainstorm clouds occupations associated with music, musicians, and the music industry with a brief description of the occupations and educational requirements of each.

Music 141 2003 Mississippi Visual and Performing Arts Framework

MUSIC HIGH SCHOOL INSTRUMENTAL PERFORMANCE (Proficient and Advanced)

DESCRIPTION OF PROGRAM OF STUDY:

The High School Instrumental Music program of study is to be used in designing curriculum for high school courses in instrumental music in a variety of courses. The focus of the course will guide the development of the specific curriculum based upon the competencies in this program of study. The program of study contains competencies at the proficient and advanced levels to assist in meeting needs of students on different levels. Curriculum for courses must include all competencies at the proficient level. Curriculum for advanced courses must include all competencies at the proficient and advanced levels. Teachers are encouraged to select and implement unit topics, repertoire, teaching strategies, performance practices, and assessments that will enable students to meet the competencies stated for each level. Sample strategies and assessments are given for each competency. The benchmark chart in the Music Introduction section establishes the progression of instruction for each goal area through grade clusters. This program of study is to be used in developing music curriculum for high school students in the following:

High School Band (Proficient and Advanced) High School Instrumental Ensemble (Proficient and Advanced) High School Performing Arts Special Course, Instrumental (Proficient and Advanced) High School Strings, (Proficient and Advanced)

The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Music 142 2003 Mississippi Visual and Performing Arts Framework

MUSIC HIGH SCHOOL INSTRUMENTAL PERFORMANCE (Proficient and Advanced)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Perform in instrumental ensembles of varying sizes and descriptions. (CP)

Proficient: a. Perform with expression and technical accuracy a large and varied musical repertoire. b. Demonstrate desirable instrumental tone quality in practical registers and moderate dynamic levels. c. Perform scales/rudiments appropriate to the music being studied within the practical range of the instrument.

Perform a more difficult repertoire of music that includes combinations of instruments. (CP)

Advanced: a. Perform an increasingly difficult repertoire in various ensembles with expression and technical accuracy. b. Demonstrate a tone quality characteristic of the instrument in extended register and all dynamic levels.

2. Create instrumental arrangements using a variety of music elements. (CP)

Proficient: a. From a given melody improvise music in various styles. b. Improvise rhythmic and melodic variations from given chord progressions.

Music 143 2003 Mississippi Visual and Performing Arts Framework

Create original instrumental music and arrangements in a variety of forms, styles, and genres. (CP)

Advanced: a. Compose and perform music in various styles with a given melody and accompaniment. b. Improvise original melodies in a variety of styles over given chord progressions demonstrating consistent style, meter, and tonality.

3. Listen to, analyze, and evaluate music in a variety of forms and styles. (CA)

Proficient: b. Play and count rhythm patterns and corresponding rests from a variety of forms and styles. b. Define, identify, demonstrate, and apply music theory terms and symbols at the appropriate level.

Analyze and/or interpret music of various historic periods, forms, and styles. (CA)

Advanced: a. Compare music performance practices of the Baroque, Classical, Romantic, Impressionistic, and Twentieth Century periods of composition. b. Analyze and describe uses of the elements of music in a given work that make it unique, interesting, and expressive.

4. Analyze music performances by using critical thinking and listening skills. (CA)

Proficient: a. Aurally discriminate among various instrumental timbres. b. Evaluate a performance by comparing it to similar or exemplary models.

Evaluate music performances and compositions using multiple criteria. (CA, A)

Advanced: a. Describe the type of compositions performed on given recordings or of live music performance examples. b. Evaluate a given musical work in terms of its aesthetic qualities and explain the musical means used to evoke feelings and emotions.

Music 144 2003 Mississippi Visual and Performing Arts Framework

5. Demonstrate understanding of music notation and symbols by reading and performing music. (CP, CA, A)

Proficient: a. Interpret music notation, including articulation and dynamic markings. b. Translate music notation into appropriate instrumental sound. c. Play and count rhythm patterns and corresponding rests.

Demonstrate the ability to read a full score by describing how the elements of music are used. (CP, CA)

Advanced: a. Read music that contains technical demands, expanded ranges, and interpretive requirements. b. Determine aurally and visually the properties and function of the musical elements in specified pieces.

6. Understand the role and function of music and musicians in various cultures, times, and places. (CA, HC)

Proficient: a. Demonstrate knowledge of a variety of compositional styles and periods. b. Evaluate the musical and expressive elements in compositions of various historical periods.

Evaluate the relationship of instrumental music and musicians in various cultures, times, and places. (CA, HC, A)

Advanced: a. Determine aurally and visually the individual characteristics and stylistic features that identify a musical composition of a historical period. b. Identify and explain the stylistic features of a given musical work that serves to define its aesthetic qualities and its historical and cultural context.

7. Interpret the value of a musical work based on one’s beliefs about the art form. (A)

Proficient: a. Respond to the feelings experienced when listening to or performing a musical selection and justify or explain responses. b. Understand how music can communicate ideas suggesting events, feelings, moods, or images and how these ideas are related.

Music 145 2003 Mississippi Visual and Performing Arts Framework

Evaluate selected musical works in terms of aesthetic qualities. (A)

Advanced: a. Interpret the varied uses of the elements of music and expressive devices appropriate to a given musical performance. b. Describe how music can communicate a variety of moods and feelings and how responses vary based upon individual perspectives.

8. Explain ways that music interrelates with the other arts and other subject areas. (CA, HC, C)

Proficient: a. Compare the uses of characteristic elements, artistic processes, and organizational principles among the arts from different historical periods and cultures. b. Know ways that current technology affects music education and the music industry.

Assess the roles of music and musicians in relation to the arts and other subject areas. (CA, C)

Advanced: a. Research various careers in music and requirements needed to obtain and be successful in a chosen musical profession. b. Explain how music can enhance visual art, dance, and drama in distinctive ways.

9. Examine the role of instrumental music in everyday life. (C)

Proficient: a. Understand how music affects one's quality of life. b. Explain practical applications of instrumental music in daily activity.

Evaluate the role of instrumental music in lifelong learning. (C)

Advanced: a. Explain the characteristics inherent in music making that would enhance lifelong learning experiences. b. Identify opportunities available in the community for instrumental musicians.

Music 146 2003 Mississippi Visual and Performing Arts Framework

High School Band (Proficient and Advanced)

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

Proficient 1 a Students play exercises that develop concepts of Teacher/peer performance balance/blend, flexibility, and control. evaluation

Advanced 1 b Students play warm-up exercises demonstrating the Student created audiotape complete range of the instrument. and teacher feedback using prescribed criteria

Proficient 2 a Students compose and perform an original melody Teacher observation played in three different styles (e.g., march, song, swing).

Advanced 2 b Students use the pentatonic scale to provide an Teacher Observation example of improvisational technique.

Proficient 3 a Students will warm-up on rhythm patterns selected Written exam from the literature being studied.

Advanced 3 a Students create a worksheet with stylistic Evaluation of worksheet characteristics of period in which the literature was composed.

Proficient 4 a Students discuss the harmonic structure of literature Teacher observation being studied in terms of instrumental timbre.

Advanced 4 a Students listen to recordings of a march and Teacher/student compare the style to a chorale. performance assessment

Proficient 5 a Students play different articulations and dynamics Rubric during warm-up exercises.

Advanced 5 a Students differentiate, label the basic elements Teacher observation and color-coded score. evaluation of student responses

Proficient 6 a Students listen to recordings of different selections Evaluate by using a to compare compositional styles and periods. checklist

Music 147 2003 Mississippi Visual and Performing Arts Framework

High School Band (Proficient and Advanced)

Advanced 6 a Students listen to recordings and review highlighted Teacher/peer observation scores to aid in determining the different characteristics and styles.

Proficient 7 a Students express the feelings created when Teacher or student- listening to a musical selection. created rating scale

Advanced 7 a Using the developed form, students evaluate his/her Teacher observation own performance and correlate the evaluation with the teacher’s evaluation.

Proficient 8 b Students discuss how meter in poetry is similar to Students determine if the meter in music timpani is properly tuned by listening for a matching sound

Advanced 8 a Students select a musical career from a teacher- Teacher rubric compiled list. Students do a research paper on the Teacher observation of career and its requirements matching Schools of report Music that best meet the requirements of the specific career. Students report findings to class.

Proficient 9 b Students discuss types of music used in various Teacher evaluates and environments (e.g., sporting events, dentist’s office). responds to student answers

Advanced 9 a Students identify social skills associated with Teacher observation learning and performing music.

b Students invite a local/professional musician from Teacher observation of the local community to discuss the impact music’s student/artist discussion life long learning had on his/her life. Prior to the visit, students compose a list of possible interview questions to ask the artist. Through verbal assessment, students finalize which questions would be the best to use as a starting point for their discussion with the artist.

Music 148 2003 Mississippi Visual and Performing Arts Framework

High School Instrumental Ensemble (Proficient and Advanced)

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

Proficient 1 a Students perform grade level appropriate literature Student performance skill that requires expressive qualities. inventory

Advanced 1 a Teacher selects a piece from the Classical period. Teacher will assess The students perform the piece, presenting in their through the use of a performance the indicators of interpretation that are student performance skill characteristic of this period. inventory.

Proficient 2 b Students perform scales/rudiments in different Teacher observation with styles and articulations. appropriate feedback

Advanced 2 a Student compose an arrangement of a given Rubric of prescribed melody. criteria applied to the composition

Proficient 3 b Students apply appropriate articulation when given Teacher observation with a specified style. appropriate feedback

Advanced 3 a Students listen to exemplary recordings of different Written quiz. periods and describe the considerations that a performer would encounter.

Proficient 4 a Students listen to recordings and identify the type of Written evaluation ensemble and the instruments performing.

Advanced 4 a Students listen to a march, such as Stars and Written evaluation Stripes, highlighting the elements that make this piece a march.

Proficient 5 a Students review teacher provided worksheet with Student performance the musical terms, articulation, and dynamic assessment markings that are specific to the piece being studied. Students will perform the assigned piece accurately.

Advanced 5 a Students label the basic elements of a teacher Evaluation through the use provided score. of a rubric

Music 149 2003 Mississippi Visual and Performing Arts Framework

High School Instrumental Ensemble (Proficient and Advanced)

Proficient 6 a Students describe the intended purpose or function Written evaluation of a given piece of music.

Advanced 6 a Teacher provide students the historical and cultural Written evaluation background of a given piece of music and discuss the significance.

Proficient 7 a Students listen to recorded and/or live performances Inventory checklist of a given musical work and discuss how the combination of musical elements creates unique qualities that set a certain style or genre apart.

Advanced 7 b Students perform or listen to Boysen’s I Am as Teacher-provided compared to Finlayson’s Early English Suite and questionnaire discuss individual reactions to each.

Proficient 8 a,b Students compared the sounds from John Cage’s Teacher observation work to visual imagery and sounds created by Rubric for performance artists from the Dadaist movement. Students piece discuss how DaDa artists might have influenced Cage. Students discuss how technology from these artists’ times influence the sounds and visual imagery they created. Students make a list of technological devices of today and discuss ways they could be used to create sounds unique to today. Students discuss their findings. Using a web site on John Cage (http://www.artandculture.com) students research to find other visual and performing artists who have been influenced by the work of John Cage. Students report their findings. Students working in groups use technological devices discussed earlier to create a short musical piece of their own based on given elements from the teacher. Students perform their works for the group.

Advanced 8 b Students analyze examples of musicals, operas, Rubric describing essay and ballets where the performer interprets the story criteria through music. Students prepare an essay explaining how music enhances the communication of the story.

Proficient 9 a Students read memoirs of a famous instrumentalist Teacher/peer observation and discuss in groups the skills that are acquired in and feedback instrumental music such as, self-discipline, goal setting, teamwork, loyalty, and commitment.

Music 150 2003 Mississippi Visual and Performing Arts Framework

High School Instrumental Ensemble (Proficient and Advanced)

Advanced 9aStudents brainstorm ways that important events are Teacher evaluation of positively affected by music. Students predict ways chart in which their performances may improve the quality of life of their audience, creating a chart.

Music 151 2003 Mississippi Visual and Performing Arts Framework

High School Strings, Proficient and Advanced

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

Proficient 1aStudents play exercises that develop concepts of Teacher and student balance/blend, flexibility, and control, such as drawing evaluation of the bow on a string parallel to the bridge in a given performed exercises rhythm pattern.

Advanced 1aStudents produce a solid, balanced ensemble sound. Teacher and student Students, as an ensemble, draw the bow on a string evaluation of parallel to the bridge, varying the length of bow used performed exercises and the part of the bow used.

Proficient 2aTeacher demonstrates an original melody played in Teacher evaluation of three different styles (e.g., march, swing, song). student performance Students play pieces written in ternary form, such as Skater’s Waltz by Strauss.

Advanced 2bStudents distinguish the components of musical form by Teacher evaluation of analyzing a specific form, such as minuets and written written and oral report reports. Students improvise an original melody in the style of a minuet.

Proficient 3aStudents will warm up, as a group, by playing rhythm Student evaluation of patterns selected from a specific style or genre being performed exercise studied.

Advanced 3bStudents listen to music from selected periods and Teacher evaluation of styles, such as Baroque, Classical, and romantic, student-created criteria identifying the styles, describing response to the music, and responses and critiquing the music using student-created criteria.

Proficient 4aStudents will play, as a group, all possible bowing Teacher evaluation of articulations on open strings. student performance

Advanced 4aStudents will listen to isolated parts of a piece to Teacher evaluation of determine the harmonic importance of each part. student-created criteria Students discuss the harmonic structure in terms of and responses instrumental timbre.

Proficient 5aStudents play different articulations and dynamics Teacher observation during warm-up exercises, such as playing rhythmic patterns and altering accents on given beats.

Music 152 2003 Mississippi Visual and Performing Arts Framework

High School Strings, Proficient and Advanced

Advanced 5 b Students recognize natural and contrived accents and Teacher observation then respond appropriately to them. Students play rhythmic patterns, altering accents on given beats.

Proficient 6 a Students listen to several recordings of various styles Student and teacher and periods, comparing compositions and presenting evaluation of their findings. presentations

Advanced 6 a Students research and present findings on their Teacher evaluation of exposure to string music performance outlets. presentations

Proficient 7 a Students respond to a variety of musical selections by Teacher evaluation of expressing the feelings and emotions evoked while discussion listening to those selections. Students discuss their emotional reactions to music used in various environments.

Advanced 7 a Students listen to teacher selected pieces (e.g., Vivaldi’s Teacher evaluation of Four Seasons). Students list the various elements of discussion music found in each piece and describe how these elements and expressive devices are used to communicate the various descriptive feelings evoked by each selection.

Proficient 8 b Students will listen to various selections of string music, Teacher observation of clapping rhythmic patterns, altering accents on given exercise and beats. Students read aloud and listen to various discussion selections of poetry, clapping rhythmic patterns. Students discuss how meter in poetry is similar to meter in music.

Advanced 8 b Students compare the way composers compose music Teacher evaluation of to express a feeling or emotion to the way artists use discussion color and line and authors use words and punctuation to elicit a response. Connections between all art forms will be made.

Proficient 9bStudents discuss types of music used in various Teacher evaluation of environments, such as sporting events and dentists’ discussion offices, how musical elements are used to evoke different responses, and the impact on individuals in those settings.

Music 153 2003 Mississippi Visual and Performing Arts Framework

High School Strings, Proficient and Advanced

Advanced 9bStudents will identify and interview string musicians in Teacher evaluation of their community to identify the musical opportunities report available in the locality. Students report findings to class.

Music 154 2003 Mississippi Visual and Performing Arts Framework

High School Performing Arts Special Course, Instrumental (Proficient and Advanced)

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

Proficient 1 a Students perform in groups or individually using Teacher/peer observation resources appropriate to their skill level. and feedback

Advanced 1 a Students perform musical selections that provide an Use a questionnaire to opportunity for students to experience different synthesize opinions and timbres and tonality. provide appropriate feedback

Proficient 2 a Students compose a melody with the chordal Teacher provided accompaniment provided by the teacher. questionnaire

Advanced 2 b Students write or perform the melody from a familiar The teacher will provide piece such as Twinkle, Twinkle Little Star in a swing appropriate feedback style or march style. through the use of a rubric

Proficient 3 a Students listen to recordings of exemplary quality of Teacher/peer observation various styles. and feedback

Advanced 3 a Students perform selections from a specific time Teacher/peer observation period or style using the appropriate and unique performance requirements.

Proficient 4 a Teacher provides a checklist of elements for Use a rubric to assess students to listen for while listening to live or their progress recorded performances.

Advanced 4 a Students justify their opinions of live and recorded Teacher review of performances on a critique worksheet. Opinions worksheet and discussion should be limited to the basic elements of music and of feedback interpretative decisions and should be supported by knowledge of performance standards, of the period within which the selection was composed.

Proficient 5 a Teacher provides a musical selection as a Teacher review of worksheet for students to use in labeling basic worksheet discussion of symbols and notation. feedback

Music 155 2003 Mississippi Visual and Performing Arts Framework

High School Performing Arts Special Course, Instrumental (Proficient and Advanced)

Advanced 5 a Teacher provides students with a full score and Teacher-created rubric recording. The students color code the elements and discussion of found within the score. The teacher could also feedback provide a checklist for items that should be labeled.

Proficient 6 a Teacher provides the historical and cultural Written evaluation background of a given piece of music and lead student discussion of the significance.

Advanced 6 a Students research the historical and cultural Written evaluation background of a given piece of music and compare to a classic piece of art, dance, or literature from the same background.

Advanced 7 a Students perform or listen to a classical piece such Inventory checklist as, Barber’s Adagio for Strings as compared to a current pop tune and discuss their immediate reaction to the music. Discuss what elements within the music caused these reactions.

Proficient 8 a Students discuss the similarities of phrasing in Teacher observation music and sentence flow in literature.

b Students discuss the impact that music has when Prompts for essay used with technology, especially its commercial response and evaluation uses. of essay

Advanced 8 b Students create a historical timeline (e.g. Gothic, Written evaluation Renaissance, Baroque, etc.) of major artistic and musical developments relating influences and enhancements music has had on the other art forms (visual art, dance and drama).

Music 156 2003 Mississippi Visual and Performing Arts Framework

High School Performing Arts Special Course, Instrumental (Proficient and Advanced)

Proficient 9 a After hearing from a local musical artist on Teacher evaluation of opportunities available in music, students will interviews and discussion interview a local musician or an individual within of feedback their community who has been involved in music on how music has impacted their life.

Advanced 9 a Students discuss the development of community Teacher/peer observation adult performing groups (community choruses, and feedback community bands) and the professional makeup of these groups. Students survey members of the community as to their musical background, establishing the percentage of adults who continue to be involved in musical activity within their community.

Music 157 2003 Mississippi Visual and Performing Arts Framework

MUSIC HIGH SCHOOL KEYBOARD

Description of Program of Study:

The High School Keyboard framework is designed to assist teachers in developing a keyboard music curriculum for students in grades 9-12. The competencies and strategies are closely related to the high school general music framework. Individual schools or school districts make decisions about when students begin keyboard study. At the high school level students may have considerable experience playing keyboard instruments, or they may have no experience at all. It is probable that a plan of instruction will need to be developed for individual students based on assessments administered at the beginning of the course. Where possible, keyboard technology applications should be explored. Competencies in this framework apply to students who have had some exposure to playing keyboard and are not designed for specific grade levels. This program of study is to be used in developing music curriculum for high school students in the following:

High School Keyboard

The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Music 158 2003 Mississippi Visual and Performing Arts Framework

MUSIC HIGH SCHOOL KEYBOARD

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Perform a variety of keyboard solos or duets. (CP)

a. Perform repertoire that includes treble/bass clef, using both hands. b. Demonstrate proper use of fingering and hand placement on the keys. c. Know the functions of the three pedals on an acoustic piano.

2. Create and perform keyboard arrangements using a variety of music elements. (CP, CA)

a. Create a keyboard arrangement of a familiar melody by writing a bass line and harmony parts. b. Improvise a keyboard accompaniment by reading chord symbols and a melody. c. Create an original 16-bar keyboard composition with two contrasting phrases.

3. Listen to, analyze, and evaluate music in a variety of forms and styles. (CP, CA)

a. Analyze keyboard music by listening for specific elements: rhythm, melody, harmony, form, style, genre, and expression. b. Evaluate musical expression and performance by employing an appropriate music vocabulary.

4. Analyze keyboard performances by using critical thinking and listening skills. (CA)

a. Evaluate keyboard compositions and performances using prescribed criteria. b. Evaluate keyboard performances in terms of aesthetic qualities.

Music 159 2003 Mississippi Visual and Performing Arts Framework

5. Demonstrate understanding of music notation and symbols by reading and performing keyboard music. (CP, CA)

a. Demonstrate knowledge of music notation by sight-reading music in treble and bass clef. b. Interpret content of keyboard music scores in terms of mood, dynamics, tempo, and articulation.

6. Analyze forms and subject matter in music that recur across cultures, times, and places. (HC, CA)

a. Understand the development of keyboard music from antiquity through the twentieth century. b. Evaluate the various functions of keyboard music in cultures, times, and places.

7. Interpret the value of a musical work in terms of aesthetic qualities. (A, CA)

a. Evaluate the artistic merit of specified musical works by comparing them to exemplary models. b. Establish criteria for evaluating the quality and effectiveness of keyboard compositions or performances.

8. Analyze the relationship of content in keyboard music to other arts and other subjects. (C, CA)

a. Compare the expressive qualities of music with those of other artistic endeavors. b. Identify the correlation between organizing principles such as repetition and contrast, in music with those of other arts and other subjects.

9. Analyze the contributions of musicians and the music industry to individuals and communities. (C, CA)

a. Analyze the impact of technology on keyboard music in today’s culture. b. Research roles and contributions of well-known keyboard musicians, their influence on the art form and on the public. c. Research copyright and performance rights laws.

Music 160 2003 Mississippi Visual and Performing Arts Framework

Music, High School Keyboard

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a. Students perform scales using correct fingerings in Teacher observation at least three major and minor keys.

2 b Students create an arrangement of America that Teacher observation or includes a chord accompaniment for one verse with student/peer assessment melody in the right hand, and one verse with melody in the left hand.

3 a Students identify each theme entrance in a piano Teacher observes composition written in rondo form. students responses

4 b Teacher creates a checklist for adjudicating the Peer assessment; student expressive nature of a piano solo performance. and teacher evaluation of Students play for one another and score the checklists performance based on the checklist.

5 a Students work in pairs to sight-read teacher Students evaluation of selected compositions. One student plays while the rhythmic and melodic other student reads and listens. The pairs take turns accuracy of the as players or listeners. performance

6 b Students listen to three examples of American Teacher observation of secular music repertoire, for example: folk songs, student responses singing games, and popular music. The students guess an approximate date for the composition, and defend their choice by describing elements of music composed during that period.

7 a Students listen to a Duke Ellington keyboard Teacher observation of performance of Sophisticated Lady or Mood Indigo. student responses They determine why the selection has become known as a jazz standard.

8 a Students look at a color reproduction of Van Gogh’s Teacher observation of Starry Night, and compare elements of expression student discussion used by the artist to the music elements used by composer, John Williams, in his Star Wars movie theme.

9 b Students interview people who play keyboard Teacher observation of instruments (acoustic or electronic) and receive student discussion payment for doing so (e.g., church musician, piano teacher, school music teacher, or accompanist or studio musician). Teacher facilitates student discussion.

Music 161 2003 Mississippi Visual and Performing Arts Framework

MUSIC HIGH SCHOOL SMALL GROUP JAZZ IMPROVISATION (Proficient and Advanced)

DESCRIPTION OF PROGRAM OF STUDY:

This course is intended for high school music students electing to study improvisation through the medium of jazz. The small group ensemble may include instrumental, keyboard, and/or vocal performers. The framework for this course fosters developing knowledge of jazz improvisation as a performance skill. Teachers are encouraged to select and implement unit topics, repertoire, teaching strategies, performance practices, and assessments that will enable students to meet the competencies stated for each level. Sample strategies and assessments are given for each competency. The benchmark chart in the Music Introduction section establishes the progression of instruction for each goal area through grade clusters. This program of study is to be used in developing music curriculum for high school students in the following:

High School Small Group Jazz Improvisation

Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Music 162 2003 Mississippi Visual and Performing Arts Framework

MUSIC HIGH SCHOOL SMALL GROUP JAZZ IMPROVISATION (Proficient and Advanced)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Perform in choral or instrumental jazz ensembles of varying sizes and descriptions. (CP)

Proficient : a. Practice playing and/or singing major and minor scales and modes. b. Improvise melodies within selected jazz repertoire. c. Perform selected choral and/or instrumental jazz ensemble repertoire.

Perform works of music that include combinations of instruments and voices. (CP)

Advanced: a. Sing or play improvised jazz solos with performers in an ensemble. b. Improvise solos in selected jazz ensemble repertoire.

2. Create and perform jazz arrangements using a variety of music elements. (CP)

Proficient: a. Create jazz arrangements by adding improvised solos to selected ensemble repertoire. b. Vary performances of selected repertoire by altering tempo and dynamics.

Create and perform original music and arrangements in a variety of forms, styles, and genres. (CP, HC)

Advanced: a. Create original music in 12-bar blues form incorporating improvised solos. b. Improvise solos in a variety of jazz styles (e.g., swing, jazz-rock, Dixieland, blues, Latin) in selected repertoire.

Music 163 2003 Mississippi Visual and Performing Arts Framework

3. Listen to, analyze, and evaluate music in a variety of forms and styles. (CA, HC)

Proficient: a. Listen to and analyze examples of improvisation in various jazz styles. b. Listen to and analyze improvisation styles of significant jazz artists.

Analyze and interpret music of various historic periods, forms, and styles. (CP, CA, HC)

Advanced: a. Listen to and analyze wide variety of recordings featuring jazz soloists and ensembles. b. Describe and/or demonstrate the use of music elements in a variety of jazz periods, forms, and styles. c. Interpret jazz standards by arranging and/or improvising selected music in particular styles (e.g., swing, blues, Dixieland, etc).

4. Analyze music performances by using critical thinking and listening skills. (CA)

Proficient: a. Recognize the correlation of keys, scales, and chords to jazz improvisation. b. Listen to and analyze bass lines and chord harmonies from a variety of jazz repertoire.

Evaluate the quality of music performances and compositions using multiple criteria. (CA, HC)

Advanced: a. Listen to and analyze the relationship between improvised solos and the melodic and harmonic structure of recorded jazz examples. b. Develop and apply criteria to evaluate jazz performances, compositions, and arrangements.

5. Demonstrate understanding of music notation and symbols by reading and performing music. (CP, CA)

Proficient: a. Perform improvised solos in standard meters and in major and minor keys by reading jazz scores. b. Read and/or interpret standard chord symbols that function as the basis for jazz improvisation.

Music 164 2003 Mississippi Visual and Performing Arts Framework

Demonstrate the ability to read a full score by describing how the elements of music are used. (CP, CA)

Advanced: a. Read, analyze, and interpret melodic and harmonic relationships in jazz scores. b. Describe composition devices that distinguish jazz scores from other music genres.

6. Analyze forms and subject matter in music that recur across cultures, times, and places. (HC, C)

Proficient: a. Analyze similarities between events in U. S. history and milestones of jazz history. b. Compare the subject matter of blues songs with topics in poetry and literature in various cultures and historical periods.

Assess the impact of music and musicians of various cultures, times, and places on society today. (HC, C)

Advanced: a. Assess the role of individuals and/or cultures that influenced the development of jazz. b. Know events and trends in U. S. history and culture that influenced the designation of jazz as an American art form. c. Examine the influence of jazz on composers in the 20th and 21st Century.

7. Interpret the value of a musical work in terms of aesthetic qualities. (CA, A)

Proficient: a. Analyze performance practices that contribute to the success of jazz artists or performing groups. b. Compare and contrast the lasting value of works in the jazz idiom. c. Determine the characteristics of jazz that led to its designation as an original American art form.

Evaluate selected musical works in terms of aesthetic qualities. (CA, A)

Advanced: a. Assess the role of improvised solos in determining the musical success of selected works of jazz. b. Establish criteria to evaluate the artistic success of jazz performances. c. Analyze the qualities of jazz performances that enable them to endure over time.

Music 165 2003 Mississippi Visual and Performing Arts Framework

8. Analyze the relationship of content in music to other arts and other subjects. (HC, C)

Proficient: a. Recognize the importance of creativity in jazz music compared to creativity in drama, visual art, or dance. b. Relate historic developments in jazz with concurrent artistic, social, cultural, and political developments in America.

Integrate knowledge of music with knowledge in the other arts and other subjects. (HC, C)

Advanced: a. Assess the influence of jazz on 20th Century visual and performing artists and art forms. b. Compare the role of creativity in jazz to the role of creativity in other disciplines such as literature or science.

9. Analyze contributions of musicians and the music industry to individuals and communities. (C)

Proficient: a. Evaluate the impact of jazz and jazz musicians on the recording industry and the music industry. b. Analyze the influence of jazz and jazz musicians on race relations in the U.S.

Evaluate the role of music as a lifelong career or avocation. (C)

Advanced: a. Research employment opportunities for jazz musicians in the local or regional community. b. Determine the education, experience, and training requirements for musicians who pursue careers in jazz performance or the music industry.

Music 166 2003 Mississippi Visual and Performing Arts Framework

High School Small Group Jazz Improvisation

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

Proficient 1 b Students play or sing a D minor scale, ascending Teacher and/or peer and descending, using rhythmic accents to match observation various jazz rhythm idioms. (e.g., swinging eighth notes, drag triplets).

Advanced 1 a Students improvise a solo based on a jazz standard Teacher and/or peer such as Duke Ellington’s Satin Doll, while other observation ensemble members perform the harmonic changes.

Proficient 2 a Students create and perform a new arrangement of Teacher observation and existing repertoire by adding improvised solos. feedback to individual performers

Advanced 2 a Rhythm players establish a harmonic Teacher and/or peer accompaniment for 4, 8, or 12-bar improvised blues observation solos.

Proficient 3 a Teacher leads a student discussion distinguishing Teacher evaluation of between the performance of eighth notes in ragtime student discussion music and swing era jazz. Student responses indicate that eighth notes are executed evenly in ragtime, unevenly in swing.

Advanced 3 a Students listen to and analyze recordings of Teacher observation of improvised saxophone solos by artists such as Stan student analysis Getz and Kenny G.

Proficient 4 b Students compare the bass line of a Dixieland Teacher observation of ensemble to a post-1950 jazz combo. student analysis

Advanced 4 a Students use an adjudication sheet intended for jazz Teacher evaluation of ensemble competitions to determine criteria for student-developed criteria evaluating jazz performances or recordings.

Proficient 5 a Students use a lead sheet or a guitar/keyboard part Teacher and/or peer from original or published music as a basis for feedback on student developing improvised solos. performance

Music 167 2003 Mississippi Visual and Performing Arts Framework

High School Small Group Jazz Improvisation

Advanced 5 b Students will compare and describe the differences Teacher and student between a published score for a jazz ensemble and observation a choral octavo score or a band score.

Proficient 6 b Students listen to various recordings of blues songs Teacher observation and identify themes or topics suggested by the words. The themes or topics in the songs are compared to themes in literature and poetry.

Advanced 6 a Students listen to recordings of Louis Armstrong Teacher evaluation of and discuss why he is sometimes described as a student discussion jazz legend in context of his life's work

Proficient 7 b Students learn the melody of I Got Rhythm by Teacher observation of Gershwin and conduct an internet search to student lists and follow-up determine when the tune was composed, how many discussion different arrangements have been written, and the names of different artists who have performed or recorded the tune.

Advanced 7 b Students listen to a recording such as Oscar Teacher evaluation of Peterson’s Live at Montreaux. After discussing student discussion and elements of the improvised solos in one selection, criteria students list criteria (e.g., artist’s creative ideas, musical connection or communication with other performers, audience response) of successful performances.

Proficient 8 a Students attend an exhibit of 20th Century art or Teacher observation of view examples from a book or selected images student discussion and found on the internet. Compare the creative comparisons expression in a jazz solo to the ways creative ideas are expressed in visual artworks.

Advanced 8 a Students develop hypotheses about the importance Teacher observation of of creativity in the field of science. Compare the student hypotheses and hypotheses for science to the role of creativity in discussion jazz.

Proficient 9 b Students discuss the racial make-up of various Teacher observation of historic jazz ensembles and compare this to trends student discussion in American society at the time the ensembles performed.

Music 168 2003 Mississippi Visual and Performing Arts Framework

High School Small Group Jazz Improvisation

Advanced 9bStudents visit or phone a recording studio, a private Teacher evaluation of studio, or a music store to interview professional student interviews and musicians or workers in the music industry. discussion Interview individuals to determine the credentials necessary for a career in jazz performance or the music industry.

Music 169 2003 Mississippi Visual and Performing Arts Framework

HIGH SCHOOL THEORY AND HARMONY/LITERATURE

DESCRIPTION OF PROGRAM OF STUDY:

High school students in grades 9-12 electing to study Music Theory and Harmony/Literature are seeking a deeper knowledge of the discipline of music than performance courses alone generally offer. These students may desire to pursue music as a career or to continue serious music study after completing high school. Teachers are encouraged to incorporate music technology applications into instruction and to include the student's performance knowledge and skill into an integrated survey of music theory and literature. This course examines the basic elements of Music Theory and Music Literature. Previous keyboard, choral, or instrumental music performing experience is a prerequisite for admission into this course. The analytical study of scales, keys, chords, and composition elements complements other high school music performance courses. A survey of music literature will broaden student knowledge of music as an art form, and will aid understanding of the connection between music theory and music literature. This program of study is to be used in developing music curriculum for high school students in the following:

High School Music Theory and Harmony/Literature

Teachers are encouraged to select and implement unit topics, repertoire, teaching strategies, performance practices, and assessments that will enable students to meet the competencies stated for each level. Sample strategies and assessments are given for each competency. The benchmark chart in the Music Introduction section establishes the progression of instruction for each goal area through grade clusters. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level.

Music 170 2003 Mississippi Visual and Performing Arts Framework

Music 171 2003 Mississippi Visual and Performing Arts Framework

MUSIC HIGH SCHOOL THEORY AND HARMONY/LITERATURE

CONTENT STRANDS: Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Perform in choral or instrumental ensembles of varying sizes and descriptions. (CP)

a. Sing major and minor (melodic and harmonic) scales in a variety of keys using solfege, letter names or numbers. b. Sing and/or play I, IV, V, and V7 chords as intervals (e.g., do-mi-sol-mi-do; f-a-c- a-f; or 1-3-5-7-5-3-1) in selected major and minor keys. c. Combine voices and/or instruments to perform selected music examples in unison, two-part, three-part, and four-part harmony. d. Sing and/or play music selected from a variety of solo or ensemble repertoire.

2. Create and perform arrangements using a variety of music elements. (CP)

a. Compose and perform (sing and/or play) an original melody with a given chord accompaniment. b. Play or sing an original melody that includes repetition and contrast. c. Improvise harmony for a selected melody by singing or playing in thirds or sixths. d. Create arrangements by varying the rhythm, articulation, instrumentation, or accompaniment of selected works of music. e. Write original compositions for voices and/or instruments using teacher-specified criteria.

3. Listen to, analyze, and evaluate music in a variety of forms and styles. (CA)

a. Listen to recorded music samples to determine the form or style of selected repertoire and relate it to a specific genre or culture. b. Identify individual voice parts or groups (e.g., soprano, children's choir, male chorus, duet, adult choir) heard in selected solo or ensemble examples. c. Recognize and label the form of various music selections (e.g., canon, theme and variations, call-response, strophic song, verse-refrain, AB, ABA).

Music 172 2003 Mississippi Visual and Performing Arts Framework

d. Discriminate and specify differences among a wide variety of music genres (e.g., Classical, 20th Century, opera, instrumental, vocal, electronic, etc.) and styles (e.g., folk, sacred, secular, jazz, popular, ethnic).

4. Analyze music performances by using critical thinking and listening skills. (CA)

a. Determine the date and place of origin of selected works of music based on the musical characteristics of the example. b. Compare and contrast separate performances of selected works of music. c. Describe characteristics of various music forms (e.g., chorale, fugue, sonata allegro, rondo, theme and variation, blues, etc.) d. Discriminate between intervals that move by step, skip, or leap. e. Analyze important harmonic events in music (e.g., cadences, key change, modulation, tonic/dominant chord relationships) when listening to selected instrumental or choral examples. f. Describe the musical devices composers use to convey mood and/or emotion in selected examples of music.

5. Demonstrate understanding of music notation and symbols by reading and performing music. (CA)

a. Sight-read by singing or play melodies in a variety of major/minor keys and modes in treble and bass clef. b. Define, interpret, and perform rhythmic, melodic, and harmonic symbols of staff notation. c. Define, interpret, and perform meter signatures, tempo markings, and dynamic markings that are incorporated into music scores. d. Write melodies, bass lines, and inner parts as dictated from selections using basic chord progressions and limited non-harmonic tones. e. Interpret, demonstrate, or describe conducting gestures that assist performers in reading and performing music scores.

6. Analyze forms and subject matter in music that recur across cultures, times, and places. (HC)

a. Compare and contrast music scores or performances of music written by well- known composers from major historic periods of classical music (e.g., Renaissance, Baroque, Classical, Romantic, early/late 20th Century). b. Integrate the study of music literature across cultures, times, and places through the use of universal themes (e.g., celebrations, lullabies, sacred or secular music). c. Compare the lives and works of composers of today with those of other times and places. d. Examine the role of music in the lives of people from a wide variety of cultures, times, and places.

Music 173 2003 Mississippi Visual and Performing Arts Framework

7. Interpret the value of a musical work in terms of aesthetic qualities. (A)

a. Establish criteria for evaluating works of music based on knowledge of music elements, performance practice, and individual beliefs about music. b. Examine works of music that have endured over time to determine qualities they share in common. c. Research and/or describe the meaning or message communicated by selected works of music.

8. Analyze the relationship of content in music to other arts and other subjects (C)

a. Examine developments in music theory and literature that correlate with events in world history or American history. b. Discover relationships between sound in music and scientific study of sound. c. Investigate similarities between tone color in music and the color palette used by visual artists. d. Evaluate the relationship of music to the disciplines of dance and drama.

9. Analyze contributions of musicians and the music industry to individuals and communities. (C)

a. Identify music performance and audience opportunities in the local community. b. Identify sources (e.g., libraries, education institutions, retail outlets, performing arts centers, performers) in the local community or region and on the Internet for pursuing a personal interest in music theory and music literature. c. Determine the importance of music in the lives of family members, friends, and/or members of the community. d. Evaluate the use of technology as a lifelong music-learning resource.

Music 174 2003 Mississippi Visual and Performing Arts Framework

High School Theory and Harmony/Literature

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 c Divide students into two groups. One group will Teacher observation of sing the melody to a familiar song. The other group student success in group will sing or play chord roots to accompany the participation song.

2 e Students arrange an accompaniment that Teacher observation or incorporates I, IV, and V chords into a familiar 16- student arranger self- measure song such as Twinkle, Twinkle, Little Star. assessment Divide the class into sections to sing the arrangement.

3 a Students listen to Benjamin Britten’s Young Students self assess based Person’s Guide to the Orchestra. Students list on outline prepared by the names of instruments (ex. flute, French horn, etc.) teacher and instrument sections (ex. brass, percussion, etc.) on a piece of paper.

4 f Students listen to a selection such as Olympic Teacher observation of Fanfare, by Leo Arnaud and discuss the use of student discussion music elements and choice of instruments the composer incorporates to create a sense of pageantry in the music.

5 a Individual students sight-read major or minor Teacher and peer evaluation selections, or modal examples of teacher-selected of sight-singing accuracy repertoire.

6 a Students compare and contrast separate Teacher observes student performances of Bach’s Fugue in D Minor played ability to identify differences on an organ and on a synthesizer. in the timbre of the two instruments

7 b Students listen to and analyze music examples Teacher observes student such as a love duet from La Boheme and a love ability to identify common or duet from it’s 20th Century Broadway counterpart, dissimilar music elements in Rent. Discuss the musical elements of a love song the selected works written in two different centuries.

8 b Students listen to a recording of Claire de Lune by Teacher observation of Debussy, an impressionist composer. Compare student discussion. Can ways that painters (such as Monet, Renoir, or students correlate the color Degas) and ballet dancing of that era approached in the music with the light their work with elements heard in Debussy’s piece. and color in the paintings?

Music 175 2003 Mississippi Visual and Performing Arts Framework

High School Theory and Harmony/Literature

9dStudents keep a daily journal documenting their Teacher and peer experiences using music and technology such as observation of journal writing playing an electronic keyboard, downloading music Teacher and peer evaluation from the internet, etc., for one week. Students of student reports. compare reports.

Music 176 2003 Mississippi Visual and Performing Arts Framework

LITERATURE CONNECTIONS

MUSIC

The Literature Connections section is designed to serve as a guide and first-stop source for making cross-curricular connections. The titles are not extensive and other books should be used in the classroom.

Kindergarten through Fourth Grade

Aylesworth, Jim THE COMPLETED HICKORY, DICKORY DOCK. New York: Macmillan Publishing Co., 1994. Illustrated by Eileen Christelow. Recounts the antics of a young mouse each hour after the clock strikes one.

Demi THE FIREBIRD. New York: Henry Holt, 1994. This Russian fairy tale is lavishly illustrated in bright colors and gold; a suitable companion for Stravinsky’s ballet.

Ellwand, David TEN IN THE BED. New York: Handprint Books, 2002. A counting book.

Goode, Diane SILLY STORIES AND SONGS. New York: Dutton Children’s Books, 1992. This collection of stories and songs from numerous cultures includes notes about story sources.

Hays, Michael ABIYOYO. New York: Simon and Schuster, 1994. A story- song based on a South African lullaby and folk story. A Reading Rainbow Book.

Kalman, Bobbie BALLET SCHOOL. New York: Crabtree Press, 1994. Describes what it is like to study ballet at the National Ballet School in Canada from living at the school to getting ready for a performance.

Kellogg, Steven YANKEE DOODLE. New York: Simon & Schuster, 1996. The illustrator uses the multiple verses of the original Revolutionary War song to relate history. Facts supporting the text are included.

Kovalski, Maryann THE WHEELS ON THE BUS. New York: Little Brown and Co., 1987. A book to sing. While a grandmother and grandchildren wait for a bus, they sing the title song with such gusto they miss the bus.

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Lester, Julius JOHN HENRY. New York: Dial Books, 1994. The traditional story and ballad of the “Steel Drivin’ Man” includes beautiful illustrations and a surprise ending.

Martin Jr., Bill; Archambault, J. CHICKA, CHICKA BOOM! BOOM! New York: Simon & Schuster, 1989. Book and cassette. A delightful way to encourage memorization of the alphabet.

Moore, Inga THE SORCERER’S APPRENTICE. New York: Macmillan Publishing Co., 1989. A picture book and story that emphasizes the importance of respecting rules.

Moss, Lloyd ZIN! ZIN! ZIN! A VIOLIN. New York: Scholastic Inc., 1995. Illustrated by Marjorie Priceman, the book includes rich vocabulary and pictures of instruments.

Muller, Jorg PETER AND THE WOLF. New York: Alfred Knopf Inc., 1986. A musical fairy tale by Sergei Prokofiev (book and tape).

Paker, Josephine I WONDER WHY FLUTES HAVE HOLES AND OTHER QUESTIONS ABOUT MUSIC. New York: Kingfisher, 1995. This delightfully illustrated book answers miscellaneous questions about music, instruments, composers, etc.

Rachlin, Ann & Hellard, Susan SCHUMANN. Chicago: Children’s Press, 1993. This book tells stories from the life of composer, Robert Schumann. Other books in the Famous Children Series include Bach, Brahms, Chopin, Handel, Haydn, Mozart, and Tchaikovsky.

Scieszka, Jon THE TRUE STORY OF THE 3 LITTLE PIGS. New York: Puffin Books, 1989. A delightful re-telling of the traditional story, from the perspective of the wolf.

Spier, Peter THE STAR SPANGLED BANNER. New York: Doubleday, 1992. This picture book illustrates the text of our national anthem written by Frances Scott Key.

Weiss, George David; WHAT A WONDERFUL WORLD. New York: Thiele, Bob Simon & Schuster, 1995. Illustrated by Ashley Bryan. Ashley Bryan’s artwork depicts Louis Armstrong and children of many backgrounds performing a puppet show that brings to life the song Armstrong made famous.

Whitman, Walt I HEAR AMERICA SINGING. New York: Philomel Books, 1991. Whitman’s poem is illustrated in this picture book by Robert Subuda.

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Middle School

Baeza, Silvia P. MUSIC & DANCE. Vero Beach, FL: Rourke Publications, Inc., 1995. Latino life, music, history, and criticism.

Bennett, William J. THE BOOK OF VIRTUES. New York: Simon & Schuster, 1993. This rich collection of stories provides numerous connections to literature and music.

Geis, Jacqueline WHERE THE BUFFALO ROAM. Nashville: Ideals Children’s Books, 1992. An illustrated version of Home on the Range with connections to wildlife and landscapes of the American southwest.

Guthrie, Woody THIS LAND IS YOUR LAND. New York: Little, Brown and Co., 1998. The folksong writer’s well-known music is lavishly illustrated by artist Kathy Jakobsen; introduction by Pete Seeger.

Mitchell, Barbara AMERICA, I HEAR YOU. Minneapolis: Carolrhoda Books, Inc., 1987. A biography of the American composer, George Gershwin.

Roalf, Peggy LOOKING AT PAINTINGS: MUSICIANS. New York: Hyperion Books for Children, 1993. Painters have depicted musicians for more than two thousand years to express joy, beauty, and sometimes despair. This book provides insights into artists and musicians, good connections between two arts disciplines.

Siebert, Diane MISSISSIPPI. New York: Harper Collins Publishers, 2001. Greg Harlan has illustrated the poetry of the author with sweeping scenes of the river landscape. Additional connections to history and science.

High School

Bamberger & Brofsky: THE ART OF LISTENING: DEVELOPING MUSCIAL PERCEPTION AND RHYTHM. New York: Harper and Row, 5th ed., 1988. Chronological information on the fundamentals of harmony.

Berger, Melvin THE STORY OF FOLK MUSIC. New York: S. G. Phillips, 1976. Examines the evolution of American folk music due to the influences of p

Bernstein, Leonard THE JOY OF MUSIC. New York: Simon and Schuster, 1959. Best-seller collection of Bernstein’s essays and conversations on the world of music from Blues to Beethoven.

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Ellis, Dr. Rex M. WITH A BANJO ON MY KNEE: A MUSICAL JOURNEY FROM SLAVERY TO FREEDOM. New York: F. Watts, 2001. Discusses the influence of the banjo on African American music and profiles various banjo players.

Haskins, James BLACK MUSIC IN AMERICA. New York: Thomas Crowell, 1987. Surveys the history of African-American music, from early slave songs through jazz, the blues to soul, classical music and current trends.

Lyons, John Henry STORIES OF OUR AMERICAN PATRIOTIC SONGS. New York: Vanguard, 1942. Music of patriotic songs with illustrations.

Machlis, Joseph AMERICAN COMPOSERS OF OUR TIME. New York: Greenwood Press, 1990. Introduction to modern American music. Biographies of modern American composers, documenting their uphill struggles. Tips on compositions recorded to record and what to note in studying them.

Mississippi Dept. of Archives ALL SHOOK UP. Mississippi Roots of American and History Popular Music

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TECHNOLOGY CONNECTIONS

MUSIC

The Technology Connections section is designed to serve as a starting point for investigation into using technology in the music instructional program. The Mississippi Department of Education does not endorse or recommend purchasing the following resources. Mississippi Department of Education suggests that all resources be thoroughly reviewed to accommodate the needs of individual districts. Please note technology changes on a daily basis, therefore, web sites, software, etc. which may be current on a given day may not be the next. Keep this in mind when using this as a resource.

Web Sites

Americans for the Arts http://www.artsusa.org

Arts Education Partnership http://www.aep-arts.org

American Music Conference AMC http://www.amc-music.com

The American Music Education Initiative http://www.usamusic.org

American Orff-Schulwerk Association (AOSA) http://www.aosa.org

ArtsEdge: Linking the Arts and Education Through Technology. Cooperative web site of the John F. Kennedy Center for the Performing Arts and the National Endowment for the Arts http://artsedge.kennedy-center.org

Awesome Library In the “Music” section, see listings for choir, composers, opera, etc. http://www.awesomelibrary.org

Best Children’s Music, Children’s Music Web http://www.childrensmusic.com

British Journal of Music Education (Cambridge University Press) http://Uk.cambridge.org

CABC (Center for Arts in the Basic Curriculum) http://www.Newhorizons.org/ofc_cabc.html#abcabc

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CARTS: Cultural Arts Resources for Teachers & Students http://www.carts.org

Children’s Music Workshop http://childrensmusicworkshop.com/cmw.html

Dalcroze Society of America http://www.dalcrozeusa.org/index.htm

Earlychildhood News http://www.earlychildhood.com

Education Index: Music Resources http://www.educationindex.com/music

Education World http://www.education-world.com/arts/index

ERIC Clearinghouse on Elementary and Early Childhood Education http://www.ericeece.org

How to Sing and Dance http://www.ur-net.com/music-little-folks

Idea Box: Early Childhood Education and Activity Resources http://www.theideabox.com

J. Paul Getty Museum, the site offers the Multicultural Art Print Series for classrooms K-12; extensive links to arts-related Web sites http://www.getty.edu/artsednet/resources/Maps

Kids Music Planet http://www.kidsmusicplanet.com

Kidzone! (New York Philharmonic) http://www.newyorkphilharmonic.org

Kindermusik http://www.kindermusik.com

Lessons from the World http://www.mhhe.com/primis/catalog/pcatalog/D30-1.htm

MENC: The National Association for Music Education, a professional organization serving the needs of music educators at all levels http://www.menc.org

Mississippi Alliance for Arts Education. The site includes numerous state/national resources specific to music/arts education http://www.msartsalliance.com

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Music for Kids Online http://www.musicforkids.com

Music Technology Center http://www.mtlc.net/main.php

Musikgarten http://www.musikgarten.org

NAMM (International Music Products Association) http://www.namm.com

National Assembly of State Arts Agencies http://www.nasaa-arts.org

National Association for the Education of Young Children (NAEYC) http://www.naeyc.org

National Endowment for the Arts http://www.nea.gov

National Institute on Early Childhood Development and Education (U.S. Department of Education) http://www.ed.gov/index.jsp

The Nation’s Report Card http://nces.ed.gov/nationsreportcard/arts

The Newsletter of TI:ME/Technology Institute for Music Educators http://www.ti-me.org

Organization of American Kodaly Educators (OAKE) http://www.oake.org

VSA Arts (Formerly Very Special Arts) http://www.vsarts.org

Software

ALFRED’S ESSENTIALS OF MUSIC THEORY - Alfred Publishing Co., Inc. (CD Rom) For ordering information: (818) 892-2454 or http://www.alfred.com/frameset,cfm?sub=home

DR. T’S SING-A-LONG AROUND THE WORLD (1994-Music and Sound Award, Music Educator product of the year) CD Rom. This gives songs, pictures and flags for the countries on the map. Songs are sung in English and the language of the country.

GREAT COMPOSERS – Beethoven, Grieg and Hanson. CD Rom. (A selection of CD’s is available.) The story of the composer with written/spoken story lines and with composer’s most famous compostions played in the background. Zane Publishing.

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THE INSTRUMENTAL HISTORY OF JAZZ. Wille L. Hill, Jr. MENC/International Association of Jazz Educators. Two audio CD boxed set with multimedia features (Mac, PC); 56-page book.

MUSIC ACE – An interactive CD-rom program designed to develop music skills.

MUSIC! WORD! OPERA! (Microsoft); MMB, Inc.

SONIC FOUNDRY DEMO CDs For ordering information: http://www.sonicfoundry.com or call 1-800-57-SONIC

AURALIA COMPLETE EARTRAINING FOR ALL MUSICIANS (CD Rom) and MUSITION2 COMPETE MUSIC THEORY TRAINING FOR YOUR PC; 1999-2002 Rising Australia Pty.Ltd. http://www.risingsoftware.com

Other

(See Music Resources for listings of books with accompanying cd’s and tapes.)

RHYTHMICALLY MOVING by Phyllis Weikert.

MUSIC ALIVE! Magazine Subscription P.O. Box 53063, Boulder, CO 80323-3063 http://www.musicalivel.com (middle school)

Companies

Zane Publishing, Inc. 1950 Stemmons, Suite 4044, Dallas, TX 75207-3109. http://www.zane.com

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RESOURCES

MUSIC

The Resources section is a listing of supplemental educational material that may be helpful to teachers. This list is not comprehensive and is offered as a starting point for investigation into possible resources. The Mississippi Department of Education does not endorse or recommend the following resources and suggests that other resources should also be considered.

BOOKS

Kindergarten Through Fourth Grade

Barrett, McCoy, Veblen SOUND WAYS OF KNOWING: MUSIC IN THE INTERDISCIPLIPINARY CURRICULUM. ISBN: 0-02-864530-8 Schirmer: Thompson Learning http://www.music.wadsworth.com

Beall, Pamela Conn; THE WEE SING SERIES. Los Angeles, California: Nipp, Susan Hagan Price Stern Sloan, Inc. A Collection of Songs and Fingerplays.

Bergethon/Boardman/ MUSICAL GROWTH IN THE ELEMENTARY Montgomery SCHOOL, SIXTH EDITION. ISBN: 0-15-501648-2 Schirmer: Thompson Learning http://www.music.wadsworth.com

Brewer, James H. MISSISSIPPI MUSICIANS HALL OF FAME. Brandon, MS: Quail Ridge Press, 200l. Little know facts and biographies of Mississippi’s great musicians. Excellent resource for any grade level.

Campbell/Scott-Kassner MUSIC IN CHILDHOOD: FROM PRESCHOOL THROUGH THE ELEMENTARY GRADES, SECOND EDITION. ISBN: 0-534-58554-X Schirmer: Thompson Learning http://www.music.wadsworth.com

Campbell-Towell, Lee ALLIGATOR PURSE. Milwaukee, WI: Hal Leonard. Old games made new with movement and song.

Campbell-Towell, Lee CAT PAWS. Milwaukee, WI: Hal Leonard. Songs for and Judy Smith Murray moving and playing by. Book #44223097 (Book and tape).

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Hammett, Carol BALL, HOOP, AND RIBBON ACTIVITIES FOR YOUNG and Elaine Bueffel CHILDREN. Long Branch, NJ: Kimbo Educational (book and tape).

Jacobsen, John CONGA IN THE KITCHEN. Milwaukee, WI: Hal Leonard. and Alan Billingsley Movement and Activity Songs for Kids.

Lavender, Cheryl ROCKIN’ RHYTHM RAPS. Milwaukee, WI: Hal Leonard. A sequential approach to rhythm reading. (book and CD)

Leonard, Hal ANY TURKEY CAN TANGO. Milwaukee, WI: Hal Leonard. Seasonal songs for moving and playing. Book #08740129. (book and tape)

Leonard, Hal THE GREAT COMPOSERS. Milwaukee, WI: Hal Leonard. Interesting information that kids like to know, a unison music selection, and ways to teach the song. (book and reproducible packet)

Levine, Donna B. MUSIC THROUGH CHILDREN’S LITERATURE: THEME AND VARIATIONS . Englewood, Colorado: Teacher Ideas Press, 1993. Thirty nine books are presented with music connections, vocabulary and additional resources.

Lornell, Rasmussen MUSIC OF MULTICULTRUAL AMERICA: A STUDY OF TWELVE COMMUNITIES. ISBN: 0-02-864585-5 Schirmer: Thompson Learning http://www.music.wadsworth.com

Martin, Bill CHICKA, CHICKA BOOM! BOOM! New York, NY: and John Archambault Simon and Schuster. A delightful way to encourage memorization of the alphabet. (book and cassette).

Marx, Pamela TAKE A QUICK BOW! Glenview, IL: Goodyear Books, 1997. Contains twenty-six short plays that may be easily staged in the classroom on every subject from the seasons and holidays to American heritage, science, folk tales from diverse cultures, and more. Each play allows for a flexible number of characters, with enough roles for an entire class.

Mattox, Cheryl Warren SHAKE IT TO THE ONE THAT YOU LOVE THE BEST: Play songs and Lullabies from Black Musical Traditions. El Sobrante, CA: Warren-Mattox Productions, 1989.

McLean, Edwin SCHOOLHOUSE ROCK SONGBOOK. Port Chester, NY: Cherry Lane Music Company.

Meyrick, Kathryn THE MUSICAL LIFE OF GUSTAV MOLE. Martinez, CA: Discovery Toys. (book and tape)

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Moss, Lloyd ZIN! ZIN! ZIN! A VIOLIN. Illustrated by Marjorie Priceman. New York, N.Y: Scholastic, Inc.

Muller, Jorg PETER AND THE WOLF. New York: Alfred Knopf Inc., 1986. A musical fairy tale by Sergei Prokofiev. (book and tape)

The Reader’s Digest THE READER’S DIGEST “CHILDREN’S SONGBOOK”. Association, Inc. Pleasantville, New York. ISBN-0-89577-214-0. A delightful collection of songs with notes about each song.

The Reader’s Digest DOWN THE MISSISSIPPI. Reader’s Digest travels and Association, Inc. adventures condensed from MISSISSIPPI SOLO: A RIVER QUEST by Eddie L. Harris. Pleasantville, NY: The Reader’s Digest Association, Inc.

Riekehof, Lottie THE JOY OF SIGNING. Springfield, Missouri: Gospel Publishing House, 1987. Sign-language dictionary.

Scieszka, Jon THE TRUE STORY OF THE 3 LITTLE PIGS. New York, N.Y: Puffin Books. (Use with Orff instruments and drama)

Middle School

Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN: Volume II: GRADES 4 – 6. Lyme, NH: 1996. Ten plays based on multicultural folktales from such countries as Ghana, China, and Italy.

Jacobsen, John and Billingsley, A. CONGA IN THE KITCHEN. Milwaukee, Wi: Hal Leonard. Movement and Activity Songs for Kids.

Kalman, Bobbie BALLET SCHOOL. New York, NY: Crabtree Press.

Lavender, Cheryl ROCKIN’ RHYTHM RAPS. Milwaukee, WI: Hal Leonard. A sequential approach to rhythm reading.

Leonard, Hal THE GREAT COMPOSERS. Milwaukee, WI: Hal Leonard. Interesting information that kids like to know, a unison music selection, and ways to teach the song. (book and reproducible packet)

Levine, Donna B. MUSIC THROUGH CHILDREN’S LITERATURE: Theme and Variations. Englewood, Colorado: Teacher Ideas Press, 1933. Thirty nine books are presented with music connections, vocabulary and additional resources.

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The Reader’s Digest THE READER’S DIGEST “CHILDREN’S SONGBOOK”. Association, Inc. Pleasantville, New York: ISBN-0-89577-214-0. A delightful collection of songs with notes about each song.

Riekehof, Lottie THE JOY OF SIGNING. Springfield, Missouri: Gospel Publishing House, 1987. Sign-language dictionary.

Silverman, Jerry MEL BAY PRESENTS: THE AMERICAN HISTORY SONGBOOK. Pacific, MO: Mel Bay Publications, 1992. U.S. patriotic and national songs through history.

High School

Albrecht, Sally CHORAL MUSIC IN MOTION. Vol. I, Vol. II, 1989. Adding movement to your choral program.

American String Teacher STRING SYLLABUS. American String Teacher Association Association.

Crocker, Emily and Eilers, J. CHORAL APPROACH TO SIGHT SINGING. Milwaukee, WI: Hal Leonard, 1995. Collection offers a variety of a capella warm ups and workouts.

Glencoe McGraw-Hill MUSIC! ITS ROLE AND IMPORTANCE IN OUR LIVES (text) Teacher Resource Binder includes: Unit and Chapter Blackline Masters, Music Theory Masters, Unit Tests and Answer Key, Fine Art Transparencies, Fine Art Transparencies Instructor’s Guide.

Gridley, Mark Jazz Styles: History of Analysis 3rd and 6th Edition, Upper Saddle River, NJ. History of Jazz styles.

Kamien, Roger MUSIC AN APPRECIATION 2nd Brief Edition McGraw-Hill Publisher, ISBN: 0-07-034819-7.

Kinghorn, Harriet LET’S MEET FAMOUS COMPOSERS. Lewis-Spicer, Lisa and T.S. Denison & Company, Inc., Publisher. Badman, Jacquelyn A creative activity book.

Miles, Richard TEACHING MUSIC THROUGH PERFORMANCE. Vol. I – IV, Chicago, IL: GIA publications, 2000. Indispensable resource for band directors.

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Swope, Carol M. INDIVIDUALIZED RESOURCE BOOK FOR GENERAL MUSIC CLASSES. J. Weston Welch, Publisher. (reproducible)

Telfer, Nancy SUCCESSFUL SIGHT SINGING. San Diego: Neil A. Kjos Music Co., 1992. Well Organized method for sight- singing.

ORGANIZATIONS

Mississippi Alliance for Arts Education, 3008 Navajo Cir., Hattiesburg, MS 39402 http://www.msarts.alliance.com Mississippi Arts Commission, 239 N. Lamar Street, Suite 207, Jackson, MS 39201 (601) 924-0131 http://www.arts.state.ms.us

MUSIC PUBLISHERS

Cherry Lane Music Company. P.O. Box 430, Port Chester, NY 10573 Crabtree Press. 350 Fifth Avenue, Suite 3308, New York, NY 10118 Gospel Publishing House. 1445 Boonville Ave., 65802 Hal Leonard. 7777 W. Blue Mound Rd. P.O. Box 13819, Milwaukee, WI 53213 Kimbo Educational, P.O. Box 477, Long Branch. N.J. Plank Road Publishing Company. P.O. Box 26627, Wauwatosa, WI 53226. (262-790-5210) Price Stern Sloan, Inc. 360 North La Cienega Blvd, Los Angeles, California 90048. Scholastic, Inc., 555 Broadway, New York, NY 10012 USA Plays for Kids, Drury University, 900 North Benton Avenue, Springfield, MO 65802 http://usaplays4kids.drury.edu

OTHER

NATIONAL STANDARDS FOR ARTS EDUCATION. 1994.Reston, VA: MENC. MUSIC K-8. The Resource Magazine for Elementary and Middle School Music Teachers. Plank Road Publishing Company. Teaching Music Magazine; MENC Choral Journal; ACDA General Music Today; MENC Bob Kelly Cosmetics, 151 West 46th Street, New York, NY 10036 Combat Video, 322 Northwest 175th, Seattle, WA 98177 DVC, Inc., P. O. Box 40227, Indianapolis, IN 46240 Films for the Humanities, P. O. Box 2053, Princeton, NJ 98543 Insight Media, 121 West 85th Street, New York, NY 10024 Metropolitan Opera Guild, "Creating Original Opera," 212-769-7023, David Dik, Program Director Osesen Company, 1535 Ivar Avenue, Hollywood, CA 92024

Suggested Additional Resources/Equipment

MIDI – Interface cables or device with cables that allow digital instruments to connect to computer software for program applications and to make digital sounds.

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Sequencing software - Records acoustic or digital sounds digitally on computer software for editing, playback, and archival. Ethnic music videos - Videos that show indigenous people make traditional music native to their culture, country, or ethnic group. Electronic keyboards - Piano-based instruments that are powered by batteries or electricity. They make representations of acoustic sounds, synthesized new sounds, chords and stylistic rhythms. Many have songs loaded on instrument and some have ways that songs can be recorded onto the instrument. They may be connected to computers with MIDI hardware. They are portable. Barred percussion - Xylophones, metallophones, glockenspiels commonly called “Orff” instruments. They are played with mallets. Recorders - Flute-like instruments that are made of plastic or wood. Plastic ones are inexpensive. Notation software - Computer programs that write music notes through manual entry or MIDI entry. Music looks professional and may be printed or played back through the computer or connected keyboard. Basal textbook series – Adopted by state as optional required textbooks for music. Includes videos, CD accompaniment tracks, and supplement books for instruments, sign language, foreign languages, worksheets, and music technology.

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MUSIC GLOSSARY a cappella – Unaccompanied choral singing. accent – A stress or emphasis ( > ) given to certain tones. accompaniment – Vocal or instrumental parts that accompany a melody. acoustic – A term used to distinguish instruments from their electronic counterparts. aesthetics – The study of the relationship of music to the human senses and intellect. alla breve – The meter signature indicating the equivalent of 2/2 time. allegro – Fast. analyze – To separate or distinguish the component parts of a piece of music in order to discover their unique characteristics. andante – Moderately slow (“walking”). arco – With the bow. arrangement – The adaptation of a composition for performance to suit the particular needs of performers. articulation – The manner in which notes are performed, such as staccato or legato. atonality – Music in which no single tone is the home base or key center. bar or bar line – A vertical line separating the staff into measures. beat – Unit used to measure rhythmic pulses. binary – A musical form consisting of two main sections. blues – A style of music usually conceived in twelve-bar phrases; tonality is predominantly major, but with the 3rd and 6th of the key flattened; other characteristics include use of 7th chords, syncopation, and improvisation. brass instruments – Wind instruments made of brass or other metals. Some examples are: trumpet, French horn, trombone, and tuba. cadence – A group of notes or chords at the end of a phrase or piece of music that gives a feeling of pausing or finality.

Music 191 2003 Mississippi Visual and Performing Arts Framework caesura – Silence (often following a fermata) often indicated by “railroad tracks” or apostrophe. call-response – A musical form in which a melodic statement (call) is presented followed by an answer (response). canon – Process of imitating the same pattern while the original pattern is still being performed; similar to round. chord – The simultaneous combination of at least three different pitches. chord root – The pitch on which a chord is constructed; the most important pitch in the chord. classroom instruments – Instruments typically used in the general music classroom, including, for example, recorders, mallet instruments, hand-held percussion instruments, fretted instruments, keyboard instruments, and electronic instruments. clef – A symbol written at the beginning of a musical staff indicating which notes are represented by which lines and spaces. coda – A short passage added to the end of a composition; a musical way of saying “the end.” composition – Original music created by organizing sound; usually written for others to perform. compositional devices – The melodic, harmonic, rhythmic, formal, and expressive techniques used to create and sustain a musical composition (e.g., the use of terraced dynamics in the Baroque period, 12-tone, and serial technique in 20th Century music). compound meter – Meter characterized by 3:1 relationship of the beat to the subdivided beat (the note receiving the beat in compound meter is always a dotted note). create – To invent original text, melody, or harmony in a musical setting. crescendo – A gradual increase in volume. culture – The patterns, traits, and products that are associated with a particular period, place, or population. duple meter – The grouping of beats into sets of two.

Music 192 2003 Mississippi Visual and Performing Arts Framework dynamic levels, dynamics – Degrees of loudness and softness of a musical passage. elements of music – Pitch, rhythm, harmony, dynamics, timbre, texture, form. ensemble – The dynamic interplay of two or more performers making music. ethnic – Music associated with a particular culture, race, or population. expression, expressive, expressively -- With appropriate dynamics, phrasing, style, and interpretation and appropriate variations in dynamics and tempo. evaluate – To examine and judge carefully; appraise. fermata – A symbol placed over a note or rest to indicate that it is to be prolonged beyond its normal duration. form –The overall structural organization of a music composition (e.g., AB, ABA, call and response, rondo, theme and variations, sonata-allegro) and the interrelationships of music events within the overall structure. genre – A type or category of music (e.g., sonata, opera, oratorio, art song, gospel, suite, jazz, madrigal, march, work song, lullaby, barbershop, Dixieland). glissando – A continuous or sliding movement from one pitch to another. harmonic progressions – A succession of individual chords or harmonies that form larger units of phrases, sections, or compositions. harmony – The simultaneous sounding of two or more pitches. icons – Symbols associated with learning and reading music notation. improvisation – Spontaneous musical invention created without the aid of manuscript, sketches, or memory. interval – The distance in pitch between two tones. intonation – Degree to which the pitch is accurately produced in performance, particularly among the players or singers in an ensemble. introduction – A brief section of music that precedes the main body of a composition. jazz – A style of American music that originated in the South with African Americans; characterized by a strong, prominent meter, improvisation, and syncopated rhythms.

Music 193 2003 Mississippi Visual and Performing Arts Framework key – The series of tones forming any given major or minor scale. keyboard instruments – Instruments played by means of a set of piano-like keys. key signature – The sharps or flats printed at the beginning of each staff that indicate the key of the composition. legato – To sing or play in a smooth or connected manner with no breaks between the tones. major key – A key based on a major scale. measure – A group of beats separated by bar lines. melody – A logical succession of musical pitches arranged in a rhythmic pattern. melodic rhythm – Durations of pitches used in a melody. meter – The grouping in which a succession of rhythmic pulses or beats is organized; indicated by a meter signature at the beginning of a work. meter signature – An indicator of the meter of a musical work, usually presented in the form of a fraction, the denominator of which indicates the unit of measurement and the numerator of which indicates the number of units that make up a measure.

MIDI – Music Instrument Digital Interface – A standard interface that enables electronic instruments such as the synthesizer, sampler, sequencer, and drum machine from any manufacturer to communicate with one another and with computers. minor key – A key based on a minor scale. mixed meter – A sequence of different meters within a section of a composition. modal – In the character of a mode, patterned from church modes of the 13th Century. modal tonalities – Music based on scales other than major, minor, or pentatonic. motive -- A brief rhythmic/melodic figure or pattern that recurs throughout a composition as a unifying element. musical technique – The ability to perform with appropriate timbre, intonation, and diction and to play or sing correct pitches and rhythms. ostinato – A short musical pattern that is repeated persistently throughout a composition.

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overtones – Tones generated from a fundamental sound source. pentatonic scale – Music based on a five-tone scale using tones, do, re, mi, sol, and la. percussion – The group of instruments that are sounded by striking or shaking. performance practices – Approach to performance in a particular style of music. phrase – A musical idea like that of a sentence or clause. pitch – The highness or lowness of a music tone. pizzicato – Plucked. repertoire – A collection of music compositions. range – The highest and lowest pitches of a melody, an instrument or a voice. refrain – Phrases recurring at the end of each verse of a song, sometimes called the chorus. rest – The notation symbol used to indicate silence in music. rhythm – The combinations of long and short, even and uneven sounds and silences in music. rondo – A musical form in which the A section alternates with contrasting section (ABACA). root – The lowest tone on which a chord is built. round – A melody performed by 2 or more groups entering at different times. rubric – An assessment strategy where objectives are defined and work is assessed according to a hierarchy of proficiency. rudiments – A basic set of patterns used to rehearse performance technique. sacred – Subject matter relating to sacred or religious themes. scale – The arrangement of notes in specific order of whole and half steps. score – Notation showing all the parts of a music ensemble, instrumental or choral.

Music 195 2003 Mississippi Visual and Performing Arts Framework secular -- Subject matter relating to daily life; not sacred or religious. simple meter – Meter characterized by a 2:1 relationship of the beat to the subdivided beat (the note receiving the beat in simple meter is always an eighth note, quarter note, or half note). solfege – A system for identifying the pitches of the Western scale: do, re, mi,, fa, sol, la, ti, do. sonata – A composition for one or two instruments, usually in 3 or 4 movements. sostenuto – Sustained. staccato – To sing or play notes in a detached or separated manner. staff – Five parallel horizontal lines used in traditional music notation. string instruments – Those instruments in which the sound-producing agent is a stretched string. strophic songs – Songs in which all of the stanzas are sung to the same music; hymns and folk songs are usually strophic. style – The distinctive or characteristic manner in which the elements of music are treated. In practice, the term may be applied to, for example, composers (the style of Copeland), periods (Baroque style), media (keyboard style), nations (French style), form or type of composition (fugal style, contrapuntal style), or genre (operatic style, bluegrass style). sympathetic vibration – An acoustical concept describing a sound that is produced as a result of another nearby sound source. syncopation – An arrangement of rhythm that places emphasis on weak beats or weak parts of beats. tempo – The pace which at music moves, based on the speed of the underlying beat. ternary – A musical form consisting of three main sections. terraced dynamics – Gradual changes in dynamic level. texture – The character of musical sound produced by different layers of horizontal (melodic) or vertical (harmonic) elements. theme – A short melody within a musical composition.

Music 196 2003 Mississippi Visual and Performing Arts Framework theme and variation – A musical form in which a given melody (called a theme) is presented, followed by a number of modifications (each of which is called a variation). timbre – The distinctive quality of sound that distinguishes one instrument, voice, or other sound source from another. time signature – See meter signature. tonality – The tonal center of a composition or a section of music. tonic – The central tone of the key and the first note of the scale. tremelo – Usually, the quick and continuos reiteration of a single pitch. trill – The quick alteration between two notes, most often between the note indicated and the next diatonic step above. triple meter – The grouping of beats into sets of three. unison – Music that is sung or played on the same pitch by a group of performers. variation – A different form or version of a given theme, with modifications in rhythm, key, or melody. verse-refrain – A two-part song form (AB) with multiple verses where the second part (B) remains constant and repeats after every verse. vibrato – A slight fluctuation of pitch used by performer to enrich or intensify the sound. wind instruments – Generic name for instruments in which an enclosed column of air is the sound-producing agent. Includes brass and woodwind instruments. woodwind instruments – Instruments in which a column of air is the sound-producing agent, such as clarinet, flute, oboe, saxophone.

Music 197 2003 Mississippi Visual and Performing Arts Framework

THEATRE

“We use a mirror to see our face and the arts to see our soul.”

George Bernard Shaw

Theater 1 2003 Mississippi Visual and Performing Arts Framework

THEATRE

TABLE OF CONTENTS

Introduction…………………………………………………………………………………..3

Theatre Benchmarks ...... 4

Elementary Introduction...... 9

Kindergarten...... 10

First and Second Grades…………………………………………………………………14

Third and Fourth Grades ...... 21

Middle School Introduction ...... 29

Middle School Level I – II …………………………………………………………….…..30

Middle School Level III - IV...... 36

High School Introduction ...... 43

High School Level I...... 46

High School Level II...... 54

High School Level III...... 61

High School Level IV ...... 69

High School Theatre Production…………………………………………………………78

Dramatic Criticism and Performance.……………………………………………………84

High Tech Video Production……………………………………………………………...90

Oral Interpretation/Readers’ Theatre…………………………………………………….95

Literature Connections…………………………………………………………………..100

Technology Connections………………………………………………………………..106

Resources………………………………………………………………………………...112

Glossary…………………………………………………………………………………...118

Theatre 2 2003 Mississippi Visual and Performing Arts Framework

THEATRE

INTRODUCTION

Theatre, a performing art that explores and enacts the imagined or actual world of the human experience, is one of the primary ways children learn about life, about actions and consequences, about customs and beliefs, about others and themselves. All students can benefit from the theatre experience, which encourages them to develop both internal and external resources. The study and practice of theatre are ways of expanding knowledge and skills, a means of personal expression and delight, and a vehicle to explore art as an essential part of daily life. The work of the theatre is social in nature requiring collaboration among artists, technicians, and audiences. The subject and method of theatre are also social; theatre enhances the efforts of all participants to explore the human condition and enables them to do so as a community. The concerns of theatre are also the concerns of theatre-derived media such as radio, film, and television. They touch every aspect of human experience. Theatre is an ever-changing kaleidoscope of all the arts. Therefore, theatre has the remarkable power to communicate holistically, through the senses, with the hearts and minds of men, women, and children. In order to assist the development of broad and deep theatrical knowledge and skills in students and to nurture within them lifelong connections to theatrical expression, a sequential program of study is necessary. The Theatre section of the Mississippi Visual and Performing Arts Framework serves as a guide for elementary, middle school, and high school theatre curriculum development at the district and local school level.

Theatre 3 2003 Mississippi Visual and Performing Arts Framework

THEATRE BENCHMARKS

Goal 1: Students will communicate ideas and feelings by creating and performing works of art through theatre. Content Strand: Creating/Performing (CP)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

By the end of Grade 4, students will: By the end of Grade 8, students will: By the end of one year of study,* By the end of four years of study, proficient students will: advanced students will:

Demonstrate ability to understand Write scripts through the process of Write scripts based on personal Write and objectively evaluate scripts improvisations based on personal improvisation leading to scripted experience, heritage, imagination, through improvising, writing, and experience, heritage, imagination, scenes based on personal literature, and history through refining scripts based on personal literature, and history experience, heritage, imagination, improvisation and research experience, heritage, imagination, literature, and history literature, and history

Act by assuming roles and interacting Develop acting skills to portray Develop and communicate characters Develop objectivity in appraising in improvisations characters that interact in improvised in improvisations and informal personal abilities and creative and scripted scenes productions endeavors while acting in improvisations and formal and informal productions

Design by visualizing and arranging Design by developing environments Design and produce environments Conceptualize and realize a unified environments for classroom for improvised and scripted scenes through exploration of artistic artistic interpretation for formal and dramatizations interpretations informal productions

Direct by planning classroom Direct by organizing rehearsals for Direct by organizing and conducting Evaluate the consequences of dramatizations improvised and scripted scenes rehearsals for formal and informal decisions made and actions taken in productions the directing process

*the equivalent of 1 Carnegie unit Theatre4 2003 Mississippi Visual and Performing Arts Framework

THEATRE BENCHMARKS

Goal 2: Students will respond to, describe, analyze, interpret, and evaluate the complex characteristics of theatre. Content Strand: Critical Analysis (CA)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

By the end of Grade 4, students will: By the end of Grade 8, students will: By the end of one year of study,* By the end of four years of study, proficient students will: advanced students will:

Understand the similarities and Understand that there are individual Understand personal preferences and Evaluate production concept and differences between everyday life, as well as universal meanings in construct meanings from classroom dramatic interpretation in classroom theatre, film, television, and electronic classroom dramatizations, theatre, dramatizations, theatre, film, dramatizations, and from theatre, film, media productions film, television, and electronic media television, and electronic media television, and electronic media productions productions productions

Support classroom dramatizations by Know how to apply discoveries from Utilize research to support and defend Synthesize knowledge of researched finding information research to support classroom artistic choices made in theatre material into the creation of a theatre dramatizations production production

*the equivalent of 1 Carnegie unit Theatre5 2003 Mississippi Visual and Performing Arts Framework

THEATRE BENCHMARKS

Goal 3: Students will understand the roles and functions of artists and theatre in cultures, times, and places. Content Strand: History/Culture (HC)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

By the end of Grade 4, students will: By the end of Grade 8, students will: By the end of one year of study,* By the end of four years of study, proficient students will: advanced students will:

Explore historical and multicultural Recognize that theatre can Study context by analyzing the role of Critically evaluate the role of theatre, concepts through dramatic activity communicate the artistic and social theatre, film, television, and electronic film, television, and electronic media values and accomplishments of other media in other cultures, times, and in other cultures, times, and places cultures, times, and places places

*the equivalent of 1 Carnegie unit Theatre6 2003 Mississippi Visual and Performing Arts Framework

THEATRE BENCHMARKS

Goal 4: Students will perceive, understand, and appreciate the diverse meanings and value of theatre. Content Strand: Aesthetics (A)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

By the end of Grade 4, students will: By the end of Grade 8, students will: By the end of one year of study,* By the end of four years of study, proficient students will: advanced students will:

Perceive and appreciate diverse Explore theatre and theatre artists in Express meaning as a response to Critique and derive meaning from meanings and values of works of art order to respond cognitively to works of theatre and theatre artists on works of theatre and theatre artists on creative products the basis of their aesthetic qualities the basis of their aesthetic qualities

*the equivalent of 1 Carnegie unit Theatre7 2003 Mississippi Visual and Performing Arts Framework

THEATRE BENCHMARKS

Goal 5: Students will make valid connections among the arts, others subject areas, and everyday life. Content Strand: Connections (C)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

By the end of Grade 4, students will: By the end of Grade 8, students will: By the end of one year of study,* By the end of four years of study, proficient students will: advanced students will:

Experience theatre and relate to Explore relationships between theatre, Understand connections between Synthesize elements of all the arts, as various arts and everyday life other arts, subject areas, and content in theatrical experiences and well as internal and external everyday life other art disciplines, subject areas, experiences, into the creation of a and everyday life theatrical production (Competency 9)

*the equivalent of 1 Carnegie unit Theatre8 2003 Mississippi Visual and Performing Arts Framework

THEATRE

ELEMENTARY INTRODUCTION (Kindergarten – Fourth Grade)

Developmentally, children in kindergarten through fourth grade exhibit a need for concrete physical situations. Interaction with the surrounding environment is critical in student learning as they acquire representational skills in the areas of mental imagery and language. As students journey from Kindergarten through the Fourth Grade they develop a worldview that grows beyond egocentrism to one that is cognizant of events outside of their lives and able to take into account more than one perspective simultaneously. Pretending and verbalizing are natural progressions that lead to new competence in thinking and expand into an awareness of transformations, as well as static situations. The arts are the first means of expression of children. Children are naturally involved in the arts from an early age as they sing, pantomime, move, create and communicate through their senses. Theatre in grades K-4 encourages students to explore themselves, their community and their world through creative drama. Students will develop thinking and learning skills by imitating, speaking, moving, creating and sharing. The dramatic process provides students with opportunities to develop teamwork skills and to express and understand themselves and others in a positive way. Through imitation and creative expression, students can explore language arts, science, math, social studies and other academic disciplines through the power of drama. Creative drama also provides a natural vehicle for curriculum integration. As students role-play and re-enact stories, they bring literature to life and develop reading expression and comprehensive skills. This program of study is to be used by the Theatre Specialist and or the Classroom Teacher in developing theatre curriculum for kindergarten students in the following:

Elementary Theatre Arts Integrated in the Elementary Classroom

Theatre 9 2003 Mississippi Visual and Performing Arts Framework

THEATRE KINDERGARTEN

DESCRIPTION OF PROGRAM OF STUDY:

This program of study is designed to introduce kindergarten students to the basic concepts of theatre. It is to be used in designing theatre curriculum for the following:

Elementary Theatre Arts Integrated in the Elementary Classroom

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of students at the local level. For an explanation of the Content Strands, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Theatre 10 2003 Mississippi Visual and Performing Arts Framework

THEATRE KINDERGARTEN

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Plan improvisations based on personal experience, heritage, imagination, and literature. (CP, HC, C)

a. Explore life experiences and develop imaginary situations through guided dramatic play. b. Know stories based on folklore of other cultures and times.

2. Act by playing characters and interacting in improvisations. (CP)

a. Create a variety of real and imaginary characters using basic acting skills (e.g., emotional, physical, and vocal expression, sensory perception, concentration). b. Perform group pantomimes and improvisations to retell familiar stories.

3. Respond to a variety of theatrical experiences. (CA)

a. Identify appropriate and inappropriate audience behavior. b. Identify characters, settings, and events seen or portrayed in formal and informal productions. c. Recognize the similarities and differences between theatre and other dramatic media, such as film and television.

4. Perceive and appreciate diverse meanings and values of works of art. (A)

a. Give reasons for personal preferences for characters in a play, movie, etc. b. Recognize how theatre communicates events of everyday life.

5. Recognize content in theatre experiences that connects to other art disciplines, subjects and everyday life. (C)

a. Cooperate with others in guided dramatic play. b. Identify with characters in a dramatic work.

Theatre 11 2003 Mississippi Visual and Performing Arts Framework

Theatre, Kindergarten

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a Students pull slips of paper with a picture of an Teacher observation animal, object, or an event to portray through improvisation (e.g., a grasshopper, an airplane, getting dressed, eating an apple).

b Students re-enact a folktale from another culture Class discussion and (e.g., African, Japanese, Native American) or critique of re-enactment favorite fairy tale.

2 a Students use imagination to create and perform Participation checklist characters based on physical poses. For example, the student might be told to “make a triangle” with his/her body, then to use that shape to inspire a character or object to become, like a rocket.

a Students use drama software to create simple Teacher observation characters, backgrounds, and scripts.

b Students plan and pantomime actions for a Teacher observation character in a story as teacher tells or reads it out loud.

b Students make hand puppets and cardboard Class discussion and scenery or sculpt characters from play dough to act critique out story.

3 a Teacher and students simulate acceptable physical Teacher observation and verbal responses to performances by demonstrating applause and laughter in response to class performances.

a,b,c Teacher prepares students to attend a local Class discussion children’s theatre or bring a touring company to your school by discussing what to expect at a play and how to behave. After the performance, review the experience with students.

b Teacher asks students to draw or re-enact their Teacher observation favorite character or moment in the play.

b,c Teacher and students discuss the various elements Class discussion of a play that the students watch or create (actors, set or scenery, costumes, lighting, etc.).

c Students describe the differences between Class discussion attending a live performance and a movie.

Theatre 12 2003 Mississippi Visual and Performing Arts Framework

Theatre, Kindergarten

4 a Teacher asks students to draw or act out a favorite Class discussion character from a movie, and tell three reasons why Participation checklist he or she is their favorite.

b Students describe one part of a play or movie that Class discussion they have seen that reminds them of their own lives.

5 a Students plan and perform a scene from a familiar Class critique of scenes story with a small group of other students. Teacher checklist of desired elements

a Students use body, voice and imagination to illustrate concepts in other subject areas. Make the shape of a letter of the alphabet with Teacher observation your body, give its sound, and pantomime becoming or using an object that starts with that letter. Imitate a variety of roles in family life. Act out a family of animals, like the three Teacher observation bears in the story of Goldilocks.

b After viewing a play or movie, students identify the Teacher observation feelings of a character and describe a time when they felt the same way.

Theatre 13 2003 Mississippi Visual and Performing Arts Framework

THEATRE FIRST AND SECOND GRADES

DESCRIPTION OF PROGRAM OF STUDY:

This program of study is designed to give first and second grade students an opportunity to explore at an introductory level the basic concepts of theatre, emphasizing guided creative practice. This program of study is to be used by the Theatre Specialist and or the Classroom Teacher in developing theatre curriculum for first and second grade students in the following:

Elementary Theatre Arts Integrated in the Elementary Classroom

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. For an explanation of the content strands, see the general introduction section of the Mississippi Visual and Performing Arts Framework. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Theatre 14 2003 Mississippi Visual and Performing Arts Framework

THEATRE FIRST AND SECOND GRADES

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Plan and record improvisations based on personal experience, heritage, imagination, literature, and history. (CP, HC, C)

a. Create real and imaginary scenes with a beginning, middle, and end from life experience, diverse cultures, times, and places in guided dramatic play. b. Dramatize stories from the folklore of other cultures, times, and places. c. Improvise dialogue to tell stories, and formalize improvisations by writing or recording the dialogue.

2. Act by assuming roles and interacting in improvisations. (CP)

a. Develop body awareness and spatial perception through movement and pantomime. b. Develop expressive use of voice. c. Develop sensory awareness of all fives senses. d. Use skills in pantomime, tableau, and improvisation to create characters and to demonstrate their feelings, relationships, and environments.

3. Design by visualizing and arranging environments for creative play. (CP, C, A)

a. Comprehend the concept and role of technical theatre elements such as props, costumes, and scenery. b. Interpret stories by creating appropriate environment and moody through the use of props, costumes, and scenery.

Theatre 15 2003 Mississippi Visual and Performing Arts Framework

4. Respond to, analyze, criticize, and construct meaning from a variety of theatrical experiences. (A, CA)

a. Use the correct vocabulary to identify and discuss elements that are unique to the theatre (e.g., play, plot [beginning, middle, and end], improvisation, pantomime, stage, character, props, costumes, masks, sets, audience). b. Recognize the message or meaning of various dramatic works.

5. Perceive and appreciate diverse meanings and values of works of art. (A)

a. Understand individual preferences for aspects of a story of dramatic work. b. Understand emotional reactions to a story or dramatic work.

6. Recognize content in theatre experiences that connects to other art disciplines, subject areas, and everyday life. (C, CA)

a. Compare and contrast other art disciplines and subject areas (visual art, dance, music, creative writing) with theatre. b. Use literature, current event, or life experience to create a dramatic activity utilizing plot (beginning, middle, and end). c. Develop individual focus and group cooperative skills through participation in group theatre activities.

Theatre 16 2003 Mississippi Visual and Performing Arts Framework

Theatre, Grades 1-2

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a With classmates assigned to different roles, create a Teacher observation plan to act out a familiar story or a real life incident. After a test performance, discuss ways to improve the story.

a,b Students perform a variety of familiar characters by Teacher observation re-enacting traditional literary fairy tales or folk tales (e.g., Little Red Riding Hood). The actors should identify and demonstrate the characters’ feelings.

c Students take turns improvising dialogue as they Teacher observation play characters in a story. The teacher records their dialogue into a “script,” which the students are able to use to replicate other students’ improvisations. With teacher suggestions, students are guided into revising and improving their dialogue.

2 a Students use imagination to pantomime the shapes Teacher observation and dimensions of objects (e.g., blow up imaginary balloons, bounce or throw an imaginary ball).

a Students perform isolation exercises, taking turns Teacher observation moving different parts of the body in a circular motion (e.g., rotate only your shoulders, now just one finger, now just your tongue).

a Students practice relaxation exercises to enhance Teacher observation concentration and imagination skills and to overcome stage fright. For example, as a group, students take a series of deep breaths from the diaphragm (they should feel their stomachs expand as they inhale). Then they close their eyes and imagine themselves in a calm, comforting environment as they practice saying their lines.

b Students practice speaking in different voices (high Participation checklist and low pitch). Imitate different voices demonstrated by the teacher or other students.

b Students read sentences or poems as different Teacher observation, characters might say them (e.g. a witch, a giant, a Participation checklist news announcer, a robot).

c Students go on a “sensory walk” by walking in a Teacher observation, circle and showing (without sound) how they would Class discussion of react in different environments such as a beach, a sensory details jungle, a city street, a cave, etc. Afterwards, they describe sights, sounds, smells, etc. from the imaginary walk.

Theatre 17 2003 Mississippi Visual and Performing Arts Framework

Theatre, Grades 1-2

c,d Students pantomime eating favorite foods or Teacher observation listening to favorite music. Other students try to Class discussion of the guess what the favorites are from visual clues. quality of the pantomime clues

d Students carefully observe figures in a famous Teacher observation painting, create a tableau of the picture, then bring Checklist: accuracy of the tableau to life and show how the figures might tableau, believability of move. Finally, they add dialogue and dramatize characters’ movements interactions between the characters. and words

d Students use pantomime to act out occupations Teacher observation, (e.g., policeman, astronaut), animals, machines Class discussion of the (e.g. toaster, alarm clock, airplane), and other quality of pantomime clues inanimate objects (e.g. book, spoon, toothbrush). Other students try to guess what is being played. Afterwards, discuss which pantomimes were the most successful and why.

3 a Students create an acting space (e.g., Indian Teacher observation village, outer space, fairy tale setting) using everyday materials (e.g., cardboard, poster board, fabric). Transform everyday objects into costumes and props. Use the set and other technical elements to inspire creative play.

b Students draw designs for a place from a story (e.g., Class discussion of which the barn from Charlotte’s Web or the castle in Jack designs seem most and the Beanstalk), paying particular attention to appropriate and why include details and use colors that suggest the feeling or mood appropriate to the story.

4 a Students restate theatre terms called out by the Checklist: number of teacher, using student wording; or they demonstrate terms correctly defined knowledge of theatre vocabulary by acting out the term called out by the teacher.

a After a review of acceptable audience etiquette, Checklist indicating students take turns demonstrating the role of actor appropriate behavior as and audience member in class presentations. audience member as well as participation as actor

b After presenting a performance in class, students Teacher observation answer the teacher’s and classmates’ questions about their acting choices (e.g., “Why did you speak so softly when you were playing the lion?”, “Why did you have the character move that way?”). The questions should not be negative or critical. They should seek to help the actor discover the strengths and weaknesses in his or her performance. Then the performance can be repeated with improvement.

Theatre 18 2003 Mississippi Visual and Performing Arts Framework

Theatre, Grades 1-2

4 b Students design and perform a puppet show based Teacher-created rubric on one of Aesop’s fables, concluding with an measuring accuracy of announcement of the moral of the story. story, creativity of design of puppets/scenery, volume and expression of voice(s), and awareness of moral

5 a Students discuss, draw, or re-enact favorite scenes Class discussion from a story, play, or movie, and list reasons for their appeal.

After attending a live theatrical performance, Checklist: inclusion of the students pretend to be “theatre critics” and give a three positive remarks and review that mentions three things that were done one of constructive well and one thing that could have been improved. criticism

b After viewing a movie or play, students tell which Class discussion scenes of a movie or play were funny, sad, or scary, and why.

6 a With teacher guidance, students constructs two lists Class discussion to compare and contrast the wants and needs of two characters in a story or dramatic work (e.g. Little Red Riding Hood wants to get to Grandma’s house to bring her treats; the Wolf wants to get there first to eat Grandma, etc.).

Compare and contrast many types of performances, Class discussion such as a play, a dance, or a concert. The teacher leads a discussion using questions such as: “How is a ballet or an opera different from a play? What do they have in common?”

Using a story or poem they have read, students can: Checklist or rubric of draw or build a model of a design for a play appropriate criteria set draw a costume sketch for a character turn a poem or book into an “opera” by making up a tune and singing it as a particular character would

b Students tell a story of something that happened to Teacher observation them or other family members on a vacation or at home. Students direct peers to act out the event they describe.

Theatre 19 2003 Mississippi Visual and Performing Arts Framework

Theatre, Grades 1-2

c Working alone, students create a puppet of a Teacher observation character using a variety of materials. Then they Checklist collaborate with other students to perform a puppet show. For example, each student designs a separate character from The Wizard of Oz. Then the teacher can direct them in using the puppets to perform the story.

Theatre 20 2003 Mississippi Visual and Performing Arts Framework THEATRE THIRD AND FOURTH GRADES

DESCRIPTION OF PROGRAM OF STUDY:

This program of study is designed to provide third and fourth grade students opportunities to explore more fully through age appropriate activities the basic concepts of theatre, emphasizing guided creative practice. This program of study is to be used by the Theatre Specialist and or the Classroom Teacher in developing theatre curriculum for first and second grade students in the following:

Elementary Theatre Arts Integrated in the Elementary Classroom

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of students at the local level. . For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Theatre 21 2003 Mississippi Visual and Performing Arts Framework THEATRE THIRD AND FOURTH GRADES

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Demonstrate ability to create improvisations and scripted scenes based on personal experience, heritage, imagination, literature, and history. (CP, HC, C)

a. Demonstrate cooperative script-writing through recording improvisation. b. Explore the value and diversity of other cultures, times, and places through research-based improvisation and script-writing.

2. Act by assuming roles and interacting in improvisations and scripted scenes. (CP)

a. Demonstrate the ability to utilize the body and voice (e.g., breath control, diction, concentration, and isolation) for creative self-expression in thought, feeling, and character. b. Dramatize stories from literature through dialogue, movement, and acting a variety of emotional states (e.g., happy, sad, frightened).

3. Design by visualizing and arranging environments for classroom dramatizations. (CP, HC, C, A)

a. Know the technical theatre elements of sound, props, lighting, makeup, costumes, scenery, and stage management in formal and informal dramatic presentations. b. Understand the basic types of theatre stages (proscenium, thrust, and arena) and how they are utilized. c. Understand how visual elements (such as space, color, line, shape, and texture) and aural elements (music, sound effects) can be used to communicate place, time, and mood in a theatrical work.

4. Direct by planning classroom dramatizations. (CP, CA)

Theatre 22 2003 Mississippi Visual and Performing Arts Framework

a. Demonstrate knowledge of basic blocking and stage areas. b. Demonstrate responsible behavior such as sharing, flexibility, and effective use of time. c. Understand the dynamics of a character’s outer action and inner thought process. d. Demonstrate various ways of staging classroom dramatizations.

5. Understand the similarities and differences between everyday life, theatre, film, television, and electronic media productions. (A, CA)

a. Know that there is a set of criteria for evaluating a theatrical experience with regard to characterization, diction, pacing, gesture, and movement. b. Know the impact on the audience of theatre, film, television, radio, and other media. c. Recognize the consequences of artistic choices. d. Recognize the importance of respectful, positive, and constructive criticism. e. Understand the similarities and differences between real life and the representation of life (willing suspension of disbelief).

6. Support classroom dramatizations by finding information. (CA, HC, C)

a. Understand how theatre can be an interpretation of actual events in history and everyday life. b. Recognize key developments in theatre-derived media such as the introduction of movies, animation, radio, television, and interactive video.

7. Explore historical and multicultural concepts through dramatic activity. (CA, HC, C)

a. Recognize universal themes in stories and plays from different periods and places through dramatic activity. b. Recognize that theatre styles vary according to culture, time, and place.

8. Perceive and appreciate diverse meanings and values of works of art. (A, CA)

a. Articulate emotional response to the whole, as well as parts of, dramatic performance. b. Understand and value how individual emotional responses to art may vary.

9. Experience theatre and relate to various arts and everyday life. (C, CA)

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a. Use problem solving and cooperative skills to dramatize a story or a current event from another content area. b. Understand the social nature of theatre and that theatre etiquette is the responsibility of the audience. c. Understand artistic characteristics and social impact of various media (e.g., film, television, and electronic media), including connections with dance, music, and visual arts.

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Theatre, Grades 3-4

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a Students collaborate to create scripts dramatizing Teacher-made rubric different cultural versions of similar stories from around the world (e.g., variations of the Cinderella story from France, China, Africa, and America) utilizing the 5 w’s (who, what, where, when, why). In groups, students make lists of characters and outlines of each plot. Then they improvise and record appropriate dialogue to tell each story.

b Students improvise scenes based on research and Class discussion study of the “Underground Railroad,” or other historical events.

2 a,b Students enact stories from classroom literature Teacher observation utilizing a variety of emotions.

b Students pantomime improvisatory scenes using a Participation checklist variety of musical selections to stimulate emotional creativity (e.g., Beethoven, Gershwin, mariachi, ragtime). When they first hear a selection of music, they improvise corresponding movements. They then use the movements they have invented to inspire characters, emotions, and situations to act out to the music.

3 a, c Students devise simple set designs for a play Self-assessment through cooperative teams. Create first drawings of the set and finally a three-dimensional model.

b Students are able to draw or identify the three basic Test stage types (proscenium, thrust, and arena).

c After viewing a play or film (animated or live action), Class discussion students identify how sound and visual elements are used to establish mood and setting.

4 a Students draw a chart of the stage floor with each Checklist area labeled.

a Students take turns directing one another to move Teacher observation to different stage areas. They can direct one another to move with different speeds, at different levels (high, middle, or low), with various emotions or attitudes, and different styles of movement (crawling, hopping, dancing, waddling, etc.).

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Theatre, Grades 3-4

b After observing students in a small group activity Teacher observation and (such as rehearsing and performing a short scene discussion or playing a game), the teacher identifies and praises students who show an ability to share, to compromise, to accept other students’ ideas, and to use time wisely without wasting it.

Students are divided into groups. Each group has Teacher observation fifteen seconds to agree on how to present a pantomime of a machine in action (e.g., a telephone, a car, a blender, a clock). Each student has to participate in some part of the machine. Groups who fail to have their machines ready on time fail to gain points in this game. Rather than machines, the object might be to put together any system of interrelated parts (e.g. the Solar System, the Water Cycle, the process of photosynthesis, the continents), and the time limit could be extended for longer, if necessary.

c Using a list of human emotions, students Teacher observation and demonstrate body language and facial expressions discussion that communicate appropriate feelings. This may be done with an entire class at once, or the students may take individual turns. As the teacher calls out each emotion, the student(s) must immediately create a pose that reflects that emotion.

d Students are divided into groups with one “director” Teacher observation in charge of each group’s performance. Each group is assigned a scene from history (e.g. Columbus’s audience with Ferdinand and Isabella) to dramatize. They plan collaboratively on how to present it, but the “director” makes all final decisions.

5 a Students design a performance rubric for evaluation Project grade of characterization, vocal volume, diction, pacing, gesture, and movement.

b After attending a play, students compare and Discussion contrast live theatre to seeing a movie and discuss how it made them feel.

c Students draw a costume appropriate for a Project grade character in a story. They must explain and justify color, design, and material choices based on knowledge of the character.

d Students observe a dramatic skit and list two Checklist positive comments and two suggestions for improvement. They must justify their comments, explaining why they liked certain elements.

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Theatre, Grades 3-4

e Students attend a live theatrical performance and a Discussion talk-back where actors (as themselves) interact with students.

6 a Through creative improvisation, students re-enact a Participation checklist historic scene, such as when Rosa Parks refuses to give up her seat on a bus.

b Students view samples of early animation such as Discussion Disney’s Snow White, and the most recent innovation in computer animation, such as Disney’s Monster’s Inc., and discuss the differences.

After viewing a movie or a scene from a movie Discussion containing some examples of special effects, students discuss how those effects (music, sound effects, computer imagery) did or did not increase their involvement with a specific work of art.

7 a Students listen to ”trickster” stories from different Participation cultures such as the Native American Iktomi tales, Discussion the African Anansi folktales, and/or the stories of Brer Rabbit. Act out different stories and discuss the differences and similarities between them.

b After learning about various styles of Asian theatre Teacher or student-made (e.g., Japanese Noh plays or Kabuki plays, Bunraku rubric measuring puppet plays, or Indonesian shadow puppet plays), participation and the students create their own version of Bunraku or presence of certain shadow puppets, or use the stylized acting of prescribed criteria unique Kabuki drama to act out a fairy tale in an Asian to the particular style of setting such as Lon Po Po or Nightingale. drama

8 a After viewing a live or filmed performance, students Discussion identify how it made them feel. The teacher leads a discussion to help students understand what images or dramatic elements contributed to that feeling.

b Students conduct a poll of other students or adults Evaluation of graph to determine what their favorite cartoon or funny Class discussion movie may be. Students then create a graph to display the results of this poll. In class, they discuss reasons for the relative popularity of certain films or cartoons.

9 a Students create a script from a selected newspaper Peer assessment headline or classified ad and perform.

b After discussing proper theatre etiquette, students Written assignment list the do’s and don’ts of theatre behavior.

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Theatre, Grades 3-4

c Students conduct a survey of media preferences Project grade (newspaper, Internet, TV, radio, video, video Discussion games) among family and friends to determine any patterns. The teacher leads a discussion on “What implications do the results have?” (e.g., targeting audiences, communication, values, commercialism, trend-setting).

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THEATRE

MIDDLE SCHOOL INTRODUCTION

Students in middle school think conceptually and explore the notions of cause and effect, time, comparison, and other complex ideas. They develop the logical structures that explain their physical experiences and initiate the capability of abstract problem solving, yet do not consider all of the logically possible outcomes. Students in Grades 5-8 begin to develop theatre literacy. In theatre, the artist creates an imagined world; it is the role of theatre artists to lead the audience into this visual, aural, and oral world. It is important that students learn to see the created world of theatre through the eyes of the playwright, actor, designer, and director. Through active creation of theatre, students learn to understand artistic choices and to critique dramatic works. Students play a larger role in the planning and evaluation of their work. The emphasis is on helping students use drama with more facility and productivity in daily living and, as a participant or viewer, to incorporate drama into their lives. Theatre becomes a part of the student’s experience of life as a whole. With greater emphasis on reading, writing, and performing scripts, students begin to create plays based on peer issues, concerns, and interests using improvisation and collaboration. Likewise, they are introduced to plays and experiences that reach beyond their communities to national, international, and historically representative themes. Students come to perceive theatre as a means of pleasure, communication, and learning. This program of study is to be used by the Theatre Specialist and or the Classroom Teacher in developing theatre curriculum for levels I-II and levels III-IV middle school students in the following:

Middle School Theatre Arts Integrated in the Middle School Classroom

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THEATRE MIDDLE SCHOOL LEVEL I - II

DESCRIPTION OF PROGRAM OF STUDY:

This program of study is to be used in designing theatre curriculum for Level I and II middle school students. It is intended to stimulate and develop unique intellectual and creative abilities of each student through learning and practicing basic theatre concepts. Through an applied emphasis in this course, the student will gain greater knowledge of self and others and will begin to develop an appreciation of theatre as an art form. This program of study is to be used by the Theatre Specialist and or the Classroom Teacher in developing theatre curriculum for level I-II middle school students in the following:

Middle School Theatre Arts Integrated in the Middle School Classroom

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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THEATRE MIDDLE SCHOOL LEVEL I – II

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Know and understand the creation of improvisations and scripted scenes based on personal experience, heritage, imagination, literature, and history. (CP, HC, C)

a. Recognize the structural elements of plot (exposition, complication, crisis, climax, and resolution) in a script or theatrical experience. b. Demonstrate an understanding of text, subtext, and context. c. Demonstrate how improvised dialogue and scenes are used to tell stories and create characters based on history, culture, literature, and everyday situations. d. Apply logical sequencing of events.

2. Develop basic acting skills required to interact in improvised or scripted scenes. (CP)

a. Develop vocal, movement, and pantomime skills (external) to express the inner (internal) life of the character through improvisation and the rehearsal. b. Understand the role of conflict and emotions in dramatic situations.

3. Design by developing environments for improvised and scripted scenes. (CP, HC, C, A)

a. Participate in making artistic choices in a small group. b. Specify how technical theatre elements of sound, props, lighting, makeup, costumes, scenery, and stage management are used to communicate locale, mood, and characterization in scripted formal and scripted or improvised informal productions.

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4. Direct by organizing rehearsals for improvised and scripted scenes. (CP, C)

a. Use dramatic elements to stage a play. b. Use rehearsal time effectively to brainstorm, experiment, plan, and rehearse. c. Demonstrate the use of blocking stage areas, levels, and actor’s position (e.g., full front, quarter, profile, and full back) in dramatic scenes. d. Discern characters’ perceived thought processes during dramatic scenes. e. Recognize ways to “physicalize” characters’ thought processes.

5. Know that individual experiences play a role in constructing meaning from classroom dramatization and from theatre, film, television, and electronic media productions. (A, CA)

a. Communicate thoughts and emotions evoked by performance. b. Correlate personal experiences to stage and film experiences. c. Deduce lessons that theatre teaches to actors and audience members. d. Create alternative characters, settings, or events after viewing or participating in a performance.

6. Develop methods to apply discoveries from research to support classroom dramatizations. (HC, CA)

a. Recognize how plays represent the time periods in which they are set. b. Differentiate between low, middle, and high comedy.

7. Recognize theatre as an important tool to assist in understanding cultures, times, and places. (HC, CA)

a. Identify and differentiate theatre and film traditions from cultures, times, and places. b. Examine different types of early American theatre (e.g., melodrama, musical theatre).

8. Study theatre and theatre artists in order to appreciate diverse meanings and values of works of art. (A, CA)

a. Understand the notion of empathy and aesthetics. b. Value the role of beauty in theatrical productions. c. Use articulated criteria to describe and evaluate the effectiveness of artistic choices found in dramatic performances.

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9. Determine relationships between theatre, other arts, other subject areas, and everyday life. (CA, C)

a. Know skills necessary to pursue opportunities in theatre, film, television, and electronic media. b. Determine the value of collaboration in creating a theatrical production. c. Utilize theatrical skills to dramatize events/concepts from other subject areas. d. Know that theatre can synthesize all the arts. e. Analyze ways in which theatre, television, and film mirror daily life.

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Theatre, Middle School Levels I - II

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,b Students work in small groups and demonstrate Teacher-made rubric understanding of structural elements of plot (e.g., setting, rising action, crisis, falling action) by creating scripts based on life experiences (e.g., trip to the mall, football/cheerleader practice, prom).

c Students perform improvised scenes or monologues Teacher-made rubric that illustrate influence of significant historical figures (e.g., Lee’s surrender to Grant, Lincoln, Truman, John F. Kennedy).

d Students outline the events in a well-known fairy Written work tale or story, according to the stages of plot sequence (structural elements).

2 a Students create a character “biography” by Written work choosing a character from a play and developing a history and future of him/her.

b Students perform in improvisations based on Teacher-made rubric conflicts and emotions observed from experience (e.g., being grounded by parents, being bullied).

3 a,b Students work in cooperative groups and use Project Grade available resources to make creative decisions and construct the technical elements needed in an outer space or “fantasy” skit.

4 a,b Students identify the dramatic elements in a familiar Project Grade children’s story and adapt it for the stage (e.g., Hansel and Gretel, Three Billy Goats Gruff).

c Students select a scene from a play and plan Teacher-made rubric blocking for the available stage area (e.g., classroom presentation area, outside the building, in the school theatre). Discussion d Students attend a live performance and discuss the motivation of the characters in the play. Demonstration e Students demonstrate a character’s inner feelings through facial expression and body language.

5 a Students participate in group discussion of Oral response empathetic responses (e.g., laughter, sadness, anger) and meanings gleaned from a live or taped performance.

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Theatre, Middle School Levels I - II

b Students create scripts based on real life Teacher Observation experiences (e.g., my worst/best day, summer vacation, hobbies).

c Students identify several plays containing morals Discussion and analyze ways in which the lessons were presented.

d Students perform scenes from a well-known play Teacher-made rubric setting the characters and events in a different time period (e.g., Romeo and Juliet in the Blue Ridge Mountains in the 1940’s).

6 a Students adapt a favorite TV show to a different Written report time and report on the changes required.

b Students create mini-scenes depicting each of the Demonstration three types of comedy. Performance

7 a Students view film/plays from other countries, Discussion compare and contrast cultural influences.

b Students work in cooperative groups, create mini- Oral response scripts and perform them in the styles of early American theater.

8 a,b After viewing a theatrical performance, students Discussion discuss human qualities which cause emotional response to theatrical performances (e.g., empathy, identification).

c Working in small groups, students create a list of Discussion effective and ineffective artistic choices (e.g., Written work setting, mood, character development).

9 a Students select a specific theatrical career and write Written work a job description.

b Students stage a production with separate groups Demonstration working on the different components (e.g., set design, costumes, make-up) to form a cohesive whole.

c Students improvise a scene based on a current Teacher-made rubric news event.

d Students stage a production incorporating the other Teacher-made rubric art forms.

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THEATRE MIDDLE SCHOOL LEVELS III - IV

DESCRIPTION OF PROGRAM OF STUDY:

This program of study is to be used in designing theatre curriculum for Level III and IV middle school students. It is intended to continue and broaden the exploration of theatre concepts presented in Middle School Levels I - II. This course emphasizes guided creative practice. As with all disciplines, a well-rounded education in theatre includes a range of educational processes. The middle school program emphasizes guided creative practice that is to be incorporated into the curriculum to achieve an increased intelligence spectrum for learner outcome. This program of study is designed to continue and broaden the exploration of theatre concepts presented in Middle School Level I -II. This program of study is to be used by the Theatre Specialist and or the Classroom Teacher in developing theatre curriculum for levels III-IV middle school students in the following:

Middle School Theatre Arts Integrated in the Middle School classroom

The five major strands of study in the theatre discipline are: Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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THEATRE MIDDLE SCHOOL LEVEL III - IV

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Create scripts through the process of improvisation leading to scripted scenes based on personal experiences, heritage, imagination, literature, and history, (CP, HC, C)

a. Create characters, environments, and actions (individually and in groups) that create tension and suspense. b. Collaborate in small groups to refine original scripts and justify writing choices. c. Identify dramatic elements within a script using the vocabulary of theatre. d. Develop scripts from literary sources, personal experiences, or historical events.

2. Develop acting skills to portray characters that interact in improvised and scripted scenes. (CP)

a. Analyze descriptions, dialogue, and actions to discover, articulate, and justify character motivation. b. Invent character behaviors based on the observation of interactions, ethical choices, and emotional responses of people. c. Interact as an invented character in improvised and scripted scenes. d. Practice actors’ techniques for physical (posture and energy) and vocal conditioning (voice warm-up, diction, and projection). e. Simulate and/or participate in the audition process.

3. Design by developing environments through interpretation of improvised and scripted scenes. (CP, HC, C, A)

a. Know the functions and interrelated nature of scenery, props, lighting, sound, costumes, and makeup in creating an environment appropriate for any given play. b. Practice the roles and responsibilities of the production staff. c. Develop technical sound effects to enhance the meaning of a play. d. Understand theatre spaces and the different requirements for technical elements.

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4. Direct by organizing rehearsals for improvised and scripted scenes. (CP, C)

a. Know the responsibilities of the director in planning visual and aural elements and in rehearsing improvised and scripted scenes. b. Recognize the steps of the directing process from play selection to production.

5. Understand and identify individual and universal meanings perceived from forms of theatre (classroom dramatizations, theatre, film, television, and electronic media productions). (A, CA)

a. Articulate and support individual and universal meanings constructed from dramatic performances. b. Analyze the use of figurative language and imagery in dramatic texts. c. Know the relationship of plot, conflict, and theme in a play.

6. Synthesize discoveries from research in the creation of classroom dramatizations. (CA, CP)

a. Apply research from print and non-print sources to script writing, acting, designing, and directing choices. b. Identify technical theatre requirements for a selected script. c. Demonstrate knowledge of legal issues regarding the use of others’ ideas.

7. Recognize that theatre can communicate the artistic and social values and accomplishments cultures, times, and places. (HC, CA)

a. Analyze the social impact of historical and cultural events on theatre. b. Know that works of theatre from other cultures, times, and places convey universal characters and situations. c. Know various theatre styles throughout other cultures, times, and places. d. Practice positive audience etiquette. e. Explain how culture affects the content and production values of dramatic performances (7th Grade; non-Western theatre history, 8th Grade; American theatre history).

8. Study theatre and theatre artists in order to respond knowledgably to creative products. (A, CA)

a. Understand criteria necessary to review a theatrical production. b. Understand how theatre evokes a range of responses and thoughts from an audience. c. Describe and evaluate the effectiveness of students’ contributions (as playwrights, actors, designers, and directors) of developing improvised and scripted scenes.

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9. Know that relationships exist between theatre, other arts, other subject areas, and everyday life. (CA, C)

a. Demonstrate the ability to use theatre skills to present content or concepts in other subject areas or everyday life. b. Integrate other art forms into dramatic presentations. c. Utilize acting skills in delivering an oral presentation in other subject areas. d. Know how technology has affected theatre throughout history. e. Research the education and training required for theatre careers.

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Theatre, Middle School Level III – IV

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,b Students work in collaborative groups and create Teacher observation scenes drawing on personal background and/or Teacher-made rubric culture, such as a past experience, event from heritage, or community (e.g., cleaning up a highway section, ethnic celebrations).

c After viewing a live or taped play, students Teacher-guided distinguish structural elements (e.g., dialogue, scene discussion breaks, Act breaks, character goals, character obstacles).

d Students select an event of historic significance (e.g., Teacher observation signing the Declaration of Independence) and refine Template and record dialogue and action.

2 a Students interact as invented characters from Teacher observation improvised or actual characters from scripted scenes Teacher-made rubric (e.g., invented: coach and player about practice, teacher and student about grades; actual: any scene from a published script).

b After observing people in a public setting, students Teacher-made rubric use observed attributes to form a composite character in an improvised scene (e.g., at the mall, a sporting event, a dance).

c Students perform character-based improvisations in Teacher observation scenes or monologues to enhance meaning (e.g., Teacher-made rubric have an improvised character portray an established role from a scene or monologue of a published play).

d Students utilize sensory recall, concentration, breath Teacher-guided practice control, diction, body alignment, and control of body Teacher observation parts in scripted or improvised scenes (e.g., use proper physical and vocal deportment).

e Students perform monologues in mock interview Teacher-made rubric situations (e.g., employer-prospective employee, father-daughter’s new boy friend).

3 a,b Students work in cooperative teams and Teacher observation examine/construct visual elements needed in a Teacher-made rubric scene, fairy tale, or short story.

c Students select music and sound effects for an Teacher observation improvised or scripted scene.

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Theatre, Middle School Level III – IV

d Students select and create space specific scenery, Teacher observation properties, lighting, and sound for a scripted or improvised scene.

4 a Students work in small groups and plan scenery, Teacher-guided practice lights, costumes, and sound and rehearse scripted Teacher-made rubric and improvised scenes.

b Students organize rehearsals for improvised and Teacher observation scripted scenes (e.g., day to day schedule, projected date for knowing lines, performance date).

5 a Students discuss the choices made in presenting a Teacher observation scene (e.g., setting, movement, costumes).

b Students define and explain use of words and word Teacher-made rubric choice in a given scene (e.g., denotation and connotation, use of slang, regionalisms).

c After viewing a live or taped play, students identify Teacher-guided structural elements (e.g., plot-setting, rising action, discussion crisis falling action; conflict-goals versus obstacles; theme-main idea, central concept).

6 a,b Students work in cooperative groups and make Teacher-made rubric decisions about production methods of a scene(s). Teacher observation

c Students identify the skills, knowledge, and discipline Teacher-guided used to build theatre professionals' careers (e.g., discussion actor training, artistic direction, design, playwriting).

7 a After viewing scenes/plays by Mississippi Teacher observation playwrights, students identify possible historical elements (e.g., political, social, regional).

b After examining one era of American history (e.g., Teacher observation World War I, World War II), students look at a play or plays, and write a report on the era’s possible influence on theatre.

c Students read scenes from different cultures and Teacher-made rubric time periods and compare/contrast similarities in content or plot in a written report (e.g., character relationships, character situation, plot structure).

d Students view plays and exhibit appropriate social Teacher observation behavior.

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Theatre, Middle School Level III – IV

e 7th Grade Students - Examine culture specific social, Teacher-made test political, and universal themes in world theatre (e.g., Henrik Ibsen, August Strindberg, Bertolt Brecht, George Bernard Shaw, William Shakespeare). 8th Grade Students - Examine culture specific social, political, and universal themes in American theatre (e.g., Tennessee Williams, Arthur Miller, Lanford Wilson, Lillian Hellman, S.N. Berman).

8 a Students work in cooperative groups and construct a Teacher-made rubric criteria list to critique plays. Teacher observation

b After viewing a taped play, students write responses Teacher template to its emotional content and effect (e.g., pathos, humor).

c Students work in small groups and discuss the Teacher-guided effectiveness of student-led classroom discussion dramatizations of scripted scenes (e.g., setting, Teacher observation costumes, actor movement, text interpretation).

9 a Students perform a scripted scene from a current Teacher-guided practice textbook for an English class.

a Students role play historical figures for a social Teacher observation studies class through improvised scenes or monologues.

b Students perform an improvised or scripted scene Teacher-guided practice with percussion and music, an improvised or scripted Teacher observation scene utilizing visual arts in design, and an improvised or scripted scene with dance.

c Students role-play historical figures in reports on Teacher observation theatre history.

d After examining technology education clusters, Teacher-guided students determine their effect on theatre (e.g., discussion manufacturing, electrical, desktop publishing, Teacher-made test Internet).

e Students listen to a live or taped theatre professional Teacher-guided talking about his/her career. discussion

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THEATRE

HIGH SCHOOL INTRODUCTION

High school students’ cognitive structures are like those of an adult. The ability to problem solve in systematic ways is supported by the ability to reason conceptually, understand methodology, and formulate hypotheses. Theoretical reasoning skills support thought about possibilities and abstractions such as “justice.” Students in grades 9-12 learn to view and construct dramatic works as metaphorical visions of life that embrace connotative meanings, juxtaposition, ambiguity, and varied interpretations. By creating, performing, analyzing, and critiquing dramatic performances, students develop a deeper understanding and acceptance of personal issues and a broader world-view that includes international issues. Since theatre in all its forms reflects and affects life, students should learn about representative dramatic texts and performances, the places of that work and those events in history, as well as the impact of those events on the past and present. In addition, students continue to make connections between what they learn in theatre arts with other curricular areas. At this level, students’ interests and abilities in theatre arts vary widely and will determine the direction pursued by each student. Courses include opportunities for the development of original work, designs and performances in informal and formal theatre settings. Important aspects of the program are acting, directing, playwriting, designing and producing in all areas of theatrical presentation, including the accompanying aspects of arts management and arts organization. The high school theatre framework is divided into different programs of study that can be used to develop curriculum for a variety of courses listed in the Approved Courses for the Secondary Schools of Mississippi. In order to accommodate the variety of scheduling formats throughout Mississippi schools, some arts courses are available for 1 or 1/2 credit. Those courses that are offered for 1/2 credit must cover all the competencies in the designated program of study. Those courses earning 1 credit will cover all the competencies, but in greater depth and breadth than the1/2 credit courses. A listing of these courses and the corresponding program of study to be used in developing curriculum for those courses follows.

Theatre Course: Theatre Program of Study:

Theatre I (Proficient) High School Level I Theatre II (Proficient) High School Level II Theatre III (Advanced) High School Level III Theatre IV (Advanced) High School Level IV (Formerly Advanced Dramatic Techniques) Performing Arts Special Course (Advanced) High School Level IV Theatre Production (Advanced) Theatre Production High Tech Video Production High Tech Video Production Dramatic Criticism and Performance Dramatic Criticism and Performance Oral Interpretation/Readers’ Theatre Oral Interpretation/Readers’ Theatre

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Course Descriptions

THEATRE I, Proficient (1/2 or 1 credit) based on High School Theatre Level I program of study. This proficient level course examines the correlation and development of theatre history, structure, literature, acting, production, and criticism. Students will experience the stimulation of creative thinking, problem solving, and goal setting as they build on concepts and skills acquired in the elementary and middle level courses. A heightened sense of responsibility will be developed through individual and cooperative work.

THEATRE II, Proficient (1/2 or 1 credit) based on High School Theatre Level II program of study. Prerequisite: Theatre I. This proficient level course continues the development of knowledge and skills as students explore the theatrical process as an art form. Building on concepts and skills acquired in the prerequisite course - Theatre I, students continue to increase their knowledge of designing, creating, producing, performing and critiquing original and published works.

THEATRE III, Advanced (1/2 or 1 credit) based on High School Theatre Level III program of study. Prerequisite: Theatre I and II. Theatre III is designed to enable students who are interested in theatre to continue exploring and perfecting their abilities at a higher level of proficiency than the two prerequisite courses - Theatre I and II. An introduction to the importance of ensemble and the notion of research to inform artistic decisions creates opportunities for exciting collaboration as well as individual creativity.

THEATRE IV, Advanced (1/2 or 1 credit) based on High School Theatre Level IV program of study. Prerequisite: Theatre I, II, and III. Theatre IV is designed to provide students with a broad-based in-depth learning experience through independent study and increasingly demanding levels of analysis and practical application. Building upon concepts and skills gained in the prerequisite courses - Theatre I, II, and III, students will develop and produce original work and increase their level of expertise with the possible goal of specialized study at the university level and/or entry into a theatre career track.

THEATRE PRODUCTION (1/2 or 1 credit) based on High School Theatre Production program of study. Prerequisite: Theatre I and II. Theatre Production accommodates districts that want to offer specialized in-depth instruction in theatre to meet the individual needs of advanced students, working at a sophisticated level, as they pursue specialty areas in dramatic production. Students will apply their knowledge of production, critical analysis, history, and culture, aesthetics, connections among the arts, other content areas, and everyday life in the production of a theatrical work.

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HIGH-TECH VIDEO PRODUCTION (1/2 or 1 credit) based on High School Theatre High-Tech Video Production program of study. High-Tech Video Production explores the process of video taping as an art form. Students will concentrate on creating, producing, taping, and critiquing original and published video and film.

DRAMATIC CRITICISM AND PERFORMANCE (1/2 or 1 credit) based on High School Theatre Dramatic Criticism and Performance program of study. Prerequisite: Theatre I and II. Dramatic Criticism and Performance is designed to enable students who are interested in the theatre arts to pursue an in-depth exploration of the interrelationships of aesthetics, criticism, and performance.

ORAL INTERPRETATION/READERS’ THEATRE (1/2 or 1 credit) based on High School Theatre Oral Interpretation/Readers’ Theatre program of study. Oral Interpretation and Readers’ Theatre are designed to provide the student with a concentrated study of the voice as an acting tool, giving students the opportunity to develop their vocal skills through individual and group interpretation and performance. The study of related academic and technical skills will also be applied.

PERFORMING ARTS SPECIAL COURSE (1/2 or 1 credit) based on High School Theatre Level IV program of study. This course accommodates districts that want to offer specialized in-depth instruction in theatre to meet the needs of advanced students participating in a highly specialized area of theatre. Curriculum for this course must be based on the competencies in the High School Level IV program of study. Districts may tailor those competencies to meet the specific focus of the course they are designing, but all competencies must be addressed. A sample of strategies showing adaptation of the Theatre Level IV program of study to the Performing Arts Special Course is presented after the High school Theatre Level IV program of study.

Theatre 45 2003 Mississippi Visual and Performing Arts Framework

THEATRE HIGH SCHOOL LEVEL I (Proficient)

DESCRIPTION OF PROGRAM OF STUDY:

Students will recognize theatre as an art form that encompasses all the arts and is representative of life at all levels. They will examine the correlation and development of theatre history, structure, literature, acting, production, and criticism. Students will experience the stimulation of creative thinking, problem solving, and goal setting. A heightened sense of responsibility will be developed through individual and cooperative work. This program of study is to be used in developing theatre curriculum for high school students in the following:

High School Theatre I

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Theatre 46 2003 Mississippi Visual and Performing Arts Framework

THEATRE HIGH SCHOOL LEVEL I (Proficient)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Write scripts based on personal experience and heritage, imagination, literature, and history. (CP, HC)

a. Understand the essentials of dramatic structure (plot, character, thought, diction, music, and spectacle). b. Recognize the genres and distinguishing characteristics of drama (tragedy, comedy, melodrama, and mixed forms). c. Understand the organizational processes of script development (cause to effect, basic idea, climactic order, dramatic structure).

2. Develop and communicate characters through acting in improvisations and informal productions. (CP)

a. Demonstrate techniques to train the mind, body, and voice for performance. b. Analyze the physical, emotional, and social dimensions of characters found in dramatic texts from various genre and media. c. Understand the audition process. d. In an ensemble, create and sustain characters that communicate with audiences.

3. Design and produce environments utilizing elements of technical theatre. (CP, CA, A)

a. Know the duties of the production staff. b. Know the different types of stages and basics of theatre architecture. c. Know the basic properties of and investigate the integral relationships and effects of scenery, props, lights, sound, costumes, and makeup to a production. d. Acquire and employ a vocabulary of technical theatre terms.

Theatre 47 2003 Mississippi Visual and Performing Arts Framework

4. Direct by organizing and conducting rehearsals for formal and informal productions. (CP, C)

a. Know the responsibilities of a director. b. Understand the directing process. c. Effectively communicate directorial choices to a small ensemble for improvised or scripted scenes.

5. Understand the impact of personal experience and construct meaning from classroom dramatizations and from theatre, film, television, and electronic media productions. (CA, A)

a. Analyze how personal experience influences an individual’s interpretation. b. Understand and apply criteria for evaluating theatre.

6. Know how to apply discoveries to support classroom dramatizations through research. (HC, CA, C)

a. Understand the origin of theatre. b. Understand that storytelling serves as a foundation for early performance experience. c. Understand the requirements and artistic considerations inherent in the production of theatrical performance.

7. Study context by analyzing the role of theatre, film, television, and electronic media in other cultures, times, and places. (CA, HC, C)

a. Recognize major developments in theatre history of particular cultures. b. Analyze the effects of social, moral, and cultural practices of various cultures, times, and places on theatre. c. Compare how similar themes are treated from various cultures, times, and places and how theatre can reveal universal concepts. d. Appreciate the effect of the cultural experience on individual dramatic work.

8. Express meaning and value as a response to works of theatre and theatre artists on the basis of aesthetics. (CA, A)

a. Understand and appreciate the relationship between individual philosophy and the production of theatre and theatre-derived media. b. Interpret the meaning and value of a dramatic work.

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9. Understand connections between content in theatrical experiences and other art disciplines, subject areas, and everyday life. (HC, CA, C)

a. Understand the basic nature, materials, elements, and means of communicating in theatre, dramatic media, musical theatre, dance, music, and the visual arts. b. Know professional standards for theatre professionals. c. Understand that theatre is a synthesis of all the arts.

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High School Theatre I

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a Students read and discuss excerpts from Aristotle’s Discussion Poetics. Discuss content and definitions pertaining Participation checklist to dramatic structure.

b Students explain rationale for categorizing selected Discussion films and/or plays into differing types of dramatic Participation checklist genre (comedy, tragedy, melodrama, mixed form).

c Students adapt a classic fairy tale into a script Written work utilizing organizational processes of script Rubric development such as cause to effect, basic idea, climactic order, and/or dramatic structure.

Students collaborate to improvise a suitable ending Teacher observation after hearing or reading only the first part of a scene from a story or play.

2 a Students learn and practice vocal and physical Test warm-ups (e.g., tongue twisters, exercises for breath and volume control, isolated movements and stretches of individual body parts).

Students develop vocal and movement techniques Teacher observation to portray character, thought, and feeling. Peer evaluation

Students practice concentration and cooperation Teacher observation exercises (e.g., mirror reflections with a partner, changing something about your appearance and/or environment and others having to guess change, trust-falls).

b Students write a character analysis while playing or Rubric studying a play. It should include external characteristics (physical description, occupation, physical quirks, habits) and external characteristics (personality, mentality, fears, desires, moral standards, personal goals, motivation, etc.).

a,b Students choose a one-minute monologue to Rubric created by teacher present and perform in class. Use constructive and students feedback from teacher and classmates to modify performance.

c Students conduct a mock audition with classmates Teacher observation alternating the roles of director and auditionees. Participation, written work Develop an audition sheet containing the information that will be needed for production.

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High School Theatre I

d Students participate in a very short play or scene Performance rubric with the goal of communicating a particular feeling Discussion or emotion to the audience. Discuss the level of communication and perceived results.

3 a,c,d Students work on a selected technical aspect of an Teacher observation informal performance (e.g., designing sound or Rubric measuring level of lighting effects, building props or scenery, involvement and quality of coordinating costumes and makeup). Communicate work about your area, using appropriate vocabulary, in a true or mock production meeting setting.

b Students draw simple diagrams of basic stage Graded diagram arrangements (e.g., proscenium, thrust, arena). Participation checklist Extend this activity by having students set up classroom utilizing these floor arrangements for an informal performance.

c,d Students create a rendering for a set design(s) for a Project grade play being studied. Extend the activity by building a Discussion 3-D model. Discuss relationship of design to dramatic action, playwright’s intent, etc.

c,d Students create a rendering for a costume design(s) Project grade for a play being studied. Extend the activity by Discussion having student obtain samples of fabric from a fabric store for the costume. Discuss relationship of design to dramatic action, playwright’s intent, etc.

4 a Students interview a director on the topic of his/her Written work, preparatory responsibilities. Extend an invitation to speak to interview questions and class. final observations

b Students direct partner in short scene. Include Teacher observation direction in character work, blocking, floor plan, etc. Checklist of tasks completed

c Students role-play a director speaking to cast and/or Rubric crew (class) at some selected point in the directorial process (first read-through, blocking rehearsal, production meeting, opening night, addressing some problem or conflict, etc.). Focus on clear and specific communication and appropriate vocabulary.

5 a Students analyze their level of empathy for a Class discussion character in a live or recorded play. Students Test or report discuss the reasons why they identify or do not identify with the character based on personal experience.

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High School Theatre I

5 b Students watch a live performance of a play and Rubric write a critique of the production, commenting on artistic and technical aspects.

b Students demonstrate personal progress through Critique of log the creation and use of a log of commentary and analysis of theatre and other media.

6 a Students research and write or dramatize a report Rubric on theories of the origin of theatre.

b Students memorize a short story (e.g., a fairy tale, Rubric fable, or tall tale) and deliver an animated oral presentation of the story. Consider a trip to an elementary school for a period of storytelling.

c In small groups, students plan and stage an informal Teacher observation production based on a researched topic such as a Rubric measuring quality historical event or a scientific process. of production and level of knowledge of topic

7 a,b In small groups, students research and prepare an Rubric awarding a group informal dramatic presentation on a specific era, grade country, style, genre, or artist in theatre history (e.g., ancient Greek theatre, Italian commedia dell’arte, Japanese Kabuki drama, Shakespeare), emphasizing the cultural values associated with the topic.

c Students compare and contrast folktales of various Discussion cultures (e.g., African, Native American, Greek myths). Discuss universal themes inherent in these stories.

d Students view a video (the program Actor’s Studio Discussion on the Bravo television station is an excellent source) of a professional actor discussing influences on his/her craft. Discuss points pertinent to his/her individual and/or cultural experience.

8 a Students write a short script that expresses a Rubric personal philosophical belief through the dialogue and action of the characters.

a Students read and discuss a play dealing with an Class discussion issue of social criticism such as A Raisin in the Sun Rubric to grade oral or or The Diary of Anne Frank. Comment (either written report informally or in the context of an oral or written report) on the writer’s social philosophy and express their and your feelings on the issue.

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High School Theatre I

8 b Students present an oral or written analysis of a Teacher-made rubric play that has been read or seen. Point out strengths and weakness and interpret the intentions of the theatre artists involved and the impact on the audience for which it was written as contrasted with today’s audience.

9 a,b Students interview a professional in theatre or a Checklist field related to theatre (e.g., theatre management personnel, professional actor, storyteller, puppeteer, costume designer, TV news reporter or cameraman, hair stylist) and find out what steps and experience are vital to that field.

c Students choose an art form other than acting and Rubric apply it to the interpretation of a play or story. For example, write a song, choreograph a dance, draw a plan for scenery or costumes, build a significant prop, etc.

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THEATRE HIGH SCHOOL LEVEL II

DESCRIPTION OF PROGRAM OF STUDY:

This course continues to explore the theatrical process as an art form. Students will have the opportunity to build on skills learned in Level I. Students will concentrate on designing, creating, producing, performing, and critiquing from original and published works. This program of study is to be used by the Theatre Specialist and or the Classroom Teacher in developing theatre curriculum for high school students in the following:

Theatre II

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Theatre 54 2003 Mississippi Visual and Performing Arts Framework

THEATRE HIGH SCHOOL LEVEL II (Proficient)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (C/A) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Create scripts through improvising, writing, and refining scripts based on personal experience, heritage, imagination, literature, and history. (CP, HC)

a. Understand terms of plot structure (exposition, rising action, complication, climax, falling action, and denouement). b. Know the evolution of play structure from Greek to contemporary drama. c. Collaborate with actors to refine scripts so that story and meaning are conveyed to an audience.

2. Develop, communicate, and sustain characters through acting in improvisations, formal, and informal productions. (CP)

a. Understand the physiology of the body and vocal production. b. Develop grace and physical coordination. c. Understand improvisation as an approach to developing character in scripted materials. d. Demonstrate an understanding of the audition process from the perspective of an actor. e. Demonstrate classical and contemporary acting techniques and methods.

3. Design and produce environments through investigation and analysis of artistic interpretations. (CP, HC, A)

a. Analyze a variety of dramatic texts from cultural and historical perspectives to determine production requirements. b. Develop designs that use visual and aural elements to convey environments that support the text. c. Develop technical skills to design and create scenery, props, lighting, sound, costumes, and make-up that support the text. d. Apply technical skills to collaboratively support formal and informal productions. e. Demonstrate safe use of tools used in technical theatre (e.g. light and soundboards, lighting instruments, power tools, sewing machine). f. Design coherent stage management, promotional, and business plans.

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4. Direct by interpreting dramatic texts, and organizing and conducting rehearsals for formal and informal productions. (CP, C)

a. Comprehend the role of the director through expansion of theatre literacy. b. Understand the role of cooperation in production strategies for formal and informal productions. c. Develop multiple interpretations and visual and aural production choices for scripts and production ideas and choose those that are most interesting d. Justify selections of text, interpretation, and visual and aural artistic choices.

5. Respect and value the role that individual experience plays in classroom dramatizations and from theatre, film, television, and electronic media productions. (CA, A)

a. Understand and develop skills to critique dramatic performance, using established criteria. b. Understand how interpretation can shape dramatic work. c. Demonstrate acceptable methods of delivering and receiving constructive criticism.

6. Know how to apply discoveries to support classroom dramatizations through research. (HC, CA, C)

a. Expand knowledge of theatre history through dramatic literature. b. Know the historical and cultural sources of various theatre experiences (e.g., tragedy, comedy, farce, musical theatre). c. Understand the influence of culture and history on a production. d. Identify and research cultural, historical, and symbolic clues in dramatic texts and evaluate the validity and practicality of the information to assist in making artistic choices for informal and formal productions.

7. Understand context and express meaning by analyzing the role of theatre, film, television, and electronic media in other cultures, times, and places. (CA, HC, C)

a. Understand that theatre employs similar themes from various cultures and historical periods that can reveal universal concepts. b. Expand knowledge of theatre history, recognizing styles of theatre productions and representative theatre artists. c. Relate historical and cultural perspectives (social, political, artistic, religious) to dramatic literature and production from various cultures, times, and places.

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8. Know ways that theatre elements are employed to produce an aesthetic response. (CA, A)

a. Analyze individual reactions to theatre experiences. b. Understand the creative process. c. Determine factors that influence perception of meaning and value in theatrical experiences.

9. Apply connections between content in theatrical experiences and other art disciplines, subjects, and everyday life. (C, CA)

a. Understand how skills acquired in theatre may be applied to other content areas. b. Understand how skills in other arts disciplines, subjects and everyday life can enhance theatre. c. Integrate several arts media in informal presentations.

Theatre 57 2003 Mississippi Visual and Performing Arts Framework

High School Theatre II

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a Students read a play in small groups and discuss Teacher-guided where the following elements can be identified: Discussion Beginning including exposition, point of attack, inciting incident, major dramatic question; Middle including complication, discovery, crisis; End including denouement, resolution.

b Students identify, research, and compare/contrast Student written report historical and cultural texts for symbols and Teacher-made rubric dramatic devices that reveal aspects of the era and region.

c Students create imaginative scripts and collaborate Teacher-made rubric with actors to refine scripts so that story and Teacher observation meaning are conveyed. 2 a Students study and describe skeletal structures and Teacher-made rubric musculature used to physically and vocally create a Teacher observation character.

a,c Students exhibit physical deportment (walking, Teacher-made rubric sitting, standing, etc.) that is specific to a character being studied in a play or a person that has been observed in real life.

c Students perform improvisations based on dramatic Teacher observation situations in selected scripted scenes.

a,c Students observe a person and physically recreate Teacher observation that person conveying character and situation. Self-assessment via video Utilize recreations as a basis for character documentation development in an improvised or scripted scene work.

d Students execute a formal in-class presentation of a Teacher observation brief, prepared, published audition monologue using Teacher-made rubric an established format (e.g., entering the audition space, stating name and/or number, stating the character-playwright-play, monologue performance, leaving the audition space).

e After viewing segments of live theatre or film Discussion demonstrating a variety of acting techniques and methods, students discuss differences in acting approach and style.

3 a,d Students set a classical play in a different time Project grade period, culture or locale. In small groups, present Teacher/student rubric original design work (e.g., set, costume, makeup). Determine the impact on design and defend choices with regards to changes made.

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High School Theatre II

b,c Students study the physical and/or chemical Teacher-made rubric properties of the technical aspects of theatre (e.g., Student paper/oral non-colored and colored light, electricity, paint, report/demonstration makeup). Describe the effects these properties have on setting, mood, and dramatic content of scripted scene(s).

e Students establish a safety checklist. Safely create Teacher checklist functional scenery, properties, lighting, sound, Teacher observation costumes, and makeup for formal or informal Participation checklist productions.

4 a Students read scripts then view live or taped Student paper/oral report performances of them, identifying directorial choices (e.g., casting, setting, statement of theme).

b Working in cooperative groups, students role-play Group written work director, lighting designer, set designer, costumer Presentation etc., each contributing to the creation of a mock production.

c,d Students produce and develop a short performance Project grade piece or video montage of an original poem or Student rubric monologue supported by music or sound.

5 a Students construct a checklist of elements required Teacher-guided discussion for an effective theatrical production (e.g., Written work consistency in directing/acting, visual appropriateness: scenery, costume, and lighting).

a Students utilize checklist to critique a live or taped Written critique production.

b Students examine a scripted play and identify Teacher-guided discussion themes that could be used as an overall production Written work concept (e.g., social, psychological, cultural, emotional themes).

c Students role-play positive and negative methods of Teacher observation delivering and accepting criticism.

6 a,d Students examine plays (scripted or taped) Written work representative of major historical eras (e.g., Greek, Roman, Middle Ages, Renaissance, Restoration, Commedia dell Arte, 19th Century, Modern, Contemporary) and identify elements that are representative of the era.

a,d Perform selected scenes from historical texts Performance rubric incorporating discoveries (e.g., language, costuming, music, social climate) gleaned from research.

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High School Theatre II

a,d Students view musicals from the mid-20th Century, Teacher observation late 20th Century, and 21st Century and compare Teacher-made rubric and contrast.

7 a,d Working in cooperative groups, students examine Group presentation and research a specific musical production. Present findings to class in an innovative way.

b Students examine a play from a historical era (e.g., Written work Japanese, African, Spanish, Canadian) and identify elements that are representative of the culture.

c Students perform selected scenes incorporating Teacher observation discoveries.

8 a Students examine plays and determine the Performance rubric influence of cultural and social climates and performance styles.

b Students examine and identify major historical Teacher-guided discussion milestones and determine the impact on the Written work dramatic literature of the period.

c Students view a live or taped performance and Research identify individual likes and dislikes. Students Participation checklist discuss in small groups how he/she arrived at their reaction.

9 a,c Students interview live or view taped interviews of Participation checklist playwright(s) and/or actor(s) and identify elements of the creative process.

c Working in small groups, students brainstorm Discussion factors that influence how current generation perceives and derives value from a variety of media, live and electronic. Report back to class.

c Students generate a list of work performed in Written work producing an informal play and identify areas that Teacher-guided discussion are cross-curricular (e.g., scenery design/construction-math, visual arts, directing- management, lighting design-science, costuming- marketing, visual arts, publicity- advertising/marketing, house management- business). Extend this activity by incorporating other arts media (music, dance). Discuss the effect of expanding play through incorporation of these elements.

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THEATRE HIGH SCHOOL LEVEL III (Advanced)

DESCRIPTION OF PROGRAM OF STUDY:

Theatre III is designed to enable students who are interested in theatre to continue exploring and perfecting their abilities at a higher level of proficiency. An introduction to the importance of ensemble and the notion of research to inform artistic decisions creates opportunities for exciting collaboration as well as individual creativity. This program of study is to be used in developing theatre curriculum for high school students in the following:

High School Theatre III

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of students at the local level. For an explanation of the Content Strands, Competencies, and Objectives see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Theatre 61 2003 Mississippi Visual and Performing Arts Framework

THEATRE HIGH SCHOOL LEVEL III (Advanced)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Create scripts with increased technical proficiency through participation in improvisation and scripted scenes based on personal experience, heritage, imagination, literature, and history. (CP, HC, C)

a. Define and refine original scripts through individual writing or ensemble work. b. Comprehend the structures of various styles of drama from different historical periods. c. Investigate and apply the techniques of asides, soliloquies, allegory, symbol, mood, and metaphor to develop characters and plot. d. Create theatre, film, television, or electronic media scripts in a variety of traditional and new forms that include original characters with unique dialogue that motivates action.

2. Refine acting skills through study of technique and style. (CP)

a. Create and practice an individual physical and vocal warm-up routine. b. Develop and sustain clear-cut, consistent characters from representational and presentational plays. c. Develop awareness of the positive outcomes derived from ensemble work. d. Demonstrate an acting technique of non-Western theatre tradition.

3. Design and produce by conceptualizing and realizing artistic interpretations for formal and informal productions. (CP, C, A)

a. Develop, with the director, unifying concepts using the technical aspects of theatre, film, television, or electronic media production. b. Provide technical support (e.g., creating or running light or sound cues, building scenery or costumes) for performances. c. Recognize and identify technical needs of a particular dramatic text. d. Refine critical skills used to evaluate technical aspects of theatrical production. e. Expand knowledge and practice safety and efficiency in the use of tools in technical theatre.

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4. Expand skills necessary to direct formal and informal productions. (CP, C) a. Plan and implement auditions, rehearsals, and production meetings to achieve desired production goals. b. Exhibit interpersonal skills necessary to lead a cast and crew to develop an aesthetically unified production concept.

5. Analyze the intentions of the theatre artist in creating classroom dramatizations, theatre, film, television, and electronic media productions . (CA, A)

a. Examine the whole and the parts of a dramatic performance and suggest personal and traditional artistic choices for informal or formal production. b. Monitor progress by updating personal portfolio.

6. Expand research resource capabilities to support classroom dramatizations and theatre production. (HC, CA)

a. Apply scholarly studies of production designs, technical elements, and performances from various cultures to assist in making artistic choices for informal and formal theatre, film, television, or electronic media productions. b. Research the lives and work of theatre professionals (e.g., playwrights, actors, designers). c. Prepare research for a director. d. Develop interpretive skills by reading, researching, viewing, and evaluating a play.

7. Comprehend the meaning and know the function of specific theatrical conventions and forms in other cultures, times, and places. (CA, HC, C)

a. Compare and contrast the interpretive and expressive conventions of specific cultures or historical periods. b. Compare and contrast traditional and non-traditional art forms. c. Analyze the development of dramatic forms and traditions across cultures and historical periods and explain influences on contemporary theatre and theatre- derived media.

8. Analyze and derive meaning from works of theatre and theatre artists on the basis of their aesthetic qualities. (CA, A)

a. Develop aesthetic knowledge base that results from understandings of cultural, societal, historical, and artistic theories and products. b. Respond to deliberate attempts to change attitude, style, thought, etc., through art. c. Understand the impact of individual experience and philosophy on the assignment of meaning and value to theatre.

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9. Determine effectiveness and use of creative processes, principles, and techniques of theatre as they relate to other art disciplines, other subjects, and everyday life. (C)

a. Demonstrate an understanding of theatre as a collaborative art. b. Demonstrate an appreciation for skills crafted in theatre that carry over into other professional areas. c. Demonstrate the integration of several arts and/or media in theatre, film, television, or electronic media productions.

Theatre 64 2003 Mississippi Visual and Performing Arts Framework

High School Theatre III

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a Utilizing group collaboration and improvisation, Project grade students create and perform a “montage” based Written work upon common themes emerging from individual Peer and self-assessment journal entries of ensemble.

b Students compare and contrast plays with common Discussion themes and forms from different historical periods Written Work (e.g., Theme: “The Aging Patriarch”; Form: Tragedy; Plays: King Lear and Death of a Salesman).

c Students create costume and set designs that are Project grade symbolic, allegorical, or evocative of a particular mood or metaphor, such as Everyman.

c Students demonstrate the correct execution of the Teacher checklist aside onstage.

d Students write an original television script for a Project grade classroom video project based on a specific Peer and self-assessment television format (e.g., talk show, situation comedy, soap opera).

2 a Students explore head to toe physical warm-up Participation routines in yoga, modern dance, martial arts, sports, etc. They also explore a variety of vocal warm-ups in speech and music.

a Students develop a combination of the above to Teacher observation develop into an effective standard warm-up routine.

b Utilizing plays from different historical periods, Teacher-made rubric students determine and demonstrate how evaluating analysis and characterization and acting styles differ in performance presentational vs. representational plays (e.g., melodrama– Switched at the Crossroads vs. realism – A Raisin in the Sun).

c Students evaluate positive outcomes of Discussion collaboration.

d Students research and view live or filmed Discussion performance of Japanese Kabuki or Noh theatre. Teacher-made rubric They select a contemporary Western play and evaluating analysis and adapt, perform, and videotape it in this style. performance

3 a,b After selecting or creating a play, students perform one or more technical tasks such as: Constructing a scaled ground plan or a scale Project grade model of a set.

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High School Theatre III

Hanging, focusing, and executing a lighting Teacher Observation design. Designing colored renderings of costumes and Teacher-made rubric makeup for a play. Constructing or assembling costumes and Teacher-made rubric makeup.

c Students determine the specific technical production Oral Presentation needs of a designated play (e.g., costume Teacher-made rubric requirements for Guys and Dolls; set requirements Teacher checklist for Our Town; prop requirements for The Glass Menagerie).

d Students attend a live performance and determine Teacher-made rubric the efficacy of its technical elements. Written work

e Students correctly label a diagram of component Teacher-made test parts of a table saw and identify proper procedure for use. Students demonstrate safe use of equipment. Teacher observation

4 a In performing duties of directors for student-directed scenes and plays, students: compile sample audition sheets, rehearsal Teacher observation schedules and production meeting schedules. Discussion 9 a conduct auditions for parts in scenes or a play. develop and implement rehearsal and Teacher observation production meeting schedules. Student Checklist 6 d conduct play analysis by reading and re- Discussion reading script, highlighting information essential to the director (e.g., special technical requirements, plot points, character motivation, entrances, exits). note important information or questions into a Written work director’s notebook. determine the similarities and differences Thinking map between constructing a stage picture and constructing a painting. 4 a, b block character movement and record Observation, Discussion blocking notations in script. 4 b brainstorm problem solving techniques with Observation cast members. 9 a conduct theatre games and group activities Peer assessment that will solidify group.

5 a Students view live performance, then propose viable Discussion options for setting the play in another place, time, or culture. They discuss the impact of such changes.

b Students update resume, performance tapes, Portfolio Assessment written and artistic work to place in portfolio.

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High School Theatre III

6 a Students view documentary film of prominent Written Analysis, historical figure to study physical idiosyncrasies and Performance then use what they have discovered in a Demonstration performance.

a, b Students develop a monologue presentation based Performance rubric upon research on a prominent theatre artist.

c Students conduct research in historical costume or Written work, architecture for a period play. Art work

d Students determine stage worthiness of play for a Written work particular group based on pre-determined criteria. Student-made rubric

7 a Students research historical references to develop Written work criteria for evaluating a play (e.g., Hamlet’s advice to actors).

b Students discuss traditional and non-traditional Discussion contemporary manifestations of artistic expression in theatre (e.g., fashion, architecture, music, language, etc.).

b Students discuss non-traditional forms that have Discussion evolved into traditional forms (think invention, discovery).

c Students research a topic that explores the Written work evolution of a theatrical element and its influence on contemporary media (e.g., opera to musical theatre to music video).

8 a In small groups, students research and present Project information on the concept of beauty and theatrical ideals found in different cultures and/or historical periods.

b Students study efforts by governments and/or Discussion and/or theatre or film artists to sway popular opinion (e.g., Written assignment Hitler’s film Triumph of the Will, U.S. war movies during WWII, Korean War, Vietnamese War, War Against the Terrorists) to determine effect desired and how and if achieved.

c Students compare films and television shows that Discussion are more popular with males to those more popular with females. They discuss how gender influences the perception of value in a film or television show.

9 b Students survey business leaders for desirable traits Written work for various professions. Correlate these to desirable Thinking map traits found in theatre professions.

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High School Theatre III

c Students choose a recent popular film to analyze in Discussion and/or terms of the presence of various art forms. They Written assignment determine and describe the roles of music, visual arts, kinesthetic arts (including, for example, combat choreography), and theatre-derived elements (e.g., acting, makeup, puppetry, set design) within the film.

Theatre 68 2003 Mississippi Visual and Performing Arts Framework

THEATRE HIGH SCHOOL LEVEL IV (Advanced) (Formerly Advanced Dramatic Techniques)

DESCRIPTION OF PROGRAM OF STUDY:

Theatre IV is designed to provide students with a broad-based in-depth learning experience through independent study and increasingly demanding levels of analysis and practical application. Students will develop and produce original work and increase their level of expertise with the possible goal of specialized study at the university level and/or entry into a theatre career track. This program of study is to be used in developing theatre curriculum for high school students in the following:

Theatre IV Theatre, Performing Arts Special Course

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of students at the local level. For an explanation of the Content Strands, Competencies, and Objectives see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Theatre 69 2003 Mississippi Visual and Performing Arts Framework

THEATRE HIGH SCHOOL LEVEL IV (Advanced) (Formerly Advanced Dramatic Techniques)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Create and objectively evaluate scripts through improvising, writing, and refining scripted scenes based on personal experience, heritage, imagination, literature, and history. (CP, HC, C)

a. Develop character, human interaction, conflict, and resolution through the creation of monologues, scenes, or short plays. b. Analyze the effect of personal, societal, and cultural influences on original work. c. Collaborate in the development of original dramatic pieces in a variety of traditional and new forms that include original characters with unique dialogue that motivates action.

2. Develop objectivity in appraising personal abilities and creative endeavors while acting in improvisations and formal and informal productions. (CP)

a. Assume responsibility for independent work. b. Understand the process that an actor experiences during planning, rehearsing, and performing in plays from a variety of classical and contemporary playwrights. c. Demonstrate artistic discipline to achieve an ensemble in rehearsal and performance.

3. Conceptualize and realize a unified artistic design interpretation for formal and informal productions. (CP, HC, C, A)

a. Collaborate with the director and other designers/technicians to develop unified production concepts that convey the metaphorical nature of the drama for informal and formal theatre, film, television, or electronic media productions. b. Participate and assume leadership role as a technician in planning, rehearsing, and performing in a production for an audience.

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c. Develop the acumen to assess and evaluate one’s own work and/or work of others in technical theatre. d. Research areas of technological advances and special effects and their impact on set, light, sound, makeup, and costume design in theatre, film, television, and electronic media. e. Create and reliably implement production schedules, stage management plans, promotional ideas, and business and front of house procedures for informal and formal theatre, film, television, or electronic media productions.

4. Evaluate the consequences of decisions made and actions taken in the directing process. (CP, C)

a. Analyze the contributions of writers, actors, directors, technicians, and management personnel to a dramatic production. b. Know different directing styles of well-known directors. c. Explain and compare the roles and interrelated responsibilities of the various personnel involved in theatre, film, television, and electronic media production.

5. Evaluate production concept and dramatic interpretation in classroom dramatizations and from theatre, film, television, and electronic media productions. (CA, C, A)

a. Develop resources to aid in developing and evaluating production concept and supporting dramatic interpretation of theatre production. b. Recognize that a production concept unifies theatre, film, television, and electronic media productions.

6. Synthesize knowledge of researched material into the creation of a theatre production. (HC, CA C)

a. Conduct intensive individual work in a major area of interest in the theatrical production (e.g., design, technical, directing, acting, playwriting, management, electronic theatre derived media). b. Research and describe appropriate historical production designs, techniques, and performances from various cultures to assist in making artistic choices for informal and formal theatre, film, television, or electronic media productions.

7. Critically evaluate the role of theatre, film, television, and electronic media in other cultures, times, and places. (CA, HC, C)

a. Recognize the impact of new trends in theatre performance and/or technology. b. Develop a philosophy on the roles and function of theatre in society and culture. c. Research and identify cultural and historical sources that have influenced major theatre movements and/or innovations.

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8. Critique and derive meaning from works of theatre and theatre artists on the basis of aesthetics. (CA, A)

a. Recognize that aesthetic choices govern the way in which symbols, motifs, moods, and themes are revealed in a production. b. Recognize factors that influence various audience and critic responses to productions. c. Compare the aesthetic qualities of traditional arts from various cultures and historical periods with contemporary new art forms (e.g., performance art). d. Analyze the social and aesthetic impact of underrepresented theatre and film artists.

9. Synthesize elements of all the arts, as well as internal and external experiences, into the creation of a theatrical production. (HC, CA, C)

a. Compare the interpretive and expressive natures of several art forms in a specific culture or historical period. b. Develop collaboration skills learned in theatre through group work in other content areas. c. Investigate types of post-secondary training opportunities in theatre. d. Analyze personal growth as a theatre artist and student and assess internal and external experiences that have contributed to that growth.

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High School Theatre IV

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,c Students participate in a workshop process (through Teacher observation writing, improvisation, brainstorming, performance, Written work etc.) creating original monologues, scenes around a Teacher-made rubric common theme (e.g., the Millennium). They develop scenes into a short play.

2 a Students develop a set of criteria for self-evaluation Written work 3 c and evaluate their own performance as actors and technicians in independent work.

2 b Students research factors that have influenced other Written work actors who have portrayed a given character (e.g., Hamlet, Eliza Doolittle) and produce a written analysis of their varied approaches to the character.

c Students perform together as a team and Teacher observation demonstrate supportive behaviors (e.g., reinforcing one another’s ideas in improvisation, active listening and reacting to one another in scenes).

3 a Students design sets, costumes, makeup, or lighting Art work around a thematic idea expressed as a metaphor (e.g., the “unweeded garden” in Hamlet, the fragility of innocence in The Glass Menagerie, the world as a pointless and erratic machine in The Bald Soprano).

b Each student serves as a crew head in a technical Teacher-made rubric area in a production.

d Students read selected articles from technical Teacher-made rubric theatre publications and give an oral presentation of their findings.

e For a school production, students create and Written work implement one of the following: Teacher observation a plan to promote and publicize a school production. a plan for house management procedures. a production schedule. a stage management plan.

4 a, c As theatre artists, students record observations and Log entries reflections during the research, rehearsal, and production phases of a designated work of theatre, noting the roles and contributions of each participant.

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High School Theatre IV

b Students identify directorial style by viewing several Discussion works by a well-known film director and determine what makes his or her work unique.

c Students are asked to do one of the following: Discussion compare and contrast the role of the theatre Oral presentation, and/or artist with a corresponding film artist (e.g., Written work theatre director and film director). compare and contrast the role of two occupations within the same medium (e.g., director and designer, actor and technician) investigate a film director with a theatrical background (e.g., Orson Welles, Elia Kazan, Ingmar Bergman, Julie Taymor) and indicate how one medium influences the other in the artist’s work.

5 a Students research other art forms (e.g., visual art Student checklist styles like surrealism, cubism, art deco) to derive Art work inspired by inspiration in the development of a production research concept or interpretation.

b Students view a live performance or a film of a live Discussion performance and discuss how unity was achieved through artistic treatment of all areas of the production.

6 a Students will work in different roles on different Teacher observation school productions to be able to have experience in Self-assessment and as many varied aspects of theatrical work as Peer-assessment possible (e.g., design, writing, directing, acting, technical crew work, management) and use research as well as instruction to inform their performance.

b Students research historical clothing for a period Written work play such as The Importance of Being Earnest. Art work They relate a written report on the types of clothing Teacher-made rubric required and/or draw costume sketches and/or build costumes for use in a production.

7 a After doing research in technical publications, Discussion students list ways in which computer technology has enhanced technical theatre.

b Students create a work of art (e.g., collage, painting, Oral critique sculpture) that reflects the role and function of theatre in contemporary society.

c Students create a timeline illustrating major theatre Project grade movements aligned with important historical or scientific events.

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High School Theatre IV

8 a After viewing a film by a pioneer director, students Discussion discuss how artistic choices delineate a strong sense of style.

b Students read two or more reviews of a Broadway Written report play or a film and discuss the similarities and differences.

c Students present a comparison of a traditional and a Teacher-made rubric contemporary form of theatre (e.g., Greek comedy and stand-up comedy) in a class performance or a work of visual art.

d Students research and report on the work of a Written report and minority playwright, actor, or director (e.g., August Discussion Wilson, Sidney Poitier, Spike Lee), focusing on ways in which that artist’s work has helped to break ground for others and influence society.

9 a Students compare and contrast characteristics of Venn Diagram theatre of two historically related cultures (e.g., Discussion and/or Greek and Roman, Elizabethan and French Neo- Written report Classical) and theorize how differences in the cultures impacted the theatre of each .

b Students practice theatre games that support Participation checklist collaboration skills developed in theatre (e.g., Discussion communication, cooperation, chain of command). Teacher observation Some examples of these types of games are: Trust Game (Students close their eyes and fall backwards, trusting others to catch them.) Students verbally guide a blindfolded student through an obstacle course. Blindfolded students must navigate space without touching one another. If they do touch, they must stay stuck together. In teams, students must quickly improvise scenes around random words or unrelated objects. Or teams must create a physical representation of an object or machine within a time limit. Students improvise stories one word at a time; or they take turns adding segments to the story. Then they find applications for these skills in other subject areas (e.g., working as groups or teams to do projects in English, foreign language, science, and history classes.

c Invite local college representatives to present Discussion opportunities in the arts offered by their schools. Students prepare questions to ask beforehand.

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High School Theatre IV

d Students keep a journal of experiences throughout Written work the year with a special emphasis on experiences related to theatre. At the end of the year, they synthesize observations from journal entries into a report which catalogues those experiences that most contributed to personal growth as a theatre artist.

Theatre 76 2003 Mississippi Visual and Performing Arts Framework

Theatre, Performing Arts Special Course, Level IV

The following strategies are examples that might be used for a course in Television and Film study in theatre.

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a Over an assigned period of time, video record Teacher rubric segments of effective and/or ineffective writing for Class television and/or film. Present to class and lead discussion/participation discussion on rationale behind responses.

2 a Individually, perform a monologue or with a partner, Performance rubric a duo-scene, on videotape utilizing acting for film techniques.

3 a Participate in a field trip to a local television station Teacher observation and tour the facility focusing on technical Participation components in television and film production. Attend and participate in a question and answer session led by a profession technician.

Theatre 77 2003 Mississippi Visual and Performing Arts Framework

THEATRE THEATRE PRODUCTION (Advanced)

DESCRIPTION OF PROGRAM OF STUDY:

This program of study is designed to provide students with specialized, in-depth instruction in theatre to meet the individual needs of advanced students, working at a sophisticated level, as they pursue specialty areas in dramatic production. Students will apply their knowledge of production, critical analysis, history and culture, aesthetics, connections among the arts, other content areas, and everyday life in the production of a theatrical work. This course is designed for the students who have successfully completed Theatre I and Theatre II. This program of study is to be used in developing theatre curriculum for high school students in the following:

Theatre Production (Advanced)

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connection, Resources, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Theatre 78 2003 Mississippi Visual and Performing Arts Framework

THEATRE THEATRE PRODUCTION (Advanced)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Demonstrate accomplished skills in the selection and use of written material to produce a work of theatre, film, television, or electronic media production. (CP, C, CA)

a. Develop and expand repertory in dramatic literature. b. Participate in methods of editing and/or adapting literature for performance. c. Participate in a collaborative “workshop” effort to create an original script for performance.

2. Effectively use the combined elements of body, voice, and intellect to communicate in a work of theatre, film, television, or electronic media production. (CP, CA)

a. Understand how to integrate the physical demands with the intellectual component of portraying a character in a production. b. Understand and appreciate the contribution and impact that an individual character makes to a dramatic work as a whole in the communication of the playwright’s intent.

3. Understand how to select specific media, techniques, and processes in technical theatre, film, television or electronic media production to create particular effects that evoke intended responses. (CP, CA, A)

a. Develop skills to conduct the research of pertinent facts/information required to solve production problems and arrive at artistic decisions. b. Participate in the collaborative process with a director and other designers/technicians to arrive at unified concept for a theatrical production.

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4. Synthesize perceptual abilities with fully developed theatre vocabulary to inform judgments while directing a work of theatre, film, television, or electronic media production. (CP, HC, CA, A)

a. Analyze dramatic literature in terms of historical intent and contemporary application. b. Understand how the synthesis of theatrical conventions and artistic choices with accomplished theatre vocabulary skills enhances communication.

5. Understand a range of ways to critique theatre, film, television, or electronic media production through reading, writing, and speaking. (CA, A)

a. Research and apply theories of dramatic criticism when assessing theatrical production. b. Recognize the various ways that the theatre and theatre derived media provide unique modes for the expression of thought, action, and emotion.

6. Synthesize and apply knowledge of researched material in the creation of a work of theatre, film, television, or electronic media production. (HC, CA)

a. Differentiate between and select primary and secondary sources of research to support artistic interpretation of a work of theatre or theatre-derived media. b. Research the meaning of theatrical works in context to the culture in which it was created and determine how meaning might change (i.e., lost, enhanced) if context was changed.

7. Recognize the impact of culture, time, and place on the characteristics of works of theatre, film, television, or electronic media production. (CA, HC)

a. Understand the complex interrelationships between history, culture, media, meaning, and artistic intent in theatre and theatre-derived media. b. Recognize the various ways that dramatic literature, theatrical conventions, design, and technology are impacted by factors of culture, time, and place.

8. Understand differences between various theories and philosophies of aesthetics. (CA, HC, A)

a. Recognize how theatre and theatre derived media is valued differently according to aesthetic preferences. b. Understand how concepts of beauty vary widely across cultures and throughout time.

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9. Recognize how the meaningful integration of theatre concepts and skills with knowledge in other subject areas builds a strong foundation for the pursuit of professional and arts-related careers. (CA, C)

a. Appreciate the broad range of options available in pursuing a career related to the theatre arts or other professions. b. Understand the integrated nature of the theatre arts in relation to other arts disciplines, common concepts, historical and cultural features, and creative processes.

Theatre 81 2003 Mississippi Visual and Performing Arts Framework

High School Theatre Production

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1bStudents choose a creative way to share their Presentation findings from the assignment above (monologue presentations, costume renderings, mask design, set design, etc.) with the rest of the class.

1 c Students identify a common theme or newsworthy Class 5 b event to create a montage of original poetry, discussion/participation monologues, duo-scenes, etc. Students write Written work transitional bridges to unify pieces and make choices about common ground, important points, sequential order, etc. creating a script for performance. Identify a director and create a technical support team to address costume, makeup, set, lighting and sound design.

2aStudents demonstrates through performance careful Written work analysis of the inner life of a dramatic character Performance rubric (motivation, subtext, and text) combined with a thoughtful movement study (external characteristics, idiosyncrasies, physical carriage, movement patterns, etc.).

b After identifying the theme of a dramatic work, Written play and character students identify the role that each character plays analysis in the support or detriment of that theme. Determine ways that focus during performance can be given to that character in moments through a variety of directing, acting and technical techniques.

3aAfter identifying a particular production problem, Written work/sketchbook students create a journal or sketchbook to document the process of arriving at an artistic choice and/or solution to the problem.

4aStudents extend historical aspects to application in Performance rubric today’s world by creating and performing a skit.

b Students locate and read review on theatre, film, or Written work/discussion television identifying terms that are exclusive to the art form. Define any new or unfamiliar terms.

4 b Students write a review on an attended play or film Written work 5 a utilizing vocabulary appropriate to the art form.

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High School Theatre Production

6bStudents study and analyze a character for Project grade example, Electra in Greek tragedy, Richard Strauss’ opera Elektra and Eugene O’Neill’ws Morning Becomes Electra) treated by different playwrights/composers over several historical periods of time.

7 a,b Analyze how the character above is treated and Written work, discussion explain variations in treatment due to genre, point of Presentation view, history, culture, etc. Students choose a creative way to share their findings from the assignment above (monologue presentations, costume renderings, mask design, set design, etc.) with the rest of the class.

8bUsing the common theme the concept of “beauty” Project grade through the ages, students create a project based Production rubric on their development of the theme.

9aStudents select a theatre career to investigate and Written work/artifact create a report and visual artifact(s) on the specific Project grade career.

b Working individually or in groups, students produce Participation and perform a “performance art” piece on a topic of Performance rubric own choosing that integrates all of the arts disciplines. Other disciplines can be included also (literary, psychology, sciences, etc.).

Theatre 83 2003 Mississippi Visual and Performing Arts Framework

THEATRE DRAMATIC CRITICISM AND PERFORMANCE

DESCRIPTION OF PROGRAM OF STUDY:

This program of study is designed to enable students who are interested in the theatre arts to pursue an in-depth exploration of the interrelationships of aesthetics, criticism, and performance. This course is designed for the students who have successfully completed Theatre I and Theatre II. This program of study is to be used in developing theatre curriculum for high school students in the following:

Dramatic Criticism and Performance

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Theatre 84 2003 Mississippi Visual and Performing Arts Framework

THEATRE DRAMATIC CRITICISM AND PERFORMANCE

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Develop and critique dramatic scripts through improvising, writing and refining, based on personal experience and heritage, imagination, literature, and history. (CP, HC, C, CA)

a. Develop dramatic writing skills for various media including stage, television/radio, and short scripts for performance or publication. b. Develop dramatic writing skills for various media based upon group collaboration and collective creation.

2. Develop, communicate, and critique characters in improvisations and formal and informal productions. (CP, CA)

a. Analyze the problems and techniques of acting in period and stylized dramatic pieces. b. Analyze character development processes based on the theories of important theatre practitioners (e.g., Constantin Stanislavsky).

3. Design and produce by conceptualizing and realizing artistic interpretations for informal and formal productions and critiquing the same. (CP, C, A)

a. Develop set designs for various media, including stage, film and television, and/or non-traditional performance spaces. b. Understand the interdependence of the elements of design and the action of the play or story.

Theatre 85 2003 Mississippi Visual and Performing Arts Framework

4. Direct by developing a critical analysis and interpretation of dramatic texts, and by organizing and conducting rehearsals for formal and informal productions. (CP, CA)

a. Understand the role of the director as a creative team leader. b. Develop analytical, critical, and organizational skills involved in a director’s preparation, and the application of these discoveries to the rehearsal and presentation of any scene, play, or improvisation.

5. Analyze and understand personal preferences and construct meanings from classroom dramatizations and critiques drawn from theatre, film, television, and electronic media. (CA, A)

a. Learn to analyze and express one’s own creative processes in theatrical endeavors. b. Learn to analyze and express one’s own personal response to a theatrical event.

6. Research topics, analyze and critique findings, and apply discoveries to support classroom dramatizations. (HC, CA C)

a. Analyze representational and presentational plays for academic and production purposes. b. Analyze the historical, social, and cultural contexts of the themes and ideas expressed in the dramatizations.

7. Understand and critique context by analyzing the role of theatre, film, television, and electronic media in other cultures, times, and places. (CA, HC, C)

a. Evaluate and critique selected plays from various historical periods to the present through such elements as action, style, character, structure, and language. b. Evaluate and critique selected plays or dramatic presentations in the light of relevant themes and ideas and their relationship to the students’ community and culture. c. Evaluate and critique selected plays or dramatic presentations in the light of relevant themes and ideas and their relationship to the source community and/or culture.

8. Derive meaning from works of theatre and theatre artists from the point of view of theatre criticism and aesthetics. (CA, A)

a. Understand the connection between aesthetics and the art of the theatre. b. Learn to analyze and express aesthetic concepts in response to selected theatrical performances, including plays, films, television, or improvised works.

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9. Demonstrate and critique connections among content in theatrical experiences and other art disciplines, subject areas and everyday life. (HC, CA, C)

a. Understand the eclectic nature of theatre as an art form and demonstrate how it makes use of other artistic disciplines and subject areas including dance, music, the visual arts, literature, and creative writing. b. Understand and demonstrate how theatre addresses its subjects through the use of metaphor, symbol, and image. c. Understand and critique how specific theatre content connects with themes and experiences of everyday life.

Theatre 87 2003 Mississippi Visual and Performing Arts Framework

High School Dramatic Criticism and Performance

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a, b Individually, students write a comedy scene and a Written work, teacher- tragedy scene that involves a small number of made rubric, journal characters. Enter reactions and process in a entries, discussion, journal. Extend by having a reading of work by participation classmates, followed by a class critique. Discuss choices, successes, and difficulties.

a, b Working as individuals or partners, students write Written work, teacher- and present a short play. Carefully develop dialogue made rubric, participation, that is indicative of character and plot that advances self critique according to sound principles of dramatic structure. Develop appropriate action and situation. Cast classmates as characters and stage work in an informal classroom setting.

a Analyze the writing formats of radio, television, and Discussion, teacher-made film scripts. Students produce scripts for radio and rubric television.

2 a Observe period or stylized acting in live Teacher-made rubric performance or on video. After an analysis and discussion of style, technique, and any inherent problems, student will research an appropriate period scene for performance, emulating historical costume as closely as possible.

b Students research the following “schools of acting” Rubric evaluating quality on the Internet and create oral reports focussing on of research, oral report the character development process inherent in: The “Method” External method of acting Internal method of acting Stanislavsky approach Extend the activity by approaching performance of a Performance rubric two-character scene utilizing one of the acting Classroom discussion methods. Include in classroom critique discussion on differences between emotional and technical acting and personality versus character acting.

3 a, b Students design a unit set for a proposed summer Project grade repertory season of at least 3 plays. Build a scale model and present design and how it will work for all 3 shows.

4 a, b Students develop written plan and lead a cast in a Written Work regimen of theatre games and warm-ups that will Teacher Observation contribute to a desired outcome in the performance of a play.

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High School Dramatic Criticism and Performance

5 a,b Students design a set, costumes, and lighting based Project grade on response to selected music, work of literature, or Teacher-made rubric work of art. Orally present the process leading to completion of design rendering, including personal motivation/response.

6 a,b In small groups, students analyze a play in terms of Project grade exposition, plot, character, and theme. Group presentation rubric Analyze a comedy (e.g., The Inspector General) Analyze a tragedy (e.g., Death of a Salesman) Present your findings to other classmates in an innovative way.

7 a,c Students write a culminating research paper on Written work selected topic: Teacher-made rubric Suggestions include… Explain the influence of Aristotle and the 17th Century Neo-Classicists on dramatic structure. Explore and explain the various types of comedies. Distinguish between classic and modern tragedy. Discuss various styles of theatre. Present and discuss highlights of research to class Discussion during a research “forum” of eminent theatre Participation checklist scholars.

8 a, b Students attend the performance of a play, then Written work prepare a written critique of the play in performance. Discussion Teacher leads a discussion on the performance in class.

a, b Students compare and contrast the aesthetics Written work portrayed in Zefferelli’s film production of Romeo Discussion and Juliet and the later version featuring Leonardo de Caprio. Discuss, using specific examples. How does history and culture inform the aesthetics of these films?

9 a, b Students read and view a live or taped performance Discussion of The Fantastiks. Point out how dance, music, Written response visual arts, literature and creative writing combine to make the production. Discuss the use of metaphor, symbol and image in the play. How does the content relate to themes and experiences of everyday life?

Theatre 89 2003 Mississippi Visual and Performing Arts Framework

THEATRE HIGH TECH VIDEO PRODUCTION

DESCRIPTION OF PROGRAM OF STUDY:

This course explores the process of video taping as an art form. Students will concentrate on creating, producing, taping, and critiquing of original and published video and film. This program of study is to be used by the Theatre Specialist and or the Classroom Teacher in developing theatre curriculum for high school students in the following:

High Tech Video Production

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available online at the Mississippi Department of Education web site: http:/www.mde.k12.ms.us.

Theatre 90 2003 Mississippi Visual and Performing Arts Framework

THEATRE HIGH TECH VIDEO PRODUCTION

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Write screenplays by the creation of improvisations and scripted scenes based on personal experience and heritage, imagination, literature, and history. (CP, HC, C)

a. Know the historical eras of film. b. Understand the dramatic elements of film. c. Demonstrate screenplay writing techniques.

2. Develop acting skills to portray characters that interact in improvised and scripted screenplay scenes. (CP)

a. Recognize character motivation in film. b. Identify the difference between acting for stage and video. c. Demonstrate film-acting technique in improvised and scripted screenplays.

3. Design by developing environments for film and videotaped scenes. (CP, A)

a. Know technical requirements for film. b. Develop unifying concepts for the technical aspects of film.

4. Direct by organizing shoots for filmed and videotaped scenes. (CP)

a. Understand the audition, rehearsal, and production processes. b. Recognize principles of blocking for film. c. Demonstrate understanding of film technique. d. Know proper camera operating practices.

5. Analyze and explain personal preferences and construct meanings from filmed or videotaped classroom productions and film, television, and electronic media productions. (CA, C, A)

a. Understand the importance of dramatic interpretation in film. b. Know the role of language in a screenplay.

Theatre 91 2003 Mississippi Visual and Performing Arts Framework

6. Know how to apply discoveries to support classroom film and videotape through research. (HC, CA, C)

a. Recognize the elements of production choices in design and direction. b. Know the impact of directing choices. c. Understand the role of research in video production.

7. Recognize that film can communicate the artistic and social values and accomplishments of cultures, times, and places. (CA, HC, C)

a. Recognize the impact of Mississippi’s history on film. b. Analyze the social impact of historical and cultural events of film.

8. Analyze film and video and film and video artists in order to respond cognitively to creative products. (CA, A)

a. Specify review criteria of film. b. Understand the dramatic structure of film.

9. Identify relationships between film, other arts, other subject areas, and everyday life. (HC, CA, C)

a. Understand the relationship between film skills and school curriculum and careers. b. Recognize the role of documentaries as a depiction of real life.

Theatre 92 2003 Mississippi Visual and Performing Arts Framework

High-Tech Video Production

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a Students view scenes from films covering various Teacher-guided discussion historical eras.

b Students work in cooperative groups and develop Participation checklist scenes that create tension, suspense, and/or Teacher-made rubric humor. Teacher-made rubric c Students develop a screenplay scene based on Project grade individual experiences (e.g., prom, big sporting event, classroom situation) using film writing techniques (e.g., story outline, story board, shot list, dialogue).

2 a Students view a film or selected scenes from a film Teacher-guided discussion and identify the goals of the main characters. Written work Cooperatively recreate identified goals in an Teacher-made rubric improvised scene for videotaping.

b Students perform scripted or improvised scenes for Teacher observation the stage and for videotape and determine the most Teacher-guided discussion effective acting style for video.

c Students perform scripted or improvised scenes for Teacher observation videotaping (e.g., adapted from plays, existing Teacher-guided discussion screenplays, improvised from student life or experiences).

3 a Students view a film and identify technical elements Teacher observation and their use. Tape scripted or improvised scenes Teacher-made rubric utilizing necessary technical elements.

b Working in cooperative groups, students create a Teacher observation design approach to a scene(s) based on a social, Presentation cultural, or emotional theme.

4 a Working in cooperative production groups, students Teacher observation design audition, rehearsal, and production Written work schedules for a scripted screenplay. Presentation

b Students tape scripted or improvised scenes and Teacher-made rubric identify effective movement patterns and business.

c Students tape a scene(s) from an improvised or Teacher-made rubric scripted screenplay.

d Students tape a scripted scene and exhibit Teacher observation responsible camera operator procedures (e.g., camera care, composition of shots, response to director’s cues).

Theatre 93 2003 Mississippi Visual and Performing Arts Framework

High-Tech Video Production

5 a Students view a film and identify recurring themes Teacher-guided discussion and screenplay patterns.

a Students create a production concept of a Teacher observation screenplay using the above discoveries as Written work examples.

b Students examine theme(s) of a screenplay and Teacher guided discussion implement selected theme(s) in the production of a Teacher-made rubric taped scene(s).

6 a After viewing a film, students write a response Teacher-made rubric focusing on emotional impact, technical elements Presentation (e.g., lighting editing, special effects) and direction.

b After viewing a film or reading a screenplay, Teacher-made rubric students identify occurrences of figurative language Written work/presentation and imagery.

c Students conduct intensive individual research in a Teacher observation major area of interest of video production (e.g., Written work editing, music, narration, titles and graphics, Presentation audio/video mixing).

a Students view films based on epochs of Mississippi Teacher-guided discussion 7 history and determine the accuracy of the Written work depictions.

b Students view films representing various Teacher-guided discussion cultural/historical eras and analyze the depiction of Student paper culture and social climate. Presentation

a Working in cooperative groups, students identify Teacher-guided discussion 8 elements of effective film. Written work

b Students examine a screenplay and distinguish the Written work relationship between plot, conflict, and theme. Presentation

a Students identify the skills used to produce a film Teacher-guided discussion 9 and make cross-curricular correlations (e.g. scenery-math, directing-management, lighting- science, camera operation-mechanics, advertising- marketing, costuming-marketing).

b Students view documentaries of historical, social, Teacher-guided discussion and/or political importance, identifying major themes. All information covered in teacher-guided discussions can be used as material for periodic tests.

Theatre 94 2003 Mississippi Visual and Performing Arts Framework

THEATRE ORAL INTERPRETATION/READERS’ THEATRE

DESCRIPTION OF PROGRAM OF STUDY:

This program of study is designed to provide the student with a concentrated study of the voice as an acting tool, giving students the opportunity to develop their vocal skills through individual and group interpretation and performance. The study of related academic and technical skills will also be applied. This program of study is to be used in developing theatre curriculum for high school students in the following:

Oral Interpretation/Readers’ Theatre

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Theatre 95 2003 Mississippi Visual and Performing Arts Framework

THEATRE ORAL INTERPRETATION/READERS’ THEATRE

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Write scripts for Oral Interpretation and Readers’ Theatre by the creation of improvisations and scripted scenes based on personal experience, heritage, imagination, literature, and history focused on vocal production. (CP, HC, C)

a. Understand the process of developing original Readers’ Theatre pieces. b. Understand how poetry, literature, and history can be used to create and develop Readers’ Theatre and oral interpretation.

2. Develop vocal techniques to portray characters that interact in Oral Interpretation and Readers’ Theatre. (CP)

a. Convey complex mood and characterization through expressive use of voice. b. Demonstrate familiarity with and ability to use selected foreign dialects. . 3. Develop and support environments for Oral Interpretation and Readers’ Theatre. (CP)

a. Apply technical support to individual/group performances (i.e., lighting, sound). b. Adapt available space into performance space.

4. Direct by organizing rehearsals for original and scripted scenes for Oral Interpretation and Readers’ Theatre. (CP, C)

a. Understand the process of directing a Readers’ Theatre play. b. Adapt a speech, poem, short story, or other written work into a Readers’ Theatre script or Oral Interpretation selection.

Theatre 96 2003 Mississippi Visual and Performing Arts Framework

5. Understand personal preferences and construct meanings from Oral Interpretation and Readers’ theatre. (CA, A)

a. Realize that emotion impacts performance of Oral Interpretation and Readers’ Theatre. b. Understand the importance of relevance to occasion in determining script selection.

6. Research topics and apply discoveries from research to support Oral Interpretation and Readers’ Theatre performance. (HC, CA, C)

a. Use understanding of vocal mechanism to project voice audibly, clearly, and without strain in various performance settings. b. Relate historical perspectives to each Oral Interpretation or Readers’ Theatre activity. c. Recognize sources of published work focusing on Oral Interpretation and Readers’ Theatre.

7. Understand context by analyzing the role of history, the community, and other cultures in developing Oral Interpretation and Readers’ Theatre. (CA, HC, C)

a. Know the extent to which vocal expression is shaped by culture, regional dialect, peer group pressure, technological change, and public example. b. Understand how musical instruments and technology can support performance of Readers’ Theatre and Oral Interpretation.

8. Critique and derive meaning from works of Readers’ Theatre and Oral Interpretation on the basis of their aesthetic qualities. (CA, A)

a. Recognize the capability of the human voice and the spoken word to evoke a variety of responses. b. Recognize that aesthetic choices govern the way in which moods and themes are revealed in a production.

9. Connect and apply content in Oral Interpretation and Readers’ Theatre to other art disciplines, subject areas, and everyday life. (HC, CA, C)

a. Apply scholarly studies to individual performances. b. Understand how collaboration skills learned in Readers’ Theatre contribute to proficiency in communicating with others.

Theatre 97 2003 Mississippi Visual and Performing Arts Framework

High School Interpretation/Readers’ Theatre

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,b Students locate dramatic structure (exposition, Teacher-made rubric rising action, complication, climax, falling action, and denouement) inherent in each performance selection.

2 a,b Students identify type of each performance Teacher-made rubric selection (high comedy, farce, drama, etc.).

a,b Students establish and improve control of vocal Teacher-made rubric characteristics (inflection, articulation, tempo, pronunciation, expression).

a,b Students record or video performance to assist in Self evaluation developing correct pronunciation and diction habits.

a,b Students use appropriate vocal characteristics to Demonstration convey emotion and understanding of a selected piece.

a,b Students notate director’s instructions and notes in Written sample actor’s script.

a,b Students incorporate director’s Teacher observation instructions/suggestions concerning position, movement and general performance.

b Students portray characters from different countries, Teacher-made rubric as they would speak the same lines.

3aIn small groups, students: Project grade Recognize and identify appropriate costume/prop pieces for individual characters. Design appropriate lighting for performance.

b Students create interesting set arrangements for Project grade Readers’ Theatre performances utilizing levels, actor placement and lighting.

4aStudents create a time schedule and rehearsal Project grade chart.

5aStudents select pieces that relate to personal Project grade experiences.

6aStudents demonstrate ability to project voice in Teacher observation suggested locations (auditoriums, gymnasiums, arenas, etc.).

Theatre 98 2003 Mississippi Visual and Performing Arts Framework

High School Interpretation/Readers’ Theatre

6cStudents conduct an Internet search for published Checklist script resources suitable for Oral Interpretation or Readers’ Theatre.

7aStudents research and analyze how phraseology Written report and pronunciation are affected by geographical location.

b Students create a musical background and lighting Project grade effects for an Oral Interpretation or Readers’ Theatre performance.

8aStudents use voice techniques to express different Demonstration emotions (excitement, anger, sorrow, happiness, etc.).

b Students analyze effects of light, color, set, sound, Written work etc. on a particular selection to inform future production decisions.

9 a,b After researching playwrights, authors, and Teacher-made rubric historical periods that relate to their selections, students use the information to produce a work of Readers’ Theatre or Oral Interpretation.

a Students write an introduction for each performance Written work selection.

b Students interact in a small group setting to produce Teacher-made rubric a public performance.

Theatre 99 2003 Mississippi Visual and Performing Arts Framework

LITERATURE CONNECTIONS

THEATRE

Kindergarten through Fourth Grade

Aliki FEELINGS, New York, Mulberry Books, 1986. Pictures, dialogs, and stories portray various emotions we all feel: jealousy, sadness, fear, anger, joy, and others.

Arkhurst, Joyce Cooper THE ADVENTURES OF SPIDER: WEST AFRICAN FOLK TALES, Boston, Little Brown, 1992. Presents six tales about Spider, including those that explain how he got a thin waist and a bald head and why he lives in ceilings and dark corners.

Bailey, Debbie LET’S PRETEND, Willowdale, Ont., Annick Press, 1999. Photographs of children engaged in play by pretending.

Banks, Kate ALPHABET SOUP, New York, Random House, 1994. A boy’s ability to spell words with his alphabet soup comes in handy during the magical journey he takes in his mind with a friendly bear.

Bany-Winters, Lisa SHOW TIME!: MUSIC, DANCE, AND DRAMA ACTIVITIES FOR KIDS, Chicago, Chicago Review Press, 2000. Introduces the concepts of music, dance, and acting, suggesting how to create a musical production through games and role-playing and describing all aspects of a show from auditions to curtain call.

Bryant-Mole, Karen PRETEND YOU’RE A COMMUNITY HELPER, Des Plaines, Heinemann Interactive Library, 1998. Briefly describes workers who provide services to the community and shows children pretending to be a nurse, waiter, teacher, police office, fire-fighter, postal worker, vet, doctor, dentist and librarian. Also PRETEND YOU’RE A SPORTS PRO and PRETEND YOU’RE A STAR.

Carlson, Nancy L. LOUANNE PIG IN THE TALENT SHOW, Minneapolis, Carolrhoda Books, 1985. No-talent Louanne’s spirits drop as her friends prepare for the talent show, but then she is called upon to perform in a very special way.

Theatre 100 2003 Mississippi Visual and Performing Arts Framework

Cauley, Lorinda Bryan CLAP YOUR HANDS, New York, Putnam, 1992. Rhyming text instructs the listener to find something yellow, roar like a lion, tell a secret, spin in a circle, and perform other playful activities along with the human and animal characters pictured.

Corbett, Pie, ed. THE KINGFISHER PLAYTIME TREASURY: A COLLECTION OF PLAYGROUND RHYMES, GAMES, AND ACTION SONGS, New York, Kingfisher, 2000. An illustrated collection of games, rhymes, and songs involving guessing, choosing, pretending, counting, clapping, and acting.

Daly, Niki BRAVO, ZAN ANGELO!: A COMMEDIA DELL’ARTE TALE WITH STORY AND PICTURES, New York, Farrar, Straus, & Giroux, 1998. In Renaissance Venice, Angelo, longing to be as famous a clown as his grandfather, decides to do something special with his small part in his grandfather’s commedia dell’arte production during Carnival.

Dedieu, Thierry THE BOY WHO ATE WORDS, New York, H. N. Abrams, 1997. Gabby asks questions so fast that no one can understand him. When he loses his voice, he learns that he can express himself through facial expressions, movements, and gestures.

DeSpain, Pleasant ELEVEN NATURE TALES: A MULTICULTURAL JOURNEY, Little Rock, August House Pub. 1996. Presents eleven ancient stories, collected from countries and people around the world, that address the relationship of all things, one to another. Some include hints for storytelling.

Dorros, Arthur ABUELA, New York, Dutton Children’s Books, 1991. While riding on a bus with her grandmother, a little girl imagines that they are carried up into the sky and fly over the sights of New York City.

Gilman, Phoebe SOMETHING FROM NOTHING, New York, Scholastic, 1992. In this retelling of a traditional Jewish folk tale, Joseph’s baby blanket is transformed into ever smaller items as he grows until there is nothing left, but then Joseph has an idea.

Goble, Paul IKTOMI AND THE BUZZARD: A PLAINS INDIAN STORY, New York, Orchard Books, 1998. Iktomi the trickster tries to fool a buzzard into carrying him across the river. Asides printed in italics may be used by the storyteller to encourage listeners to make their own remarks about the action, as in traditional Iktomi

Theatre 101 2003 Mississippi Visual and Performing Arts Framework

storytelling. Also IKTOMI AND THE BOULDER and IKTOMI AND THE COYOTE.

Hamilton, Martha and NOODLEHEAD STORIES: WORLD TALES KIDS CAN Mitch Weiss READ AND TELL, Little Rock, August House, 2000. A collection of folktales from around the world, all featuring the character of the fool, with tips for telling the stories aloud, related activities, and source notes.

Hamilton, Virginia THE PEOPLE COULD FLY, New York, Knopf, 1993. Retold African American folktales of animals, fantasy, the supernatural, and desire for freedom, born of the sorrow of the slaves, but passed on in hope.

Hamilton, Virginia A RING OF TRICKSTERS: ANIMAL TALES FROM NORTH AMERICA, THE WEST INDIES, AND AFRICA, New York, Blue Sky Press, 1997. Twelve trickster tales show the migration of African culture to America via the West Indies. Stories include “Buzzard and Wren Have a Race,” “Magic Anansi,” “Old Master Turtle Gets a Whipping,” and “How Chameleon Became a Ride.”

Hayes, Geoffrey PATRICK AND THE BIG BULLY, Hyperion Books, 2001. When Patrick Bear meets a bully on the way to the store, pretending to be a dragon helps him deal with the situation.

Hoffman, Mary A FIRST BOOK OF MYTHS: MYTHS AND LEGENDS FOR THE VERY YOUNG FROM AROUND THE WORLD, New York, DK, 1999. Simplified retellings of Greek and Roman myths including the story of Icarus, the boy whose father made him wings, and King Midas, who had the golden touch. Also includes Native American, Norse, Australian, Indian, Japanese, and African myths.

Lobel, Arnold FROG AND TOAD TOGETHER, New York, Harper Collins, 1972. Five further adventures of two best friends as they share cookies, plant a garden, and test their bravery. Also FROG AND TOAD ARE FRIENDS.

Malka, Lucy FUN WITH HATS, Greenvale, New York, Mondo Pub. 1995. Three girls explore the contents of a trunk of costumes, and as they don various hats, they imagine being a clown, a pirate, and a magician.

Martin, Rafe THE ROUGH-FACE GIRL, New York, G. P. Putnam’s Sons, 1992. In this Algonquin Indian version of the Cinderella story, the Rough-Face Girl and her two beautiful but heartless sisters compete for the affections of the Invisible Being.

Theatre 102 2003 Mississippi Visual and Performing Arts Framework

Marzollo, Jean I’M A CATERPILLAR, New York, Scholastic, 1997. Provides a simple explanation of what happens as a caterpillar changes into a butterfly, from the caterpillar’s point of view. Other books in the series include I’M A SEED, I AM PLANET EARTH, and I AM WATER.

Marzollo, Jean PRETEND YOU’RE A CAT, New York, Penguin Group, 1997. Rhyming verses ask the reader to purr like a cat, scratch like a dog, leap like a squirrel, and bark like a seal.

Perry, Sarah IF–, Malibu, Children’s Library Press, 1995. Illustrations present such imaginative possibilities as worms with wheels, caterpillar toothpaste, and whales in outer space.

Rau, Dana Meachen A BOX CAN BE MANY THINGS, New York, Children’s Press. 1997. A girl and her brother retrieve a large box from the garage and pretend that it is a cave, car, house, and cage.

Scieszka, Jon THE STINKY CHEESE MAN AND OTHER FAIRLY STUPID STORIES, New York, Viking, 1992. These irreverent variations of traditional fairy tales are sure to entertain both children and adults.

Steig, William TOBY, WHAT ARE YOU?, New York, Joanna Cotler Books, 2001. Toby has fun pretending to be a variety of objects and then asking his parents to guess what he is.

Swanson-Natsues, Lyn DAYS OF ADVENTURE, New York, Mondo, 1996. Two young friends use their imaginations to make everyday objects into the building blocks for fantastic adventures at sea, on a train, and on horseback.

Williams, Marcia BRAVO, MR. WILLIAM SHAKESPEARE, Cambridge, Candlewick Press, 2000. Presents the stories of seven Shakespeare plays including actual dialogue in the illustrations, summarizing the plots in picture captions, and showing the comments and actions of audience members on the sides and bottom of the pages.

Middle School

Armstrong, Jennifer STEAL AWAY, New York, Scholastic, 1992. In 1855 two 13 year old girls, one white and one black, run away from the southern farm and make the difficult journey north to freedom, living to recount their story 41 years later to two similar young girls.

Theatre 103 2003 Mississippi Visual and Performing Arts Framework

Cushman, Karen CATHERINE, CALLED BIRDY, New York, Clarion Books, 1994. The daughter of an English country knight keeps a journal in which she records the events of her life, particularly her longing for adventures beyond the usual role of woman and her efforts to avoid being married off.

Keith, Harold RIFLES FOR WATIE, New York, Harper Collins, 1957. The struggles and hard ships faced by Jeff Bussey on his 300 mile escape route during the Civil War.

L’Engle, Madeleine A WRINKLE IN TIME, New York, Farrar, Straus and Giroux, 1999. Three extraterrestrial beings take Meg and her friends to another world.

Lowry, Lois NUMBER THE STARS, Boston, Houghton Mifflin, 1989. In 1943, during the German occupation of Denmark, ten year old Annemarie learns how to be brave and courageous when she helps shelter her Jewish friend from the Nazis.

McCullough, L. E. PLAYS FROM MYTHOLOGY: GRADES 4-6, Lyme, 1998. Presents twelve original plays that are dramatic adaptations of myths from around the world.

O’Brien, Lisa LIGHTS, CAMERA, ACTION: MAKING MOVIES AND TV FROM THE INSIDE OUT, New York, Firefly Books, 1998. A step by step description of how a movie is made from a child actor’s perspective, including writing the script, casting and the audition process, filming, editing, and special effects.

Patterson, Katherine BRIDGE TO TERABITHIA, New York: Harper Collins, 1977. The life of a ten year old boy in rural Virginia expands when he becomes friends with a newcomer who subsequently meets an untimely death trying to reach their hideaway, Terabithia, during a storm.

Sinykin, Sheri HEATHER GOES TO HOLLYWOOD, Portland, Magic Attic, Press, 1997. Star-struck Heather decides that being a movie star may not be as glamorous as it appears after the magic mirror transports her to 1940's Hollywood where she is chosen to be a stand in for a missing child actress.

Taylor, Mildred D. ROLL OF THUNDER, HEAR MY CRY, New York, Puffin Books, 1977. An African American family living in the South during the 1930’s is faced with prejudice and discrimination that its children do not understand.

Theatre 104 2003 Mississippi Visual and Performing Arts Framework

High School

Aesop FABLES OF AESOP, New York, Viking, 2000. A collection of moral-based stories in which animals exhibit human frailties.

Bunyan, John THE PILGRIM’S PROGRESS, New York, Signet Classic, 1981. Depicts the journey of Christian and his companions through mortal life to their entrance into the Celestial City.

Fleischman, Paul MIND’S EYE, New York, Holt, 1999. A novel in play form in which 16 year old Courtney, paralyzed in an accident, learns about the power of the mind from an elderly blind woman who takes Courtney on an imaginary journey to Italy using a 1910 scrapbook.

Lester, Julius LONG JOURNEY HOME: STORIES FROM BLACK HISTORY, New York, Puffin Books, 1998. Presents six stories about African Americans who contributed to the movement for freedom from slavery.

Poe, Edgar Allan THE TELL-TALE HEART AND OTHER WRITINGS, Mass Market Paperback, November, 1981. Collection of writings from the “Master of Macabre,” most notably “The Tell-Tale Heart.”

Saint Exupery, Antoine de THE LITTLE PRINCE, San Diego, CA, Harcourt, 2000. Translated from French. An endearing fantasy about an aviator and a young prince from a distant planet.

Wilder, Thornton OUR TOWN, New York, Harper & Rowe, 1985. A play in which inhabitants of a small town tell their life stories.

Theatre 105 2003 Mississippi Visual and Performing Arts Framework

TECHNOLOGY CONNECTIONS

THEATRE

The Technology Connections section is designed to serve as a starting point for investigation into using technology in the theatre instructional program. The Mississippi Department of Education does not endorse or recommend purchasing the following resources. Mississippi Department of Education suggests that all resources be thoroughly reviewed to accommodate the needs of individual districts. Please note technology changes on a daily basis, therefore, web sites, software, etc. which may be current on a given day may not be the next. Keep this in mind when using this as a resource.

RECORDINGS

Dialects:

All dialect books/tapes are available to order from any bookstore.

Dialect Books with Practice Tapes: Stage Dialects – Jerry Blunt More Stage Dialects – Jerry Blunt Dialects for the Stage – Evangeline Machlin Acting With an Accent – David Alan Stern

Dialect Books without Practice Tapes Manual of American Dialects, for Radio, Stage, Screen, and Television – Lewis Herman Manual of Foreign Dialects for Radio, Stage, Screen – Lewis Herman Teach Yourself Transatlantic: Theatre Speech for Actors – Robert Hobbs Dialects for the Theater – Edith Skinner

Readings:

Center for Cassette Studies, 919 Third Avenue, New York, NY 10022 Listening Library, P. O. Box L, Greenwich, CT 06870

SOFTWARE

Storyboarding, Pre-Production Poanning and Design, Presentation

Astound http://www.astound.com/wc/pre/pres_008.html Director http://www.macromedia.com/macromedia/proom/pr/2002/director_mx_ship.html HyperStudio http://www.hyperstudio.com/ Keynote 1.0 Keynote 1.0 is a new generation of presentation software that brings the ability to create stunning, professional-quality presentations to everyone. http://www.apple.com

Theatre 106 2003 Mississippi Visual and Performing Arts Framework

PowerPoint http://www.micosoft .com Screenplay http://www.screenplay.com/

Macintosh Software

Audio Playback

Sound Byte Allows multiple selections to be played simultaneously in the following formats: AIFF, WAV, AU, and MP3 http://www.blackcatsystems.com/software/soundbytehtml MegaSeg Music mixing program that consolidates all DC’s on hard drive and enables mixing between songs for presentation without need for extra CD players or mixers http:// www.macupdate.com/info.php/id/3990 Theatre Sequencer Show control program for live sound engineers Shows organized in a cue list and are triggered by a variety of sources Cues can be looped, recalled sequentially or in random order http://hompages.enterprise.net/micpool/S51.html Audiofile v4.03 A “Filemaker Pro” template that keeps track of music and SFX collections http://homepages.enterprises.net/micpool/S51.html

Costumes

CostumePro v.4.0 Adds a Custom Menu to MS Excel Menu Bar Features breakdown pages, script changes, budgets and automatic updating http://www.storygboardartist.com/cpnew.html

Drafting and Design

VectorWorks 10 Integrates Object-Based design with precision 2D drafting, 3D modeling, high-quality rendering, a linked worksheet function and flexible scripting language http://www.nemetchek.net LD Assistant Combine with VectorWorks or MiniCad Offers a full compliment of 2D and 3D symbols specific for lighting, sound, television studio and set design http://www.design-drafting.com/ MacDraft Low cost, easy to use software for architectural/engineering design and drafting and technical illustration http://www.microspot.com.uk Touch 3-D Allows you to print and fold scale 3-D models of your work

Theatre 107 2003 Mississippi Visual and Performing Arts Framework

Script Writing

Final Draft Designed for writing movie scripts, TV episodes, and stage plays Combines word-processing with professional script formatting in one easy to use package http://artzia.com/Arts/Theater/Software/html Dramatica Pro A story creation and analysis tool Query System asks you questions about character, plot, theme and genre Story Engine shows how changes impact other aspects of story Create 4-D characters with motivation, methodology, purpose and means of evaluation http://www.dramatica.com/ ScriptThing Built in automation features formatting and page breaks, capitalization of scene headings, speed entering character names, correctly formatting transitions, and checking for typing and editing errors http://www.scripthing.com/frame_links_new.html

Theatrical Lighting – Design Software

Lightwright fror Macintosh Manages lighting design paperwork, stores information for each instrument, organizes all standard paperwork, counts instruments, templates, stock equipment, etc. http://www.mckernon.com/index.htm Beamwright Assists in selection of the right light for every situation http://www.mckernon.com/index.htm MacLux Pro Draw plots and manage paperwork with one program Set and preview cues and record and play them back as QuickTime movies http://www.macluxpro.com/mlphome2.html LD Assistant Combined with VectorWorks/MiniCad, the lighting component shows beam spreads and photometric data Includes a large library of symbols http://www.design-drafting.com/ Virtual Light Lab Experiment with light, shadow and color effects in a simulated lighting studio http://www.westsidesystems.com/vll/vll.html

Theatrical Lighting – Control Software and Devices

The LanBox Turns a Mac into a lighting controller http://www.lanbox.com/

Theatre 108 2003 Mississippi Visual and Performing Arts Framework

Video and Multimedia Production Tools

Photoshop Image editing software http://www.adobe.com Illustrator Drawing software http://www.adobe.com Premiere Video “Editing software http://www.adobe.com After Effects Motions Graphics software http://www.abode.com Final Cut Pro Video Editing software http://www.apple.com iMovie Video Editing software (free) http://www.apple.com iDVD DVD Authoring software http://www.apple.com Pinnacle Studio 8 Video Editing software http://www.pinnaclesys.com

Turnkey Video Editing Sytems

Casablanca Prestige http://www.draco.com Applied Magic http://www.applied-magic.com/ AVID DV Express http://www.avid.com/products/xpressdv/ Canopus DV Storm 2 http://www.canopus.com/index.asp iMac System Elementary/High School http://www.apple.com G-4 Macintosh High School http://www.apple.com

VIDEOS, FILMS, AND FILMSTRIPS

Acting, Voice Training, Movement, Stage Combat, Script Analysis, Auditions, Makeup, Characterization, Lighting, Set Construction, etc.:

Arthur Cantor, Inc., 2112 Broadway, Suite 400, New York, NY 10023 Audio Brandon Films, 737 Greenway Road, Wilmetter, IL 60096 (Shakespeare collection) Contemporary Films, New York, NY 10023

Teaching Videos:

National Video Clearing House’s The Video Source Book (1000+ titles available) R.R. Bowker’s Educational Film Locator (a university film center consortium)

WEB SITES

Arts Education Links:

American Alliance for Theatre and Education http://aate.com Artsedge http://artsedge.kennedy-center.org/artsedge.html Artsgenesis http://www.odesigh.com/artsgenesis/index.html Artsvision http://www.artsvision.com

Theatre 109 2003 Mississippi Visual and Performing Arts Framework

Bigchalk Education Network http://www.bigchalk.com Bravo On with the Show http://www.bravotv.com The New York Public Library for the Performing Arts http://www.nypl.org/research/lpa/1pa.html Southeast Center for Education in the Arts http://www.utc.edu/SCEA

Technical Theatre Links:

The Costume Gallery http://www.costumegallery.com Rosco http://www.rosco.com Rose Brand http://www.rosebrand.com USITT (U.S. Institute for Technical Theatre) http://www.usitt.org

Books and Recordings Links:

The Broadway Theatre Archive http://www.broadwayarvhive.com (video catalogue of Broadway productions and classics produced for television) Fynsworth Alley http://www.fynsworthalley.com (CD’s, radio, and chat) LA Theatre Works http://www.latw.org/alivealoud/alivealound.html (audio recordings) Stage and Screen http://www.stagenscreen.com (theatre book club)

History and Criticism Links:

Art and Culture http://www.artandculture.com Aisle Say-the Internet Magazine of Stage Reviews and Opinion http://www.aislesay.com All Shakespeare http://allshakespeare.com Changing Stages-A View of the Theatre of the Twentieth Century http://www.pbs.org/wnet/changingstages Medieval Drama Links http://www.collectorspost.com

Theatre 110 2003 Mississippi Visual and Performing Arts Framework

Performance and Production Links:

Actor’s Equity http://www.actorsequity.org/home.html The Improv Page http://www.improvcomedy.org The Puppetry Homepage http://www.sagecraft.com/puppetry U.S. Copyright Law http://www.loc.gov/copyright/title17

Theatre 111 2003 Mississippi Visual and Performing Arts Framework

RESOURCES

THEATRE

BOOKS

All Levels

Currell, David PUPPETS AND PUPPET THEATRE, Wiltshire, Crowood Press, 1999. A guide to making and performing with puppets, providing an intro to puppet theatre; exploring the designing and structure of stage types of puppets; looking at the materials and methods of creating heads; explaining construction techniques; and discussing staging, writing, and sound for performance.

Schloz, Amiel THEATRE GAMES AND BEYOND: A CREATIVE APPROACH FOR PERFORMANCES, Colorado Springs, Meriwether Publishers, 1998. Contains over 140 theatre games designed to stimulate creativity in actors of all ages; includes activities on group orientation, trust, warm ups, cooperation, reality, and other related topics.

Sivin, Carole MASKMAKING, Worcester, Davis Publishing, 1986. Instructions for making masks from various materials progress from simple to complex techniques. Includes a section for masks for young children.

Kindergarten Through Fourth Grade

Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN; VOLUME 1; GRADES K-3, Lyme, 1996. Ten plays based on multicultural folktales from such countries as Ghana, China, and Italy.

Marx, Pamela TAKE A QUICK BOW!, Glenview, Goodyear Books, 1997. Contains twenty-six short plays that may be easily staged in the classroom on every subject from the seasons and holidays to American heritage, science, folk tales from diverse cultures, and more. Each play allows for a flexible

Theatre 112 2003 Mississippi Visual and Performing Arts Framework

number of characters, with enough roles for an entire class.

Muir, Kathy, ed. CHILDSPLAY: A COLLECTION OF SCENES AND MONOLOGUES FOR CHILDREN, New York, Limelight Editions, 1995. Selected from over fifty sources including published and unpublished plays, blockbuster movie hits, independent films, foreign films, teleplays, poetry, and diaries.

Sierra, Judy FANTASTIC THEATER: PUPPETS AND PLAYS FOR YOUNG PERFORMERS AND YOUNG AUDIENCES, Bronx, H. W. Wilson Co., 1991. Thirty puppet plays adapted from nursery rhymes, folk songs, fables, poetry, folktales, and myths with instructional chapters on making and using rod and shadow puppets and puppet stages.

Sierra, Judy NURSERY TALES AROUND THE WORLD, New York, Clarion Books, 1996. Presents eighteen simple stories from international folklore grouped around themes like “Runaway Cookies,” “Slowpokes and Speedsters,” and “Chain Tales.” Includes background information and storytelling hints.

Young, Ed and Hilary Beckett THE ROOSTER’S HORNS: A CHINESE PUPPET PLAY TO MAKE AND PERFORM, A UNICEF Storycraft book. A Chinese legend telling how the dragon tricks the rooster into giving away his horns is accompanied by directions for making shadow puppets of the characters.

Middle School

Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN: Volume II: GRADES 4 – 6, Lyme, 1996. Ten plays based on multicultural folktales from such countries as Ghana, China, and Italy.

Plays, Inc. THE BIG BOOK OF FOLKTALE PLAYS: ONE ACT ADAPTATIONS OF FOLKTALES FROM AROUND THE WORLD FOR STAGE AND PUPPET PERFORMANCE, Boston, Plays, Inc., 1997. A collection of 32 plays, including 5 suitable for the puppet stage, adapted from folk tales of various countries.

Slaight, Craigh; Esty, THE SMITH AND KRAUS PLAY INDEX FOR YOUNG Jennifer & Monteleone, ACTORS GRADES 6-12, Lyme, Smith and Kraus, 1999. Elizabeth E., Editors An index of over 500 plays for middle and high school students as well as a plot summary and information for each play including author, style, cast size, and leasing agent.

Theatre 113 2003 Mississippi Visual and Performing Arts Framework

High School

Adams, Bob THE EVERYTHING LEADERSHIP BOOK: THE 20 CORE CONCEPTS EVERY LEADER MUST KNOW, Holbrook, Adams Media Corp., 2001. Presents 20 concepts that good leaders must understand, covering such topics as communication, motivation, coaching, delegation, the team concept, organization and time management, conflict resolution, problem solving, and accepting change.

Adler, Mortimer Jerome SIX GREAT IDEAS: TRUTH, GOODNESS, BEAUTY, LIBERTY, EQUALITY, JUSTICE: IDEAS WE JUDGE BY, IDEAS WE ACT ON, New York, Simon and Schuster, 1997. Explores the concepts of truth, goodness, beauty, liberty, equality, justice as a basis for coping with the political, moral, and social issues of the modern world.

Beard, Jocelyn, Editor SCENES FROM CLASSIC PLAYS, 468 B.C. TO 1970 A.D., Newbury, Smith and Kraus, 1993. Sixty-eight classical audition pieces from many of the world’s great playwrights.

Bloom, Harold, Editor W.E.B. DUBOIS, Philadelphia, Chelsea House Publishers, 2001. Presents 12 essays that examine the writings and influence of African American scholar W.E.B DuBois. Of particular interest: African American aesthetics and intellectual life.

Buckland, Warren FILM STUDIES, London, Hodder and Stoughton, NTC/Contemporary Publishers, 1998. An intro to the world of film, offering an overview of key areas of aesthetics, narrative, genres, and documentary films, and including discussions of the films of important directors including Orson Welles, Alfred Hitchcock, Quentin Tarantino, and others.

Cassady, Marsh THE THEATRE AND YOU: A BEGINNING, Colorado Springs, Meriwether Publishers, 1992. An intro to the theatre covering such topics as choosing a script, acting techniques, directing, and more.

Clark, I.E. STAGECRAFTERS’ HANDBOOK: A GUIDE FOR THEATRE TECHNICIANS, Studio City, Players Press, 1995. A handbook detailing the responsibilities of each member of a theatre technical crew.

Theatre 114 2003 Mississippi Visual and Performing Arts Framework

Cohen, Lorraine, Editor SCENES FOR YOUNG ACTORS, New York, Avon Books, 1973. Contains over 60 scenes from the works of Tennessee Williams, Arthur Miller, William Shakespeare, Lillian Hellman, and a variety of other well known authors, elected with young talent in mind, for use in class or theatre group study and performance.

Frensham, Raymond G. SCREENWRITING, Lincolnwood, NTC Publishing Group, 1996. Offers advice on how to transfer a creative idea into a screenplay, discussing presentation and layout, character development, structure, and other details of the writing process; and includes information on the proper way to submit stories for consideration.

Kehret, Peg ACTING NATURAL: MONOLOGS, DIALOGS AND PLAYLETS FOR TEENS, Colorado Springs, Merriwether Publishers, 1991. A Newberry Medal of Honor collection of 60 original monologues, dialogues, and playlets for teens that need no special materials.

Moon, Samuel, Editor ONE ACT: ELEVEN SHORT PLAYS OF THE MODERN THEATRE, New York, Grove, 1961. A collection of one act plays from modern playwrights such as Strindberg, Yeats, Ionesco, and more.

Oates, Whitney J. & SEVEN FAMOUS GREEK PLAYS, New York, Vintage, O’Neill, Jr., Eugene, Editors 1950. Includes seven Greek plays by Aeschylus, Sophocles, Euripides and Aristophones.

Papp, Joseph & SHAKESPEARE ALIVE!, New York, Bantam, 1988. Kirkland, Elizabeth Describes London during Shakespeare’s time, Elizabethan theatre, how plays were produced, music of the time, where Shakespeare got his plots, and how he transformed them.

Ratliff, Geral Lee INTRODUCTION TO READERS’ THEATRE: A GUIDE TO CLASSROOM PERFORMANCE, Colorado Springs, Meriwether Publishers, 1999. An introduction to classroom performance that provides information on selecting and analyzing literature, adapting readers’ theatre literature, playing space and staging, classroom performance exercises, and other related topics.

Ratliff, Geral Lee THE THEATRE AUDITION BOOK: PLAYING MONOLOGS FROM CONTEMPORARY, MODERN, PERIOD, SHAKESPEARE, AND CLASSICAL PLAYS, Colorado Springs, Meriwether Publishers, 1998. Offers advice on how to prepare auditions and selecting audition materials. Contains 144 monologues for audition performances, grouped in historical periods and includes

Theatre 115 2003 Mississippi Visual and Performing Arts Framework

a collection on non-dramatic monologues adapted or edited from sources other than theatre play scripts.

Shulman, Michael & THE ACTOR’S SCENEBOOK: SCENES AND Mekler, Eva MONOLOGS FROM THE CONTEMPORARY PLAYS, New York, Bantam, 1984. Collection of more than 80 scenes from contemporary plays featuring monologues for men and women and scenes for two and three actors; includes a chapter on overcoming stage fright.

Silver, Fred AUDITIONING FOR THE MUSICAL THEATRE, New York, New Market Press, 1985. A New York vocal coach provides tactics for auditions in musical theatre.

Slaight, Craigh & Sharrar, Jack MULTICULTURAL SCENES FOR YOUNG ACTORS, Lyme, Smith and Kraus, 1995. Fifty-five multicultural scene selections for young actors.

Woofin, Ruper INTRODUCING ARISTOTLE, Totem Books, LTD, 2001. Presents an introduction to the thought of ancient Greek philosopher Aristotle focusing on his theories of aesthetics and logic.

ORGANIZATIONS

Mississippi Alliance for Arts Education, 101 Carrie Rd. Hattiesburg, MS 39402 http://www.msartsalliance.com Mississippi Arts Commission, 239 N. Lamar Street, Suite 207, Jackson, MS 39201 (601) 924-0131 http://www.arts.state.ms.us Center for Special Education Technology, 1920 Association Drive, Reston, VA 22091, (800) 873-8255 National Lekotek Center, 2100 Ridge Avenue, Evanston, IL 60204 http://www.lekotek.org IBM National Support Center for Persons with Disabilities, P.O. Box 2150, Atlanta, GA 30055, (800) 426-2133 Very Special Arts, http://www.vsarts.org/programs/swta/index.html (“Start with the Arts” – an instruction program for 4,5, and 6 year olds that uses the arts to assist young children, including those with disabilities, in exploring themes commonly taught in early childhood classroom.

PLAY PUBLISHERS

Anchorage Press Play, P.O. Box 2901, Louisville, KY 40201, www.applays.com Baker's Plays, P.O. Box 699222, Quincy, MA 02269, www.bakersplays.com Broadway Play Publishing, Inc., 56 East 81st St., New York, NY 10028 http://www.broadwayplaypubl.com I.E. Clark, P.O. Box 246, Schulenburg, TX 78956, www.ieclark.com Direct Plays, NuComm Marketing, 80 King St., 3rd Floor, St. Catharines, ON, Canada L2R 7G, http://www.directplays.com

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Dramatic Publishing Company, 311 Washington St., Woodstock, IL 60098 http://www.dramaticpublishing.com Dramatists Play Service, 440 Park Avenue South, New York, NY 10016 http://www.dramatists.com Samuel French, Inc., 45 West 25th Street, New York, Ny 10010 http://www.samuelfrench.com Merriwether Publishing Ltd., 885 Elkton Drive, Colorado Springs, CO 80907 http://www.meriwetherpublishing.com Music Theatre International, 421 West 54th Street, New York, N.Y. 10019 http://www.mtishows.com New Plays Incorporated, PO Box 5074, Charlottesville, VA 22905 http://www.newplaysforchildren.com Pioneer Drama Service, Inc., PO Box 4267, Englewood, CO 80155 http://www.pioneerdrama.com Playscripts.com, http://www.playscripts.com Rogers and Hammerstein Theatre Library, 229 West 28th Street, 11th Floor New York, NY 1000, http://www.rnh.com Smith and Kraus, 4 Lower Mill Road, North Stratford, NH 03590 http://www.smithkraus.com Tams-Witmark Music Library, Inc., 560 Lexington Avenue, New York, N.Y. 10022 http://www.tamswitmark.com Theatre Communications Group, Inc., 355 Lexington Avenue, New York, NY 10017 http://www.tcg.org USA Plays for Kids, Drury University, 900 North Benton Avenue, Springfield, MO 65802, http://www.usaplays4kids.drury.edu

OTHER

Bob Kelly Cosmetics, 151 West 46th Street, New York, NY 10036 Combat Video, 322 Northwest 175th, Seattle, WA 98177 DVC, Inc., P. O. Box 40227, Indianapolis, IN 46240 Films for the Humanities, P. O. Box 2053, Princeton, NJ 98543 Insight Media, 121 West 85th Street, New York, NY 10024 Metropolitan Opera Guild, "Creating Original Opera," 212-769-7023, David Dik, Program Director Osesen Company, 1535 Ivar Avenue, Hollywood, CA 92024

Theatre 117 2003 Mississippi Visual and Performing Arts Framework

THEATRE GLOSSARY

an act – A section of a play, like the chapter of a book. acting – Creating characters, see characterization. aesthetics – Branch of philosophy dealing with beauty, especially as it is known through the arts and literature; A personal reaction of drama based on a scale of beautiful to ugly. allegory – A symbolic story in which everything represents something else (e.g., Everyman). arena stage – A stage surrounded by the audience on all sides, like a stadium for a sports event; also sometimes called “theatre in the round.” articulate – To express one's self clearly and distinctly. aside – A line or lines spoken directly to the audience, presuming other characters on stage cannot hear. audition – Tryout for a role in a play. auditory/aural – Of or relating to the ear; hearing. blocking – Creative process of deciding on all stage movement. body language – Communicating through body posture and gestures without the use of words. business (stage) – Small hand movements and actions performed by actors on stage. casting – Choosing of actors for roles in a play. character – A person, animal, or being in a story, scene, or play. characterization – The creation of believable persona on stage. climax – The point of highest dramatic tension, or a major turning point in the action. collaboration – The act of working together in a joint intellectual effort. commedia dell’arte – A professional form of theatrical improvisation developed in Italy in the 1500’s featuring stock characters and standardized plots. communication – Verbal or non-verbal interaction between persons to share meaning. conflict – A struggle between opposing forces.

Theatre 118 2003 Mississippi Visual and Performing Arts Framework conventions – Special or traditional ways of doing things in theatre. creativity – A way of thinking, acting, or making something that is original for the individual and valued by that person or others; using the imagination. critique – An evaluation of a theatrical piece based on standards for good drama. costume – Actor's clothing worn on stage. costume morgue – An illustrated collection of clothing and accessories. cue sheet/flow chart – A chronological tabulation of entrances of actors, changes in lights, sound effects, props, etc., during the production of a play. denouement – The final resolution of the conflict in a plot. dialog/dialogue – Lines of a play spoken by characters. director – Person in charge of shaping all aspects of a production into a finished product. drama/play – Literary composition performed on stage. drama/theatre –The study of the art form through performance-based activities that include the study of theatre history, literature, acting techniques, stage craft, play writing, play production, theatre attendance, aesthetics, and criticism. dramatic/plot structure – The organization of a script or story line that includes exposition, rising action, climax, falling action, and denouement. duet – A scene involving two people. electronic media – Any medium that uses electrical current such as video, radio dramas, television production, animation, computer, etc. elements of drama – Plot, character, theme, dialogue, music, and spectacle. empathy – To experience vicariously the sensual and emotional state of another person. energy – The enthusiasm that gives life to a performance. ensemble – The harmonious workings of many artists to complete a theatrical performance. environment – The visual, auditory/kinesthetic elements of a production. exposition – Detailed information revealing the facts of the plot. external characteristics – The physical traits and appearance of a character; those things that an audience sees.

Theatre 119 2003 Mississippi Visual and Performing Arts Framework

Five “W’s” – Who? (establish characters), What? (create a plot), Where? (decide on a setting), When? (choose a time period), and Why? (motivate the characters’ actions). form – The overall structure or shape of a work that frequently follows an established design. formal drama – Those activities designed to be presented to an audience. full-length play – A literary composition in 2, 3, 4, or 5 acts. genre – Literally “kind” or “type.” house management – The individuals who oversee ticket sales, ushers, and audience comfort. improvisation/improv – Impromptu portrayal of character or a scene without rehearsal or preparation. inflection – Highs and lows of the human voice, the rising and falling of speech patterns. informal drama – Activities not designed for presentation to a paying audience. internal characteristics – Establishing how a character thinks and feels; the personality of a character. interpretation – The art of determining the meaning.

Kabuki – A traditional form of Japanese theatre. kinesthetic – Use of body language to communicate. level – The height of an actor’s head as determined by his/her body position (e.g., sitting, lying, standing, or elevated by artificial means). lighting – Illumination of the stage with special lighting equipment. live theatre – Any performance before an audience in a theatre setting rather than a video of the production. magic if – Stanislavsky’s method, acting using the emotional approach. makeup – Material applied to an actor's face or body to enhance or change the appearance of the face or body. makeup morgue – An illustrated collection of facial expressions and body design. metaphor – A type of figurative language that describes one thing in terms of another (e.g., “Apollo’s fiery chariot” meaning the sun). monologue – Speech given by a single character.

Theatre 120 2003 Mississippi Visual and Performing Arts Framework montage – A collection of diverse elements (e.g., scenes, skits, etc.). mood – The feeling a work of art gives. motivation – The reason behind a character's behavior, the "why"? multicultural – Composed of many different cultures or nationalities. musical – A script in which the characters' thoughts and emotions are sung or scored by music. new art forms – The novel combination of traditional arts and materials, emerging technology (e.g., performance art, videodisks, virtual reality). non-verbal communication – Communication without words, using facial expressions, gestures, and body language. non-Western theatre – Theatre not originated in Europe or the United States, such as theatre created and developed in Africa or Asia. objective – A character’s goals or intentions. one-act play – Literary composition in one act. oral expression – The ability to communicate with words. pantomime – Acting without words, using only body language to convey a message or story. performance space – Anywhere that actors produce a performance. plot – The structure of the action of the play. portfolio – A collection of audition pieces, scenes, resumé, and photos of an actor. presentational – Style of performance delivered directly to the audience. props (properties) – Stage properties (e.g., set furnishings, and any items used by the actors). proscenium – The arch that frames the traditional stage; also the type of stage that the audience faces on one side only. puppetry – The animation of objects, ranging from hands and paper bags to dolls, enacting characters in dramatic situations. readers’ theatre – A performance created by actors reading a script rather than working from memory. rehearsal – Period of time used to prepare a play presentation.

Theatre 121 2003 Mississippi Visual and Performing Arts Framework representational – Performing a play where actors give the illusion that the audience is watching a representation of life. role – A character in a play or scene. rubric – Assessment instrument used for evaluation that includes criteria and scored levels of performance. script – Written text of a play. script development – Creating a text that includes the elements of drama. scene – Small segment of a play within an act of a play. scenery/set – Physical environment for a play that is built on the stage. soliloquy – A speech by a single character on stage speaking his/her thoughts aloud. spectacle – All that is seen or heard on stage such as lights, sound, set, props, costume, and makeup. stage directions – Instructions given in the script relating to movement and stage business. style – The way a play is written, acted, or produced. subtext – The underlying meaning behind the word or phrase used as a reason/motivation for movement and interpretation. tableau – A silent and motionless depiction of a scene created by actors, often from a picture. The plural is tableaux. technical theatre – Aspects of theatre connected with lighting, sound, scenery, costumes, etc. technique acting – Tyrone Gutherie’s school of acting, using the rules of acting as the guideline. tempo – The pacing (speed) of an entire speech or theatrical performance. theatre heritage – Theatre history. theatre management – The administrative aspects of theatre (e.g., hall rental, publicity, audience developments, ticket sales). theatre production – Staging of a play for an audience. theme – The central thought, idea, or significance of action with which the story or play deals. thrust stage – A narrow stage that juts out into the audience. The audience surrounds the stage on three sides, in the shape of a horseshoe.

Theatre 122 2003 Mississippi Visual and Performing Arts Framework verbal – That which is spoken. vocal characteristics – The traits of one's voice.

Theatre 123 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS

“Behind the daily storm of conflict and crisis, the artist continues the quiet work of the centuries, building bridges of experience between peoples, reminding man of the universality of his feelings, desires, and despairs, reminding him that the forces that unite are deeper than those that divide.”

- John F. Kennedy

Visual Arts 1 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS

TABLE OF CONTENTS

Introduction…………………………………………………………………………………4

Benchmarks………………………………………………………………………………...5

Grades K-4 Introduction ...... 10

Kindergarten...... 11

First Grade ...... 18

Second Grade ...... 24

Third Grade ...... 30

Fourth Grade ...... 37

Middle School Introduction ...... 45

Middle School Level I ...... 47

Middle School Level II ...... 54

Middle School Level III ...... 60

Middle School Level IV...... 67

High School Introduction ...... 73

High School Level I...... 80

High School Level II...... 88

High School Level III...... 96

High School Level IV…………………………………………………………………….105

Ceramics I………………………………………………………………………………...115

Ceramics II………………………………………………………………………………..121

Drawing I……………………………………………………………………………...…..128

Visual Arts 2 2003 Mississippi Visual and Performing Arts Framework

Drawing II…………………………………………………………………………………135

Painting I………………………………………………………………………………….140

Painting II…………………………………………………………………………………145

Photography……………………………………………………………………………...152

Literature Connections…….…………………………………………………………….158

Technology Connections………………………………………………………………..178

Resources………………………………………………………………………………..183

Glossary…………………………………………………………………………………..188

Visual Arts 3 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS INTRODUCTION

“The visual arts are extremely rich,” and have documented human expression across cultures, times, and places. “They range from drawing, painting, sculpture, and design to architecture, film, video, and folk arts.” Involving, “a variety of tools, techniques, and processes,” students engage their minds and hands in the exploration of the visual world. In an increasingly complex, technological world, study in the visual arts helps students develop visual literacy skills for use in decoding, analysis, and evaluation throughout their lives. When students are provided opportunities through the implementation of a qualitative and sequential curriculum based on this framework, the visual arts provide for meaningful self-expression of all students. In addition to involving students intellectually, personally, and emotionally, the knowledge of the content learned assists students in developing skills that will transfer to other disciplines and life situations. The competencies integrate production, problem solving, aesthetics, art history, criticism, and career opportunities in the visual arts. Although formulated for visual arts specialists, these competencies, objectives, and assessments combine with those of other subject areas in the curriculum. Visual arts educators will use this rich array of content to design curriculum to enable students to meet these standards at different grade levels. To reach the expected levels of learning, “students must learn vocabularies and concepts associated with various types of work in the visual arts and must exhibit their competence at various levels in visual, oral, and written form."1 From kindergarten through the early grades, children experiment and learn to make choices that enhance the communication of their creative ideas. "Through examination of their own work and that of other people, times, and places, students learn to unravel the essence of artwork and to appraise its purpose and value." In the middle levels, students are expected "to apply the knowledge and skills in the visual arts to their widening personal worlds. . . As they consider examples of visual art works within historical contexts, students gain a deeper appreciation of their own values, of the values of other people, and the connection of the visual arts to universal human needs, values, and beliefs." In grades nine through twelve, students create more complex and profound works of visual art that reflect the maturation of their creative and problem-solving skills. "Although visual arts classes involve varied tools, techniques, and processes, students must understand the interplay of different media, styles, forms, techniques, and processes in the creation of their own work." Students recognize that the visual arts have intrinsic worth and are fundamental in the lives of all educated persons.

1 Ideas and selected quotations in this introduction are from the National Standards For Arts Education: What Every Young American Should Know and Be Able to Do in the Arts, pages 33, 49, and 69.

Visual Arts 4 2003 Visual and Performing Arts Framework

VISUAL ARTS BENCHMARKS

Goal 1: Students will communicate ideas and feelings by creating and performing works of art through the visual arts. Content Strand: Creating/Performing (CP)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

By the end of Grade 4, students will: By the end of Grade 8 (Middle Level By the end of one year of study (High By the end of four years of study, IV), students will: School Level I),* proficient students advanced students will: will:

Know fundamental skills in using a Know and use fundamental skills Apply proficient skills in the selection Demonstrate accomplished skills in variety of media, techniques, and related to media, techniques, and and use of various media, techniques, the selection and use of various processes to produce and study works processes to create and study works and processes to create and study media, techniques and processes to of art of art works of art create and study works of art

Know how to apply the elements and Apply with increasing skill and Understand how the use of the Understand how to effectively use the principles of design through media, understanding the elements and elements and principles of design elements and principles of design and techniques, and processes to principles of design in creating works applied through media, techniques, media, techniques, and processes to communicate ideas, actions, and of art that communicate feelings, and processes relate to communicate intended meaning emotions ideas, and experiences communication of meaning

Know that use of various media, Apply knowledge of how the use of Understand how media, techniques, Understand how to select specific techniques, and processes results in various media, techniques, and and processes create effects that media, techniques, and processes to different effects in works of art processes results in different effects in evoke a range of responses create particular effects that evoke works of art intended response

*the equivalent of 1 Carnegie Unit Visual Arts 5 2003 Visual and Performing Arts Framework

VISUAL ARTS BENCHMARKS

Goal 2: Students will respond to, describe, analyze, interpret, and evaluate the complex characteristics of the visual arts. Content Strand: Critical Analysis (CA)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

Develop perceptual skills and use Develop perceptual skills and use Use perceptual skills and apply Synthesize perceptual abilities with visual arts vocabulary while creating increased visual arts vocabulary to expanded visual arts vocabulary to fully developed visual arts vocabulary and studying works of art make judgments while creating and inform judgements while creating and to informed judgements while creating studying works of art studying works of art and studying works of art

Recognize critical processes Understand that there are various Know various theories of critical Understand a range of ways to (response, description, analysis, critical processes for examining the analysis for studying the critique works of art and design interpretation, and evaluation) used characteristics of works of art and characteristics of works of art and through reading, writing, and speaking for the examination of works of art and design through reading, writing, and design through reading, writing and design through reading, writing, and speaking speaking speaking

*the equivalent of 1 Carnegie Unit Visual Arts 6 2003 Visual and Performing Arts Framework

VISUAL ARTS BENCHMARKS

Goal 3: Students will understand the roles and functions of artists and visual arts in cultures, times, and places. Content Strand: History/Culture (HC)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

Recognize roles, functions, and Understand that roles, functions, and Know that context is a factor in Understand the impact of context on purposes of artists, works of art and purposes of artists, works of art and determining roles, functions and roles, functions, and purposes of the visual arts careers in cultures, times, visual arts careers vary across purposes of the visual arts across visual arts across cultures, times, and and places cultures, times, and places cultures, times, and places places

Recognize subject matter, symbols, Recognize subject matter, themes, Know universal themes, concepts, Understand how universal themes, and forms in works of art and design and forms that recur in works of art forms, and functions that recur in concepts, forms, and functions may across cultures, times, and places and design across cultures, times, and works of art and design across be interpreted differently in works of places cultures, times, and places art and design across cultures, times, and places

Know that the characteristics of works Know that factors of culture, time, and Understand how factors of culture, Understand the impact of culture, of art and design differ in relation to place affect the characteristics of time, and place affect the time, and place on the characteristics cultures, time, and place works of art and design characteristics of works of art and of works of art and design design

*the equivalent of 1 Carnegie Unit Visual Arts 7 2003 Visual and Performing Arts Framework

VISUAL ARTS BENCHMARKS

Goal 4: Students will perceive, understand, and appreciate the diverse meanings and value of the visual arts. Content Strand: Aesthetics (A)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

Know that there are different answers Understand different concepts about Know different theories of aesthetics Understand different theories and to the question, “What is art?” what constitutes art philosophies of aesthetics as applied to art forms

Know that people respect, value, and Understand that multiple factors affect Understand how contextual factors Understand the complexities of derive meaning from art differently how people respect, value, and derive affect how people respect, value, and contextual factors and their dynamic meaning from art derive meaning from art interrelationships with perceived or communicated meaning in works of art

*the equivalent of 1 Carnegie Unit Visual Arts 8 2003 Visual and Performing Arts Framework

VISUAL ARTS BENCHMARKS

Goal 5: Students will make valid connections among the arts, others subject areas, and everyday life. Content Strand: Connections (C)

BENCHMARKS

Grades K-4 Grades 5-8 Grades 9-12, Proficient Grades 9-12, Advanced

Recognize that visual arts concepts Recognize how the meaningful Understand that the meaningful Recognize how the meaningful and skills are integrated with integration of visual arts concepts and integration of visual arts concepts and integration of visual arts concepts and knowledge in other subject areas for skills with knowledge in other subject skills with knowledge in other subject skills with knowledge in other subject use in everyday life areas provides essential tools for areas provides essential tools for areas builds a strong foundation for everyday life everyday life the pursuit of professional careers

Recognize ways that major concepts, Understand ways that major concepts, Understand how common concepts, Understand how common concepts, technologies, media, and processes of technologies, media, and processes of technologies, media, and processes of technologies, media, and processes of the visual arts relate to those in other the visual arts relate to those in other the visual arts relate to those in other the visual arts, and those in other subject areas – within and outside the subject areas – within and outside the subject areas – within and outside the subject areas – within and outside the arts arts arts arts, are prerequisite tools for pursuing professional arts-related careers

*the equivalent of 1 Carnegie Unit Visual Arts 9 2003 Visual and Performing Arts Framework

VISUAL ARTS

ELEMENTARY INTRODUCTION (Kindergarten through Fourth Grade)

Designed for Kindergarten through Fourth Grade, these competencies “provide a framework for helping students learn the characteristics of the visual arts by using a wide range of subject matter, symbols, meaningful images, and visual expressions, to reflect their ideas, feelings, and emotions; and to evaluate the merits of their efforts. [These competencies] promote acquisition of and fluency in new ways of thinking, working, communicating, reasoning, and investigating. They emphasize student acquisition of the most important and enduring ideas, concepts, issues, dilemmas, and knowledge offered by the visual arts. They develop new techniques, approaches, and habits for applying knowledge and skills in the visual arts to the world beyond school.” “The visual arts are extremely rich and range from drawing, painting, sculpture, and design, to architecture, film, video, and folk arts. They involve a wide variety of tools, techniques, and processes. [They] are structured to recognize that many elements from this broad array can be used to accomplish specific educational objectives. For example, drawing can be used as the basis for creative activity, historical and cultural investigation, or analysis, as can any other fields within the visual arts.” To achieve these competencies, “students must learn vocabularies and concepts associated with various types of work in the visual arts and must exhibit their competence at various levels in visual, oral, and written form. In Kindergarten-Grade 4, young children experiment enthusiastically with art materials and investigate the ideas presented to them through visual arts instruction. They exhibit a sense of joy and excitement as they make and share their artwork with others. Creation is at the heart of this instruction. Students learn to work with various tools, processes, and media. They learn to coordinate their hands and minds in explorations of the visual world. They learn to make choices that enhance communication of their ideas. Their natural inquisitiveness is promoted, and they learn the value of perseverance.” “As they move from kindergarten through the early grades, students develop skills of observation, and they learn to examine the objects and events of their lives. At the same time, they grow in their ability to describe, interpret, evaluate, and respond to work in the visual arts. Through examination of their own work and that of other people, times, and places, students learn to unravel the essence of artwork and to appraise its purpose and value. Through these efforts, students begin to understand the meaning and impact of the visual world in which they live.”

Source: National Standards for Arts Education: What Every young American Should Know and Be Able to Do in the Arts, 1994, p. 33

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VISUAL ARTS KINDERGARTEN

DESCRIPTION OF PROGRAM OF STUDY:

The Kindergarten program of study delineates what all students should know and be able to do at the end of Kindergarten. Through the study of visual arts, growth occurs in multiple domains—cognitive, physical, and socio-emotional—as students respond to life experiences through images, structures, and tactile works of art and design. Kindergartners will learn the language of the arts and how to interpret visual symbols. This program involves production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Kindergarten Visual Arts begins the K-12 sequence of knowledge, concepts, and skills to be learned in the visual arts. This program of study is to be used by the Visual Arts Specialist and or the Classroom Teacher in developing visual arts curriculum for kindergarten students in the following:

Elementary Visual Arts Arts Integrated in the Elementary Classroom

Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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VISUAL ARTS KINDERGARTEN

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Use a variety of basic materials and art media to produce works of art. (CP)

a. Begin to work cooperatively in producing works of art. b. Use art materials, equipment, and facilities in a safe and responsible manner. c. Select the appropriate tools and materials to produce a particular work of art. d. Demonstrate manipulative skills by performing a variety of tasks (e.g., cutting, gluing, arranging, constructing, sorting, tracing, rubbing, folding, bending, modeling, coloring, painting, drawing, scribbling). e. Experiment with different media (e.g., paint, clay, ink, crayons, finger-paint, chalk, markers, pencil). f. Create symbols for common objects (e.g., people, vegetation, houses, animals). g. Produce drawings to create original, meaningful images. h. Produce works of art that express a personal experience or feeling.

2. Apply color, line, shape, texture, and pattern in works of art to communicate ideas. (CP)

a. Name and find examples of primary colors (red, yellow, blue) in works of art and in the environment. b. Name and utilize basic shapes (circle, square, rectangle, triangle) in works of art and in the environment. c. Name and utilize different kinds of lines in works of art and in the environment. d. Create original works of art using different colors, shapes, and lines. e. Identify examples of texture and pattern in the environment, and begin to use them in artwork.

3. Know that different art media produce different effects. (CP)

a. Create works of art using a variety of different processes. b. Utilize different materials to obtain various effects.

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4. Recognize basic art vocabulary. (CA)

a. Utilize basic art vocabulary in describing student’s own work and others. b. Utilize basic art vocabulary in describing art materials and processes.

5. Respond to different works of art through oral description. (CA)

a. Describe feelings and moods evoked while observing works of art (e.g., sadness, anger, loneliness, happiness, fright, friendliness, excitement, peacefulness). b. Describe action in works of art (e.g. walking, running, falling, skipping, jumping).

6. Recognize the roles of artists in the community. (HC)

a. Recognize artists and art forms produced in family and community. b. Recognize that artists create art as a profession and/or a hobby.

7. Recognize subject matter found in works of art and design. (HC, CA)

a. Recognize symbols often found in works of art (e.g., cross, crown, star, logos, flags). b. Recognize similar subject matter in works of art (e.g., people, buildings, animals, plants).

8. Recognize that environments affect art. (HC)

a. Recognize that works of art are created in different places. b. Identify differences among works of art and recognize that sometimes art is different based on where it is made.

9. Recognize art objects. (A) a. Identify differences between art and everyday objects. b. Know that people all over the world and all through time have made art. c. Know that different people have different ideas about what art is.

10. Recognize that people value art. (A) a. Know that works of art evoke a variety of different feelings. b. Know that people have different opinions about art.

11. Recognize that the visual arts are a part of everyday life. (C)

a. Identify examples and uses of art and design in the classroom, school, and home. b. Identify and name, images, and symbols used in communication, family traditions, and celebrations.

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12. Recognize that the visual arts relate to other art disciplines. (C)

a. Identify one connection between the visual arts and another subject area in school. b. Identify one connection between the visual arts and another arts discipline.

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Visual Arts, Kindergarten

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,g Students discuss ways they look alike and ways Teacher observation of they look different from their friends. Each student student ability to work draws or paints a self-portrait. Students discuss cooperatively appropriate behavior for working together on a group project, then mount the self-portraits on craft paper to create a class quilt or a mural.

2 a Students experiment with color mixing during finger- Fixed response painting activities. Students discuss how all the Checklist colors around us are made from the three primary colors. Students create new colors by mixing two of the primary colors. Students describe how they made the colors, name the colors they mixed and new colors that resulted. Students experiment with mixing other colors to see what happens.

2 b Students identify shapes cut from construction Teacher observation of paper. From given shapes, students match to student ability to arrange shapes in the classroom and to displayed art neatly and follow directions reproductions. After the shapes are found, students draw a number of shapes on construction paper and cut or tear them out, arranging the shapes on a large sheet of paper to create a collage. When the arrangement is pleasing, students use glue to secure the shapes. When the glue is dry, use markers, pencil, sequins, found objects, etc. to embellish the work. Students give the work of art a title.

3 a Following teacher explanation that art materials are Teacher observation to used to create artwork and the processes are the evaluate understanding way materials are used. Students view art prints of drawings, paintings, sculpture, mobiles, collages, weavings, etc. by various artists. Students analyze art materials, identify and describe processes used. Students create original art using some of the materials and processes studied.

4 a,b From reproductions of works of art, students answer Checklist – Student ability to the questions: What colors do you see? What understand color, shape, shapes do you see? Do you see more than one of and line as used in art the same shape? What kinds of lines does the artist use? Do you see texture? Does the artist use the same shape to paint different objects? Students point out other things they see, then create original artwork using those elements.

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Visual Arts, Kindergarten

5 a After viewing examples of artwork, students discuss Checklist—Student ability to how the art makes them feel or what it makes them tell what emotion is being think of. Discuss the effect of color on mood. From expressed in artworks they music that is playful and cheerful in character, display and ability to express students paint the way the music makes them feel. feeling in work

b From action pictures, students look at the ways Student ability to understand artists create movement. Students answer body parts and create, questions about movement. (How are different recognize a figure in action parts of the body used when we walk, run, hop, and skip?) Students assume poses of different activities they enjoy, then draw each other on large paper.

6 a, b, c Students answer questions: How do artists help our Open response and listening community? Students identify ways that artists respectfully to others make our communities better places. Students communicating their ideas discuss why this is important to our lives.

7 a Students look for symbols used in artworks, and Students ability to recognize discuss the symbols and what they mean, why symbols and understand sometimes symbols are used instead of words. symbols as a form of From examples of Native American artwork that communication uses symbols, students discuss how they can develop their own symbols. Students create symbols and explain meaning.

8 b Students are provided with art work from various Student ability to locate places and cultures. After researching information place of origin of various art about the prints, students label the place of origin on works a world map.

9 a Different types of artists are invited to visit the Teacher observation of classroom with examples of their work. Students student listening skills discuss the questions they would like to ask the artist. After the visit, students make art inspired by the ideas they discussed with the artist. Video the classroom visit.

10 a, b Place students in groups of three. Each student Peer evaluation displays one of his/her own works of art. The other students identify and tell about their favorite thing in the work of art. Students explain the importance of respecting the artwork of others, even when it is different. Students explain why it is important to make original, individual works of art.

11 a Students find pictures in magazines of familiar logos Open response used by businesses. Students tell where they have Student ability to use seen the logos. Students tell why they think the vocabulary of elements in logos were designed to look as they do. Students giving examples create a logo for themselves, school, or family.

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Visual Arts, Kindergarten

Students look around the classroom or walk around the school locating art and design used in everyday life.

12 a Students discuss how the visual arts relate to other Student ability to recognize areas of study, by giving examples (e.g., book, how art is important to other illustrations, building designs), and explaining how disciplines art is used to create those objects.

Visual Arts 17 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS FIRST GRADE

DESCRIPTION OF PROGRAM OF STUDY:

The First Grade program of study delineates what all students should know and be able to do at the end of First Grade. Through the study of visual arts, growth occurs in multiple domains—cognitive, physical, and socio-emotional—as students respond to life experiences through images, structures, and tactile works of art and design. First Graders will learn the language of the arts and how to interpret visual symbols. This program involves production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. First Grade Visual Arts builds on the knowledge, concepts, and skills developed in Kindergarten. This program of study is to be used by the Visual Arts Specialist and or the Classroom Teacher in developing visual arts curriculum for first grade students in the following:

Elementary Visual Arts Arts Integrated in the Elementary Classroom

Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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VISUAL ARTS FIRST GRADE

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Develop fundamental skills in using art media and processes to produce works of art. (CP)

a. Practice cooperative skills while creating works of art. b. Use art materials and tools in a safe and responsible manner. c. Select the appropriate tools and materials to produce a particular work of art. d. Demonstrate manipulative skills by performing a variety of tasks (e.g., cutting, gluing, arranging, constructing, sorting, tracing, rubbing, folding, bending, modeling, coloring, painting, drawing, scribbling, blending, stitching, wrapping, tearing, weaving). e. Use various media (e.g., paint, clay, ink, crayons, finger-paint, chalk, markers, pencil) to express different emotions in a work of art. f. Combine recognizable symbols for common objects (e.g., people, vegetation, houses, animals) to create an original expressive work of art. g. Produce drawings to create recognizable and expressive images. h. Know and apply media, tools, techniques, and forming processes (e.g., coil clay, produce a monoprint, mix primary colors to make secondary colors) to create an expressive work of art.

2. Apply color, line, shape, texture, balance, and pattern in works of art to communicate ideas. (CP)

a. Identify and name examples of primary colors and secondary colors in works of art and in the environment. b. Associate foreground, background, and middleground with a work of art. c. Identify examples of color, line, shape, balance, texture and pattern in works of art and design as well as in the environment. d. Create original works of art using color, line, shape, balance, texture and pattern.

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3. Recognize the different effects obtained by using basic art media and processes. (CP)

a. Name the materials and processes that are used to create works of art. b. Select appropriate processes to produce a particular work of art.

4. Understand and use basic art vocabulary. (CA)

a. Utilize art terms in speaking and writing to describe their own art work and work of others. b. Utilize art terms in speaking and writing to describe materials and processes.

5. Know that different works of art that evoke various descriptions and responses.(CA)

a. Know that works of art depict certain feelings. b. Understand and respond to how an artist may have chosen to depict certain feelings. c. Describe how the student’s own work depicts certain feelings.

6. Recognize that art varies throughout cultures, times, and places. (HC)

a. Demonstrate ability to select from a display of artwork, those works from the same culture. b. Recognize that artwork can reflect the influence of its culture of origin.

7. Know that similar subject matter is found in works of art and design. (HC, CP, CA)

a. Identify examples of similar subject matter in works of art. b. Create artwork using subject matter from examples of art and design.

8. Know characteristics that identify works of art from a particular place. (HC)

a. Identify differences in artwork from various places. b. Identify similarities in artwork from various places.

9. Recognize art in various forms. (A) a. Know that forms can be similar or different according to the materials used. b. Know that forms can be similar or different according to the purposes intended.

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10. Recognize differences in how people value art. (A)

a. Know how to communicate likes and dislikes concerning works of art. b. Understand the importance of showing respect for own work as well as the work of others. c. Know some places where artwork is displayed.

11. Recognize ways the visual arts are used as a part of everyday life. (C)

a. Identify examples and uses of visual arts in the school, home, and community. b. Identify and name visual images used in daily life. c. Identify various roles of artists (e.g., architect, sculptor, painter, graphic designer) in the community. d. Know how the work of various types of artists is different.

12. Recognize ways the visual arts relate to other disciplines. (C)

a. Recognize that the visual arts are used in other subject areas. b. Recognize that the visual arts are used in other arts disciplines.

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Visual Arts, First Grade

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a,d,e After viewing examples of collage murals by Henri Teacher observation of Matisse, students produce a class collage by student ability to cutting or tearing colored paper, then arranging the cooperate, use different shapes on large paper to create a mural. Students manipulative skills, and may add other media, such as, crayon, markers, or different media paint.

2 a From an overhead projector on a screen or white Teacher observation of wall students project the following: In a clear glass student understanding of container or on a transparency, students create color primary colors using water based paint. They add drops of water to create movement. Students take turns dropping the colors. After each mixture, the liquid is blotted with a white paper towel.

3 b From a display of scissors, colored paper, paint, Checklist – Student ability brushes, markers, crayons, scrap materials, glue, to understand art clay, etc., students select tools and materials to processes produce a work of art. Discuss the different effects obtained by different art materials.

4 a From a list of art terms that students know and use, Checklist – Student ability appropriate terms are added and defined. Students to use appropriate discuss the terms and view examples of terms. vocabulary to describe Students use art terms to describe their own artwork artwork – Check student or the artwork of a famous artist. Students create a artwork for reflection of work of art using the media and processes studied. chosen concept

5 a,c Students create a work of art that expresses a Open response – certain feeling. After students complete the artwork, Compare student plans to they discuss how each work of art makes them feel students’ responses to and why. It is explained that color can be used to work convey feelings and emotions. Read My Many Colored Days by Dr. Seuss. Students discuss feelings and how visual elements and principles affect feelings. Students choose what they want to express through an artwork and what element or principle will do that.

6 a From a display of artwork from a particular culture, Observation of student time, or place, using prints or museum visit, ability to recognize similar students create a work of art that has a similar idea artworks from the same to one they see for their own purposes (e.g., pottery culture, times, or place for an everyday use, quilt to record memories).

7 a From magazines, catalogs, and newspapers, Teacher evaluation of students find advertisements that use the same student ability to identify theme in a different way. Students make individual similar subject matter from collages using the pictures. advertisements

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Visual Arts, First Grade

8 b After viewing pictures of totem poles made by Observation of student Native Americans, students make totem poles ability to identify representing events in their lives and family history. similarities in the totem Students think of ways they can represent their poles they make to the family history. Have them ask relatives about their ones used by Native history. Americans

9 a From examples of works by artists such as Mary Observation of student Cassatt, Claude Monet, Picasso, Jackson Pollock, ability to recognize Jacob Lawrence, van Gogh, etc., students discuss similarities and differences how the artwork is different and how it is similar. in the styles of artworks Students visit a museum exhibit. Discuss the works through discussion displayed.

10 a,b,c Each student displays one of his/her works of art. Teacher and peer The other students identify their favorite thing about evaluation – student ability the work of art and give reasons. Students then to recognize that people organize an art exhibit and invite guests to an value art differently opening.

11 a,b Students identify shapes and forms that enhance Open response – student the environment (e.g., shrubbery, flowers, shutters, ability to identify examples window boxes, trim). Students discuss and name of visual arts used in shapes and forms that communicate meaning in the everyday life community (e.g., safety signs, street signs, advertisements). Students discuss the importance of shapes and forms.

12 a After analyzing artwork by Vasarely or Escher, Evaluation of art – work students choose an image or symbol and repeat it student's ability to according to a number pattern studied in math. recognize how the visual arts relate to other subject areas

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VISUAL ARTS SECOND GRADE

DESCRIPTION OF PROGRAM OF STUDY:

The Second Grade program of study delineates what all students should know and be able to do at the end of Second Grade. Through the study of visual arts, growth occurs in multiple domains—cognitive, physical, and socio-emotional—as students respond to life experiences through images, structures, and tactile works of art and design. Second Graders will learn the language of the arts and how to interpret visual symbols. This program involves production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Second Grade Visual Arts builds on the knowledge, concepts, and skills developed in the First Grade. This program of study is to be used by the Visual Arts Specialist and or the Classroom Teacher in developing visual arts curriculum for second grade students in the following:

Elementary Visual Arts Arts Integrated in the Elementary Classroom

Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us

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VISUAL ARTS SECOND GRADE

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Begin to develop craftsmanship in a variety of additional media and processes to produce works of art. (CP)

a. Exhibit cooperative skills while creating works of art. b. Use art materials and tools in a safe and responsible manner. c. Know how to hold drawing and painting tools. d. Demonstrate manipulative skills by using a variety of media, techniques, and processes. e. Produce works of art using different media and processes to communicate feelings, ideas, experiences, and stories.

2. Demonstrate emerging understanding of the use of the elements of art and principles of design in works of art to communicate ideas and emotions. (CP)

a. Know how to mix primary colors to produce secondary colors. b. Identify foreground, background, and middleground in a work of art. c. Know how to overlap and position images on paper to show depth. d. Know how to combine line, color, shape, pattern, and texture to reflect a feeling or express a particular idea. e. Recognize dominant element of art in art work. (e.g. line, color, shape, pattern, texture) f. Name the basic three-dimensional forms and their corresponding shapes.

3. Identify different effects in works of art and the media, techniques, or processes used to achieve them. (CP)

a. Name the materials and processes that were used to create a work of art. b. Choose appropriate processes to produce a particular work of art. c. Know that certain colors are often used to represent emotional responses.

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4. Understand and use basic art vocabulary while creating works of art. (CA)

a. Apply correct art vocabulary in describing materials and processes used in student’s own artwork and the artwork of others. b. Utilize terms such as subject matter, color, line, shape, pattern, texture, and emotional response when discussing artwork.

5. Describe how different works of art evoke individual responses. (CA)

a. Identify art that tells stories and expresses ideas and feelings. b. Know ways that artwork and design communicate ideas, actions, and emotions. c. Use art terms when writing about personal artwork. d. When analyzing art, listen respectfully and restate the opinion of another. e. Understand that artwork can mean different things to different people.

6. Identify the contributions of artists in schools, homes, and communities. (HC)

a. Recognize roles of artists (e.g., folk, recreational, professional, technical) and how they impact the community. b. Identify ways the visual arts are used within the school environment. c. Identify various types of art found in the home and the community.

7. Recognize similar subject matter and symbols found in works of art and design in other cultures and places. (HC, CA)

a. Recognize that people from different places and times have made art for some of the same reasons (e.g. to tell about their culture, to tell stories, to document events, etc.) b. Know that similar subject matter and symbols can be found in works of art and design from different cultures and places.

8. Recognize that environment and/or culture affects the characteristics of works of art.

a. Know that art has been made by people from different places and cultures for different purposes. b. Know that materials and processes used in artwork can be characteristic of certain cultures or geographic locations.

9. Recognize differences in the way individuals respond to art. (A) a. Recognize that forms of art can communicate a variety of ideas, actions, and emotions to different people based on their knowledge, culture, experiences, etc. b. Recognize that art is defined differently by individuals.

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10. Understand that people may value art in different ways.

a. Articulate preferences in works of art. b. Exhibit respect for own work as well as the works of others.

11. Understand that visual arts concepts and skills are represented in areas of everyday life. (C)

a. Know that some art is created to be functional. b. Know that art is a part of everyday life. c. Know that one can have a career in art. d. Recognize that artists come from different backgrounds, cultures, educational experiences, etc.

12. Relate visual arts concepts and skills to the arts and other disciplines. (C)

a. Know that visual arts, music, dance, and theatre are present in the school, home, and community. b. Recognize the differences and similarities among the arts disciplines.

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Visual Arts, Second Grade

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 d After viewing demonstrations on how to cut, curl, Observation of ability to and fold paper to make interesting shapes, students cut 3 out of 4 create a collage by cutting various shapes and demonstrated shapes or colors of construction paper and folding, curling, or forms cutting them into interesting shapes and forms.

2 e Students tour the room and school finding different Open response textures and patterns (e.g., bricks, carpet, wallpaper, upholstery, fabric, sidewalks) then identify texture or pattern in selected artworks. Students create art using texture and/or pattern.

3 c Students discuss feelings evoked by certain colors Rubric, observation of and color combinations. Students then view some student discussion examples of paintings discussing how dominant colors and color combinations are used for different effects.

4 a Using works of art either by the student or master Fixed response – student artists, students select, name, and describe identification of directional directional lines within the composition (e.g., curved, lines diagonal, horizontal, vertical, zigzag) and meaning.

5 d After students complete a specific assignment on a Peer evaluation, student particular theme, they respond to all the artworks description of how ideas, assessing how well the theme was expressed in actions, and emotions are each. communicated using art vocabulary

6 c Students bring items from home that they consider Self-evaluation, open art. Discuss whether or not they are art works. response Determine what makes an object art, (e.g., quilts, woven baskets, handcrafted furniture).

7 a Introduce students to artifacts from various Native Self-evaluation, open American cultures in the Mississippi Region. response Students discuss the artwork of the Native Americans (e.g., beadwork, weaving, clothing, pottery, jewelry), and how personal items were embellished. Students embellish some of their personal items with their favorite colors and patterns.

8 a Students view prehistoric cave paintings, Stone Age Checklist — ability of cave paintings, and artworks picturing animals. student to know that art Students discuss the use of animal motifs in art has been made by throughout history (e.g., admired, revered, used as different people from symbols of power). Students make a crayon- different places for different purposes

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Visual Arts, Second Grade

resist of an animal they choose, drawing crayon images in the background and foreground, pressing hard to completely cover the colored area with crayon. Then paint the foreground, background, and animal with thin tempera or watercolor. Students then title their works.

9 a Show examples of paintings, photography, or Observation of student sculpture. Students discuss how each work makes discussion them feel, and how each communicates different emotions or sensations.

10 b After discussing how others' art work is valuable, Teacher observation of (although it might be different from their own), awareness of necessity for students describe how it might feel if others respectful behavior disrespect their work. Also students discuss how art towards others and their by Monet and van Gogh was not valued during their artwork time, but is now.

11 c Artists are invited to class to discuss their role in the Checklist: Student's use of community. Students illustrate a thank you card creativity and imagination with a note to the guest artist thanking him/her for in making card and sharing with the class and expressing ideas about expression of artists' the role of artists in the community. importance in the community

12 a Students view examples of dance, drama, music, Self-evaluation and ability and visual arts to students. Students identify each to be aware of differences example and tell where they have seen or among the arts and their experienced each. Students discuss differences relationship to other among the arts and similarities to other areas. subject areas

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VISUAL ARTS THIRD GRADE

DESCRIPTION OF PROGRAM OF STUDY:

The Third Grade program of study delineates what all students should know and be able to do at the end of Third Grade. Through the study of visual arts, growth occurs in multiple domains—cognitive, physical, and socio-emotional—as students respond to life experiences through images, structures, and tactile works of art and design. Second graders will learn the language of the arts and how to interpret visual symbols. This program involves production, critical analysis, history, and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Third Grade Visual Arts builds on the knowledge, concepts, and skills introduced in the second grade. This program of study is to be used by the Visual Arts Specialist and or the Classroom Teacher in developing visual arts curriculum for third grade students in the following:

Elementary Visual Arts Arts Integrated in the Elementary Classroom

Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us

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VISUAL ARTS THIRD GRADE

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Apply with increasing skills a variety of media, processes, and images to produce works of art that communicate ideas. (CP)

a. Utilize democratic process to select content, media, and methods while creating group projects. b. Use art materials and tools in a safe and responsible manner. c. Develop increased manipulative skills while cutting, gluing, folding, drawing, and painting. d. Increase understanding and use of unique properties and potential of media, materials, and technologies while producing works of art. e. Understand the importance of cleaning tools and work area. f. Know the importance of recycling, conserving, and sharing art materials.

2. Demonstrate an increasing understanding of the use of the elements and principles of design through media and processes to communicate ideas, actions, and emotions. (elements—color, line, shape and form, texture, value, space; principles—balance, repetition, unity, contrast, proportion, emphasis) (CP)

a. Know primary and secondary colors on the color wheel. b. Know how to create depth (e.g., overlapping and placement, size, detail, color) c. Know how to select line quality to match purpose or feeling. d. Demonstrate thoughtful, selective use of elements and principles of art to achieve a purpose. e. Know the difference between two-dimensional shapes and three-dimensional forms. f. Create symmetrically balanced compositions. g. Know how to use combinations of figures/objects to express ideas, experiences, stories, or feelings. h. Understand how to incorporate textures and patterns into artwork. i. Know how to use foreground, middleground, and background in a work of art.

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3. Know how to use various media, techniques, and processes to create different effects in works of art. (CP)

a. Demonstrate ability to choose techniques, media, and processes to achieve intended effect. b. Recognize various subjects, media, and techniques chosen by the artist in a specific work of art. c. Know which colors are used to evoke certain emotional responses (e.g., cool colors, warm colors).

4. Understand and use visual arts vocabulary to make judgments while creating and studying works of art. (CA)

a. Discuss artwork using art vocabulary, including names of artists, and styles of art. b. Discuss artwork in relation to design principles: balance, repetition, unity, contrast, proportion, and emphasis.

5. Describe how different works of art can be interpreted. (CA)

a. Know how to use reading, writing, and speaking skills to communicate interpretation of art. b. Know how to support an opinion about art with an example. c. Demonstrate ability to identify similar ideas represented in works of art.

6. Understand the importance of artists in different cultures, times, and places. (HC)

a. Identify the roles of artists from various cultures, times, and places. b. Identify the ways that artists contribute to the school environment. c. Recognize the effect of art in the home and the community. d. Know how artists affect the community in which they live (e.g., architects, commercial artists, muralists, industrial designers, landscape architects).

7. Know common subject matter, forms, and symbols found in works of art and design from other cultures, times, and places. (HC, CA)

a. Identify subject matter in works of art and design found in selected cultures, times, and places. b. Identify symbols in works of art and design found in selected cultures, times, and places. c. Identify forms in works of art and design found in selected cultures, times, and places.

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8. Understand that artwork reflects the time and culture in which it was created. (HC)

a. Recognize that life experiences influence the creation of works of art. b. Identify personal and cultural factors that influence an artist’s work. c. Explain how time periods in which works are created affect the characteristics of those works.

9. Know that there are different answers to the question: “What is art?” (A) a. Understand that there are individual perceptions of art. b. Recognize that various cultures define art differently. c. Understand there is more than one way to appreciate art.

10.Know how people respect and value art differently. (A)

a. Recognize that there are different responses to specific works of art. b. Exhibit respect for own work as well as the work of others. c. Know ways in which galleries and museums are different.

11.Recognize that visual arts concepts and skills are integrated in other subject areas for use in everyday life.

a. Identify ways that art, music, dance, and drama are used together in the community. b. Know examples of various careers that require art training.

12. Begin to understand ways that major concepts and technologies of the visual arts relate to those in the arts and other disciplines. (C)

a. Know similarities among all of the arts (i.e., music, dance, drama, visual arts), including vocabulary, concepts, and use of common themes. b. Know that math, language arts, social studies, and science share concepts with the visual arts (e.g., patterns in visual arts and math).

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Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 c After discussing the Fante people of Ghana, West Teacher observation of the 7 a Africa (or another selected culture), and the flags student’s ability to draw, made by them, students create a flag using colors cut, and glue and images that represent the values of the Fante people. Students cut out the flag from a large piece of felt and glue a felt border in a contrasting color. The selected image is cut and glued to the flag, along with additional decorations. (Colored paper could be substituted for felt.)

1 f After exploring the theme of recycling and its effect Rubric based on student on the environment, students create hand-made ability to recycle paper and books made of recycled paper about the importance to communicate the of recycling. importance of recycling materials

2 h After viewing a work of Picasso, students discuss Teacher checklist to rate use of line and pattern for texture and produce a the use of lines and self-portrait using a variety of materials. patterns to create texture.

2 i Students create a drawing of overlapping figures by Written response — outlining the body with a dark crayon. Students draw student ability to describe around the head, down for neck; out for shoulders; colors as being used in the down for the arms; around for the hands; straight foreground or background down to the edge of the paper; repeating so the of their artwork people are at different heights, overlapping the figures. When paper is full, students carefully select which figures will be in the foreground, middleground, and background; painting those figures in front a color; painting those in the middleground a color, made from the first color and an additional color; painting those in the background a different color.

3 b After a discussion of the characteristics of Teacher checklist — Impressionist paintings, students look at a variety of Student ability to identify famous art, including Impressionistic paintings. Impressionistic paintings Students then pick out the Impressionist paintings by recognizing techniques and justify their decisions. associated with Impressionism

3 c Students view works of van Gogh, discussing how Self-evaluation based on he used colors to express moods or feelings. ability to explain the use of Students explain that he put his paint on very thickly color to show emotion in a and used thick bold strokes that swirl, curl, and self-portrait spiral. After viewing his self-portrait, students discuss characteristics of the painting and create a self-portrait in the same rich style as van Gogh to

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Visual Arts, Third Grade

show how they feel as well as look. They can use a photograph of themselves or look at their face in a mirror as they draw. Poster paint is mixed with flour and glue to make it thick and shiny.

3 c Students view various artworks such as J.M.W. Teacher observation of Turner’s Sunset Rouen, Claude Monet’s Water student ability to associate Lilies, or Van Gogh’s The Night Café. Students colors with emotions discuss how colors in these works create a mood or feeling.

4 b After discussing the design principles of balance, Teacher checklist repetition, contrast, and emphasis, students make a evaluating student ability tissue paper collage on an animal they are studying. to describe their use of Draw the outline of the animal on white paper. Tear balance, repetition, tissue paper into thin strips. Glue these onto the contrast, and emphasis animal’s body. Cut out the animal and glue it onto sheet of colored paper. Create an environment for the animal with the tissue paper, overlapping shapes to show depth and blend colors. Students critique the works using appropriate vocabulary.

5 a On a day set aside for critiquing, a discussion of Peer evaluation based on acceptable critique practices, students volunteer to student ability to orally analyze and critique works of art for the class, communicate ideas, beginning with their own work. Emphasis is placed actions, and emotions in a on the importance of paying attention and work of art respecting the opinions and works of others.

a Students listen to reading of a favorite story, and Student journal — student view illustrations. Students then draw their favorite ability to communicate part of the story and write a short poem about the about artwork through story. Students act out different parts of the story. writing

6 a Students use the computer to research the different Rubric based on student roles artists play in the community (e.g., architect, ability to identify and video producer, package designer, fashion designer, describe an art-related fabric designer, landscape architect, sign painter, profession window decorator, and artist including folk artist). Teacher observation of 6 d Students discuss ways artists convey messages in student ability to describe our society (e.g., billboards, bus sides, TV, how the work of art affects magazine ads, packaging, paintings, sculptures, our daily lives quilts).

7 a,b Using hands-on activities, such as “Art Memo” or Checklist — ability of “Art Lotto” games, students recognize artwork student to recognize created with different styles and belonging to artwork from different different cultures. Students discuss how times are cultures and times reflected in the artworks. (Games can be made from pictures in art calendars.)

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Visual Arts, Third Grade

8 a From several examples of work by Georgia Use a Venn diagram to O’Keefe, such as Cow’s Skull, which represent her compare two works of art work in New Mexico and other works by O’Keefe, by Georgia O’Keefe, one such as her paintings of flowers. Students discuss that represents her work in how her experiences while living in New Mexico New Mexico and one that affected her work. does not.

9 a From various examples of fine art and crafts, and Teacher observation after discussing characteristics of both types, students choose which they consider to be art and which are crafts. Students list three characteristics of a craft and three of fine art.

10 a,c From an informal art show of student work, in Teacher observation and writing, students complete the following prompt: review of written work “The best thing about ______’s work is…“. indicating respectful Following a review of comments about each picture behavior towards others in class, it is emphasized that students must show and their artwork respect for their own work as well as the artwork of others. It is stressed that individuals respond to artwork differently, based on their personal experiences.

11 a Students discuss various ways that arts are used in Rubric based on student combination in the community, such as set and ability to incorporate costume design in plays; music, dance, and acting music, dance, art, and/or used in musical productions at community theatres acting into a performance and church productions. Small groups of students for the school community plan a short musical or puppet show for the class, using at least three major art forms.

12 a Following a review of the definitions for line, shape, Rubric based on student form, color, texture, value, space, balance, ability to communicate the repetition, contrast, and emphasis, students select relationship of terms and three words from the list and write about how each ideas found in art to those of them relates to terms found in either writing, found in other subject math, social studies, music, or science. Students areas share their responses with the class.

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VISUAL ARTS FOURTH GRADE

DESCRIPTION OF PROGRAM OF STUDY:

The Fourth Grade program of study delineates what all students should know and be able to do at the end of Fourth Grade. Through the study of visual arts, growth occurs in multiple domains—cognitive, physical, and socio-emotional—as students respond to life experiences through images, structures, and tactile works of art and design. Fourth graders will learn the language of the arts and how to interpret visual symbols. This program involves production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Fourth Grade Visual Arts builds on the knowledge, concepts, and skills introduced in the Third Grade. This program of study is to be used by the Visual Arts Specialist and or the Classroom Teacher in developing visual arts curriculum for fourth grade students in the following:

Elementary Visual Arts Arts Integrated in the Elementary Classroom

Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available online at the Mississippi Department of Education web site: http://www.mde.k12.ms.us

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VISUAL ARTS FOURTH GRADE

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Know the differences between a variety of media and processes and use them to create works of art that communicate ideas. (CP)

a. Demonstrate ability to fulfill responsibilities in a cooperative manner within a group with little guidance from the teacher. b. Know how to practice safety, recycling, and conservation in the use of tools, materials, and equipment while creating original works of art. c. Demonstrate increased manipulative skills by performing a variety of tasks (e.g., cutting, gluing, arranging, constructing, sorting, tracing, rubbing, folding, bending, modeling, coloring, painting, drawing, scribbling, stitching, wrapping, weaving, tearing). d. Know how to select media, tools, and techniques to communicate intended purpose and meaning.

2. Know how to use the elements of art and principles of design through media, techniques, and processes to communicate ideas, actions, and emotions. (Elements — color, line, shape and form, texture, value, space; Principles — balance, rhythm, repetition, unity, contrast, proportion, emphasis, and movement) (CP)

a. Know primary, secondary, and intermediate colors on the color wheel. b. Know ways to achieve emphasis in a work of art. c. Recognize that line quality can add meaning to work. d. Recognize the elements of art and principles of design in works of art (e.g., line, two-dimensional shape, three-dimensional form, color, texture, value, and space). e. Use symmetrical and asymmetrical balance in creating art. f. Select subject matter, symbols, and ideas to communicate meaning. g. Know the difference between tactile and visual textures. h. Know how to produce tints, shades, and tones.

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3. Know that the use of various media, techniques, and processes result in different effects in works of art. (CP)

a. Understand why certain colors are used to evoke emotional responses. b. Recognize and employ techniques used to create actual or implied texture (e.g., roughness or smoothness. c. Describe how different materials, techniques, and processes can be used to create different effects in works of art and apply to creation of art..

4. Develop perceptual skills and use visual arts vocabulary while creating and studying works of art. (CA)

a. Utilize art vocabulary (e.g., color, shape, line, texture, balance, contrast, repetition, emphasis, proportion, unity) to describe or critique media, techniques, and processes in the environment and daily activity. b. Develop observation skills through concentration and focus. c. Know the differences among visual characteristics and purposes of art in order to convey ideas.

5. Recognize critical processes in the examination of works of art and design. (CA)

a. Know how to use reading, writing, and speaking skills to communicate ideas, actions, and emotions in artwork with fluency. b. Recognize critical processes that are both knowledge-based and personal appraisals (e.g. objective and subjective). c. Justify opinions about the merit of a work of art and design.

6. Recognize roles, functions, and purposes of artists, works of art, and visual arts careers in cultures, times, and places. (HC)

a. Know that visual arts careers have changed over time and vary from culture to culture. b. Understand there are various purposes for creating works of visual art.

7. Recognize subject matter, themes, and forms that recur in works of art and design across cultures, times, and places. (HC, CA)

a. Select and use subject matter recurring in works of art and design across cultures, times, and places to communicate meaning. b. Select and use symbols recurring in works of art and design across cultures, times, and places to communicate meaning. c. Select and use forms recurring in works of art and design across cultures, times, and places to communicate meaning.

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8. Know that the characteristics of works of art and design differ in relation to culture, time, and place. (HC)

a. Know that there are differences and similarities among works of art and design from different cultures, times, and places. b. Recognize the content of artworks of the past and present, focusing on the different cultures and natural environment that have contributed to Mississippi’s history and art heritage. c. Analyze and describe how factors of time and place (such as climate, resources, ideas, and technology) influence visual characteristics that give meaning and value to a work of art. d. Describe how people’s experiences influence the development of specific artworks.

9. Know that there are different answers to the question: “What is art?” (A)

a. Compare multiple purposes for creating works of art. b. Know and describe ways that various cultures define art differently.

10. Know that people respect, value, and derive meaning from art differently. (A, CA)

a. Know that there are different responses to specific works of art. b. Know that artwork has different meanings for different people. c. Recognize that good artwork does not necessarily evoke positive responses from the viewer. d. Differentiate ways that works of art and design communicate ideas, actions, and emotions. e. Know and describe ways that various cultures value art differently. f. Exhibit respect for own work as well as the work of peers and other artists. g. Know similarities and differences among galleries, museums, and exhibits.

11. Recognize that visual arts concepts and skills are integrated with knowledge in other subject areas for use in everyday life. (C)

a. Understand ways that the visual arts are used as part of everyday life. b. Identify various art forms found in the school, home, and community and how they are used. c. Identify careers that require art training. d. Understand that art involves problem-solving skills.

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12. Recognize ways that major concepts, technologies, media, and processes of the visual arts are employed in arts and other disciplines. (C)

a. Know that various types of art (e.g., realistic, impressionistic, modernistic) relate to similar forms found in music and literature. b. Describe ways that math, language arts, social studies, history, science, and technology are related to the visual arts, (e.g., the process of creating in the arts as well as through inventions, discoveries, and the development of ideas). c. Understand how advances in art impact other areas (e.g., graphic design, movie industry, advertising, landscape design, etc.).

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Visual Arts, Fourth Grade

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1 a When working in groups, students will be assigned Peer and self-evaluation specific duties, (e.g., contact person to communicate with the teacher for the group, group leader, person to collect and pass out materials, clean-up supervisor) and assume responsibility for staying on task.

1 b Students will create a design incorporating at least Checklist: Use of three three recycled items. recycled items to create a design

2 b Using art prints, such as van Gogh’s Self Portrait Self evaluation – journal and Sunflowers, students analyze how emphasis entry about the was achieved (e.g., through color, line, and/or effectiveness of his/her texture). Students create a still life of flowers in a use of emphasis in the vase along with other objects on a table, using work of art strategies to emphasize the most important part of the picture.

2 e After a discussion of symmetry and the identification Teacher checklist – of symmetrical designs in the classroom, students student use of symmetry in begin a symmetrical design by folding a large piece artwork of drawing paper in half. Using a length of yarn that has been dipped in tempera paint, the students will form a design with the yarn on one half of the paper. The paper is then closed and the yarn is drawn out of the paper with one hand while pressure is placed on top of the paper with the other hand. Once the paper is reopened and the paint dries, the student will develop a picture that incorporates the painted symmetrical design.

2 h Students sketch an outdoor scene or landscape, Checklist: Student use of noticing the difference in color and value between color variation to show objects that are close and those that are far away. distance in at least two Crayons will be used to create a variety of shades different types of objects and tints of color to reflect the positions of the found in the picture objects.

3 b After collecting a variety of materials, such as lace, Teacher Checklist – ability leaves, toothpicks, and coins, students will arrange to create implied the objects on their paper and cover them with a roughness or texture in a second piece of paper, then create a rubbing by work of art coloring evenly across the entire surface with medium to dark colored crayons. The rubbings may be used as paper to cut and paste into a collage, or multi-media work.

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4 a After discussing the principles of art, students select Relevancy of applied media to create a self-portrait that reflects the media technique and artist’s personality. Students create the self-portrait, principle to communicate then write a description of their work, explaining personality type their choice of media, techniques, and use of one of the principles of art.

5 a Using a color advertisement from a magazine and a Venn Diagram giving at 6 b political cartoon from the newspaper, students use a least three examples in all Venn diagram to compare the purpose of the two three areas works of art, the techniques used, and the media. Students create their own advertisement, choosing wording, graphics, and visual and organizational components that maximize the effectiveness of the advertisement.

5 b After reviewing several art prints of portraits, Checklist: three facts and students select one to study. Students investigate three opinions about a and select three facts to share with the class about specific work of art the portrait as well as give three opinions about the work.

7 a From examples of mandalas (circular designs that Teacher evaluation of represent the universe) found in various cultures, ability to identify and such as Japanese, American Indian, and African. create a symbol that Students each select a different culture, research it, recurs in various cultures and design a new mandala representative of that culture.

8 b After studying the Choctaw Indians, or another Rubric based on the culture in Mississippi, students analyze how the design, selection of environment and the cultural traditions influenced materials, written the purpose of artworks and objects found in their description of the purpose culture, as well as the materials used to produce of the object, and the part them. Students gather materials from the natural it plays in their tradition environment of the school campus or from home and create an object to meet a specific purpose (e.g., bowl, musical instrument, or hair ornament), and explain how it could be part of a tradition.

9 a After a class discussion about what visual art is, Rubric based on student’s students work in small groups to brainstorm ten production of an art object examples of visual art found in the home and ten to meet a specific purpose, from the community. After writing each idea down including the on an index card, the class reviews the ideas on the appropriateness of design cards and categorizes them according to the and materials purpose of the art (e.g., to inform, entertain, organize). Students will select a category or purpose and draw/design an artwork or object to serve that same purpose.

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10 a Students discuss the definitions of art and how Teacher/peer journal entry different people determine what qualifies as art. evaluation Working in small groups as if potential buyers at an auction, student groups critique three different art prints. Students rate each print with a score from one to ten, with ten being the highest. Groups report and justify their scores. Students make journal entry recording an explanation for differences in opinion regarding the artwork

11 b Students ponder: “Is art an important part of your Rubric based on student life?” Students break into small groups. Students ability to list at least three divide chart paper into three columns and record all types of art found in the types of art that can be found in school, home, and school, home, and community, as well as the purpose of the art (e.g., community their purpose to inform, influence, entertain). Groups post their and effect charts and compare information. Students summarize in journals the effect of art on their school, home, and community.

12 a Students compare the use of light in impressionism Rubric based on the to light used in literature and music (e.g., light evidence of light used in reflections on the water of Monet’s garden scenes, the artwork and in the Debussy’s light, impressionistic music, and some poem or music haiku poetry). Students will create a light, impressionistic work of art and write a haiku poem or compose impressionistic music describing their work. Rubric based on effective b Students will design a tourism ad depicting one of use of media, technique, the regions of Mississippi. Students’ choice in and design to represent a media, design, and technique should reflect the region geographical nature of the region.

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VISUAL ARTS

MIDDLE SCHOOL INTRODUCTION

“Students in Grades 5-8 continue to need a framework that aids them in learning the characteristics of the visual arts by using a wide range of subject matter, symbols, meaningful images, and visual expressions. They grow ever more sophisticated in their need to use the visual arts to reflect their feelings and emotions and in their abilities to evaluate the merits of their efforts. These [competencies] provide that framework in a way that promotes the students' thinking, working, communicating, reasoning, and investigating skills and provides for their growing familiarity with the ideas, concepts, issues, dilemmas, and knowledge important in the visual arts. As students gain this knowledge and these skills, they increase in their ability to apply the knowledge and skills in the visual arts to their widening personal worlds. “These [competencies] present educational goals. It is the responsibility of practitioners to choose among the array of possibilities offered by the visual arts to accomplish specific educational objectives in specific circumstances. The visual arts offer the richness of drawing, painting, sculpture, and design; architecture, film, and video; and folk arts–all of these can be used to help students achieve the competencies. For example, students could create works in the medium of videotape, engage in historical and cultural investigations of the medium, and take part in analyzing works of art produced on videotape. The visual arts also involve varied tools, techniques, and processes–all of which can play a role in students' achieving the standards, as well. “To meet the [competencies], students must learn vocabularies and concepts associated with various types of work in the visual arts. As they develop increasing fluency in visual, oral, and written communication, they must exhibit their greater artistic competence through all of these avenues. “ In Grades 5-8, students' visual expressions become more individualistic and imaginative. The problem-solving activities inherent in art making help them develop cognitive, affective, and psychomotor skills. They select and transform ideas, discriminate, synthesize, and appraise, and they apply these skills to their expanding knowledge of the visual arts and to their own creative work. Students understand that making and responding to works of visual art are inextricably interwoven and that perception, analysis, and critical judgment are inherent to both. “Their own art making becomes infused with a variety of images and approaches. They learn that preferences of others may differ from their own. Students refine the questions that they ask in response to artworks. This leads them to an appreciation of multiple artistic solutions and interpretations. Study of historical and cultural contexts gives students insights into the role played by the visual arts in human achievement.

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“As they consider examples of visual art works within historical contexts, students gain a deeper appreciation of their own values, of the values of other people, and the connection of the visual arts to universal human needs, values, and beliefs. They understand that the art of a culture is influenced by aesthetic ideas as well as by social, political, economic, and other factors. Through these efforts, students develop an understanding of the meaning and import of the visual world in which they live.”

Source: National Standards for Arts Education: What Every young American Should Know and Be Able to Do in the Arts, 1994, p. 49

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VISUAL ARTS MIDDLE SCHOOL LEVEL I

DESCRIPTION OF PROGRAM OF STUDY:

The Middle Level I program of study delineates what all students should know and be able to do at the end of the first of four middle level programs of study. Through the study of visual arts, students respond to life experiences through images, structures, and tactile works of art and design. Students will continue to learn the language of the arts and how to interpret visual symbols. This program involves production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Middle Level I builds on the knowledge, concepts, and skills introduced in the First through Fourth Grades. This program of study is to be used by the Visual Arts Specialist and or the Classroom Teacher in developing visual arts curriculum for middle school level I students in the following:

Middle School Visual Arts Arts Integrated in the Middle School Classroom

Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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VISUAL ARTS MIDDLE LEVEL I

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (CA) Connections (C)

COMPETENCIES and Suggested Learning Objectives:

1. Describe and use fundamental skills related to media, techniques, and processes to create and study works of art. (CP)

a. Recognize and apply elements and principles of art and design in specific works of art. b. Practice safety and conservation in the use of tools, materials, and equipment. c. Identify and apply appropriate techniques for using specific tools. d. Work cooperatively with others.

2. Use basic skills to apply the elements and principles of design through media, techniques, and processes to communicate ideas, actions, and emotions. (CP)

a. Create a work of art that expresses a specific message. b. Articulate the use of design principles to communicate ideas. c. Identify and use symbols in own works and the work of others.

3. Increase knowledge and use of various media, techniques, and processes in creating different effects in works of art. (CP)

a. Demonstrate the ability to competently manipulate two-dimensional and three- dimensional media. b. Examine a variety of art works and identify materials, techniques, and processes used to create them. c. Plan and execute individual and group projects employing a variety of means to achieve different effects.

4. Develop perceptual skills and use increased visual arts vocabulary to make judgments while creating and studying works of art. (CA)

a. Use correct art vocabulary to study works of art through oral and written means. b. Reflect on the process of creating individual works of art. c. Analyze how form and media contribute to meaning in works of art.

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5. Recognize critical processes (response, description, analysis, interpretation, and evaluation) used in the examination of works of art and design through reading, writing, and speaking. (CA)

a. Identify effective use of form, media, and technique through oral and written analysis. b. Demonstrate beginning recognition of the difference between observing and studying a work of art. c. Identify and describe themes and subject matter commonly used in works of art. d. Contrast and compare the visual properties of works of art sharing common themes and subject matter.

6. Recognize roles, functions, and purposes of artists, works of art, and visual arts careers in cultures, times, and places. (HC, C)

a. Investigate the roles of artists in a variety of cultures and time periods. b. Compare and contrast roles of visual artists in historical cultures to artists in contemporary times. c. Become familiar with a variety of careers in visual arts.

7. Recognize similarities in subject matter, symbols, and forms in works of art and design across cultures, times, and places. (HC)

a. As a group, plan a series of images with a related theme or subject matter and discuss a variety of approaches. b. Contrast and compare artworks by a diverse selection of artists with related materials, themes, and subject matter. c. Compare and contrast similar themes and subjects in artworks from different eras, cultures, and artists.

8. Know that cultural traditions, historical periods, and aspects of place influence characteristics of works of art and design. (HC)

a. Compare similarities and differences in works of art between cultures, time periods, and geographic locales. b. Research a chosen historical period and artist. c. Know that there are different cultural or ethnic traditions for creating works of art.

9. Know factors that influence opinions about what constitutes art. (A)

a. Discuss factors that influence opinions. b. Identify a variety of beliefs about art held by groups of people and/or art experts.

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10. Understand the different ways people respect, value, and derive meaning from art. (A)

a. Identify a variety of ways that art can be valued. b. Identify individual perspectives on meaning in art. c. Understand the role of cultural traditions in the assignment of value and meaning in art.

11. Know how visual arts concepts and skills are integrated with knowledge in other subject areas for use in everyday life. (C)

a. Identify ways in which the arts are integrated in the environment and daily life. b. Speculate upon similarities and differences between ways that artists, scientists, and writers may view the world.

12. Know that major concepts, technologies, media, and processes of the visual arts relate to those in other subject areas within and outside the arts. (C)

a. Identify a variety of technologies related to art (e.g., the development of different kinds of paint, grounds, pottery techniques, equipment). b. Compare the historical evolution of art processes, media, and technologies with technological advances in other fields.

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Middle School Visual Arts, Level l

Comp. Obj. Suggested Suggested Teaching Strategies Assessment

1aStudents think about a particular work of art and Student portfolio brainstorm ideas and feelings evoked. Students Class critique select an idea or feeling, then choose a media that would best help them to express it. Students create a work of art, then title the work.

1bFollowing teacher demonstration of safe tool and Teacher prepared equipment use, students take turns demonstrating Performance-based key points of correct and safe usage. instrument

2 a, c Students identify a personal symbol in the form of Student portfolio an animal, then discuss why some people might see Class critique this as a desirable symbol and others might not. Each student chooses a personal symbol and creates a series of works showing different aspects of the symbol.

3 b, c Students write (or draw) the steps involved in the Log, journal, sketchbook process of creating a work of art from start to finish. Students compare effects created by different media.

4 a, c, Students create cards identifying each element and Teacher observation principle. Students work in groups to analyze and decide which elements and principles are the most important in specific works of art. Students match elements and principles cards to those works and justify their decisions.

4bStudents compare the works of artists such as John Discussion and teacher Biggers and Honore’ Daumier who use people as observation subjects in their artwork. Many of these works depict café scenes. Students have a "café talk" and share their findings with other "artists" at their table.

5 a,b,c,d, Students use a prescribed approach to art criticism Discussion and teacher (e.g., Feldman’s: [Describe, analyze, interpret, observation, journal entry evaluate], or Visual Thinking Strategies: ["What's happening here?" "What makes you say that?"]). Students write about conclusions.

6bStudents work as a class or in groups to discuss Rubric based on criteria their artwork. Panels of student judges, students for essay answer the questions: "What do I believe is happening?" " What idea, mood or feeling does it suggest?" "Is the artwork successful?" " Why or why not?" Students write essay on findings.

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Middle School Visual Arts, Level l

6 a, b Students write an imaginary letter to a friend as an Rubric based on criteria artist from a particular era would, telling someone for letter about the progress of an artwork.

7aGroup projects might be developed in several Self evaluation by group different ways: (1) Each student creates an original Teacher observation work based on a similar theme and assemble the works, (2) Each student creates one section of a larger work, or (3) Students work in small groups to design and execute a single piece of art such as a mural. Students assign tasks for each member and demonstrate their ability to make consensus decisions and work cooperatively as a group.

b After studying about several artists with Student portfolio recognizable styles, students use a simple template (animal, letter, logo) to draw a shape in which students recreate the "style" of one or more of the artists they have studied. Compare the work of the group and discuss differences in artistic "style" and how each student can develop his/her own style.

8 a, b, c Students compare and contrast the characteristics Journal entry of pottery from one culture to another, such as the Pueblo or Hopi of the American Southwest, Japanese, Chinese, Mycenaean, Ancient Greece and others. Students make a diary entry as though they were the maker of a particular piece of pottery in one of these cultures. 9 a,b,c Using a collection of objects (ties, shoes, baskets, Teacher observation cups, etc.), students rank objects according to how they might be valued (e.g., most colorful, most time to make, most sentimental, most useful).

10 a, b, Students choose a famous work of art that has lots Teacher observation of of information about the work from the artist and art record of chart, before and critics. Prior to sharing background information, after opinions to measure have students discuss and give their opinions about change of opinions the artwork. Then share the comments of the artist Discussion and art critics. Students, then share the opinions again. Keep a before and after chart to see if opinions change depending on how students understand the work.

c Students form groups to role-play the different Discussion and critique perspectives of people who might be selecting works of art for a community project (accountant, mayor, artist, etc.). Students work together to select a particular work of art from several examples and explain their choices.

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Middle School Visual Arts, Level l

11 a, b Students discuss the kinds of considerations that Rubric based on project affect design decisions. Students research some of criteria those considerations before coming up with a plan. Students execute the plan in an appropriate medium. Write about the process.

12 a, b Students research the history of a technology (e.g., Rubric based on teacher photography, oil paint, bronze, ceramics, printing, criteria for lesson mold casting). Students note changes that have taken place over time.

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VISUAL ARTS MIDDLE SCHOOL LEVEL II

DESCRIPTION OF PROGRAM OF STUDY:

The Middle Level II program of study delineates what all students should know and be able to do at the end of the second of four middle level programs of study. Through the study of visual arts, students respond to life experiences through images, structures, and tactile works of art and design. Students will continue to learn the language of the arts and how to interpret visual symbols. This program involves production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Middle Level II builds on the knowledge, concepts, and skills introduced in Middle Level I. This program of study is to be used by the Visual Arts Specialist and or the Classroom Teacher in developing visual arts curriculum for middle school level II students in the following:

Middle School Visual Arts Arts Integrated in the Middle School Classroom

Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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VISUAL ARTS MIDDLE LEVEL II

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Differentiate among techniques and unique properties of media to determine the expressive potential of each. (CP)

a. Understand and demonstrate appropriate handling of tools used in a variety of media. b. Understand the difference between two and three-dimensional media. c. Analyze what makes media, techniques, and processes effective in communicating ideas.

2. Demonstrate increasing proficiency in using elements and principles of art to communicate ideas, actions, and emotions in creating and responding to works of art. (CP)

a. Review elements and principles of art and their use in student art and other specific works of art through creating and responding. b. Demonstrate increased proficiency in using elements and principles of design in a composition based on a feeling or idea. c. Analyze and compare the communication of emotion in the work of others, and in own work.

3. Understand how the use of various media, techniques, and processes can result in different effects in works of art. (CP)

a. Comprehend differences in structural components and uses for various materials. b. Select and combine appropriate materials to create a work of art expressing tactile or sensory qualities.

4. Develop perceptual skills and use expanded visual arts vocabulary to make judgements while creating and studying works of art. (CA)

a. Know ways that artists use elements and principles to create meaning. b. Recognize and identify symbols, themes, and issues relating to a work of art.

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c. Compare artwork with similar themes to other work produced at the same time. d. Use expanded visual arts vocabulary to make judgements while creating and studying works of art.

5. Begin to use critical processes in the examination of works of art and design through reading, writing, and speaking. (CA)

a. Compare and contrast the use of media between two different artists using the same subject matter. b. Identify how artists use different techniques with the same media to create different affective responses. c. Analyze works of art and design by using the critical processes.

6. Know roles, functions, and purposes of artists, works of art, and visual arts careers in selected cultures, times, and places. (HC)

a. Know various reasons and purposes for which art is made including economic, cultural, social, moral, psychological, and spiritual. b. Know a variety of careers related to the visual arts, including architect, art teacher, graphic designer, fine artist, industrial designer, museum curator, art critic, and illustrator. c. Explain the roles of artists in ones own community and society at large.

7. Distinguish subject matter and themes that recur in works of art and design across cultures, times, and places. (HC)

a. Identify recurring symbols, themes, and subject matter from our own culture and earlier cultures. b. Predict how various cultures might represent the same theme, or subject matter differently.

8. Understand how factors of time and place (e.g., climate, resources, ideas, technology) give meaning or function to works of art and design.

a. Compare the characteristics and context of art from one culture to another, and from different types of art within a given culture. b. Know ways in which characteristics of art are influenced by a particular aspect of the context in which they are created.

9. Understand that there are different individual opinions about what constitutes art. (A)

a. Know different ways that art can be defined and valued. b. Understand that aesthetic questions include “What is art?” “What are purposes of art?” and “How do we value art?”

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10. Know that people can be influenced in the way they respect, value, and derive meaning from art. (A)

a. Know that meaning in art can relate to the context in which it is displayed. b. Realize that there are preferences for either representational or non- representational art. c. Know ways that people can be influenced in the way they respect and value art.

11. Recognize the importance of integrating visual arts concepts and skills in other subject areas for use in everyday life. (C)

a. Know ways that visual arts concepts and skills are integrated with other subjects. b. Identify the roles of contemporary artists in their own community and the world. c. Identify artists who demonstrate knowledge of multiple subjects in their artwork.

12. Understand ways that major concepts, technologies, media, and processes of the visual arts relate to those other subject areas within and outside the arts. (C)

a. Identify concepts and technologies used by people with art careers in the community. b. Know the kinds of careers available to people with backgrounds in the visual arts (e.g., television production, museum careers, publishing, designing, teaching, graphics, cartooning, computer art, illustration). c. Identify art careers that relate to other subject areas.

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Middle School Visual Arts, Level II Comp. Obj. Suggested Teaching Strategies Suggested Assessment

1 b, c Students study selected works from a particular Student created chart movement, such as Expressionism, and determine techniques and media used to communicate expressive content. Students chart findings.

2 a,b,c Using works exhibited in a school or local art show, Teacher evaluation of students choose one or more works of art and answer written student the question, “How is the work organized according to responses the elements of art and principles of design?” Record analyses on forms designed to facilitate written responses.

3 a, b After studying works of art that illustrate how media Teacher questioning create different effects, students select media to create during study session; works of art emphasizing textural qualities and the rubric to evaluate art sense of touch. works

4bAfter studying symbolism and reviewing traditional Rubric with symbols in art and animal symbols, students choose predetermined criteria symbols that represent them or the ideas they wish to communicate and create a work of art using those symbols in their art (e.g., school flag, class banner).

5 a,b Using artworks from various time periods and cultures, Teacher observation teams of students analyze and describe works that have and guided discussion common subject matter focusing on the impact that media had in making the content look different. Direct students to examine whether or not their responses to the work are affected by the use of media.

6 a Using reproductions of a broad range of works, have Rating scale 4 b students choose a work and try to determine the delineating key items purpose for which the work was created (e.g., economic, to be assessed social, psychological, political, religious). Students may use resource materials for research, then report their justifications for their conclusions orally or in writing, using correct art vocabulary.

7aUsing works of art in a museum collection or Teacher observation reproductions of multicultural works, students classify and guidance the works according to common subject matter, theme, or purpose.

8 a, b Students examine works of arts from various cultures to Whole class determine the impact of religion in specific contexts. discussion, teacher How are religious traditions expressed differently across guidance in use of cultures? Students discuss findings, correct art terminology

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Middle School Visual Arts, Level II

9bTeams of students debate “What is a work of art?” using Team debate, peer a range of resources that might challenge some scoring using student definitions (e.g., advertisements, authentic works of art, generated rating scale reproductions of artworks, clothing with art images), to the question: “What is a work of art?”

10 b Using works that are realistic, abstract, and Teacher observation nonobjective, students write about or discuss their for accuracy in preferences giving sound reasons using correct art application and use of concepts and vocabulary. art terms

11 a Using visual arts concepts (e.g., balance, repetition, Rubric generated by pattern, color) students identify ways that art and teacher and students science work hand-in-hand. Create a work of art working collaboratively synthesizing principles of art and science.

12 a, b, c Students (or teams) to select a career for investigation, Checklist of criteria for identify roles, work requirements, knowledge required guiding research and from other subject areas, function, and purpose in their delineating quality work. Students create a resource packet on the specific career including educational requirements, examples of works of art and design produced, etc. Use resource packets throughout the year as various artists and processes are studied.

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VISUAL ARTS MIDDLE SCHOOL LEVEL III

DESCRIPTION OF PROGRAM OF STUDY:

The Middle Level III program of study delineates what all students should know and be able to do at the end of the third of four middle level programs of study. Through the study of visual arts, students respond to life experiences through images, structures, and tactile works of art and design. Students will continue to learn the language of the arts and how to interpret visual symbols. This program involves production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Middle Level III builds on the knowledge, concepts, and skills introduced in Middle Levels I and II. This program of study is to be used by the Visual Arts Specialist and or the Classroom Teacher in developing visual arts curriculum for middle school level III students in the following:

Middle School Visual Arts Arts Integrated in the Middle School Classroom

Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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VISUAL ARTS MIDDLE SCHOOL LEVEL III

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Use advanced techniques appropriate to the unique qualities of various media to reach an original and artistic solution. (CP)

a. Demonstrate competence in fundamental skills related to specific media. b. Demonstrate safe and competent use of art materials and tools including storage and clean up. c. Demonstrate originality in solving artistic problems.

2. Know how to use the elements of art and principles of design in a variety of media, techniques, and processes to create original and expressive works of art. (CP)

a. Articulate the expressive use of the elements and principles of art in their own work and the work of others. b. Show increased proficient skill in using the elements of art in original and expressive works of art. c. Create works of art that reflect feelings, ideas, and personal experience in an expressive way. d. Understand and use symbols in their own work to convey specific ideas and themes.

3. Increase knowledge of and ability to use various media, techniques and processes in creating different effect in works of art. (CP)

a. Create works of art using a variety of media resulting in various effects. b. Develop competency in specific techniques particular to one or two media. c. Contrast and compare the effect of a variety of techniques used in making their own art and in the artwork of others.

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4. Develop perceptual skills and use correct visual arts vocabulary to make judgments while studying works of art. (CA)

a. Analyze and interpret the use of visual elements to create meaning and communicate ideas in ones own work and the work of others. b. Analyze and interpret the use of symbolism in their own work and the work of others.

5. Investigate different models of critical processes for use in the examination of works of art and design for reading, writing, and speaking. (CA)

a. Describe, analyze, interpret, and evaluate art works based on the visual elements and principles of art. b. Understand the difference between “looking” at art and “studying” a work of art. c. Discuss and/or write a critical analysis of their own work and the work of famous artists. d. Express individual conclusions and feelings about art verbally and through writing.

6. Know that the roles, functions, and purposes of artists, works of art, and visual arts careers are influenced by cultural, historical, and political issues. (HC)

a. Know careers in art that exist locally, regionally, and nationally. b. Compare and contrast well-known works of art based on the influence of cultural, historical, and political issues. c. Understand how the functions and purposes of art reflect the issues and aspects of cultures and times.

7. Identify universal themes, concepts, forms, and functions that recur in works of art and design across cultures, times, and places. (HC)

a. Identify universal themes that transcend cultural, historical, and geographic boundaries. b. Compare specific works of art or design exhibiting functions from other cultures, times, and places.

8. Understand that factors of culture, time, and place affect the characteristics of works of art and design. (HC)

a. Know ways that art reflects our own culture. b. Identify and categorize at least four masterworks by culture. c. Understand the characteristics and context affecting a masterwork of art.

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9. Know that there are different concepts about what constitutes art. (A)

a. Investigate different opinions about what constitutes art. b. Realize that the issue of what art is may be based on current and past theories about art. c. Compare and contrast opposing viewpoints about what makes art.

10. Know that multiple factors affect how people respect, value, and derive meaning from art. (A)

a. Know that viewpoints on the value of art may be based on a theoretical stance or individual understanding of the work. b. Understand the role of compromise in-group decision making. c. Reflect on collaborative works of art based on students' viewpoints.

11. Know that the integration of visual arts concepts and skills with knowledge in other subject areas provides essential tools for everyday life. (C)

a. Demonstrate the use of mathematical concepts to create space and form in works of art. b. Relate visual arts concepts and skills to major literary or historical events illustrated in selected works of art. c. Recognize the importance of planning a project involving the arts and a variety of other disciplines.

12. Know that major concepts, technologies, media, and processes of the visual arts relate to those in other subject areas - within and outside the arts - throughout time. (C)

a. Express visual art concepts through other art forms (i.e., drama, music and dance). b. Understand the evolution of technologies related to art (e.g., photography, paint, weaving, optics).

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Middle School Visual Arts, Level III

Comp. Obj. Suggested Teaching Strategies Suggested Assessment

1 a, b All students create an original artwork based on the Rating scale to determine same theme, using techniques and media in how well students used creative and innovative ways. Works are displayed media and techniques to in a thematic exhibit. creatively solve the problem

2aUsing the elements of line, shape, space, form and Rubric to assess visual value, students draw the four basic shapes and and compositional transform them into forms (cube, cone, cylinder, qualities and articulation of sphere). Students produce a composition using the artist's statement basic forms and design principles to express an idea. Students recreate these forms in a still life and other compositions. Students write an artist's statement to accompany each piece.

2dStudents identify different kinds of symbols, (e.g., Teacher observation mathematical symbols, scientific symbols, ones that express concepts, identify specific groups, products iconographic symbols, unusual alphabets). Students find examples of these kinds of symbols in works of art from artists such as Klee, Magritte, (or symbolic forms from other cultures, periods, or religions). Students analyze how the artist has used symbols to convey an idea. Students suggest symbols that might be appropriate for our own time, or their own interests. Students create an iconographic symbol that represents an idea or one that has personal meaning and incorporate that symbol into the design of a separate work of art.

3 a,b Students create a series of drawings exploring a Rubric based on identified particular theme or symbol and reproduce it in three criteria dimensions or create a 3-Dimensional (temporary installation) work of art and decide how to reproduce Checklist to guide student it two dimensionally to give it permanence. Students work during process discuss the differences between the two approaches and planning for each. What did they have to consider in the three dimensional material that they did not have to think about in the drawing? (weight, construction, depth, etc.) How did they have to adapt to compensate for the differences between the two kinds of media? Would a photograph of the installation qualify as a work of art? Checklist to guide student work during process.

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Middle School Visual Arts, Level III

3cStudents view works of art by artists who typically Teacher observation and work in a variety of media (Pablo Picasso, Henry facilitation Moore, Andy Warhol, Jim Dine, Alexander Calder, Javacheff Christo, Andy Goldsworthy). Compare how they have treated similar subjects in both two and three dimensions.

4aStudents select a work of art, then describe, Rubric to score short analyze, and interpret that work in writing using essays correct visual arts concepts and vocabulary.

5cAfter completing a work of art, students write a Rating scale critique of the work describing meaning, artistic intent, problems in execution, and what they might do to make the work more effective.

6aStudents identify and interview local artists about Rating scale based on their careers and work, then create a directory of criteria set by the class local artist resource people for use in studying various art forms.

6 b Students divide into groups. Each group selects an Checklist and Rating scale 8 a artwork, then collects information about the based on predetermined historical and cultural context of the artwork. criteria Students create a collaborative work of art representative of the aesthetic of the culture and explain it to the class in a presentation about the culture and its art. 7 a, b Students research some of the important themes in Written report art (e.g., social commentary, portraiture, celebration, spirituality, etc.) Discuss how similar themes or subjects are treated in their own lives or culture. Students isolate a particular area of interest and research what others have to say about a theme or subject. Students respond to these ideas or themes with their own experience or ideas. 8bStudents divide into teams. Using museum Written identification test postcards or other small reproductions, challenge using slides or students classify works according to styles; The transparencies focus is changed by arranging works in a timeline, or by medium, or subject matter, etc. The team with the most correct responses changes the focus and challenges the next group. Students will add to the collection from their resources at home.

9 a,b Students use familiar objects (bikes, shoes, cars, Teacher observation 10 a etc.) to discuss how people set value on those objects,–as transportation, for design, for speed, for whether they are designed for boys or girls. Students decide how they might value a piece of

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artwork (cost, appropriateness, time it took to make, craftsmanship, beauty, meaning). After viewing a group of artworks, students use a variety of criteria to select a piece that best exemplifies each criterion. Discuss why they have made their choices. Students then defend a perspective different from their own. Begin a list of factors that determine how artwork can be valued. 11 a,b After exploring mathematical patterns such as drop, Rubric based on split drop, rotation, symmetry, students find compositional criteria and examples that are commonly used in everyday mathematical principles surroundings. Study the works of Escher and create works using tessellating patterns in a variety of configurations.

12 a After researching a particular artist, students Rubric dramatize the life and times of an artist using props and costumes.

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VISUAL ARTS MIDDLE SCHOOL LEVEL IV

DESCRIPTION OF PROGRAM OF STUDY:

The Middle Level IV program of study delineates what all students should know and be able to do at the end of the fourth of four middle level programs of study. Through the study of visual arts, students respond to life experiences through images, structures, and tactile works of art and design. Students will continue to learn the language of the arts and how to interpret visual symbols. This program involves production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Middle Level IV builds on the knowledge, concepts, and skills in Middle Level III. This program of study is to be used by the Visual Arts Specialist and or the Classroom Teacher in developing visual arts curriculum for middle school level IV grade students in the following:

Middle School Visual Arts Arts Integrated in the Middle School Classroom

Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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VISUAL ARTS MIDDLE SCHOOL LEVEL IV

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Use techniques appropriate to the unique qualities of various media to reach an original and artistic solution in creating works of art. (CP)

a. Exhibit competency in creating original works of art using a variety of two and three-dimensional media. b. Demonstrate ability to compare and contrast the effect of two and three- dimensional works in communicating ideas. c. Demonstrate proficient use of art materials and tools including storage and clean up.

2. Understand and apply with increasing skill elements of art and principles of design to a variety of media, techniques, and processes to create original and expressive works of art. (CP)

a. Create unified works of art through competent use of elements of art and principles of design to communicate intended meaning. b. Know a variety of ways for creating the illusion of depth through spatial relationships in expressive works of art.

3. Apply knowledge of how the use of various media, techniques, and processes results in different effects in works of art. (CP)

a. Know how to select appropriate materials for creating works of art in both two and three-dimensional media. b. Demonstrate ability to use a variety of media techniques to create different effects in both two and three-dimensional works of art. c. Demonstrate ability to select an effective medium to create a work of art that communicates an intended meaning or function.

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4. Develop perceptual skills and use increased visual arts vocabulary to make judgments while creating and studying works of art. (CA)

a. Know and use art vocabulary when talking about own artwork and the work of others. b. Understand that appreciation results from thoughtful perception – seeing, responding to, studying, and judging works of art.

5. Understand, examine, and practice various critical processes in evaluating works of art and design. (CA)

a. Evaluate own work and work of famous artists based on the effective analysis of form and content. b. Understand how to critically analyze art from different cultures and time periods. c. Analyze works of art through writing and speaking.

6. Understand that roles, functions, and purposes of artists, works of art, and visual arts careers vary across cultures, times, and places. (HC)

a. Understand that art reflects the experience of the viewer as well as the intention of the artist. b. Understand that different cultures bring different perspectives to the viewing and making of art. c. Analyze different reasons for which art is made in various cultures, times, and places. d. Demonstrate expanded concept of the role of art through the study of a wide variety of careers related to the visual arts.

7. Recognize subject matter, themes, and forms that recur in works of art and design across cultures, times, and places. (HC)

a. Determine the relationship between form and theme in works of art from one’s own culture and other cultures. b. Compare recurring concepts and themes in art throughout cultures, times, and places.

8. Know that factors of culture, time, and place affect characteristics of works of art and design. (HC)

a. Understand ways in which artists develop ideas. b. Interpret possible meaning in works of art by analyzing the effect of cultural, geographic and historical perspectives that influence or give meaning to a work of art.

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9. Understand different concepts about what constitutes art. (A)

a. Understand that there are a variety of different ways in which art can be appreciated or valued. b. Articulate a variety of reasons for the categorizing of specific objects as art. c. Realize that there are multiple purposes for creating works of art. d. Recognize a variety of rationales for the making of art.

10. Understand that personal experience affects how people respect, value, and derive meaning from art. (A) (CA)

a. Recognize that valid interpretations of a specific work of art can reflect more than one point of view. b. Recognize that viewers of art can interpret meaning in art based on their own experiences. c. Recognize that the intent of the artist can be separate from the interpretation of the viewer.

11. Recognize how the meaningful integration of visual arts concepts and skills with knowledge in other subject areas provides essential tools for everyday life. (C)

a. Integrate terms, themes, and concepts of visual arts in other areas resulting in increased understanding or new revelations. b. Utilize a variety of disciplines to interpret a universal theme.

12. Understand ways that major concepts, technologies, media, and processes of the visual arts relate to arts and other disciplines. (C)

a. Recognize that technology involves innovation and is not specific to our own time. b. Identify a variety of different media and processes that have influenced the history of art. c. Understand ways that major concepts of the visual arts relate to other subject areas.

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Comp. Obj. Suggested Teaching Strategies Suggested Assessment

1bStudents compare the idea of mother and child in a two- Teacher Observation dimensional work and a three-dimensional work (e.g., work of Mary Cassatt and Elizabeth Catlett).

2 a, b Students brainstorm topics (e.g., communities of the Peer/Teacher future, an invented cityscape, hall of mirrors, self-portrait evaluation through objects). Students select a topic and using one or two-point perspective create an illusion of their chosen theme to include a variety of values (shading), textures, and line pattern.

Students cut out magazine photos showing dominance Teacher Rubric 2 b of each element and each principle; combining pages to create a reference notebook.

3bStudents divide a paper into sections and experiment in Rubric/ Checklist each section with creating different textures, values, and pattern with charcoal or ebony pencil. Use these values, patterns, and textures in a composition.

3 b, c Students select a word to interpret visually in a three- Rubric dimensional form. Use sketches to plan the work and compare these to the final work.

4bStudents divide into teams to critique artworks Rubric designed by collaboratively. Teams will submit a written description students as a whole including correct art terms and concepts. Students keep class in mind when analyzing works of art, all opinions are valid, and are able to provide logical explanations for their statements.

5aStudents will describe, analyze, interpret, and evaluate Rubric their own works as well as the works of others through written and oral work, individually and collectively. 6 a Students will identify historical contexts for different Teacher observation 8 b works of art. Analyze them for meaning and compare Evaluation of postcard and contrast style, media, conceptual orientation, using rubric aesthetic focus, and point of view. Students will write a postcard as if they were the artist and tell about the work, media used, and cultural or historical influences. 7bStudents compare how different groups treat similar Teacher questioning themes. Compare how different symbols or styles may and observation illustrate the same theme or human condition. Discuss how their sense of style is similar or dissimilar.

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9aFrom a grouping of objects, (e.g., baskets, teacups, or Checklist or rating quilts, etc.) students rank them in terms of a variety of scale criteria (e.g., the most expensive, well-crafted, most attractive, the one they would like in their own home, took the most time to make, sentimental). Discuss the different reasons that people might value things and how they can change depending on context. Discuss how to establish different criteria for valuing art.

9 b Students debate what is art. Students bring in photos or Teacher observation other information about elephants or other animals that with guided questions make art. After seeing the “art” discuss whether or not animals can make art (express feeling, plan, what they do, etc.). Discuss why people make art and discuss if elephants or animals make “art” for any of the same reasons. Discuss the artists they have learned about and how elephants would compare. Students discuss how they would judge the quality of elephant art? Students discuss whether it has more to do with their own preference or expertise?

10 c Students write an artist's statement for their own Teacher observation artwork. The artworks are then analyzed in a student led critique for the differences between the interpretation of the viewer and the intent of the student artist.

11 a Students create a tableau of a famous painting. Discuss Student generated the characters and character development or what is scoring guide happening in the tableaux. Change the scene to one that might have happened before or after the event in the original work of art.

11 a Students watch a dance and create a drawing to Written essay interpret movement and the use of space in the dance. Students are encouraged to look at space as high and low levels of body movement as well as depth. Students write an essay describing increased understanding of dance resulting from integration of visual arts.

12 a Students groups research the development of art media Rating scale based on over time with a focus on the effects of increased essential components technology. Report findings using a research form of the research form designed to guide their investigations.

12 c A copy of a famous painting is divided and cut into as Teacher/student many pieces as there are students in the class. Number generated rubric the sections and give each student one small section to reproduce in scale. Reassemble all the pieces to get a “recreated” color study of the original work. (math, scale)

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scale).

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VISUAL ARTS

HIGH SCHOOL INTRODUCTION

The visual arts competencies “establish proficient and advanced achievement standards for Grades 9-12. The proficient level is intended for students who have completed courses of study involving relevant skills and knowledge” that are equivalent to one full year of study at the high school level. The advanced level is intended for students who have completed courses” equivalent to three to four years of study. “Students at the advanced level are expected to achieve the standards established for the proficient as well as the advanced levels. Every student is expected to achieve the proficient level in at least one arts discipline by the time he or she graduates from high school. “In Grades 9-12, students extend their study of the visual arts. They continue to use a wide range of subject matter, symbols, meaningful images, and visual expressions. They grow more sophisticated in their employment of the visual arts to reflect their feelings emotions and continue to expand their abilities to evaluate the merits of their efforts. These [competencies] provide a framework for that study in a way that promotes the maturing students' thinking, working, communicating, reasoning, and investigating skills. They also provide for their growing familiarity with the ideas, concepts, issues, dilemmas, and knowledge important in the visual arts. As students gain this knowledge and these skills, they gain in their ability to apply knowledge and skills in the visual arts to their widening personal worlds. “The visual arts range from the folk arts, drawing, and painting, to sculpture and design, from architecture to film and video -- and any of these can be used to help students meet the educational goals embodied in these standards. For example, graphic design (or any other field within the visual arts) can be used as the basis for creative activity, historical and cultural investigations, or analysis throughout the standards. The visual arts involve varied tools, techniques, and processes, all of which also provide opportunities for working toward the standards. It is the responsibility of practitioners to choose from among the array of possibilities offered by the visual arts to accomplish specific educational objectives in specific circumstances. “To meet the [competencies], students must learn vocabularies and concepts associated with various types of work in the visual arts. As they develop greater fluency in communicating in visual, oral, and written form, they must exhibit greater artistic competence through all of these avenues. “In Grades 9-12, students develop deeper and more profound works of visual art that reflect the maturation of their creative and problem-solving skills. Students understand the multifaceted interplay of different media, styles, forms, techniques, and processes in the creation of their work. “Students develop increasing abilities to pose insightful questions about contexts, processes, and criteria for evaluation. They use these questions to examine works in light of various analytical methods and to express sophisticated ideas about visual relationships using precise terminology. They can evaluate artistic character and

Visual Arts 73 2003 Mississippi Visual and Performing Arts Framework aesthetic qualities in works of art, nature, and human-made environments. They can reflect on the nature of human involvement in art as a viewer, creator, and participant. Students understand the relationships among art forms and between their own work and that of others. They are able to relate understandings about the historical and cultural contexts of art to situations in contemporary life. They have a broad and in- depth understanding of the meaning and import of the visual world in which they live.”

Source: National Standards for Arts Education: What Every young American Should Know and Be Able to Do in the Arts, 1994, p. 69.

The high school visual arts framework is divided into different programs of study that can be used to develop curriculum for a variety of courses listed in Approved Courses for the Secondary Schools of Mississippi. In order to accommodate the variety of scheduling formats throughout Mississippi schools, some arts courses are available for 1 or 1/2 credit. Courses that may be offered for 1/2 credit must cover all the competencies in the designated program of study. Those courses earning 1 credit will cover all the competencies, but in greater depth and breadth than the 1/2 credit courses. A listing of these courses and the corresponding program of study to be used in developing curriculum for those courses follows.

Visual Arts Course: Visual Arts Program of Study:

Visual Arts I (Proficient) High School Visual Arts Level I Visual Arts II (Proficient) High School Visual Arts Level II Visual Arts III (Advanced) High School Visual Arts Level III Visual Arts IV (Advanced) High School Visual Arts Level IV Visual Arts Studio I (Proficient) High School Visual Arts Level I Visual Arts Studio II (Proficient) High School Visual Arts Level II Visual Arts Studio III (Advanced) High School Visual Arts Level III Visual Arts Studio IV (Advanced) High School Visual Arts Level IV Visual Arts Individual Study (Advanced) High School Level III or IV Ceramics I (Proficient) Ceramics I Ceramics II (Proficient) Ceramics II Drawing I (Proficient) Drawing I Drawing II (Proficient) Drawing II Painting I (Proficient) Painting I Painting II (Proficient) Painting II Photography (Proficient) Photography

Advanced Placement Art History Advanced Placement Curriculum Advanced Placement Studio Art - Advanced Placement Curriculum Drawing Portfolio Advanced Placement Studio Art – Advanced Placement Curriculum 2-D Design Portfolio Advanced Placement Studio Art - Advanced Placement Curriculum 3-D Design Portfolio

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Course Descriptions:

VISUAL ARTS I (1/2 or 1 credit) Based on High School Visual Arts Level I program of study. This course involves a broad range of media, techniques, and processes. Students will continue to develop prior knowledge and skills in the creation and study of works of art and design, building on concepts and skills acquired in the elementary and middle level courses. Work will encompass both two and three-dimensional art forms.

VISUAL ARTS II (1/2 or 1 credit) Based on High School Visual Arts Level II program of study. This course continues the development of knowledge and skills as well as the creation and study of works of art and design. Building on concepts and skills acquired in the prerequisite course—Visual Arts I, students continue to increase their knowledge of production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Prerequisite requirement may be waived upon teacher recommendation based on a review of a body of work demonstrating accomplishment of Visual Arts I competencies. Work will encompass both two-dimensional and three-dimensional media, techniques, and processes.

VISUAL ARTS III (1/2 or 1 credit) Based on High School Visual Arts Level III program of study. This course focuses on the creation and study of more advanced works of art and beginning of the development of a body of work for inclusion in a portfolio. Building on concepts and skills acquired in prerequisite courses—Visual Arts I, and II, or Visual Arts I and Drawing—students will work at a more advanced level applying their knowledge of production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Prerequisite requirement may be waived upon teacher recommendation based on a review of a body or work demonstrating accomplishment of Visual Arts I and II competencies. Work will encompass both two and three dimensional media, techniques, and processes.

VISUAL ARTS IV (1/2 or 1 credit) Based on High School Visual Arts Level III program of study. This course focuses on the creation of a portfolio for use in the pursuit of higher education or career opportunities. Building on concepts and skills acquired in prerequisite courses—Visual Arts I, II, and III, or Visual Arts I, Drawing and Painting —students will work at a sophisticated level applying their knowledge of production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Prerequisite requirement may be waived upon teacher recommendation based on a review of a body of work demonstrating accomplishment of Visual Arts I, II, and II competencies. Work will encompass two and three-dimensional media, techniques, and processes.

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VISUAL ARTS STUDIO I (1/2 or 1 credit) Based on High School Visual Arts Level I program of study. This course accommodates districts that want to offer specialized instruction in the visual arts (e.g., in a particular medium, style, or period). Visual Arts Studio I must be based on the competencies delineated in the High School Visual Arts Level I program of study. Districts may tailor those competencies to meet the specific focus of the course they are designing, but all competencies must be addressed. A sample of strategies showing adaptation of the program of study to the studio application is presented after the High School Visual Arts Level I program of study.

VISUAL ARTS STUDIO II (1/2 or 1 credit) Based on High School Visual Arts Level II program of study. This course accommodates districts that want to offer specialized instruction in the visual arts (e.g., in a particular medium, style, or period). Visual Arts Studio Level II must be based on the competencies delineated in the High School Visual Arts Level II framework. Districts may tailor those competencies to meet the specific focus of the course they are designing, but all competencies must be addressed. A sample of strategies showing adaptation of the program of study to the studio application is presented after the High School Visual Arts Level II program of study.

VISUAL ARTS STUDIO III (1/2 or 1 credit) Based on High School Visual Arts Level III program of study. This course accommodates districts that want to offer specialized instruction in the visual arts (e.g., in a particular medium, style, or period). Visual Arts Studio Level III must be based on the competencies delineated in the High School Visual Arts Level III framework. Districts may tailor those competencies to meet the specific focus of the course they are designing, but all competencies must be addressed. A sample of strategies showing adaptation of the program of study to the studio application is presented after the High School Visual Arts Level III program of study.

VISUAL ARTS STUDIO IV (1/2 or 1 credit) Based on High School Visual Arts Level IV program of study.This course accommodates districts that want to offer specialized instruction in the visual arts (e.g., in a particular medium, style, or period). Visual Arts Studio Level IV must be based on the competencies delineated in the High School Visual Arts Level IV framework. Districts may tailor those competencies to meet the specific focus of the course they are designing, but all competencies must be addressed. A sample of strategies showing adaptation of the program of study to the studio application is presented after the High School Visual Arts Level IV program of study.

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VISUAL ARTS INDIVIDUAL STUDY (1/2 to 1 credit per year) Based on High School Visual Arts Level III or High School Visual Arts Level IV program of study. This course accommodates districts that want to offer specialized in-depth instruction in the visual arts to meet the individual needs of advanced students in their third or fourth year of visual art study. These students may have already completed prerequisite courses—Visual Arts I, II, III, and IV or Visual Arts I, Drawing and Painting. In addition, they may have completed study in Ceramics and Photography. Admission to Visual Arts Individual Study will be based on teacher approval after review of a portfolio of work and successfully meeting any other criteria required at the district level. Curriculum for Visual Arts Individual Study must be based on the competencies in the High School Visual Arts Level III or IV program of study, depending on the level of the student’s accomplishment. Although students will work independently while being mentored by the teacher; the student will attend a regularly scheduled visual arts class. Working at a sophisticated level, students will apply their knowledge of production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Districts may tailor those competencies to meet the specific focus of the course they are designing, but all competencies must be addressed. A student may enroll in this course more than one time for a total of up to 2 credits. A sample of strategies showing adaptation of the High School Visual Arts Level IV program of study to the Individual Study course is presented after the High School Visual Arts Level IV program of study.

CERAMICS I (1/2 credit) Based on Ceramics I program of study. This course focuses on knowledge and skills in three- dimensional design with clay and/or other plastic media. Work will be limited primarily to three dimensional media, techniques, and processes.

CERAMICS II (1/2 credit) Based on Ceramics II program of study. This course builds on introductory level concepts and skills acquired in the prerequisite course, Ceramics I. Work will be limited primarily to three dimensional media, techniques, and processes.

DRAWING I (1/2 credit) Based on Drawing I program of study. This course involves a broad range of drawing media, techniques, and processes. In this course, students will continue to develop prior knowledge and skills in the creation and study of works of art and design, building on concepts and skills acquired in the prerequisite course Visual Arts Level I. Work will encompass two-dimensional art forms rendered in wet and dry drawing media with an emphasis on working in black and white and an introduction to color techniques.

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DRAWING II (1/2 credit) Based on Drawing II program of study. This course involves a broad range of drawing media, techniques, and processes. Students will continue to develop prior knowledge and skills in the creation and study of works of art and design, building on concepts and skills acquired in the prerequisite courses, Visual Arts Level I and Drawing I. Work will encompass two-dimensional art forms rendered and wet and dry drawing media with an emphasis on working in color with a continuation of skill development in black and white processes.

PAINTING I (1/2 credit) Based on Painting I program of study. This course focuses on creation and study of painting and continues the development of a body of work for inclusion in a portfolio. It involves a broad range of painting media, techniques, and processes. Building on concepts and skills acquired in prerequisite courses—Visual Arts I, and II, or Visual Arts I and Drawing—students will work at a more advanced level applying their knowledge of production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Prerequisite requirement may be waived upon teacher recommendation based on a review of a body or work demonstrating accomplishment of Visual Arts I and II competencies.

PAINTING II (1/2 credit) Based on Painting II program of study. This course focuses on advanced creation and study of painting and continues the development of a body of work for inclusion in a portfolio. It involves a broad range of painting media, techniques, and processes. Building on concepts and skills acquired in prerequisite courses—Visual Arts II, and III, or Painting I and Drawing I — students will work at a more advanced level applying their knowledge of production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Prerequisite requirement may be waived upon teacher recommendation based on a review of a body or work demonstrating accomplishment of Visual Arts I and II competencies.

PHOTOGRAPHY (1/2 credit) Based on Photography program of study. This course focuses on developing in-depth knowledge and skills in two-dimensional design with photographic media. Building on introductory level concepts and skills acquired in middle level visual arts courses, students continue to increase their knowledge of design as applied to photographic works, critical analysis, history and culture, aesthetics, and connections among the photographic arts, other content areas, and everyday life. Work will be limited primarily to black and white media, techniques, and processes.

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ADVANCED PLACEMENT ART HISTORY (1 credit) ADVANCED PLACEMENT STUDIO ART – DRAWING PORTFOLIO (1 credit) ADVANCED PLACEMENT STUDIO ART 2-D DESIGN PORTFOLIO (1 credit) ADVANCED PLACEMENT STUDIO ART 3-D DESIGN PORTFOLIO (1 credit)

The Advanced Placement course curriculum is administered by the AP Central College Board and developed by a committee of college faculty and AP teachers to cover the in-depth, “information, skills, and assignments found in the corresponding college course.” http://apcentral.collegeboard.com. See the web site for detailed information.

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VISUAL ARTS HIGH SCHOOL LEVEL I (Proficient)

DESCRIPTION OF PROGRAM OF STUDY:

This is an introductory program of study at the high school level that involves a broad range of media, techniques, and processes. In this course, students will continue to develop prior knowledge and skills in the creation and study of works of art and design. Building on concepts and skills acquired in the elementary and middle level courses, students will increase their knowledge of production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Work will encompass both two and three-dimensional art forms. This program of study is to be used in designing curriculum for the following courses:

Visual Arts I Visual Arts Studio I

Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies are printed in bold face type and are required to be taught. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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VISUAL ARTS HIGH SCHOOL LEVEL I (Proficient)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Apply proficient skills and craftsmanship in selecting and using various media, techniques, and processes to create original expressive works of art. (CP, CA)

a. Create works of art that communicate original ideas using a variety of media, techniques and processes. b. Know how the selection of media, technique, or process communicates the overall idea in original works and works of others. c. Understand that there are various ways to organize, compose, or design works of art. d. Practice safety and conservation in the use of tools, materials, and equipment in the creation of works of art. e. Integrate the use of new technology into individual works of art and design.

2. Understand how to select and use the elements of art and principles of design applied through various media, techniques, and processes related to the communication of meaning. (CP, A)

a. Integrate visual, spatial, and temporal concepts with subjects, themes, symbols and ideas to improve communication of intended meaning. b. Use new technology of art and design and understand how it affects communication of meaning in works of art. c. Use appropriate visual art vocabulary related to technique and media as works of art are created. d. Utilize the elements of art and principles of design to create works of art that communicate ideas.

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3. Understand how media, techniques, and processes create effects that evoke a range of responses. (CP, CA)

a. Understand that visual effects produced through media, techniques and processes evoke a range of responses (e.g., dread, hope, despair, joy, pleasure, pain). b. Understand that effects resulting from the use of media, techniques, and processes are factors that affect visual perception. c. Recognize that the choice of media, techniques, and processes results from the artist's thinking about how best to achieve specific effects.

4. Utilize perceptual skills and apply visual arts vocabulary to make informed judgments while creating and studying works of art. (CA, CP)

a. Effectively use visual arts vocabulary when critiquing their own works or those of others through the processes of speaking or writing. b. Use appropriate visual art vocabulary related to technique and media as works of art are created. c. Utilize the visual and organizational components of art and design while creating works of art.

5. Understand that a wide range of critical analysis theories exist and provide valid methods for studying the characteristics of works of art and design. (CA)

a. Examine their own work and that of others to determine the intentions of the artist. b. Recognize different aesthetic theories while examining works of art. c. Identify different ways the visual arts provide unique modes for expressing ideas, actions, and emotions.

6. Know that context is a factor in determining the roles, functions, and purposes of artists, works of art, and visual arts careers differently according to culture, time, and place. (HC)

a. Examine ways that culture is reflected in the roles and function of a work of art, and how these roles and function might be lost if the context were different. b. Understand how technology combined with the context of the artist, the context in which a work is created, the context of the viewer, and the context in which the work is viewed can impact the interpretation of the work.

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7. Know universal themes, concepts, forms, and functions that recur works of art and design across cultures, times, and places. (HC)

a. Discuss possible meanings of works of art by examining how specific works are created and how they relate to historical and cultural contexts. b. Identify different ways artists have conveyed common themes or issues across historical periods. c. Discuss how universal themes differ in works of art, and describe how these differences relate to history and culture. d. Investigate the functions of visual arts in society and ways the visual arts impact society. e. Determine the origin of possible subjects, themes, symbols, problems, or ideas for use in creating works of art for an intended purpose.

8. Analyze how factors of time and the visual arts influence each other. (A)

a. Relate how factors of time and the visual arts influence each other. b. Describe the function and explore meaning of specific works of art within various time periods. c. Examine characteristics and purposes of works of art from a variety of time periods.

9. Know different theories of aesthetics. (A)

a. Examine broad aesthetic questions such as, “What is art?” b. Describe different aesthetic perspectives including intention of artists, context, views, and experience.

10. Analyze how contextual factors affect the way people respect, value, and derive meaning from art. (A)

a. Determine how various individual responses to the characteristics of a work of art can serve as a means for interpreting that work. b. Analyze how the meaning of a specific work might change if it were transported to another time frame and using different technologies.

11. Integrate visual arts concepts and skills with knowledge in other subject areas to provide meaningful tools for everyday life. (C)

a. Recognize and understand how and why the arts enhance the quality of life in communities throughout the world. b. Recognize how the study of the arts impacts career choices.

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12. Understand how common concepts, technologies, media, and processes of the visual arts relate to those in other subject areas within and outside the arts. (C)

a. Compare the characteristics of the visual arts careers across history, time, and culture. b. Understand the importance of technologies, media, and processes of the visual arts with those of other subject areas in pursuing arts related careers. c. Compare the characteristics of the visual arts to the themes in the humanities, sciences, or other curricular areas as they apply to career choices.

Visual Arts 84 2003 Mississippi Visual and Performing Arts Framework

High School Visual Arts I

Comp. Obj. Suggested Teaching Strategies Suggested Assessment

1 a,b Students study the work of a 20th Century American Critique sheet with artist and create works in the same style and technique. questions referring to media, process, and technique

3dStudents choose a social issue and create a work of art Critique based on that expresses the ideas and feelings of the artist. choices made by the artist (media, technique, process) to evoke a particular response

2dStudents compare the sculpture of Donatello and Written report or oral Michelangelo (the Davids) and their work to that of presentation modern sculptors, such as Duane Hanson.

4 a,b Students study the works of several muralists and Written report on discuss medium, subject matter, symbolism, and style. selected murals Create a study for a mural in your town that incorporates compared to their own the same thought processes. work

5 b, c Students choose two artists from the same or different Written report using time periods and create a dialog between the two in appropriate visual arts which they discuss their own work. vocabulary

6bStudents study the works and artifacts of another Class discussion with culture, such as the Native American culture. Discuss teacher-guided the transformation from original intent (utilitarian, questions religious, etc.) to current status as museum objects.

7 b, c Students study works from various cultures, times, and Class discussion with places, such as Ancient Egypt, the Middle Ages, the teacher-guided Renaissance, and modern times, in terms of religious questions themes and issues. Discuss the context in which these works were created and how society viewed them during their time.

8 b Students examine a work created in response to a Class discussion or social or historical event, such as Picasso’s Guernica, written report on and discuss how and why it was created. findings

8 a,b Students examine the emergence of various artists Class discussion with (dance, drama, music, visual art) during a particular teacher guided period or event, such as the Harlem Renaissance, and questions determine the impact they had on American culture.

9bStudents write a personal reflection on how past Written report based experiences influence current tastes in art. on stated criteria

Visual Arts 85 2003 Mississippi Visual and Performing Arts Framework

High School Visual Arts I

10 a,b Students study the use of symbolism in early religious Class discussion with art. Compare it to contemporary visual iconography in teacher guided terms of intent, significance, response, etc. questions

11 b Students make a list of careers that are art related, Written or oral report to choosing three of interest and researching them (course class of study, salary, availability, etc.) Report findings to the class.

12 a Students compare and contrast printing (graphics and Spreadsheet text) among cultures and times, determining significant delineating differences and similarities. characteristics

Visual Arts 86 2003 Mississippi Visual and Performing Arts Framework

High School Visual Arts Studio I Strategies are to be developed from the High School Visual Arts Level I program of study. The focus of the studio will determine the type of strategies used. The following strategies are examples of what might be used in a Visual Arts Studio I course focusing on Textile Design:

Comp. Obj. Suggested Teaching Strategies Suggested Assessment

1aStudents create original works of art using the various Rubric based on media, techniques, and processes of textile design assigned criteria (weaving, fabric printing, paper making, quilting, etc.)

7bStudents analyze traditional patterns that are Rating scale generated characteristic of textiles from a range of cultures, time by students and periods, and geographic locations. Create a work using teacher jointly a pattern that would represent symbols or images of the 21st Century.

8bStudents conduct a critique of a range of textile pieces Teacher observation representative of different historical and cultural with probing questions contexts. Discuss the works in relation to how the function or purpose is directly related to the history or culture.

Visual Arts 87 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL LEVEL II (Proficient)

DESCRIPTION OF PROGRAM OF STUDY:

This program of study continues the development of knowledge and skills as well as the creation and study of works of art and design. Building on concepts and skills acquired in the prerequisite course—Visual Arts I, students continue to increase their knowledge of production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Prerequisite requirement may be waived upon teacher recommendation based on a review of a body of work demonstrating accomplishment of Visual Arts I competencies. Work will encompass both two-dimensional and three-dimensional media, techniques, and processes. This program of study is to be used in designing curriculum for high school students in the following courses:

Visual Arts II Visual Arts Studio II

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Visual Arts 88 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL LEVEL Il (Proficient)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Demonstrate competency in selecting and using various media, techniques, and processes to create and study expressive qualities in works of art. (CP, CA)

a. Compare and contrast various media, techniques and processes to develop competent skills, confidence, and sensitivity while creating works of art. b. Demonstrate the ability to select appropriate media, technique, or process to communicate the overall idea through the creation and study of works of art. c. Practice safety and conservation in the use of tools, materials, and equipment in the creation of works of art. d. Identify and define new technology in art and design as it is used in contemporary society and in own works of art.

2. Know how to use elements of art and principles of design applied through various media techniques and processes to communicate meaning. (CP, A)

a. Analyze visual, spatial, and temporal concepts while integrating subject, themes, symbols, and ideas to improve communication of intended meaning in own works. b. Identify and define new technology in art and design as it is used to communicate meaning. c. Employ appropriate techniques and media as works of art are created and studied. d. Create complex works of art that utilize the elements of art and principles of design to communicate ideas.

Visual Arts 89 2003 Mississippi Visual and Performing Arts Framework

3. Select and use various media, techniques, and processes to create works of art that evoke a range of responses. (CP)

a. Understand that artists use media, techniques, and processes to produce a wide range of effects which affect viewers differently. b. Recognize how artists select specific media, techniques, and processes to achieve intended effects. c. Demonstrate an understanding of how artists use unique modes for expressing ideas, actions, and emotions to solve specific art problems.

4. Utilize perceptual skills and apply expanded visual arts vocabulary to make informed judgments while creating and studying works of art. (CA, CP)

a. Effectively use expanded visual arts vocabulary through speaking, writing, or reading when critiquing their own works and works of others. b. Use appropriate visual arts vocabulary related to new techniques and media as works of art are created. c. Demonstrate knowledge of the visual and organizational components of art and design while creating works of art.

5. Explore and evaluate theories of critical analysis for studying the characteristics of works of art and design through reading, writing, and speaking. (CA)

a. Employ various theories of critical analysis to understand and analyze works of art. b. Analyze, using theories of critical analysis, different ways the visual arts provide unique modes for expressing ideas, actions, and emotions.

6. Understand the complex functions of artists in society and the impact of the visual arts (e.g., social, political, economic, religious, individual.) (HC)

a. Differentiate between meanings in works of art by examining how specific works are created and how they relate to historical and cultural context. b. Compare and contrast the characteristics of works of art in context to the culture in which it was created and how meaning might be lost if context was changed. c. Examine how the context of the artist, time in which work is created, the viewer, and the place and time in which it is viewed can impact the function of art.

Visual Arts 90 2003 Mississippi Visual and Performing Arts Framework

7. Understand how subject matter, symbols, themes, and purposes relate to meaning in works of art and design across cultures, times, and places. (HC)

a. Employ various interpretations to understand and analyze works of art. b. Analyze different ways artists have conveyed common themes or issues across historical periods. c. Compare how artworks differ visually, functionally, and by process, and describe how these differences relate to history and culture. d. Compare and contrast the functions of art in society and the ways the visual arts impact society.

8. Explain how geographic factors impact the media and the visual arts. (HC)

a. Analyze how factors of place affect the visual arts. b. Recognize a variety of historical and cultural contexts in terms of function, purpose, and selection of media in works of art. c. Compare and contrast how geographic factors impacted the characteristics and purposes of similar works of art.

9. Understand different theories of aesthetics. (A)

a. Recognize that there are multiple answers to broad aesthetic questions such as, “What is art?” b. Explore different theories of aesthetics.

10. Begin to recognize contextual factors that influence how an individual respects and values art. (A)

a. Investigate how specific images originated in works of art created for an intended purpose. b. Analyze how various individual responses to the characteristics of a work of art can serve as a means for interpreting that work.

11. Recognize how life decisions, such as career choices, can be influenced by a meaningful integration of visual arts concepts and skills with knowledge in other subject areas. (C)

a. Research the roles of contemporary artists in their own community and in society. b. Analyze career options in the visual arts. c. Recognize how the study of other subject areas impact career choices in the arts.

Visual Arts 91 2003 Mississippi Visual and Performing Arts Framework

12. Distinguish how common concepts, technologies, media, and processes of the visual arts relate to those in other subject areas (C, CP)

a. Compare and contrast the creative process among the arts and within other content areas. b. Compare the similarities and differences in the use of technologies, media, and processes of the visual arts with those of other arts disciplines. c. Utilize the characteristics of the visual arts to enhance the study of themes in the humanities, sciences and other subject areas.

Visual Arts 92 2003 Mississippi Visual and Performing Arts Framework

High School Visual Arts II

Comp. Obj. Suggested Teaching Strategies Suggested Assessment

1aStudents choose a theme from a work of literature and Class critique using construct a collage using natural and/or recycled guided questions materials. based on objectives

2aStudents compare and contrast art media used in Spreadsheet ancient Egypt to communicate ideas with those used today.

3aStudents study the work of William Hogarth and Class critique with compare it to political cartoons of today then create a teacher guided satirical work of art based on a contemporary political or questions social situation.

4cStudents choose three elements and two principles of Class critique in which design and create a work of art that utilizes your choices class identifies which elements and principles are used

5bStudents choose one of several presented philosophies Rubric based on of art (imitationalism, expressionism, formalism, philosophies of art and instrumentalism) then create a work of art that meets the stated objectives criteria emphasized in that philosophy.

6cStudents identify at least two influences on North Written report based American art from the following cultures: Native on stated criteria American, Asian, African, European, Hispanic. Choose one and write a report.

7dStudents examine aborigine “Dreamtime” paintings, the Written or oral report function they serve in that culture, and the impact they based on stated have on society. objectives

8aStudents select three works of art from different cultural Class discussion with regions. Then describe the main differences in design, teacher guided subject, materials, and provide reasons for those questions differences.

9bStudents research different theories of aesthetics and Class discussion with apply them to a work of art. teacher guided questions

10 b Students select a work of art they find appealing and Class discussion with reflect on the areas of subject matter as well as sensory, teacher guided technical, formal, and expressive qualities. questions

11 a Students study the life and work of a Mississippi artist Written or oral report and the resulting impact he/she had on his/her based on objectives community.

Visual Arts 93 2003 Mississippi Visual and Performing Arts Framework

High School Visual Arts II

12 b Students compare the use of computer technology in Class discussion with the visual arts and in other arts disciplines. teacher guided questions

Visual Arts 94 2003 Mississippi Visual and Performing Arts Framework

High School Visual Arts Studio II Strategies are to be developed from the High School Visual Arts Level II program of study. The focus of the studio will determine the type of strategies used. The following strategies are examples of what might be used in a Visual Arts Studio II course focusing on Printmaking:

Comp. Obj. Suggested Teaching Strategies Suggested Assessment

1aStudents compare and contrast the various media, Checklist techniques, and processes of printmaking (silkscreen, block printing, intaglio, lithography, etc.). Students design a comparison chart for use in understanding the various printmaking processes and identify works according to each category.

2dStudents create original works of art using the various Rubric media, techniques, and processes of printmaking (silkscreen, block printing, intaglio, lithography, etc.). Student is to pay particular attention to the visual and organizational components of design as they work.

7cFollowing a teacher conducted a critique of a range of Teacher observation prints representative of different historical and cultural with probing questions contexts. Students discuss the works in relation to how the technique, style or images are directly related to the history or culture.

Visual Arts 95 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL LEVEL III (Advanced)

DESCRIPTION OF PROGRAM OF STUDY:

This program of study focuses on the creation and study of more advanced works of art and beginning of the development of a body of work for inclusion in a portfolio. Building on concepts and skills acquired in prerequisite courses—Visual Arts I, and II, or Visual Arts I and Drawing—students will work at a more advanced level applying their knowledge of production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Prerequisite requirement may be waived upon teacher recommendation based on a review of a body or work demonstrating accomplishment of Visual Arts I and II competencies. Work will encompass both two and three dimensional media, techniques, and processes. This program of study is to be used in developing curriculum for high school students in the following courses:

Visual Arts III Visual Arts Studio III

Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Visual Arts 96 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL LEVEL III (Advanced)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Demonstrate originality, superior skills, and craftsmanship in selecting and using various media, techniques, and processes to create and evaluate expressive works of art. (CP, CA)

a. Select and utilize various media, techniques, and processes to develop advanced skills, confidence, and sensitivity in creating works of art that communicate ideas. b. Comply with appropriate rules and regulations related to work habits, health, and safety while creating works of art. c. Refine and assess the use of media, techniques, and processes to create various art forms. d. Utilize new technology in art and design while creating and studying own works and works of others. e. Know various methods of presenting works for public presentation and portfolio development.

2. Effectively use elements and principles of design and various media, techniques, and processes to communicate intended meaning. (CP, A)

a. Integrate visual, spatial and temporal concepts with subjects, themes, symbols, and ideas to improve communication of intended meaning in works of art. b. Select appropriate technology to use in the creation of works of commercial art and fine art. c. Employ appropriate visual arts vocabulary related to technique and media in the study and creation of works of art. d. Solve challenging visual arts problems independently using selected media, techniques, and processes to communicate meaning.

Visual Arts 97 2003 Mississippi Visual and Performing Arts Framework

3. Effectively use various media, techniques, and processes to create works of art that evoke a range of responses. (CP)

a. Understand how artists manipulate media, techniques, and processes to convert mental solutions to problems into visual effects that evoke different responses. b. Understand that media, techniques, and processes have certain capabilities and limitations for use in evoking responses. c. Know how effects resulting from different media, techniques, and processes create a variety of moods impressions, and artistic styles. d. Analyze different ways the visual arts provide unique modes for expressing ideas, actions, and emotions.

4. Utilize perceptual skills and fully expanded visual arts vocabulary to make inform judgments while creating and studying complex works of art. (CA, CP)

a. Synthesize and select appropriate visual arts vocabulary through the critical process. b. Apply the visual and organizational components of art and design effectively in creating works of art. c. Understand that appreciating works of art involves using the eyes and mind, time, and viewer involvement.

5. Analyze the use of appropriate models of criticism for use when reading, writing, and speaking about works of art and design from different cultures, times, and places. (CA)

a. Know various theories of art criticism. b. Employ art criticism theories in analyzing their own works of art and works of others. c. Use vocabulary of art criticism through reading, writing, and speaking while studying works of art.

6. Analyze the impact of artists and the visual arts on society. (HC)

a. Research how the functions and impact of art changes as society changes. b. Assess the impact of visual arts on modern society. c. Understand that contemporary art is influenced by technological and artistic developments in previous cultures and times.

Visual Arts 98 2003 Mississippi Visual and Performing Arts Framework

7. Analyze the connections among subject matter, symbols, themes, and purposes in works of art and design across cultures, times, and places. (HC)

a. Compare and contrast different ways artists have conveyed common themes across historical periods. b. Identify common themes which cross cultures, times, and places. c. Understand that works of art provide evidence about human experience in specific cultures, times, and places.

8. Understand the roles of critics, historians, aestheticians, teachers, and artists across cultures, times, and places. (HC)

a. Research the role of the critic, historian, aesthetician, teacher, or artists from different cultures, times, and places. b. Compare and contrast a variety of historical and cultural contexts in terms of functions and purposes in works of art.

9. Apply knowledge of aesthetics to develop personal aesthetic philosophies. (A)

a. Utilize different theories of aesthetics while discussing broad aesthetic questions such as, “What is art?” b. Apply knowledge of aesthetics to develop a personal aesthetic philosophy. c. Understand the difference between aesthetic experience with a work of art and responding aesthetically to non-art phenomena (e.g., watching a sunset, smelling a rose).

10. Understand that contextual factors influence how communities respect, value, and derive meaning from art. (A)

a. Identify the perceived purpose of works of art through the specific images within the works. b. Utilize individual responses to the characteristics of works of art in interpreting and discussion of works.

11. Utilize the meaningful integration of visual arts concepts and skills with knowledge in other subject areas to explore options for career and life choices. (C)

a. Explore the role of the contemporary artist and the impact their work might have on the community and society. b. Research career options in the visual arts as a possible life choice. c. Synthesize knowledge of the visual arts and other subject areas to determine possible career choices.

Visual Arts 99 2003 Mississippi Visual and Performing Arts Framework

12. Incorporate common concepts, technologies, media, and processes of the visual arts and relate those to other subject areas to convey meaning in work of art. (C, CP)

a. Utilize the creative process of the arts and other content areas as they relate to each other. b. Utilize technology, media, and processes of the visual arts with those of other arts disciplines. c. Effectively utilize cooperative skills while creating works of art.

Visual Arts 100 2003 Mississippi Visual and Performing Arts Framework

High School Visual Arts III

Comp. Obj. Suggested Teaching Strategies Suggested Assessment

1dStudents will create an original 2-D work of art, then Student assessment that recreate it in a graphics program on a computer. explains the similarity and differences two processes used.

2aStudents maintain a journal or make daily entries in Teacher/student designed a sketchbook related to a work in progress, rubric to assess work. reflecting on their work from beginning ideas to completion.

3bAfter studying a range of works of art that clearly Rubric communicate the artist's intentions, students create a series of works to illustrate their own intentions, focusing on clearly communicating meaning through media, techniques, and processes.

4aStudents critique works of art using correct visual Rating scale arts terminology and concepts; critiques can be Teacher observation and done individually, in small groups, or in a large guidance group setting. Student knowledge can be demonstrated orally or in writing.

5bStudents analyze authentic works of art (or Teacher observation and reproductions) using different perspectives (e.g., guiding questions formalist, postmodern, western, non-western). Compare the differences in viewpoints.

6aStudents examine the works of various artists in Rubric based on criteria relation to the impact of geography on their work for written analyses (e.g., media, subject matter, style). After studying a range of works, students write individual short essays about works that they have not yet approached in this manner.

7aStudents identify universal themes that occur Rubric throughout time. In teams, students find images on the internet illustrating the selected theme. Compare the various images in relation to treatment of the theme and complete a comparison chart for reporting to the class as a whole.

8bStudents select a functional object to research Rubric with criteria to across several time periods. Examine ways that the assess research and object may have changed in relation to time, place, qualities of the art work and culture. Consider whether or not the object is considered “art” in all contexts. Is the object always functional? Create a work based on the object altering its function and purpose.

Visual Arts 101 2003 Mississippi Visual and Performing Arts Framework

High School Visual Arts III

9aAfter studying various theories of aesthetics, Teacher observation and students bring in examples of “art” and “artifact.” facilitation Working in groups, each team classifies each object to determine agreement among groups. Debate points of view.

10 b Display a wide range of artworks (e.g., authentic Teacher/student works, reproductions, calendars, clothing with art generated rubric images). Students individually write short essays answering: What is a work of art? What is most valuable? Does reproduction of the work affect its value?

11 a After a study of a broad range of visual arts related Rating scale generated by careers, students investigate, in pairs, artists who students with teacher work in their communities. Interview the artists guidance related to their impact or contributions to the local community.

12 a, b Students create a multimedia presentation that Student/teacher generated incorporates knowledge and skills from several art rubric to assess disciplines as well as those in other content areas. presentations

Visual Arts 102 2003 Mississippi Visual and Performing Arts Framework

High School Visual Arts Studio III Strategies are to be developed from the High School Visual Arts Level III program of study. The focus of the studio will determine the type of strategies used. The following strategies are examples of what might be used in a Visual Arts Studio III course focusing on sculpture:

Comp. Obj. Suggested Teaching Strategies Suggested Assessment

1aStudents create a sculpture using a selected technique Rubric on effectiveness and/or process that exhibits advanced skills and of artistic choices and originality and clearly communicates expression, such communication of idea as a three-dimensional relief sculpture of a face communicating a particular mood, expression, or feeling.

2 a After studying a variety of sculptures, students analyze Checklist based on the compositions to determine artistic choices made in assigned criteria 4 b relation to communication of intended meaning. Students identify and integrate selected elements, principles, and media with themes and symbols to communicate meaning in a sculpture of their own.

3aStudents study sculptures created from found materials, Rubric on analysis of such as the work of Deborah Butterfield, analyzing how sculptures studied and the selection of materials contributes to the rubric on created communication of ideas. Students then create a sculpture sculpture from found materials to communicate a particular idea or evoke an intended response.

5 b Students study selected sculptures from a variety of Student and teacher cultures, times, and places of interest to them. Students evaluation of 6 a critique the works from two perspectives: one from the presentations based context of origin and another from the perspective of the on assigned criteria culture of the student. Students prepare presentations on their conclusions.

7 a Students select a universal theme and study sculptures Rubric on analysis of from a variety of cultures, times, and places, to sculptures and creation 2 a determine ways artists have conveyed the theme. of sculpture. Student Students then create a sculpture, informed by their and teacher evaluation research, that conveys the selected theme, effectively of work. integrating visual, spatial, and temporal concepts.

8 a Students select a sculpture from a culture, period, or Student and teacher place of interest to them, and research the impact of the evaluation of 9 b work on the culture or period of origin. Students justify presentation based on why the piece is considered art and prepare a assigned criteria presentation to share findings with the class.

Visual Arts 103 2003 Mississippi Visual and Performing Arts Framework

High School Visual Arts Studio III

10 b Students visit a sculpture exhibit, or create a virtual Student-generated sculpture exhibit using computer images and rating scale to evaluate photographic reproductions of selected sculptures. After written work and class viewing the exhibit, students write a short response to discussion each piece. Students share their responses to the exhibit and identify factors that may account for the differences in responses to the works of art.

11 a Students study a selected public sculpture in their local Rubric with criteria to area (or a sculpture displayed publicly from another time assess research, 2 c or place) and determine the impact on the community, sculpture design, and locally and at large. Students then draw a design for a vocabulary use public sculpture to communicate a specific theme or idea. Students present their creation and report orally on their findings.

12 b During the creation of a terra cotta sculpture, students research the firing process from a scientific perspective, 8 a understanding the physical and chemical changes that occur. Students study a variety of firing processes and how they relate to the environment of origin.

Visual Arts 104 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL LEVEL IV (Advanced)

DESCRIPTION OF PROGRAM OF STUDY:

This advanced program of study focuses on the creation of a portfolio for use in the pursuit of higher education or career opportunities. Building on concepts and skills acquired in prerequisite courses—Visual Arts I, II, and III, or Visual Arts I, Drawing and Painting - students will work at a sophisticated level applying their knowledge of production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Prerequisite requirement may be waived upon teacher recommendation based on a review of a body of work demonstrating accomplishment of Visual Arts I, II, and III competencies. Work will encompass two and three-dimensional media, techniques, and processes. This program of study is to be used in developing curriculum for high school students in the following courses:

Visual Arts IV Visual Arts Studio IV Visual Arts Individual Study

Visual Arts 105 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL LEVEL IV (Advanced)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Demonstrate accomplished skills in the selection and use of various media, techniques, and processes to create and study works of art. (CP)

a. Understand how to select the most appropriate media, techniques, and processes to exhibit advanced skills, confidence, and sensitivity in communicating ideas through original works. b. Understand the importance of habitually complying with appropriate rules and regulations related to work habits, health, and safety while creating works of art. c. Understand new technologies in art and design as media for communicating meaning through art and as a powerful tool for studying own works and works of others. d. Knowledge of requirements for producing a portfolio of work including an area of focus for presentation in the pursuit of further study. e. Knowledge of skills and requirements in exhibiting a body of work including artist statements and interpretations.

2. Formulate ideas, plan, and integrate elements of art and principles of design with subjects, themes, symbols or ideas using various media, techniques and processes to improve communication of intended meaning. (CP)

a. Understand how to integrate visual, spatial, and temporal concepts with subjects, themes, symbols, and ideas to improve communication of intended meaning in compositions. b. Understand how the synthesis of design with selected media and techniques within the creative process enhances the communication of artistic intent. c. Communicate a variety of ideas through the effective use of one media.

Visual Arts 106 2003 Mississippi Visual and Performing Arts Framework

3. Understand specific media, techniques, and processes to create particular effects that evoke intended responses. (CP)

a. Understand how artists achieve a good relationship between medium, and subject matter to successfully communicate expressive intent and influence people visually. b. Understand which media, techniques, and processes best serve the artist’s intent (through experimentation and research) in a work of art. c. Understand fully the various ways that the visual arts provide unique modes for expressing ideas, actions, and emotions. d. Research, plan, and solve advanced visual arts problems independently using a variety of media, techniques, and processes to produce intended effects.

4. Synthesize perceptual abilities with fully developed visual arts vocabulary to form judgments while creating and studying complex works of art. (CA)

a. Understand and consistently utilize a fully developed visual arts vocabulary sensitively and completely when studying and creating works of art. b. Understand how the synthesis of key visual arts concepts, skills, and processes with accomplished vocabulary skills enhances communication about creating and studying art forms through reading, writing, and speaking.

5. Understand a range of ways to critique works of art and design through reading, writing, and speaking. (CA)

a. Internalize theories of art criticism and apply them when assessing own work or work of others. b. Apply the vocabulary of art criticism at an advanced level when reading, writing, and speaking about works of art.

6. Understand the impact of context on roles, functions, and purposes for the visual arts across cultures, times, and places. (HC)

a. Understand the complex interrelationships between society and the role of the artist. b. Understand the differences between western and non-western philosophies of art and the way this affects how the artist is perceived. c. Understand the impact that the visual arts have on society and how art is influenced by society.

Visual Arts 107 2003 Mississippi Visual and Performing Arts Framework

7. Understand how universal themes, concepts, forms, and functions may be interpreted differently in works of art and design across cultures, times, and places. (HC)

a. Understand universal themes, symbols, and subject matter in works of art and design and how those characteristics may remain the same or evolve throughout time. b. Analyze works of art across time and culture as to what meaning is intended through their use of symbols and themes.

8. Understand the impact of culture, time, and place on the characteristics of works of art and design. (HC)

a. Understand the various ways in which works of art and design are impacted by factors of culture, time, and place. b. Understand ways that history and culture affect the functions and purposes of works of art and how those may change over time. c. Analyze common characteristics of art work over time and compare to their own works of art as it relates.

9. Understand different theories and philosophies of aesthetics. (A)

a. Understand ways to find meaningful answers to aesthetic questions in relation to culture, time, and place. b. Understand how concepts of beauty vary widely across cultures and throughout time. c. Understand how art is valued differently according to aesthetic preferences.

10. Understand the complexities of contextual factors and their dynamic interrelationships with perceived or communicated meanings in works of art. (A)

a. Understand how context impacts the communication of meaning in works of art and how work viewed out of context influences meaning. b. Understand how the context and life experiences of the viewer impact perceived meaning from artworks.

11. Recognize how the meaningful integration of visual arts concepts and skills with knowledge in other subject areas builds a strong foundation for the pursuit of professional careers. (C)

a. Understand the depth of content knowledge necessary for multi-sensory communication skills (images, words, sound, motion) to be a successful artist in the 21st Century. b. Understand the broad range of options available in pursuing a career related to the visual arts.

Visual Arts 108 2003 Mississippi Visual and Performing Arts Framework

12. Understand how common concepts, technologies, media, and processes of the visual arts and those in other subject areas are prerequisite tools for pursuing professional arts-related careers. (C)

a. Understand the integrated nature of the visual arts in relation to other arts disciplines, common concepts, historical and cultural features, and creative processes. b. Understand how the technologies, media, and processes of the visual arts can complement and enhance the meaning or effectiveness of those of other subject areas. c. Synthesize knowledge of the visual arts and other disciplines to explore arts related careers.

Visual Arts 109 2003 Mississippi Visual and Performing Arts Framework

High School Visual Arts IV

Comp. Obj. Suggested Teaching Strategies Suggested Assessment

1 a,c Using the Internet for research, students locate Rubric designed works of art based on a specific idea, topic, or collaboratively by students theme. Study the works to determine what the artists used to effectively communicate meaning. Students then create a work of their own using the computer, scanner, or other digital media in combination with traditional media.

2 a,b,c Students demonstrate their knowledge of design Rubric or rating scale within a composition that focuses on the use of symbols to communicate intended meaning.

3 a,b Using a sketchbook or journal for recording their Teacher evaluation of ideas, students select media, techniques, and journal processes to produce a specific effect within a Rubric for assessing art composition. Record the thought processes, works progression, and reflections on successes throughout the piece.

4 a,b Students select a work of art (their own or a famous Teacher assessment of work) write, and videotape an evening news written commentary commentary announcing the unveiling of a “new” Peer assessment using masterpiece. Focus on using correct art concepts rating scales for video and vocabulary when writing the script for the broadcast broadcast. Emphasize the importance of being able to speak and write effectively about the visual arts.

5 a,b Students describe, analyze, interpret, and evaluate Teacher observation and a work of art with which they are not familiar and guided questioning one of which they have no background information. Conclusions must be based on evidence grounded in the artwork.

6bStudents are introduced to examples of work from Teacher observation multiple cultural traditions. Students examine different ideas about creativity within western traditions as well as non-western. A class discussion is conducted, posing ethical questions related to “copying.” How does context influence various perspectives in relation to unique, original works as opposed to those of carrying on centuries of heritage in which generations of artists pass on designs, processes, and traditions?

7 b Students select multiple images from the media that Rubric generated by represent them as individuals. Select three and teacher and students 3 a combine them in a collage composition to create a working collaboratively work of art that represents them. The resulting works will be illustrations of how visual culture has impacted their lives.

Visual Arts 110 2003 Mississippi Visual and Performing Arts Framework

High School Visual Arts IV

8 b Students research the photograph of the Flag Teacher observation and Raising at Iwo Jima (or other identified works). guidance in research and 1 e Investigate ways that the function and purpose of mounting exhibit that photo have changed over time. Investigate Rating scale for other works whose function has changed over time. assessment of exhibit Create a group exhibition entitled “Change Over components Time” with descriptive text for display in a public area of the school.

9 a,b,c Students research examples that illustrate ways that Teacher observation people value art differently. Ask them to identify the factors that determine the ways people honor art in their lives. A group discussion is directed after students have completed their work.

10 a,b Students study examples from African and Native Teacher checklist based American cultures. Students discuss ways that the on research criteria objects taken out of context become something other than what was intended. Students are involved in a “scavenger hunt” to identify images, icons, and objects in their own communities that might take on new meaning and be misunderstood in another setting.

10 a,b Students select multiple images from the media that Rubric generated by represent them as individuals. Select three and teacher and students 3 a combine them in a collage composition to create a working collaboratively work of art that represents them. The resulting works will be illustrations of how visual culture has impacted their lives.

11 b Students select a visual arts career to investigate Checklist to guide student and create a report on the specific career. Students investigations render a work that would be produced by one in that field of work. Rubric to assess art work

12 a Students produce a multimedia, interdisciplinary Rating scale for use in performance piece illustrating a topic of their own peer assessment. choosing.

Visual Arts 111 2003 Mississippi Visual and Performing Arts Framework

High School Visual Arts Studio IV

Strategies are to be developed from the High School Visual Arts Level IV program of study. The focus of the studio will determine the type of strategies used. The following strategies are examples of what might be used in a Visual Arts Studio IV course focusing on the art of jewelry making.

Comp. Obj. Suggested Teaching Strategies Suggested Assessment

1aAfter studying jewelry-making techniques from a Rubric on study of particular culture or period, such as Greek techniques techniques and from the Minoan and Hellenistic periods, students select communication of idea a technique (i.e., repousse, intaglio, filigree, granulation) through work of art that can effectively be used in communicating an idea through creation of an original work.

2 b Students create a work using a synthesis of decorative Rubric on synthesis of techniques studied and used in prior jewelry projects, jewelry techniques and 4 b with focus on use of elements and principles of art that communication of will improve communication of intended meaning. meaning and Students write an artist’s statement about the work evaluation of written justifying their artistic choices. work

3 a Students research how personal adornment is used to Rubric on analysis of evoke specific responses in selected cultures and times, jewelry as personal 7 b sharing their findings in a presentation. Students then adornment , create a jewelry work intended to evoke a particular presentation, and response. created work of jewelry

5 c After studying the use of jewelry as amulets in various Checklist based on cultures and times, students select examples of amulet assigned criteria of 6 c jewelry from two different cultures or times. Students research, written work, write a description of the pieces including the techniques and presentation 10 b used, analysis of the symbol based on the context of the culture of origin, and how the work may be viewed 2 a differently from the other culture or time. Students report on their findings to the class. Students then create an amulet symbolic of their hopes, desires, or values.

7 a Student research ways artists have conveyed a Rubric on research, universal theme, such as deity or immorality, through analysis of jewelry, and 8 a jewelry. They analyze the impact of cultures, times, and creation of work places on the characteristics of the works (i.e., 2 a techniques, media), then create a realistic or stylized work in the same theme.

9cStudents select two examples of jewelry from different Student and teacher cultures, times, or places, and of the same function (i.e., evaluation of funerary, ceremonial, personal adornment) and analyze presentation based on how the pieces are valued differently according to the assigned criteria aesthetic preferences of the environment of origin. Students share findings in a presentation.

Visual Arts 112 2003 Mississippi Visual and Performing Arts Framework

High School Visual Arts Studio IV

11 b Students research the jewelry industry, including Rubric with criteria to educational preparation, job descriptions, salaries, assess research, 4 a impact on society, and financial status and target market vocabulary use, and of a selected company. Students prepare multi-media presentation presentations to share with the class. (Group or individual work)

12 a As part of a metal jewelry project, students research the Student-generated mining of metals in a specific place or culture for use in rubric on research and jewelry making. As a connection to social studies, presentation students determine how human actions modify the environment and changes that occur in the distribution of resources. Students prepare written or oral reports on findings.

Visual Arts 113 2003 Mississippi Visual and Performing Arts Framework

High School Visual Arts Individual Study, Level IV

The following strategies are examples that might be used for Julie, an advanced student who has already completed Visual Arts Level I-IV, Ceramics, Photography, Drawing and Painting. She is intrigued by possibilities that could be employed with mixed or multimedia works and experimental media.

Comp. Obj. Suggested Teaching Strategies Suggested Assessment

1aUsing the Internet for research, the student will Rubric designed by locate works of art based on a specific idea, topic, student with teacher or theme selected for research. The student will approval study the works to determine what media the artists used to effectively communicate meaning. The students will then create a work of their own using the computer, scanner, or other digital media in combination with traditional media, transforming two-dimensional images into a three-dimensional form.

2aThe student will demonstrate knowledge of design Rubric or rating scale within a composition that focuses on the use of symbols to communicate intended meaning using a medium that they have created by combining materials not usually used together (e.g., dry clay and Elmer’s glue to make a modeling compound).

3bUsing a sketchbook for planning and recording Teacher evaluation of experiments, the student will select media, sketchbook techniques, and processes to produce a specific effect within a work of art using methods that allow for creating multiple images (e.g., an original mold for clay or paper, xerography or digital imaging) Rubric for assessing art Students record the thought processes, progress, works and reflections on successes throughout the production of the series.

Visual Arts 114 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL CERAMICS I (Proficient)

DESCRIPTION OF PROGRAM OF STUDY:

This high school program of study focuses on knowledge and skills in three- dimensional design with clay and/or other plastic media. Building on concepts and skills acquired in elementary and middle level visual arts courses, students continue to increase their knowledge of production, critical analysis, history and culture, aesthetics, and connections among ceramic arts, other content areas, and everyday life. Work will be limited primarily to three dimensional media, techniques, and processes. This program of study is to be used in designing curriculum for high school students in the following course:

Ceramics I

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Visual Arts 115 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL CERAMICS I (Proficient)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Apply proficient skills and craftsmanship in selecting and using various techniques and processes to create and study works in clay. (CP)

a. Create ceramic ware that communicates original ideas using a variety of techniques and processes. b. Study a number of ceramic works, both original and by others, as to how the selection of clay body, technique, or process communicates the overall idea. c. Practice safety and conservation in the use of tools, materials, and equipment in the creation of works of ceramics. d. Explore the use of new technology in art and design while integrating these into their own works.

2. Understand how to select and use the elements of art and principles of design applied through ceramic techniques and processes related to the communication of meaning. (CP)

a. Integrate visual, spatial, and temporal concepts with subjects, themes, symbols and ideas to improve communication of intended meaning. b. Explore the influence of new technology on ceramics production and how it effects communication of meaning in ceramic works.

3. Understand how ceramic techniques and processes create effects that evoke a range of responses in works of clay. (CP)

a. Understand that visual effects of ceramics works evoke a range of responses. b. Understand that effects resulting from the use of ceramic media, techniques, and processes are factors that affect visual perception. c. Recognize that the choice of ceramic media, techniques, and processes results from the artist's thinking about how best to achieve specific effects.

Visual Arts 116 2003 Mississippi Visual and Performing Arts Framework

4. Utilize perceptual skills and apply ceramic arts vocabulary to make informed judgments while creating and studying works of clay. (CA)

a. Effectively use visual arts vocabulary through the processes of speaking or writing when critiquing own ceramic art or that of others. b. Recognize and understand visual arts and ceramics vocabulary in written text. c. Use appropriate visual arts ceramics vocabulary related to technique and processes as work of ceramics art are created. d. Utilize the visual and organizational components of art and design while creating works of ceramic art. e. Use appropriate visual art and ceramic vocabulary related to technique and process in creating works of ceramic art.

5. Understand that a wide range of theories of critical analyses exist, and provide valid methods for studying the characteristics of works of clay. (CA)

a. Examine the work of self and others to determine the intentions of the artist in creating a particular work in clay. b. Understand the theories of critical analysis and how they relate to ceramic art. c. Identify different ways that three-dimensional work in clay provides unique modes for expressing ideas, actions, and emotions.

6. Know that context is a factor in determining the roles, functions, and purposes of artists, works of art, and visual arts careers differently according to culture, time, and place. (HC)

a. Examine ways that culture is reflected by the use of technology in the creation of ceramic works of art. b. Understand how the context of the artist, the context in which the work of ceramic art is created, the context of the viewer, and the context in which the work is viewed can be impacted by technological changes over time.

7. Know universal themes, concepts, forms, and functions that recur in works in clay across cultures, times, and places. (HC)

a. Identify different ways ceramic artists have conveyed common themes or issues across historical periods. b. Discuss how ceramics works of art differ visually, functionally, and by process, and describe how these difference, relate to history and culture. c. Investigate the functions of different ceramic works of art in society and the impact on society.

Visual Arts 117 2003 Mississippi Visual and Performing Arts Framework

8. Understand how factors of culture, time, and place influence the characteristics of ceramic art and design. (HC)

a. Relate how factors of culture, times, places, and the ceramic arts influenced each other. b. Recognize a variety of historical and cultural contexts in terms of characteristics of ceramic works of art. c. Compare and contrast characteristics and purposes of similar ceramic works from a variety of cultures, times, and places.

9. Know different theories of aesthetics. (A)

a. Recognize that broad aesthetic question such as, “What is art?” and “Is ceramics an art or craft?” b. Know different theories of aesthetics.

10. Analyze how contextual factors affect how people respect, value and derive meaning from ceramic art. (A)

a. Analyze how the meaning of a specific work of ceramic art might change if it were transported to another time frame. b. Investigate how specific images originated in clay works for an intended purpose. c. Know various individual responses to the characteristics of ceramic work can serve as a means for interpreting art. d. Discuss possible meanings of works of ceramic art by examining how specific wares are created and how they relate to historical and cultural context.

11. Integrate ceramic arts concepts and skills with knowledge in other subject areas to provide meaningful tools for use in everyday life. (C)

a. Research the roles of contemporary artist/potters in their own community and society. b. Recognize career options in the ceramic arts. c. Understand how the study of ceramic arts utilizes knowledge from other subject areas.

12. Understand how common concepts, technologies, and processes of the ceramic arts relate to those in other subject areas within and outside the arts. (C)

a. Compare and contrast the creative process in clay to that in other content areas. b. Compare the similarities and differences in the use of technologies and processes of clay with those of other arts disciplines. c. Utilize the processes of clay to enhance the study of themes in the humanities, sciences, and other curricular areas.

Visual Arts 118 2003 Mississippi Visual and Performing Arts Framework High School Ceramics I

Comp. Obj. Suggested Teaching Strategies Suggested Assessment

1 a, c Students create ceramic ware that communicates Rubric based on original ideas through pinch, slab, and coil processes. assigned criteria

2aStudents select and use appropriate elements and Rating scale for use in principles of design that improve the communication of a peer assessment specific idea or concept, function or purpose on a piece(s) of pottery.

3bStudents select several works to analyze to determine if Student self- form follow function or purpose. Did their work fulfill assessment using a their original intentions? Compare finished works to rating scale original sketches. Do the responses from their peers indicate that they were affected differently than intended?

4aAfter practicing the appropriate techniques for a whole Teacher observation class critique, students critique ceramic works from a and guided questions wide range of contexts (e.g., Mexican, Japanese, English, African). Emphasize the proper use of terminology in discussing media, techniques, and processes.

5 c Students examine a broad range of artworks—both two- Class Critique of and three-dimensional. Determine those instances in objects 1 b which the three-dimensional characteristics of ceramic Rubric to assess 3 b works could uniquely express a similar concept or idea. quality of pottery Which medium might be most effective? Create a work in clay to transform an idea previously expressed in two- dimensions.

6bStudents analyze a range of ceramic works from various Rating scale times and cultures, then write a short analysis of how a selected work reflects the culture in which it was created.

7cStudents select a functional ceramic object to research Peer assessment using historically in relation to form, function, and purpose in a rating scale designed three cultures. Outline the data on a research chart by the class showing change according to time, place, and culture.

8bUsing museum postcards or other small reproductions, Teacher guidance students practice matching objects to categories of during practice culture, time period, function, or purpose. Written test with matching or multiple choice items

Visual Arts 119 2003 Mississippi Visual and Performing Arts Framework High School Ceramics I

9aIn pursuing answers to the question “What is art?” Teacher observation students debate the issues of art versus craft. When might one ceramic form be considered art, while another a craft? What factors influence the way in which people value ceramic works?

10 a Students investigate various images that occur on Peer assessment of ceramic works across cultures. Research how context team reports using a impacts the interpretation of the image in different rating scale locations.

11 a, b Invite a local or regional ceramic artist to be a guest Student reflections in speaker. Students interview the artist in relation to the writing after artist role they play in the community and in relation to career leaves options.

12 a Compare the creative process used in making a ceramic Teacher observation work of art to the writing process and the process of and guiding questions scientific investigation. Discuss common concepts shared among ceramics, science, and geography.

Visual Arts 120 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL CERAMICS II (Proficient)

DESCRIPTION OF PROGRAM OF STUDY:

This program of study focuses on developing in-depth knowledge and skills in three-dimensional design with clay and/or other plastic media. Building on introductory level concepts and skills acquired in the prerequisite course, Ceramics I, students continue to increase their knowledge of wheel thrown and hand built production, critical analysis, history and culture, aesthetics, and connections among ceramic arts, other content areas, and everyday life. Work will be limited primarily to three dimensional media, techniques, and processes. This program of study is to be used in designing curriculum for high school students in the following course:

Ceramics II

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Visual Arts 121 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL CERAMICS II (Proficient)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Demonstrate competency in selecting and using various ceramic techniques and processes to create and study works of clay. (CP)

a. Create complex ceramic ware that communicates original ideas using a combination of techniques and processes. b. Create a body of ceramic work selecting appropriate clay body and technique to communicate ideas. c. Practice safety and conservation in the use of tools, materials, and equipment in the creation of works of ceramic art. d. Utilize advanced technology in art and design while integrating these into their own works.

2. Know how to use elements of art and principles of design applied through various ceramics techniques and processes as they relate to the communication of meaning. (CP)

a. Integrate visual, spatial, and temporal concepts with subjects, themes, symbols, and ideas to improve communication of intended meanings. b. Explore advanced techniques such as raku or salt firing in the creation of ceramic ware, casting and decals. c. Use appropriate visual arts and ceramic vocabulary as related to technique and processes in creating works of ceramic art.

Visual Arts 122 2003 Mississippi Visual and Performing Arts Framework

3. Select and use various ceramic techniques and processes to create works of clay that evoke a range of responses. (CP)

a. Understand how artists select ceramic techniques, media, and processes in the creation of ceramic art to evoke a variety of responses. b. Analyze artistic intent in own ceramic creations in relation to form, function, and purpose. c. Understand that ceramic artists use media, techniques, and processes to produce a wide range of effects that impress viewers differently.

4. Utilize perceptual skills and apply expanded ceramic arts vocabulary to make informed judgments while creating and studying works of clay. (CA)

a. Effectively use expanded visual arts and ceramics vocabulary when critiquing their own ceramic art and those of others through the processes of speaking, writing, or reading. b. Use appropriate visual arts ceramic vocabulary related to new techniques and media as works of ceramic are created. c. Demonstrate advanced skill in the use of the visual and organizational components of design while creating works of ceramic art.

5. Explore and evaluate theories of critical analysis for studying the characteristics of ceramics through reading, writing, and speaking. (CA)

a. Employ various theories of critical analysis to understand and analyze works in clay. b. Analyze different ways that three-dimensional works in clay provide unique modes for expressing ideas, actions, and emotions.

6. Understand the complex functions of artists in society and the impact of the visual arts (e.g., social, political, economic, religious, individual.) (HC)

a. Differentiate between meanings in works of ceramic art by examining how specific clay works are created and how they relate to historical and cultural contexts. b. Compare and contrast the meaning of different ceramic works of art in context to the culture in which they were created and how meaning might be lost if the contexts were changed c. Examine how the context of the artist, the time in which the ceramic ware was created, the viewer, and the place and time in which it is viewed can impact the interpretation of the ceramic work of art.

Visual Arts 123 2003 Mississippi Visual and Performing Arts Framework

7. Understand how subject matter, symbols, themes, and purposes relate to meaning in works of clay across cultures, times, and places. (HC)

a. Employ various interpretations of symbols and purposes to understand and analyze works of ceramic arts. b. Analyze different ways artists have conveyed common themes or issues across historical periods. c. Compare how ceramic works of art differ visually, functionally, and by purpose, and describe how these differences relate to history and culture. d. Compare and contrast the functions of art in society and the ways the ceramic and three-dimensional arts have impacted society.

8. Explain how geographic factors impact the characteristics of ceramic art and design. (HC)

a. Determine how factors of culture, time, and place affected the development of ceramic works of art. b. Describe the function and explore the meaning of selected ceramic work within various cultures, times, and places. c. Analyze characteristics and purposes of ceramics from a variety of cultures, times, and places.

9. Understand different theories of aesthetics. (A)

a. Apply the theories of aesthetics to questions, such as, “What is beauty?” and, “Is ceramics art or craft?” b. Analyze different aesthetic perspectives including intention of artists, context, views, and experience.

10. Begin to recognize contextual factors that influence how an individual respects and values ceramic art. (A)

a. Determine the origin of possible subjects, themes, symbols, problems, or ideas for use in creating ceramics for an intended purpose. b. Analyze how various individual responses to the characteristics of ceramic art can serve as a means for interpreting that work.

11. Recognize how life decisions, such as career choices, can be influenced by a meaningful integration of ceramic arts concepts and skills with knowledge in other subject areas. (C)

a. Recognize and understand how and why the arts enhance the quality of life in communities throughout the world. b. Analyze how the study of the arts impacts career choices.

Visual Arts 124 2003 Mississippi Visual and Performing Arts Framework

12. Distinguish how common concepts, technologies, media, and processes of ceramic arts relate to those in other subject areas. (C)

a. Compare the characteristics of the visual and performing arts across history, time, and culture. b. Understand the use of technologies, media, and processes of clay with those of other arts disciplines. c. Compare concepts in clay and ceramic art to the themes in the humanities, sciences, or other curricular areas. d. Recognize the use of chemistry in the formulation and use of glaze.

Visual Arts 125 2003 Mississippi Visual and Performing Arts Framework

High School Ceramics II

Comp. Obj. Suggested Teaching Strategies Suggested Assessment

1 a Students create ceramic ware using pinch, slab, coil, Rubric designed wheel-thrown and combination methods to express an according to assigned 2 a idea, fulfill a specific function or purpose. criteria

2bStudents explore the influence of technology on the Teacher observation production of ceramics. Create works applying some of the available technological applications. Rating scale

3aStudents create a work maximizing the characteristics of Student self the clay medium to create an intended effect. Write a assessment reflective assessment in relation to success of achieving Rubric to assess the intended impact. overall quality 4aStudents individually write a news release describing an Teacher evaluation of archaeological find. Use visual illustrations from which to news releases. write the releases. Students must use correct art vocabulary and apply ceramic concepts appropriately.

5aIn small groups, students describe, analyze, and Rating scale to be interpret a range of ceramic works—their own and those used by teams of others.

6cStudents examine ceramic works from various cultures, Teacher observation times, and places. Have students interpret works, and guiding questions determine purposes, function, meaning without knowing the contextual backgrounds. Study the works with appropriate information and discuss ways that looking at works out of context might influence conclusions drawn.

7bStudents analyze or research ways that ceramic arts Spreadsheets to have conveyed universal themes or subject matter contrast time periods across historical periods. How does history impact ceramic expression?

8aUsing multicultural works representing time periods from Peer assessment using prehistory to contemporary society, students investigate a rating scale the impact of geography on the ceramic products Rubric for teacher created in each setting. Divide the class into teams, assessment of written each with a specific assignment. Each team will present report. findings to the class after research is complete. Reports will be submitted in writing.

9aDivide the class into two teams. Students debate the Teacher assessment of issues of ceramics as art or craft. Teams must conduct presentations using research, provide examples, and create a rubric with rating scale. Rubric to criteria to determine if a work is art or craft. assess rubric quality

Visual Arts 126 2003 Mississippi Visual and Performing Arts Framework

High School Ceramics II

10 a Students to research pottery from multicultural sources Rubric to use as inspiration for a subject, themes, or problem. Students create a work to express their intended purpose.

11 a Students choose a topic and write a short research Rubric to assess paper about the impact a particular ceramic art form or written reports. process has had on society in a specific time period.

12 c Students compare characteristics of ceramic objects in Student generated specific cultures, times, and places to circumstances in rating scale or rubric the humanities and sciences.

Visual Arts 127 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL DRAWING I (Proficient)

DESCRIPTION OF PROGRAM OF STUDY:

This high school program of study involves a broad range of drawing media, techniques, and processes. In this course, students will continue to develop prior knowledge and skills in the creation and study of works of art and design. Building on concepts and skills acquired in Visual Arts Level I, students will increase their knowledge of production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Work will encompass two-dimensional art forms rendered and wet and dry drawing media with an emphasis on working in black and white with an introduction to color techniques. This program of study is to be used in designing curriculum for high school students in the following course:

Drawing I

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Visual Arts 128 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL DRAWING I (Proficient)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Apply proficient skills and craftsmanship in selecting and using various drawing media, techniques, and processes to create original and expressive drawings. (CP, CA)

a. Compare and contrast various media, techniques and processes to develop competent skills, confidence, and sensitivity while creating drawing works of art. b. Create drawings that utilize media, techniques, or processes to communicate the intended idea. c. Practice safety and conservation in the use of tools, materials, and equipment in the creation of drawing works of art. d. Identify and define new technology in art and design as it is used in contemporary society and their own drawing works of art.

2. Understand how to select and use elements and principles of design applied through various drawing media, techniques, and processes as they relate to the communication of meaning. (CP, A)

a. Analyze visual, spatial, and temporal concepts as integrating subject, themes, symbols, and ideas to improve communication of intended meaning in drawings. b. Identify and define new technology in drawing as it is used in contemporary society and one’s own works of art to communicate meaning. c. Employ appropriate drawing vocabulary related to technique and media as works of art are created and studied.

Visual Arts 129 2003 Mississippi Visual and Performing Arts Framework

3. Understand how drawing media, techniques, and processes create effects that evoke a range of responses. (CP)

a. Understand that visual effects produced with drawing media, techniques, and processes evoke a range of responses (e.g., dread, hope, despair, joy, pleasure, pain). b. Demonstrate an understanding of how artists use unique modes for expressing ideas, actions, and emotions in drawings to solve specific drawing problems. c. Recognize that the choice of drawing media, techniques, and processes results from the artist's thinking about how best to achieve specific effects.

4. Use perceptual skills and apply visual art vocabulary to form judgments while creating and studying drawings. (CA, CP)

a. Effectively use expanded visual arts vocabulary when critiquing one’s own drawings and those of others through the processes of speaking, writing, or reading. b. Use appropriate visual arts vocabulary related to new techniques and media as drawings are created. c. Demonstrate the visual and organizational components of drawing in creating works of art.

5. Understand that a wide range of theories of critical analyses exist and provide valid methods for studying the characteristics of drawings. (CA)

a. Employ various theories of critical analysis to understand and analyze drawings. b. Utilize critical analysis theories to study one’s own drawings and those of others c. Analyze different ways that drawings provide unique modes for expressing ideas, actions, and emotions.

6. Understand that technology impacts the roles, functions, and purposes of artists, works of art, and visual arts careers differently according to culture, time, and place. (HC)

a. Differentiate between the technology used in the creation and relationship of specific drawings to historical and cultural context. b. Recognize differences in technology used to create drawings and understand the context of the culture in which it was created, an how a change of context might cause meaning to be lost.

Visual Arts 130 2003 Mississippi Visual and Performing Arts Framework

7. Know universal themes, concepts, forms, and functions that recur in works of art and design across cultures, times, and places. (HC)

a. Employ various interpretations to understand and analyze drawings. b. Analyze different ways artists have conveyed common themes or issues across historical periods. c. Compare how drawings differ visually, functionally, and by process, and describe how these differences relate to history and culture. d. Compare and contrast the functions of art in society and the ways the visual arts have impacted society.

8. Analyze how factors of time and the visual arts influence drawings. (HC)

a. Determine how factors of time affected the development of drawing. b. Describe the function and explore the meaning of selected drawings within various time periods. c. Examine characteristics and purposes of drawings from a variety of time periods.

9. Know different theories of aesthetics. (A)

a. Discuss broad aesthetic questions that explore the implications of the purposes of art. b. Describe different aesthetic perspectives including intention of artists, context, views, and experience.

10. Analyze how contextual factors affect the way people respect, value, and derive meaning from art. (A)

a. Explore the origins of possible subjects, themes, symbols, problems, or ideas for use in creating drawings for an intended purpose. b. Reflect on how various individual responses to the characteristics of drawings can serve as a means for interpreting that work.

11. Integrate visual arts concepts and skills with knowledge in other subject areas to provide essential tools for everyday life. (C)

a. Recognize and understand how and why the arts enhance the quality of life in communities throughout the world. b. Recognize how the study of the arts impacts career choices.

Visual Arts 131 2003 Mississippi Visual and Performing Arts Framework

12. Analyze how common concepts, technologies, media, and processes of the visual arts relate to those in other subject areas. (C, HC)

a. Compare the characteristics of the visual and performing arts across history, time, and culture. b. Integrate the use of technologies, media, and processes of drawing with those of other arts disciplines. c. Compare the characteristics of drawings to the themes in the humanities, sciences, or other curricular areas.

Visual Arts 132 2003 Mississippi Visual and Performing Arts Framework High School Drawing I

Comp. Obj. Suggested Teaching Strategies Suggested Assessment

1aStudents experiment with various drawing media, Rubric based on techniques, and processes, then create a mixed media stated objectives and drawing of a still life using different techniques and class critique processes.

2aStudents copy master drawings in a sketchbook/journal Weekly checks of and reflect on the communication of intended meaning sketchbooks and of the original as well as the copy. periodic discussions

3bStudents draw a portrait from life or from a photograph. Rubric based on Overlay with a grid and redraw the portrait using a stated objectives and distorted grid. Add a full range of value. class critique

4 a,b,c Students complete several still life drawings, then Class critique with discuss the process utilized in the creation using visual teacher-guided arts vocabulary. questions

5 a,b Students choose a work of art and use the four steps of Written report based art criticism to analyze and interpret the work. on given criteria

6aStudents record first impressions of a selected artwork, Class discussion gather historical information about the work and based on teacher- technologies used to create it, and discuss in class. guided questions and Determine if impressions of the work changed after student responses learning the historical background.

7 b,c Students choose a common or universal theme used in Class discussion on artworks throughout time. Find examples of works that themes and rubric utilize the theme. Using the same theme, create a 21st based on stated Century interpretation. criteria

8 b,c Students make a study of political cartoons from Oral report based on throughout history and the impact they had on society. stated objectives

9aAfter studying different types of exemplary drawings Class discussion with from throughout history, students discuss what makes teacher-guided them important enough to be included in the study. questions.

10 b Students choose a drawing that appeals to them and Written or oral report discuss in class the expressive qualities of the drawing. based on stated Use visual arts vocabulary to explain how the feeling or criteria and proper mood was expressed. use of vocabulary

11 b After studying technical drawings, botanical drawings, Class discussion with medical illustrations, etc., students discuss career teacher-guided choices utilizing arts skills. questions

Visual Arts 133 2003 Mississippi Visual and Performing Arts Framework High School Drawing I

12 b Play a musical composition such as Pachabel’s Canon Class discussion with in D and listen for ways the composition is organized teacher-guided (rhythm, movement, theme, unity, harmony, contrast). questions Students compare it to the organization of a drawing composition.

Visual Arts 134 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL DRAWING II (Proficient)

DESCRIPTION OF PROGRAM OF STUDY:

This high school visual arts program of study involves a broad range of drawing media, techniques, and processes. In this course, students will continue to develop prior knowledge and skills in the creation and study of works of art and design. Building on concepts and skills acquired in Visual Arts Level I and Drawing I, students will increase their knowledge of production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Work will encompass two-dimensional art forms rendered and wet and dry drawing media with an emphasis on working in color with a continuation of skill development in black and white processes. This program of study is to be used in designing curriculum for high school students in the following course:

Drawing II

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Visual Arts 135 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL DRAWING II (Proficient)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Demonstrate competency in selecting and using various drawing media, techniques, and processes to create and study drawings. (CP, CA)

a. Select and utilize various drawing media, techniques, and processes to develop advanced skills, confidence, and sensitivity to create drawings that communicate ideas. b. Comply with appropriate rules and regulations related to work habits, health, and safety while creating works of art. c. Refine and assess the use of media, techniques, and processes to create various drawings. d. Utilize new technology in art and design while creating and studying own drawings and those of others. e. Investigate various methods of presenting drawings for public presentation and portfolio development.

2. Know how to use elements of art and principles of design and various drawing media, techniques, and processes to communicate intended meaning. (CP, A)

a. Integrate visual, spatial and temporal concepts with subjects, themes, symbols, and ideas to improve communication of intended meaning in drawings. b. Select appropriate technology for use in the creation of commercial and fine art drawings. c. Employ appropriate drawing techniques and media as works of art are created and studied. d. Create complex drawings that utilize the elements of art and principles of design to communicate ideas.

Visual Arts 136 2003 Mississippi Visual and Performing Arts Framework

3. Select and use various drawing media, techniques, and processes to create works of art that evoke a range of responses. (CP)

a. Understand that artists use drawing media, techniques, and processes to produce a wide range of effects which affect viewers differently. b. Recognize how artists select specific drawing media, techniques, and processes to achieve intended effects. c. Produce a body of work to develop an understanding of artist’s intent.

4. Use perceptual skills and apply expanded visual arts vocabulary to make informed judgments while creating and studying drawings. (CA, CP)

a. Synthesize and select appropriate visual arts vocabulary through the critical process in relation to various contexts. b. Apply the visual and organizational components of art and design effectively while creating drawings. c. Employ appropriate visual arts vocabulary related to technique and media as drawings are created and studied.

5. Explore and evaluate theories of critical analysis for studying the characteristics of drawings through reading writing, and speaking. (CA)

a. Analyze various theories of critical analysis. b. Employ critical analysis theories by analyzing their own drawings and those of others. c. Analyze different ways the visual arts provide unique modes for expressing ideas, actions, and emotions.

6. Understand the complex functions of artists in society and the impact of drawings (e.g., social, political, economic, religious, individual.). (HC)

a. Compare and contrast between drawings by examining the impact they have on society. b. Study the artist and his drawings as they impact the society in which they were created. c. Research how the functions of art change as society changes and the ways the visual arts impact society.

7. Understand how subject matter, symbols, themes, and purposes relate to meaning in drawing across cultures, times, and places. (HC)

a. Compare and contrast different ways artists have conveyed common themes across historical periods in drawings. b. Determine intent of drawings from different cultures, times and places.

Visual Arts 137 2003 Mississippi Visual and Performing Arts Framework

8. Explain how geographic factors impact the media and forms of drawings. (HC)

a. Research the impact of place on the characteristics of specific drawings. b. Examined the functions and purposes of drawings as they relate to geographic factors.

9. Understand different philosophies of aesthetics. (A)

a. Utilize different theories of aesthetics and analyze the purposes of creating drawings. b. Discuss and defend answers to broad aesthetic questions about drawings, the artist, and their role in contemporary society.

10. Begin to recognize contextual factors that influence how an individual respects and values drawings. (A)

a. Identify the intended purpose of drawings through the specific images. b. Utilize individual responses to the characteristics of drawings while interpreting and discussing that work.

11. Recognize how life decisions, such as career choices, can be influenced by a meaningful integration of drawing and visual arts concepts and skills with knowledge in other subject areas. (C)

a. Explore the impact artists can have on the community and society. b. Identify career options in the visual arts as a possible life choice.

12. Distinguish how common concepts, technologies, media, and processes of the visual arts relate to those in other subject areas. (C, CP)

a. Utilize the creative process of drawing and the arts and other content areas as they relate to each other. b. Utilize technology, media, and processes of the drawing with those of other arts disciplines. c. Effectively utilize cooperative skills while creating drawings.

Visual Arts 138 2003 Mississippi Visual and Performing Arts Framework

High School Drawing II

Comp. Obj. Suggested Teaching Strategies Suggested Assessment

1eStudents select a personal work and prepare it for Class critique and presentation in a public venue. public presentation

2 a,b Students select a symbol that represents them as an Class critique based artist and utilize that symbol to create a symbolic self- on the stated portrait that conveys the inner self, not just physical objectives and use of appearance. a symbol

3 a Students create a triptych utilizing a common object Class critique and 4 b from the classroom as subject matter then transform the student led object into a meaningful visual expression of the artist. discussion of their own work 5bIn small groups, students examine a drawing done in an Presentation to class imitational style and list the literal qualities. Report and discussion by findings to the class. different groups

6 b Students choose drawings from different time periods Class discussion 7 b and use art criticism operations (description, analysis, using teacher-guided 8 a,b interpretation, judgement) to study them. questions

9aStudents write an aesthetic analysis of a particular art Rubric using stated object to explain why it was created and why they like it criteria, discussion or dislike it, and how they would value it as a work of art. using teacher -guided questions

10 a Students examine the drawings of several artists from Class discussion different time periods. Determine how the works are using teacher -guided similar and how they are different. questions

11 a Students study the public work of a Mississippi artist and Class discussion the impact it had on his/her community. using stated criteria

12 a,c Students choose a neglected area of their community. Class presentation Work in groups to draw a plan of a redesign of the area preserving important buildings and designing new buildings to fit in the area.

Visual Arts 139 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL PAINTING I (Proficient)

DESCRIPTION OF PROGRAM OF STUDY:

This high school visual arts program of study involves a broad range of painting media, techniques, and processes. In this course, students will continue to develop prior knowledge and skills in the creation and study of works of art and design. Building on concepts and skills acquired in Visual Arts Level I and Painting I, students will increase their knowledge of production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Work will encompass two-dimensional art forms rendered and wet and dry painting media with an emphasis on working in color with a continuation of skill development in black and white processes. This program of study is to be used in designing curriculum for high school students in the following course:

Painting I

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Visual Arts 140 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL PAINTING I (Proficient)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Demonstrate competency in selecting and using various painting media, techniques, and processes to create and study paintings. (CP, CA)

a. Select and utilize various painting media, techniques, and processes to develop advanced skills, confidence, and sensitivity to create paintings that communicate ideas. b. Comply with appropriate rules and regulations related to work habits, health, and safety while creating works of art. c. Refine and assess the use of media, techniques, and processes to create various paintings. d. Utilize new technology in art and design while creating and studying own paintings and those of others. e. Investigate various methods of presenting paintings for public display and portfolio development.

2. Know how to use elements of art and principles of design and various painting media, techniques, and processes to communicate intended meaning. (CP, A)

a. Integrate visual, spatial and temporal concepts with subjects, themes, symbols, and ideas to improve communication of intended meaning. b. Select appropriate technology to use in the creation of own paintings in commercial art and fine art. c. Initiate and solve challenging painting problems independently using a variety of media, techniques, and processes.

Visual Arts 141 2003 Mississippi Visual and Performing Arts Framework

3. Select and use various painting media, techniques, and processes to create works of art that evoke a range of responses. (CP)

a. Understand that visual effects produced through painting media, techniques, and processes evoke a range of responses (e.g., pleasure, pain, joy, sorrow). b. Understand that effects resulting from the use of painting media, techniques, and processes are factors that affect visual perception. c. Recognize that the choice of painting media, techniques, and processes results from the artist's thinking about how best to achieve specific effects. d. Produce a body of work to develop an understanding of artist’s intent.

4. Use perceptual skills and apply expanded painting and visual arts vocabulary to make informed judgments while creating and studying paintings. (CA, CP)

a. Synthesize and select appropriate visual arts vocabulary through the critical process in relation to various contexts. b. Apply the visual and organizational components of art and design effectively while creating paintings. c. Employ appropriate visual arts vocabulary related to technique and media as paintings are created and studied.

5. Explore and evaluate theories of critical analysis for studying the characteristics of paintings and design through reading, writing, and speaking. (CA)

a. Analyze various theories of critical analysis. b. Employ critical analysis theories by analyzing their own paintings and those of others. c. Analyze different ways the visual arts provide unique modes for expressing ideas, actions, and emotions.

6. Understand the complex functions of artists in society and the impact of paintings (e.g., social, political, economic, religious, individual). (HC)

a. Compare and contrast paintings by examining their impact upon society. b. Study the artist and his paintings as they impact the society in which they were created. c. Research how the functions of art change as society changes and the ways the visual arts impact society.

7. Understand how subject matter, symbols, themes, and purposes relate to meaning in paintings across cultures, times, and places. (HC)

a. Compare and contrast different ways artists have conveyed common themes in paintings across historical periods. b. Determine intent of paintings from different cultures, times and places.

Visual Arts 142 2003 Mississippi Visual and Performing Arts Framework

8. Explain how geographic factors impact the media and forms of paintings. (HC)

a. Research the impact of place, on the characteristics of specific paintings. b. Examine the functions and purposes of paintings as they relate to geographic factors.

9. Understand different philosophies of aesthetics. (A)

a. Utilize different theories of aesthetics and analyze the purposes of creating various paintings. b. Discuss and defend answers to broad aesthetic questions about paintings, the artist, and their role in contemporary society.

10. Begin to recognize contextual factors that influence how an individual respects and values paintings. (A)

a. Identify the intended purpose of paintings through the specific images. b. Utilize individual responses to the characteristics of paintings while interpreting and discussing that work.

11. Recognize how life decisions, such as career choices, can be influenced by a meaningful integration of visual arts and painting concepts and skills with knowledge in other subject areas. (C)

a. Explore the impact artists can have on the community and society. b. Identify career options in the visual arts as a possible life choice.

12. Distinguish how common concepts, technologies, media, and processes of painting relate to those in other subject areas. (C, CP)

a. Compare the processes of painting and other content areas as they relate to each other. b. Utilize technology, media, and processes of painting with those of other arts disciplines.

Visual Arts 143 2003 Mississippi Visual and Performing Arts Framework

High School Painting I

Comp. Obj. Suggested Teaching Strategies Suggested Assessment

1aStudents choose a single composition and recreate it Checklist using stated four times using different painting media and techniques objectives each time.

2aStudents select a theme or idea and utilize knowledge of Checklist using stated color theory to express feelings or emotions in a objectives painting.

3 a,b Students select an artist from a particular time period, Rubric using stated study their work, and recreate the style and technique objectives and class using a contemporary theme. critique of work

4 a,b Students choose two styles of paintings from different Rubric using stated periods. Create original artwork that combines ideas objectives and class from both styles. critique of work

5 b Students list ten common subjects or themes for Written report and paintings then choose one and write a paragraph class discussion using 7 b explaining why they think it is often used and why it teacher-guided transcends time and culture. questions

6 a,b Students study works from the Renaissance. They Checklist using stated choose one that appeals to them and recreate it using criteria and class current iconography (e.g., the Mona Lisa at a rock critiques concert).

8 a,b Students research paintings from ancient cultures and Checklist for written explore the meaning and function of those paintings report and class compared to paintings from more modern times. discussion

9aStudents examine non-western and western paintings Rubric based on stated and discuss them in relation to different aesthetic criteria viewpoints.

10 a,b Students write a paper discussing the differences Rubric for written between classic and romantic styles and their purposes, report and class including which style they like better and why. discussion

11 b Students make a study of art related careers and report Checklist and oral to the class. presentation

12 a Students divide into groups and is assigned a period in Written reports and history. Students study the social, political, economic, oral presentation and religious events of the time and how the arts were connected and impacted by those events.

Visual Arts 144 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL PAINTING II (Proficient)

DESCRIPTION OF PROGRAM OF STUDY:

This high school program of study focuses on advanced creation and study of painting and continues the development of a body of work for inclusion in a portfolio. It involves a broad range of painting media, techniques, and processes. Building on concepts and skills acquired in prerequisite courses—Visual Arts II, and III, or Painting I and Drawing—students will work at a more advanced level applying their knowledge of production, critical analysis, history and culture, aesthetics, and connections among the visual arts, other content areas, and everyday life. Prerequisite requirement may be waived upon teacher recommendation based on a review of a body or work demonstrating accomplishment of Visual Arts I and II competencies. This program of study is to be used in developing curriculum for the following course:

Painting II

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Visual Arts 145 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL PAINTING II (Proficient)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Demonstrate originality, superior skills, and craftsmanship in selecting and using various painting media, techniques, and processes to create and study drawings. (CP, CA)

a. Select and utilize various painting media, techniques, and processes to develop advanced skills, confidence, and sensitivity to create works of art that communicate ideas. b. Comply with appropriate rules and regulations related to work habits, health, and safety while creating works of art. c. Refine and assess the use of media, techniques, and processes to create various paintings. d. Utilize new technology in art and design while creating and studying paintings of their own and others. e. Investigate various methods of presenting paintings for public presentation and portfolio development.

2. Effectively use elements of art and principles of design and various painting media, techniques, and processes to communicate intended meaning. (CP, A)

a. Reflect on their own paintings as they integrate visual, spatial and temporal concepts with subjects, themes, symbols, and ideas to improve communication of intended meaning. b. Select appropriate elements of art and principles of design to use in the creation of their own paintings in commercial art and fine art. c. Employ appropriate visual arts vocabulary related to elements of art and principles of design as paintings are created and studied. d. Initiate and solve challenging painting problems independently using a variety of media, techniques, and processes.

Visual Arts 146 2003 Mississippi Visual and Performing Arts Framework

3. Effectively use various painting media, techniques, and processes to create works of art that evoke a range of responses. (CP)

a. Understand that artists use painting media, techniques, and processes to produce a wide range of effects which affect viewers differently. b. Recognize how artists select specific painting media, techniques, and processes to achieve intended effects. c. Produce a body of work to develop an understanding of artist’s intent.

4. Use perceptual skills and fully expanded visual arts vocabulary to make informed judgments while creating and studying complex paintings. (CA, CP)

a. Synthesize and select appropriate visual arts vocabulary through the critical process in relation to various contexts. b. Apply the visual and organizational components through writing and speaking while creating paintings.

5. Analyze the use of appropriate models of criticism for use when reading, writing, and speaking about paintings from different cultures, times, and places. (CA)

a. Identify various theories of critical analysis. b. Employ critical analysis theories in analyzing one’s own paintings and those of others. c. Analyze different ways the visual arts provide unique modes for expressing ideas, actions, and emotions.

6. Analyze the impact of artists and their painting on society. (HC)

a. Compare and contrast between meanings of works of art by examining how specific paintings are created and how they relate to historic and cultural context. b. Research the meaning of paintings in context to the culture in which it was created and how meaning might be lost if context was changed.

7. Analyze the connections among subject matter, symbols, themes, and purposes in paintings across cultures, times, and places. (HC)

a. Compare and contrast different ways artists have conveyed common themes across historical periods through paintings. b. Research how the functions of art change as society changes and the ways the visual arts impact society.

Visual Arts 147 2003 Mississippi Visual and Performing Arts Framework

8. Understand the roles of critics, historian, aestheticians, teachers and artists across cultures, times, and places. (HC)

a. Explore the impact of culture, time, and place, on the characteristics of paintings. b. Compare and contrast a variety of historical and cultural contexts in terms of functions and purposes in paintings.

9. Apply knowledge of aesthetics to develop personal aesthetic philosophies. (A)

a. Explore different aesthetic philosophies as a means of understanding and developing a personal aesthetic in responding to paintings. b. Discuss and defend answers to broad aesthetic questions about paintings, the artist, and their role in contemporary society.

10. Understand that contextual factors influence how communities respect, value, and derive meaning from paintings. (A)

a. Identify the intended purpose of paintings through the use of specific images within the works. b. Utilize individual responses to the characteristics of paintings while interpreting and discussing that work.

11. Utilize the meaningful integration of painting concepts and skills with knowledge in other subject areas to explore options for career and life choices. (C)

a. Explore the role of painters and the impact they have on the community and society. b. Research career options in the painting as a possible life choice.

12. Incorporate common concepts, technologies, media, and processes of painting and the visual arts and relate those to other subject areas to convey meaning in works of art. (C, CP)

a. Utilize the creative process of painting and other content areas as they relate to each other. b. Utilize technology, media, and processes of painting and the visual arts with those of other arts disciplines. c. Effectively utilize cooperative skills while creating paintings.

Visual Arts 148 2003 Mississippi Visual and Performing Arts Framework

High School Painting II

Comp. Obj. Suggested Teaching Strategies Suggested Assessment

1 a,c Students choose a favorite quote and create an image Rubric based on stated to express the idea behind the quote as well as utilizing criteria and class the text as part of the imagery. critique of work

2 a,b Students choose a common object and present it in an Rubric based on stated uncommon way in a painting through the use of design criteria and class elements. Create a border that enhances the overall critique of work. theme.

3 a Students design and execute a painting project that Student designed 4 b utilizes prior learning in design concepts and assessment and class techniques. Present the work in a professional manner. critique.

5aStudents research various theories of art criticism and Class discussion apply them to particular works of art. based on criteria

6bStudents compare and contrast works of art from two Class critique of work different periods. Create paintings using ideas from both and class discussion periods.

7aStudents write a report on a common theme used Rubric based on report across time, place, and culture (e.g., mother and child) criteria, class and create a painting using the same theme that fits discussion, class your own time, place, and culture. critique

8bStudents research the work of the Ashcan School and Rubric based on stated report on the meaning and functions of those works of criteria art.

9 b Students select two paintings from different cultures or Rubric based on stated 3 a times and research the aesthetic philosophies of the criteria environment of origin. Students create presentations explaining the status of the two works as art from the viewpoint of the originating culture, and the student’s own perspective. Students create a painting in the manner and style of one of the cultures or times studied.

10 a After studying paintings that were created as social or Class discussion political commentaries, determine what images were based on criteria effective in making the desired statements, and what those images meant to the particular community of origin.

Visual Arts 149 2003 Mississippi Visual and Performing Arts Framework

High School Painting II

11 a Students view a biographical video of an artist (painter’s Class discussion life). Students take notes in watching the film recording based on criteria the role of the artists and the impact they have on the Evaluation on note community and society. At selected intervals to pause, taking students will discuss their findings.

12 b Students create a digital painting that has as its source Teacher/student of inspiration some element studied in another subject critique area (e.g., a poem from Language Arts, a mathematical concept, sports activity, historical event.) using as a medium, a computer tablet (e.g., Intuos, Wacom) and computer software (e.g., Painter). Students print completed original file. Students import the file into a photo editing software (e.g., PhotoShop) and create variations of the original using various filters. Students print best pieces and create a display of the original and its variations. Students have a show of their works and invite the source teachers and classes to the opening.

Visual Arts 150 2003 Mississippi Visual and Performing Arts Framework

VISUAL ARTS HIGH SCHOOL PHOTOGRAPHY (Proficient)

DESCRIPTION OF PROGRAM OF STUDY:

This program of study focuses on developing in-depth knowledge and skills in two-dimensional design with photographic media. Building on introductory level concepts and skills acquired in middle level visual arts courses, students continue to increase their knowledge of design as applied to photographic works, critical analysis, history and culture, aesthetics, and connections among the photographic arts, other content areas, and everyday life. Work will be limited primarily to black and white media, techniques, and processes. This program of study is to be used in developing curriculum for students in the following course:

Photography

The competencies are printed in bold face type and are required to be taught. Content strands include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The competencies may relate to one or more of the content strands and may be combined and taught with other competencies throughout the school year. Competencies are not listed in order of importance and may be taught in any order that is determined suitable by the school or district. Competencies provide a general guideline of ongoing instruction, not isolated units, activities, or skills. The suggested teaching objectives are optional. Objectives indicate concepts that enable the fulfillment of competencies, describe competencies in further detail, or show progress of concepts within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may write their own objectives that meet or exceed those suggested, based upon needs of the students at the local level. For an explanation of the Content Strands, Competencies, and Objectives, see the General Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

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VISUAL ARTS HIGH SCHOOL PHOTOGRAPHY (Proficient)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA) History/Culture (HC) Aesthetics (A) Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Apply proficient skills and craftsmanship in selecting and using various photographic techniques and processes to create and study photographic works. (CP)

a. Create photographs that communicate original ideas using a variety of media, techniques, and processes. b. Study a number of photographs, their own and those of other artists, to determine how the selection of media, technique, or process communicates the overall idea. c. Practice safety and conservation in the use of tools, materials, and equipment d. Explore the use of new technology in art and design while integrating these into their own photographic works.

2. Understand how to select and use the elements of art and principles of design applied through photographic techniques and processes related to the communication of meaning. (CP)

a. Integrate visual, spatial, and temporal concepts with subjects, themes, symbols and ideas to improve communication of intended meaning. b. Explore the influence of new technology on photographic processes and how it effects communication of meaning in works of photography.

3. Understand how photographic media, techniques, and processes create effects that evoke a range of responses. (CP)

a. Understand that visual effects produced through photographic media techniques, and processes evoke a range of responses (e.g., dread, hope, despair, joy, pleasure, pain). b. Understand that effects resulting from the use of photographic media, techniques, and processes are factors that affect visual perception.

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c. Recognize that the choice of photographic media, techniques, and processes results from the artist's thinking about how best to achieve specific effects. d. Analyze artistic intent in own photographs in relation to form, function and purpose.

4. Utilize perceptual skills and apply photographic arts vocabulary to make informed judgments while creating and studying photographic works. (CA)

a. Effectively use photographic visual arts vocabulary, through speaking or writing, when critiquing own photographs and those of others. b. Recognize and understand photographic visual arts vocabulary related to technique and media as photographs are created. c. Use appropriate visual art and photographic vocabulary related to technique and media as photographs are created. d. Utilize the visual and organizational components of art and design while creating photographs.

5. Understand that a wide range of theories of critical analyses exist and provide valid methods for studying the characteristics of photographs. (CA)

a. Examine the work of self and others to determine the intentions of the artist in creating a particular photograph. b. Recognize the theories of critical analysis and how they are used in viewing and creating art. c. Identify different ways that photography provides unique modes for expressing ideas, actions, and emotions. d. Recognize ways that artist and viewer may interpret photographs differently.

6. Understand that technology impacts the roles, functions, and purposes of artists, works of art, and careers in photography differently according to culture, time, and place. (HC)

a. Analyze how the meaning of a specific photograph might change if it were transported to another time frame. b. Examine ways that technology is reflected in the photograph and how meaning might be lost if the context was different. c. Understand how the context of the artist, the context in which a photograph was created, the context of the viewer, and the context in which the photograph is viewed can impact the interpretation of the work.

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7. Demonstrate an understanding and application of universal themes, concepts, forms, and functions as sources for content in photographs. (HC)

a. Discuss possible meanings of works of photographic art by examining how specific photographs are created and how they relate to historical and cultural contexts. b. Identify different ways artists have conveyed common themes or concepts across historical periods through photography. c. Investigate the functions of different photographs and photographic processes in society and ways the photographic arts have impacted society.

8. Analyze how factors of time and the visual arts influence the characteristics of photographic art and design. (HC)

a. Relate how factors of cultures, times, places, and the photographic arts influenced each other. b. Recognize a variety of historical and cultural contexts in terms of functions and purposes of photographic media. c. Compare and contrast characteristics and purposes of similar photographs from a variety of cultures, times and places. d. Discuss how photographs differ visually, functionally, and by process, and describe how these differences relate to history and culture.

9. Know different theories of aesthetics. (A)

a. Recognize that there are multiple answers to broad aesthetic questions and explore the implications of various purposes of photography. b. Explore different theories of aesthetics.

10. Analyze how contextual factors affect the way people respect, value, and derive meaning from art. (A)

a. Investigate how specific images originated in photographs for an intended purpose. b. Analyze how various individual responses to the characteristics of photographic art can serve as a means for interpreting that work.

11. Integrate photographic concepts and skills with knowledge in other subject areas to provide meaningful tools for use in everyday life. (C)

a. Research the roles of contemporary artists and photographs in their own community and society. b. Analyze career options in the field of photography.

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12. Analyze how common concepts, technologies, and processes of the photographic arts relate to those in other subjects. (C)

a. Compare and contrast the creative processes in photography to that in other content areas. b. Compare the similarities and differences in the use of technologies, media, and processes of photography with those of other arts disciplines. c. Utilize the characteristics of photography to enhance the study of themes in the humanities, sciences, and other curricular areas.

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High School Photography

Suggested Suggested Comp. Obj. Teaching Strategies Assessment 1aStudents create photographs using a variety of Rubric based on criteria methods (e.g., pin hole, 35mm, Polaroid, digital). assigned

2bStudents divide into teams. Teams create a Student generated rubric report—written or electronic—that illustrates a timeline delineating the evolution of photographic processes.

3bStudents create a series of photographs about a Rubric based on overall concept, issue, or theme. Students write reflections quality and expression of on the effectiveness of their resulting works in intent communicating artistic intent.

4 a, b, c Using a range of photographic works, conduct a Teacher observation and whole class critique. Students must correctly apply guiding questions their knowledge of photographic processes, concepts, and vocabulary in describing and analyzing works.

5cIn writing, students select and analyze a photograph Rubric (their own or those of others) regarding why photography was the best medium for expressing the ideas, emotions, or actions depicted.

6 b,c Students analyze photographs in relation to cultural Rating scale based on and historical contexts. In small groups, students criteria set forth on provide evidence of contextual characteristics that research form are grounded in the images of the photos. Students record data on a research form designed to guide student learning.

7bUsing the Internet to acquire images, students Rubric assemble a portfolio of photographs that represent universal subject matter, themes, symbols, etc. Format of portfolio can be designed to fit the resources of the specific classroom. Students mount a display of the portfolios in the school environment to share with peers and other teachers,

8 a,b,c,d Using the photographs of prominent artists, students Rubric determine how photographs provide historical records of specific times and places. Students create a series of photographs that document a time, place, or meaningful event in their lives.

9aStudents debate issues related to photography as Rating scale an art form versus photography as a technological craft.

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High School Photography

10 a Investigate the impact of photography on that of Teacher observation and portraiture. How does the accessibility of probing questions photography affect how people value portrait painting?

11 a Using a wide variety of photographs, students Spreadsheet describing analyze works to determine their intended purpose, purposes and roles and the role of the photographer in communicating messages to the larger community. Students work in teams with sets of at least five contrasting photos.

12 b Students select a type of art from another discipline Rubric (i.e., jazz music, dramatic monologue, classical ballet) and compare it with photography to determine similarities and differences in the processes used to create the art and how the processes may contribute to or detract from the finished product.

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LITERATURE CONNECTIONS VISUAL ARTS

Kindergarten through Fourth Grade

Ackerman, Karen SONG AND DANCE MAN. Knopf, 1988. Once a song and dance man, Grandpa reclaims his youth and profession before the delighted eyes of his three grandchildren one afternoon. By working ingeniously in shadows and silhouettes that hint at a younger and more vibrant Grandpa and by using small explosions of color, the artist further enhances the blending of past and present. Topics: Line, movement, color

Adam, Robert BUILDINGS: HOW THEY WORK. New York: Sterling Publishing Co. Inc., 1995. This book explores architectural design, function, building materials throughout the world taking into consideration the impact of climate, geographic location, etc. Topics: Excellent social studies connections

Aliki HOW A BOOK IS MADE. Harper & Row, 1986. Describes the stages in making a book, starting with the writing of the manuscript and the drawing of the pictures, and explaining all the technical processes leading to printed and bound copies. Topics: Bookmaking, art careers

Anderson, Walter AN ALPHABET. Jackson, MS: University Press of Mississippi, 1984. A complete alphabet illustrated by the woodblock printing of Mississippi artist, Walter Anderson. Topics: Resource for original alphabet block printed designs

Angelou, Maya LIFE DOESN’T FRIGHTEN ME. New York, Stewart, Tabori and Chang, 1978. Maya Angelou confronts personal fears with the awareness that the power to dispel fear is based on the faith found within ourselves. This powerful poem is illustrated with the images of graffiti artist, Jean-Michel Basquait. A short biography of Basquait is included. Topics: Feelings, artists’ lives, contemporary artists

Anholt, Laurence CAMILLE AND THE SUNFLOWERS: A STORY ABOUT VINCENT VAN GOGH. Barrons Juveniles, 1994. When Vincent the painter comes to town, Camille and his family befriend and pose for him until one day the town asks the painter to leave. The story is simply and sensitively told in the first person by the young boy Camille. Illustrated in pen and watercolor with a light, easy style and peppered with reproductions of several van Gogh

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paintings, the fact-based story is a fine introduction to van Gogh. This book will show children how art transforms ordinary things. Topics: Role of artists, painting aesthetics

Anholt, Laurence DEGAS AND THE LITTLE DANCER : A STORY ABOUT EDGAR DEGAS. Barrons Juveniles, 1996. Marie wanted to be the most famous ballerina in the world, but because her family had too little money for lessons she began modeling at the ballet school. The painter for whom she modeled was Edgar Degas. When Degas's figure of The Little Dancer was finished, Marie became the most famous dancer of all. This is an introduction to the life of a great 19th century French artist, with beautiful impressionistic illustrations and reproductions of Degas' own work. Topics: Role of artists, movement (dance), painting

Anholt, Laurence LEONARDO AND THE FLYING BOY. Barron Juveniles, 2000. Anholt tells how young Zoro works with Leonardo as the master pursues his scientific and engineering advances and creates his masterpieces. Eventually, Zoro becomes so curious about the infamous flying machine that he and another apprentice, a "wild boy," try a test flight, with disastrous results. The fictional story ends with factual notes about Leonardo and the real Zoro. Topics: Artists, flight, creativity

Anholt, Laurence PICASSO AND THE GIRL WITH A PONYTAIL: A STORY ABOUT PABLO PICASSO. Barron Juveniles, 1998. The fascinating story--based on true fact--of a world-famous artist and a little girl who became one of his models. Topics: Artists, art careers

Baker, Alan WHITE RABBIT’S COLOR BOOK. The Horn Book, Inc., 1994. Sleek illustrations set against a clarifying white background feature artistic rabbits who, through sequences of related events, teach basic concepts. It follows White Rabbit while she goes through some dramatic color changes by dunking herself in tubs of colored paint. Topics: Color wheel, color mixing

Banks, Lynne Reid THE INDIAN IN THE CUPBOARD. Doubleday, 1985. What could be better than a magic cupboard that turns small toys into living creatures? Omri's big brother has no birthday present for him, so he gives Omri an old medicine cabinet he's found. Although their mother supplies a key, the cabinet still doesn't seem like much of a present. But when an exhausted Omri dumps a plastic toy Indian into the cabinet just before falling asleep, the magic begins. Turn the key once and the toy comes alive; turn it a second time and it's an action figure again. Topics: Imagination, love

Bjork, Christina LINNEA IN MONET’S GARDEN. Stockholm, Sweden: Rabe & Sjogren Publishers, 1985. Linnea has visited Claude Monet's garden! In Paris, she got to see many of his actual paintings. Now she understands what it means for a painter to be called an

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Impressionist. This innovative art book for children contains full- color photos of many of Monet's famous paintings. (9-12) Comes with a video. Topics: Artists, Impressionism, France, painting

Brown, Laurene Kransy, VISITING THE ART MUSEUM. E. P. Dutton, 1986. As a family wanders through an art museum, they see examples of various art styles from primitive through twentieth-century pop art. Topics: Aesthetics, history/culture

Burn, Doris ANDREW HENRY’S MEADOW. Coward-McCann Inc., 1965. Andrew Henry’s enthusiasm for building was not appreciated by his family at home, so he moved to a meadow and built a house to suit his needs. Eventually six other children also move to the meadow and he builds a wonderful house for each of them, designed to reflect their individual hobbies, including a house for bird watching and a castle. Topics: Architecture

Burnett, Frances THE SECRET GARDEN. Harpercollins Juvenile Books, 1987. Orphaned Mary Lennox comes to live with her disconsolate uncle on the Yorkshire moors. She hears a distant crying at night, and no one will give her an explanation. When she meets Dick on, a boy who charms birds and animals, and discovers a walled, secured garden, the secrets of Misselthwaite Manor begin to emerge. Topics: Flowers/plant life

Carle, Eric THE VERY HUNGRY CATERPILLAR. Philomel Books, 1987. Carle's classic tale of a voracious caterpillar who eats his way through the days of the week and then changes into a beautiful butterfly. Topics: Collage, science—insects

Cummings, Pat TALKING WITH ARTISTS. Simon and Schuster Books for young artists, 1995. This is a collection of interviews with illustrators of children’s books. They tell about what they were like as children and how they developed their interests in art. This book could also be a resource for elementary teachers. Topics: Art, careers, children’s literature.

Cummins, Julie WINGS OF AN ARTIST. New York: Harry N. Abrams. 1999. and Kiefer, Barbara Twenty children’s book illustrators talk about their art. Included are Graeme Base, Susan Jeffers and Maurice Sendak. Topics: Artist lives, children’s literature

Crews, Donald FREIGHT TRAIN. Morrow, 1985. Clear bright illustrations show all the cars of a train bringing the reader the excitement of movement through day and night, country and city. Topics: Stenciling, color

Dahl, Roald THE BFG. Puffin, 1998. Tells the story of two opposites coming together, becoming friends, and coming up with an idea to save others. The Big Friendly Giant snatches Sophie, a little English girl, from her window, during the witching hour. Sophie and the Giant venture off to Giant Country, where she learns of the other

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"human bean"  eating giants and the true personality of the Big Friendly Giant. The two learn many things about each other and devise a way to save the humans of the world from being eaten by the nine other giants. The Big Friendly Giant and Sophie work well with and learn a lot from each other. The BFG conveys the important themes of friendship, understanding, and humorous imagination. Readers of any age can appreciate the book. The BFG is heart-warming, yet downright funny! Topic: Feelings, humor

Dahl, Roald JAMES AND THE GIANT PEACH. Puffin, 1983. Wonderful adventures abound after James escapes from his fearful aunts by rolling away inside a giant peach. Topics: Adventure, emotions

DePaola, Tomie THE ART LESSON. Scott Foresman, 1997. Having learned to be creative in drawing pictures at home, young Tommy is dismayed when he goes to school and finds the art lesson there much more regimented. Finally, an art teacher gives him a chance to express himself. Topics: Self-esteem, creativity

DePaola, Tomie THE LEGEND OF THE INDIAN PAINTBRUSH. Scott Foresman, 1996. This vivid retelling of an old Texas legend reveals how the Indian paintbrush, the state flower of Wyoming, first bloomed, and how a young brave dreams of creating a painting that will capture the beauty of a sunset. Topics: Native American culture, artwork, symbols

Demi, Hetz LIANG AND THE MAGIC PAINTBRUSH. Henry Holt and Co., 1998. When a poor boy in China receives a magical paintbrush, everything he paints turns to life. But the wicked emperor wants to capture the boy when he hears the news. The story will excite readers as the ruler gets his just reward when the boy creates a masterpiece that spells his doom. Topics: Chinese culture, artwork

Dorros, Arthur THIS IS MY HOUSE. New York: Scholastic Inc., 1992. Text and illustrations depict the different types of houses lived in by children all over the world. On each page “This is my house” appears in the appropriate native language. Topics: Connections, social studies and world languages

Ehlert, Lois PLANTING A RAINBOW. Harcourt Brace & Co., 1988. This is a beginner’s book of colors. It is beautifully Illustrated with eye- catching illustrations of abstracted flowers. Topics: Colors, plants

Ehlert, Lois WAITING FOR WINGS. Harcourt Brace & Co. 1988. This book is not about art, but the beautiful illustrations of butterflies and flowers cannot help but inspire the artist in everyone. Gorgeous Collages. Topics: Lilfe cycles, flower identification, collage

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Garza, Carmen Lopez IN MY FAMILY. San Francisco: Children’s Book Press. 1996. This book is written in both Spanish and English and uses Garza’s wonderful paintings to illustrate her life growing up in a Mexican-American family. Topics: Daily life, family, celebration

Garza, Carmen Lopez MAGIC WINDOWS. San Francisco: Children’s Book Press. 1999. Spanish and English translations of stories related to the tradition of Papel picado, (cut paper art) and Mexican celebrations. Topics: Daily life, celebrations, Day of the Dead

Geisert, Arthur THE ETCHER’S STUDIO. Boston Houghton Mifflin Co. 1997. The story of a young boy who works in his Grandfather’s etching studio. He also has dreams about the printed works he colors by hand. This book explains the process of etching and how prints are made. Easy reading. Topics: Art, careers, etching.

Greely, Valerie WHITE IS THE MOON. Macmillan Publishing Co., 1990. Short consecutive verses about colors found in animals and nature are artfully framed and paired with a facing scene. Topics: Color

Hall, Donald OXCART MAN. Viking Press, 1979. Journey to the Portsmouth Market of long ago with a farmer whose cart is filled with all the things his family has produced over the year. After he sells everything, he returns home, where the cycle of stitching, carving, candle making, maple tree tapping, sheep shearing, planting, and other tasks begins again. Illustrations resemble the Early American technique of painting on wooden objects. Topics: Early America, Early American arts and crafts

Heller, Ruth ANIMALS BORN ALIVE AND WELL. Scholastic Inc., 1982. Here are twenty double-page spreads all bright with mammals. Large, tiny, prehistoric, unusual--they are all here in repeatable rhymes, and a million dollar word (viviparous) is tossed in for good measure. Topics: Animals

Howard, Nancy Shroyer JACOB LAWRENCE. Worcester, MA: Davis Publications, 1996. The story of Jacob Lawrence for young children. It asks students to take a closer look at details and gives them many suggestions for making, looking at and responding to art. Topics: Making art, responding to art, African-American heritage

Hubbard, Patricia MY CRAYONS TALK. New York: Henry Holt and Co., 1996. A beginner book of colors and crayons. Topics: Drawing, colors

Hucko, Bruce A RAINBOW AT NIGHT. San Francisco: Chronicle Books. 1996 Similar to “Where there is not name for art.” Easier reading, the art of Navajo children is explained in their own words--good comparison with the Pueblo children’s art.

Jenkins, Jessica THINKING ABOUT COLORS. Dutton Children’s Books, 1992. A jazzy picture book explores the instinctive ways people react to

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colors by taking one band of the spectrum at a time and discussing the different expressions, emotions, and moods it evokes. Topics: Colors, feelings

Jonas, Ann COLOR DANCE. New York: Greenwillow Books, 1989. A beginning reading book. Children dance their way through color mixing. As their scarves cross, new colors are made. Topics: Reading, color mixing

Jonas, Ann ROUND TRIP. Green Willow Books, 1983. This book isn't just the story of a round trip--it is a round trip. Read forward and look at the sights, then flip the book over to see something different on the way back. Ann Jonas' amazing two-way trip is guaranteed to change the way students look at things. Topics: Travel

Johnson, Crockett HAROLD AND THE PURPLE CRAYON. HarperCollins Juvenile books, 1981. An ingenious and original picture story in which a small boy out for a walk--happily with crayon in hand--draws himself some wonderful adventures. Topics: Drawing

Kransano, Rena FLOATING LANTERNS & GOLDEN SHRINES. Berkley, CA: Pacific View Press, 2000. This is the story of a variety of Japanese festivals and celebrations. Topics: Japan, Japanese arts, celebrations.

Laden, Nina WHEN PIGASSO MET MOOTISSE. Zany story of two artistic geniuses, one big disagreement, and some creative conflict resolution add up to a hilarious modern art masterpiece. Topics: Creativity, conflict resolution

Lelooska, Chief SPIRIT OF THE CEDAR PEOPLE. DK Publishing, Inc., 1997. These are the myths and stories of Northwest Coast Indians, which are illustrated in the style of the native people.

Littlechild, George THIS LAND IS MY LAND. Emeryvill, CA: Children’s Book Press, 1993. This is a children’s book written and illustrated by a Native American artist. He tells the story of his people through their own eyes. Children will relate to these rich illustrations. Topics: Native American, contemporary artists.

Locker, Thomas IN BLUE MOUNTAINS. New York, Bell Pond Books: 2000. This is simply a beautiful book. The illustrations of the Hudson valley at all times of the day and night and in different seasons are breathtaking. The illustrator recreates the landscapes of the Hudson River School of Art with a modern perspective. Topics: Beauty, feelings, landscapes, wilderness Louie, Ai-Ling YEH-SHEN: A CINDERELLA STORY FROM CHINA. Philomel Books, 1982. Yeh-Shen earns her wishes through kindness to a magic fish. The illustrations have a misty, ethereal quality that

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make everything look as if it were taking place in a dream. Topics: Chinese culture, illustration

Martin, Bill Jr. KNOTS ON A COUNTING ROPE. Henry Holt & Co., Inc., 1987. In this poignant story, the counting rope is a metaphor for the passage of time and for a boy's emerging confidence facing his greatest challenge: blindness. Topics: Indian culture

Mayer, Mercer THERE’S A NIGHTMARE IN MY CLOSET. Dial Books for Young Readers, 1984. Childhood fear of the dark and the resulting exercise in imaginative exaggeration are given that special Mercer Mayer treatment in this humorous fantasy. Topics: Imagination

Mayhew, James KATIE AND THE MONA LISA. Orchard books, 1999. At the museum, young Katie magically climbs into the painting of the Mona Lisa, who is sad and lonely. In an attempt to cheer her up, the two climb into other paintings. Watercolor illustrations are combined with photos of the paintings. Topics: Watercolor, portraits, museums

Mayhew, James KATIE MEETS THE IMPRESSIONISTS. Orchard Books, 1999. Not for the first time, the heroine of a picture book steps into some museum paintings and learns a little about the artists and their eras. In search of flowers for her grandmother, Katie first steps into a Monet, The Luncheon, and romps with the painter's son, Jean. Next Katie drops in on Renoir's Girl with a Watering Can, revisits Jean in Monet's Field of Poppies, and eventually ends up on stage with Degas' ballerinas. Topics: History/culture, Impressionism, painting, role of artists

McDermott, Gerald ARROW TO THE SUN: A PUEBLO INDIAN TALE. Viking Press, 1977. An expression of the universal myth of the hero-quest, this beautiful story also portrays the Indian reverence for the source of life: the Solar Fire. Vibrant full-color illustrations capture the boldness and color of Pueblo art. (9-12) Topics: Native American, culture, symbols

MacLachlan, Patricia SARAH PLAIN AND TALL. Harpercollins Juvenile Books, 1985. In 1910, a severe New England woman responds to a newspaper ad placed by a melancholy Midwest widower with two young children, who is looking for someone to join him and his motherless family. Topics: Early America, Early American arts and crafts

McLerran, Alice ROXABOXEN. Spoken Arts, 1991. The world of Roxaboxen is revealed where sand and rocks, wooden boxes, greasewood, and ocotillo change into homes, streets, and two ice cream shops. Topics: Architecture, sculpture, communities

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Micklethwaith, Lucy A CHILD’S BOOK OF ART: GREAT PICTURES, FIRST WORDS. Darling Kindersley, Ltd., 1993. Each picture in this book is accompanied by a first word that can be the starting point for conversation. Scenes from everyday life around the world and throughout history offer endless opportunities for discussion. Topics: Art vocabulary, community development, aesthetics

Micklethwait, Lucy I SPY. New York, A Mulberry Paperback: 1991. An alphabet book that uses works of art to help children find objects that begin with letters of the alphabet. Topics: Reading, art

Miles, Miska ANNIE AND THE OLD ONE. SRA School Group, 1986. A Navajo girl unravels each day’s weaving on a rug whose completion she believes will mean the death of her grandmother. Topics: Native American culture, weaving

Moore, Revais NATIVE ARTISTS OF NORTH AMERICA. Santa Fe, NM: John Muir Publications, 1993. Profiles five contemporary Native American artists and their art. Topics: Contemporary artists, Native American, Occupations

Munsch, Robert PURPLE, GREEN AND YELLOW. Annick Press Ltd., 1992. In her excitement at finding the most brilliant, most permanent set of color pens, Brigid gets ink all over herself, but thanks to a people- colored marker, she comes to look like her old self again--and brighter than ever. Topics: Color

Musgrove, Margaret ASHANTI TO ZULU:AFRICAN TRADITIONS. Hong Kong: Wing King Tong Company, Ltd., 1976. This beautifully illustrated alphabet book explains some of the traditions and customs of twenty-six Africa tribes beginning with the letters from A to Z. Accuracy and detail exists in the pastel, watercolor, and acrylic illustrations. Each page includes a man, woman, child, living quarters, an artifact, and a local animal. Caldecott Medal Winner, 1977. Topics: Social studies connections

Myers, Christopher A. BLACK CAT. Scholastic Trade, 1999. A read-aloud poem and collage artwork invite readers on an eye-opening journey through the city from a stray cat’s perspective as it searches for a home. Topics: Poetry, collage, home

Nikola-Lisa, W. THE YEAR WITH GRANDMA MOSES. Henry Holt and Co., 2000. Thirteen detailed folk-art paintings by Grandma Moses, depicting rural activities such as field plowing, grain threshing, and sleigh rides, are paired with excerpts of her writing about life in upstate New York. Topics: Role of artists, farm life, history/culture

Oneill, Mary HAILSTONES AND HALIBUT BONES: ADVENTURE IN COLOR. Doubleday & Co. Inc., 1989. With a compelling sense of rhythm and with images that are clear and fresh, O'Neill

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explores the spectrum in 12 poems and 12 different colors. Topics: Colors, how colors make you feel, poetry

Parillo, Tony MICHELANGELO’S SURPRISE. The Horn Book, Inc., 1999. After an unusual snowstorm in Florence, Sandro, a young page in the Medici palace, searches for his father to ask him about the surprise Piero de' Medici is planning. Sandro finally finds his father with Michelangelo, who is carving the surprise: a huge snowman. Based on a real incident, the story and watercolor illustrations give the flavor of Florence in 1494. Topics: Italy, artists, history/culture

Paul, Ann EIGHT HANDS ROUND: A PATCHWORK ALPHABET. Harper Collins, 1991. A fresh and original book--using the names of early American patchwork patterns as the basis for an alphabet-- has delightful, homey illustrations showing each pattern and the derivation of its name. (9-12) Topics: Patterns, quilt making

Pfister, Marcus THE RAINBOW FISH. North South Books, 1992. If you read this very popular book just before bed, and the light is still on in the hallway, you can make the rainbow scales glitter on the page, and realize why the Rainbow Fish was so proud of his beautiful decoration. Sometimes, though, being too proud of outside beauty can blind a fish, or a child (or even, heaven forbid, a parent) to the beauty people hold inside. That's the lesson of this simple tale, imported from Switzerland. Topics: Design, color

Pinkwater, Daniel M. THE BIG ORANGE SPLOT. Scholastic, 1977. Good Introductory story for lower elementary for drawing dream houses. Topics: Architecture fantasy, colors, self expression

Provensen, Alice and Martin TOWN & COUNTRY. New York: Crown Publishers, 1984. Perfect for second grade, the illustrations in this book clearly Show differences between rural and city life. The illustrations use simple shapes to create the kinds of pictures that inspire young artists. Topics: Community, occupations

Ringold, Faith. TAR BEACH. Crown Publishers Inc., 1991. The book, originally created as a story quilt, recounts the dream adventures of eight- year-old Cassie, who flies above her apartment rooftop looking down on 1939 Harlem. Topics: Quilting, history/culture

Rogers, Paul THE SHAPES GAME. The Horn Book, Inc., 1990. A veritable kaleidoscope of colors and shapes, but the juxtaposition of images on each page overwhelms rather than illuminates. There is so much competition among the visual elements that one's eyes start twirling after a few seconds of concentrated looking. Topics: Shapes

Sendak, Maurice WHERE THE WILD THINGS ARE. Harpercollins Juvenile Books, 1988. Max puts on a wolf costume and feels

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mischievous. He breaks some rules and is sent to bed without supper. From there, his imagination takes over, a jungle grows in his bedroom, and he goes on a magical journey of (self) discovery. The world he explores is populated by colorful, scary, and somewhat silly monsters who are tamed by Max. This book is beautifully illustrated, the story flows rapidly and flawlessly, and the language is simultaneously simple and loaded with meaning. Topics: Mask-making, reality/fantasy, expression

Seuss, Dr. HOW THE GRINCH STOLE CHRISTMAS. Random House, 1957. The Grinch, whose heart is two sizes too small, hates Who-ville's holiday celebrations, and plans to steal all the presents to prevent Christmas from coming. To his amazement, Christmas comes anyway, and the Grinch discovers the true meaning of the holiday. Topics: Christmas

Seuss, Dr. MY MANY COLORED DAYS. Knopf, 1998. The late Dr. Seuss wrote the text for this wonderful book about feelings and moods back in 1973 but didn't want to illustrate it himself. He hoped, "a great color artist who will not be dominated by me," could be found to bring to it a, "new art style and pattern of thinking." Steve Johnson and Lou Fancher have provided paintings that not only enhance the text but take the reader on a captivating journey of their own. This book will delight children of all ages and is a terrific tool to encourage discussions of emotions. Topics: Colors, feelings

Silverstein, Shel A LIGHT IN THE ATTIC. Harper & Row, 1974. Silverstein's book of poetry encompasses satires, limericks, ballads, questions, tall stories, ridiculous situations, and a deft way with language. Topics: Poetry, pen and ink drawings

Silverstein, Shel WHERE THE SIDEWALK ENDS. Harper & Row, 1981. With this and his other poetry collections, Silverstein reveals his genius for reaching kids with silly words and simple pen-and-ink drawings. Topics: Poetry, pen and ink drawings

Sortland, Bjorn ANNA’S ART ADVENTURE. Lemur Pub Group, 1999. In a museum, cartoon, painters and pictures include Rembrandt, Edward Munch, Picasso, Andy Warhol, Cezanne, Matisse, Pollock, Dali, 20th Century art. Topics: Aesthetics, museums, artists

Spier, Peter PEOPLE. Doubleday, 1980. Emphasizes the differences among the four billion people on earth with minutely detailed and exquisite paintings of human beings on all four continents. Topics: Cultures

Spiotta-DiMare, Loren CAESAR: ON DEAF EARS. Benefactory, 1997. A deaf puppy is about to be put down at the animal shelter because his disability

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makes him untrainable. But a person rescues him, and with love and determination, gives the pup a happy home. Topics: Feelings, cultural sensitivity

Sullivan,Charles IMAGINARY GARDENS:AMERICAN POETRY AND ART FOR YOUNG PEOPLE. Harry N. Abrams, 1989. Poems, splendid works of art, and historical photographs are brought together in this beautiful volume for young readers. Topics: Poetry, history/culture, aesthetics

Turner, Robin Montana MARY CASSATT. The Horn Book, Inc., 1993. Cassatt spent most of her life in Europe, where she displayed tenacity and ingenuity in circumventing the prevailing prejudices against women artists. The combination of biography with art appreciation is both enlightening and intriguing. Because of her interest in children as subjects, Cassatt is a particularly appealing subject in this notable series. The life story of Mary Cassatt, illustrated by reproductions of her work, depicts her struggle to overcome sexism during the 1860s and become a professional artist. Topics: Role of artists, pastels, children, history/culture

Udry, Janice A TREE IS NICE. HarperCollins, 1956. From trees that fill the sky to one tiny tree newly planted, this is a book full of reasons for appreciating trees. Topics: Trees

Van Allsburg, Chris THE Z WAS ZAPPED: A PLAY IN TWENTY-SIX ACTS . Houghton Mifflin Co., 1987. Chris Van Allsgurg's wonderful artwork provides clues about what happens to each of the letters of the alphabet. The text is rich with alliteration, from the avalanched "A" to the zapped "Z”. Topics: Creativity, illustration

Venezia, Mike VENEZIA'S "GETTING TO KNOW THE WORLD'S GREATEST ARTIST" SERIES. Children’s Press. Venezia's illustrations are humorous. His narrative is delightfully entertaining. His approach brings the artist within reach of the young. His illustration of the Parisian friends that Henri may have introduced to his parent's is jokingly exaggerated. The size of the book is perfect for smaller hands. It enables the young to have art within their grasp. Venezia gives the locations of the paintings and as a result, if the child lives near one of the museums or will be near one on vacation, she/he would be able to see the original. DA VINCI. 1994. FRANCISCO GOYA. 1994. MARY CASSATT. 1994. MICHELANGELO. 1994. MONET. 1990. REMBRANDT. 1994. VAN GOGH. 1994. DORTHEA LANGE. 2001. EDWARD HOPPER. 2000. HENRI DE TOULOUSE-LAUTREC. 1995. GRANT WOOD. 1996. BOTTICELLI. 1994. RAPHAEL. 2001. JOHANNES VERMEER. 2002. ROY LICHENSTEIN. 2002. ALEXANDER CALDER. 1998. DIEGO RIVERA. 1995. NORMAN ROCKWELL. 2001. PIETER BRUEGEL. 1994. PAUL KLEE. 1994. PAUL GAUGUIN. 1994. JACKSON

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POLLACK. 1994. PAUL CEZANNE. 1998. FRIDA KAHLO. 1999. GIOTTO. 2000. JACOB LAWRENCE. 2000. EDGAR DEGAS. 2001. SALVADOR DALI. 1994. PICASSO. 1994. PIERRE AUGUSTE RENOIR. 1996. EL GRECO. 1998. HENRI MATISSE. 1997. GEORGIA O’KEEFE. 1994. ANDY WARHOL. 1997. MARC CHAGALL. 2000. Topics: Aesthetics, history/culture

Viorst, Judith ALEXANDER AND THE TERRIBLE, HORRIBLE, NO GOOD, VERY BAD DAY. Harper, 1996. A witty and perceptive story treating the prickly subject of growing up. Topics: Emotions, drawings

Walsh, Ellen Stoll MOUSE PAINT. The Horn Book, Inc., 1996. Three clever white mice outsmart a cat while dabbling in different primary colors. The simple texts and graphics make these two titles ideal as board books. Topics: Color, color mixing

West, Tracey LIZ MAKES A RAINBOW: THE MAGIC SCHOOL BUS. Scholastic Trade, 1999. It was Keesha's turn to take Liz home for the weekend. Carlos came over to help paint a rainbow on the wall. They made a rainbow for Keesha's grandma on the wall with only three colors: red, blue, and yellow. Topics: Color

White, E.B. CHARLOTTE’S WEB. Harpercollins Juvenile Books, 1999. An affectionate, sometimes bashful pig named Wilbur befriends a spider named Charlotte, who lives in the rafters above his pen. A prancing, playful bloke, Wilbur is devastated when he learns of his destiny. Determined to save her friend, Charlotte spins a web that reads, "Some Pig," convincing the farmer and surrounding community that Wilbur is no ordinary animal and should be saved. In this story of friendship, hardship, and the passing on into time, E.B. White reminds us to open our eyes to the wonder and miracle often found in the simplest of things. Topics: Farm life

Winter, Jeanette MY NAME IS GEORGIA: A PORTRAIT. Silver Whistle, 1998. Presents, in brief text and illustrations, the life of Georgia O’Keefe, who drew much of her inspiration from nature. Topics: Role of artists, portraits, nature

Yashima, Taro CROW BOY. Viking Press, 1976. Long walks to and from school in Japan gave Chibi the opportunity to study nature. Scorned by his classmates for several years, Chibi’s talents are finally recognized by his teacher. Through Chibi’s performance in the talent show, people become aware of his gifts, his loneliness, and their own sensitivity. Topics: Japanese culture, aesthetics

Yenawine, Phillip STORIES. New York: Delacorte Press, 1991. A first book for looking at art. Yenawine has selected Art works from the Museum of Modern Art and asks children simple questions that

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invite them to analyze what is happening in the work. Topics: Stories, imagination, responding to art

Yenawine, Phillip LINES. New York: Delacorte Press, 1991. Yenawine explains the elements of art with illustrations from the collection of the Museum of Modern art. Topics: Elements of art

Yolen, Jane THE RAINBOW RIDER. NY: Holiday House, 1975. A lonely Rainbow Rider looks for a friend in the desert. Only when his rainbow is made with his own tears does he truly find a friend. Topics: Color, friendship

Yolen, Jane OWL MOON. Philomel Books, 1987. Among the greatest charms of children is their ability to view a simple activity as a magical adventure, such as a walk in the woods late at night. Jane Yolen captures this wonderment in a book whose charm rises from its simplicity. "It was late one winter night, long past my bedtime, when Pa and I went owling." The two walked through the woods with nothing but hope and each other in a journey that will fascinate many a child. John Schoenherr's illustrations help bring richness to the countryside adventure. The book won the, 1988, Caldecott Medal. Topics: Painting, snow scenes, illustration

Young, Ed LON PO PO: A RED-RIDINGHOOD STORY FROM CHINA. New York, Philomel: 1990. Through mixing abstract and realistic images with complex use of color and shadow, artist and translator Young has transformed a simple fairy tail into a remarkable work of art. Numerous three-picture sequences resemble the decorative panels of Chinese tradition. Topics: Chinese culture, fairy tales, abstraction

Zelver, Patricia THE WONDERFUL TOWERS OF WATTS. Tambourine Books, 1994. This unusual picture book tells the true story of Old Sam (Simon Rodia), who constructed the Watts towers over a period of 33 years. An Italian immigrant, Sam collected colored glass bottles, seashells, broken tiles, and assorted oddments and cemented them together in fantastic constructions that brightened his Los Angeles neighborhood and became famous all over the world. Double-page illustrations show Sam his creations, and his neighbors, especially the children who helped him collect "all that junk." Topics: Mosaics, recycling, creativity

Middle Level

Belloli, Andrea EXPLORING WORLD ART. Los Angeles: The J. Paul Getty Museum. 1999. This book explains Art from many cultures And its meaning. This is a wonderful resource for teachers, But it is also written at a level appropriate for children. Topics: Social studies, art

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Creech, Sharon LOVE THAT DOG. Harper Collins Publishers, Inc., 2001. A moving, amusing, and heartwarming tale about a boy named Jack who discovers how words can change his life.

Cummings, Pat TALKING WITH ARTISTS, Volume III. New York: Clinton Books, 1999. In this volume, distinguished picture book artists talk about their early experiences, answer questions most frequently asked by children, and offer encouragement to aspiring artists. Illustrations by each artist are featured. The author, Pat Cummings, is also an award winning illustrator.

Duggleby, John STORY PAINTER. San Francisco, Chronicle Books: 1998. Easy Reading. This is a biography of Jacob Lawrence and the paintings he made to tell the story of the migration of African Americans from the South to the North after the Civil War.

Greenberg, J. & J., Sandra CHUCK CLOSE UP CLOSE: New York: DK Publishing, Inc., 1998. This is a biography of the revisionist artist who achieved prominence in the late 1960s for enormous, photographically realistic, black and white portraits of himself and his friends. An excellent story of how an artist overcomes enormous physical handicaps.

Hacker, Carlotta GREAT AFRICAN AMERICANS IN THE ARTS. NY: Crabtree Publishing Co. 1997. This book profiles African-American Artists in a variety of art disciplines. Among them are Alvin Ailey, Debbie Allen, Henry Ossawa Tanner and others.

Hoffman, Alice AQUAMARINE. Scholastic, Inc., 2001. Two best friends spending their last summer together at a deserted beach club discover a beautiful, brokenhearted mermaid stranded in the swimming pool. How they resolve her search for love and thus save her life teaches the girls that friendship is forever, and the magic can be found in the most unexpected places.

Holt, Kimberly Willis DANCING IN CADALLAC LIGHT. Penguin USA, 2001. Set in a small southern town during the middle of the 20th Century, Dancing in Cadillac Light takes readers inside the heart and mind of Jaynell Lambert, an 11-year-old tomboy. Jaynell’s life is an ever-changing mix of far-reaching dreams and down-to-earth realities, all of it centered around the complex dynamics of her family.

Hucko Bruce WHERE THERE IS NO NAME FOR ART. Santa Fe, NM, 1966. The art of the Tewa Pueblo children illustrates how Native American children of today make and feel about their art. This would also make a good resource for teachers of elementary children. Topics: Art, daily life, feelings children of the world Koch, Kenneth and TALKING TO THE SUN. New York: Metropolitan Museum of

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Farrell, Kate Art, 1985. A book for children of all ages. This is an anthology of poetry illustrated by works of art from the collection of the Metropolitan Museum. Topics: Poetry, feelings

Krull, Kathleen LIVES OF THE ARTISTS. Harcourt Brace, 1995. Artists included in this book are Da Vinci, Michelangelo, Hokusai, Cassatt and others. It is easy reading and most artists are explained in one or two pages. It could also be used by upper elementary students. Topics: Lives of artists, biographies

Lauber, Patricia WHAT DO YOU SEE AND HOW DO YOU SEE IT? New York: Crown Publishers, 1994. This book explains the science of seeing optics of vision and light. Color perception and the optics of vision and light are illustrated and clearly explained. Topics: Perception, color theory

L’Engle, Madeleine A WRINKLE IN TIME. Bantam Doubleday Dell, 1973. Meg Murry and her friends become involved with unearthly strangers and a search for Meg’s father, who disappeared while engaged in secret work for the government. Newbery Medal

Lifman, Jean ALEXANDER CALDER AND HIS MAGICAL MOBILES. New Aspinwall, Margaret York: Hudson Hills Press, Inc., 1981. This biography details the life and joy-filled work of “Sandy” Calder, from the toys he made as a child to the large sculptures and mobiles of his adulthood. It explains differences between stabiles, and mobiles and other kinds of sculpture created by Calder. Topics: Three-dimensional art forms, sculpture, biography

Neuschwander, Cindy SIR CUMFERENCE AND THE GREAT KNIGHT OF ANGLELAND. Charlesbridge Publishing, 2001. Radius, son of Sir Cumference and Lady Di of Ameter, wants to be a knight more than anything. To earn his knighthood, he needs to venture alone on a heroic quest. With only a family medallion for luck, Radius dodges dangers and dragons. The ultimate challenge lies in a mysterious castle with a maze of many angles.

O’Dell, Scott ISLAND OF THE BLUE DOLPHINS. Bantam Doubleday Dell Books for Young Readers, 1971. The remarkable story of a strange and beautiful Indian girl who lives a serene and courageous life as the solitary survivor on a rocky island off the California coast.

Paterson, K. THE BRIDGE TO TERABITHIA. Harper Collins Children’s Books, 1987. The life of a ten-year-old boy in rural Virginia expands when he becomes friends with a newcomer who subsequently meets an untimely death trying to reach their hideaway, Terabithia, during a storm. Newbery Medal, 1978

Pranzer, Nora, CELEBRATE AMERICA IN POETRY AND ART. Hyperion, 1999. A rich diversity of American artists and poets are featured in this

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colorful publication. Fifty-six reproductions of art and works of poetry will help your students understand the American experience. Brief biographies of the artists and poets are included.

Roalf, Peggy LOOKING AT PAINTINGS: FLOWERS. New York: Hyperion Books for Children, 1993. Artists have painted to convey their love of beauty, their spirituality, and their delight in fantasy. This book helps students understand how great artists see when they paint.

Rochelle, Belinda WORDS WITH WINGS, A TREASURY OF AFRICAN AMERICAN POETRY AND ART. Harper Collins Children’s Books, 2001. Words and art take wing as you meet some of the most influential African American poets and artists of past and present generations. See the works of artists such as William H. Johnson, Faith Ringgold, and Jacob Lawrence, as well as the words of poets such as Alice Walker, Langston Hughes, and Maya Angelou.

St. George, Judith SO YOU WANT TO BE PRESIDENT? Penguin Putnam Books for Young Readers, 2000. From the embarrassment of skinny- dipping John Quincy Adams to the mischievous adventure of Theodore Roosevelt’s pony, Judith St. George shares the backroom facts, the spitfire comments, and the comical anecdotes that have been part and parcel of America’s White House.

Synder, Zilpha THE EGYPT GAME. Bantam Doubleday Dell Books for Young Readers, 1985. The first time Melanie Ross meets April Hall, she’s not sure they’ll have anything in common. But she soon discovers that they both love anything to do with ancient Egypt. When they stumble upon a deserted storage yard behind the A-Z Antiques and Curio Shop, Melanie and April decide it’s the perfect spot for Egypt Game.

Taylor, Theodore THE CAY. Morrow, William & Co., 1991. When the freighter on which they are traveling is torpedoed by a German submarine during World War II, an adolescent white boy, blinded by a blow on the head, and an old black man are stranded on a tiny Caribbean island where the boy acquires a new kind of vision, courage, and love from his old companion. Ventura, Peter CLOTHING: GARMENTS, USES, STYLES. Boston: Houghton Mifflin Company, 1993. Author/artist Piero Venturo traces the

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evolution of clothing styles, fabrics, and uses throughout history. Topics: Prehistory to the twentieth century.

Ventura, Peter HOUSES: STRUCTURES, METHODS, AND WAYS OF LIVING. Boston: Houghton Mifflin Company, 1993. Author/artist Piero Venturo traces human progress from the first straw huts to apartment buildings of modern.

Wood, Michele I SEE THE RHYTHM. Children’s Book Press, 1998. Take your And Igus, Toyomi students on a musical journey through the history of African American music. Learn about African songs, Blues, Ragtime, Jazz, R & B, Funk, and Hip Hop. Each page spread is a dynamic painting that captures the rhythm and beat of the music. Learn about America’s musical heritage.

High School

Anderson, Agnes Grinstead APPROACHING THE MAGIC HOUR. MEMORIES OF WALTER ANDERSON. Jackson, MS, University Press of Mississippi, 1989. Edited by Patti Carr Black. The interesting and entertaining story of Mississippi Artist Walter Anderson. Topics: Mississippi life, Walter Anderson, Coastal environment

Anderson, Walter Inglis THE HORN ISLAND LOGS OF WALTER INGLIS ANDERSON. Jackson, MS: University Press of Mississippi, 1985. Edited by Redding S. Sugg, Jr. The actual logs of Walter Anderson's journeys on the coast of Mississippi. Topics: Anderson, observations of coastal environment

Chevalier, Tracy GIRL WITH A PEARL EARRING. Plume Books, 2001. A fictional novel about a young Dutch teenager who went to work as a maid for the artist Vermeer and her adventures in his household. Topics: Literature, roles of artists, history/culture

Clinto, Catherine I, TOO, SING AMERICA: THREE CENTURIES OF AFRICAN AMERICAN POETRY. Boston: Houghton Mifflin Company, 1998. This anthology captures the enormous talent and passion of black writers. The illustrations by Stephen Alcorn provide stunning visual interpretations for each poem. Brief biographies of each poet are included.

Copplestone, Trewin MARY CASSATT. Gramercy, 1998. A biography of the American Woman artist, Mary Cassatt.

Cunningham TWO ZUNI ARTISTS: A TALE OF ART AND MYSTERY. Jackson, MS: University Press of Mississippi, 1998. A factual book about a family of Zuni craftsmen and their work. Many insights into the culture.

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Delehanty, Randolph ART IN THE AMERICAN SOUTH: WORKS FROM THE ODGEN COLLECTION. Baton Rouge, LA: Louisiana State University Press, 1996. A reference and collection of works by many Southern artists with descriptions of the artists and their work.

Freedman, Russell CHILDREN OF THE WILD WEST. New York: Clarion Books, A Houghton Mifflin Company, 1983. This Easy Reading book about what life was like for young people on the Western Frontier, contains many photographs. Topics: American West, Native Americans, Fredrick Remington, Charles Russell

Garza, Carmen Lopez A PIECE OF MY HEART. NY: The New Press, 1991. The catalogue from Garza’s show. It explains her life and work as a leading Mexican-American contemporary artist.

Gauguin GAUGUIN, LETTERS FROM BRITTANY AND THE SOUTH SEAS. THE SEARCH FOR PARADISE. New York: Clarkson Potter, 1992. Selected and introduced by Bernard Denvir. A collection of letters written by Gauguin during his stay in Tahiti.

Goldstein, Ernest THE JOURNEY OF DIEGO RIVERA. Minneapolis: Lerner Publications, 1996. A description of Rivera’s work and art. Easy reading and short. Topics: Mexican history, Murals, Rivera, meaning in art work, Mayan culture

Greenburg, J. & Jordon, S. THE PAINTER’S EYE: LEARNING TO LOOK AT CONTEMPORARY AMERICAN ART. New York: Delacorte Press, 1991. Discusses modern art in understandable terms, includes conversations with artists about their work and photographs of their studios. Easy reading. Artists include Basquait, Lichtenstein, Rothko, Stella and many others.

Greenburg, J. & Jordon, S. THE SCULPTOR’S EYE: LOOKING AT CONTEMPORARY AMERICAN ART. New York: Delacorte Press, 1993. A follow up book to the Painter’s Eye on 3-dimensional art. One of the few resources for young people about the art of our own time. Artists include Oldenburg, Segal, Frey, Smithson, Serra, and others. Topics: A variety of contemporary themes

Grossman, Julian ECHO OF A DISTANT DRUM: WINSLOW HOMER AND THE CIVIL WAR. New York: Harry N. Abrams, Inc., undated. Pictures and explanation of Winslow Homer's activities and life during the Civil War.

Hamblett, Theora THEORA HAMBLETT PAINTINGS. Jackson, MS, University Press of Mississippi, 1975. A book about Theora Hamblett, Mississippi folk artist, and her life as an artist. Many illustrations of her work. Similar to Grandma Moses in artistic style and life history. Topics: Mississippi history, dreams and aspirations, folk art

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Hamblett, Theora DREAMS CAN WORK FOR YOU. 1970. A very small (handmade) book by the artist Theora Hamblett. It tells in her own words about the dreams that came to her and how she interpreted them in her works of art. Copies are available from Universities Museum, University of Mississippi, Oxford, MS.

Hogrefe, Jeffrey O'KEEFFE: THE LIFE OF AN AMERICAN LEGEND. New York: Bantam Books, 1992. A biography of the American woman artist Georgia O'Keeffe.

Kreischer, E.K. MARIA MONTOYA MARTINEZ: MASTER POTTER. Gretna, LA: Pelican Publishing Co., 1995. A story-biography of Maria Martinez growing up and learning to make the pottery that made her famous. Easy reading. Topics: Native American, biography, pottery.

Lanker, Brian I DREAM A WORLD: PORTRAITS OF BLACK WOMEN WHO CHANGED AMERICA. New York: Stewart, Tabori, & Chang, 1989. This is an excellent resource for use in teaching photography, portraiture, and social studies. The interviews provide insight into the lives of these noted women.

Marriott, Alice MARIA: THE POTTER OF SAN ILDEFONSO. Norman, OK: University of Oklahoma Press, 1948. The biography of Maria Martinez and her pottery. Tells the story of how she revived ancient pottery techniques in her community. Topics: Native American, pottery, women artists.

Matthaei, G. & Grutman, J. THE SKETCHBOOK OF THOMAS BLUE EAGLE. San Francisco: Chronicle Books, 1995. Easy reading, A fictional sketchbook that documents the artistic development of a young Indian as he goes to school at the Indian school and eventually goes to Paris to study art. His style changes as he develops as an artist.

Maurer, Christopher DREAMING IN CLAY. New York: Doubleday, 2000. The stories behind the art and lives of the creative Anderson family including brothers Peter, Mac and Walter.

Morris, Willie FAULKNER'S MISSISSIPPI. Oxmoor House, 2000. Beautiful photographs by William Eggleston supplement Willie Morris' text about Mississippi.

Nechita, Alexandra OUTSIDE THE LINES. Atlanta: Longstreet Press, 1996. The story of Alexandra Nechita, a young girl who has become famous for painting modern works that look similar to Picasso, or Chagall. This non-fiction book was written about her when she was in middle school.

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Penn, W. S. THE TELLING OF THE WORLD: NATIVE AMERICAN STORIES AND ART. New York: Stewart, Tabori & Chang, undated. Many Native American Legends and stories. Accompanied by many wonderful illustrations of Native American Art. This book might be one to use with students after the teacher has read Trickster Makes the World, (see teacher resources).

Singh, Madanjeet THE SUN, SYMBOL OF POWER AND LIFE. UNESCO, Harry N. Abrams, Inc., 1993. Illustrations and stories about how the sun has been a symbol in art throughout many cultures and time periods. Many illustrations and art works that depict primitive beliefs about the solar system. Topics: Social studies, solar system, symbols

Stein, Judith E. I TELL MY HEART: THE ART OF HORACE PIPPIN. Philadelphia: Pennsylvania Academy of the Fine Arts, 1993. A biography of African-American artist Horace Pippen and his struggle to become a famous artist. Topics: Art Careers, illustrations

Sullivan, Charles (ed) CHILDREN OF PROMISE: AFRICAN-AMERICAN ART AND LITERATURE FOR YOUNG PEOPLE. New York: Harry N. Abrams, Inc. Pub., 2001. Poetry, literature and art from some of the greatest contemporary artists of the last century. Based on African American struggles during that time period. Topics: Art from Edgar Degas, Lewis W. Hine, Thomas Hart Benton and many others

Sweezy, Nancy RAISED IN CLAY: THE SOUTHERN POTTERY TRADITION. Chapel Hill, NC: The University of North Carolina Press, 1994. A reference describing artists and the development of pottery in the south. Topics: History/culture

Tanning, Dorothea ANOTHER LANGUAGE OF FLOWERS. New York, George Braziller Publisher, 1998. Poetry and illustrations that represent flowers. Topics: Plant life, poetry

Trenton, Patricia WOMEN PAINTERS, SPIRITS OF THE AMERICAN WEST, 1890-1945. Berkely, CA: University of California Press, 1995. No description

Watkins, T. H. THE WEST: A TREASURY OF ART AND LITERATURE. Beaux Arts Editions, 1994. Stories about the West and the people who lived there combined with work by great artists like Charles Russell and Remington. Topics: The American West, history/culture

Wells, Mary Ann NATIVE LAND: MISSISSIPPI, 1540-1798. Jackson: University Press of Mississippi, 1994. A history of Mississippi, from a Native American perspective. Topics: Mississippi History, Arts of Native American tribes from this locale, history/culture

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TECHNOLOGY CONNECTIONS

VISUAL ARTS

The Technology Connections section is designed to serve as a starting point for investigation into using technology in the visual arts instructional program. The Mississippi Department of Education does not endorse or recommend purchasing the following resources. Mississippi Department of Education suggests that all resources be thoroughly reviewed to accommodate the needs of individual districts. Please note technology changes on a daily basis, therefore, web sites, software, etc. which may be current on a given day may not be the next. Keep this in mind when using this as a resource.

SOFTWARE

Kindergarten Through Fourth Grade

Broderbund Kid Pix Studio Deluxe (Riverdeep) K-8 Beginning Graphic Design Escher Interactive (Jacobs Publishing) The Impressionists (Crystal Productions) Kai’s Super Goo (ScanSoft) Beginning Graphic Design The Louvre Museum: Museums of the World for Kids (Voyager) Photo-Paint 8 (Corel Corporation) Image and photo editing, and font management Tesselation Exploration (Tom Snyder) 4-8 Math: Geometric and Spatial reasoning. Cross curricular tool, math, art, science, social studies Treasures of the American Museum of Natural History (Voyager) Van Gogh: Starry Night (Voyager) Wilton Art (by Reading & O’Reilly) With Open Eyes (Voyager)

Middle School

ArtRageous (The Learning Company) Dabbler MetaCreations, Inc) Beginning computer drawing/graphic design software Escher Interactive (Jacobs Publishing) A History of Australian Art (Dataworks Pty Ltd) HyperStudio (Knowledge Adventure) Multimedia Presentation Software Microsoft Art Gallery (Microsoft) Moorditj: Australian Indigenous Art and Cultural Expressions (Crystal Productions) National Gallery Complete Illustrated Catalogue, CD-ROM Edition (Yale University Press, Special Projects) Painter (MetaCreations, Inc.) Painter’s astounding Natural-Media features simulate the tools and textures of traditional artist’s materials. Painter turns your computer into an artist’s studio. Photo-Paint 8 (Corel Corporation) Image and photo editing, painting, and font management Perseus 2.0: Interactive Sources and Studies on Ancient Greece (Yale University Press, Special Projects) Picasso: The Man, His Works, The Legend (Grolier) A Stroll in XXth Century Art (Grolier) A Survey of Western Art (Queue, Inc.) Van Gogh: Starry Night (Voyager) Wilton Art (by Reading & O’Reilly) The Art Historian, Volumes I and II (The Reindeer Company)

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High School

Adobe Illustrator (Adobe) Image manipulation, graphic design, publishing, vector images Adobe InDesign (Adobe) Image manipulation, graphic design, publishing, and page layout tools Adobe Photoshop (Adobe) Image manipulation, graphic design, and publishing Adobe Premiere (Adobe) Image manipulation, graphic design, and publishing Art of Western World Series (Crystal Productions) AutoCAD LT 2002 (Autodesk) Drafting Bryce 5 (Corel) 3-D design, animation, multi-media web, video CorelDraw (Corel) Image manipulation, graphic design, and publishing First Emperor of China (Crystal Productions) Flemish and Dutch Painters (Crystal Productions) Freehand (Macromedia) Graphic design Great Artist Series (Crystal Productions) A History of Australian Art (Dataworks Pty Ltd) Explores development of art in Australia 1788 – 1990’s History Through Art Series (Clearvue) Houses of Frank Lloyd Wright (Crystal Productions) The Impressionists (Crystal Productions) A dynamic in-depth view into the world of the Impressionist painters and their masterpieces Lascaux (Crystal Productions) Macromedia Dreamweaver (Macromedia) Webpage design Macromedia Fireworks (Macromedia) Image manipulation and graphic design Macromedia Flash (Macromedia) Animation Masterstrokes (CLEARVUE/eav) Secret techniques of old masters Microsoft Art Gallery (Microsoft) Clip Art Moorditj: Australian Indigenous Art and Cultural Expressions (Crystal Productions) Mpower (Tom Snyder) Multimedia presentations The National Gallery of Art (Crystal Productions) National Gallery Complete Illustrated Catalogue, CD-ROM Edition (Yale University Press, Special Projects) Norman Rockwell (Crystal Productions) 1000 Years of Russian Art (Crystal Productions) Painter (Corel) Image manipulation, graphic design, and publishing Painters Painting (Voyager) Company Paint Shop Pro (Jasc Software) Image manipulation Perseus 2.0: Interactive Sources and Studies on Ancient Greece (Yale University Press, Special Projects) Literature, history, art, archaeology Photo-Paint 8 (Corel Corporation) Image and photo editing and font management Picasso: The Man, His Works, The Legend (Grolier) Poser (Metacreations) Graphic design Ray Dream 3-D Metacreations) 3-D design A Stroll in XXth Century Art (Grolier) A Survey of Western Art (Queue, Inc.) Van Gogh: Starry Night (Voyager) Voyage in Egypt (Crystal Productions)

SOFTWARE COMPANIES

Clearvue, Inc., 6465 N. Avondale Ave, Chicago, IL 60631-1996, (800) CLEARVU Crystal Productions, 1812 Johns Dr., P. O. Box 2159, Glenview, IL 60025 Dataworks Pty Ltd., 34 Henderson Road, Rowville, VIC 3178, Australia, ph +61 3-97648344, fax +613 97632089 Grolier Interactive, Order Dept., 90 Sherman Turnpike, Danbury, CT 06816, (800) 285-4534 Jacobs Publishing Company, 3334 E. Indian School Rd, Suite C, Phoenix, AZ 85018 Learn Technologies Interactive, (212) 334-2225

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Queue, Inc., 1450 Barnum Ave, Suite 207, Bridgeport, CT 06610, (800) 232-2224 Voyager, 361 Broadway, Suite 610, NY, NY 10013, (888) 292-5584 Wilton Art, P.O. Box 646, Botsford, CT 064074, 28 Washbrook Rd., Newtown, CT 06470 Yale Univ. Press, Special Prod., P.O. Box 209040, New Haven, CT 06520-9040, (800) 405-1619, (203) 432-0912

SOFTWARE WEBSITES

Clearvue, Inc. http://www.clearvue.com Crystal Productions http://www.crystalproductions.com/cdroms Dataworks Pty Ltd. http://www.dataworks.com.au Grolier Interactive http://www.grolier.com Learn Technologies Interactive http://www.voyager.leartech.com Voyager http://www.voyager.leartech.com Wilton Art http://www.wiltonart.com

VIDEO RESOURCES

BEHIND THE SCENES. A series of half hour programs introduced by Penn and Teller. Each episode includes an important contemporary artist explaining how to use the elements and principles of art. This is a fun and entertaining series that will hold student interest as well as give them an understanding of the basics of art and the science behind some of the concepts used in making art. 4th grade and up.

David Hockney: THE ILLUSION OF DEPTH, Behind the Scenes, New York, Learning Designs and Thirteen/WNET, Distributed by GPN, P.O. Box 80669, Lincoln Nebraska [email protected]. (Running time 28 min. each)

Robert Gil de Montes: COLOR, Behind the Scenes, New York, Learning Designs and Thirteen/WNET, Distributed by GPN, P.O. Box 80669, Lincoln Nebraska [email protected]. (Running time 28 min. each)

Carrie Mae Weems: COMPOSITION, Behind the Scenes, New York, Learning Designs and Thirteen/WNET, Distributed by First Run Features, http://www.firstrunfeatures.com 1-800-229-8575

Wayne Thiebaud: LINES, Behind the Scenes, New York, Learning Designs and Thirteen/WNET, Distributed by First Run Features, http://www.firstrunfeatures.com 1-800-229-8575

AFRICAN-AMERICAN ARTIST SERIES, L&S Video, Inc. 45 Stornowaye, Chappaqua, NY 10514, This is an award winning series of individual tapes that feature contemporary and historical African American Artists. Included are: Faith Ringgold, Emma Amos, Romare Bearden, Betye and Alison Saar, Robert Colescott, Benny Andrews, Jacob Lawrence. Each tape can be purchased separately.

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WEBSITES

Access Art provides easy access to contemporary issues in visual arts education and an exchange of information and ideas http://www.accessart.org.uk/

Americans for the Arts – Funding, Grants, Art Education http://ww.artsusa.org/default.asp

Art Discovery http://www.artdiscovery.org/

Arts Education I.D.E.A.S. – Defining Whole Schools in Mississippi http:www.acideas.com/wholeschools.html

Arts Education/Advocacy http://www.princetonol.com/groups/iad/links/artedu.html

Arts Education Partnership (formerly the Goals 2000 Arts Education Partnership) http://www.aep-arts.org/

Arts in Education, Model Development and Dissemination Program Abstracts, CFDA 84.351D http://www.ed.gov/offices/OESE/ArtsED/artsprojabst.html

Art Teachers on the Net http://www.artmuseums.com/

Art Teacher Resources http://www.worldartistdirectory.com/ArtTeacher/

Association for the Advancement of Arts Education http://www.aaae.org/

Eyes on Art – A Learning to Look Curriculum http://www.kn.pacbell.com/wired/art2/index.html

Federal Resources on Visual Arts http://www.ed.gov/free/s-arts.html

The Getty http://www.getty.edu//

Internet School Library Media Center (ISLMC) Art Education page. The ISLMV is a meta-site for teachers, librarians, parents and students to preview selected links. http://falcon.jmu.edu/~ramseyil/arteducation.htm

The Metropolitan Museum of Art http://www.metmuseum.org/home.asp

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National Endowment for the Arts http://arts.endow.gov/

National Gallery of Art, Washington, D.C. http://www.nga.gov/

National Guild of Community Schools of the Arts http://www.nationalguild.org/index.html

National Portrait Gallery http://www.npg.si.edu/

Restoring a Masterwork http://www.artsmia.org/restoration-online

Visual Arts and Music Resource http://teams.lacoe.edu/documentation/places/art.html

Visual Arts Career Guide http://www.khake.com/page42.html

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RESOURCES

VISUAL ARTS

BOOKS

Kindergarten Through Fourth Grade

Barrett, Terry TALKING ABOUT STUDENTS ART. Worcester, MA: Davis Publications. 1997.

Beattie, Donna Kaye ASSESSMENT IN ART EDUCATION. Worcester, MA: Davis Publications. 1997.

Hollingsworth, Patricia and Hollingsworth, Stephen SMART ART. Tucson, AZ: Zephyr Press. 1989. Learning to Classify and Critique Art.

Hume, Helen THE ART TEACHER’S BOOK OF LISTS. Paramus, New Jersey: Prentice Hall. 1993.

Stewart, Marilyn G THINKING THROUGH AESTHETICS . Worcester, MA: Davis Publications. 1997.

Middle School

Barrett, Terry TALKING ABOUT STUDENTS ART. Worcester, MA: Davis Publications. 1997.

Beattie, Donna Kaye ASSESSMENT IN ART EDUCATION. Worcester, MA: Davis Publications. 1997.

Hollingsworth, Patricia and SMART ART. Tucson, AZ: Zephyr Press. 1989. Hollingsworth, Stephen Learning to Classify and Critique Art.

Hume, Helen THE ART TEACHER’S BOOK OF LISTS. Paramus, New Jersey: Prentice Hall. 1993.

Stewart, Marilyn G. THINKING THROUGH AESTHETICS. Worcester, MA: Davis Publications. 1997.

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High School

Barrett, Terry TALKING ABOUT STUDENTS ART. Worcester, MA: Davis Publications. 1997.

Beattie, Donna Kaye ASSESSMENT IN ART EDUCATION. Worcester, MA: Davis Publications. 1997.

Hume, Helen THE ART TEACHER’S BOOK OF LISTS. Paramus, New Jersey: Prentice Hall. 1993.

Stewart, Marilyn G. THINKING THROUGH AESTHETICS. Worcester, MA: Davis Publications. 1997.

GENERAL RESOURCE BOOKS

Anderson, Richard L. CALLIOPE'S SISTERS. Prentice Hall, NJ: 1990. This book explains the different aesthetic viewpoints of a variety of cultures. (MS/HS)

Barrett, Terry CRITICIZING ART. Mountain View CA: Mayfield Publishing Co., 2000. This book teaches how and why to do art criticism. It also explains how to write critical analyses. (HS)

Belloli, Andrea EXPLORING WORLD ART. Los Angeles, CA: The J. Paul Getty Museum, 1999. This book is a teacher resource for elementary teachers and easy enough for middle school students to read on their own. It explains a variety of cultures and the art of the people who are a part of them.

Bunchman, J. & Briggs, S. PICTURES AND POETRY. Worcester, MA: Davis. 2001. Connections are made between the work of important contemporary artists and their counterparts in the field of poetry and literature. (EL/MS)

Ernst, Karen PICTURING LEARNING. Portsmouth, NH: Heinemann, 1994. Explains how to use art to help students become more creative and to use integrated art and writing.

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Greenberg, Barbara and Patterson, D. ART IN CHEMISTRY, CHEMISTRY IN ART. Teacher Ideas Press. 1998. How chemistry is involved in the making of art.

Millstone, David H. AN ELEMENTARY ODYSSEY. Portsmouth, NH: Heineman, 1995. This explains the evolution of an elementary curriculum that used the Homer's Odyssey to teach a wide variety of subject matter. It includes the arts and other disciplines.

Pascale, Louise. MULTI-ARTS RESOURCE GUIDE. Very Special Arts Massachusetts. 1999. This book is designed for special education but the activities are appropriate for all children. Clear and easy to follow directions give lesson plans in a variety of the arts, including dance, theater, music, and the visual arts. (ALL)

Rodriguex, Susan THE VERY SPECIAL ARTISIT'S HANDBOOK: ART ACTIVITIES AND ADAPTIVE AIDS FOR HANDICAPPED STUDENTS. Palo Alto, CA: Dale Seymour Publications, 1984. This book is designed for special education students, but the activities are appropriate for other age groups. The visual arts lessons are not sequential learning activities, but there are good suggestions for how to adapt the lessons for special needs. There is also a vocabulary of signs related to the visual arts that are helpful for teachers with art students who may be hearing impaired. (SPED/EL)

Remer, Abby ENDURING VISIONS. Worcester, MA: Davis, 2001. This book explains and gives ideas for teaching with a variety of cultures that are not always easy to find in other literature-such as Afgan, and Yemei. The collection focuses on the art of women but it is not exclusively for girls. Boys should also find this book interesting.

Szekely, George FROM PLAY TO ART. Portsmouth, NH: Heinemann, 1991. This shows teachers how to "let go" and encourage creativity and fun in

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the classroom. Szelely takes everyday objects and uses them to create a variety of arts projects. (EL)

Tolley, Kimberly THE ART AND SCIENCE CONNECTION. Addison Wesley: 1993. These are science lessons that use art skills and objectives to develop science understandings. (EL)

Topal, Cathy Weisman CHILDREN CLAY AND SCULPTURE. Worcester, MA: Davis Publications, 1983. Written by art educator Cathy Topal, this book publishes clear and sequential ideas for lessons that address serious art objectives. The projects are sequenced in difficulty and focused on increasing art skills. Students move from the simple pinch pot and sculptural forms made from these pots to more complex relief tiles and construction. Even though this book is written for elementary, it can be used with beginners of every age. (EL/BEGINNERS)

Topal, Cathy Weisman CHILDREN AND PAINTING. Worcester, MA: Davis Publications, 1992. Topal is true to the elements and principles of art in designing lessons that simplify the basic language of art. Each lesson could be taught sequentially to build student skill. Final painting activities include learning to paint animals and using the brush to paint in the style of Japanese Sumi artists. (EL/BEGINNERS)

Walker, Pam Prince BRING IN THE ARTS. Portsmouth, NH: Heinemann, 1993. This book addresses a variety of ways in which teachers can integrate all the arts in a variety of classroom learning activities. (EL)

Williams, Doug TEACHING MATHEMATICS THROUGH CHILDREN'S ART. Portsmouth NH: Heinemann, 1995. Art projects that relate to mathematics. These are not necessarily art lessons, but are lesson ideas that demonstrate for teachers how art objectives

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might be included in mathematics projects. (EL)

Zuk, B & Dalton, R. STUDENT ART EXHIBITIONS: NEW IDEAS AND APPROACHES. Reston VA: National Art Education Association, 2001. This book addresses how we display student art. Suggestions from a variety of art teachers address different ways to showcase student learning in the classroom and how teachers can use the art to communicate with parents with administrator about student success. (ALL)

ORGANIZATIONS

ArtsEDGE, http://artsedge.kennedy-center.org Mississippi Alliance for Arts Education, 3008 Navajo Cir., Hattiesburg, MS 39402 Mississippi Arts Commission, 239 N. Lamar Street, Suite 207, Jackson, MS 39201 (601) 924-0131 Very Special Arts, http://www.vsarts.org/programs/swta/index.html (“Start with the Arts” is an instruction program for 4,5, and 6 year olds that uses the arts to assist young children, including those with disabilities, in exploring themes commonly taught in early childhood classroom. Mississippi Art Education Association, http://www.ms-maea.org/ National Art Education Association, http://www.naea-reston.org/ 1916 Association Drive, Reston, VA 20191-1590, Phone: 703.860.8000 Fax: 703.860.2960

OTHER

AICT – Free-use image resource for educational community http://arthist.cla.umn.edu/aict/html/index.html

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VISUAL ARTS GLOSSARY abstraction – A style of artwork that does not imitate perceptual reality; simplification. aesthetics – A branch of philosophy that studies how humans respond to and value social, psychological and philosophical aspects of art and beauty. aesthetic theory – A philosophical viewpoint concerning the nature of art. Some common aesthetic theories are:

•realism/imitationalism/ mimetic theory – A belief that art should look real (many contemporary artists believe that this is outdated.)

•emotionalism/expressionism – A belief that the purpose and value of art is based on its ability to convey emotion.

•formalism – Values art based on the effective use of elements of art and principles of design (elements of art+ principles of design = formal elements).

•conceptualism – Values art based on the concept or meaning behind the work.

•contextualism – How we value art depends on the external beliefs and perceptions that the viewer brings to the work. analogous colors – Colors adjacent to each other on a color wheel. analyze – Carefully examine separate parts of a specific work of art, including analysis of its parts and how they function both separately and in conjunction with the rest of the work. applique’ – The technique of sewing pieces of cloth onto a cloth background in creating a work of art. This is also used to make picture quilts. architect – An artist who creates original designs for buildings and environments and supervises their construction. architecture – A form of sculpture that involves buildings. art criticism – The description, analysis, interpretation, and evaluation of the success of a work of art. (note: The term criticism does NOT refer to the expression of negative or critical opinions). art gallery – A location where artwork is displayed and sometimes sold.

Visual Arts 188 2003 Mississippi Visual and Performing Arts Framework art museum – An institution dedicated to the preservation of works of art and educating people about those works. assess – To organize and analyze some kind of information for the purpose of understanding its effectiveness asymmetrical – A visual arrangement of shapes or forms that are not the same on each side, but, when viewed together the composition looks balanced because of size and placement. Same visual weight on both sides. attributes – Characteristics of objects or works of art. background – The area of a picture format that looks farthest away. background shapes – Shapes within a background that tend to look as though they are further away or behind other shapes. balance – An arrangement in which elements of art are arranged so that the parts seem to be equally important on either side and have equal visual weight. canvas – A sturdy type of woven fabric that can be used as a support for paintings. (it is also used to make some kinds of tennis shoes.) carving – A sculptural technique in which wood, stone, plaster or other solid material is cut away to make a piece of art work. ceramics – An art form involving clay and a variety of firing or glazing techniques. cityscape – An artwork in which a city or town is the main subject matter. coil method – A technique of forming clay that involves making even coils of clay and joining them to build pottery or other objects. coils – Long, even, rolls of clay that are used to make pottery in the “coil method”. This is one of several techniques that can be used to make pottery. collaboration – Working in groups. Art work is often made in collaboration with several artists. collage – Artwork that has been made by pasting pieces of paper or other materials to a flat surface. color – The way something looks, apart from its size and shape, when light strikes it. A hue is a name for a color such as red or blue. color wheel – A theory that helps artists learn about the relationship between colors and how to mix them. Bending the color spectrum (rainbow) into a circle.

Visual Arts 189 2003 Mississippi Visual and Performing Arts Framework complement – Colors located directly opposite one another on the color wheel. composition – How the elements of art and principles of design are arranged in a work of art. construct – To create, build or put together artwork by joining materials. A well-composed composition is described as having “unity”. contextual factors – Place, time, environment—external factors that influence the meaning of a work of art. contour – The outline that defines the outside boundaries of a shape as well as inside ridges that give it depth. contrast – Two things put together that are very different. Contrast tends to create variety and emphasis. (e.g. Bright colors contrast with dull colors, light colors contrast with dark colors, rough textures with smooth). cool colors – Colors that remind people of cool things and tend to feel calming (e.g., varieties of blue, green, and violet.) craft – A skill or art form that has been carefully made by hand. craftsman – A highly skilled person who creates artwork by hand. craftsmanship – The act of working carefully and skillfully with your hands. crayon resist – A drawing technique that uses a thick layer of crayon under a wet medium such as ink or watercolor. The crayon “resists” absorption of the wet medium and shows through; the wet medium fills the areas not covered by crayon. crayon etching – A technique in which two layers (and colors) of crayon are applied on top of one another. The artist scratches through the top layer to expose a design in the bottom layer of crayon. creative – The ability to think divergently and with originality. All children are creative thinkers when encouraged to think in different ways. critical process – The act of thinking critically or employing critical thinking skills to perceive, describe, analyze, interpret, and evaluate a work of art. criticism – Analyzing and evaluating the strengths and weakness of works of art based on some kind of criteria (the term critic refers to “critical thinking” rather than being “critical”).

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criterion – A standard on which a judgement is based. Teachers should have criteria for student achievement so that students understand how they can achieve their goals. Aesthetic theories establish criteria by which art is judged or valued. cubism – A style of art developed by artists including, Juan Gris, Pablo Picasso, and George Braques, that attempts to portray more than two dimensions of three dimensional geometric shapes on a two dimensional surface. The images appear to be broken or bent into cube-like 3-dimensional forms. curved – A gradual change of direction. cyan – A blue-greenish color that is one of the primary colors in the light spectrum. decorative – Elaboration and enrichment of an otherwise plain surface. design – To plan or arrange the parts of an art work (verb) or (noun) the plan that organizes a work of art. details – Small parts. discipline – A subject that is taught, an organized field of study, e.g. art, mathematics, reading. elements of art–The basic components of any art work: (note that some sources may vary in what is listed as an element). Artists arrange the elements of art by using the principles of design/art to create meaning.

They include: •line – A continuous mark that is made when a point is moved; like those made by a pencil or brush.

•shape – A defined area that has length and width, It is two-dimensional and can be geometric or organic.

•color – Characteristic of reflected light. When identified as hue, it is named with words such as red or blue.

•form – Something that has mass and is three-dimensional. A cube is a geometric form. Forms can also be organic, like rocks, pebbles, humans and animals.

•value – The ranges of lightness and darkness of a color or the gradations between black and white. Values are used to describe light and form.

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•space – An open or enclosed area that creates a shape or from. Space can be negative or positive and open or closed.

•texture – The roughness or smoothness of a surface. Texture can be both tactile/real (felt) or visual/ simulated (seen). emerging technologies – A wide variety of mechanical machines and processes. They are often used in a variety of ways both to reproduce and create art. evoke – To call forth or bring to mind. expressionism – A style of artwork or an aesthetic theory that values mood or feeling as the most important characteristic. expressive – Having to do with feeling or emotion. extension – the visual illusion that objects which touch the edges of the picture format occur outside the work itself. feel – A sensory experience through touch (i.e. something feels hot) or emotion (i.e. to feel happy or sad). fired – A chemical change that takes place when dried clay is exposed to very high heat. The clay changes into a glass-like material that is no longer malleable or porous when exposed to water. Also, the process of heating clay until it becomes hard and glass-like. fixed response – Pre-determined answers to specific questions. foreground – The part of an image that appears closest to the viewer. Usually this occurs at the bottom of the picture. form – A three-dimensional object. It has width, depth and height. You can turn it, walk around it and see it from many sides. formal balance – Artwork that is arranged similarly on both sides. The test of formal balance is if you can draw a line down the middle and both sides are the same. Also called symmetrical balance. geometric shapes – Two-dimensional mathematical concept such as square, triangle, circle, etc. geometric forms – Three-dimensional mathematical concept such as cube, cone, sphere, etc. gesture – A drawing technique often used in drawing the figure (or animals) that uses

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a quickly drawn and expressive line to capture the emotion or movement of the pose. glaze – A combination of chemicals or ground minerals that provide a surface treatment for pottery or ceramics. Glazing can refer to the process of applying and firing ceramics. Glazing is also an advanced technique used in oil painting where transparent oil paint is applied in layers. graphic – Usually refers to something that looks as if it has been printed or a kind of illustration that is especially bold. graphic designer – An artist who plans the lettering and artwork for books, posters, and other printed materials. historical landmark – A building or location with historical significance. The U.S. government designates some important sites as historical landmarks to protect and preserve them so that they are not significantly altered or destroyed. horizon line – The perceived line that indicates the break between the surface of the earth and the sky. In drawing, when anything is placed below the horizon line, it appears to be on the ground. Anything that starts above the horizon line looks as though it is floating. horizontal – a line that goes in a side-ways direction—such as horizon line, or the writing guides on a lined piece of paper. hue – The name of a color. (as in red). illustrate – To give clear examples. Illustrations are often diagrams, pictures, or maps that explain or clarify an idea. illustrator – An artist who makes drawings or artwork for books, magazines, newspapers, or other printed materials. The artist’s work “Illustrates” ideas or makes them clearer. imagination – The process of visualizing abstract ideas in one’s mind.

Impressionism – A style of art that was popular in the 19th and early 20th centuries that focuses on the effect of light on objects, blends color opposites to make shadows rather than using black, uses complementary colors, atmosphere, and loose brushwork to create images that evoke strong feelings. They capture the artist’s “impression” of a moment. Artists associated with this style are Monet, Degas, Manet, Cassatt.

Visual Arts 193 2003 Mississippi Visual and Performing Arts Framework informal balance – A kind of balance that is not the same on each side. When looked at together, the use of space and proportion tend to give the illusion of being “balanced” or having equal visual weight. (asymmetrical balance) interior designer – A career in art in which the artist designs the inside living spaces. intermediate colors – Colors that are made from a primary and a secondary color (e.g., red-orange, yellow-orange, blue-green). Also called tertiary colors. kiln – Special ovens that are used to heat (fire) clay or enamel to a very high temperature. landscape – Works of art that use the outdoors as the primary subject matter. line – The path created by a moving point (as a mark that is drawn by a pencil point). linear perspective – Creating a sense of space by using mathematical principles to create the illusion of distance of three-dimensions on a two-dimensional surface. Lines that are parallel in space appear to converge or get closer to one another as they get further away. loom – The frame or machine used for weaving cloth. media – The plural of medium. Tools or materials used to create art. medium – A specific tool or material used to create art. middleground – The part of a picture plane that is between the foreground and background. mobile – A form of sculpture based on balance that was invented by Alexander Calder. It involves suspended shapes and forms that are designed to move in relationship to one another. modeling – A technique that involves shaping a three-dimensional material. It can also refer to building the illusion of form in a two-dimensional material through value or color changes. mosaic – Artwork made with small pieces of colored stone, glass, or ceramic. mount – A support, on to which a picture is applied. This is done for presentation or preservation of the work. movement – The feeling of motion in a work of art created by using visual principles such as diagonal lines or repetition.

Visual Arts 194 2003 Mississippi Visual and Performing Arts Framework murals – Large paintings or other kinds of art created or displayed on a wall. Some artists who painted murals are: Diego Rivera, Michelangelo, and Leonardo da Vinci. negative spaces – The open spaces surrounding and sometimes within a line, shape, or form. neutral colors – Technically, black and white are not colors. Black indicates the absence of light and white is the presence of all reflected colors. Therefore neutral colors are those colors that do not have a particular hue. They include brown, black, white and gray. non-objective – Art which is created through the use of the elements and principles of design but have no reference to representational subject matter. non-representational – Same as non-objective. oil paint – An oil based that is made with linseed oil. It is only appropriate for use with advanced painting students. opaque – Does not allow the penetration of light. You can not see through opaque paint. open-ended response – Answers to questions that have more than one right answer. Art teachers ask many questions that are open-ended to encourage creativity. It does not mean that there is no right answer, but that it is possible for many answers to be correct. As a teaching strategy it invites students to give reasons for their answers. organic forms – Dimensional forms that are not geometric but are irregular. (See organic shapes) organic shapes – Two-dimensional shapes that are irregular and curvilinear. They are difficult to describe as they are not a prescribed shape. They are often found in nature and are characterized by things like leaves or rocks (any shape that is not geometric). original – Unique, one of a kind, something that is beyond the ordinary. Art work that is original is evidence of creative thinking. overlap – One part (as a line, shape, or color) covers some of another part and creates the illusion of depth or space. pattern – A choice of lines, colors, or shapes, repeated over and over in a planned way.

Visual Arts 195 2003 Mississippi Visual and Performing Arts Framework perceptual skills – Visual abilities. Looking at art does not increase children’s vision, but it does increase their ability to perceive and become sensitive to visual qualities. perspective – Artwork in which the shapes of objects and distances between them look familiar or “real”. The illusion of depth on a flat surface.

Pointillism – An artistic style in which small dots of color are used to create the illusion of line and form, and adjacent colors blend in the viewers’ eyes instead of on the painting. The artist who is most famous for Pointillism is Seurat. portrait – Artwork that usually shows the face of a real person. portrait bust – A sculptured likeness of a person’s head, neck, and chest. positive space – The solid objects within a visual format. Usually objects in the foreground and middle ground of a picture represent positive space, and the open areas around them represent negative space. pre-requisite – A requirement that must be met before another course of action may be started. primary colors – Colors from which all other colors are made. In pigment they are red, yellow, and blue. (In light, the primary colors are red, green, and cyan.) principles of design – How an artist arranges the elements of art.

•pattern – Repeated shapes, lines, colors, etc.

•balance – The visual equalization of elements in a work of art. There are three types of balance: symmetrical (formal), asymmetrical (informal) and radial.

•emphasis – The way artists use the organizational principles of art to direct greater attention on some areas rather than others. Artists create emphasis by contrasting size, color, line or other elements. Can also be through isolation of one part, converging lines, or centered location.

•contrast – Differences in values, colors, textures and other elements to achieve emphasis.

•movement – The arrangement of elements or principles that guide the eye through a work of art and create the sensation of movement.

•rhythm – A type of repetition in which a sense of movement is achieved by repeating lines, shapes, colors, etc.

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•variety – A assortment of different elements (e.g., colors, shapes, lines, values, textures, patterns).

•unity/harmony – The sense that all the organizational features in a work of art are in the right place and the composition “works”. Then the work of art is said to be unified and harmonious. print – A piece kind of artwork in which ink or paint is put onto a block or other smooth surface that has a design. The inked surface is pressed onto paper to make a print (copy) of the design. It is also the action of making a print. printing – The process of creating an image by pressing paper against a surface that has ink or paint on it. profile – Something seen or shown in artwork from the side view (as in the profile of a head). process – The experience of making art in a particular medium. processes – The progression of activities using several techniques such as making a printing plate, printing the image, and pulling the print. proportion – The size, location, or amount of something as compared to that of another (e.g., a hand is about the same length as a face). pure colors – Colors seen in the rainbow or when light passes through a prism: red, orange, yellow, green, blue, violet. radial – A theory of balance in which all line or shapes branch out from a central point. realism – A style of art in which the artist mimics the real world. relief – A type of sculpture in which the surface is partially raised off of an otherwise flat surface. repeated pattern – When lines, shapes, or colors reoccur many times in an organized fashion. representational art – The work that is intended to look like a picture of something that can be recognized, e.g. a person, object or place. repetition – The process of making some one thing over and over again. rhythm – A type of repetition in which a sense of movement is achieved by repeating lines, shapes, colors, etc. (principle of design).

Visual Arts 197 2003 Mississippi Visual and Performing Arts Framework rubric – An assessment strategy where objectives are defined and work is assessed according to a hierarchy of proficiency. sculpture – A three-dimensional work of art that may be made by carving, constructing or molding a solid medium. seascape – Art work that has as its major theme the sea or ocean. Winslow Homer is an artist known for his seascapes. secondary colors – The colors that are made when two primary colors are mixed together. (eg.,orange, green, and violet). shade – A darker value, the opposite of tint. Can be made by mixing black with a hue. shape – A defined area that has length and width, It is two-dimensional and can be geometric or organic. sketch – A preliminary drawing the may be made to study or plan a work of art. slab – An art term that is usually used in relationship to clay. It is a piece of clay that is evenly flattened. slab method – A technique for forming clay which cut or formed pieces of a slab are joined and used to create a container or other sculptural form. space – An open or enclosed area that creates a shape or from. Space can be negative or positive and open or closed. split complement – A color scheme which involves the use of a color that is on the color wheel and the two colors on either side of its complement. statue – A sculptural likeness. still life – A style or genre of art works in which ordinary objects or objects that do not move are the subject matter. studio – The place where an artist creates artwork. style – The individual characteristics of an art work that make it look like the art work of a particular artist or group of artists. Characteristics of style include color scheme, brush strokes, the kind of subject matter, etc. subject matter – The main topic, theme, or image in a work of art. symbol – A representation that is intended to signify a person, institution, or abstract idea.

Visual Arts 198 2003 Mississippi Visual and Performing Arts Framework

symbolism – The act of using some shape or image to represent another to create meaning. symmetrical – A form of balance in which the visual weight and relationships of shapes are the same on each side. Both sides are identical/mirror images. (formal balance) technique – The manner or method in which a medium is used. tempera paint – An opaque water-based paint that is used with children. three-dimensional – An object that has height, weight, and depth. tint – A quality of value that indicates the lightness of a color. Tints are made by mixing white to a hue. tradition – Ideas or teachings that are passed down through generations. Traditions and beliefs characterize cultures. traditional art – A style of art work that has been passed down through time and remains relatively unchanged. transparent – Glass-like, clear, can see through. two-dimensional – Having only two dimensions: height and width. Paintings, drawings and prints are generally two-dimensional. unity – The sense that all the organizational features in a work of art are in the right place and the composition “works”. Then the work of art is said to be unified and harmonious. value – The ranges of lightness or darkness of a color or the gradations between black and white variety – A assortment of different elements (e.g., colors, shapes, lines, values, textures, patterns). vertical – A direction of line. A line that runs up and down. visual characteristics – Traits that would describe what is being viewed. warm colors – Colors that are usually associated with images that remind us of things that are warm and tend to feel exciting. Warm colors are usually red, yellow and orange. Warm colors seem to come forward.

Visual Arts 199 2003 Mississippi Visual and Performing Arts Framework watercolor paint – A type of media in which the pigment is suspended in water. Watercolor paintings are often light colored because the paint is transparent. watercolor paper – A paper that is more absorbent than many papers to wick the water away, yet remain strong for a watercolor painting surface. weaving – A three-dimensional process in which fibrous materials are woven or threaded to create a work of art. Materials that can be woven include paper, yarn, strips of fabric, grasses, or any long, thin, flexible material. woodcut – A printing plate that is made by carving the design into smooth, flat, pieces of wood and printing it. Only one color is printed at a time. Therefore, Japanese woodcut artists who want to make colorful prints, make many different woodcuts in order to make one final artwork with lots of colors. Each color requires a different printing plate which is registered (lined up) with the print made from previous plate.

Visual Arts 200