840350

High School Music Guidelines

Grades 9/10 Program and Grades 11/12 Electives

Educational Programs and Services

Department of Education
P. O. Box 6000
Fredericton, New Brunswick E3B 5H1

May 2002
 Acknowledgements

The following were involved in some part of the writing, reviewing, and critiquing of the various stages of the development of this document. The Department
of Education wishes to acknowledge their effort and thank them for their contribution.

Don Bosse, Fredericton High School, School District 18 Katrina Goodbout, Supervisory, School District 2
Hugh Kennedy, Leo Hayes High School, School District 18 Marg Havens, Supervisor, School District 14
Cindy Toner, John Caldwell School, School District 14 Michael Molloy, Supervisor, School District 8
Connie Graham, Sugarloaf High School, School District 15 Keith Pierce, Supervisor, School District 10
Jennifer Hope, Hampton High School, School District 6 Gerry Pelletier, Supervisor, School District 14
Richard Hornsby, University of New Brunswick Gail Gould, Supervisor, School District 17
David Ripley, Supervisor, School District 6

The document was also presented to the Provincial Curriculum Advisory Committee and distributed electronically to the member of the Saint Cecilia listserv for
review and comment.
 Grades 9/10 and Grades 11/12 Electives

TABLE OF CONTENTS

Background ............................................................................................................................................................................................................................ .1
Supporting Music Teachers .................................................................................................................................................................................................... .1
Curriculum.............................................................................................................................................................................................................................. .2
General Curriculum Outcomes ............................................................................................................................................................................................... .2
The 9/10 Music Program – Outcomes, Elaborations and Performance Levels ...................................................................................................................... .3
Grades 11 and 12 Music Electives - Course Codes and Descriptions .................................................................................................................................... 13
Assessing Student Learning in the Music Classroom............................................................................................................................................................. 14
Facilities, Equipment, and Resources..................................................................................................................................................................................... 21
Guidelines for the Selection and Use of Music ...................................................................................................................................................................... 23
Extra-Curricular Music........................................................................................................................................................................................................... 24
Background

Music is part of the common curriculum experience in New Brunswick from kindergarten to grade 10 and available as elective credit courses in grades 11 and
12. Recent developments include the identification of outcomes in music at grades 9/10 and the availability of new electives at grades 11 and 12. It is expected
that there will be no immediate new development work at grades 9 to 12, rather there will be an effort to identify resources that support the existing curriculum.
In addition, any new curriculum work in music at grades 9 to 12 (indeed at all grade levels) will be premised on the work done collaboratively through the
auspices of the Atlantic Provinces Education Foundation. The Foundation for the Arts Education Curriculum, February 2001 document (Instructional Resources
Catalogue # 843280) is now the framework for all curriculum efforts in music.

Given that high school music is entering a relatively stable development status, the availability of this Guideline will serve to inform and guide districts,
principals, and teachers on ways to support the implementation of music programs. The guidelines will cover the following topics: curriculum including time
allotments and assessment, supporting the music teacher, facilities equipment, and resources. It is expected that information in these sections will assist schools
as they strive to create the optimum conditions for success in music programs.

Supporting Music Teachers

One of the main challenges in teaching music at the high school level is that often the music teacher is the only music teacher in the school. They seldom have a
colleague(s) with whom to discuss matters of music education and mutual interests. Although teaching teams in the school alleviate some of the general
problems of professional solitude, it is important that music teachers be active participants in professional development and have access to professional contacts
with their peers. Schools and school districts can support music teachers through regular meetings where contacts are maintained and strengthened, matters and
issues related to music education are discussed and debated, and information, advice, and successes are shared.

Music teachers should subscribe to professional journals, the MENC Journal perhaps being the most recommended, hold memberships in professional
organizations, and take advantage of professional development opportunities that deal with practical and reflective matters related to their profession. Schools,
districts, the Department of Education, and the New Brunswick Teachers’ Association have historically supported such efforts.

All music teachers should subscribe to and use the listserve saintcecilia as a source for contacts, information and discussion. This listserv is operated through the
Department of Education and information on how to join is available from the arts consultant and has been sent to all school principals.

Music teachers have often felt the pressure of performance – for festivals, school concerts, etc. and the quality of the their teaching efforts has often been judged
by the success of their performing groups. While music teachers are interested in developing vibrant performing groups, it is important to remember that the
main focus of music education is the prescribed curriculum that is developed for all children. Festivals, concerts, tours, exchanges, special workshops, artists in
schools visits, etc., complement and enrich the provincial curriculum. They should never be a substitute for it. Teacher participation in and administrative
expectations for co – or extra – curricular efforts should be premised on the prescribed curriculum being solidly in place with required time allotments and
resources available at all grade levels of the school. Expectations for co – and extra-curricular efforts should be balanced with compensatory time for
participating teachers, in addition to the time allotments for music being in place throughout the school.

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Curriculum

The music curriculum will be premised on the breadth articulated in the general curriculum outcomes (GCOs) contained in the Foundation for the Atlantic
Canada Arts Education curriculum (see page five of this document). These general curriculum outcomes articulate what students should know and be able to do
on completing their studies in music. They are organized under three strands 1) creating, making and presenting 2) understanding and connecting contexts of
time, place and community, and 3) perceiving, reflecting and responding. These three strands promote and support a balanced, comprehensive, and
developmental music program. It is of the utmost importance that all outcomes are addressed, thereby ensuring the intended breadth of all programs.

General Curriculum Outcomes

Creating, Making and Presenting Understanding and Connecting Contexts of Perceiving, Reflecting, and Responding
Time, Place and Community
Creating, making and presenting involves students’ This strand focuses on evidence, knowledge, This strand is concerned with students’ ability to
creative and technical development; that is, their understanding, and valuing the arts in a variety of respond critically to art works through increasing
ability to use and manipulate media – images and contexts. knowledge and understanding of, and appropriate
words, sound and movement, to create art forms responses to, the expressive qualities of art works.
that express and communicate their ideas and General Curriculum Outcomes
feelings. Through these art works students provide General Curriculum Outcomes
evidence of achievement, both as the work is being Students will be expected to
developed and in its final form. Students will be expected to
3. demonstrate critical awareness of and value for
General Curriculum Outcomes the role of the arts in creating and reflecting 6. apply critical thinking and problem-solving
culture strategies to reflect on and respond to their
Students will be expected to 4. respect the contributions to the arts of own and others’ expressive work
individuals and cultural groups in local and 7. understand the role of technologies in creating
1. explore, challenge, develop, and express ideas, global contexts, and value the arts as a record and responding to expressive works
using the skills, language, techniques, and of human experience and expression 8. analyse the relationship between artistic intent
processes of the arts 5. examine the relationship among the arts, and the expressive work
2. create and/or present, collaboratively and societies, and environments
independently, expressive products in the arts
for a range of audiences and purposes

These understandings and processes are inter-related and are developed effectively as interdependent
concepts. When outcomes are grouped as such and curriculum offerings based on all three organizing
strands, arts activities become more relevant to real-life situations, and the learning becomes more
meaningful.
 The 9/10 MUSIC PROGRAM

The following illustrates Music programs from grades 9 to 12

Grades 9/10 Grades 11/12

Outcomes , elaborations and performance levels Music electives
(see pages 6-16)
All students must receive the minimum of 45 hours Music 111/2, Music 113
of music instruction in grade 9 and should have a Music 122, Music 120
choice of pursuing music further in grade 10 for Fine Arts 110 (this course contains outcomes in
another minimum of 45 hours. Students who are Drama and Visual Arts in addition to Music). It has
electing to take music in grade 11 are strongly no performance outcomes as it is a course based on
recommended to have taken at least 90 hours of aesthetic perception and response
music instruction in grades 9/10.
The above courses are either 90 hours or 110 hours
in length.

The 9/10 Program is outcome-directed; that is, the knowledge and skills that students must demonstrate are articulated in outcome form. Every outcome is
followed by an elaboration that provides further information on, and clarification of the outcome. This elaboration also includes a list of activities, experiences,
and objectives that, if achieved, will help the student meet the outcome. They also serve as useful areas for assessment.

Following the outcome and the elaboration, four levels of student achievement are identified. Performance achievement levels include, Marginal, Acceptable,
Good, Very Good, Outstanding, the letter grades D, C, B, A, A+ and percentage marks. These descriptions of student achievement are related to the outcome
(not the elaborations) and should assist teachers in assigning ‘marks’ to student work. The ‘mark’ used for reporting will depend on what is agreed within a
school. The last column includes both Very good and Outstanding and teachers must decide which of these descriptions is applicable to individual students.

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CREATING, MAKING, PRESENTING

Outcome:

MU 1 Demonstrate basic technical skill and appropriate expression through performing on an instrument or vocally.

Elaboration:

This outcome may be met by solo or ensemble performance or it may be presented on cassette or video. Repertoire should be selected that is motivating to the
student, a good example of its style of form, and offer opportunities for learning musical concepts, as well as appropriate technical skills. Students will enjoy the
challenge if progress is structured for frequent success.

Students will:
9.1 demonstrate proper posture, hand and finger position
9.2 demonstrate proper breathing and phrasing
9.3 demonstrate appropriate tone quality, intonation and touch
9.4 demonstrate a variety of articulations
9.5 perform the six most commonly used scales and arpeggios for the instrument
9.6 observe symbols of expression, e.g. dynamics, accents, tempo
9.7 demonstrate a sensitivity to balance (melody/accompaniment)

Marginal D (50-59) Acceptable C (60-74) Good B (75-84) Very Good A (85-94)

Outstanding A+ (95-100)
Student: Student will: in addition: in addition:
• understands and can explain with • demonstrate correct and • demonstrate correct and • demonstrate with confidence
assistance required basic appropriate technical skills at a appropriate technical skills at a correct and appropriate technical
technical skills *moderate level *moderately difficult level skills at a difficult level
• explains use of symbols of • demonstrate correctly each • demonstrate competence in • demonstrate advanced
musical expression at an *easy expressive element in repertoire combining expressive elements interpretive skills in more
level with teacher guidance at a in more difficult repertoire difficult repertoire
*moderate level without teacher guidance

*Easy - easy keys, meters, and rhythms, modest ranges, including simple changes in tempo and dynamics – equivalent in difficulty to the Preparatory level of
Royal Conservatory of Music
*Moderate – moderate technical and expressive demands, basic ranges, use of interpretive elements – equivalent to Royal Conservatory of Music grade 1
*Moderately Difficult – various meters, keys, and rhythms, well developed technical skills, and attention to phrasing and interpretation – equivalent to Royal
Conservatory of Music grade II
*Difficult – more advanced technical and interpretive skills – meets a standard level of Royal Conservatory of Music, grade III or above
CREATING, MAKING, PRESENTING

Outcome:

MU 2 Create and perform a short original composition

Elaboration:

This should be attempted after students have a basic understanding of signs, symbols, and terms.

Students may work in small groups to begin but are individually responsible for the final composed piece. Notation of the composition is secondary to evidence
of creativity and musical invention. Some students may be able to notate their efforts and should be encouraged to do so. Solo or ensemble pieces are
acceptable. Other students will memorize or record their work.

Evidence of musical invention would be demonstrated in the use of rhythm, interesting harmonies, use of motifs, sequences to develop an idea, and a sense of
cadence, climax and conclusion.

Students will:

9.1 demonstrate an understanding of music’s basic resources, sound, silence and time, by creating and performing short musical explorations
9.2 demonstrate an understanding of the elements of music by creating short examples of melodies, rhythms, different textures, harmonies and forms
9.3 create short examples that reflect a particular mood, feeling or character

Marginal D (50-59) Acceptable C (60-74) Good B (75-84) Very Good A (85-94)

Outstanding A+ (95-100)
Student: Student will: in addition: in addition:
• demonstrates limited exploration • create and perform a variety of • produce longer explorations, • use musical resources and more
of sounds and combinations of sound combinations organized in demonstrating the use of unity complex forms in an innovative
sounds time and variety using non-traditional manner
• displays limited understanding of • create a variety of melodies, notation • compose and notate an original
melody, rhythm, texture, rhythms, examples of different • demonstrate appropriate use of a piece at least 16 measures long,
harmony and form when creating textures, and harmonies in minimum of three elements, that combining the five elements of
various simple forms may reflect a particular mood, melody, rhythm, texture,
feeling, or character harmony and form

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CREATING, MAKING, PRESENTING

Outcome:

MU 3 Demonstrate, through playing/singing, an understanding of the signs, symbols and terms of music.

Elaboration:

Reading music includes both sight-reading and practised pieces. Knowledge of music theory should enable students to attain the Performing Music outcome and
would include basic notation, commonly used keys, appropriate terms and an understanding of scale patterns and intervals.

Sight-reading is an integral part of music reading and should be practiced and monitored regularly.

Students will:

9.1 demonstrate an understanding of commonly used simple and compound time signatures
9.2 demonstrate an understanding of notation including note and rest values, dots, ties, syncopation, triplets, treble and bass clefs, accidentals, key
signatures, major and minor chords and intervals, and perfect and imperfect cadences
9.3 use reading skills to explore a wide variety of repertoire

Marginal D (50-59) Acceptable C (60-74) Good B (75-84) Very Good A (85-94)

Outstanding A+ (95-100)
Student: Student will: in addition: in addition:
• reads with difficulty in the treble • read moderately easy repertoire • read moderately difficult • read difficult repertoire that
and bass clefs, demonstrating in the treble and bass clefs. This repertoire which incorporates utilizes less common signs and
limited grasp of accidentals and music should incorporate more complex signs and symbols symbols
key signatures accidentals, a variety of key • demonstrate knowledge of the • demonstrate knowledge of the
signatures, a variety of note and structure of major and minor structure of augmented,
rest values, simple syncopation chords and major scales diminished, and dominant
and various time signatures (both seventh chords
simple and compound)
UNDERSTANDING AND CONNECTING CONTEXTS OF TIME, PLACE AND COMMUNITY

Outcome:

MU 4 Present information that demonstrates knowledge of the contribution music makes to the understanding of history, cultures and shared emotions.

Elaboration:
Music has been a basic and vital form of human expression since earliest times. People, regardless of their stage of development and their physical location have
always felt the need to express themselves musically. This expression may be intensely personal or part of the values of a society or group. Through listening
and reflection, understanding of the human conditions past and present is increased.

Students will:
9.1 identify representative works of a style, period, and culture, and explain their personal or cultural importance
9.2 list and explain evidence of the importance of music at a personal, national and international, and universal level
9.3 list local, regional and national musicians or music organizations
9.4 explain the contribution of music, musicians and the music industry to the economy of Canada

Marginal D (50-59) Acceptable C (60-74) Good B (75-84) Very Good A (85-94)

Outstanding A+ (95-100)
Student: Student will: in addition: in addition:
• requires support in explaining the • explain the cultural and historical • explain the reason why three • recognize simple and obvious
cultural and historical importance importance of three contrasting compositions works representative of music
of three representative works representative works generate universal emotional styles, eras and a variety of
• has a limited view of music’s • articulate reasons for importance appeal cultures
importance to society of music to themselves and • explain and give three examples • explain and give three examples
• has a limited knowledge of classmates of the importance of music to of the importance of music to
musicians and music • give examples of the use of difference Canadian cultures or different countries or ethnic
organizations music in everyday life groups groups
• presents only obvious examples • list ten local, regional or national • identify and explain issues • compare and contrast the role of
of music-related occupations musicians or music organizations important to Canadian musicians music and musicians, in Canada
• displays limited knowledge of • demonstrate knowledge of the and music organizations such as with those of one other country
skills required to be employed in work of three of the above funding, marketing, copyright, • describe the factors which
music-related occupations • list a variety of music-related audience development and encourage or discourage people
• unaware of the extent of the occupations and their pre- performance opportunities in music-related occupations to
influence of music in economic requisite skills and training • explain the overall impact of remain in Canada
activity in Canada • explain how music is used to sell music and the arts on the • research and develop an
products and services Canadian economy entrepreneurial project in music
• discuss whether funding in the
arts is an investment
• identify existing entrepreneurial
achievement in the music field

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UNDERSTANDING AND CONNECTING CONTEXTS OF TIME, PLACE AND COMMUNITY

Outcome:

MU 5 Identify and explain similarities and differences among the arts.

Elaboration:

The various art forms often use identical vocabulary. However, because music exists in time and is heard, and visual arts exist in space and are seen, some terms
such as rhythms, colour, shape, form, repetition and texture mean quite different things in these two disciplines.

Some art forms are combinations of two or more disciplines, e.g., ballet, opera, film, performance art. The artistic processes of imagination and craftsmanship
must therefore be shaped to allow for more than one discipline to contribute to the effective rendering of a particular mood or message.

Students will:

9.1 define and explain the differences in common terms used in the arts, e.g., colour, texture, tone, form, shape and rhythm VA 5
9.2 explain how two or more art forms can interact to create another art form, e.g. ballet, film, opera, video PE 6.8
9.3 compare and contrast two or more art forms on a similar topic, e.g. the sea, winter, an emotion

Marginal D (50-59) Acceptable C (60-74) Good B (75-84) Very Good A (85-94)

Outstanding A+ (95-100)
Student: Student will: in addition: in addition:
• lists but has difficulty describing • define terms which are common • identify musical elements and • identify and explain the
music elements which are used in to some art forms e.g. texture in terms used in other art forms similarities and differences in the
other art forms e.g. colour, art and music • explain how music combines use of terms in the various forms
texture, tone, form, shape, • identify the components which with another art form to create a • compare the role and importance
rhythm make up art forms such as ballet, new art form e.g. opera, dance, of music in a variety of combined
• identifies only with assistance the film, opera, video film, video art forms
components which make up art • explain in a basic way, how • justify choice of preferred art • select a theme or topic that is
forms such as ballet, film, opera, expressive effect is achieved in form on a common theme or represented in a variety of art
video the various art forms on the same topic forms and evaluate the expressive
• identifies, with assistance, theme or topic effect of each
examples of art forms on the
same or similar topics e.g. sea,
love
PERCEIVING, REFLECTING, RESPONDING

Outcome:

MU 6 Identify a variety of sound sources.

Elaboration:

Students should listen to and learn to identify the main sources of musical sounds by sound and sight. This knowledge enables them to discriminate between and
describe timbres and textures of pieces of music.

Student will:

9.1 identify and describe individual and combinations of voices

9.2 identify and describe individual and combinations of orchestral and band instruments
9.3 identify and describe keyboard and fretted stringed instruments
9.4 identify and describe instruments common to the countries studied in social studies and instruments and songs that reflect Canadian multiculturalism

Marginal D (50-59) Acceptable C (60-74) Good B (75-84) Very Good A (85-94)

Outstanding A+ (95-100)
Student: Student will: in addition: in addition:
• has difficulty identifying • identify individual vocal types • identify individual vocal types • identify less well known
individual vocal types (S.A.T.B.) as well as acoustic (S.A.T.B.) as well as orchestral, instruments, both individually
(S.A.T.B.), as well as orchestral, and electronic orchestral, band band fretted string and keyboard and in groups, by sight and
band, fretted string, and keyboard fretted string and keyboard instruments by sight and sound, sound. (These instruments may
instruments by sight and sound instruments by sight and sound describing variations in timbre reflect Canadian multiculturalism
• identify, aurally and visually, a between and among like or may be representative of
variety of vocal and instrumental instruments countries studied in Social
ensembles Studies)

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PERCEIVING, REFLECTING, RESPONDING

Outcome:

MU 7 Identify basic musical forms.

Elaboration:

An understanding of the various ways in which music can be organized contributes to an enjoyment of music and a greater appreciation of compositional
problem solving. Selections for listening and analysis should be made from a wide variety of genres and styles.

Students will:

9.1 explain the need for form in music

9.2 recognize and describe binary and ternary forms
9.3 recognize and describe more complex forms such as minuet and trio, variation form, and rondo form
9.4 explain how sequence, repetition, variety and harmony contribute to the form of a composition

Marginal D (50-59) Acceptable C (60-74) Good B (75-84) Very Good A (85-94)

Outstanding A+ (95-100)
Student: Student will: in addition: in addition:
• has difficulty identifying and • demonstrate attentive music • recognize and describe longer • compare and analyze musical
describing basic musical forms listening skills musical forms such as theme and forms
• cannot adequately explain the • recognize and describe simple variation, rondo, and minuet and • identify and describe more
need for form in music musical forms such as binary and trio complex musical forms such as
ternary • explain the connections between fugue and sonata forms
• explain with example the need new and returning musical ideas
for form in music e.g. variety and and in composition previously
unity not studied
• explain the connection between
new and returning musical ideas
and themes in known
composition
PERCEIVING, REFLECTING, RESPONDING

Outcome:

MU 8 Demonstrate critical listening skills

Elaboration:

The ability to be a focused and knowledgeable listener is important. Increased perception leads to deeper, more subtle responses to music, both in listening and
in playing.

A review of the resources of music (time, sound, silence) and the elements (pitch – vertical and horizontal, timbre, texture, dynamics, etc.) followed by
examination of a variety of music will enable students to understand how composers manipulate the elements for expressive effect. It is important to use
examples of many types of music.

Students will:

9.1 identify the musical elements in a piece

9.2 compare and contrast musical elements in and between pieces
9.3 explain how musical elements work together to create musical expressiveness
9.4 demonstrate the correct use of basic musical terminology as required for compositions studied, performed and listened to

Marginal D (50-59) Acceptable C (60-74) Good B (75-84) Very Good A (85-94)

Outstanding A+ (95-100)
Student: Student will: in addition: in addition:
• may have some difficulty • identify, describe and contrast • identify musical elements and • identify the subtle use of musical
identifying musical elements fairly obvious musical elements explain how their combination elements demonstrating
using appropriate music creates expressive effect analytical skills and deeper
terminology understanding
• compare and contrast basic
musical elements in a single
piece and between compositions

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PERCEIVING, REFLECTING, RESPONDING

Outcome:

MU 9 Justify responses to musical experiences

Elaboration:

As students proceed through the program, they should keep a record of music they have studied. They should also be encouraged to record their responses to
music both emotionally (how it felt to them) and intellectually (their understanding of the music). Regular exposure and reflection will result in a broader
acceptance of a variety of music, an increased awareness of the importance of music as a means of human expression, and a greater understanding of their own
personal response to music.

Students will:
9.1 describe how responses to music are personal
9.2 explain that response is affected by prior experience and knowledge
9.3 explain how the creation of and response to music is both intellectual and emotional PE 6.8
9.4 describe how composers manipulate the elements of music to evoke a response VA 3.1

Marginal D (50-59) Acceptable C (60-74) Good B (75-84) Very Good A (85-94)

Outstanding A+ (95-100)
Student: Student will: in addition: in addition:
• describe music using limited • give examples of how responses • explain how the creation of and • describe how composers
criteria are affected by prior experience response to music is both manipulate the elements of music
and knowledge intellectual and emotional to evoke a response
 GRADES 11 AND 12 MUSIC ELECTIVES
(All listed music courses are eligible for credit (1) in the Fine Arts / Life Role Development (sometimes called Personal Development Cluster)

Music 111 /2 - Course Code EAMUB1 or EAMUB2

(2000) - Catalogue of Instructional Materials code 842950CG
- Course Description: The course consists of three major outcomes that require students to demonstrate achievement in performing
music, in the application of theoretical and aural skills and concepts, and, in understanding music in a historical context. The course
lists a series of performance indicators that will assist in determining the course level. Music 111/2 is designed to articulate with
Music 122.
Note: Students entering Music 111/2 will normally have taken at least 90 hours or more of music study in grades 9/10.
Music 113 - Course Code EAMUB3
(1993) - Catalogue of Instructional Materials code 842920CG
- Course Description: Music 113 is designed for students who wish to continue their musical studies on guitar, keyboards or
beginning band. Students are required to demonstrate increased playing skills and an understanding of basic musical structures.
Music 120 - Course Code EAMVCO
(2000) - Catalogue of Instructional Materials code 842980CG
- Course Description: The course is designed to encourage research, presentations, discussion and music learning in and about a
variety of different world music. The course is modular in design requiring the study of one of the following two modules:
1) Traditional Music of Canada’s Peoples; or
2) Music in the Atlantic Provinces
In addition students must choose at least three of the other world music modules. In keeping with the intent of the regional work in art
curriculum, the course addresses issues in creating, making and presenting music, understanding connections among time, places and
community, and perceiving, reflecting and responding to music.
Music 122 - Course Code EAMUC2
(1994) - Catalogue of Instructional Materials code 842910CG
- Course Description: The Music 122 course is designed for the advanced and serious student of music who wishes to pursue the
subject as an avocation or who may be interested in further studies at the post-secondary level. The course assumes an advanced level
of musical literacy, good aural skills, a sound theoretical background, knowledge of historical styles and forms and an interest in
improving upon and expanding areas of musical knowledge and expertise.
- Under normal circumstances, students enter Music 122 by successfully completing Music 111/2. In circumstances where a teacher
provides a recommendation, a student may enter Music 122 after successfully completing Music 113. In rare situations, schools
might not be able to provide Music 111/2 or Music 113 every year. Consequently, it is conceivable a student might not be able to
enroll in a grade 11 music course prior to taking Music 122. In such cases, a student who has studied music privately may choose to
use the “Challenge for Credit” mechanism to earn a grade 11 music credit. This would result in an additional high school credit.
Alternatively, the student can demonstrate a competency level equivalent to the Royal Canadian Conservatory of Music grade 6
practical and grade 2 theory, to earn a direct placement in Music 122. In this situation, the student would not earn a grade 11 music
credit.
Fine Arts 110 - Course code EAFAB0
(1991) - Catalogue of Instructional Materials code 842980CG
- Course Description: This course is an overview to the arts in general. The emphasis is not on performance or production, but on
understanding how to perceive the expressiveness in various art forms, particularly visual art, music and drama.
Core (required) and supplementary listings of materials for the above courses may be found in the Catalogue of Instructional Resources in the white
and yellow sections respectively under the heading Music – High School. All schools should have copies of this document which is updated yearly and
all music teachers should have access to the listed materials.

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ASSESSING STUDENT LEARNING IN THE MUSIC CLASSROOM

Using a variety of Assessment Strategies

The assessment program should reflect the full range of student learning in music and involve the use of a variety of information gathering strategies which
allow teachers to address students' diverse backgrounds, learning styles and needs, and allow students a variety of opportunities to demonstrate their learning.

The variety of assessment strategies should

• enable teachers to assess and describe student performance across the curriculum
• provide information about how students learn as well as what they learn
• take into consideration students' abilities both to learn and to apply their learning
• enable teachers to observe overall performance
• provide multiple indicators of student performance
• reflect curriculum, balance and emphasis
• reflect that experimentation, risk taking and creativity are valued
• enable students to discover their own interests, strengths and weaknesses
• engage students in assessing, reflecting upon and improving their own learning
• encourage students to take responsibility for their own growth
• engage students in assessing their own and others' skills in cooperative and collaborative projects
• allow for description of students' progress in terms of increased control, depth of understanding and ability to work independently.

SPECIFIC STRATEGIES

Anecdotal Records

Observations of students can serve as a record of how and what they are learning. Comments, questions and observations might be noted in a log or notebook, on
index cards or adhesive memo notes while students are engaged in authentic learning experiences, for example
• during practices or specific workshops
• as students in a group on a task that requires collaboration
• when they participate in performances or exhibitions
• during interviews and conferences

It is important that teachers take the time necessary and use effective techniques for recording and analyzing anecdotal notes. Effective techniques of analyzing
anecdotal records include making references from the notes, looking for developmental trends or patterns and identifying both strengths and weaknesses in
learning and teaching. Anecdotal records should lead to interpretation and explanations of patterns of learning which emerge over time. Gathering, recording and
reflecting on anecdotal comments based on systematic observations of students' learning and language processes yield rich information for making judgments or
decisions.

Checklists

Developing checklists to use in conjunction with other assessment strategies (such as anecdotal comments) gives teachers a useful strategy for
• clarifying precisely what behaviors are indicative of successful learning in a given context.
• focussing observations
• recording whether or not a particular characteristic is present
 • providing consistency from one observation to the next
• documenting changes over times

Checklists are particularly helpful when they are designed to meet the needs of specific students. Students' participation in developing checklists helps them to
learn what is valued in a particular learning context and to take ownership of their own learning. Such checklists can be developed to provide; for example,
• a list of expectations for artistic development
• an overview of music-related interests
• an overview of the processes and strategies students use at various stages in developing a finished product
• a list of specific revising strategies and skills
• information on levels of attachment
• a summary of portfolio information
• a summary of demonstrated skills
• self and peer assessment tools

Checklists are also helpful for program evaluation and planning. By providing visual records of students' learning experiences and achievements, checklists can
help teachers to identify
• strengths and deficiencies in the instructional program
• areas to stress in coming weeks
• topics for discussion with other teachers or further professional exploration

Conferences and Interviews

Conferences and interviews with students are valuable sources of information on students' artistic processes, attitudes and work habits. Conferences and
interviews also provide students with immediate and personal feedback and give teachers an opportunity to recommend new directions, shifts of emphasis and
particular activities and materials and also to give reasons for those recommendations.
Conferences are an effective strategy for assessing, describing and commenting on;
• artistic processes and strategies
• journals and logs
• traits and trends in the student's products
• the role the student takes in group
• progress to date
• current work
• the student's goals for future work
• work and study habits
• the student's willingness to take risks
Teachers may find it helpful to use checklists, questions, guides and/or logs to focus and guide conferences, interviews and record keeping.

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Observation

Observing students as music learners and users in the classroom and other learning environments provides multiple opportunities for informal assessment.
Planning should allow for record keeping on observations of each student in various learning situations throughout the year. Observation is a powerful source of
information.
• it is grounded in authentic, contextualized experiences
• it captures descriptive, longitudinal data to use for comparison over time
• it can assess developmental characteristics

Systematic, ongoing observation provides information about students'

• thinking processes
• oral work
• work habits
• persistance
• participation
• feeling about themselves as learners and users
• attitudes toward music
• specific areas of strength and weakness
• preferred learning style
• social development (e.g., ability to work collaboratively and cooperatively)
• development and understanding of musical processes
• development of a value system

A variety of records keeping systems may be used for organizing observations, including anecdotal records and checklists. Careful record keeping is important
both for responding to the needs and development of individual students and for communicating with parents. Teachers may find it helpful to supplement
observations with audio and videotapes and to use those tapes for sharing information about a student's learning with parents.

Performance Assessment

Performance assessment allows teachers to directly observe students' application of what they know and are able to do. Performance assessment in music focuses
on the process as well as the product. It involves,
• presenting students with a task or challenge
• observing what students do and say, watching for selected particular characteristics, making anecdotal records
• interviewing students during or after the task
• developing and applying criteria to assess student performance (using scoring tools such as rubrics, rating scales, task-specific guides)
• examining what they produce and applying criteria to assess what they actually know and can do
• identifying future instructional and learning needs
 Observations of a student's classroom performance and completion of tasks, together with student-teacher reflection on the learning involved, can provide
specific information for assessment of programs which can be used by teachers to design instruction and by students to improve, reinforce and extend their
learning.

Performance assessment gives information about a student's ability to

• use concepts, skills and processes
• raise questions
• reason logically
• think flexibly and creatively, changing strategies when a particular approach does not work
• actively accomplish complex and significant tasks
• use prior knowledge, recent learning and relevant skills, strategies and processes
• work with partners or in small or large groups
• persist, concentrate and work independently

Questioning

Effective questioning allows teachers to identify what the student knows and what the student needs to learn.
Effective high-level, open-ended questions challenge students to use cognitively complex skills – to think.
Open-ended questions require students to respond to questions for which a variety of successful responses are possible. The answers to open-ended questions
give information about a student's ability to
• organize and interpret information
• make generalizations
• clarify and express their own thinking
• understand concepts
• demonstrate originality and creativity

Questionnaires, Inventories and Surveys

Well-designed questionnaires, inventories and surveys reveal students' feelings and attitudes toward different aspects of music. Information gathered through
well-designed surveys can, for example, help teachers to
• tap students’ habits, interests and attitudes
• build on students' strengths and expand their interests
• elicit students' perceptions about their learning

Rating Scale and Analytic Scale

Rating scales indicate a measure of accomplishment and enable teachers and students to assess a wide range of learning experiences by noting the frequency or
quality of a particular behavior. Once the criteria for evaluation have been determined, qualitative judgments can be made about identified aspects of the
learning. Rating scales can be developed, for example, to assess
• specific products such as a musical composition, a role playing activity or an art project
• specific learning outcomes
• participation in and contribution to small group learning

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• use of appropriate language and terminology
• problem solving skills and strategies

It is helpful for students to contribute to the development of rating scales, particularly when the scales are used for self-assessment or peer feedback.
Analytic scales can be used to assess a variety of learning outcomes and products. Analytic scales may be used by teachers to establish and communicate the
criteria used for assigning interim or final grades.

Developing analytic scales involves

• determining the criteria by which the learning will be assessed
• weighting each criteria to reflect its importance (in terms of what is valued or what has been emphasized in the learning or performance task)
• identifying or describing various levels of achievement or performance for each criteria

It is important that students understand what criteria and weighting will be used to evaluate their work and it is desirable that they collaborate with the teacher in
the process of setting and weighting these criteria.

Self Assessment

In the process of learning, students need various forms of feedback about their work from their teacher and their peers. However, students learn best when they
have frequent opportunities to assess their own learning and performance. Student self-assessment promotes the development of
• metacognitive ability (the ability to reflect critically on one's own reasoning)
• ownership of learning
• independence of thought

Enhancing students' abilities to assess their own progress is an important goal of assessment in music. Students need frequent opportunities to reflect on what
they know and can do and what they need to learn next. When students are engaged in applying criteria for self-assessment (and for peer-assessment) they begin
to internalize elements of quality and performance standards that can lead to significant improvement in the quality of their work and learning.
Self-assessment strategies include the use of
• questionnaires, e.g., following a collaborative activity or project to determine how well the group functioned as a team and how well the individual
student participated and contributed to the effectiveness of the process/ product
• learning logs/journals
• periodic reflections and group discussions to identify ways in which students have demonstrated progress toward achievement of learning outcomes
• peer feedback, giving constructive comments on one another's work helps students develop standards for their own performance
• student-teacher interviews and conferences
• collaborative planning and goal setting involving students in identifying their own strengths and weaknesses, forming options for the future learning
experiences and making decisions about what they will do to meet their learning goals

Teachers can use student self-assessments to determine

• whether there is change and growth in the students' attitudes, understanding and achievement
• whether students' beliefs about their performance correspond to actual performance
• whether the students and the teacher have similar views of expectations and criteria for assessment
Student Folders and Portfolios

Collections and selections of student work represent rich sources of authentic information on
• what strategies the student uses
• the level of skill development
• the best work the student can produce
• the student's growth as a learner
The student folder is a collection of student work, which might include; in music, compositions, arrangements, recordings, record of performances and music
work related to other subjects.

The portfolio is a selection of student work. Schools and teachers may do many different things with portfolios, depending on their purpose and the coordination
of portfolios with other activities for learning, assessment and evaluation. Portfolios may, for example, be very selective and contain only one kind of work or
only certain samples of work. Portfolios may contain items the student and perhaps also the teacher consider representative of the best the student can produce.
The process of selection of a student's best efforts can in itself be a very valuable experience. This process should involve students in reflecting on their progress
and achievement in reference to specific learning goals.

In responding to and assessing student artistic products, teachers should consider appropriate comments and assessment criteria in terms of the nature and
requirements of the task, its purpose and its intended audience.

Aspects to assess/ respond to might include

• clarity (of meaning)
• content (ideas, artistic evaluation)
• organization
• use of appropriate form and style (to use a particular audience or a specific purpose)
• choice of medium (media)
• use of musical structures for clear communication
• presentation
• range of topics selected
• technical and expressive qualities

Tests

Testing is only one means of collecting assessment data: a test measures achievement at a specific point in time. Tests play a minor role in the total assessment
program and should be used in appropriate balance with other assessment practices to ensure that students have frequent and varied opportunities to demonstrate
their level of performance in relation to curriculum outcomes.

Tests should be designed to encourage thinking and problem solving rather than memorization and recall of factual information. Test items signal what the
teacher considers to be important in the course content. Questions on tests should be framed so that they are relevant, clear and specific. As with other
assessment procedures, teachers should refer to curriculum outcomes in developing text terms. For example, selected response formats (multiple choice,
true/false, matching) have limitation in measuring learning outcomes in music. Instead of assessing the application of skill, strategies and processes in
meaningful situations, selected response items tend to assess knowledge of factual information and the application of basic skills in isolated, decontextualized
ways.

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PROGRAM AND SYSTEM EVALUATION

The results of student achievement can be used to varying degrees for program and system evaluation. External assessment results, however, are more
comparable across various groups and are therefore more commonly the basis for these types of evaluations.

In essence, the main difference between student evaluation and program and system evaluation is in how the results are used. In program evaluation, marks or
scores for individual students are not the primary focus of the assessment: it is the effectiveness of the program that is evaluated and the results are used to show
the extent to which the many outcomes of the program are achieved.

When results are used for system evaluation, the focus is on how the various levels and groups within the system, such as classrooms, schools, district and so on,
are achieving the intended outcomes. In many ways student and program evaluation are very much the same in that both emphasize obtaining student
information concerning their conceptual understanding, their ability to use knowledge and reason to solve problems and their ability to communicate effectively.
 FACILITIES, EQUIPMENT AND RESOURCES

Curriculum Music Programs (grades 9/10 and 11/12 Electives)

Facilities

The music education program should take place in an environment that supports music learning and has the equipment, instruments and budget to meet the needs
of the students it serves.

The music area should provide sufficient room for instrumental, vocal, keyboard and other musical resources. One of the rooms should be able to accommodate
the school’s largest ensemble. All the rooms must be well illuminated, properly vented and acoustically treated.

In many instances instruction in high school music credit courses will take place in the school’s music room – a room which has been designed with large
performing groups in mind. Music for grades 9/10 and grades 11/12 (as distinct from extra-curricular ensembles) may be accommodated in a facility with the
following characteristics
• larger than regular classroom size (to accommodate music stands, sound system including C.D. player, piano, regular desks for written works, computer
area)
• proper acoustical treatment including sound isolation from other classrooms
• lockable storage space for instruments, texts, records, tapes and repertoire library
• openable windows and adequate climate control and ventilation
• 2 or 3 separate sound-treated rooms for solo, small ensemble practice
• a deep stainless steel sink with hot and cold water for cleaning instruments
• music lined and regular chalk boards
• a music library area
• an office with telephone, computer and internet access
• wide door to allow for large instruments

Since large performing groups are typically part of the overall school music program, a performance area should be close at hand.

Advice on specifications for a music facility can be found in the Planning Guide for School Building and Facilities. If students are required to play an
instrument as part of the curriculum, the instrument must be supplied by the school or school district. If students choose to join an extra-curricular instrumental
performance group, suggestions for the supply of instruments are
• user fees on school or district owned instruments
• student purchase (a serious consideration if the student intends to take credit music for 3 years)

Students are responsible for the care and maintenance of the instruments, regardless of owner. Students and/or the school should consider insurance.

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Resources and Equipment

Music programs should provide a library of music for various performing groups. The library should include music repertoire from a wide range of styles, for
solo performances, small and large ensembles. The library should also include self-instructional materials, and supplementary print material. New titles for each
type of performing group should be added each year.

• The music technology will include a cluster of computers, printer, CD burner, MIDI products and appropriate music software.

• Method books, texts books and a variety of resource materials must be available in sufficient quantities for all students.
• Where a piano keyboard program exists, each child will have access to an instrument in good playing condition. These instruments may be supplied by the
school district, the school, rented or leased.

Computer Software Programs (2001)

E = Easy I = Intermediate A = Advanced

Level Program Platform Publisher

E-I Music Ace 1 & 2 Win/Mac Harmonic Vision
E-I Pianoworks Mac only Musicware
I-A Band-in-a-box Win/Mac PG Music
I Echos Win/Mac Electronic Courseware Systems
E-I Essentials of Music Win/Mac Alfred
E-I Keyboard Tutor Win/Mac Electronic Courseware Systems
E-A Music Lessons Win/Mac Mibac
I-A Practical Music Mac only Arts Nova
A Functional Harmony Win/Mac Electronic Courseware Systems
E-I Keyboard Kapers Win/Mac Electronic Courseware Systems
I Keyboard Chords Win/Mac Electronic Courseware Systems
I-A Keyboard Arpeggios Win/Mac Electronic Courseware Systems
E-I Keyboard Blues Win/Mac Electronic Courseware Systems
I-A Time Sketch Piano Win/Mac Electronic Courseware Systems
A Music composer quiz Win/Mac Electronic Courseware Systems
A Music composer Win/Mac Electronic Courseware Systems
 GUIDELINES FOR THE SELECTION AND USE OF MUSIC

The study and performance of repertoire is an important component of the high school music program; therefore, students should be exposed to as wide a range
of styles, forms, musical expression and performing media as possible. The following criteria will assist in the selection of appropriate repertoire
Medium:
• an appropriate balance between a variety of media, singing, and different instruments
• an appropriate level of performing difficulty
• instrumentation/ voicing appropriate to class composition

Style:
• a variety of different eras
• representative of different styles
• representative of different forms
• a variety of emotions and expression
• canadian music
• multi-cultural music

Music components:
• repertoire with interesting melodies, harmonies, rhythm, dynamics and textures
• opportunities for solos and small ensembles
• repertoire from which theory and ear training skills and concepts can be extrapolated
• music that is related to and reinforces listening, composing and historical components
• repertoire that offers opportunities to practice choral and/or instrumental sight reading

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EXTRA-CURRICULAR MUSIC

In many schools extra-curricular ensembles – choirs, band, stage band, musical production, recorder ensemble, strings (violins or ukuleles etc.) offer an exciting
and worthwhile opportunity for students’ musical and social growth. These offerings should be the result of the school music curriculum which is designed for
all students – and not a substitute for it. Conversely the outcomes of the 9/10 program and the classes at 11/12 cannot be achieved through instrumental classes
being the sole focus of instructional time.

For those schools that wish to develop a dynamic and well-supported extra-curricular music program the following is offered as a counsel of perfection.
• rehearsal rooms for band, orchestra and choral ensembles. The room should be a minimum of 1,800 to 2,500 square feet (30-35 sq. ft. per
instrumentalist) with a ceiling height of 15 feet.
• practice areas 35-40 square feet (1 person), 55 – 60 square feet (2 people)
• storage areas 600 – 800 square feet
• office 100 – 200 square feet
• music library 150 – 200 square feet
• electric keyboard lab 1905 square feet. 750 square feet for classroom work (33 desks) and 1155 square feet for workstations (33 units, 35 square feet
per unit). The keyboard lab will require many electrical outlets with surge control. Performance areas (auditoriums and multi-purpose rooms for
concert)

Instrumental programs should be equipped with

• heavy-duty music stands
• chairs designed for music classes which will support correct posture
• two double basses
• c piccolo
• oboe and bassoon
• e-flat clarinet and two bass clarinets
• soprano saxophone, two alto saxophones, two tenor saxophones and two baritone saxophones
• four French horns, two baritone horns, one bass trombone and three tubas
• two concert snare drums, double-tension concert bass drum, crash cymbals, suspended cymbals, three to four pedal timpani, chimes, xylophone,
marimba, vibraphone, orchestra bells, trap drum set, gong, temple blocks. Tambourine, triangles, assorted percussion equipment and assortment of
mallets, and a movable percussion cabinet
• conductor’s podium and stand
• shelving to store music folders
• electric piano (88 keys)
• piano, guitar and bass guitar amplifiers

An annual budget should be provided for the repair and maintenance of instruments and equipment that is equal to at least 5% of the current replacement value
of the total inventory of the instruments and equipment.