Learning Standards For The Arts

Le a r n i n g S t a n d a r d s fo r Th e A r t s
Revised Edition April 1996
THE U NIVER SITY OF THE STATE OF N EW YORK R e g e n t s of Th e U n i v e r s i t y Ca r l T. H a y d e n, Ch a n cel lo r , A.B., J .D. . . . . . . . . . . . . . . . . . . . . . . . . . . . Lo u i s e P. Ma tt e o n i, Vice Ch a n cel lo r, B.A., M.A., P h.D.. . . . . . . . . . . . . . E m ly n I. G r iffi t h, A.B., J .D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J o r g e L. B a t i s t a, B.A., J .D. . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . J . E d w a r d Me y e r, B.A., LL.B.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R. Ca r lo s Ca r b alla d a, Ch a n cel lo r Eme r itu s , B.S. . . . . . . . . . . . . . . . . . . Mi m i Le v i n Li e b e r, B.A., M.A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . N o r m a Gl u c k, B.A., M.S.W. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ad e la i d e L. S a nfo r d, B.A., M.A., P.D.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wal t e r Co o p e r, B.A., P h.D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . D i a n e ON e ill McGi v e r n, B.S.N., M.A., P h.D. . . . . . . . . . . . . . . . . . . . . . . S a u l B. Co h e n, B.A., M.A., P h. D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J a m e s C. D a w s o n, A.A., B.A., M.S., P h.D. . . . . . . . . . . . . . . . . . . . . . . . . . R o b e r t M. B e n n e tt , B.A., M.S.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R o b e r t M. J o h n s o n, B.S., J .D.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P e t e r M. P r y o r, B.A., LL.B., J .D., LL.D.. . . . . . . . . . . . . . . . . . . . . . . . . . . P r e s i d e n t of Th e U n i v e r s i t y a n d Co m m i s s i o n e r of E d u c a t i o n RICHARD P. MILLS E x e c u t i v e D e p u t y Co m m i s s i o n e r of E d u c a t i o n THOMAS E. SHELDON D e p u t y Co m m i s s i o n e r fo r El e m e n t a r y, Mi d dl e, S e c o n d a r y, a n d Co n t i n u i n g Ed u catio n JAMES A. KADAMUS As s i s t a n t Co m m i s s i o n e r fo r Cu rr i c u l u m, In s t r u c t i o n, As s e s s m e n t , a n d In n o v a t i o n EDWARD T. LALOR Co o r d i n a t o r of Cu rr i c u l u m a n d In s t r u c t i o n ROSEANNE DEFABIO El m i r a Bayside Rome Bro n x Ch a p p a q u a Roc h e ster N e w Yo r k N e w Yo r k H olli s Roc h e ster S t a t e n Isla n d N e w R o c h e ll e P eru To n a w a n d a Llo y d H a r b o r Alb a n y
The State Education Department does not discriminate on the basis of age, color, religion, creed, disability, marital status, veteran status, national origin, race, gender or sexual orientation in its educational programs, services and activities. Portions of this publication can be made available in a variety of formats, including braille, large print or audio tape, upon request. Inquiries concerning this policy of nondiscrimination should be directed to the Departments Office for Diversity, Ethics, and Access, Room 152, Education Building, Albany, NY 12234.
CONTE NTS
Acknowledgments i v Introduction v LEARNING STANDARDS FOR THE ARTS AT THREE LEVELS 1 SAMPLES OF STUDENT WORK RELATED TO THE STANDARDS 35
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Acknowledgments
In addition to the people recognized in the Preliminary Draft Framework for The Arts, we are grateful to the many teachers from throughout New York State who contributed performance tasks and samples of student work for possible inclusion in this revised edition. Listed below are the names of those educators whose materials appear in this document.
Contributors Denise Abbattista, Skaneateles Cynthia Appold, Huntington Station Jessica Bayer, Hewlett Stormy Brandenberger, New York Margaret Charboneau, Camillus Patricia Chiodo, Williamsville Patricia Clahassey, Voorheesville Katy Neyerlin Colletti, Poughkeepsie Joan Davidson, New York Kevin Dirth, Ossining Diana Domoracki, Brooklyn John Fredricksen, New York Margaret L. Foster, Buffalo Jeanne D. Gray, Pittsford Victoria Harder, Phoenix Karen Henn, Lockport Robert Hyndman, Saratoga Springs Susan Koff, Cliffside, NJ Joe Minutillo, St. James Gail Nelli, Leicester Constance Noelle, Wallkill Judi Paseltiner, Melville Dennis Powell, Endwell Scott Rabeler, Oneonta Arlene Sampson, Troy Mary Ellen Shevalier, Henderson John Shorter, Valley Stream Frank Vurraro, Greenwich Leslie Wexler, Buffalo Elana Wills, Queens Village
State Education Department Roseanne DeFabio Jan Christman Elaine Frankonis Roger Hyndman Edward S. Marschilok John Maryanopolis Patricia Webster
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Introduction
This revised edition of the Learning Standards for The Arts incorporates changes to the content standards and the performance indicators based on extensive review by the public. As educational practice improves, these standards will continually be revised. New in this addition are samples of student work, along with teacher comments on the work. The examples are intended to provide some ideas of tasks that support attainment of the performance standards. They are not models of excellence. Rather, they represent various levels of acceptable work. In the arts these levels have been described as distinguished, proficient and competent. It is important to remember that the work samples are just suggestions of ways the students can demonstrate progress toward achieving the standards. The Standards for the Arts reflect the educational goals that are common to dance, music, theatre, and the visual arts, while recognizing the distinctive aspects of each discipline. Each art form has its own philosophies, methods, materials, history, and content; each is usually taught as a separate subject. Assessment techniques should account for the similarities and differences among the arts and the varying capabilities and education of students across the four disciplines. The Arts Standards provide school districts the direction and basic structure for the development of local curricula that link instruction and assessment to the content standards. Taken together, the content standards, performance indicators and the performance standards embodied in actual student work define the learning standards for students in the Arts (dance, music, theatre and visual arts). The State Education Department will continue to collect and publish samples of student work. As teachers become familiar with the standards and students become more proficient in meeting them, the level of the performance standards and content standards will continue to rise. The Board of Regents recognizes the diversity of students in New York State, including students with disabilities, students with limited English proficiency, gifted students, and educationally disadvantaged students, and has made a strong commitment to integrating the education of all students into the total school program. The standards apply to all students regardless of their experiential background, capabilities, developmental and learning differences, interests, or ambitions. A classroom typically includes students with a wide range of abilities who may pursue multiple pathways to learn effectively, participate meaningfully, and work towards attaining the curricular standards. Students with diverse learning needs may need accommodations or adaptations of instructional strategies and materials to enhance their learning and/or adjust for their learning capabilities.
Le a r n i n g S t a n d a r d s fo r Th e A r t s E x p e c t a t i o n s fo r Ac h i e v e m e n t
All students should participate at an appropriate level and should demonstrate competent, proficient, or distinguished levels of achievement in the following areas by the completion of their secondary schooling: Elementary level achievement in the content standards for each of the four disciplines of dance, music, theatre, and visual arts; Intermediate level achievement in the content standards for two of the four disciplines of dance, music, theatre, and visual arts; Commencement level achievement in the content standards for one of the four disciplines of dance, music, theatre, and visual arts.
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Learning Standards for the Arts at Three Levels

Standard 1: Creating, Performing and Participating in the Arts Students will actively engage in the processes that constitute creation and performance in the arts (dance, music, theatre, and visual arts) and participate in various roles in the arts. Standard 2: Knowing and Using Arts Materials and Resources Students will be knowledgeable about and make use of the materials and resources available for participation in the arts in various roles. Standard 3: Responding to and Analyzing Works of Art Students will respond critically to a variety of works in the arts, connecting the individual work to other works and to other aspects of human endeavor and thought. Standard 4: Understanding the Cultural Dimensions and Contributions of the Arts Students will develop an understanding of the personal and cultural forces that shape artistic communication and how the arts in turn shape the diverse cultures of past and present society.
Standard 1Creating, Performing, and Participating in the Arts

Dance
1. S t u d e n t s w ill p e r fo r m s e t d a n c e fo r m s i n fo r m al a n d i nfo r m al c o n t e x t s a n d w ill i m p r o v i s e, c r e a t e, a n d p e r fo r m d a n c e s b a s e d o n t h e i r o w n m o v e m e n t i d e a s. Th e y w ill d e m o n s t r a t e a n u n d e r s t a n d i n g of c h o r e o g r a p h i c p r i n c i pl e s, p r o c e s s e s, a n d s t r u c t u r e s a n d of t h e r ol e s of v a r i o u s p a r t i c i p a n t s i n d a n c e p r o d u c t i o n s.
S t u d e n t s: i d e n t ify a n d d e m o n s t r a t e m o v e m e n t e l e m e n t s a n d s k ills (s u c h a s b e n d, t w i s t , sli d e, s k i p, h o p) (a) d e m o n s t r a t e w a y s of m o v i n g i n r e la t i o n t o p e o pl e, o bje c t s, a n d e n v i r o n m e n t s i n s e t d a n c e fo r m s (b) c r e a t e a n d p e r fo r m s i m pl e d a n c e s b a s e d o n t h e i r o w n m o v e m e n t i d e a s (c).
Elementary
Music
1. S t u d e n t s w ill c o m p o s e o r i g i n al m u s i c a n d p e r fo r m m u s i c w r i tt e n b y o t h e r s. Th e y w ill u n d e r s t a n d a n d u s e t h e b a s i c e l e m e n t s of m u s i c i n t h e i r p e r fo r m a n c e s a n d c o m p o s i t i o n s. S t u d e n t s w ill e n g a g e i n i n d i v i d u al a n d g r o u p m u s i c al a n d m u s i c-r e la t e d t a s k s, a n d w ill d e s c r ib e t h e v a r i o u s r ol e s a n d m e a n s of c r e a t i n g, p e r fo r m i n g, r e c o r d i n g, a n d p r o d u c i n g m u s i c.
S t u d e n t s: c r e a t e s h o r t pi e c e s c o n sis t i n g of s o u n d s f r o m a v a r i e t y of t r a di t io n al (e.g., t a m bo u r i n e, r e c o r d e r, pia n o, v oic e), ele c t r o n ic (e.g., k e ybo a r d), a n d n o n t r a di t io n al s o u n d s o u r c e s (e.g., w a t e r-fille d gla s s e s) (a) s i n g s o n g s a n d pla y i n s t r u m e n t s, m a i n t a i n i n g t o n e q u ali t y, p i t c h, r h y t h m, t e m p o, a n d d y n a m i c s; p e r fo r m t h e m u s i c e x p r e s s i v e ly; a n d s i n g o r pla y s i m pl e r e p e a t e d p a tt e r n s (o s t i n a t o s) w i t h fa m ili a r s o n g s, r o u n d s, p a r t n e r s o n g s, a n d h a r m o n izi n g p a r t s (b) r e a d s i m pl e s t a n d a r d n o t a t i o n i n p e r fo r m a n c e, a n d follo w v o c al o r k e y b o a r d s c o r e s i n li s t e n i n g (c) i n p e r fo r m i n g e n s e m bl e s, r e a d v e r y e a s y/e a s y m u s i c (N e w Yo r k S t a t e S c h o ol Mu s i c As s o c i a t i o n [NYS SMA] l e v e l I-II) 1 a n d r e s p o n d a p p r o p r i a t e ly t o t h e g e s t u r e s of t h e c o n d u c t o r (d) i d e n t ify a n d u s e, i n i n d i v i d u al a n d g r o u p e x p e r i e n c e s, s o m e of t h e r ol e s, p r o c e s s e s, a n d a c t i o n s u s e d i n p e r fo r m i n g a n d c o m p o s i n g m u s i c of t h e i r o w n a n d o t h e r s (e).
This is evident, for example, when students: demonstrate the movements of various animals, a cat, a dog, an elephant, a monkey, etc. pretend that they are flowers or plants caught in a wind, moving in groups of two or three to suggest the movement invent a dance based on a children's game, such as, Farmer in the Dell, London Bridge, etc.
This is evident, for example, when students: improvise a short composition using the black keys on the piano sing familiar rounds and folk songs in a group with good tone, tempo, intonation and rhythm strum on an autoharp a two or three chord progression alone or with others to accompany student singing read and perform standard rhythmic notation on rhythm sticks or other classroom instruments play a simple pattern on a mallet instrument to accompany a familiar song such as Frere Jacques perform a simple piece of music with others in a band, chorus or orchestra conduct other students in performing simple musical pieces.
Key ideas are identified by numbers (1). Performance indicators are identified by bullets ( ). Sample tasks are identified by triangles ().
1 The New York State School Music Association (NYSSMA) has developed a standards-based instructional model that can be used to assess student achievement. In the publication entitled NYSSMA Manual, the Music Association provides rules, regulations, and graded listings of musical literature as a basis for assessing musical per formance by individuals, small groups, or large organizations. The emphasis of the model is on quality of performance. (NYSSMA 1994, p. XXVII)
S t u d e n t s w ill a c t i v e ly e n g a g e i n t h e p r o c e s s e s t h a t c o n s t i t u t e c r e a t i o n a n d p e r fo r m a n c e i n t h e a r t s (d a n c e, m u s i c, t h e a t r e, a n d v i s u al a r t s) a n d p a r t i c i p a t e i n v a r i o u s r ol e s i n t h e a r t s.
Theatre
1. S t u d e n t s w ill c r e a t e a n d p e r fo r m t h e a t r e pi e c e s a s w ell a s i m p r o vis a t io n al d r a m a. Th e y w ill u n d e r s t a n d a n d u s e t h e ba sic ele m e n t s of t h e a t r e i n t h e i r c h a r a c t e r iza t io n s, i m p r o vis a t io n s, a n d pla y w r i t i n g. S t u d e n t s w ill e n g a g e i n i n divid u al a n d g r o u p t h e a t r ic al a n d t h e a t r e-r ela t e d t a s k s, a n d w ill d e s c r ib e t h e v a r io u s r ole s a n d m e a n s of c r e a t i n g, p e r fo r m i n g, a n d p r o d u c i n g t h e a t r e.
S t u d e n t s: u s e c r e a t i v e d r a m a t o c o m m u n i c a t e i d e a s a n d fe e li n g s (a) i m i t a t e e x p e r i e n c e s t h r o u g h p a n t o m i m e, pla y m a k i n g, d r a m a t i c pla y, s t o r y d r a m a t iz a t i o n, s t o r y t e lli n g, a n d r ol e pla y i n g (b) u s e la n g u a g e, v o i c e, g e s t u r e, m o v e m e n t , a n d o b s e r v a t i o n t o e x pre s s t h e ir e x p eri e n c e s a n d c o m m u n i c a t e i d e a s a n d fe e li n g s (c) u s e b a s i c p r o p s, s i m pl e s e t p i e c e s, a n d c o s t u m e p i e c e s t o e s t a bli s h pla c e, t i m e, a n d c h a r a c t e r fo r t h e p a r t i c i p a n t s (d) i d e n t ify a n d u s e i n i n d i v i d u al a n d g r o u p e x p e r i e n c e s s o m e of t h e r ol e s, p r o c e s s e s, a n d a c t i o n s fo r p e r fo r m i n g a n d c r e a t i n g t h e a t r e p i e c e s a n d i m p r o v i s a t i o n al d r a m a (e).
Visual Arts
1. S t u d e n t s w ill m a k e w o r k s of a r t t h a t e x plo r e d iffe r e n t k i n d s of s u bje c t m a tt e r, t o p i c s, t h e m e s, a n d m e t a p h o r s. S t u d e n t s w ill u n d e r s t a n d a n d u s e s e n s o r y e l e m e n t s, o r g a n iz a t i o n al p r i n c i pl e s, a n d e x p r e s s i v e i m a g e s t o c o m m u n i c a t e t h e i r o w n i d e a s i n w o r k s of a r t . S t u d e n t s w ill u s e a v a r i e t y of a r t m a t e r i als, p r o c e s s e s, m e d i u m s, a n d t e c h n iq u e s, a n d u s e a p p r o p r i a t e t e c h n olo g i e s fo r c r e a t i n g a n d e x h ibi t i n g v i s u al a r t w o r k s.
S t u d e n t s: e x p e r i m e n t a n d c r e a t e a r t w o r k s, i n a v a r i e t y of m e d i u m s (d r a w i n g, p a i n t i n g, s c u lp t u r e, c e r a m i c s, p r i n t m a k i n g, v i d e o, a n d c o m p u t e r g r a p h i c s), b a s e d o n a r a n g e of i n d i v i d u al a n d c oll e c t i v e e x p e r i e n c e s (a) d e v e lo p t h e i r o w n i d e a s a n d i m a g e s t h r o u g h t h e e x plo r a t i o n a n d c r e a t i o n of a r t w o r k s b a s e d o n t h e m e s, s y m b ols, a n d e v e n t s (b) u n d e r s t a n d a n d u s e t h e e l e m e n t s a n d p r i n c i pl e s of a r t (li n e, c olo r, t e x t u r e, s h a p e) i n o r d e r t o c o m m u n i c a t e t h e i r i d e a s (c) r e v e al t h r o u g h t h e i r o w n a r t w o r k u n d e r s t a n d i n g of h o w a r t m e d i u m s a n d t e c h n iq u e s i nfl u e n c e t h e i r c r e a t i v e d e c i s i o n s (d) i d e n t ify a n d u s e, i n i n d i v i d u al a n d g r o u p e x p e r i e n c e s, s o m e of t h e r ol e s a n d m e a n s fo r d e s i g n i n g, p r o d u c i n g, a n d e x h ibi t i n g a r t w o r k s (e).
This is evident, for example, when students: use a belonging from home as practice in handling simple props and as an experience in evoking feelings in an audience pantomime the action of a narrated story observe the habits of familiar animals and use voice, gesture, body movement to portray the animals to classmates act out a scene from a well-known fairy tale using basic props, simple set pieces and costume pieces use puppets to dramatize an event: create the dialogue, voices and movement of the puppets to convey the story working in small groups.
This is evident, for example, when students: paint a picture in tempera or watercolor in which they depict an experience that they recall make a ceramic vessel which they decorate with symbols make a drawing in which they depict three-dimensional space by using overlapping, placement on the picture plane and objects diminishing in size select a medium for a work of art based on their experience with the medium and their desire that it should look a certain way work with others to plan and produce a group art work, such as a mural, an illustrated book, a stage design draw objects from observation and use their imagination to turn those drawings into objects or creatures use the primary colors of pigment (cyan, magenta, yellow) to paint a picture from nature.
STANDARD 1

Dance
S t u d e n t s: know and demons tra t e a range of movemen t elemen t s and skills (such as balance, alignmen t, eleva t ion, and landing) and basic dance s t eps, posit ions, and pa tt e r ns (a) d a n c e a r a n g e of fo r m s f r o m f r e e i m p r o v i s a t i o n t o s t r u c t u r e d c h o r e o g r a p h y (b) c r e a t e o r i m p r o v i s e d a n c e p h r a s e s, s t u d i e s, a n d d a n c e s, alo n e a n d/o r i n c olla b o r a t i o n w i t h o t h e r s, i n a v a r i e t y of c o n t e x t s (c) d e m o n s t r a t e t h e a bili t y t o t a k e v a r i o u s r ol e s i n g r o u p p r o d u c t i o n s a n d p e r fo r m a n c e s (d).
Intermediate
Music
S t u d e n t s: c o m p o s e s i m pl e p i e c e s t h a t r efl e c t a k n o w l e d g e of m e lo d i c, r h y t h m i c, h a r m o n i c, t i m b r e l, a n d d y n a m i c e l e m e n t s (a) s i n g a n d/o r pla y, alo n e a n d i n c o m bi n a t i o n w i t h o t h e r v o i c e o r i n s t r u m e n t p a r t s, a v a r i e d r e p e r t o i r e of folk, a r t , a n d c o n t e m p o r a r y s o n g s, f r o m n o t a t i o n, w i t h a g o o d t o n e, p i t c h, d u r a t i o n, a n d lo u d n e s s (b) i m p r o v i s e s h o r t m u s i c al c o m p o s i t i o n s t h a t e x h ibi t c o h e s i v e n e s s a n d m u s i c al e x p r e s s i o n (c) i n p e r fo r m i n g e n s e m ble s, r e a d m o d e r a t ely e a s y/ m o d e r a t ely diffic ul t m u sic (NYS SMA le v el III-IV) a n d r e s p o n d a p p r o p r ia t ely t o t h e g e s t u r e s of t h e c o n d u c t o r (d) i d e n t ify a n d u s e, i n i n d i v i d u al a n d g r o u p e x p e r i e n c e s, s o m e of t h e r ol e s, p r o c e s s e s, a n d a c t i o n s fo r p e r fo r m i n g a n d c o m p o s i n g m u s i c of t h e i r o w n a n d o t h e r s, a n d d i sc u s s w a y s t o i m p r o v e t h e m.
This is evident, for example, when students: invent a dance built on at least three different dance steps that creates a pattern and that moves throughout a given space select a word or phrase at random from a pile of cards and improvise a movement to express the idea of the word or phrase; others in the class interpret what the dancer is expressing take on one of the roles in a class dance production, i.e., choreographer, lighting, costuming, etc.
This is evident, for example, when students: compose a melody that reflects the mood of a four line poem and exhibits knowledge of the basic elements of music (e.g., rhythm and melody) sing with classmates a number of songs including folk, art and contemporary improvise on a violin a four measure phrase that is cohesive and expressive perform moderately easy music (NYSSMA level 2 or 3) on an instrument in a band conduct peers through a choral warm-up piece.
Theatre
S t u d e n t s: u s e i m p r o v i s a t i o n a n d g u i d e d pla y w r i t i n g t o c o m m u n i c a t e i d e a s a n d fe e li n g s (a) i m i t a t e v a r i o u s e x p e r i e n c e s t h r o u g h p a n t o m i m e, pla y m a k i n g, d r a m a t i c pla y, s t o r y d r a m a t iz a t i o n, s t o r y t e lli n g, r ol e pla y i n g, i m p r o v i s a t i o n a n d g u i d e d pla y w r i t i n g (b) u s e la n g u a g e, v o i c e, g e s t u r e, m o v e m e n t a n d o b s e r v a t i o n to cre at e c h ara ct er a n d i n t era ct w it h ot h ers i n i m p r o v i s a t i o n, r e h e a r s al, a n d p e r fo r m a n c e (c) c r e a t e p r o p s, s c e n e r y, a n d c o s t u m e s t h r o u g h i n d i v i d u al a n d g r o u p effo r t (d) i d e n t ify a n d u s e, i n i n d i v i d u al a n d g r o u p e x p e r i e n c e s, s o m e of t h e r ol e s, p r o c e s s e s, a n d a c t i o n s fo r p e r fo r m i n g a n d c r e a t i n g t h e a t r e p i e c e s a n d i m p r o v i s a t i o n al d r a m a w i t h i n t h e s c h o ol/c o m m u n i t y, a n d d i s c u s s w a y s t o i m p r o v e t h e m (e).
Visual Arts
S t u d e n t s: p r o d u c e a c oll e c t i o n of a r t w o r k s, i n a v a r i e t y of m e d i u m s, b a s e d o n a r a n g e of i n d i v i d u al a n d c oll e c t i v e e x p e r i e n c e s (a) k n o w a n d u s e a v a r i e t y of s o u r c e s fo r d e v elo pi n g a n d c o n v e yi n g id e a s, i m a g e s, t h e m e s, s y m bols, a n d e v e n t s i n t h e i r c r e a t io n of a r t (b) u s e t h e e l e m e n t s a n d p r i n c i pl e s of a r t t o c o m m u n i c a t e s p e c ifi c m e a n i n g s t o o t h e r s i n t h e i r a r t w o r k (c) d u r i n g t h e c r e a t i v e p r o c e s s, r efl e c t o n t h e effe c t i v e n e s s of s e l e c t e d m e d i u m s o r t e c h n iq u e s t o c o n v e y i n t e n d e d m e a n i n g s (d) i d e n t ify a n d u s e, i n i n d i v i d u al a n d g r o u p e x p e r i e n c e s, s o m e of t h e r ol e s a n d m e a n s fo r d e s i g n i n g, p r o d u c i n g, a n d e x h ibi t i n g a r t w o r k s a n d d i s c u s s w a y s t o i m p r o v e t h e m (e).
This is evident, for example, when students: develop a point of view on an issue then use improvisation to convey that point of view to an audience recall or observe a simple action or moment, such as shopping for a pair of shoes, cooking from a recipe, typing a letter, and imitate the experience through pantomime create and act out character charades by using a prop (e.g., hats) so specific to the character that they indicate what/who the character is (age, gender, occupation) select an appropriate scene to perform for a younger class: devise the props, costumes and set pieces and rehearse and perform the piece suggest the role conflict plays in drama; write scenes with and without a conflict; discuss the differences.
This is evident, for example, when students: research various architectural elements and design a building based on their research and on their plan for its use develop an image that is appropriate for a lino cut, transfer it to the linoleum and print it using more than one color develop a painting from their drawing of a still-life focusing on composition and color value research the style of a selected sculptor and design a work based on that style but expressing the students' ideas.
STANDARD 1

Dance
S t u d e n t s: p e r fo r m m o v e m e n t s a n d d a n c e s t h a t r e q u i r e d e m o n s t r a t i o n of c o m pl e x s t e p s a n d p a tt e r n s a s w e ll a s a n u n d e r s t a n d i n g of c o n t e x t u al m e a n i n g s (a) c r e a t e d a n c e s t u d i e s a n d fu ll c h o r e o g r a p h i e s b a s e d o n i d e n t ifi e d a n d s e l e c t e d d a n c e m o v e m e n t v o c a b u la r y (b) a p ply a v a r i e t y of c h o r e o g r a p h i c p r o c e s s e s a n d s t r u c t u r e s a s a p p r o p r i a t e t o pla n a d u e t o r e n s e m bl e p e r fo r m a n c e (c).
Commencement-General Education
Music
S t u d e n t s: c o m p o s e si m ple pi e c e s fo r a t le a s t t w o m e di u m s, i n clu di n g c o m p u t e r s (MIDI) a n d o t h e r ele c t r o n ic i n s t r u m e n t s. (P i e c e s m a y c o m bi n e m u sic w i t h o t h e r a r t fo r m s s u c h a s d a n c e, t h e a t r e, vis u al a r t s, o r film/vid e o.) (a) s i n g a n d/o r pla y r e c r e a t i o n al i n s t r u m e n t s a c c u r a t e ly, e x p r e s s i v e ly, a n d w i t h g o o d t o n e q u ali t y, p i t c h, d u r a t i o n, lo u d n e s s, t e c h n iq u e, a n d (s i n g i n g) d i c t i o n (b) u s e c o m m o n s y m b ols (n o t a t i o n) t o p e r fo r m m u s i c o n r e c r e a t i o n al i n s t r u m e n t s (c) i d e n t ify a n d d e s c r ib e t h e r ol e s, p r o c e s s e s, a n d a c t i o n s n e e d e d t o p r o d u c e p r ofe s s i o n al c o n c e r t s a n d m u s i c al t h e a t r e p r o d u c t i o n s (d) e x pla i n t h e c o m m e r c i al-m u s i c r ol e s of p r o d u c e r, r e c o r d i s t , p u bli c r e la t i o n s d i r e c t o r, r e c o r d i n g c o m p a n y e x e c u t i v e, c o n t r a c t o r, m u s i c i a n s, u n i o n offi c i als, p e r fo r m e r s, e t c. (e)
This is evident, for example, when students: perform a dance which is student choreographed using an excerpt from a selected contemporary piece of music develop the choreography for a duet and plan the rehearsal program to achieve the dance view a dance company's practice sessions, observe how the dancers develop and integrate their movements and expressions for their own piece and in concert with the other dancers, and then analyze and describe the process work as part of a group to research a particular style of dance, develop and create choreography based on that research, and then perform the piece as an ensemble.
This is evident, for example, when students: compose a 32 bar musical piece with a simple melody and appropriate harmony on an electronic keyboard or piano play a guitar with acceptable tone quality, good technique and correct rhythm to accompany a song play on a dulcimer an eight measure melody based on a familiar folk song participate in a concert production as a performer, composer/arranger, program annotator, music librarian, stage hand, etc. write a short narrative after interviewing a local commercial music person about their career activities.
Theatre
S t u d e n t s: w r i t e m o n olo g u e s a n d s c e n e s t o c o m m u n i c a t e i d e a s a n d fe e li n g s (a) e n a c t e x p e r i e n c e s t h r o u g h p a n t o m i m e, i m p r o v i s a t i o n, pla y w r i t i n g, a n d s c r i p t a n aly s i s (b) u s e la n g u a g e, t e c h n iq u e s of s o u n d p r o d u c t i o n (a r t i c u la t i o n, e n u n c i a t i o n, d i c t i o n, a n d p h r a s i n g), t e c h n iq u e s of b o d y, m o v e m e n t , p o s t u r e, s t a n c e, g e s t u r e, a n d fa c i al e x p r e s s i o n a n d a n aly s i s of s c r i p t t o p e r s o n ify c h a r a c t e r (s); i n t e r a c t w i t h o t h e r s i n i m p r o v i s a t i o n, r e h e a r s al, a n d p e r fo r m a n c e; a n d c o m m u n i c a t e i d e a s a n d fe e li n g s (c) d e s i g n a n d b u ild p r o p s, s e t s, a n d c o s t u m e s t o c o m m u n i c a t e t h e i n t e n t of t h e p r o d u c t i o n (d). m ak e ac t in g, di r e c t in g, a n d d e sig n c h oic e s t h a t s u ppo r t a n d e n h a n c e t h e in t e n t of t h e class, sc h ool, a n d /o r co m m u ni t y p r od u c t io n s (e).
Visual Arts
S t u d e n t s: c r e a t e a c o ll e c t i o n o f a r t w o r k, i n a v a r i e t y o f m e d i u m s, b a s e d o n i n s tr u c ti o n a l a s s i g n m e n t s a n d i n d i v i d u a l a n d c o ll e c t i v e e x p e r i e n c e s t o e x plo r e p e r c e p t i o n s, i d e a s, a n d v i e w p o i n t s (a) c r e a t e a r t w o r k s i n w h i c h t h e y u s e a n d e v al u a t e d iffe r e n t k i n d s of m e d i u m s, s u bje c t s, t h e m e s, s y m b ols, m e t a p h o r s, a n d i m a g e s (b) d e m o n s t r a t e a n in c r e asin g le v el of co m p e t e n c e in u sin g t h e ele m e n t s a n d p r in ciple s of a r t t o c r e a t e a r t w o r ks fo r p ublic e x hibi t io n (c) r efl e c t o n t h e i r d e v e lo p i n g w o r k t o d e t e r m i n e t h e effe c t i v e n e s s of s e l e c t e d m e d i u m s a n d t e c h n iq u e s fo r c o n v e y i n g m e a n i n g a n d a dju s t t h e i r d e c i s i o n s a c c o r d i n gly (d).
This is evident, for example, when students: write and perform an original monologue which expresses a struggle over a decision of whether to engage in a particular activity with peers select an example of visual art (paintings, reproductions, photographs, postcards); study the visual art for setting, mood, and characterization; and improvise a scene ending in a tableau perform a reader's theatre piece concentrating on voice and gestures to convey nuances of character, mood and meaning create a floor plan of a set design for a play assume various roles of theatrical personnel, both onstage and backstage, to assure the success of a school production.
This is evident, for example, when students: do a series of drawings of posed figures and then incorporate one or more of those figures into a painting to express a specific theme use one medium or technique in more than two works to indicate their skill with that medium or technique develop an idea for a work of art, research the various ways in which that idea has been expressed by other artists and at other times, select the appropriate medium or technique for that work and complete the work produce a computer generated design in which they use their understanding of composition, color, line, space.
STANDARD 1

Dance
In a d d i t i o n t o t h e Ge n e r al E d u c a t i o n p e r fo r m a n c e i n d i c a t o r s, s t u d e n t s: u s e a v a r i e t y of s o u r c e s t o fi n d d a n c e i d e a s (a) s e l e c t d a n c e s t r u c t u r e s fo r u s e i n c h o r e o g r a p h i c p r oje c t s (b) p e r fo r m d a n c e s r e q u i r i n g u s e of m o r e s o p h i s t i c a t e d p e r fo r m a n c e e l e m e n t s s u c h a s d y n a m i c s, p h r a s i n g, m u s i c ali t y, e x p r e s s i o n (c) u s e a v a r i e t y of c h o r e o g r a p h i c a p p r o a c h e s w i t h a n y n u m b e r of d a n c e r s, p r o p s, a n d p e r fo r m a n c e s p a c e s (d) d e m o n s t r a t e a bili t y t o w o r k effe c t i v e ly a s d a n c e r, c h o r e o g r a p h e r, d i r e c t o r, c o s t u m e r, li g h t i n g d e s i g n e r, m a n a g e r (e).
Commencement-Major Sequence
Music
In a d d i t i o n t o t h e Ge n e r al E d u c a t i o n p e r fo r m a n c e i n d i c a t o r s, s t u d e n t s: compose a collec t ion of w o r ks fo r w ind, s t r ing, pe r cussion, vocal, keyboa r d, o r ele c t r onic m edia t ha t de mons t r a t es an u nde r s t anding and applica t ion of t h e m usical ele m e n t s and m usic-r ela t ed t e ch nology (a) m o n i t o r a n d a dju s t t h e i r p e r fo r m a n c e a n d c o m p o s i t i o n al t e c h n iq u e s, i d e n t ify i n g s t r e n g t h s a n d a r e a s fo r i m p r o v e m e n t s (b) i m p r o vis e a n d a rr a n g e e x t e n d e d m u sic al c o m p o si t io n s t h a t e x h ibi t c o h e s i v e n e s s a n d m u s i c al e x p r e s s i o n (c) i n c h o r al a n d i n s t r u m e n t al e n s e m bl e s, r e a d d iffi c u l t /v e r y d iffi c u l t m u s i c (NYS SMA l e v e l V o r VI); e x h ibi t i n d e p e n d e n t c o n t r ol o v e r t o n e q u ali t y, i n t o n a t i o n, r h y t h m, d y n a m i c s, b ala n c e, bl e n d, e x p r e s s i o n, a n d a r t i c u la t i o n; a n d r e s p o n d a p p r o p r i a t e ly t o t h e g e s t u r e s of t h e c o n d u c t o r (d) a d o p t a t l e a s t t w o of t h e r ol e s t h e y i d e n t ify a s n e e d e d (c o m p o s e r, a rr a n g e r, c o p y i s t , c o n d u c t o r, p e r fo r m e r, a n n o u n c e r, i n s t r u m e n t m a k e r o r p r o v i d e r, p r o g r a m a n n o t a t o r, r e c o r d i s t ) t o p r o d u c e t h e p e r fo r m a n c e of a m u s i c al c o m p o s i t i o n i n t h e cla s s r o o m (e) i n p e r fo r m i n g g r o u p s, p r o d u c e m u s i c al p e r fo r m a n c e s b y p e e r-l e d s m all e n s e m bl e s a n d s e c t i o n s of la r g e r e n s e m bl e s (f).
This is evident, for example, when students: select dance structures based on traditional forms and choreograph them into a dance, selecting the music create a dance appropriate for elementary school children and instruct the children in bodily movements and dance vocabulary prepare and perform a dance recital which shows a high level of expression, dynamics, musicality and phrasing create and develop audition pieces that demonstrate knowledge of high level choreographic principles arrange, prepare and audition for dance companies, participating in the process with poise and professionalism interpret an existing piece of choreography through reflection (e.g., journal writing) and a uniquely personal approach to performance.
This is evident, for example, when students: compose a one movement work for his /her own instrument or voice that demonstrates knowledge of the elements of music and compositional techniques describe the strengths and weaknesses of their performance in a music journal show improvement over time by recording multiple performances of a musical composition on an audiotape improvise and/or arrange a popular song for the school jazz band or show choir play his/her instrument exhibiting control of tone quality, technique, etc., when playing alone or in a performing organization perform a solo or duet at a NYSSMA evaluation festival write about the composer of a standard piece of music while he/she is learning to perform the work work with peers to produce a recital for friends and parents through a peer group rehearsal improve a section of a large group musical performance.
Theatre
In a d d i t i o n t o t h e Ge n e r al E d u c a t i o n p e r fo r m a n c e i n d i c a t o r s, s t u d e n t s: w r i t e pla y s t o c o m m u n i c a t e t h e i r i d e a s a n d fe e li n g s (a) c olla b o r a t e i n t h e d e v e lo p m e n t of o r i g i n al w o r k s w h i c h r efl e c t life e x p e r i e n c e s (b) u s e v o c al, m o v e m e n t , a n d b o d y t e c h n iq u e s t o c r e a t e c o m pl e x c h a r a c t e r s i n m o n olo g u e s, o r al i n t e r p r e t a t i o n, a n d s c e n e s t u d y (c) c r e a t e p r o p s, s c e n e r y, a n d c o s t u m e s fo r d iffe r e n t s t yl e s of pla y s (d) c a rr y o u t a c t i n g, d i r e c t i n g, a n d d e s i g n c h o i c e s w h i c h s u p p o r t a n d e n h a n c e t h e i n t e n t of a p r o d u c t i o n (e).
Visual Arts
In a d d i t i o n t o t h e Ge n e r al E d u c a t i o n p e r fo r m a n c e i n d i c a t o r s, s t u d e n t s: p r o d u c e c o m p r e h e n s i v e a n d w e ll o r g a n iz e d c o m m e n c e m e n t p o r t foli o s of t h e i r w o r k (a) r e v e al t h r o u g h t h e i r w o r k a b r o a d i n v e s t i g a t i o n of a v a r i e t y of i n d i v i d u al i d e a s a n d a t l e a s t o n e t h e m e e x plo r e d i m a g i n a t i v e ly a n d i n d e p t h (b) g i v e e v i d e n c e t h a t t h e y h a v e d e v e lo p e d a n e m e r g i n g p e r s o n al s t yl e (c) u s e s e l e c t e d m e d i u m s a n d t e c h n iq u e s a n d s e l e c t t h e m o s t a p p r o p r i a t e m e d i u m s a n d t e c h n iq u e s t o c o m m u n i c a t e t h e i r i d e a s (d).
This is evident, for example, when students: write a play to submit for a student playwrighting competition (e.g., Very Special Arts) following competition guidelines use improvisation to discover issues of concern for teenagers and develop original pieces into script format use oral interpretation to convey the nuances of character and feeling in a student selected narrative poem select an absurdist piece (e.g., a Pinter or Albee play) to produce which highlights sophisticated levels of theatrical understanding participate in an internship in theatre technology or business management with a local college, community or professional theatre production.
This is evident, for example, when students: produce a portfolio with at least ten completed works, together with sketches, notes and research that were used in the development of those works include in their portfolios drawings which show their ability to draw from observation and from their imagination include in their portfolios one example of a work which was student generated, researched and developed use electronic imaging (film, computers, video,cd/rom, etc.) to create individual images.
STANDARD 1
Standard 2Knowing and Using Arts Materials and Resources

Dance
2. S t u d e n t s w ill k n o w h o w t o a c c e s s d a n c e a n d d a n c er e la t e d m a t e r i al f r o m lib r a r i e s, r e s o u r c e c e n t e r s, m u s e u m s, s t u d i o s, a n d p e r fo r m a n c e s p a c e s. S t u d e n t s w ill k n o w v a r i o u s c a r e e r p o s s ibili t i e s i n d a n c e a n d r e c r e a t i o n al o p p o r t u n i t i e s t o d a n c e. S t u d e n t s w ill a tt e n d d a n c e e v e n t s a n d p a r t i c i p a t e a s a p p r o p r i a t e w i t h i n e a c h s e tt i n g.
S t u d e n t s: d e m o n s t r a t e k n o w l e d g e of d a n c e r e s o u r c e s i n v i d e o, p h o t o g r a p h y, p r i n t , a n d li v e p e r fo r m a n c e (a) u n d e r s t a n d t h e c o n c e p t of li v e p e r fo r m a n c e a n d a p p r o p r i a t e c o n d u c t (b) d e m o n s t r a t e a k n o w l e d g e of d a n c e-r e la t e d c a r e e r s (e.g., d a n c e r, c h o r e o g r a p h e r, c o m p o s e r, li g h t i n g d e s i g n e r, h i s t o r i a n, t e a c h e r ) (c).
Elementary
Music
2. S t u d e n t s w ill u s e t r a d i t i o n al i n s t r u m e n t s, e l e c t r o n i c i n s t r u m e n t s, a n d a v a r i e t y of n o n t r a d i t i o n al s o u n d s o u r c e s t o c r e a t e a n d p e r fo r m m u s i c. Th e y w ill u s e v a r i o u s r e s o u r c e s t o e x p a n d t h e i r k n o w l e d g e of li s t e n i n g e x p e r i e n c e s, p e r fo r m a n c e o p p o r t u n i t i e s, a n d/o r i nfo r m a t i o n a b o u t m u s i c. S t u d e n t s w ill i d e n t ify o p p o r t u n i t i e s t o c o n t r ib u t e t o t h e i r c o m m u n i t i e s m u s i c i n s t i t u t i o n s, i n cl u d i n g t h o s e e m b e d d e d i n o t h e r i n s t i t u t i o n s (c h u r c h c h o i r s, i n d u s t r i al m u s i c e n s e m bl e s, e t c.). S t u d e n t s w ill k n o w t h e v o c a t i o n s a n d a v o c a t i o n s a v a ila bl e t o t h e m i n m u s i c.
S t u d e n t s: u s e cla s s r o o m a n d n o n t r a d i t i o n al i n s t r u m e n t s i n p e r fo r m i n g a n d c r e a t i n g m u s i c (a) c o n s t r u c t i n s t r u m e n t s o u t of m a t e r i al n o t c o m m o n ly u s e d fo r m u s i c al i n s t r u m e n t s (b) u s e c u rr e n t t e c h n olo g y t o m a n i p u la t e s o u n d (c) i d e n t ify t h e v a r i o u s s e tt i n g s i n w h i c h t h e y h e a r m u s i c a n d t h e v ari o u s re s o urc e s t h a t are u s e d t o pro d u c e m u s i c d u r i n g a t y p i c al w e e k; e x pla i n w h y t h e p a r t i c u la r t y p e of m u s i c w a s u s e d (d) d e m o n s t r a t e a p p r o p r i a t e a u d i e n c e b e h a v i o r, i n cl u d i n g a tt e n t i v e li s t e n i n g, i n a v a r i e t y of m u s i c al s e tt i n g s i n a n d o u t of s c h o ol (e) d i s c u s s w a y s t h a t m u s i c i s u s e d b y v a r i o u s m e m b e r s of t h e c o m m u n i t y (f).
This is evident, for example, when students: discuss the differences between watching a dance performance on video and watching a live performance talk to a visiting artist (dancer, choreographer, composer, lighting director) about what he/she does.
This is evident, for example, when students: use common items (e.g., keys, classroom blinds, measuring sticks) as found sounds to improvise a group composition make a shaker from a paper tube to accompany a Native American dance or Latino song change pitch or timbre of a sound on the synthesizer keep a log of locations where they hear music in the community or home exhibit appropriate behavior when listening to music in the schools auditorium describe in class the ways music is used at home and in their community.
10
S t u d e n t s w ill b e k n o w l e d g e a bl e a b o u t a n d m a k e u s e of t h e m a t e r i als a n d r e s o u r c e s a v a ila bl e fo r p a r t i c i p a t i o n i n t h e a r t s i n v a r i o u s r ol e s.
Theatre
2. S t u d e n t s w ill k n o w t h e b a s i c t o ols, m e d i a, a n d t e c h n iq u e s i n v olv e d i n t h e a t r i c al p r o d u c t i o n. S t u d e n t s w ill lo c a t e a n d u s e s c h o ol, c o m m u n i t y, a n d p r ofe s s i o n al r e s o u r c e s fo r t h e a t r e e x p e r i e n c e s. S t u d e n t s w ill u n d e r s t a n d t h e jo b o p p o r t u n i t i e s a v a ila bl e i n all a s p e c t s of t h e a t r e.
S t u d e n t s: v i s i t t h e a t e r s, t h e a t r e-r e la t e d fa c ili t i e s, a n d/o r t o u r i n g c o m p a n i e s t o o b s e r v e a s p e c t s of t h e a t r i c al p r o d u c t i o n (a) u s e t h e lib r a r y/m e d i a c e n t e r of t h e i r s c h o ol o r c o m m u n i t y t o fi n d s t o r y d r a m a t iz a t i o n m a t e r i al o r o t h e r t h e a t r e-r e la t e d m a t e r i als a n d t o v i e w v i d e o t a p e s of p e r fo r m a n c e s (b) a tt e n d t h e a t r i c al p e r fo r m a n c e s i n t h e i r s c h o ol a n d d e m o n s t r a t e a p p r o p r i a t e a u d i e n c e b e h a v i o r (c) s p e a k w i t h t h e a t r e p r ofe s s i o n als a b o u t h o w t h e y p r e p a r e fo r a n d p e r fo r m t h e i r jo b s (d).
Visual Arts
2. S t u d e n t s w ill k n o w a n d u s e a v a r i e t y of v i s u al a r t s m a t e r i als, t e c h n iq u e s, a n d p r o c e s s e s. S t u d e n t s w ill k n o w a b o u t r e s o u r c e s a n d o p p o r t u n i t i e s fo r p a r t i c i p a t i o n i n v i s u al a r t s i n t h e c o m m u n i t y (e x h ibi t i o n s, lib r a r i e s, m u s e u m s, g all e r i e s) a n d u s e a p p r o p r i a t e m a t e r i als (a r t r e p r o d u c t i o n s, sli d e s, p r i n t m a t e r i als, e l e c t r o n i c m e d i a). S t u d e n t s w ill b e a w a r e of v o c a t i o n al o p t i o n s a v a ila bl e i n t h e v i s u al a r t s.
S t u d e n t s: u n d e r s t a n d t h e c h a r a c t e r i s t i c s of v a r i o u s m e d i u m s ( t w o-d i m e n s i o n al, t h r e e-d i m e n s i o n al, e l e c t r o n i c i m a g e s) i n o r d e r t o s e l e c t t h o s e t h a t a r e a p p r o p r i a t e fo r t h e i r p u r p o s e s a n d i n t e n t (a) d e v e lo p s k ills w i t h e l e c t r o n i c m e d i a a s a m e a n s of e x p r e s s i n g v i s u al i d e a s (b) k n o w a b o u t s o m e c u l t u r al i n s t i t u t i o n s (m u s e u m s a n d g all e r i e s) a n d c o m m u n i t y o p p o r t u n i t i e s (a r t fe s t i v als) fo r lo o k i n g a t o r i g i n al a r t a n d t alk i n g t o v i s i t i n g a r t i s t s, t o i n c r e a s e t h e i r u n d e r s t a n d i n g of a r t (c) g i v e e x a m p l e s of a d u l t s w h o m a k e t h e i r li v i n g s i n t h e a r t s p r of e s s i o n s (d).
This is evident, for example, when students: visit the high school to observe the rehearsal of a play and participate in a question and answer session with the production staff search the school library for a story suitable to develop into a play discuss and adhere to guidelines for proper behavior when attending a theatrical production, behavior which enhances enjoyment and supports the efforts of the performers prepare interview questions to use in a discussion with a theatre professional.
This is evident, for example, when students: use a draw/paint computer program to create graphic images visit a museum and write a short report of what they saw engage a visiting artist in talk about what that artist does, how he/she does it and why.
STANDARD 2
11

Dance
S t u d e n t s: d e m o n s t r a t e k n o w l e d g e of s o u r c e s fo r u n d e r s t a n d i n g d a n c e t e c h n olo g i e s: li v e, p r i n t , v i d e o, c o m p u t e r, e t c. (a) d e m o n s t r a t e k n o w l e d g e of h o w h u m a n s t r u c t u r e a n d fu n c t i o n affe c t m o v e m e n t i n p a r t s of d a n c e s a n d d a n c e s t h a t t h e y k n o w o r h a v e c h o r e o g r a p h e d (b) d e m o n s t r a t e k n o w l e d g e of a u d i e n c e/p e r fo r m e r r e s p o n s ibili t i e s a n d r e la t i o n s h i p s i n d a n c e (c) d e m o n s t r a t e k n o w l e d g e of d iffe r e n c e s i n p e r fo r m a n c e v e n u e a n d t h e e v e n t s p r e s e n t e d i n e a c h (d).
Intermediate
Music
S t u d e n t s: u s e t r a d i t i o n al o r n o n t r a d i t i o n al s o u n d s o u r c e s, i n cl u d i n g e l e c t r o n i c o n e s, i n c o m p o s i n g a n d p e r fo r m i n g s i m pl e p i e c e s (a) u s e s c h o ol a n d c o m m u n i t y r e s o u r c e s t o d e v e lo p i nfo r m a t i o n o n m u s i c a n d m u s i c i a n s (b) u s e c u rr e n t t e c h n olo g y t o c r e a t e, p r o d u c e a n d r e c o r d/pla y b a c k m u s i c (c) i d e n t ify a c o m m u n i t y-b a s e d m u s i c al i n t e r e s t o r r ol e a n d e x pla i n t h e s k ills, k n o w l e d g e, a n d r e s o u r c e s n e c e s s a r y t o p u r s u e t h e i n t e r e s t o r a d o p t t h e r ol e (d) d e m o n s t r a t e a p p r o p r i a t e li s t e n i n g a n d o t h e r p a r t i c i p a t o r y r e s p o n s e s t o m u s i c of a v a r i e t y of g e n r e s a n d c u l t u r e s (e) i n v e s t i g a t e s o m e c a r e e r o p t i o n s r e la t e d t o t h e i r m u s i c al i n t e r e s t s (f).
This is evident, for example, when students: plan an appropriate venue for a dance they have developed use the computer or video to examine dance routines.
This is evident, for example, when students: use their voices, traditional instruments, or found sounds to create a sound composition which is appropriate for a holiday (e.g., Halloween) collect and catalogue the concerts scheduled in their community for an upcoming month prepare a solo for performance, use library materials at school or in the community to write a short paper on the composer of a solo work they are preparing use a stereo cassette recorder and microphones to record a group composition of their peers and play it back in class describe, in their log, a variety of community musical opportunities in which students may participate discover and report to the instrumental class lesson what skills are necessary to participate in the regional youth orchestra exhibit proper audience behavior when attending a concert given by professional musicians determine and record in the log what education and training are needed to become one of the followinga composer, arranger, professional musician, or other occupation associated with music.
12
Theatre
S t u d e n t s: visi t t h e a t r e t e c h n olo g y fa cili t i e s, i n clu di n g t h e lo c al h ig h s c h o ol fa cili t y, a n d i n t e r a c t w i t h p r ofe s sio n als a n d t h e a t r e s t u d e n t s t o le a r n abo u t t h e a t r e t e c h n olo g y (e.g., lig h t i n g, s t a gi n g, s o u n d, e t c.) (a) u s e t h e s c h o ol o r c o m m u n i t y lib r a r y/m e dia c e n t e r s a n d o t h e r r e s o u r c e s t o d e v elo p i nfo r m a t io n o n v a r io u s t h e a t r e-r ela t e d t o pic s (b) k n o w a b o u t l o c a l t h e a t r i c a l i n s t i t u t i o n s, a tt e n d p e r fo r m a n c e s i n s c h o o l a n d i n t h e c o m m u n i t y, a n d d e m o n s t r a t e a p p r o p r i a t e a u d i e n c e b e h a v i o r (c) d i s c u s s v o c a t i o n s/a v o c a t i o n s w i t h t h e a t r e p r ofe s s i o n als a n d i d e n t ify t h e s k ills a n d p r e p a r a t i o n n e c e s s a r y fo r t h e a t r e v o c a t i o n s/a v o c a t i o n s (d).
Visual Arts
S t u d e n t s: d e v e lo p s k ills w i t h a v a r i e t y of a r t m a t e r i als a n d c o m p e t e n c e i n a t l e a s t o n e m e d i u m (a) u s e t h e c o m p u t e r a n d o t h e r e l e c tro n i c m e d i a a s d e s i g n i n g t o ols a n d t o c o m m u n i c a t e v i s u al i d e a s (b) t a k e a d v a n t a g e of c o m m u n i t y o p p o r t u n i t i e s a n d c u l t u r al i n s t i t u t i o n s t o l e a r n f r o m p r ofe s s i o n al a r t i s t s, lo o k a t o r i g i n al a r t , a n d i n c r e a s e t h e i r u n d e r s t a n d i n g of a r t (c) u n d e r s t a n d t h e v a r i e t y of c a r e e r s r e la t e d t o t h e v i s u al a r t s a n d t h e s k ills n e c e s s a r y t o p u r s u e s o m e of t h e m (d).
This is evident, for example, when students: visit the high school to discover how a lighting system works by participating in hands-on workshop experience with a lighting technician research various theatre history time periods in the library and on the computer internet to compile a class booklet on theatre history prepare a bulletin board with information about local school, college and community theatres including production schedules and student reviews of productions interview various theatre technology artists and report to the class on the preparation necessary to be trained for these careers.
This is evident, for example, when students: mix paint in a range of shades and tints and apply the paint to their work with skill use the computer to develop an idea for a project with sculpture visit a museum and look at an original work of art and discuss the differences between the original and the reproduction use the internet to explore images of public art.
STANDARD 2
13

Dance
S t u d e n t s: u s e d a n c e t e c h n olo gi e s w i t h o u t sig n ific a n t s u p e r visio n (a) a r e fa m ili a r w i t h t e c h n iq u e s of r e s e a r c h a b o u t d a n c e (b) k n o w a b o u t r e g i o n al p e r fo r m a n c e v e n u e s w h i c h p r e s e n t d a n c e a n d h o w to p urc h a s e tic k ets a n d a c c e s s i nfo r m a t i o n a b o u t e v e n t s (c) k n o w a b o u t e d u c a t i o n al r e q u i r e m e n t s of d a n c e-r e la t e d c a r e e r s (d) i d e n t ify m ajo r m u s cl e s a n d b o n e s a n d h o w t h e y fu n c t i o n i n d a n c e m o v e m e n t (e).
Music
2. S t u d e n t s w ill u s e t r a d i t i o n al i n s t r u m e n t s, e l e c t r o n i c i n s t r u m e n t s, a n d a v a r i e t y of n o n t r a d i t i o n al s o u n d s o u r c e s t o c r e a t e a n d p e r fo r m m u s i c. Th e y w ill u s e v a r i o u s r e s o u r c e s t o e x p a n d t h e i r k n o w l e d g e of li s t e n i n g e x p e r i e n c e s, p e r fo r m a n c e o p p o r t u n i t i e s, a n d/o r i nfo r m a t i o n a b o u t m u s i c. S t u d e n t s w ill i d e n t ify o p p o r t u n i t i e s t o c o n t r ib u t e t o t h e i r c o m m u n i t i e s m u s i c i n s t i t u t i o n s, i n cl u d i n g t h o s e e m b e d d e d i n o t h e r i n s t i t u t i o n s (c h u r c h c h o i r s, i n d u s t r i al m u s i c e n s e mbl e s, e t c.). S t u d e n t s w ill k n o w t h e v o c a t i o n s a n d a v o c a t i o n s a v a ila bl e t o t h e m i n m u s i c.
S t u d e n t s: u s e t r a d i t i o n al, e l e c t r o n i c, a n d n o n t r a d i t i o n al m e d i a fo r c o m p o s i n g, a rr a n g i n g, a n d p e r fo r m i n g m u s i c (a) describe and compar e t he various se rvices provided by communit y o r g a n iz a t i o n s t h a t p r o m o t e m u s i c p e r fo r m a n c e a n d li s t e n i n g (b) u s e p r i n t a n d e l e c t r o n i c m e d i a, i n cl u d i n g r e c o r d i n g s, i n s c h o ol a n d c o m m u n i t y lib r a r i e s t o g a t h e r a n d r e p o r t i nfo r m a t i o n o n m u s i c a n d m u s i c i a n s (c) i d e n t ify a n d d i s c u s s t h e c o n t r ib u t i o n s of lo c al e x p e r t s i n v a r i o u s a s p e c t s of m u s i c p e r fo r m a n c e, p r o d u c t i o n, a n d s c h ola r s h i p (d) p a r t i c i p a t e a s a d i s c r i m i n a t i n g m e m b e r of a n a u d i e n c e w h e n li s t e n i n g t o p e r fo r m a n c e s f r o m a v a r i e t y of g e n r e s, fo r m s, a n d s t yl e s (e) u n d e r s t a n d a b r o a d r a n g e of c a r e e r o p p o r t u n i t i e s i n t h e fi e ld of m u s i c, i n cl u d i n g t h o s e i n v olv e d w i t h fu n d i n g, p r o d u c i n g, a n d m a r k e t i n g m u s i c al e v e n t s (f).
This is evident, for example, when students: select the appropriate dance technologies for a given performance know about the role that muscles play in dance and practice correct stretching exercises attend a regional dance performance and report to the class about it compile an ongoing calendar of community dance events and share this information with other students and the broader community through the broadcast media, publications, or on-line attend a variety of dance performances and keep a journal/file of the obvious differences and similarities gather information, through research and interviews, about dance-related careers and professional training, and establish a file for use and contributions by other students research and compare and contrast the movement and functions of muscles and bones in dance and other physical activities, such as tennis, swimming, etc.
This is evident, for example, when students: use an electronic keyboard and computer to compose and print out a sixteen measure composition report to the class on a major musical organization in the community and its schedule of performances for the school year present a detailed oral report to the class based on information gathered at the local library on a musician and his life which includes recordings of some of the composer s compositions gather information about stereo systems from a local electronics dealer attend two different concerts and note similarities, differences and personal reactions in their log research and write a report on a musical career.
14
Theatre
S t u d e n t s: u s e t h e a t r e t e c h n olo g y s k ills a n d fa c ili t i e s i n c r e a t i n g a t h e a t r i c al e x p e r i e n c e (a) u s e s c h o ol a n d c o m m u n i t y r e s o u r c e s, i n cl u d i n g lib r a r y/m e d i a c e n t e r s, m u s e u m s a n d t h e a t r e p r ofe s s i o n als, a s p a r t of t h e a r t i s t i c p r o c e s s l e a d i n g t o p r o d u c t i o n (b) v i s i t lo c al t h e a t r i c al i n s t i t u t i o n s a n d a tt e n d t h e a t r i c al p e r fo r m a n c e s i n t h e i r s c h o ol a n d c o m m u n i t y a s a n i n d i v i d u al a n d p a r t of a g r o u p (c) u n d e r s t a n d a b r o a d r a n g e of v o c a t i o n s/a v o c a t i o n s i n p e r fo r m i n g, p r o d u c i n g, a n d p r o m o t i n g t h e a t r e (d).
Visual Arts
S t u d e n t s: s ele ct a n d u s e m e di u m s a n d pro c e s s e s t h at c o m m u n ic at e i n t e n d e d m e a n i n g i n t h e i r a r t w o r k s, a n d e x h ibi t c o m p e t e n c e i n a t l e a s t t w o m e d i u m s (a) u s e t h e c o m p u t e r a n d e l e c tro n i c m e d i a t o e x pr e s s t h e ir v i s u al i d e a s a n d d e m o n s t r a t e a v a r i e t y of a p p r o a c h e s t o a r t i s t i c c r e a t i o n (b) i n t e r a c t w i t h p r ofe s s i o n al a r t i s t s a n d p a r t i c i p a t e i n s c h o ol- a n d c o m m u n i t y-s p o n s o r e d p r o g r a m s b y a r t o r g a n iz a t i o n s a n d c u l t u r al i n s t i t u t i o n s (c) u n d e r s t a n d a b r o a d r a n g e of v o c a t i o n s/a v o c a t i o n s i n t h e fi e ld of v i s u al a r t s, i n cl u d i n g t h o s e i n v olv e d w i t h c r e a t i n g, p e r fo r m i n g, e x h ibi t i n g, a n d p r o m o t i n g a r t (d).
This is evident, for example, when students: read and follow a lighting plot for a production, handling and focusing lighting instruments properly read a script for a production, then complete pictorial research on the costuming and accessories of the time period before designing costumes write a short review of a local community performance for publication in the school newspaper create a publicity campaign for the high school production.
This is evident, for example, when students: select a process or medium for their intended work of art and describe their reasons for that selection interview a professional artist about what that artist does, his/her preparation, the organization of his/her business produce a mixed media work of art which uses the computer image, the camera, the copy machine and other electronic media.
STANDARD 2
15

Dance
In a d d i t i o n t o t h e Ge n e r al E d u c a t i o n p e r fo r m a n c e i n d i c a t o r s, s t u d e n t s: u s e t e c h n olo g i e s t o r e s e a r c h, c r e a t e, p e r fo r m, o r c o m m u n i c a t e a b o u t d a n c e (a) u n d e r s t a n d t h e r ole s of d a n c e r s, a u di e n c e, a n d c r e a t o r s i n a v a r i e t y of d a n c e fo r m s a n d c o n t e x t s (b) p a r t i c i p a t e i n, o r o b s e r v e, d a n c e e v e n t s o u t s i d e of s c h o ol (c) k n o w a b o u t e d u c a t i o n al r e q u i r e m e n t s of d a n c e-r e la t e d c a r e e r s a n d h o w t o p r e p a r e fo r p o s s ibl e e n t r a n c e i n t o t h o s e fi e ld s (d) k n o w a b o u t g o o d n u t r i t i o n, i nju r y p r e v e n t i o n, a n d h o w t o c a r e fo r t h e b o d y (e).
Music
In a d d i t i o n t o t h e Ge n e r al E d u c a t i o n p e r fo r m a n c e i n d i c a t o r s, s t u d e n t s: d e v e lo p a cla s s ifi e d a n d a n n o t a t e d d i r e c t o r y of n e a r b y m u s i c-r e la t e d e s t a bli s h m e n t s s u c h a s i n s t r u m e n t a n d m u s i c r e t a il e r s, i n s t r u m e n t m a k e r s a n d r e p a i r p e r s o n s, r e c o r d i n g s t u d i o s, u n i o n r e p r e s e n t a t i v e s, e t c. (a) i d e n t ify w a y s t h a t t h e y h a v e c o n t r ib u t e d t o t h e s u p p o r t of t h e m u s i c al g r o u p s of w h i c h t h e y a r e m e m b e r s (b) e x pla i n o p p o r t u n i t i e s a v a ila bl e t o t h e m fo r fu r t h e r m u s i c al g r o w t h a n d p r ofe s s i o n al d e v e lo p m e n t i n h i g h e r e d u c a t i o n a n d c o m m u n i t y i n s t i t u t i o n s (c).
This is evident, for example, when students: use the Internet or other means to research dance forms of the 1920's intern with a local dance company research at least three institutions which have dance programs in order to know the entrance requirements for each practice good nutrition and injury prevention techniques work alone or with a group of students to research current dance innovations through library and on-line resources and compile a bibliography of sources for class use, including relevant listservs, Home Pages, etc. alone or with a group, research the development of one style of dance by using a variety of sources, including archival files interview professionals in the dance industry to learn about educational, physiological, and logistical career requirements and document the interviews.
This is evident, for example, when students: collect data on the music services available in the community such as recording studios, repair shops, retailers and instrument makers volunteer to serve as music librarian ( or other necessary positions such as secretary) for a performing group in which they participate via the Internet or a computer data base, generate a list of colleges that offer a particular program in a musical field (e.g., performance, instrument repair, electronics, arts production).
16
Theatre
In a d d i t i o n t o t h e Ge n e r al E d u c a t i o n p e r fo r m a n c e i n d i c a t o r s, s t u d e n t s: i d e n t ify c u rr e n t t e c h n olo g i e s, p u bli s h e d s c r i p t e d m a t e r i al, a n d p r i n t a n d e l e c t r o n i c r e s o u r c e s a v a ila bl e fo r t h e a t r i c al p r o d u c t i o n s (a) i d e n t ify c oll e g e a n d/o r c o m m u n i t y o p p o r t u n i t i e s i n t h e a t r e af t e r g r a d u a t i o n a n d t h e r e q u i r e m e n t s fo r a p pli c a t i o n o r p a r t i c i p a t i o n (b) c o o p e r a t e i n a n e n s e m bl e a s p e r fo r m e r s, d e s i g n e r s, t e c h n i c i a n s, a n d m a n a g e r s t o c r e a t e a t h e a t r i c al p r o d u c t i o n (c) d e s i g n a n i n d i v i d u aliz e d s t u d y p r o g r a m (i.e., i n t e r n s h i p, m e n t o r s h i p, r e s e a r c h p r oje c t ) i n a c h o s e n t h e a t r e, fil m, o r v i d e o v o c a t i o n/a v o c a t i o n a n d s h a r e t h e i nfo r m a t i o n w i t h t h e cla s s (d).
Visual Arts
In a d d i t i o n t o t h e Ge n e r al E d u c a t i o n p e r fo r m a n c e i n d i c a t o r s, s t u d e n t s: d e v e lo p Co m m e n c e m e n t P o r t foli o s t h a t s h o w p r ofi c i e n c y i n o n e o r m o r e m e d i u m s a n d s k ill i n u s i n g a n d m a n i p u la t i n g t h e c o m p u t e r a n d o t h e r e l e c t r o n i c m e d i a (a) p r e p a r e a p o r t foli o t h a t m e e t s t h e a d m i s s i o n r e q u i r e m e n t s of s e l e c t e d i n s t i t u t i o n s (b) u n d e r s t a n d t h e p r e p a r a t i o n r e q u i r e d fo r p a r t i c u l a r a r t p r of e s s i o n s a n d a c q u i r e s o m e s k ill s of t h o s e p r of e s s i o n s t h r o u g h i n t e r n s h i p s w i t h l o c a l g a ll e r i e s, m u s e u m s, a d v e r t i s i n g a g e n c i e s, a r c h i t e c t u r al fi r m s, a n d o t h e r i n s t i t u t i o n s (c).
This is evident, for example, when students: investigate and select a computer program for use in designing floor plans and elevation drawings for a set design attend local college and university drama days designed to provide workshop experiences for high school students interested in pursuing theatre as a career and write a school newsletter article about the experience form a production team for a play (producer, director, stage manager, technical director and house manager) to plan the necessary schedules and carry out the artistic concept of the director participate in a mentorship program with a theatre professional and report to the class about the experience.
This is evident, for example, when students: include in their portfolios works of art which show proficiency with two mediums investigate the admission requirements of two or three colleges or universities investigate the preparation necessary for entrance into one of the arts professions exhibit their works in a one-person show and write the accompanying descriptive material.
STANDARD 2
17
Standard 3Responding to and Analyzing Works of Art

Elementary
Dance
3. S t u d e n t s w ill e x p r e s s t h r o u g h w r i tt e n a n d o r al la n g u a g e t h e i r u n d e r s t a n d i n g, i n t e r p r e t a t i o n, a n d e v al u a t i o n of d a n c e s t h e y s e e, d o, a n d r e a d a b o u t . S t u d e n t s w ill a c q u i r e t h e c r i t i c al v o c a b u la r y t o t alk a n d w r i t e a b o u t a v a r i e t y of d a n c e fo r m s.
S t u d e n t s: d e m o n s t r a t e k n o w l e d g e of w o r d s a n d s y m b ols (k i n e t i c, v i s u al, t a c t il e, a u r al a n d olfa c t o r y) t h a t d e s c r ib e m o v e m e n t (a) e x p r e s s t o o t h e r s t h e i r u n d e r s t a n d i n g of s p e c ifi c d a n c e p e r fo r m a n c e s, u s i n g a p p r o p r i a t e la n g u a g e t o d e s c r ib e w h a t t h e y h a v e s e e n a n d h e a r d (b).
Music
3. S t u d e n t s w ill d e m o n s t r a t e t h e c a p a c i t y t o li s t e n t o a n d c o m m e n t o n m u s i c. Th e y w ill r e la t e t h e i r c r i t i c al a s s e r t i o n s a b o u t m u s i c t o i t s a e s t h e t i c, s t r u c t u r al, a c o u s t i c, a n d p s y c h olo g i c al q u ali t i e s. S t u d e n t s w ill u s e c o n c e p t s b a s e d o n t h e s t r u c t u r e of m u s i cs c o n t e n t a n d c o n t e x t t o r e la t e m u s i c t o o t h e r b r o a d a r e a s of k n o w l e d g e. Th e y w ill u s e c o n c e p t s f r o m o t h e r d i s c i pli n e s t o e n h a n c e t h e i r u n d e r s t a n d i n g of m u s i c.
S t u d e n t s: t h r o u g h li s t e n i n g, i d e n t ify t h e s t r e n g t h s a n d w e a k n e s s e s of s p e c ifi c m u s i c al w o r k s a n d p e r fo r m a n c e s, i n cl u d i n g t h e i r o w n a n d o t h e r s (a) d e s c r ib e t h e m u s i c i n t e r m s r e la t e d t o b a s i c e l e m e n t s s u c h a s m e lo d y, r h y t h m, h a r m o n y, d y n a m i c s, t i m b r e, fo r m, s t yl e, e t c. (b) discuss the basic means by w hich the voice and i n s t r u m e n t s c a n al t e r p i t c h, lo u d n e s s, d u r a t i o n, a n d t i m b r e (c) d e s c r ib e t h e m u s i cs c o n t e x t i n t e r m s r e la t e d t o i t s s o c i al a n d p s y c h olo g i c al fu n c t i o n s a n d s e tt i n g s (e.g., r ol e s of p a r t i c i p a n t s, effe c t s of m u s i c, u s e s of m u s i c w i t h o t h e r e v e n t s o r o bje c t s, e t c.) (d) d e s c r ib e t h e i r u n d e r s t a n d i n g s of p a r t i c u la r p i e c e s of m u s i c a n d h o w t h e y r e la t e t o t h e i r s u rr o u n d i n g s (e).
This is evident, for example, when students: describe the patterns that they see in a video of a dance, such as, The March of The Wooden Soldiers describe the bodily movement that they see in a dance and then imitate it.
This is evident, for example, when students: listen to another students musical composition and identify elements (such as rhythm, harmony, melody) that they liked and disliked describe, using correct terminology, the elements of music (such as timbre, dynamics, form) heard in a musical recording orally identify the meter of a song sung by their classmates demonstrate with a rubber band how to raise and lower pitch write a few sentences on a social function attended (such as a wedding, bar mitzvah, etc.) and how music was used to enhance the function tell how music can set a mood in a particular setting (e.g., happy in an amusement park).
18
S t u d e n t s w ill r e s p o n d c r i t i c ally t o a v a r i e t y of w o r k s i n t h e a r t s, c o n n e c t i n g t h e i n d i v i d u al w o r k t o o t h e r w o r k s a n d t o o t h e r a s p e c t s of h u m a n e n d e a v o r a n d t h o u g h t.
Theatre
3. S t u d e n t s w ill r efl e c t o n, i n t e r p r e t , a n d e v al u a t e pla y s a n d t h e a t r i c al p e r fo r m a n c e s, b o t h li v e a n d r e c o r d e d, u s i n g t h e la n g u a g e of d r a m a t i c c r i t i c i s m. S t u d e n t s w ill a n aly z e t h e m e a n i n g a n d r ol e of t h e a t r e i n s o c i e t y. S t u d e n t s w ill i d e n t ify w a y s i n w h i c h d r a m a/ t h e a t r e c o n n e c t s t o fil m a n d v i d e o, o t h e r a r t s, a n d o t h e r d i s c i pli n e s.
S t u d e n t s: d i s c u s s t h e i r u n d e r s t a n d i n g, i n t e r p r e t a t i o n, a n d e v al u a t i o n of a t h e a t r i c al p e r fo r m a n c e, u s i n g b a s i c t h e a t r e t e r m i n olo g y (a) i d e n t ify t h e u s e of o t h e r a r t fo r m s i n t h e a t r e p r o d u c t i o n s (b) e x pla i n t h e r e la t i o n s h i p of t h e a t r e t o fil m a n d v i d e o (c).
Visual Arts
3. S t u d e n t s w ill r efl e c t o n, i n t e r p r e t , a n d e v al u a t e w o r k s of a r t , u s i n g t h e la n g u a g e of a r t c r i t i c i s m. S t u d e n t s w ill a n aly z e t h e v i s u al c h a r a c t e r i s t i c s of t h e n a t u r al a n d b u il t e n v i r o n m e n t a n d e x pla i n t h e s o c i al, c u l t u r al, p s y c h olo g i c al, a n d e n v i r o n m e n t al d i m e n s i o n s of t h e v i s u al a r t s. S t u d e n t s w ill c o m p a r e t h e w a y s i n w h i c h a v a r i e t y of i d e a s, t h e m e s, a n d c o n c e p t s a r e e x p r e s s e d t h r o u g h t h e v i s u al a r t s w i t h t h e w a y s t h e y a r e e x p r e s s e d i n o t h e r d i s c i pli n e s.
S t u d e n t s: e x pla i n t h e i r r efl e c t i o n s a b o u t t h e m e a n i n g s, p u r p o s e s, a n d s o u r c e s of w o r k s of a r t ; d e s c r ib e t h e i r r e s p o n s e s t o t h e w o r k s a n d t h e r e a s o n s fo r t h o s e r e s p o n s e s (a) e x pla i n t h e v i s u al a n d o t h e r s e n s o r y q u ali t i e s (s u r fa c e s, c olo r s, t e x t u r e s, s h a p e, s iz e s, v ol u m e s) fo u n d i n a w i d e v a r i e t y of a r t w o r k s (b) e x pla i n t h e t h e m e s t h a t a r e fo u n d i n w o r k s of v i s u al a r t a n d h o w t h e a r t w o r k s a r e r e la t e d t o o t h e r fo r m s of a r t (d a n c e, m u s i c, t h e a t r e, e t c.) (c) e x plai n h o w id e a s, t h e m e s, o r c o n c e p t s i n t h e vis u al a r t s a r e e x p r e s s e d i n o t h e r dis cipli n e s (e.g., m a t h e m a t ic s, s ci e n c e, li t e r a t u r e, s o cial s t u di e s, e t c.) (d).
This is evident, for example, when students: view a scene or dramatic reading by their peers and describe the theatrical elements such as setting, character, conflict, etc. discuss how music, dance and the visual arts are used to enhance musical theatre productions compare how live theatre differs from filmed or taped performances.
This is evident, for example, when students: describe what they see in a work of art and tell what they think the work of art is about describe how lines might imply motion, color might convey emotion and size might suggest distance in selected works of art show how pattern can be found in a Mondrian painting and in a familiar song.
STANDARD 3
19

Intermediate
Dance
S t u d e n t s: d e m o n s t r a t e k n o w l e d g e of t h e t e c h n i c al la n g u a g e u s e d i n d i s c u s s i n g d a n c e p e r fo r m a n c e s (a) d e m o n s t r a t e k n o w le d g e of c h o r e o g r a p h ic p r i n ciple s a n d p r o c e s s e s (b) e x p r e s s t o o t h e r s t h e i r u n d e r s t a n d i n g of s p e c ifi c d a n c e p e r fo r m a n c e s, i n cl u d i n g p e r c e p t i o n s, d e s c r i p t i o n s, a n aly s e s, i n t e r p r e t a t i o n s, a n d e v al u a t i o n s (c).
Music
S t u d e n t s: t h r o u g h li s t e n i n g, a n aly z e a n d e v al u a t e t h e i r o w n a n d o t h e r s p e r fo r m a n c e s, i m p r o v i s a t i o n s, a n d c o m p o s i t i o n s b y i d e n t ify i n g a n d c o m p a r i n g t h e m w i t h s i m ila r w o r k s a n d e v e n t s (a) u s e a p p r o p r i a t e t e r m s t o r efl e c t a w o r k i n g k n o w l e d g e of t h e m u s i c al e l e m e n t s (b) d e m o n s t r a t e a b a s i c a w a r e n e s s of t h e t e c h n i c al s k ills m u s i c i a n s m u s t d e v e lo p t o p r o d u c e a n a e s t h e t i c ally a c c e p t a bl e p e r fo r m a n c e (c) u s e a p p r o p r i a t e t e r m s t o r efl e c t a w o r k i n g k n o w l e d g e of s o c i al-m u s i c al fu n c t i o n s a n d u s e s (a p p r o p r i a t e c h o i c e s of m u s i c fo r c o m m o n c e r e m o n i e s a n d o t h e r e v e n t s) (d) u s e b a s i c s c i e n t ifi c c o n c e p t s t o e x pla i n h o w m u s i c-r e la t e d s o u n d i s p r o d u c e d, t r a n s m i tt e d t h r o u g h a i r, a n d p e r c e i v e d (e) u s e t e r m i n olo g y f r o m m u s i c a n d o t h e r a r t s t o a n aly z e a n d c o m p a r e t h e s t r u c t u r e s of m u s i c al a n d o t h e r a r t i s t i c a n d li t e r a r y w o r k s (f).
This is evident, for example, when students: write a short review of a high school dance performance after viewing a video of a dance they compare their interpretations with others in the group.
This is evident, for example, when students: listen to two musical compositions on the same theme (e.g., celebrating a holiday) and point out similarities and differences compare and contrast his/her performance of a solo with that of a professional recording accurately describe the musical elements employed in an original composition or one written by peers describe a technique (e.g., correct hand position or relaxed jaw) that will improve their tone in playing or singing plan a social event and list the music (or musicians) that would support the occasion use garden hoses (or other tubing) of differing lengths to demonstrate how the lengths affect pitch suggest some classical pieces of music that may accompany a show of student art work or poetry and specify why the selections were chosen.
20
Theatre
S t u d e n t s: u s e t h e t e c h n iq u e s a n d v o c ab ula r y of t h e a t r e c r i t icis m, bo t h w r i tt e n a n d o r al, t o dis c u s s t h e a t r e e x p e r i e n c e s a n d i m p r o v e i n divid u al a n d g r o u p p e r fo r m a n c e s (a) e x a m i n e a n d d i s c u s s t h e u s e of o t h e r a r t fo r m s i n a t h e a t r e p r o d u c t i o n (b) e x pla i n h o w d r a m a/ t h e a t r e e x p e r i e n c e s r e la t e t o o t h e r li t e r a r y a n d a r t i s t i c e v e n t s (c).
Visual Arts
S t u d e n t s: d i s c u s s a n d w r i t e t h e i r a n aly s e s a n d i n t e r p r e t a t i o n s of t h e i r o w n w o r k s of a r t a n d t h e a r t of o t h e r s, u s i n g a p p r o p r i a t e c r i t i c al la n g u a g e (a) i d e n t ify, a n aly z e, a n d i n t e r p r e t t h e v i s u al a n d s e n s o r y c h a r a c t e r i s t i c s t h a t t h e y d i s c o v e r i n n a t u r al a n d h u m a n-m a d e fo r m s (b) c o m p are t h e w a y s id e a s a n d c o n c e pts are c o m m u n ic at e d t h r o u g h v i s u al a r t w i t h t h e v a r i o u s w a y s t h a t t h o s e i d e a s a n d c o n c e p t s a r e m a n ife s t e d i n o t h e r a r t fo r m s (c). c o m p a r e t h e w a y s i d e a s, t h e m e s, a n d c o n c e p t s a r e c o m m u n i c a t e d t h r o u g h t h e v i s u al a r t s i n o t h e r d i s c i pli n e s, a n d t h e v a r i o u s w a y s t h a t t h o s e i d e a s, t h e m e s, a n d c o n c e p t s a r e m a n ife s t e d w i t h i n t h e d i s c i pli n e (d).
This is evident, for example, when students: direct a group of their peers and give specific recommendations for improving a small group performance design a set, develop costumes or write a song for a scene of a play and explain why the project is appropriate compare and contrast a dramatic reading and a silent reading of a particular passage.
This is evident, for example, when students: write an interpretation of Horace Pippin's Domino Players after class analysis of the images and composition discuss the way in which the black and white and gray of the painting enhances the meaning of Picasso's Guerinca analyze the engineering skills and the political skills, in addition to his artistic vision that the artist, Christo, needed in order to complete the Wrapping Of The Reich Stag in 1995.
STANDARD 3
21

Dance
S t u d e n t s: m a k e c o m p a r i s o n s of t h e n a t u r e a n d p r i n c i pl e s of d a n c e t o o t h e r a r t s (a) a n aly z e a n d d e s c r ib e s i m ila r i t i e s a n d d iffe r e n c e s i n d iffe r e n t d a n c e fo r m s a n d s t yl e s (b) d e s c r ib e a n d c o m p a r e a v a r i e t y of c h o r e o g r a p h i c a p p r o a c h e s u s e d i n t h e c r e a t i o n of d a n c e s (c).
Music
S t u d e n t s: t h r o u g h li s t e n i n g, a n aly z e a n d e v al u a t e t h e i r o w n a n d o t h e r s p e r fo r m a n c e s, i m p r o v i s a t i o n s, a n d c o m p o s i t i o n s a n d s u g g e s t i m p r o v e m e n t s (a) r e a d a n d w r i t e c r i t iq u e s of m u s i c t h a t d i s pla y a b r o a d k n o w l e d g e of m u s i c al e l e m e n t s, g e n r e s, a n d s t yl e s (b) u s e a n a t o m ic al a n d o t h e r s ci e n t ific t e r m s t o e x plai n t h e m u sic al effe c t iv e n e s s of v a r io u s s o u n d s o u r c e s t r a di t io n al, n o n t r a di t io n al, a n d ele c t r o n ic (c) u s e a p p r o p r i a t e t e c h n i c al a n d s o c i o-c u l t u r al t e r m s t o d e s c r ib e m u s i c al p e r fo r m a n c e s a n d c o m p o s i t i o n s (d) i d e n t ify a n d d e s c r ib e t h e c o n t r ib u t i o n s of b o t h lo c ally a n d i n t e r n a t i o n ally k n o w n e x e m pla r s of h i g h q u ali t y i n t h e m ajo r m u s i c al g e n r e s (e) e x pla i n h o w p e r fo r m e r s, c o m p o s e r s, a n d a rr a n g e r s m a k e a r t i s t i c d e c i s i o n s (f).
This is evident, for example, when students: compare the rhythm found in a particular dance with the rhythm in a musical piece and with the rhythm found in a painting do a short research paper in which they trace the origins of modern dance observe several choreographers working to create their dances and then compare, contrast, and describe the processes interview a choreographer regarding the origins of the ideas for the choreography, including cultural, esthetics, personal, and other influences and document that interview to share with the class write a detailed report of the influence of dance education on the student's understanding of other cultures and other disciplines.
This is evident, for example, when students: listen to a peer s performance and complete an evaluation form suggesting areas in need of improvement use correct terminology when reporting on a school concert for the school newspaper for one performing organization explain how overtones are produced and demonstrate them on a string instrument by playing harmonics explain how sound is produced on a traditional or electronic instrument in the log describe the music and the impact the music had on a social occasion such as a birthday party, parade, etc. develop a list of professional musicians in a particular idiom (i.e., jazz saxophone, classical tenor, etc.) analyze a solo performance and explain the artistic decisions evident in the performance.
22
Theatre
S t u d e n t s: a r t i c u l a t e a n u n d e r s t a n d i n g, i n t e r p r e t a t i o n, a n d e v a l u a t i o n of a t h e a t r e p i e c e a s d r a m a a n d a s a r e a li z e d p r o d u c t i o n, u s i n g a p p r o p r i a t e c r i t i c al v o c a b u la r y (a) e v al u a t e t h e u s e of o t h e r a r t fo r m s i n a t h e a t r e p r o d u c t i o n (b) e x pla i n h o w a t h e a t r i c al p r o d u c t i o n e x e m plifi e s m ajo r t h e m e s a n d i d e a s f r o m o t h e r d i s c i pli n e s (c).
Visual Arts
S t u d e n t s: u s e t h e la n g u a g e of a r t c r i t i c i s m b y r e a d i n g a n d d i s c u s s i n g c r i t i c al r e v i e w s i n n e w s p a p e r s a n d jo u r n als a n d b y w r i t i n g t h e i r o w n c r i t i c al r e s p o n s e s t o w o r k s of a r t (e i t h e r t h e i r o w n o r t h o s e of o t h e r s) (a) e x pla i n t h e v i s u al a n d o t h e r s e n s o r y q u ali t i e s i n a r t a n d n a t u r e a n d t h e i r r e la t i o n t o t h e s o c i al e n v i r o n m e n t (b) a n aly z e a n d i n t e r p r e t t h e w a y s i n w h i c h p oli t i c al, c u l t u r al, s o c i al, r e li g i o u s, a n d p s y c h olo g i c al c o n c e p t s a n d t h e m e s h a v e b e e n e x plo r e d i n v i s u al a r t (c) d e v e lo p c o n n e c t i o n s b e t w e e n t h e w a y s i d e a s, t h e m e s, a n d c o n c e p t s a r e e x p r e s s e d t h r o u g h t h e v i s u al a r t s a n d o t h e r d i s c i pli n e s i n e v e r y d a y life (d).
This is evident, for example, when students: view different productions of the same scene from Taming of the Shrew, comparing and contrasting the various mediums (video, film and live performance) analyze the impact of costuming, hair and makeup in helping to establish character write a critical paper analyzing the themes of a play.
This is evident, for example, when students: discuss the point of view of a critic in a local newspaper who has reviewed a local exhibition analyze the way in which a work of art by Leon Golub expresses a political point of view write a review of a student exhibition.
STANDARD 3
23

Dance
In a d d i t i o n t o t h e Ge n e r al E d u c a t i o n p e r fo r m a n c e i n d i c a t o r s, s t u d e n t s: e x p r e s s t o o t h e r s t h e o r i e s a b o u t t h e n a t u r e of d a n c e a n d t h e u n d e r ly i n g a s s u m p t i o n s t h a t p e o pl e h a v e a b o u t d a n c e (a) d e s c r ib e a n d a n aly z e s i m ila r i t i e s a n d d iffe r e n c e s b e t w e e n i n d i v i d u al p e r fo r m a n c e s, a n d b e t w e e n fo r m s a n d s t yl e s of d a n c e, p a s t a n d p r e s e n t (b) d e s c r ib e a n d d efe n d a n e x pla n a t i o n of w h y p e o pl e d a n c e, b a s e d o n e x p e r i e n c e i n d a n c e, w i t n e s s i n g o t h e r s, a n d s t u d y i n g c o n t e x t s (c).
Music
In a d d i t i o n t o t h e Ge n e r al E d u c a t i o n p e r fo r m a n c e i n d i c a t o r s, s t u d e n t s: a s s e s s, d e s c r ib e, a n d e v al u a t e t h e d e v e lo p m e n t of t h e i r p e r s o n al c o n t r ib u t i o n s t o t h e i r o w n, t h e i r s c h o ols, a n d t h e i r c o m m u n i t ys m u s i c al life b y a p p r o p r i a t e ly u s i n g m u s i c al a n d s o c i o-c u l t u r al t e r m s a n d c o n c e p t s (c o n t r ib u t i o n s a n d s k ills of m u s i c i a n s, fu n c t i o n s of m u s i c i n s o c i e t y, e t c.) (a) d e m o n s t r a t e a p r a c t i c al k n o w l e d g e of s o u n d p r o d u c t i o n a n d a r c h i t e c t u r al a c o u s t i c s t o p r e d i c t t h e g e n e r al effe c t s o n s o u n d of r o o m s h a p e s, b u ild i n g c o n s t r u c t i o n p r a c t i c e s, a n d c o m m o n a b s o r b e r s (b).
This is evident, for example, when students: compare the positions of two different critics of dance develop a personal resource file for information about dance, dance theory etc. develop and give multi-media presentation that explain theories of dance to younger students observe a variety of professional dance company performances or rehearsals and develop a matrix that categorizes similarities and differences along styles of dance research and present a paper defending assumptions and values regarding the importance of dance in a specific culture write a detailed description of the student's involvement and commitment to dance and dance training for a college application.
This is evident, for example, when students: write a detailed report of the students involvement in and contribution to music classes and music activities for a college application select a venue for a small vocal ensemble where the size of the facility and acoustics are appropriate for the size of the group.
24
Theatre
3. S t u d e n t s w ill r efl e c t u p o n, i n t e r p r e t , a n d e v al u a t e pla y s a n d t h e a t r i c al p e r fo r m a n c e s, b o t h li v e a n d r e c o r d e d, u s i n g t h e la n g u a g e of d r a m a t i c c r i t i c i s m. S t u d e n t s w ill a n aly z e t h e m e a n i n g a n d r ol e of t h e a t r e i n s o c i e t y. S t u d e n t s w ill i d e n t ify w a y s i n w h i c h d r a m a/ t h e a t r e c o n n e c t s t o fil m a n d v i d e o, o t h e r a r t s, a n d o t h e r d i s c i pli n e s.
In a d d i t i o n t o t h e Ge n e r al E d u c a t i o n p e r fo r m a n c e i n d i c a t o r s, s t u d e n t s: d e v e lo p a c r i t i c al v o c a b u la r y t h r o u g h t h e r e a d i n g a n d d i s c u s s i o n of p r ofe s s i o n al c r i t i c i s m (a) e x pla i n t h e m e a n i n g a n d s o c i e t al fu n c t i o n of d iffe r e n t t y p e s of p r o d u c t i o n s (b) d e s i g n a pla n fo r i m p r o v i n g p e r fo r m a n c e s, u s i n g p a s t a n d p r e s e n t c r i t iq u e s (c) e x plo r e v a r i o u s o t h e r a r t fo r m s a n d t e c h n olo g i e s, u s i n g t h e m i n t h e a t r e p r oje c t s (d) e x plai n h o w t h e a t r e c a n e n h a n c e o t h e r s u bje c t s i n t h e c u rr ic ulu m (e) c o m p a r e a n d c o n t r a s t t h e a t r e, fil m, a n d v i d e o (f).
Visual Arts
3. S t u d e n t s w ill r efl e c t u p o n, i n t e r p r e t , a n d e v al u a t e w o r k s of a r t , u s i n g t h e la n g u a g e of a r t c r i t i c i s m. S t u d e n t s w ill a n aly z e t h e v i s u al c h a r a c t e r i s t i c s of t h e n a t u r al a n d b u il t e n v i r o n m e n t a n d e x pla i n t h e s o c i al, c u l t u r al, p s y c h olo g i c al, a n d e n v i r o n m e n t al d i m e n s i o n s of t h e v i s u al a r t s. S t u d e n t s w ill c o m p a r e t h e w a y s i n w h i c h a v a r i e t y of i d e a s, t h e m e s, a n d c o n c e p t s a r e e x p r e s s e d t h r o u g h t h e v i s u al a r t s w i t h t h e w a y s t h e y a r e e x p r e s s e d i n o t h e r d i s c i pli n e s.
In a d d i t i o n t o t h e Ge n e r al E d u c a t i o n p e r fo r m a n c e i n d i c a t o r s, s t u d e n t s: u s i n g t h e la n g u a g e of a r t c r i t i c i s m, d e s c r ib e t h e v i s u al a n d fu n c t i o n al c h a r a c t e r i s t i c s of w o r k s of a r t a n d i n t e r p r e t t h e r e la t i o n s h i p s of w o r k s of a r t o n e t o a n o t h e r, t o d e s c r ib e t h e i m p a c t of t h e w o r k o n t h e v i e w e r (a) d e m o n s t r a t e a n u n d e r s t a n d i n g of a r t c r i t i c i s m, a r t h i s t o r i e s, a n d a e s t h e t i c p r i n c i pl e s a n d s h o w t h e i r c o n n e c t i o n s t o w o r k s of a r t (b) g i v e e v i d e n c e i n t h e i r Co m m e n c e m e n t P o r t foli o s t h a t t h e y h a v e r e s e a r c h e d a t h e m e i n-d e p t h a n d t h a t i n t h e i r r e s e a r c h t h e y h a v e e x plo r e d t h e w a y s t h e t h e m e h a s b e e n e x p r e s s e d i n o t h e r d i s c i pli n a r y fo r m s (c).
This is evident, for example, when students: read a review of a local theatre production analyzing the critic's writing style, approach to priorities in the production, and conclusions about the play in performance, discussing the points of agreement and disagreement make two diagrams showing the differences between tragedy and melodrama, and comedy and farce keep a journal of the process involved in creating a monologue; comment on improvements made in the monologue content and performance investigate commedia dell'arte and form an improvisational troupe to perform at area schools work with an elementary teacher to incorporate theatre practices in the teaching of social studies compare different versions of the same play performed live, on film or on tape; compare a traditional interpretation of a play with a contemporary interpretation, or a musical production of a former drama.
This is evident, for example, when students: write a review of a local art exhibition discuss the role of museums and galleries in defining what current art is compare the way in which the migration of the AfricanAmericans to the north is depicted in Jacob Lawrence's series of paintings The Great Migration with the description of that migration in the history textbooks.
STANDARD 3
25
Standard 4Understanding the Cultural Dimensions and Contributions of the Arts

Dance
4. S t u d e n t s w ill k n o w d a n c e s f r o m m a n y c u l t u r e s a n d t i m e s a n d r e c o g n iz e t h e i r r e la t i o n s h i p t o v a r i o u s c u l t u r al, s o c i al, a n d h i s t o r i c c o n t e x t s. S t u d e n t s w ill r e c o g n iz e t h a t d a n c e i s p e r fo r m e d i n m a n y d iffe r e n t c u l t u r al s e tt i n g s a n d s e r v e s m a n y fu n c t i o n s i n d i v e r s e s o c i e t i e s.
S t u d e n t s: i d e n t ify b a s i c d a n c e m o v e m e n t s t h a t a r e t y p i c al of t h e m ajo r w o r ld c u l t u r e s (a) e x pla i n t h e s e tt i n g s a n d c i r c u m s t a n c e s i n w h i c h d a n c e i s fo u n d i n t h e i r li v e s a n d t h o s e of o t h e r s, b o t h p a s t a n d p r e s e n t (b).
Elementary
Music
4. S t u d e n t s w ill d e v e lo p a p e r fo r m i n g a n d li s t e n i n g r e p e r t o i r e of m u s i c of v a r i o u s g e n r e s, s t yl e s, a n d c u l t u r e s t h a t r e p r e s e n t t h e p e o pl e s of t h e w o r ld a n d t h e i r m a n ife s t a t i o n s i n t h e U n i t e d S t a t e s. S t u d e n t s w ill r e c o g n iz e t h e c u l t u r al fe a t u r e s of a v a r i e t y of m u s i c al c o m p o s i t i o n s a n d p e r fo r m a n c e s a n d u n d e r s t a n d t h e fu n c t i o n s of m u s i c w i t h i n t h e c u l t u r e.
S t u d e n t s: i d e n t ify w h e n li s t e n i n g, a n d p e r fo r m f r o m m e m o r y, a b a s i c r e p e r t o i r e of folk s o n g s/d a n c e s a n d c o m p o s e d s o n g s f r o m t h e b a s i c c u l t u r e s t h a t r e p r e s e n t t h e p e o pl e s of t h e w o r ld (a) i d e n t ify t h e t i t l e s a n d c o m p o s e r s of w e ll-k n o w n e x a m pl e s of cla s s i c al c o n c e r t m u s i c a n d bl u e s/ja zz s e l e c t i o n s (b) i d e n t ify t h e p r i m a r y c u l t u r al, g e o g r a p h i c al, a n d h i s t o r i c al s e tt i n g s fo r t h e m u s i c t h e y li s t e n t o a n d p e r fo r m (c).
This is evident, for example, when students: discuss the dance forms of the Plains Indians explain the role that dance plays in their community (e.g., weddings, proms, festivals).
This is evident, for example, when students: sing folk music common to a period of history in the United States recognize and identify some simple pieces of music such as the tango, march and waltz and name the countries and composers most associated with the selections record in a log the folksongs sung in class along with the country of origin in music class make a pin map which shows the country of origin of folksongs and recordings.
26
S t u d e n t s w ill d e v e lo p a n u n d e r s t a n d i n g of t h e p e r s o n al a n d c u l t u r al fo r c e s t h a t s h a p e a r t i s t i c c o m m u n i c a t i o n a n d h o w t h e a r t s i n t u r n s h a p e t h e d i v e r s e c u l t u r e s of p a s t a n d p r e s e n t s o c i e t y.
Theatre
4. S t u d e n t s w ill g a i n k n o w l e d g e a b o u t p a s t a n d p r es e n t c u l t u r e s a s e x p r e s s e d t h r o u g h t h e a t r e. Th e y w ill i n t e r p r e t h o w t h e a t r e r efl e c t s t h e b e li efs, i s s u e s, a n d e v e n t s of s o c i e t i e s p a s t a n d p r e s e n t .
S t u d e n t s: d r a m a t iz e s t o r i e s a n d folk t al e s f r o m v a r i o u s c u l t u r e s (a) e n g a g e i n d r a m a/ t h e a t r e a c t i v i t i e s i n cl u d i n g m u s i c, d a n c e, a n d g a m e s w h i c h r efl e c t o t h e r c u l t u r e s a n d e t h n i c g r o u p s (b) d i s c u s s h o w cla s s r o o m t h e a t r e a c t i v i t i e s r e la t e t o t h e i r li v e s (c).
Visual Arts
4. S t u d e n t s w ill e x plo r e a r t a n d a r t ifa c t s f r o m v a r i o u s h i s t o r i c al p e r i o d s a n d w o r ld c u l t u r e s t o d i s c o v e r t h e r ol e s t h a t a r t pla y s i n t h e li v e s of p e o pl e of a g i v e n t i m e a n d pla c e a n d t o u n d e r s t a n d h o w t h e t i m e a n d pla c e i nfl u e n c e t h e v i s u al c h a r a c t e r i s t i c s of t h e a r t w o r k. S t u d e n t s w ill e x plo r e a r t t o u n d e r s t a n d t h e s o c i al, c u l t u r al, a n d e n v i r o n m e n t al d i m e n s i o n s of h u m a n s o c i e t y.
S t u d e n t s: lo o k a t a n d d i s c u s s a v a r i e t y of a r t w o r k s a n d a r t ifa c t s f r o m w o r ld c u l t u r e s t o d i s c o v e r s o m e i m p o r t a n t i d e a s, i s s u e s, a n d e v e n t s of t h o s e c u l t u r e s (a) lo o k a t a v a r i e t y of a r t w o r k s a n d a r t ifa c t s f r o m div e r s e c ul t u r e s of t h e U n i t e d S t a t e s a n d id e n t ify s o m e dis t i n g u is h i n g c h a r a c t e r is t ic s (b) c r e a t e a r t w o r k s t h a t s h o w t h e i nfl u e n c e of a p a r t i c u la r c u l t u r e (c).
This is evident, for example, when students: read a folk tale in which animals play important roles; improvise being animals, comparing and contrasting the "cultures" of animals and human beings attend a community ethnic festival to learn about a particular culture, then share dances, songs and games learned at the festival with another class at school discuss responses to a theatrical performance explaining what ideas and feelings were conveyed and why the audience sympathized or was displeased with the main character.
This is evident, for example, when students: examine the Spanish style of architecture of the Southwest and describe the ways in which that architecture differs from architecture in New England used for the same purposes discuss the ways in which the depiction of space differs in Egyptian art with the way it is depicted in Renaissance art and conjecture about the reasons for the differences study the style of the Australian Aboriginal art and create a work using that style but expressing their own ideas about nature and animals.
STANDARD 4
27
Standard 4Understanding the Cultural Dimensions and Contributions of the Arts

Dance
S t u d e n t s: i d e n t ify t h e m ajo r d a n c e fo r m s of s p e c ifi c w o r ld c u l t u r e s p a s t a n d p r e s e n t (a) i d e n t ify s o m e of t h e m ajo r d a n c e a r t i s t s f r o m d i v e r s e c u l t u r e s (b) s h o w h o w s p e c ifi c d a n c e fo r m s a r e r e la t e d t o t h e c u l t u r e f r o m w h i c h t h e y c o m e (c).
Intermediate
Music
S t u d e n t s: i d e n t ify t h e c u l t u r al c o n t e x t s of a p e r fo r m a n c e o r r e c o r d i n g a n d p e r fo r m ( w i t h m o v e m e n t , w h e r e c u l t u r ally a p p r o p r i a t e) a v a r i e d r e p e r t o i r e of folk, a r t , a n d c o n t e m p o r a r y s e l e c t i o n s fr o m t h e b a s i c c u l t u r e s t h a t r e p r e s e n t t h e p e o pl e s of t h e w o r ld (a) i d e n t ify f r o m a p e r fo r m a n c e o r r e c o r d i n g t h e t i t l e s a n d c o m p o s e r s of w e ll-k n o w n e x a m pl e s of cla s s i c al c o n c e r t m u s i c a n d bl u e s/ja zz s e l e c t i o n s (b) d i s c u s s t h e c u rr e n t a n d p a s t c u l t u r al, s o c i al, a n d p oli t i c al u s e s fo r t h e m u s i c t h e y li s t e n t o a n d p e r fo r m (c) in pe r fo r ming e nse mbles, r ead and pe r fo r m r epe r t oi r e in a cul t u r ally a u t h e n t i c m a n n e r (d).
This is evident, for example, when students: attend a dance performance of an ethnic group and describe the characteristics of that dance discuss dance as ritual in an African group research the dance forms of the ethnic group from which they come or the dance forms of their teenage culture create a sequence and dance after investigating poems from Africia, India, Asia and South America to discover their rhythmic and metric structure.
This is evident, for example, when students: compile a list of listening selections categorized by countries or cultures of the world identify, from listening selections, different forms of jazz including blues, Dixieland, boogie woogie, modern, and cool. Name musicians associated with each of the Jazz forms discuss how work songs have helped workers during their labors after hearing a professional recording of a Sousa march, identify important stylistic concerns and discuss how to apply them in their own performance.
28
Theatre
4. S t u d e n t s w ill g a i n k n o w l e d g e a b o u t p a s t a n d p r e s e n t c u l t u r e s a s e x p r e s s e d t h r o u g h t h e a t r e. Th e y w ill i n t e r p r e t h o w t h e a t r e r efl e c t s t h e b e li efs, i s s u e s, a n d e v e n t s of s o c i e t i e s p a s t a n d p r e s e n t .
S t u d e n t s: i m p r o v i s e s c e n e s b a s e d o n i nfo r m a t i o n a b o u t v a r i o u s c u lt u r e s (a) c r e a t e i n t e r c u l t u r al c e l e b r a t i o n s u s i n g p r o p s, s e tt i n g s, a n d c o s t u m e s (b) e x pla i n h o w d r a m a/ t h e a t r e e x p e r i e n c e s r e la t e t o t h e ms e lv e s a n d o t h e r s (c).
Visual Arts
S t u d e n t s: d e m o n s t r a t e h o w a r t w o r k s a n d a r t ifa c t s f r o m d i v e r s e w o r ld c u l t u r e s r efl e c t a s p e c t s of t h o s e c u l t u r e s (a) d e m o n s t r a t e t h e w a y s i n w h i c h s o m e p a r t i c u la r a r t w o r k s a n d a r t ifa c t s r efl e c t i m p o r t a n t a s p e c t s of t h e d i v e r s e c u l t u r e s of t h e U n i t e d S t a t e s (b) c r ea t e a r t w o r ks t ha t r eflec t a pa r t icula r his t o r ical pe r iod of a cul t u r e (c).
This is evident, for example, when students: explore a ritual within a culture which marks a "rite of passage," then improvise a performance which marks an important event in the students' own lives create a Native American Festival representing various tribes and demonstrate the cultural indicators of each tribe e.g., rituals, costume, governmental structure, family life, etc.) explain how a dramatic performance on video or film depicts a feeling or event they may have experienced.
This is evident, for example, when students: research the totems and other artifacts of the Northwest Indians and discuss how those images are connected with their rituals and their beliefs about family and clan look at traditional Japanese art and identify its visual characteristics examine the patterns of Mexican textiles and create a work in which they invent a pattern based on those ideas.
STANDARD 4
29
Standard 4Understanding the Cultural Dimensions and Contributions of theArts

Dance
S t u d e n t s: e x pla i n t h e i n t e r a c t i o n of p e r fo r m e r a n d a u d i e n c e i n d a n c e a s a s h a r e d c u l t u r al e v e n t (a) i d e n t ify t h e c u l t u r al e l e m e n t s i n a v a r i e t y of d a n c e s d r a w n f r o m t h e folk a n d cla s s i c al r e p e r t o r i e s (b) r e c o g n iz e s p e c ifi c c o n t r ib u t i o n s of d a n c e a n d d a n c e r s t o t h e i r o w n li v e s a n d t o p e o pl e i n o t h e r t i m e s a n d pla c e s (c).
Music
S t u d e n t s: i d e n t ify f r o m p e r fo r m a n c e s o r r e c o r d i n g s t h e c u l t u r al c o n t e x t s of a fu r t h e r v a r i e d r e p e r t o i r e of folk, a r t , a n d c o n t e m p o r a r y s e l e c t i o n s fr o m t h e b a s i c c u l t u r e s t h a t r e p r e s e n t t h e p e o pl e s of t h e w o r ld (a) i d e n t ify f r o m p e r fo r m a n c e s o r r e c o r d i n g s t h e t i t l e s a n d c o m p o s e r s a n d d i s c u s s t h e c u l t u r al c o n t e x t s of w e ll-k n o w n e x a m pl e s of cla s s i c al c o n c e r t m u s i c a n d bl u e s/ja zz s e l e c t i o n s (b) r e la t e w e ll-k n o w n m u s i c al e x a m pl e s f r o m t h e 17 t h c e n t u r y o n w a r d w i t h t h e d o m i n a n t s o c i al a n d h i s t o r i c al e v e n t s (c).
This is evident, for example, when students: describe their feelings and responses to a live dance performance and the effects that their responses might have on the performers view a performance of modern dance and see if they can spot the traditional folk elements present discuss the role that dance plays in the lives of a specific cultural group research and choreograph a performance that demonstrates the differences and similarities of dances that originated in various cultures develop a presentation that uses dance to communicate information about another discipline, e.g., history, literature, science in collaboration with another student, research, develop, and choreograph a dance dialogue between the approaches to dance of two different cultures attend several dance performances during the school year that reflect a range of styles and approaches to choreography and then compare and contrast the influence of culture on the styles.
This is evident, for example, when students: write program notes for a concert of folksongs and art songs that identify for the audience the source of the songs and how the song was used identify dance forms in music and write a report which details the time period these dance forms were performed, costumes worn during the period and the impact they had on the music performed compile an annotated list of some important musical compositions from the 1600s to the 2000s with references to significant historical and social events.
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Theatre
S t u d e n t s: r e a d a n d v i e w a v a r i e t y of pla y s f r o m d iffe r e n t c u l t u r e s (a) u s i n g t h e b a s i c e l e m e n t s of t h e a t r e (e.g., s p e e c h, g e s t u r e, c o s t u m e, e t c.), e x pla i n h o w d iffe r e n t t h e a t r i c al p r o d u c t i o n s r e p r e s e n t t h e c u l t u r e s fr o m w h i c h t h e y c o m e (b) a r t i c u la t e t h e s o c i e t al b e li efs, i s s u e s a n d e v e n t s of s p e c ifi c t h e a t r i c al p r o d u c t i o n s (c).
Visual Arts
S t u d e n t s: a n aly z e w o r k s of a r t f r o m d i v e r s e w o r ld c u l t u r e s a n d d i s c u s s t h e i d e a s, i s s u e s, a n d e v e n t s of t h e c u l t u r e t h a t t h e s e w o r k s c o n v e y (a) e x a m i n e w o r k s of a r t a n d a r t ifa c t s f r o m U n i t e d S t a t e s c u l t u r e s a n d pla c e t h e m w i t h i n a c u l t u r al a n d h i s t o r i c al c o n t e x t (b) c r e a t e a r t w o r k s t h a t r efl e c t a v a r i e t y of c u l t u r al i nfl u e n c e s (c).
This is evident, for example, when students: read a play by a contemporary foreign playwright who writes about a social issue; analyze how the issue is depicted in the drama recreate a Kabuki theatre performance piece using appropriate makeup, costuming, set design and acting style showing an understanding of Japanese customs read a work from another century and/or another country and write a report explaining how the play realistically portrays life in that time period.
This is evident, for example, when students: compare the way the human figure is depicted in Byzantine art with the way it is depicted in High Renaissance art and explore the reasons for the differences select a style of art from the 20th century, study the characteristics of that style, research one artist who painted in that style and make a work of art using that style but expressing the students' point of view or idea.
STANDARD 4
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Standard 4Understanding the Cultural Dimensions and Contributions of theArts

Dance
In a d d i t i o n t o t h e Ge n e r al E d u c a t i o n p e r fo r m a n c e i n d i c a t o r s, s t u d e n t s: d e m o n s t r a t e a n u n d e r s t a n d i n g of d a n c e a s a s h a r e d c u l t u r al e v e n t w h e n g i v i n g p r e s e n t a t i o n s (d a n c e, l e c t u r e, v i d e o, w r i tt e n r e p o r t ) (a) de mons t r a t e a kno wledge of cul t u r al ele m e n t s in dance p r ese n t a t ions of folk a n d cla s s i c al r e p e r t o r i e s (b) p r e p a r e fo r m al p r e s e n t a t i o n s t h a t u s e m a t e r i als a b o u t d a n c e a n d d a n c e r s of o t h e r t i m e s a n d pla c e s (c).
Music
In a d d i t i o n t o t h e Ge n e r al E d u c a t i o n p e r fo r m a n c e i n d i c a t o r s, s t u d e n t s: a n aly z e m u s i c f r o m v a r i o u s c u l t u r e s o n t h e b a s i s of i t s fu n c t i o n s, g i v i n g e x a m pl e s a n d d e s c r ibi n g u s e s t o w h i c h m u s i c i s p u t i n t h o s e c u l t u r e s (a) i n p e r fo r m i n g e n s e m bl e s, r e a d a n d p e r fo r m r e p e r t o i r e i n a c u l t u r ally a u t h e n t i c m a n n e r a n d u s e c u l t u r e-b a s e d c r i t e r i a fo r a s s e s s i n g p e r fo r m a n c e s, t h e i r o w n a n d o t h e r s (b).
This is evident, for example, when students: write the explanatory notes for one segment of a dance festival showcasing various ethnic dances write a short research paper on the contributions of dance to a specific culture and the ways in which dance expresses the values and beliefs of that culture work in a group to develop and present a comparison of dance steps, styles, and forms of various cultures develop a presentation that integrates dance into another art form (e.g., storytelling, visual art, choral singing).
This is evident, for example, when students: compile a list of musical compositions that exemplify the significant characteristics of the major world cultures; describe important musical dimensions and the salient cultural attributes of each play rhythmic patterns in an authentic manner when performing different forms of Jazz perform in a culturally-based ensemble (e.g., steel drum band, gospel choir, or German brass band).
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Theatre
In a d d i t i o n t o t h e Ge n e r al E d u c a t i o n p e r fo r m a n c e i n d i c a t o r s, s t u d e n t s: c o n d u c t a n i n-d e p t h i n v e s t i g a t i o n of t h e w o r k s of a g i v e n c u l t u r e o r pla y w r i g h t (a) c r e a t e a m u l t i c u l t u r al t h e a t r e fe s t i v al of e x c e r p t s f r o m pla y s r e p r e s e n t i n g v a r i o u s c u l t u r e s (c).
Visual Arts
In a d d i t i o n t o t h e Ge n e r al E d u c a t i o n p e r fo r m a n c e i n d i c a t o r s, s t u d e n t s: p r e s e n t a b o d y of w o r k w i t h i n t h e i r p o r t foli o t h a t r efl e c t s t h e i nfl u e n c e s of v a r i e t y of c u l t u r al s t yl e s (a) i n t e r p r e t t h e m e a n i n g of w o r k s a n d a r t ifa c t s i n t e r m s of t h e c u l t u r e s t h a t p r o d u c e d t h e m (b) e x pla i n h o w c u l t u r al v al u e s h a v e b e e n e x p r e s s e d i n t h e v i s u al a r t s, h o w a r t w o r k s h a v e b e e n u s e d t o b r i n g a b o u t c u l t u r al c h a n g e a n d h o w t h e a r t of a c u l t u r e h a s b e e n i nfl u e n c e d b y a r t w o r k s c o m i n g f r o m o u t s i d e t h a t c u l t u r e (c).
This is evident, for example, when students: read the plays of Sophocles, Aeschylus, and Euripides from the ancient Greek time period and write a paper which compares and contrasts their style and themes and discusses the impact each had on staging produce a festival of plays from different cultures centered on the same theme.
This is evident, for example, when students: write a short research paper exploring how the depictions of war in The Third of May by Goya and Napoleon On The Battlefield at Eylau by Gros differ one from another discuss the influence of African art on Picasso's Demoiselles DAvignon look at the body of work in their portfolios and describe what they consider to be their style and indicate what has influenced that style. compare the work of regionalist artists who documented life of the ordinary people in a given place; such as Thomas Hart Benton, John Stuart Curry, and Grant Wood with the Harlem Renaissance artists like William H. Johnson, Jacob Lawrence, Aaron Douglas, and Romare Bearden.
STANDARD 4
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Samples of Student Work

The samples of student work included in this section are intended to begin the process of articulating the performance standards at each level of achievement. This collection is not yet adequate for that purpose in either numbers or scope of examples. Since samples of student work in the Arts usually take forms other than the written word, only a few examples are included here. Most examples will be included on a multimedia format which is under production. As New York State continues to collect work samples from the schools for inclusion in this document and the multimedia format, we expect a much clearer understanding of the performance standards to be evident. Neither are these samples presented as models of excellence. They vary in degree of acceptable achievement. Some are competent; others more proficient. All are meant to provide examples of the kind of work students might produce to demonstrate progress toward the standards.
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Learning Standards For The Arts

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Learning Standards For The Arts

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Le a r n i n g S t a n d a r d s fo r Th e A r t s

Revised Edition April 1996

Learning Standards for the Arts at Three Levels

Standard 1Creating, Performing, and Participating in the Arts

Standard 1Creating, Performing, and Participating in the Arts

Standard 1Creating, Performing, and Participating in the Arts

Standard 1Creating, Performing, and Participating in the Arts

Standard 2Knowing and Using Arts Materials and Resources

S t u d e n t s w ill b e k n o w l e d g e a bl e a b o u t a n d m a k e u s e of t h e m a t e r i als a n d r e s o u r c e s a v a ila bl e fo r p a r t i c i p a t i o n i n t h e a r t s i n v a r i o u s r ol e s.

Standard 2Knowing and Using Arts Materials and Resources

S t u d e n t s w ill b e k n o w l e d g e a bl e a b o u t a n d m a k e u s e of t h e m a t e r i als a n d r e s o u r c e s a v a ila bl e fo r p a r t i c i p a t i o n i n t h e a r t s i n v a r i o u s r ol e s.

Standard 2Knowing and Using Arts Materials and Resources

S t u d e n t s w ill b e k n o w l e d g e a bl e a b o u t a n d m a k e u s e of t h e m a t e r i als a n d r e s o u r c e s a v a ila bl e fo r p a r t i c i p a t i o n i n t h e a r t s i n v a r i o u s r ol e s.

Standard 2Knowing and Using Arts Materials and Resources

S t u d e n t s w ill b e k n o w l e d g e a bl e a b o u t a n d m a k e u s e of t h e m a t e r i als a n d r e s o u r c e s a v a ila bl e fo r p a r t i c i p a t i o n i n t h e a r t s i n v a r i o u s r ol e s.

Standard 3Responding to and Analyzing Works of Art

Standard 3Responding to and Analyzing Works of Art

Standard 3Responding to and Analyzing Works of Art

Standard 3Responding to and Analyzing Works of Art

Standard 4Understanding the Cultural Dimensions and Contributions of the Arts

Standard 4Understanding the Cultural Dimensions and Contributions of the Arts

Standard 4Understanding the Cultural Dimensions and Contributions of theArts

Standard 4Understanding the Cultural Dimensions and Contributions of theArts

Samples of Student Work

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