Appendix D: Evaluation Example

The following are Evaluation Example Topics for Grade 10:

Preparation for a Concert Performance
Jazz Improvisation
Music History
Sight-Reading in Context in a Performing Ensemble (band, choir, strings)

Grade 10

Topic: Preparation for a Concert Performance

Structure

It is expected that students will:

• create, perform, and notate complex rhythms in a variety of metres
• read and maintain a part accurately within complex harmonies and textures
• apply an increasing range of tempos, dynamics, articulation, and timbres in classroom repertoire
• analyse how the elements of expression are combined to achieve specific effects

It is expected that students will:

• use skills and attitudes appropriate to a range of music experiences in a variety of venues as performer, participant, and audience
• demonstrate in-depth knowledge of at least one music career

This sample shows the evaluation of students in an orchestra as they prepared for and performed a concert. The same approach would work for any performance group, such as a band or choir.

• The teacher provided recordings of compositions to be performed. Students listened to them and analysed them for dynamics, articulation, tempo, tone (timbre), and melodic phrasing. For their performance of the compositions, the students worked as a group to achieve consensus on critical choices concerning these elements of expression. The teacher conducted while students sang, hummed, or mimed their parts. The teacher recorded the students performing compositions on audiotape and videotape. Working in small groups, students critiqued their performances and provided constructive feedback.
• As a group, students developed a concert project, including: goals, a theme, a program, and a promotional package. They brainstormed criteria for the presentation of a successful concert (e.g., performer and audience etiquette, home practice, efficient rehearsals, technical needs, effective promotion). Students were assigned to small groups to formulate plans and implement tasks based on the criteria. Students kept journals and made regular entries about the process of preparing for the groups' performance, small group tasks, and the relationship of those tasks to music careers.
• Students were assessed and evaluated based on the groups' performance and project criteria, and student journals. Students also conducted self-assessments and peer assessments and provided feedback to each other.

Assessment criteria were developed by the class, working in conjunction with their teacher.

Group Performance

To what extent does the group:

• achieve tonal blend
• achieve balance between and within sections
• perform in tune
• maintain rhythmic accuracy in a variety of metres, tempos, and tempo variations (e.g., rubato, allargando)
• achieve dynamic contrast
• perform precise articulations

To what extent do the individual and the group:

• make appropriate critical choices about articulation, dynamics, tone (timbre), and tempo
• blend as an ensemble
• balance between and within sections
• perform in tune as an ensemble
• maintain rhythmic accuracy as an ensemble in a variety of metres, tempos, and tempo variations (e.g., rubato, allargando)
• demonstrate appropriate performer and audience etiquette
• show commitment to the group by completing regular home practice and attending rehearsals
• interact, discuss ways to improve, come to a consensus, and incorporate changes into the performance
• complete their individual tasks, roles, and production responsibilities

To what extent does the student:

• make perceptive comments about large group and small group performances
• show personal insights into more effective ways to contribute to the group process
• acknowledge areas and ways to improve their skills
• identify strengths and talents and how they might apply to specific music careers

The teacher developed a performance scale based on the criteria to assess and evaluate students' group performances, projects, and journal entries.

Group Performance and Group Project Scale

4­ Rhythmic accuracy, tempo, and note precision are excellent, and flaws, if any, are minor and quickly corrected. Tone quality is well focussed, full, open, resonant, and consistent. Articulation is consistent and uniform. Phrasing is always natural and uniformly performed by all sections in clear, meaningful, and expressive ways. Superior use of musical techniques creates a sensitive, effective, and naturally communicated artistic performance. A thorough and stylistically valid interpretation is communicated throughout the performance. Concentration is superior, showing evidence that changes have been incorporated, and creating an extremely solid, polished performance. A relationship with the audience is apparent and well developed.

3­ Rhythm, tempo, and notes are accurate. Excellent tone is achieved most of the time, and lapses and problems are infrequent and usually occur during more demanding musical passages. Articulation is well developed and uniform, with weakness demonstrated by individuals only during complex passages. Phrasing is thorough and natural most of the time. There is a good demonstration of the skills needed to transcend mechanical and technical aspects, creating artistic results most of the time. Interpretation is good, uniform, and meaningful. Some passages may be lacking in interpretation but do not detract considerably from an otherwise excellent performance. Players attempt to incorporate changes. Commitment to the group is evident. Rehearsals are attended regularly, and assigned roles and tasks are completed. Concentration is excellent. Players respond well to the director and demonstrate a relationship with the audience.

2­ Rhythm and notes are performed accurately most of the time, with problems occurring within finer details of more complex patterns and structures. Tone quality is usually good, with uniform colour and texture demonstrated in less demanding passages. Articulation is good most of the time, but may not be consistent. Complex articulations lack clarity and control. Phrasing is basic, uniform, and consistent some of the time, but not always natural. Interpretation is meaningful and uniform some of the time, but style may be rigid and mechanical. Concentration is good but occasionally inconsistent, and few changes have been incorporated. Rehearsals are usually attended, and assigned roles and tasks are usually completed. Players pay attention to the director most of the time. A relationship with the audience is not always apparent.

1­ Rhythm and notes are performed accurately in simple passages, with frequent rhythmic inconsistencies. A basic understanding of tonal quality concepts is not yet developed throughout the ensemble. Articulation is correct some of the time. Phrasing is mostly mechanical and non-musical. Some attempts are made at altering dynamics, but with limited range. There is little communication of musical ideas, and no attempt is made to conduct self-evaluations or to incorporate changes. Rehearsals are attended sporadically, and assigned roles and tasks are not fully completed. Concentration seems to drift. A relationship with the audience is lacking.

Journals

3­ Demonstrates in-depth understanding and clarity of thought. Comments about the large and small groups show insight and objectivity. Insights into personal performances and contributions are reflective and include goals for improvement. Student is able to define skills and talents and their benefits in career and life choices.

2­ Demonstrates some depth of understanding, but is somewhat vague. Analyses of large group and small group work are objective. Insights into personal performances and contributions contain suggestions for improvement. Student does not always accurately define personal skills but does see how acquiring skills and talents will benefit career and life choices.

1­ Demonstrates little depth of understanding. Personal connections are not apparent. Thoughts and feelings are on a surface level. Comments about the large and small groups do not show depth of analysis. Student is not sure how to improve personal performance and does not see connections between skills learned and career and life choices.

Grade 10

Topic: Jazz Improvisation

Structure

It is expected that students will:

• create, perform, and notate complex rhythms in a variety of metres
• analyse and use rhythms reflective of a variety of cultures and styles
• create and perform melodic patterns to enhance expressive phrasing
• apply an increasing range of tempos, dynamics, articulation, and timbres in classroom repertoire

It is expected that students will:

• apply the elements of music to interpret and represent a broad range of thoughts, images, and feelings
• demonstrate a willingness to share personal insights arising from experiences with music
• defend personal music choices, demonstrating awareness of the thoughts, images, and feelings the music expresses

It is expected that students will:

• use skills and attitudes appropriate to a range of music experiences in a variety of venues as performer, participant, and audience
• demonstrate an ability to critique the work of self and others

The students in this sample were enrolled in a stage band course and had previous experience with their instruments. The same approach would work with any jazz-based performance course.

• Students practised and performed pentatonic, dorian, and blues scales, using a variety of jazz rhythmic patterns (e.g., swung eighth notes) and articulations. The teacher provided instruction and practice materials using materials chosen from method books, computer software, and teacher-created resources.
• Students created short riffs using one of the scales and performed them for the class. The teacher and class provided constructive feedback.
• The teacher explained the relationship between the scales studied and harmonic accompaniment (e.g., dorian scale with a minor seventh chord) as well as simple harmonic progressions (e.g., 12-bar blues, II V I). Students performed the scales using rhythmic patterns, and the rhythm section used appropriate chords to accompany the class.
• Using the scales, students improvised, with the rhythm section playing appropriate, simple chord changes. The class was accompanied by the rhythm section during class times, and by a computer (+Band in a Box+) during individual practice times. Students first improvised together, then took turns performing individual solos in 4-bar, 8-bar, and 12-bar sections, and eventually performed in full choruses.
• Students listened to recordings of jazz musicians provided by the teacher and from home, and analysed the improvised solos for the use of scale fragments, other melodic sequences, and fragments of familiar melodies. Students also discussed the thoughts, images, and feelings evoked by the music.
• The teacher provided instruction, modelling, guidance, and feedback to students on an ongoing basis. Students kept listening logs of their listening experiences, making entries of their jazz choices as well as notes on the thoughts, images, and feelings evoked by recorded performances, by their own performances, and by those of their peers. At the end of the log, students defended their listening choices, identifying melodic fragments, riffs, and rhythm patterns used in these performances.
• Assessment and evaluation were based on the students' performances of the scales, riffs, and improvised solos, and on the listening logs.

Scales

To what extent does the student:

• accurately perform the scales
• accurately perform jazz rhythmic patterns and idioms
• accurately perform jazz articulations

To what extent does the student:

• use a variety of rhythmic patterns in a jazz style
• use identifiable melodic patterns from scales, scale patterns, and familiar melodies
• represent a broad range of thoughts, images, and feelings through the use of the elements of music (rhythm, melody, dynamics, timbre, harmony, articulation, form, principles of design)

To what extent does the student:

• express personal insights arising from listening and performing experiences
• identify rhythmic patterns, riffs, and melodic fragments heard in listening experiences
• defend listening choices

The teacher developed a technical and expressive rating scale for students' performances of the scales, a double-sided rating scale for the rhythmic and melodic patterns in the performances of riffs and improvised solos, and a scale for the interpretation of music recorded in their listening logs.

4­always performs skill accurately
3­usually performs skill accurately
2­sometimes performs skill accurately
1­rarely performs skill accurately

4­always performs expressively
3­usually performs expressively
2­sometimes performs expressively
1­rarely performs expressively

1­unable to demonstrate
2­demonstrates limited use
3­uses appropriately
2­uses somewhat appropriately
1­uses inappropriately

Thoughts, Images, and Feelings Scale

3­ clearly expresses thoughts, images, and feelings; uses the principles of design with a variety of elements of expression; demonstrates creativity­creates a unique and personal product; product shows the extensive use of subtle nuances in dynamics and phrasing

2­ vaguely expresses thoughts, images, and feelings; uses the principles of design with some elements of expression; demonstrates some creativity­creates a predictable product with unique elements; product shows some use of subtle nuances in dynamics and phrasing

1­ doesn't express thoughts, images, and feelings; demonstrates little use of the principles of design with elements of expression; demonstrates little creativity­creates a predictable product; product shows little or no subtle nuances in dynamics and phrasing

Listening Logs

3­ demonstrates in-depth understanding and clarity of thought; uses supporting evidence from the music in ways that convince and offer new insights; uses a variety of music terms to describe the music; gives extensive examples of riffs and melodic patterns, with personal responses to these examples

2­ demonstrates some depth of understanding, but is somewhat vague when explaining analyses; uses supporting evidence from the music to represent thinking; uses common music terms to describe the music; gives some examples of riffs and melodic patterns

1­ demonstrates little depth of understanding and is unclear when explaining analyses; finds limited support for ideas from the music; uses music vocabulary occasionally to describe the music; gives examples of riffs and melodic patterns

Grade 10

Topic: Music History

Structure

It is expected that students will:

• compare and contrast forms of music compositions from a variety of historical, cultural, and stylistic contexts

It is expected that students will:

• analyse and communicate thoughts, images, and feelings about music that relate to social, historical, and political issues
• demonstrate respect for and understanding of the diversity of thoughts, images, and feelings evident in culturally, historically, and stylistically diverse music

It is expected that students will:

• compare and contrast music from a range of historical and cultural contexts, including their interrelationships
• analyse how thoughts, images, and feelings are expressed in music within a variety of historical, cultural, and stylistic contexts

• Students listened to one or two music examples from the style periods. Listening exercises were used to help students identify specific music selections and characteristics of the style periods. Students analysed and discussed the historical and social contexts and how the thoughts, images, and feelings of each period are reflected in the music.
• Students worked in groups to create timelines of specific historical, cultural, or social events. Students placed key works of music and important changes in elements of expression (e.g., timbre, dynamic and harmonic ranges, texture) on the timelines. They considered new music forms and new instruments and ensembles.
• Working in small groups, students chose a period to represent. They devised questions to research and exchange that addressed historical, cultural, and social issues and their impacts on the music of the time. Students exchanged questions with other groups and discussed particular style periods. Each group presented their style period to the class, selecting small-ensemble music to perform that reflected the period and using appropriate costumes, art, and dance to enhance the performance.
• Students worked in groups and completed one of the following research projects:
  • A case study of a musician from their chosen period. The study included working conditions, the works composed by the musician, and how that music reflected the political and social issues of the day. Examples of the music performed or recorded were included.
  • A radio show or discography that highlighted the popular music of different social classes across historical time periods. Examples of the music, along with an analysis of the important social issues of the period, were included.

Timeline

To what extent does the student:

• identify characteristics of the structural elements of music for each of the major style periods
• identify characteristics and qualities of the style period from listening examples
• identify the important historical and social issues for each of the major style periods
• make connections among events, issues, and contexts, and reflect on the influence they had on the music and the musicians of the day
• use appropriate music terms to describe the style period

To what extent does the student:

• analyse, compare, and relate forms from different style periods
• make connections among events, issues, and contexts, and reflect on the influence they had on the music and the musicians of the day
• analyse and describe the thoughts, images, and feelings evoked by music from different historical style periods (e.g., Baroque)
• identify how the social issues of the day influenced the thoughts, images, and feelings represented in the music of each of the style periods
• use appropriate music terms to describe the style period
• choose or perform music that clearly represents the style period and reflects the message of the performance or project
• incorporate appropriate examples from the other fine arts that reflect the message of the performance or project

The teacher applied the criteria to the timeline, the group performance, and the research project.

Key:

3­complete and accurate: reflects a thorough understanding of the style period and the historical and social events
2­accurate: shows an understanding of the major historical and social events
1­some inaccuracies; not complete

Performance and Research Project

Outstanding
The performance or project analysis is complete, accurate, and demonstrates a thorough understanding of the characteristics and elements of the style period. The events and their relationship to the music are identified. Linkages to the historical and social contexts are clear and explicit. The performance or project insightfully describes the thoughts, feelings, and images reflected in the music, and uses many music terms appropriately and in ways that contribute to the description of the music. Music chosen to represent the period is not only representative of the period but clearly communicates the intended message. The incorporation of the other fine arts, costumes, dance, and visual arts is closely matched and enhances the performance or project. The performance or project is unique and original.

Good
The performance or project analysis is complete, accurate, and demonstrates understanding of the major characteristics and elements of the style period. Events and their relationship to the music are identified, and there are attempts to clearly link the music and the historical and social contexts. The performance or project describes the thoughts, feelings, and images in the music and appropriately uses several music terms to describe the music. Music chosen to represent the period is representative. The incorporation of the other fine arts, costumes, dance, and visual arts enhances the performance or project.

Satisfactory
The performance or project analysis is complete but contains some inaccuracies. A basic understanding of the major characteristics and elements of the style period is demonstrated. Events and their relationship to the music are identified, but no or few attempts are made to clearly link the music and the historical and social contexts. The performance or project describes, in a vague fashion, the thoughts, feelings, and images reflected in the music, and uses some music terms inappropriately to describe the music. Music chosen to represent the period is representative. The other fine arts are incorporated, but not always in a way that enhances the performance or project.

Grade 10

Topic: Sight-Reading in Context in a Performing Ensemble (band, choir, strings)

Structure

It is expected that students will:

• apply an increasing range of tempos, dynamics, articulation, and timbres in classroom repertoire
• read and maintain a part accurately within complex textures and harmonies
• create, perform, and notate complex rhythms in a variety of metres

Students in this sample had previous music experience with their instruments or voices.

• Students listened to, identified, and performed diatonic intervals to further develop ear-training skills. Students studied repertoire to find examples of these intervals.
• Students examined new repertoire to find the basic structure (e.g., repeats, codas, technically demanding sections, key changes, metre changes, dynamic changes).
• Students performed a piece of music, performing only the first beat of each measure. They also sight-read unison music, with each student performing a different measure.
• Assessment and evaluation of each student was based on the individual performance of diatonic intervals and short sight-readings. Assessments were also conducted during group sight-readings, both as part of the full ensemble and while individually performing a measure.

Individual Performance

To what extent does the student:

• sight-read material with accuracy in:
  • notes, including key signatures and accidentals
  • rhythms
  • dynamics
  • articulation
  • phrasing

To what extent does the group:

• perform notes accurately
• perform in tune as an ensemble
• achieve clarity of tone
• create tonal balance and blend, both within and between sections
• identify and perform the basic structure (e.g., repeats, codas) accurately
• identify and perform technically demanding sections, key changes, and metre changes with control
• create cohesive sounds, showing control of pulse, tempo, and rhythmic patterns
• perform articulations consistently and with uniformity
• use musical techniques to create a sensitive, effective, and artistic performance
• communicate musical ideas using artistic subtleties

The teacher developed a performance rating scale to assess and evaluate performances.

Key:

4­always performs skill accurately and expressively
3­usually performs skill accurately and expressively
2­sometimes performs skill accurately and expressively
1­rarely performs skills accurately and expressively

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Ministry of Education
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Maintained by: Fine Arts Coordinator - Music

Revised: January 3, 1996

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