Appendix D: Evaluation Example

The following are Evaluation Example Topics for Grade 8:

Blues Guitar
Music Composition
Thoughts, Images, and Feelings in Popular Music

Grade 8

Topic: Blues Guitar

Structure

It is expected that students will:

• apply an increasing range of tempos, dynamics, articulation, and timbres in classroom repertoire
• create, notate, and perform melodic patterns
• identify the tonal centres in a variety of melodies
• identify an expanded variety of music forms

It is expected that students will:

• demonstrate respect for the thoughts, images, feelings, and music choices of others
• represent thoughts, images, and feelings derived from a music experience

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

The students in this sample were enrolled in a music program emphasizing the use and performance of the guitar and have varying skill development.

• The teacher presented various examples of blues music to the students (e.g., "I'm Tore Down" from From the Cradle, by Eric Clapton). Students analysed the music, compared similarities and differences, and discussed the pattern of blues lyrics. The class discussed the thoughts, images, and feelings the music evoked. Students then listened to their own selection of blues music and wrote a journal entry about the thoughts, images, and feelings evoked by their selection. In their journal, students wrote an original set of blues lyrics.
• Students listened to examples of blues music and identified the pattern and length of chord progressions. Students practised with their instruments a standard 12-bar blues chord progression in the key of A major, a standard 16-bar blues chord progression in the key of A major, and an A minor pentatonic scale. Students formed groups of two or three and practised improvising, using the scales and blues patterns they had learned.
• The teacher provided instruction, modelling, guidance, and feedback to students on an ongoing basis. The teacher based the assessment and evaluation of this unit on a listening quiz, performance of the blues patterns and scale, group performance, observation of small group work, and journal entries.

Listening Quiz

To what extent does the student:

• identify the tonal centre of a blues melody
• identify the chord changes and turnarounds from listening examples

To what extent does the student:

• perform from memory the A minor pentatonic scale
• demonstrate correct playing position, including right hand and left hand techniques
• use consistent time when playing a scale
• perform chord changes in a fluid manner for 12- and 16-bar blues progressions in the key of A major

To what extent does the student:

• demonstrate correct playing position, including right hand and left hand techniques
• perform the notes accurately
• interpret the rhythms correctly and uniformly
• perform appropriate blues articulations in an improvised solo (e.g., pitch blend, hammer-on, pull-off, glissando)
• select appropriate chord tones or blue notes in an improvised solo

To what extent does the student:

• encourage group members and other groups by listening attentively, identifying positives in peers' performances, and giving guidance and helpful suggestions
• provide appropriate audience behaviour: facing the performer, active listening, appropriate eye contact, accepting posture, appreciative gestures
• provide constructive feedback that reinforces the positive; provide realistic and helpful suggestions in a non-judgmental fashion

To what extent does the student:

• describe the thoughts, images, and feelings the blues evoke, providing personal insights, connections to their experiences, and metaphorical analogies
• follow the standard pattern for blues lyrics, incorporating into their lyric one or more personal messages, feelings, or experiences

Based on the above criteria, the teacher developed a variety of performance scales to assess and evaluate the students' listening exercises, individual and group performances, and journals (see following pages). In addition, the teacher used the reference set Group Communication Skills to assess the students' small group work. The teacher conferenced with the students and provided feedback.

Key:

4­consistently: given a variety of melodies and with alternate chord changes
3­usually: in most common melodies and chord changes
2­sometimes: with support is able to identify tonal centres and chord changes when prompted
1­not able to identify tonal centres or chord changes

Key:

1­unable to demonstrate; needs further instruction
2­demonstrates limited use; is aware of the how to perform the skills; requires more practice time
3­uses appropriately; is able to demonstrate competent use
2­uses somewhat appropriately; is able to demonstrate competent use but tends to overuse the skill
1­uses inappropriately; needs intervention to correct

Key:

• 4­consistently performs skill accurately
• 3­usually performs skill accurately
• 2­sometimes performs skill accurately
• 1­rarely performs skill accurately

3­ Demonstrates in-depth understanding and clarity of thought. Insights show personal connection. Explains in depth the personal emotional impact of the blues. Provides analogies that create vivid images in the mind of the reader. Lyrics send a powerful message.

2­ Demonstrates some depth of understanding, but is somewhat vague. Insights show a personal connection on a surface level. Includes some explanation about their emotional feelings. Provides analogies. Lyrics have a message or explain personal feelings or both.

1­ Demonstrates little depth of understanding. Personal connections are not apparent. Thoughts and feelings are on a surface level. No analogies are provided. Lyrics have meaning but do not communicate a deeper message.

Grade 8

Topic: Music Composition

Structure

It is expected that students will:

• create, notate, and perform melodic patterns
• create, notate, and perform rhythms in a variety of metres
• apply an understanding of melodic direction and contour to expressive phrasing
• apply an increasing range of tempos, dynamics, articulation, and timbres in classroom repertoire
• apply a variety of music forms and principles of design to composition

It is expected that students will:

• apply the elements of rhythm, melody, and expression to interpret and represent a broad range of thoughts, images, and feelings

It is expected that students will:

• demonstrate ability to provide and accept constructive feedback

The students in this sample were enrolled in a general music course. The sample would also work for a performance-based music course such as band, choir, or strings. Computer technology (e.g., computer with sound card, MIDI interface, keyboard synthesizer or other sound-generating device, scoring and sequencing software) would enhance the learning.

• The teacher had students watch a short video without any sound. The class discussed the thoughts, images, and feelings evoked by the video and, in small groups, brainstormed the different timbres that might be represented. Small groups created a soundtrack using a selection of non-traditional musical sounds (synthetic and natural), and traditional electronic and acoustic musical sounds to represent the thoughts, images, and feelings evoked by the video.
• The teacher introduced the concept of tonal centres to the class. In small groups, students experimented with the creation of different chords, with each student performing a different degree of a major scale. From their experimentation, each group selected three triads with differing harmonic sounds and performed them for the class.
• The teacher demonstrated the use of a scoring program on a computer. Over several weeks, students took turns working on the computer to write a melodic composition and 4­8 measure composition, using half, quarter, and eighth notes on the degrees of a major scale to represent a melodic contour, created and graphed beforehand by the student.
• The teacher demonstrated the use of a sequencing program on a computer. Over several weeks, students took turns, working in groups of three, writing a rhythmic composition. The composition consisted of 8­16 measures with three separate tracks, each one using a different timbre.

Defining the Criteria

Individual and Group Compositions

To what extent does the student:

• create an expressive phrase using:
  • a graphic contour line
  • a notated melodic representation of this line
• include definite form in composition
• use accurate rhythmic and melodic notation
• use principles of design effectively to create a unified composition
• use the structural elements in subtle and meaningful ways
• develop ideas and correct errors from rough draft to final copy
• give supportive and helpful suggestions to classmates
• receive constructive feedback, incorporating necessary changes
• incorporate originality in composition

To what extent does the group:

• use a variety of sound sources (e.g., synthetic, natural, traditional), matching the sounds to the intent of the music
• make connections among the thoughts, images, and feelings evoked in the video and replicate them musically in the sounds chosen for the soundtrack
• make use of the elements of expression to reflect the thoughts, images, and feelings evoked by the video.

The teacher used the above criteria to develop performance scales to assess and evaluate the small group soundtracks and the individual and small group compositions.

• creates an expressive phrase using:
  • a graphic contour line
  • a notated melodic representation of this line

  Individual and Group Compositions	Rating
  creates an expressive phrase using: a graphic contour line a notated melodic representation of this line
  demonstrates a definite form in composition
  demonstrates accurate rhythmic and melodic notations
  uses the principles of design effectively to create a unified composition
  uses the structural elements in subtle and meaningful ways
  demonstrates extensive development of ideas and correction of errors, from rough draft to final copy
  gives supportive and helpful suggestions to classmates
  receives constructive feedback, incorporating necessary changes
  incorporates originality in composition

  Key:

  3­demonstrates skills or behaviours consistently, accurately, and in meaningful ways
  2­usually demonstrates skills or behaviours with infrequent errors; is beginning to apply skills and techniques in meaningful ways
  1­is not able yet to demonstrate skills or behaviours; further practice and instruction needed
  Soundtracks

  3­includes a wide variety of sound sources, representing synthetic, natural, and traditional musical sounds in unique and original ways; effectively chooses the sound source to match the intent, and clearly articulates the connections among the thoughts, images, and feelings in the video and the music; uses most of the elements of expression in ways that reflect the thoughts, images, and feelings in the video and show a clear understanding of their effective use

  2­includes a wide variety of sound sources; evidence of a connection between the sound source and the thoughts, images, or feelings in the video; the elements of expression are used, but may not always reflect the thoughts, images, and feelings in the video

  1­uses some sound sources; evidence of a connection between the sound source and the thoughts, images, or feelings may not always be present; is beginning to use the elements of expression, but the match may not always reflect the intent

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  Grade 8

  Topic: Thoughts, Images, and Feelings in Popular Music

  Prescribed Learning Outcomes

  Structure

  It is expected that students will:

  • apply an understanding of melodic direction and contour to expressive phrasing
  Thoughts, Images, and Feelings

  It is expected that students will:

  • represent thoughts, images, and feelings derived from a music experience
  • demonstrate a willingness to share personal insights arising from experiences with music
  • defend personal music choices, demonstrating awareness of the thoughts, images, and feelings that the music expresses
  • demonstrate respect for the thoughts, images, feelings, and music choices of others
  Planning for Assessment and Evaluation
  • The teacher provided opportunities for students to listen to a variety of popular songs, to analyse the music, and to discuss the thoughts, images, and feelings evoked by the music. Each group constructed a question for debate, such as, +Is the music appropriate for the lyrics?+ or +Should some thoughts, images, and feelings (e.g., violence, sexism, racism) not be expressed in music?+ Students negotiated with each other to determine the questions to be debated.
  • Students listened to a popular song of their choice and wrote an analysis of the thoughts, images, and feelings evoked by the music. They analysed the melodies in the song for contour and for their effect on feelings evoked by the music. On a chart, they represented the melody using a graph, and the thoughts, images, and feelings using line, colour, or invented symbols. Students explained their choices and invented new lyrics, changing the thoughts, images, and feelings evoked by the original lyrics.
  • Students listened to a variety of arrangements of the same piece of music (e.g., piano, orchestra, and electronic arrangements of Pictures at an Exhibition and Georgia on my Mind as performed by Michael Bolton, Ray Charles, and Willie Nelson). In their journals, students analysed and compared the thoughts, images, and feelings evoked by different arrangements of the same piece of music.
  • Assessment and evaluation for the unit was based on the debates, individual song analyses, and entries in their journals.
  Defining the Criteria

  Debate

  To what extent does the student:

  • explain personal connections and experiences felt as a result of the music
  • describe the thoughts, feelings, and images the music evokes in ways that are unique and personal, providing rationale and support from the music
  • provide counter-arguments that are logical and have an explanation grounded in the music
  • use musical terms to describe the music
  • show respect for the thoughts, images, and feelings of others by actively listening, making eye contact with the speaker, keeping extraneous noise to a minimum, and using non-threatening body language.
  Song Analysis

  To what extent does the student:

  • analyse melodic contour and the thoughts, images, and feelings evoked by the music by detailing specific components of the music
  • use supporting evidence from the music to describe personal reactions to the composers' choices
  • use line, colour, or invented symbols in the chart in ways that support the analysis and show a match to the thoughts, feelings, and images evoked by the music
  • use lyrics that contrast with the thoughts, feelings, and images of the original lyrics
  • match lyrics to the contour of the melody to give impact to important words and phrases
  Assessing and Evaluating Student Performance

  The teacher assessed and evaluated each student's performance using a performance scale for the debate, song analysis, and journal entries. In addition, the teacher referred to the Group Communications Skills reference set to assess the work done in small groups.

  Debate	Rating
  explains personal connections and experiences felt as a result of the music
  describes the thoughts, feelings, and images the music evokes in ways that are unique and personal, providing rationale and support from the music
  provides counter-arguments that are logical and have an explanation grounded in the music
  uses musical terms to describe the music
  shows respect for the thoughts, images, and feelings of others by actively listening, making eye contact with speaker, keeping extraneous noise to a minimum, and using non-threatening body language

  Key:

  4­consistently
  3­usually
  2­somewhat
  1­occasionally
  Performance Scale for the Song Analysis and Journal Entries

  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; uses new lyrics matched to the melodic contours in ways that suggest personal reactions, are pleasing and interesting, and evoke different feelings than the original

  2­ demonstrates some depth of understanding, but is vague; uses supporting evidence from the music to represent thinking; uses common music terms to describe the music; uses new lyrics matched to the melodic contours

  1­ demonstrates little depth of understanding and is unclear when explaining analysis; finds limited support for ideas from the music; uses occasional music vocabulary to describe the music; new lyrics are not always matched to the melodic contours

  
  

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  Province of British Columbia
  Ministry of Education
  Standards Department

  © 1995 Copyright

  Maintained by: Fine Arts Coordinator - Music

  Revised: January 3, 1996

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