Appendix D: Evaluation Example

The following are Evaluation Example Topics for Grade 9:

Band­Scales and Sectional Work
Choir­Vocal Tone
Strings­Rhythms and Bowing Patterns

Grade 9

Topic: Band­Scales and Sectional Work

Structure

It is expected that students will:

• create, perform, and notate rhythms in a variety of metres
• demonstrate an ability to enhance tuning by altering pitch
• read and maintain a part accurately within complex harmonies and textures
• apply an increasing range of dynamics, tempos, timbres, and articulations in classroom repertoire

Students in this sample had previous experience using their instruments.

• Students practised and performed major scales using various performance metres such as 2/4 time, 3/4 time, 4/4 time, 5/4 time, 6/8 time, and 12/8 time. The teacher provided instruction using classroom materials, method books, computer software, and teacher-created resources.
• Students participated in tuning their instruments, section by section, learning to discriminate between flat and sharp. They practised altering the tuning of their instruments through conventional means: adjusting posture, embouchure, and air supply. The teacher demonstrated and provided feedback to individual students as necessary.
• Students participated in small groups containing like instruments: brass, woodwinds, percussion, clarinets, flutes, and so on. Students practised the current repertoire and took turns conducting the group. Each group made collaborative choices concerning dynamics and articulation. The teacher worked with each group, providing guidance and feedback when needed. The students used the criteria developed by the class to assess their own work on an ongoing basis.
• The teacher based assessment and evaluation of these activities on the students' performances of scales, the small group performances, and the students' self-assessments.

Scales

To what extent does the student:

• accurately perform the scale
• accurately perform the strong and weak beats of different metres
• perform at a speed that matches the suggested tempo markings
• show awareness of intonation considerations (e.g., melodic, harmonic)
• alter tuning through embouchure control
• achieve tone quality that is focussed, full, open, resonant, consistent, and well controlled

To what extent does the student:

• maintain an independent part within the context of the entire ensemble
• blend with the rest of the ensemble
• balance with the rest of the ensemble
• perform in tune with the rest of the ensemble
• maintain rhythmic accuracy with the rest of the ensemble in a variety of metres, tempos, and tempo variations (e.g., rubato, allargando)

The teacher used the Technical Skills rating scale (based on the criteria) to assess and evaluate the students' performances of the scales. The ensemble performance was assessed and evaluated using a performance scale based on the criteria.

Key:

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

3­Ensemble cohesiveness is outstanding at all times. Rhythm and notes are accurate and precise, and instruments are well tuned. Superior listening and adjustment skills are shown. Blend and balance are maintained at all times, both within and between sections. Tone is well focussed, consistent, and uniform in texture, colour, and sonority. Technical facility is superb. Superior flexibility and dexterity are exhibited by entire ensemble. Players exhibit a thorough understanding of style, tempo, and interpretation. Phrasing is always natural and uniformly performed by all sections or individuals.

2­Rhythm, tempo, and notes are accurate, and instruments are well tuned. Problems sometimes occur in range or volume extremes and in difficult passages and situations but are of short duration or are quickly corrected. Listening is good, showing an ability to correct most problems. Excellent tone is achieved most of the time. Tonal balance is almost always uniform and consistent. Lapses and problems are infrequent and usually occur in more demanding musical passages. Phrasing is thorough and natural most of the time.

1­Rhythm and notes are performed accurately most of the time, with problems occurring within the finer details of more complex patterns and structures. Instruments are tuned relatively well. Intonation is often good, with a few inconsistencies. Players attempt to correct problems. Tone quality is usually good, with uniform colour and texture demonstrated in less demanding passages. Phrasing is basic, uniform, and consistent some of the time, but is not always natural.

Grade 9

Topic: Choir­Vocal Tone

Structure

It is expected that students will:

• demonstrate an ability to enhance tuning by altering pitch
• apply an increasing range of dynamics, tempos, timbres, and articulations in classroom repertoire
• evaluate the use of the elements of expression in performing and listening repertoire
• describe the elements of expression using appropriate music terminology

It is expected that students will:

• compare and contrast music from a range of historical and cultural contexts, including their interrelationships
• use skills and attitudes appropriate to a range of music experiences in a variety of venues as performer, participant, and audience

• The teacher discussed different vocal tones (e.g., bright, dark) for the vowel sounds ah, eh, ee, oh, and oo. Students formed into groups of three and practised matching vowel sounds with each other, using two shapes for each vowel sound. Each group chose three pitches (high, medium, and low) within the students' range. The groups of three then joined to create groups of six and practised the same task. The larger groups performed for the class.
• The teacher provided recordings of vocal music from a variety of cultures and historical time periods, using a wide range of languages (e.g., Latin, French, an African language, an Asian language). Students listened to the recordings and analysed them for vowel sounds and vocal tone. The teacher introduced the phonetic alphabet, and the students identified and described the vowel sounds in the recordings in their journals with reference to this alphabet.
• Students in small groups created a performance project consisting of a familiar song performed in a variety of vocal tones, imitating the timbres of the listening selections. Each project had four contrasting vocal tones and a written set of lyrics, with the words written phonetically in each of the four different timbres. The projects were performed for the class.
• The teacher selected several compositions from a variety of cultures and historical time periods for the full ensemble to rehearse and perform. With assistance from the teacher, the groups made collaborative choices about vocal tone, specific vowel sounds within each composition, and the overall vocal tone for each composition they chose to work on. The teacher and students developed criteria for the performance. The teacher recorded the performance of the group and played it back to the students. In their journals, students completed self-evaluations of the performance based on the criteria.
• The teacher based the assessment and evaluation of each student on small group vowel-matching performances, small group projects, full group performances, and the journal entries.

Performance

To what extent does the student or group:

• accurately perform material incorporating music interpretation in:
  • pitch matching
  • vowel matching
  • breath support
  • rhythm
  • articulation (beginnings and endings of words)
  • dynamics
• select a wide variety of vocal tones, and perform the vocal tones consistently, accurately, and with appropriate tonal quality
• perform material with subtle nuances in dynamics, intonation, and phrasing
• identify positive aspects and areas for improvement, and incorporate changes
• communicate with the audience, demonstrating eye contact, a positive attitude, and a positive, accepting posture and deportment
• refrain from reacting negatively to musical mistakes made by self and others; continuing to perform
• acknowledge audience response with positive expression

To what extent does the student:

• use the phonetic alphabet correctly, matching sound to script
• identify and describe vocal tones from recordings
• use appropriate music terminology in all entries
• draw connections between different types of music

The teacher assessed the performances using a performance scale and a rating scale for the historical and cultural analysis.

Performance

4­ Pitch, rhythm, breath support, and vowel shape are performed accurately, with precision and clarity, and flaws, if any, are very minor and quickly corrected. Articulation is consistent and uniform. Phrasing is always natural and uniformly performed by all sections in a clear, meaningful, and expressive way. Superior use of technique 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 Pitch, rhythm, breath support, and vowel shape are performed accurately most of the time. Articulation is well developed and uniform, with weakness demonstrated by individuals only during complex passages. Phrasing is thorough and natural most of the time. A good demonstration of skills that transcend mechanical and technical aspects create 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 otherwise excellent performance. Singers attempt to incorporate changes. Concentration is excellent. Singers respond well to the director and demonstrate a relationship with the audience.

2­ Pitch, rhythm, breath support, and vowel shape are performed accurately most of the time, with problems occurring within finer details of more complex patterns and structures. 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. Style may be rigid and mechanical. Concentration is good, but occasionally inconsistent. Few changes have been incorporated. Singers pay attention to the director most of the time. A relationship with the audience is not always apparent.

1­ Pitch, rhythm, breath support, and vowel shape are performed accurately in simple passages. Rhythmic inconsistencies are quite frequent. 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. No attempt is made to conduct self-evaluation or to incorporate changes. Concentration seems to drift. Relationship with the audience is lacking.

Key:

4­consistently
3­usually
2­sometimes
1­infrequently

Grade 9

Topic: Strings­Rhythms and Bowing Patterns

Structure

It is expected that students will:

• read and maintain a part accurately within complex harmonies and textures
• create, perform, and notate rhythms in a variety of metres
• apply an increasing range of dynamics, tempos, timbres, and articulations in classroom repertoire
• demonstrate an ability to enhance tuning by altering pitch

This sample outlines the evaluation of students' techniques, focussing on intonation, bowing patterns, and rhythmic development. It is assumed that students have had previous experience on their instruments.

• Students performed major scales using whole and half notes, focussing on secure intonation, both individually and as an ensemble. The teacher and students provided feedback on the accuracy of intonation.
• Students practised and performed major scales and scale patterns (e.g., broken thirds, running thirds, arpeggios) using various performance metres such as 2/4 time, 3/4 time, 4/4 time, 5/4 time, 6/8 time, and 12/8 time, and rhythm and bowing patterns such as:
• Students participated in groups of like instruments (e.g., violins, violas, cellos). Students practised the current repertoire and took turns conducting the group. Each group made collaborative choices concerning bowing and articulation. The teacher worked with each group, providing guidance and feedback when needed. The students used assessment criteria developed by the teacher and students to conduct ongoing self-assessments. Each group achieved consensus on their bowing and articulation choices and presented them to the full ensemble.
• Assessment and evaluation of these activities were based on the students' performances of scales and teacher and student self-assessments of the small group repertoire process and performances.

Scales

To what extent does the student:

• play the scale accurately and with precision
• interpret rhythms correctly and uniformly
• perform the strong and weak beats of different metres accurately
• control difficult tuning situations
• control pitch in all registers
• show awareness of intonation considerations (e.g., melodic, harmonic)
• demonstrate accurate bowing
• demonstrate the ability to alter tuning while playing

To what extent does the student:

• blend with the rest of the group
• balance with the rest of the group
• perform in tune with the rest of the group
• maintain rhythmic and bowing accuracy with the rest of the group in a variety of metres and tempos
• interpret the music and apply the appropriate style
• perform phrasing in a natural, expressive, and uniform way
• use musical techniques in an effective and sensitive way

The teacher used a rating scale to assess and evaluate students' individual performances and the groups' performances.

Key:

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

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Ministry of Education
Standards Department

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Maintained by: Fine Arts Coordinator - Music

Revised: January 3, 1996

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