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Alaska Department of Education & Early Development

Sample Assessment: Music

CONCEPT MAPPING

A concept map is a drawing that serves as one format through which a student's understanding of a particular concept can be exhibited. Another name for this is webbing. A student begins with a blank sheet of paper and in the center writes the name of the concept to be mapped. A circle is then drawn around the word for the concept. Words representing knowledge related to the concept are then "mapped" around this center term, and the student circles these words and connects these related ideas to the center with lines. The lines may also be connected among the outlying words if the student feels that they are related. The student continues until he or she has achieved what they feel is an adequate representation of what they know about the central concept and the connections between related knowledge within the concept

Concept mapping in action.

My students begin their formal study of harmony in the fifth grade. The most recent unit on harmony covered I-V, I-III, and I-IV-V harmonic patterns and included experiences with a variety of appropriate pieces.

These pieces and songs were taught along with their requisite dances (if appropriate), and direct teaching of certain terms was undertaken. Terms in the unit were: harmony, triad, tonic, dominant, mediant, and sub-dominant. The Roman numeral representations of the harmonic changes and the placement of the roots of the triads in the scale of the song or piece were also examined. One piece, "Bolivian Style," used to study I-III, also allowed student to revisit previous understandings of major and minor modality (the I in this piece is d minor; the III is F major). Along with the pieces, the students practiced harmonic change exercises on the instruments (similar to those in the Music for Children Orff-Schulwerk American Edition, Volume 3). The unit lasted approximately six weeks, and the students had two 30-minute lessons per week.

The day the concept maps were made, the children were told what they were going to do. After finding a comfortable spot in the room (I do not use desks.), they were given an opportunity to first sketch their concept map on a large individual slate with chalk, making corrections and additions as necessary. When they felt they had illustrated their knowledge of harmony to the best of their ability, they were given paper and pencil and asked to make a permanent copy for their portfolio.

Timothy S. Brophy, The Orff Echo, Winter, 1996

Singing Skills

Song used for evaluation:

__________________________________________________________________

Students being evaluated:

_________________________________________________________________

_________________________________________________________________

_________________________________________________________________

_________________________________________________________________

_________________________________________________________________

Skills checklist compiled by student discussion

(29 points possible)

__________energy and projection (3)

__________singing together (4)

__________diction and expression (4)

__________pitch accuracy (4)

__________tone quality (3)

__________correct rhythm (3)

__________concentration and focus (4)

__________posture (4)

________________________________________________________________

__________total points for singer(s)

adapted from Betty Ellis, Anchorage




EVALUATION FOR GROUP MUSIC PROJECT

Names of students in your group: ___________________________________________________

Directions: The group should choose a short poem for which you will create a sound picture using pitched and/or unpitched percussion instruments. You must also provide movement to enhance the poem. The group will decide how the poetry will be presented: chanted, sung, spoken, as a solo, or in ensemble, etc. You will be given time to work on this project in class and on Friday you will present your project to the other members of the class.

Assessment Criteria

1. The poetry chosen was appropriate for the project

___________5___________4___________3___________2__________1_______

______To a great extent ________Somewhat __________To a limited extent_______

2. The instruments chosen helped to convey the mood of the poetry.

___________5___________4___________3___________2__________1_______

______To a great extent ________Somewhat __________To a limited extent_______

3. The movement performed by the student(s) enhanced the meaning of the poetry.

___________5___________4___________3___________2__________1_______

______To a great extent ________Somewhat __________To a limited extent_______

4. All members of the group worked together effectively to bring about the performance.

___________5___________4___________3___________2__________1_______

______To a great extent ________Somewhat __________To a limited extent_______

Your thoughts about this project: _______________________________________________________

_______________________________________________________

Teacher's thoughts about the group performance: _______________________________________________________

_______________________________________________________

adapted from Jana Lind, The Orff Echo, Winter 1996



Portfolio Reflection-Classroom Music

Name_____________________________________________________

This is my work. I am calling it___________________________________

This is how I did it: ____________________________________________________

___________________________________________________________________

This is why I did it: _____________________________________________________

____________________________________________________________________

This is how I evaluated it: ________________________________________________

____________________________________________________________________

This is what I still need to work on: ________________________________________

adapted from Betty Ellis, Anchorage


RECORDER SKILLS ASSESSMENT

1. Hand position (left on the top, two hands supporting)

____________skill achieved _____________in progress

2. Tonguing (demonstrate correct note attack with combination of breath support and tongue placement)

____________skill achieved _____________in progress

3. Tone quality (proper breath support, proper seal of embrochure-mouth on mouthpiece)

____________skill achieved _____________in progress

4. Melody

a. can name notes used

____________skill achieved _____________in progress

b. demonstrates proper fingerings

____________skill achieved _____________in progress

5. Responsibility

a. demonstrates care of instruments at all times

____________skill achieved _____________in progress

b. Works cooperatively with others

____________skill achieved _____________in progress

c. Demonstrates a learning attitude

____________skill achieved _____________in progress

adapted from Betty Ellis, Anchorage




STRIVING FOR MUSICAL EXCELLENCE

BEST WORK-REFLECTION

Student Name ________________________Date___________

YES
SOMETIMES
NO
CRITERIA



When singing, I use good breath support in order to produce good tone quality.



My diction is precise. I pay attention to beginning and ending sounds in words.



I treat the classroom instruments with respect and always try to produce a beautiful tone.



I feel comfortable identifying whether a piece is in double or triple meter.



I can perform an ostinato independently. I do not need to rely on someone else in order to maintain my part.



When dances are performed, I remember the sequence of steps and move appropriately.



I can readily identify each member of the string section of the orchestra by sight and sound.



I always perform and/or listen with enthusiasm when I am in music class.
Student comments: ____________________________________________________________________________

__________________________________________________________________________________________

__________________________________________________________________________________________

__________________________________________________________________________________________

Teacher comments: ___________________________________________________________________________

___________________________________________________________________________________________

___________________________________________________________________________________________

___________________________________________________________________________________________

Quarter grade Goals for next quarter: ______________________________________________________________

__________________________________________________________________________________________

__________________________________________________________________________________________

__________________________________________________________________________________________

Parent signature: _________________________________________________________

adapted from Jana Lind, The Orff Echo, Winter 1996



Composition

When students work on compositions to include in portfolios, the process is long and requires careful planning. In order to carry improvisation through to thoughtful composition, the proper framework must be set up. The purpose of the composition must be clearly defined. Improvisation or brain-storming ideas need to be saved along the way so that students can see the process. Rough drafts should be retained to see the transition. This provides the opportunity to organize, internalize and evaluate ideas during the writing process. For the final draft and final copy, a computer and synthesizer can help. The software used should suit the needs of the teacher and students, making it easy for the students to accomplish notation in a short music class. Using a synthesizer with an amplifier, stereo input, or connected to a classroom music system will insure that all students can hear. When there is a need for privacy, headphones can be substituted.

Many versions of notation software are versatile and easy for students to use. Some software enables the computer to produce notation as the student plays the notes on a synthesizer; a slower step time entry can be used for students who need to play without worrying about keeping a steady beat. That same software can then play the student's songs back for them. It then allows the students to make changes as necessary to any of the notes. The songs can be stored so that the students can hear them at any time.

A copy of the final product is then printed for the student to take home, while another copy is placed in the portfolio with the previous drafts. The compositions can even be published and placed in the school library. In some older grades an anonymous composition competition can be held, with the students voting on their favorite. The computer plays each student's composition flawlessly while allowing for anonymity.

Self-scoring, on the other hand, can be accomplished by using a rubric. Saving compositions and comparing them is one way to show student growth from year to year.


A Sample Rubric According To Skills You Have Taught Might Look Like This:
Rubrics
Points
Self Assessment
Rhythm
fits the word
2
____
Melody
has a new sound
2
____
ups and downs
2
____
fit the words
2
____
uses steps and skips
2
____
uses repetition
2
____
uses melodic sequencing
2
____
Harmony
fits the melody
2
____
Style
kind ________
2
____
Form
label ________
2
____


TOTAL
____
Composite Score Interpretation
10-11 Beginner
12-15 Intermediate
16-18 Advanced

adapted from the Orff Echo, Winter 1996






SAMPLE ASSESSMENTS: Visual Arts

Elementary Art-Individual Progress Report

Student __________________________Grade________________

Ratings:______Excellent______Good______Fair______Poor______

Knowledge of Basic Art Concepts
Color
Hue
Intensity
Values
Perspective - Depth Perception
Proportion
Composition
Balance
Contrast
Harmony
Skill Level - Application
Use of Tools
Gluing/Pasting
Neatness
Dexterity
Attitude - Interest Ability
Cooperation
Participation
Quality of Work
Care and Use of Materials
Promptness
Respect for Students and Other Art Work
Use of Class Time
Working to Potential:Yes
No
Other Comments:____________________________________________________________

______________________________________________________________________

______________________________________________________________________

adapted from Wyoming Arts Education Curriculum, Visual Arts

 

Design

List five places in your surroundings (home, school, etc.) where you may see good designs. Example: cookie package

1.

2.

3.

4.

5.

Draw and design in a format (square, circle, etc.) and label as many elements and principles as possible. Use the back of this paper.



If you could redesign any package of food in your home to make it more visually appealing, what would you pick to draw? What would be example of changes you would make?

adapted from Wyoming Arts Education Curriculum, Visual Arts

Analysis

Materials: Color reproductions (postcard or page-size for individual use, large poster size for class use) of a series of images with figures presented in pairs:

Pair 1: Self Portrait by Rembrandt; Woman Before a Mirror by Picasso

Pair 2: Girl with a Dog by Auguste Renoir; Man Ray and Fay Ray by William Wegman

Pair 3: Head of a Man by Paul Klee; Benin Head, Africa

Directions: There are three pairs of artworks in front of you. Study each pair and then write about how the two artworks are similar and different. Go beyond subject matter and think in terms of style, technique, media and culture.

Evaluation Criteria

Level 1. Student did not effectively compare any of the three pairs of artworks in terms of subject matter, style, technique, media, and culture.

Level 2. Student compared one pair of the artworks in terms of subject matter, style, technique, and media.

Level 3. Student effectively compared two pairs of the artworks in terms of subject matter, style, technique, and media.

Level 4. Student effectively compared the three pairs of the artworks in terms of subject matter, style, technique, and media.

adapted from 1997 NAEP Arts Education Assessment and Exercise Specifications, National Art Education Association




Art Criticism Rating Scale

Date _________Art Work _______________Artist____________

Students
Criteria

Identified objects in the reproduction

1___2___3___4___5

Recognized the way the artist composed the work

1___2___3___4___5

Gave reasons for interpreting "natural"

1___2___3___4___5

1.


2.


3.


4.


5.


6.


7.


8.


9.


10.

adapted from 1997 NAEP Arts Education Assessment and Exercise Specifications, National




 

Defining the Qualities of a Masterpiece

Grade: 8 and 12

Materials: Self Portrait by Rembrandt reproduction. If using video for the prompt, a voiceover can read quote. If not, test administrator should read quote aloud.

Script: What Makes a Masterpiece? The dictionary defines "masterpiece" as "highest quality."

One art critic has said: "A masterpiece expresses what is universal, timeless, and meaningful for all people. It does so using the media of choice to its very fullest, and in doing so, creates new relationships and shows us something we have not seen or felt before."

The artwork that you see by Rembrandt is considered a masterpiece by most art historians. You have just heard the dictionary definition and an art critic's definition of a masterpiece. Look at your worksheet and read the definitions again. Study the artwork carefully. Do you agree that this painting is a masterpiece? Why or why not?

Student Worksheet

What Makes a Masterpiece?

The dictionary defines masterpiece as:

An outstanding work of art of craft or something superlative, the highest quality.

One art critic has said:

A masterpiece expresses what is universal, timeless, and meaningful for all people. It does so using the media of choice to its very fullest. And in doing so, creates new relationships and shows us something we have not seen or felt before.

Do you agree that the Rembrandt painting is a masterpiece? Why or why not?

Using the art critic's definition of a masterpiece, analyze how the Rembrandt work does or does not fit that definition.

Evaluation Criteria:

Level:

  1. Student did not give or support opinion and did not analyze how the painting does or does not fit the art critic's definition.
  2. Student gave opinion but did not support it and did not provide analysis of art critic's definition.
  3. Student gave and supported opinion and provided analysis of art critic's definition in terms of subject matter, style, and expressive qualities.

Student gave and supported opinion and provided analysis of art critic's definition in terms of subject matter, style, expressive qualities, enduring historic and societal value, and technique.

1997 NAEP Arts Education Assessment and Exercise Specifications, National Art Education Association



 

Aesthetics Dialogue about the Value of Art from Different Eras

Date ______________________Object ____________________


Students
Criteria
StudentsThoughtfully considered reasons for judging something to be "art" Expressed relevant, life oriented big ideas based on art learning in the encounter Synthesized contributions of othersUsed information from diverse sources, periods of art or cultures
1.



2.



3.



4.



5.



6.



7.



8.



9.



10.



11.



12.



13.



14.



15.



1997 NAEP Arts Education Assessment and Exercise Specifications, excerpts provided by the National Art Education Association


 

Georgia O'Keeffe: Color Relationships

Today in art class you took another look at the work of Georgia O'Keeffe, one of the featured artists in our fourth grade curriculum. She was an American artist who explored color relationships in her desert landscape paintings and large paintings of flowers. Often she would use bones as her subject matter as well.

Using complementary colors, you explored special color relationships today, too. By blending complementary colors (opposite colors on the color wheel), you showed changes in color intensity. By adding white, you created different values, and, like Georgia O'Keeffe, you used a bone as the subject of your painting.

Review Questions:

  1. Can you name the pairs of complementary colors?
  2. Did you find many values of your colors?
  3. Did you paint different intensities of your colors?
  4. Were you able to create a gray? (Equal parts of each color)
  5. Do you understand the relationship of complementary colors better now?

Keep up the good work!


Pastel Drawing Rubric
Advanced
Proficient
Basic
In Progress
Technical




  • realism (?)
  • all fits together
  • all is consistent
  • background is considered as well as objects drawn
  • pastels are handled the same throughout the drawing
  • colors blended from dark to light
  • not smeared but one color is layered next to other colors so the eye blends the colors
  • shapes are developed and not contained within outline
  • objects are complete
  • color has been added
  • some layering of colors
  • drawing surface is technically different from object to object
  • some shading but not complete
  • idea is started but not complete
  • only two colors used for shading
  • smearing
  • finger prints still on surface
  • background and objects separate
Composition
  • it looks good
  • focal point
  • repetition
  • variety
  • all shapes fit the design
  • background is considered
  • focal point
  • variety
  • repetition
  • starts at the base of the paper
  • inside of page is ignored
  • objects border the page
  • only center is considered
  • shapes float
  • are unrelated
Work Habits
  • whole class time & beyond
  • whole class time
  • majority of class time
  • day working out of 4 days

Adapted from Jean Detlefsen,, Columbus Nebraska High School, Overview of Assessment






 

PORTFOLIO ASSESSMENT RATING SCALE
Variety of art forms explored are consistent with problems addressed.

Use of processes, techniques, media at grade level of competence, presentation


Functional redirection, exploration, integration of influences.



Growth in complexity of ideas: depth with issue, form or concept.




Shows synthesis of art history or criticism experience.





Authenticity of problem(s) addressed.






Utilization of visual awareness for achieving goals.







Criteria of the problem are met.








Aesthetic quality beyond criteria.









Individuality, originality.










TOTAL
Student










Generic Coding
1. Ann










4 =commendable
2. Sam










3 = expected
3. etc.










2 = below expected
4.










1 = remedial
5.










0 = no evidence
6.










OR
7.










* = exemplary initiative
8.










+ = beyond experiences provided by the minimum recommendations for art curriculum
9.










= as provided by the minimum
10










- = below experiences provided by the art curriculum
11.










0 = no evidence

Adapted from Designing Assessment in Art, NAEP

ART CRITICAL REASONING RUBRIC

ART CRITICISM
1. DESCRIPTION: identifies things about the work that can be seen, named, and described.
Rating
1
2
3
4
5
_____
Briefly names one or two objects

"There is a girl."

Names and describes the obvious objects. Makes a complete inventory of the subject matter and/or elements accompanied by a thorough description.
2. ANALYSIS

a. determines how the work of art is organized

1
2
3
4
5
_____
Identifies one or two elements. "I see wavy lines." Names and describes the elements and principles in the artwork. Describes the dominant elements and principles and how they are used by the artist to reinforce the theme, meaning, mood, or feeling of the artwork.
b. compares and contrasts artworks.
1
2
3
4
5
_____
Compares and/or contrasts the subject matter in two art works. Compares and contrasts the subject matter and composition of art work Compares and contrasts artwork with other artwork across a range of eras/cultures/catagories
3. INTERPRETATION: identifies the ideas, feelings, or moods communicated by the artwork.
1
2
3
4
5
_____
Relates a personal response, i.e., ideas, feelings or moods.

"It makes me sad."

Identifies the literal meaning. Forms a hypothesis about the symbolic or metaphorical meaning and substantiates the interpretation with evidence from the artwork.
4. EVALUATION: judges the quality or success of the work based on criteria.
1
2
3
4
5
_____
Evaluates as "bad" or "good" because of his/her personal feeling toward the subject matter. States an opinion and gives one reason for the opinion. Uses an aesthetic theory to judge the artwork.
  • imitation: faithful rendering
  • expression: definite feeling, emotion
  • formal order: a design focus
  • instrumental: communicates important ideas

Jean Detlefsen, Columbus (Nebraska) High School



 

High School Assessment Activity Vignette

Ms. Lomas wants to assess how well her learners make connections between their own cultures and those they have studied. She assigns the learners a senior project that requires them to use the visual arts knowledge gained during their high school careers. First, they should consider the four historical styles and cultures presented this year and focus on their favorite works of art. They should think about the meaning of works of art, how they functioned in their societies, and about characteristics of style that allowed the artists to express that meaning. They choose characteristics of the works that help them make their own works of art relevant to them in their culture today. They review current knowledge and do specific research on the works chosen. Ms. Lomas asks students to consider how the forms they use will express their intents.

One learner chooses to work with Mayan stelae. He finds that the Maya recorded particular events and the time of their occurrence. They represented elaborate clothing with symbolic elements on a shallowly carved surface. The learner makes his own stelae (in his case, a pen and ink drawing that could be translated into relief sculpture) which records an important event in contemporary culture. To express his own viewpoint on a contemporary issue, he clothes the participants in dress that plays on Mayan clothing but incorporates modern dress in a symbolic way.

Another learner works with medieval manuscripts. She "illuminates" a contemporary book that has meaning to her. She plays off the composition of the pages of a medieval manuscript and finds images that symbolize her interpretation of the text's meaning. Learners also write short papers discussing the research they have done on the chosen historical works and the connections they have made to their own works. They also consider how successfully they solved this visual problem.

(See the following page for a sample rubric to be used with this assessment activity.)

Interdisciplinary Connections

Music: The music teacher decides to work with Ms. Lomas to discuss how historical music can be relevant in today's society. He has the orchestra learn the "Ode to Joy" from Beethoven's Ninth Symphony. Learners discuss the culture in which the poem and music were composed and what the work meant in its time. They discuss how the themes of universal brotherhood, peace, and joy connect to contemporary issues and watch a videotape of the "Ode to Joy" being performed at the dismantling of the Berlin Wall. Some learners are asked to compose a contemporary piece that might address these same issues.

Theatre and Dance: High school learners are studying Romeo and Juliet. They look at contemporary adaptations, including West Side Story. What issues remain the same? What issues change and why? The learners work on their own play that addresses some of the same issues in contemporary society. How can they incorporate contemporary forms of music and dance to address these issues?





 

HIGH SCHOOL ASSESSMENT RUBRIC FOR VISUAL ARTS
Criteria
4 - Advanced
3 - Proficient
2 - Basic
1 - In Progress
Has the learner identified significant characteristics in the historical work? Learner has chosen multiple significant characteristics and understands and explains how they functioned in their culture. Learner has chosen significant characteristics to influence his own work. Learner has chosen a characteristic of the historical work. Learner has discussed the historical work.
Has the learner been able to reinterpret these characteristics in a way significant to our contemporary world? Learner has made a significant statement with relevance to our contemporary world which connects to the characteristics of the historical work. Learner has reinterpreted some of the historical work in his/her own work. Learner has made a connection between his/her work and the historical work in a general way. Learner has created his/her own work of art.
Has the learner been able to visually express his/her ideas? Learner has created a visually successful work of art using the elements of the visual arts to express his/her ideas effectively. Learner has created a technically proficient work of art using the elements of the visual arts to express his/her ideas. Learner has used the elements of the visual arts to express his/her ideas with some success. Learner has expressed his/her ideas.
Has the learner been able to convey the connection between his/her work and the historical work in the written paper? Learner has effectively explained the connection between his/her work and the historical work using examples from both works. Learner has explained the connection between elements of his/her work and the historical work. Learner has made a general connection between his/her work and the historical work. Learner has written about his/her own work.

Jean Detlefsen, Columbus (Nebraska) High School




 

PRIMARY LEVEL ART PROBLEM SOLVING ASSESSMENT
N
U
A
Not Often, Usually, Always
PROBLEM FINDING (Task definition)



The student makes a plan or draws a preliminary sketch.

FACT FINDING (Information seeking and locating resources)



The student brainstorms ideas in order to have several solutions from which to choose.

SOLUTION FINDING (Synthesis: putting all the information together)



The student is willing to try new things and make changes in his/her art.



The student asks questions when he/she does not understand.



The student listens to teacher's suggestions for improvement.



The student works hard to finish project or task.

EVALUATING



The student looks for things he/she can improve.

Distributed at the NAEA conference, March, 1997, New Orleans

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