VPA Graded Course Of Study - Akron Public Schools

Firestone High School 

Visual & Performing Arts 

Graded Course of Study 

Fine Arts Department 

Sally J. Childs, Ed.D., Coordinator 

(330) 761-3189

Conrad C. Ott Staff Development Center 65 Steiner Avenue Akron, Ohio 44301 

(330) 761-1661 Fax (330) 761-3252 

Visual and Performing Arts 4-12 

Graded Course of Study 

Sylvester Small, Ed.D., Superintendent of Schools 

Approved by: Akron Board of Education 

Linda F.R. Omobien, President 

James Hardy, Vice President 

Shelia Smith, Member 

Rev. Dr. Curtis T. Walker Sr., Member 

Jason Haas, Member 

Amy Reeves Grom, Member 

Kirt Conrad, Member 

Date: February 25, 2008 

i

Introduction 

The 4-12 Visual and Performing Arts Curriculum defines the graded course of 

study to be taught at Miller South School for the Visual and Performing Arts 

School and Firestone High School Campus for the International Baccalaureate and 

Visual and Performing Arts. It is research-based as well as standards-based with 

high expectations. The curriculum is based on the academic content standards 

developed by the Ohio Department of Education as well as National Standards in 

the arts. It provides clearly defined statements of what students should know and 

achieve in the program. The graded course of study allows for and promotes the 

interaction of students with professionals in the various arts areas. The curriculum 

supports a balance of knowledge, creative thinking, conceptual understanding, and 

skill development. 

Teachers will use this document to guide assessment for learning, daily instruction, 

assessment of learning, and intervention strategies. 

iii

Foreword 

The 4-12 Visual and Performing Arts Curriculum is the official statement of what shall be taught 

in the Visual and Performing Arts programs in Akron Public Schools. The Fine Arts Standards 

adopted by the Ohio Department of Education serve as the basis for the program. The 

standards are researched-based and reflect the changes taking place in education. This 

document addresses improving student achievement by defining high standards. 

This graded course of study is one part of the total curriculum development process. 

Appreciation is extended to those in the writing and implementation of this program. 

Visual Art 

Steve Csejtey, Firestone 

Julie Hogarth, Miller South 

Bobbie Smith, Firestone 

Susan Yingling, Firestone 

Dance 

Kelly Berick, Firestone 

Sarah Christman, Miller South 

Brenda Stygar, Miller South 

Drama/Theatre 

Wendy Duke, Miller South 

Mark Zimmerman, Firestone 

Visual and Performing Arts 

Steering Committee 

Dr. Sharon Hall, Coordinator 

Gifted and Talented 

Inda Blatch-Geib, Parent 

Bernie Burchett, Executive Director 

Teaching and Learning 


Writing Committee 

v 

Music 

Pam Fiocca, Firestone 

Eric Langreder, Miller South 

Esterline Jones, Miller South 

Sarah Kaufman, Miller South 

Annette Nicoloff, Miller South 

Sally Schneider, Firestone 

Dr. David Spondike, Firestone 

Tom Weaver, Firestone 

Dr. Sally J. Childs, Learning Specialist 

Fine Arts


4-12 

Table of Contents 

Statement of Approval ............................................................................................. i 

Introduction ............................................................................................................. iii 

Foreword ................................................................................................................. v 

Visual and Performing Arts Curriculum Steering Committee ................................... v 

Visual and Performing Arts Curriculum Writing Committee ..................................... 

District Strategic Plan 

v 

Mission Statement ............................................................................................. 1 

Objectives .......................................................................................................... 1 

Belief Statements ............................................................................................... 1 

Visual and Performing Arts Philosophy ................................................................... 3 

Visual and Performing Arts Program Goals ............................................................. 5 

Visual and Performing Arts Content Standards ....................................................... 7 

Visual and Performing Arts Scope and Sequence 4-12 .......................................... 9 

Assessment, Evaluation, Intervention ..................................................................... 

Visual Arts Grades 4-8 

11 

Exploratory Art 4 ................................................................................................ 15 



Art Interest Area 4 .............................................................................................. 23 




Art Interest Area 8 .............................................................................................. 

Dance Grades 4-8 

38 

Exploratory Dance 4-5 ....................................................................................... 42 

Exploratory Dance 6 .......................................................................................... 45 

Dance Interest Area 4-5 ..................................................................................... 47 

Dance Interest Area 6 ........................................................................................ 50 



vii

Drama/Theatre Grades 4-8 

Exploratory Drama 4 .......................................................................................... 61 



Drama Interest Area 4 ........................................................................................ 70 

Drama Interest Area 5 ........................................................................................ 73 

Drama Intermediate 6 ........................................................................................ 76 

Advanced Acting 7 ............................................................................................. 79 

Directing 8 .......................................................................................................... 83 

Stagecraft .......................................................................................................... 

Music Grades 4-8 

86 

Exploratory Music 4-6 ........................................................................................ 92 

Band 5-6 (Level I-II) ........................................................................................... 94 

Band 7-8 (Level III-IV) ........................................................................................ 98 

Jazz 7-8 ............................................................................................................. 102 

Choir 6, 7, 8 ....................................................................................................... 105 

Keyboard 7-8 ..................................................................................................... 109 

Orchestra 5 ........................................................................................................ 112 

Orchestra 6 ........................................................................................................ 115 

Orchestra 7-8 ..................................................................................................... 

Visual Arts Grades 9-12 

118 

Advanced Placement Studio Art ........................................................................ 123 

Art Fundamentals ............................................................................................... 124 

Art History I ........................................................................................................ 128 

Art History II ....................................................................................................... 132 

Color Theory and Design ................................................................................... 136 

Figure Drawing................................................................................................... 140 

Media Exploration .............................................................................................. 143 

Photography ...................................................................................................... 147 

Research and Analysis ...................................................................................... 151 

Three-Dimensional Fundamentals ..................................................................... 

Dance Grades 9-12 

156 

Dance and the Creative Process I ..................................................................... 160 

Dance and the Creative Process II .................................................................... 163 

Dance and the Creative Process III ................................................................... 166 

Dance and the Creative Process IV ................................................................... 169 

Technique and the Dancer I ............................................................................... 173 

Technique and the Dancer II .............................................................................. 176 

Technique and the Dancer III ............................................................................. 179 

Technique and the Dancer IV ............................................................................ 182 

viii

Non-VPA Dance 

Introduction to Dance ......................................................................................... 186 

Dance for the Athlete I ....................................................................................... 190 

Dance for the Athlete II ...................................................................................... 

Drama/Theatre Grades 9-12 

194 

Acting I ............................................................................................................... 198 

Acting II .............................................................................................................. 201 

Acting III ............................................................................................................. 204 

Acting IV ............................................................................................................ 208 

Beginning Acting I and II .................................................................................... 212 

Directing for the Stage ....................................................................................... 215 

Introduction to the Theatre ................................................................................. 219 

Introduction to Musical Theatre .......................................................................... 222 

Professional Theatre Issues .............................................................................. 226 

Scenic Design .................................................................................................... 229 

Technical Theatre I ............................................................................................ 233 

Technical Theatre II ........................................................................................... 236 

Theatre and History ........................................................................................... 240 

Theatre in Film ................................................................................................... 243 

Theatre Writing .................................................................................................. 

Music Grades 9-12 

247 

Advanced Placement Music Theory ................................................................... 251 

Bands 9-12 ........................................................................................................ 252 

Jazz Band 9-12 .................................................................................................. 256 

Choirs ................................................................................................................ 259 

Music History and Analysis ................................................................................ 264 

Music Theory I ................................................................................................... 266 

Music Theory II .................................................................................................. 269 

Orchestra 9-12 ................................................................................................... 272 

Glossary .................................................................................................................. 275 

Resources ............................................................................................................... 293 

ix

District Strategic Plan 

Mission Statement 

The mission of the Akron Public Schools, a pioneer in academic excellence passionately committed to 

life-long learning, is to ensure that each student in our diverse population achieves his or her fullest 

potential in a safe and affirming learning center characterized by an extensive, student-focused 

collaboration of all segments of the community, with an emphasis on preparing students to live and excel 

in a global environment. 

Objectives 

• All students will graduate 

• 100% of our students will excel when tested 

• 100% of our students will achieve their personal education plan 

• All students will have good character 

We believe that: 

Belief Statements 

• Common goals and objectives can most effectively be reached in an inclusive diverse environment. 

• Each individual deserves the opportunity to achieve his or her fullest potential. 

• The preservation and nurturing of the family is fundamental to our society. 

• Family is the greatest influence on all its members throughout life. 

• All people have equal and inherent values. 

• A community will flourish to the extent that it fosters individual growth and development. 

• Integrity is essential to trust. 

• Fulfillment of basic needs is the right of every person. 

• All people have a right to a safe environment. 

• All individuals deserve to be treated with respect. 

• Mutual respect is necessary for racial harmony. 

• All people are interdependent. 

• No one of us can do what all of us can do together. 

• Institutions exist to serve the common good. 

• All people are entitled to the equal and impartial application of the law. 

• All individuals have the right to enjoy fundamental personal liberty. 

1

Visual and Performing Arts Philosophy 

The Visual and Performing Arts program provides advanced and integrated education 

through the arts for qualified students whose future goals include further study, career 

training, and lifelong involvement in the arts. The arts training must take into 

consideration the current and future demands of the workplace, society, and the 

individual that go beyond basic reading and writing literacy. In order to participate fully 

in society and to realize their potential, students must encounter an arts program that 

challenges their abilities, capitalizes on their aspirations, and enlarges their views of the 

world and their place in it. If the students are to excel in the arts processes, then the 

processes must be addressed in an integrated fashion developing visual and performing 

arts literacy and conceptual understanding as well as technical skills promoting 

individual expression through the arts. 

3

Visual and Performing Arts Program Goals 

I. The program will enable learners to understand the role of the arts in people’s 

lives, appreciate artistic achievements from past and present cultures. 

II. The program will enable learners to communicate through the arts and develop 

the ability to perceive and think both creatively and critically as well as problem 

solve. 

III. The program will enable the learners to respond to the aesthetic, expressive and 

emotional qualities of the arts. 

IV. The program will enable the learners to understand why people value the arts 

and to develop their own philosophy. 

V. The program will enable the learners to understand connections among the arts, 

other academic disciplines and life experiences. 

5

The Arts Academic Content Standards 

In alignment with Ohio’s fine arts academic standards, the visual and performing arts 

standards used in development of this Graded Course of Study establish the basis for 

what all students should be able to do in the arts. These Standards, Benchmarks, and 

Grade Level Indicators are the common expectations on which the visual and 

performing arts program is based. 

The five academic Fine Arts Standards are: 

1. Historical, Cultural, and Social Contexts 

2. Creative Expression and Communication 

3. Analyzing and Responding 

4. Valuing the Arts/Aesthetic Reflection 

5. Connections, Relationships, and Applications 

7

4-12 Visual and Performing Arts 

Scope and Sequence Chart 

Sequential arts growth involves all five content standards 

Standards/Grade 4 5 6 7 8 9 10 11 12 

Historical, Cultural, 

and Social Contexts 

A A A A A/E E E E E 

Creative Expression and 

Communication 

Analyzing and 

Responding 

Valuing the Arts/Aesthetic 

Reflection 

Connections, 

Relationships, and 

Applications 

D/A D/A D/A D/A A/E E E E E 




I - Introducing by definition, example, and/or discovery learning 

D - Developing, providing the student with opportunities for exploring, practicing, practicing, 

drilling, and problem solving 

A - Applying and internalizing, providing the student with application and experiences 

E - Extending and enriching skills through activity that is broader in scope 

9

Assessment, Evaluation, and Intervention 

Assessment in the arts should be done regularly and continually. High quality formative 

assessment is a necessity and can be done in a variety of methods. Included in those 

are observation, assignments, quizzes, performances, interviews, and student selfevaluation. 

The formative assessments will not only guide the student to higher 

achievement toward the standards, but also allow the teacher to continuously adjust 

instruction to meet student needs. 

With students aware of the criteria, a form of summative assessment should be 

administered at regular intervals. The summative assessment will mark the level of 

student achievement at a point in time. This information can be used to examine the 

effectiveness of instruction, program goals, and the professional needs of the staff. 

Intervention is an integral part of instruction and assessment. It is used to supplement, 

remediate, reinforce and enrich student learning. As soon as students are identified as 

needing intervention, it needs to be provided. This intervention can occur during or after 

regular instruction. 

Instruction is most effective when teachers have mastered differentiated instruction and 

can readily use various formative assessments to continuously monitor student 

achievement. 

11


Grades 4-8 

13

Exploratory Art 4 

Standard #1 Historical, Cultural, and Social Contexts 

Expl. Art 4 - 15 

Students understand the impact of visual art on the history, culture, and society 

from which it emanates. They understand the cultural, social, and political forces 

that, in turn, shape visual art communication and expression. Students identify 

the significant contributions of visual artists to cultural heritage. They analyze the 

historical, cultural, social, and political contexts that influence the function and 

role of visual art in the lives of people. 

Benchmark: A. Recognize and describe visual art forms and artworks from various 

times and places. 

Indicator: • Identify characteristics of art originating from indigenous cultures 

(geometric shapes, repeated patterns, animal or human form, purpose or 

function, earthy colors, symmetrical composition), and formal influences 

(line, shape, texture, value, color, space). 

B. Identify art forms, visual ideas, and images and describe how they are 

influenced by time and culture. 

• Compare and contrast art forms from historical, cultural, and 

contemporary sources. 

Standard #2 Creative Expression and Communication 

Students create artworks that demonstrate understanding of materials, 

processes, tools, media, techniques, and available technology. They understand 

how to use art elements, principles, and images to communicate their ideas in a 

variety of visual forms. 

Benchmark: A. Demonstrates knowledge of visual art materials, tools, techniques, and 

processes by using them expressively and skillfully. 

Indicator: • Create art works that communicate and understanding of elements of 

design using a variety of techniques and materials. 

Standard #3 Analyzing and Responding 

Students identify and discriminate themes, media, subject matter, and formal 

technical and expressive aspects in works of art. They understand and use the 

vocabulary of art criticism to describe visual features, analyze relationships, and 

interpret meanings in works of art. Students make judgments about the quality of 

works of art using the appropriate criteria. 

Benchmark: A. Identify and describe the visual features and characteristics in works of 

art. 

Indicator: • Identify and analyze styles of art from historical, cultural, and 

contemporary perspective. 

• Understand and use vocabulary of art criticism to compare and contrast 

art works.


Standard #4 Valuing the Arts/Aesthetic Reflection 

Students understand why people value visual art. They present their beliefs 

about the nature and significance of selected artworks and the reasons for 

holding these beliefs. Students reflect on and respect diverse points of view 

about artworks and artifacts. 

Benchmark: A. Apply basic reasoning skills to understand why works of art are made 

and valued. 

Indicator: • Acquire a visual art vocabulary. 

• Verbalize connections between an artist’s work and his/her culture 

B. Form their own opinions and views about works of art and discuss 

them with others. 

• Develop an appreciation of visual art from the perspective of the artist, 

the viewer and the consumer. 

• Understand visual art as both a process and a product. 

Standard #5 Connections, Relationships, and Applications 

Students connect and apply their learning of visual art to the study of other arts 

areas and disciplines outside the arts. They understand relationships between 

and among concepts and ideas that are common across subjects in the 

curriculum. Students recognize the importance of lifelong learning and 

experience in visual art. 

Benchmark: A. Describe how visual art is used in their communities and the world 

around them and provide examples. 

Indicator: • Recognize and identify a range of careers in the visual arts. 

• Understand how the visual arts are integrated with other art disciplines 

and other core academic subject areas.




Students understand the impact of visual art on the history, culture and society 






Benchmark: A. Compare and contrast the distinctive characteristics of art forms from 

different times and places. 

Indicator: • Explore how different cultures use the elements of design (i.e., how they 

indicate space or perspective). 

B. Create a work of art, which incorporates the style or characteristics of 

artwork from a culture other than their own. 

D. Research culturally or historically significant works of art and discuss 

their roles in society, history, culture, or politics. 

• Explain how art galleries, museums, and public art contribute to the 

documentation and preservation of art history. 

• Compare and contrast the roles of art galleries, museums, and public art 

and the impact they have on the preservation of art history. 






Benchmark: A. Apply knowledge of materials, tools, media, techniques, and processes 

to communicate subject matter, themes or ideas in a variety of visual 

forms. 

Indicator: • Practice observational and technical drawing skills (e.g., value, 

perspective and illusion of volume). 

• Explore different approaches within their own work, use and explore the 

techniques of several artists. 

B. Create two- and three-dimensional original artwork that demonstrates 

personal visual expression and communication. 

C. Achieve artistic purpose and communicate intent by selection and use 

of appropriate media. 

• Apply problem-solving strategies to improve the creation of artwork. 

D. Use current, available technology to refine an idea and create an 

original, imaginative work of art.


E. Identify and explain reasons to support artistic decisions in the 

creation of artwork. 







Benchmark: A. Apply the strategies of art criticism to describe, analyze, and interpret 

selected works of art. 

Indicator: • Compare and analyze how art elements and principles are used in 

artwork 

• Identify distinctive characteristics in the work of two artists. 

B. Present and support an individual interpretation of a work of art. 

• Explain and discuss multiple meanings in selected artworks. 

• Apply observation and analysis skills to derive meaning in a selected 

artwork and explain their thought processes. 

C. Establish and use criteria for making judgments about works of art. 

• Use specific criteria individually and in groups to assess works of art. 






Benchmark: A. Demonstrate aesthetic inquiry and reflection skills when participating 

in discussions about their nature and value of art. 

Indicator: • Ask questions about a specific piece of art and the choices an artist 

made in creating the work and recognize that different assumptions lead 

to different interpretations of artworks. 

B. Analyze diverse points of view about artworks and explain the factors 

that shape various perspectives. 

• Express a preference between two works of art based on personal 

experience or interests.








Benchmark: A. Demonstrate the role of visual art in solving an interdisciplinary 

problem. 

Indicator: • Use visual art as the foundation of an integrated assignment. 

B. Apply and combine visual art, research and technology skills to 

communicate ideas in visual form. 

• Use technology to conduct information searches, research topics, and 

explore connections to visual art. 

C. Use key concepts, issues and themes to connect visual art to various 

content areas. 

• Use artwork to communicate and enhance understanding of concepts in 

other subject areas (e.g., science, language arts, mathematics, and 

social studies). 

• Select an artwork that illustrates a concept learned in another academic 

content area. 

D. Use words and images to explain the role of the visual arts in 

community and cultural traditions and events.











various cultural historical and social contexts. 

Indicator: • Compare and contrast visual forms of expression found throughout 

different regions and cultures of the world. 

• Identify universal themes (e.g., family, beauty, good versus evil, and 

heroism) conveyed in artworks across various times and cultures. 

B. Create a work of art that incorporates the style or characteristics of 


• Analyze and demonstrate the stylistic characteristics of culturally 

representative artworks, focusing on exaggeration. 

C. Demonstrate knowledge of historical influences on contemporary 

works of art and make predictions about influences on the future of 

visual art. 

• Investigate the roles and relationships between artists and patrons and 

explain the effect on the creation of works of art. 


their roles in society, history, and culture of politics. 

• Research the role of visual art in selected periods of history using a 

variety of primary and secondary sources (e.g., print, electronic media, 

and interviews with a museum curator). 

• Research the historical depiction of the human figure in art. 




how to use art elements, principles and images to communicate their ideas in a 


Benchmark: A. Apply knowledge of materials, tools, media, techniques and processes 


forms. 

Indicator: • Demonstrate skill in changing natural forms for expressive purposes 

(e.g., exaggerating and transforming).

• Draw from observation and change for expressive purposes using 

transformation or exaggeration. 

• Recognize and demonstrate the qualities and characteristics of 

craftsmanship in original works of art. 


B. Create two- and three-dimensional original artwork that demonstrate 


• Explore ways that art making functions as a means of personal 

identification and expression. 

• Use observation, life experiences and imagination as sources for visual 

symbols and images. 




original, imaginative work of art. 











Indicator: • Use appropriate vocabulary to identify the content in works of art created 

for different purposes (e.g., functional, decorative, and social and 

personal). 

• Use a specified piece of art and apply the Steps of Critical Analysis: 

Four Steps of Criticism: 

• • Describe (What do you see?) 

• • Analyze (How does the artist organize the elements and principles 

of art?) 

• • Interpret (What message does the art work convey to you? What do 

you see that makes you say that?) 

• • Judge (Do you think the work is successful?) 


• Interpret selected works of art based on the visual clues in the works. 


• Use criteria for self-assessment and to select and organize works of art 

for a portfolio.









Indicator: • Explain what makes an object a work of art using a range of criteria (e.g., 

the feeling it evokes, the artists’ style and choice of materials, or the 

subject matter). 



• Describe how culture, age, gender, and attitude can affect a person’s 

viewpoint on and response to visual art. 








problem. 

B. Apply and combine visual art, research, and technology skills to 


Indicator: • Use computer skills to organize and visually display quantitative 

information on a chart, map or graph. 

C. Use key concepts, issues, and themes to connect visual art to various 


• Compare the ways that selected ideas and concepts are communicated 

through the perspective of visual art and through the perspectives of 

other academic disciplines. 

D. Use words and images to explain the role of visual art in community 

and cultural traditions and events. 

• Describe the function of art in the daily lives of their communities and 

cultures. 

• Identify the ways in which science and technology influence the 

development of art in various cultures.

Art Interest Area 4 

Art Int. Area 4 - 23 

Each visual art interest area student will maintain a sketchbook of class notes, references materials, 

assigned work, personal reflections, ideas and drawings. Each student will develop a portfolio that 

demonstrates grade level proficiency in a variety of media, techniques and processes. 



from which it emanates. They understand the cultural, social and political forces 





Benchmark: A. Recognize and describe visual art forms and artworks from various 

times and places. 

Indicator: • Identify and describe artwork from various cultural and ethnic groups. 

B. Identify art forms, visual ideas and images and describe how they are 

influenced by time and culture. 

• Compare and contrast art forms from different cultures and their own 

cultures. 

C. Identify and describe the different purposes people have for creating 

works of art. 

• Compare the decorative and functional qualities of artwork. 

D. Place selected visual artists chronologically on a timeline in the history 

of subject matter reflect the time period. 

• Construct a simple timeline that places selected artists and their works 

next to historical events in the same time period. 



processes, tools, media, techniques and available technology. They understand 



Benchmark: A. Demonstrates knowledge of visual art materials, tools, techniques and 

processes by using them expressively and skillfully. 

Indicator: • Identify and select art materials, tools and processes to achieve specific 

purposes in their artwork. 

• As a class, discuss, select and use drawing/painting/sculptural media 

that would best be suited for a proposed project. 

• Explore the elements of design and the purpose each serves in the 

creation of artwork.


B. Use the elements and principles of art as a means to express ideas, 

emotions and experiences. 

• Use of the elements of design to make their own artwork more 

expressive and personal. 

• Solve visual problems. 

• Explore how formal and informal balance affect the artist’s intent. 

C. Develop and select a range of subject matter and ideas to communicate 

meaning in two- and three-dimensional works of art. 

D. Recognize and use ongoing assessment to revise and improve the 

quality of original artworks. 


• Give and receive constructive feedback to produce artworks that meet 

learning goals. 

• Use in-progress critique/assessment to establish strategies to complete 

an artwork. 






Benchmark: A. Identify and describe the visual features and characteristics in works of 

art. 

Indicator: • Compare and contrast how art elements and principles are used in 

selected artworks to express ideas and communicate meaning. 

B. Apply comprehension strategies (e.g., personal experience, art 

knowledge, emotion, and perceptual and reasoning skills) to respond to 

a range of visual artworks. 

• Explain the function and purpose (e.g., utilitarian, decorative, social, and 

personal) of selected art objects. 

• Describe how artists use symbols and imagery to convey meaning. 

C. Contribute to the development of criteria for discussing and judging 

works of art. 

• Refer to criteria when discussing and judging the quality of works of art.







Benchmark: A. Apply basic reasoning skills to understand why works of art are made 

and valued. 

Indicator: • Explain how works of art can reflect the beliefs, attitudes, and traditions 

of the artist. 

• Verbalize connections between an artist’s work and his/her culture and 

lifestyle. 

B. Form their own opinions and views about works of art and discuss 

them with others. 

• Support their viewpoints about selected works of art with examples from 

the works. 

• Interpret an artwork citing specific aspects of the painting to defend 

his/her interpretation. 

C. Distinguish and describe the aesthetic qualities in works of art. 







Benchmark: A. Demonstrate the relationship the visual arts share with other arts 

disciplines as meaningful forms of nonverbal communication. 

Indicator: • Identify and describe common themes, subject matter and ideas 

expressed across arts disciplines. 

• Trace a theme or subject matter across art disciplines. 

• Describe how selected visual art elements or principles are used in one 

or two other arts disciplines. 

B. Use the visual arts as a means to understand concepts and topics 

studied in disciplines outside the arts. 

C. Create and solve an interdisciplinary problem using visual art 

processes, materials, and tools. 

D. Describe how visual art is used in their communities and the world 

around them and provide examples. 

• Recognize and identify a range of careers in visual art (e.g., fashion 

designer, architect, graphic artist, and museum curator).




assigned work, personal reflections, ideas, and drawings. Each student will develop a portfolio that 

demonstrates grade level proficiency in a variety of media, techniques, and processes. 




that, in turn, shape visual art communication, and expression. Students identify 





various cultural, historical, and social contexts. 

Indicator: • Identify visual forms of expression found in different cultures. 

• Explore how different cultures indicate space or perspective. 

• Compare and contrast art forms from various regions and cultural 

traditions of North America. 





visual art. 

• Examine how social, environmental, or political issues affect design 

choices (e.g., architecture, public art and fashion). 


their roles in society, history, culture, or politics. 

• Explain how art galleries, museums, and public art contribute to the 

documentation and preservation of art history. 

• Describe the lives, works and impact of key visual artists in a selected 

period of United States History.




processes, tools, media, techniques and available technology. They understand 





forms. 

Indicator: • Use observational and technical skills to achieve the illusion of depth in 

two-dimensional space (e.g., value, perspective and placement of 

objects). 

• Explore different approaches to creating art in their own work, use and 

explore the techniques of several artists. 



• Identify and communicate sources of ideas (e.g., personal experience, 

interests, nature, or common objects) for their artworks. 



• Apply problem-solving strategies to improve the creation of artwork. 



• Use current available technology to explore imagery and create visual 

effects. 











Indicator: • Compare and analyze how art elements and principles are used for 

expressive purposes (e.g., strong mood, explosive shapes, and rhythmic 

patterns). 

• Compare the works of different artists on the basis of purpose and style 

(e.g., functional/nonfunctional and representational/abstract). 

• Identify distinctive characteristics of two artists.



• Explain and discuss multiple meanings in selected artworks. 


• Identify a list of criteria and use it to develop a rubric to evaluate works of 

art. 

• Use specific criteria individually and in groups to assess works of art. 








Indicator: • Use visual art vocabulary to pose questions that can be answered by an 

aesthetic study of artworks. 

• Recognize that different assumptions and theories of art lead to different 

interpretations of artworks. 



• Explain how personal experience can influence choosing one artwork 

over another. 

• Express a preference between two works of art based on personal 

experience or interests. 








problem. 

Indicator: • Compare and contrast how visual art is used in musical, theatrical, or 

dance productions and provide examples. 



• Use technology to conduct information searches, research topics, and 

explore connections to visual art.




• Use artwork to communicate and enhance understanding of concepts in 

other subject areas (e.g., science, English language arts, mathematics, 

and social studies). 



• Investigate the types of cultural objects artists create and their role in 

everyday environment.















Indicator: • Compare and contrast visual forms of expression found throughout 

different regions and cultures of the world. 

• Identify universal themes (e.g., family, beauty, good versus evil, and 

heroism) conveyed in artworks across various times and cultures. 

• Identify and recognize similarities and differences in art forms (e.g., 

architecture, sculpture, printmaking, textiles) across various times and 

cultures. 



• Analyze and demonstrate understanding of the stylistic characteristics of 

culturally representative artworks. 



visual art. 

• Investigate the roles and relationships between artists and patrons and 

explain the effect on the creation of works of art. 

• Research and analyze how contemporary art movements were 

influenced by and evolved from previous art movements. 



• Research the role of visual art in selected periods of history using a 

variety of primary and secondary sources (e.g., print, electronic media, 

and interviews with a museum curator).








to communicate subject matter, themes, or ideas in a variety of visual 

forms. 

Indicator: • Demonstrate skill in changing natural forms for expressive purposes 

(e.g., exaggerating and transforming). 

• Draw from observation and change for expressive purposes using 

transformation or exaggeration. 





• Explore ways that art making functions as a means of personal 

identification and expression. 

• Use observation, life experiences and imagination as sources for visual 

symbols and images. 

• Explore portraiture at a personal level. 






creation of artwork.










Indicator: • Use appropriate vocabulary to identify the content in works of art created 

for different purposes (e.g., functional, decorative, and social and 

personal). 

• Use a specified piece of art and apply the Steps of Critical Analysis: 

Four Steps of Criticism: 

• • Describe (What do you see?) 

• • Analyze (How does the artist organize the elements and principles 

of art?) 

• • Interpret (What message does the art work convey to you? What do 

you see that makes you say that?) 

• • Judge (Do you think the work is successful?) 

• Explore how the art elements are used to effectively communicate an 

idea through the principles of design. 



• Develop criteria to evaluate their strengths and weaknesses and select 

their strongest works for the inclusion in a portfolio. 

• Use criteria for self-assessment (strengths and weaknesses) to select 

and organize works of art for a portfolio. 








Indicator: • Explain what makes an object a work of art using a range of criteria (e.g., 

the feeling it evokes, the artists’ style and choice of materials, or the 

subject matter). 

• Develop a range of criteria for classifying an object as a work of art.




• Describe how culture, age, gender, and attitude can affect a person’s 

viewpoint on and response to visual art. 








problem. 

Indicator: • Collaborate with peers to depict major events in a selected decade. 

• Visually express a point of view about a major social, political, or cultural 

event. 

B. Apply and combine visual art, research and technology skills to 




• Compare the ways that selected ideas and concepts are communicated 

through the perspective of visual art and through the perspectives of 

other academic disciplines. 

• Compare the ways visual artists have portrayed important historical 

events. 



• Describe the function of art in the daily lives of their communities and 

cultures. 

• Identify the ways in which science and technology influence the 

development of art in various cultures. 

• Identify how science and technology have contributed to and influenced 

the production of art (e.g. photography, printing, electricity, 

industrialization).














various cultural historical and social contexts. 

Indicator: • Use multiple sources to research various art forms used for social, 

cultural or political purposes. 

• Describe how the same subject matter (e.g., portrait, landscape and still 

life) is represented differently in works of art across cultures and time 

periods. 



• Provide insight into the factors (e.g., personal experience, interest, 

cultural heritage, and gender) that might influence an artist’s style and 

choice of subject matter. 

• Choose an artist and look at the development of his or her style and 

discuss some influences of the development of the artwork. 



visual art. 

• List sources of visual culture in society (e.g., television, museums, movie 

theaters, internet, and shopping malls). 

• Discuss sources of visual culture in society and how they influence the 

art of our culture. 



• Select and organize artworks from the same historical period and 

analyze the relationships between the works.









forms. 

Indicator: • Independently apply a variety of techniques to create the illusion of 

depth, including two-point perspective, color, and value changes, 

placement within the composition, size and overlapping. 





• Use a variety of sources to generate original ideas for art making. 



• Independently apply observation skills to refine and improve their 

representational drawings (e.g., add details, improve proportion, create 

distinctive images, and coordinate objects spatially). 



• Use current available technology as the primary medium to create an 

original work of art. 



• Improve craftsmanship and refine ideas in response to feedback and 

self-assessment.










Indicator: • Use appropriate vocabulary to explain how techniques, materials, and 

methods used by artists affect what the artwork communicates. 

• Explain how artist create meaning by selecting specific materials and 

methods in their artwork. 

• Use appropriate vocabulary to explain how the elements and principles 

of art effectively communicate. 










Indicator: • Observe selected artworks and describe the visual features and sensory 

qualities that evoke feelings and emotions. 



• Ask clarifying questions to explain diverse viewpoints about selected 

works of art. 

• Discuss personal beliefs, values, feelings, and assumptions when 

explaining their own perspectives on artwork and connect their 

responses to what they see in the work.









problem. 

Indicator: • Create artwork (e.g., satirical drawing, political cartoon, or advertising 

campaign) that expresses a personal comment about a social, 

environmental, or political issue. 





• Demonstrate understanding of the relationship between words and 

images by applying text to images and images to text. 


and cultural traditions and events.















Indicator: • Explain how social, cultural and political factors affect what artists, 

architects, or designers create. 

• Research and personally interpret symbolism found in art forms from 


B. Create a work of art that incorporates the style or characteristics of 


• Identify artworks that make a social or political comment and explain the 

messages they convey. 



visual art. 

• Identify examples of visual culture (e.g., advertising, political cartoons, 

product design, and theme parks) and discuss how visual art is used to 

shape people’s tastes, choices, values, lifestyles, buying habits, and 

opinions. 

• Discuss visual culture and its affect and influence on consumers. 


their roles in society, history, and the culture of politics. 

• Relate major works of art throughout time to the appropriate historical art 

movement.




processes, tools, media, techniques, and available technology. They 

understand how to use art elements, principles, and images to 

communicate their ideas in a variety of visual forms. 



forms. 

Indicator: • Identify and apply criteria to assess content and craftsmanship in their 

works. 

• Apply independent knowledge of materials and techniques to 

communicate ideas. 



• Demonstrate an enhanced level of craftsmanship in original two- and 

three-dimensional art products. 

• Use observation skills to refine and improve representation of the human 

figure. 



• Experiment with style and demonstrate how the same subject can be 

portrayed in different ways (e.g., a self-portrait interpreted in 

expressionism and through abstraction). 



• Demonstrate increased technical skill by using more complex processes 

to design and create two- and three-dimensional artworks. 

• Create an original piece of art using a computer and or digital camera as 

the primary medium. 



• Explain and defend their artistic decisions using an advanced visual art 

vocabulary.



Students identify and discriminate themes, media, subject matter, and 

formal technical and expressive aspects in works of art. They understand 

and use the vocabulary of art criticism to describe visual features, analyze 

relationships, and interpret meanings in works of art. Students make 

judgments about the quality of works of art using the appropriate criteria. 



Indicator: • Examine a selected work of art and explain how the artist’s choice of 

media relates to the ideas and images in the work. 

• Identify and apply the four stages of art criticism to analyze a specific 

work of art with the focus of the final criticism on the judgment and 

interpretation. 


• Understand how personal experience influences their opinions of 

artworks. 


• Analyze and discuss qualities in the artwork of peers to better 

understand the qualities in their own artworks. 

• Use the four stages of criticism to identify qualities present in their own 

artwork and of their peers. 


Students understand why people value visual art. They present their 

beliefs about the nature and significance of selected artworks and the 

reasons for holding these beliefs. Students reflect on and respect diverse 

points of view about artworks and artifacts. 



Indicator: • Recognize how reflection can change beliefs about the nature and value 

of art. 

• Articulate an understanding of different aesthetic theories (e.g., formal, 

expressive, and contextual) related to viewing and interpreting artworks. 



• Write a viewpoint about a selected work of art, and if available, compare 

the writing with an art critic’s viewpoint of the same work.



Students connect and apply their learning of visual art to the study of 

other arts areas and disciplines outside the arts. They understand 

relationships between and among concepts and ideas that are common 

across subjects in the curriculum. Students recognize the importance of 

lifelong learning and experience in visual art. 


problem. 

Indicator: • Demonstrate different visual forms of representation for the same topic 

or theme (e.g., expressive, graphic, and scientific). 





• Collaborate (e.g., with peers or a community artist) to create a thematic 

work that incorporates visual art. 



• Identify how aspects of culture influence ritual and social artworks. 

• Analyze the impact of ritual and social art in American cultural groups. 

• Explore ways to communicate and support the importance of art in their 

communities (e.g., become an arts advocate, a volunteer, or member of 

a professional arts organization of patron the arts.)

Expl. Dance 4-5 - 42 

Exploratory Dance 4-5 


Students understand dance forms and styles form a diverse range of cultural 

environments of past and present society. They know the contributions of 

significant choreographers, dancers and dance organizations to dance heritage. 

Students analyze the philosophical beliefs, social system and movement norms 

that influence the function and role of dance in the lives of people. 

Benchmark: A. Identify and perform dance from a variety of cultures past and present 

society. Perform and describe dance from various cultures. 

Indicator: • Introduce and identify rhythms, music, and movements of Native 

American, African, and African American cultures. 

• Identify and demonstrate the spatial formations typically used in the 

cultures listed above. 

B. Discuss the settings and circumstances in which dance has been, is, 

and will continue in the students’ lives. 

• Share previously learned movements/warm up activities from other 

physical activities a student may participate in. 

• Discuss how dance and sport activities relate and benefit each other. 

C. Recognize and describe how choreographers, dancers and dance 

contribute to people’s cultural heritage. 

• Discuss how the art form of dance is a means of recording, interpreting 

and passing on history. 


Students create, interpret and perform dances to demonstrate understanding of 

choreographic principles, processes, and structures. They understand how to 

use dance and movement to express ideas and to make meaning in their world. 

Benchmark: A. Improvise, create and perform movement phrases with concentration 

and kinesthetic awareness. Perform basic dance movements, body 

positions, and spatial patterns from one or more dance styles or 

traditions. 

Indicator: • Perform locomotor and nonlocomotor movements in combination and 

sequence altering direction, pathway and tempo. 

• Dance center and across the floor movements in ballet and modern 

techniques. 

• Generate ideas and express them through dance performances. For 

example, end of unit peer presentations and school presentations. 

• Invent and demonstrate multiple solutions to movement problems 

varying space, time, and energy.

B. Reflect on, evaluate and refine choreographic, rehearsal, and 

performance processes. 



• Create original material and demonstrate the use of compositional 

structures in dance. 

• Recognize and discuss the different ways dances are created. 

Students express orally and in writing their interpretations and evaluations of 

dances they observe and perform. They understand and use the vocabulary of 

art criticism to discuss their responses to a variety of dance forms and styles. 

Benchmark: A. Describe their responses to movement experiences using dance 

vocabulary. 

Indicator: • Demonstrate knowledge of terminology (ballet - arm and foot positions 

and elementary across the floor) appropriate to exploratory level 

technique. 

• Discuss and demonstrate the relationship between movement and sound 

in dance. 

B. Participate in discussions about reactions to and interpretations of 

dance performances (in class and video viewing). 

• Participate in discussion after a performance. 

• Evaluate a performance (classroom performances or professional 

groups) based on pre-set criteria. 


Students inquire about the nature and experience of dance in their lives. They 

reflect on the significance and value of dances they observe and perform. 

Students present points of view about dance and respond thoughtfully to others’ 

points of view. 

Benchmark: A. Recognize the value of dance in today’s society. 

Indicator: • Actively discuss and write personal views about dance. 

• Respect others’ opinions of dance.



Students apply their knowledge of dance to the study of other arts areas and 

disciplines outside the arts. Students make connections between dance and 

healthful living. 

Benchmark: A. Relate ideas and concepts from the arts and other content areas to 

expressive movement. Demonstrate the inter-relationship of dance 

content and skills to those in other academic disciplines. 

Indicator: • Integrate the study of dance with all academic areas 

• Create dance sequences based on an idea from another art form and/or 

academic area. 

B. Discuss how dance promotes a healthy way of life. 

• Participate in and actively discuss a proper warm up.

Exploratory Dance 6 


Expl. Dance 6 - 45 






Benchmark: A. Explain the social and historical contexts that influence the 

development of dance in a culture. 

Indicator: • Identify the specific movement, characteristics (e.g. time weight, and 

rhythm) that connect a dance to its culture. 

• Discuss traditional, social, religious and theatrical dances. 

• Explore dance styles from countries around the world. 





Benchmark: A. Perform dance movements, body positions, and spatial patterns from 

one or more dance styles or traditions. 

Indicator: • Perform movement sequences in warm up, center, and across the floor 

in ballet and modern techniques. 

• Use basic level vocabulary as a basis for choreography and 

performance. 

B. Reflect on, evaluate and refine choreographic, rehearsal, teaching and 


• Create a dance sequence, working in pairs, or small groups which can 

be taught to peers 

• Create a movement study that focuses on transitions and the process of 

reordering. 

• Create and rehearse dance sequences, perform for an audience of peers 

and use their feedback to make improvements. 

C. Perform a variety of dance forms that demonstrate artistic expression 

and performance skills at the sixth grade exploratory level. 

• Rehearse and present full dances as peer presentations and school 

presentations.

Expl. Dance 6 - 46 






vocabulary. 

Indicator: • Discuss and demonstrate how changing dance movements can affect 

interpretation of concepts and themes. 






Benchmark: A. Articulate their viewpoints about the merits of selected dances and 

explain the basis for their views. 

Indicator: • Actively discuss personal preferences for dance styles. 

• Support your opinion and respect others’ opinions of dance. 









• Create dance pieces based on an idea from another art form and/or 


• Identify, select, or create written works as sources for movement and 

choreographic ideas. 

B. Create and demonstrate correct warm-up activities independently and 

in a group. 

• Actively discuss a proper warm up for specific techniques. 

• Discuss risky and unsafe practices in dance.

Dance Interest Area 4-5 


Dance Int. 4-5- 47 






Benchmark: A. Identify and perform dance from a variety of cultures past and present 

society. Perform and describe dance from various cultures. 

Accomplish technical skills as described on syllabus for each class 

level. 

Indicator: • Introduce and identify rhythms, music, and movements of Native 

American, African, and African American cultures. 

• Identify and demonstrate the spatial formations typically used in the 

cultures listed above. 

• Identify and demonstrate technical skills based on rubric per class level. 

B. Discuss the settings and circumstances in which dance has been, is, 

and will continue in the students’ lives. 

• Share previously learned dance movements in solo and/or group works. 

• Share dance movements as new terminology is learned through 

choreographic assignments. 

C. Recognize and describe how choreographers, dancers and dance 

contribute to people’s cultural heritage. 

• Read or listen to the life story of one or more American choreographers 

and describe his/her contributions to dance history. 

• Understand the relationship of the choreographers to syllabus studied at 

the fourth and fifth grade level. 





Benchmark: A. Improvise, create and perform movement phrases with concentration 

and kinesthetic awareness. Perform basic dance movements, body 

positions, and spatial patterns from one or more dance styles or 

traditions. 

Indicator: • Perform locomotor and nonlocomotor movements in combination and 

sequence altering direction, pathway and tempo. 

• Dance center and across the floor movements in all dance techniques 

(ballet, modern, tap, jazz). 

• Generate ideas and express them through dance performances. For 

example, end of unit peer presentations, school presentations, lecture

Dance Int. 4-5 - 48 

demonstration performances as outreach to the community, and public 

performances. 

• Demonstrate and describe similarities and differences between dance 

styles. 

B. Reflect on, evaluate and refine choreographic, rehearsal, and 



• Create original material and demonstrate the use of compositional 

structures in dance. 

• Recognize and discuss the different ways dances are created. 

• Demonstrate movement skill, personal discipline and kinesthetic 

awareness in dance rehearsal and performance. 





vocabulary. Analyze how dance elements are used to convey concepts 

or themes in dance performances. 

Indicator: • Demonstrate knowledge of terminology appropriate to grade level 

technique. 

• Explore, develop and increase technical skills using provided 

terminology. 

B. Participate in discussions about reactions to and interpretations of 

dance performances. Analyze how dance elements are used to convey 

concepts or themes. 

• Participate in discussion after a performance. 

• Evaluate a performance (classroom performances or professional 

groups) based on pre-set criteria. 






Benchmark: A. Recognize the value of dance in today’s society. 

Indicator: • Actively discuss and write personal views about dance. 

• Respect others’ opinions of dance.


Dance Int. 4-5- 49 








• Create a dance based on an idea from another art form and/or academic 

area. 

B. Discuss how dance promotes a healthy way of life. 

• Participate in and actively discuss a proper warm up for specific 

techniques.

Dance Int. 6 - 50 

Dance Interest Area 6 









Indicator: • Individually research a specific country. 

• Present information including type of dance, costumes, music, and 

current dance training as well as demonstrate dance steps indigenous to 

the specific country. 

• Identify the specific movement characteristics that connect the dance 

form to its culture. 

• Explain how cultural/ethnic groups contribute to the development of the 

dance form. 

• Identify the dance form as traditional, religious based, social or theatrical. 





Benchmark: A. Perform intermediate dance movements, body positions, and spatial 

patterns from one or more dance styles or traditions. Accomplish 

technical skills as described on syllabus for each class level. 

Indicator: • Perform higher-level movement sequences in warm up, center, and 

across the floor in all dance techniques. 

• Use intermediate level vocabulary as a basis for choreography and 

performance 




• Discuss and evaluate the rehearsal and performance expectations at the 

start of the year 

• Refine the procedure throughout the year 

• Create a dance sequence, working in pairs, to teach to peer class level. 

• Create a movement study that has clear intent, explores dance elements 

and uses choreographic principles. 

• Discuss the use of different accompaniment such as sound, music, 

lighting, sets, props and text enhances artistic expression and dance 

performance.

Dance Int. 6- 51 


and performance skills at the sixth grade level. 


• Rehearse and present full dances as peer presentations, school 

presentations, lecture demonstration performances as outreach to the 

community, and public performances. 







Indicator: • Write and/or discuss dance sequences by technical levels, 

choreographic complexity, and abstract versus non-abstract themes. 

• Discuss and demonstrate how changing dance movements can affect 


• Write a critique of performance. 








Indicator: • Actively discuss personal preferences for dance styles, costuming, 

music, sets and props, and performance sites. 


• Choreograph an autobiographical work and discuss the experience.












B. Create and demonstrate correct warm-up activities independently and 

in a group. 

• Actively discuss a proper warm up for specific techniques. 

• Discuss risky and unsafe practices in dance. 

• Create/present a safe dance sequence to be used in a warm-up









Benchmark: A. Research a recognized contributor to dance (choreographer, performer, 

artistic director, educator) and trace the development of the individual’s 

work to its historical and cultural influences. 

Indicator: • Individually research a specific person. 

• Present information including background, training, professional 

experience, influence from others, influence on others, major 

contributions to the art form. 

• Discuss how dances reflect the heritage, traditions and beliefs of the 

person being researched. 

B. Discuss ways that dance is integrated into a community and provide 

examples. 

• Investigate careers in dance that benefit the community, such as dance 

therapist for physically and mentally impaired people and dance 

movement teacher for underprivileged children. 





Benchmark: A. Perform advanced intermediate dance movements, body positions, and 

spatial patterns from one or more dance styles or traditions. 


level. 



• Use intermediate level vocabulary as a basis for choreography and 

performance 


• Perform movement sequences from a traditional dance form with 

complex understanding and awareness of alignment, balance, 

coordination and focus. 

• Create a movement study focused on weight sharing, partnering and 

contrasting/complimentary shapes. 



• Discuss the use of different accompaniment such as sound, music, 

lighting, sets, props and text enhances artistic expression and dance 

performance.







• Create a dance sequence, working alone or in pairs, to teach to peer 

class level. 

• Develop and demonstrate a higher level of competence and a welldefined 

sense of personal discipline in rehearsal and performance 

processes. 

• Create a dance study that reflects a specific movement concept (e.g. 

movement qualities) 

• Compose a small-group study that explores spatial relationships. 

• Perform a dance that demonstrates increased technical skill, dynamic 

range and expression for an audience. 

• Compose a dance that demonstrates personal movement preferences 

and a range of movement vocabulary. 


and performance skills at the seventh grade level. 













• Differentiate among statements of description, interpretation and 

evaluation and use them in discussion about dance performance. 




• Examine and describe how dance works reflect themes and issues of 

contemporary times.

B. Apply knowledge of dance elements, techniques, styles and 

choreographic forms to critique dances using defined criteria. 


• Research the life of an artistic director and/or choreographer prior to 

attending a live performance. 

• View a recorded performance of dance works to be presented at a live 

performance. 

• Attend a live dance performance 

• Discuss, critique, and compare the experience of viewing a live dance 

performance with viewing a recorded version of the same dance. 








• Recognize and discuss the difference between assessing the quality of a 

dance and a personal preference for a dance. 

• Actively discuss personal preferences for dance styles, costuming, 



B. Demonstrate reasoning skills when engaging in inquiry about dance. 

• Understand and explain how the viewer’s personal experience and 

interests affect the meaning of a dance. 








Indicator: • Integrate the study of dance with all academic areas. 



• Identify, select and use literary works as sources for choreographic and 

movement ideas. 

• Choose a visual artist, research the artist’s life, write a research report, 

choose a work by the artist, and create a dance based on the artist 

and/or the work. 

• Research an assigned dance artist and present information including 

background, training, professional experience, influence from others, 

influence on others, major contributions to the art form. 

• Research a dance career, in a group, and present to peers.


B. Create/demonstrate correct dance class activities independently and in 

a group and teach to peers. Discuss risky and unsafe practices in 

dance. 

• Actively discuss a proper dance class for specific techniques. 

• Create and present safe dance sequences to be used in a warm up, 

center and across the floor.











Indicator: • Share specific examples of how dance functions in the lives of people of 

different ages and genders including their own. 

• Study and examine a historically significant choreographer, professional 

dancer, educator, artistic director and describe his/her contribution to 

dance history. 





Benchmark: A. Perform advanced intermediate dance movements, body positions, and 

spatial patterns from one or more dance styles or traditions. 


level. 




• Use advanced intermediate level vocabulary as a basis for choreography 

and performance 

• Perform movement sequences from a traditional dance form with 

complex understanding and awareness of alignment, balance, 

coordination and focus. Increase strength and flexibility. 

• Create a movement study focused on weight sharing, partnering and 

contrasting/complimentary shapes. 








• Create a dance sequence, working alone or in pairs, to teach to peer 

class level. 

• Develop and demonstrate a higher level of competence and a welldefined 

sense of personal discipline in rehearsal and performance 

processes.


• Create a dance study that reflects a specific movement concept (e.g. 

using props, costumes, sets, choreographic structures) 

• Compose a small-group study that explores spatial relationships. 


range and expression for an audience. 

• Compose a dance that demonstrates personal movement preferences 

and a range of movement vocabulary. 


and performance skills at the eighth grade level. 





• Perform movement sequences from memory in more than one dance 

style. 

• Collaborate with peers to create original material for a dance. 

• Create a solo dance to demonstrate originality, unity, clarity of intent and 

a dynamic range of movement. 









• Differentiate among statements of description, interpretation and 

evaluation and use them in discussion about dance performance. 




• Discuss how elements of production affect the meaning of a dance. 

• Examine and describe how dance works reflect themes and issues of 

contemporary times. 

• Compare and contrast recognized works of dance and choreographers 

to identify criteria for assessing outstanding dance performance. 

B. Apply knowledge of dance elements, techniques, styles and 

choreographic forms to critique dances using defined criteria. 

• View a recorded performance of dance works to be presented at a live 

performance. 

• Attend a live dance performance 

• Discuss, critique, and compare the experience of viewing a live dance 

performance with viewing a recorded version of the same awareness of 

dance.









Indicator: • Recognize and discuss the difference between assessing the quality of a 

dance and a personal preference for a dance. 

• Actively discuss personal preferences for dance styles, costuming, 



B. Demonstrate reasoning skills when engaging in inquiry about dance. 

• Understand and explain how the viewer’s personal experience and 

interests affect the meaning of a dance. 

• Identify and explain their preferences for choreography using the 

vocabulary of dance. 











• Identify, select and use literary works as sources for choreographic and 

movement ideas. 

• Choose a visual artist, research the artist’s life, write a research report, 

choose a work by the artist, and create a dance based on the artist 

and/or the work. 

• Identify and research a dance career (choreographer, dance therapist, 

dance critic, artistic director, ballet mistress/master, dance historian, 

lighting designer, costume designer, hair and make-up designer) and 

explain the specialized training, experience and education required for 

each. Present to peers.


B. Create/demonstrate correct dance class activities independently and in 

a group and teach to peers. Discuss risky and unsafe practices in 

dance. 

• Actively discuss a proper dance class for specific techniques. 

• Create and present safe dance sequences to be used in a warm up, 

center and across the floor. 

• Research an injury or disease (e.g. scoliosis) that affects a dancer’s 

ability to take class, rehearse, and perform. Demonstrate and discuss 

knowledge of anatomy and physiology in taking care of and/or preventing 

the injury.

Exploratory Drama 4 


Expl. Drama 4 - 61 

Students understand and appreciate the historical, social, political, and cultural 

contexts of drama/theatre in societies both past and present. Students identify 

significant contributions of playwrights, actors, designers, technicians, 

composers/lyricists, choreographers, directors, producing organizations, and 

inventors to dramatic/theatrical heritage. Students analyze the social and political 

forces that have influenced and do influence the function and role of 

drama/theatre in the lives of people. 

Benchmark: A. Recognize and demonstrate audience/viewer behavior appropriate for 

the context and style of the art form. 

Indicator: • Discuss how a performer adjusts to a specific audience. 

B. Identify and compare similar characters and situations in 

stories/dramas from and about various cultures and time periods. 

• Explain how certain characters reflect their time periods and cultures. 

• Identify drama/theatre or storytelling traditions in the cultures or ethnic 

groups throughout the history of Ohio. 

C. Explain the role of writers in creating live theatre, film/video and 

broadcast media. 

• Discuss how a written adaptation of story varies between media forms 

including theatre, film/video, and broadcast media. 


Students improvise, create, produce, and perform dramatic/theatrical works. 

Students experiment with dramatic/theatrical processes, develop 

dramatic/theatrical skills, and participate in drama/theatre. 

Benchmark: A. Sustain characters with consistency in classroom dramatizations. 

Indicator: • Create the movement and voice of a character and predict/explain the 

consequences of the character's decisions and actions. 

• Manipulate voice, movement, space, and/or physical objects to express 

or communicate thoughts, feelings and ideas both in improvised and 

scripted activities. 

• Create a variety of improvisations based on a dramatic theme 

B. Create places/spaces where performances can be staged. 

• Manipulate various design components to create an appropriate 

environment for a story or scene. 

C. Demonstrate various ways to stage classroom dramatizations. 

• Direct a fellow student how to perform a task or action two different ways 

in a dramatic situation.


D. Communicate a story through storytelling or scripted screen work. 

• Use vivid language to create a script around one or more elements of 

theatre such as character, action, props or settings. 

• Discuss the point of view in grade-level literature. 

Standard #3 Analyzing and Responding Standard 

Students respond to dramatic/theatrical texts, experiences, and performances by 

describing the distinguishing characteristics and interpreting meaning, themes. 

and moods. Students analyze the creative techniques used in creating and 

performing dramatic/theatrical works and evaluate dramatic/theatrical works 

using appropriate criteria. 

Benchmark: A. Use dramatic/theatrical vocabulary and concepts in responding to 

dramatic/ theatrical experiences. 

Indicator: • Use appropriate dramatic/theatrical vocabulary (e.g., conflict, resolution) 

to describe dramatic/theatrical experiences. 

• Use and respond to stage directions (upstage, stage right etc.). 

• Describe the plot, characters, conflict, resolution, and theme of a 

dramatic/theatrical work or experience. 

B. Explain the impact of choices made by artists (e.g., playwrights, actors, 

directors, designers) in dramatic/ theatrical works or experiences. 

• Identify the production concept in a dramatic/theatrical work. 

• Compare and contrast the impact drama/theatre, film/video, and 

broadcast media have on the audience. 

• Analyze the playwright's use of language. 

C. Apply criteria for evaluating a theatrical work. 

• Assess if a dramatic/theatrical production fulfilled the playwright's intent. 

Standard #4 Valuing Drama/Theatre/Aesthetic Reflection 

Students demonstrate an understanding of reasons why people value 

drama/theatre and a respect for diverse opinions regarding dramatic/theatrical 

preferences. Students develop personal drama/theatre philosophies and 

articulate the significance of drama/theatre in their lives. 

Benchmark: A. Apply personal criteria for evaluating drama/theatre works or 

experiences. 

Indicator: • Justify personal opinions about a drama/theatre work or experience. 

B. Acknowledge the diversity of personal opinions expressed in response 

to a drama/theatre work or experience 

• Restate opinions of others about a drama/theatre work or experience.



Students identify similarities and differences between drama/theatre and other art 

forms. Students recognize the relationship between concepts and skills learned 

through drama/theatre with knowledge learned in other curricular subjects, life 

experiences, and potential careers in and outside the arts. Students recognize 

the benefits of lifelong learning in drama/theatre. 

Benchmark: A. Demonstrate ways that the principles and content of other school 

curricular disciplines including the arts are interrelated with those of 

theatre. 

Indicator: • Use elements of theatre in conjunction with at least one other art form to 

communicate information. 

• Use problem-solving and cooperative skills to dramatize a story, current 

event, or a concept from another area. 

B. Collaborate with classmates to plan, prepare, and present 

dramatizations including scenes from Ohio history and various 

cultures. 

• Use drama/theatre to retell events in Ohio history. 

• Identify where dramatic/theatrical activities occur in the 

school/community.

Expl. Drama Gr. 5 - 64 










Benchmark: A. Explain the style of a dramatic/theatrical work in historical or cultural 

context. 

Indicator: • Identify production styles. 

• Research and explain where, when, and how dramatic/theatrical 

activities occurred in a specific time period. 

• Investigate how drama/theatre and storytelling forms - past and present - 

of various cultural groups may reflect their beliefs and traditions. 

B. Compare and contrast forms of theatre from various time periods. 

• Discuss contributions to theatre arts of a performer, playwright or 

screenwriter from a specific time period. 






Benchmark: A. Use basic acting skills (e.g., voice, posture, movement, language) to 

develop characterizations. 

Indicator: • Create the movement and voice of a character in comedic and dramatic 

situations. 

• Use sensory and memorization skills to create a character. 

B. Explain the functions and interrelated nature of scenery, props, 

lighting, sound, costumes, and makeup to create an environment 

appropriate for drama. 

• Analyze various design components used in a dramatic/theatrical event. 

C. Explore the roles and responsibilities of various theatrical personnel. 

• Explain the roles and responsibilities of a director, stage manager, and 

business manager. 

D. Create scripted scenes based on personal experience and heritage. 

• Write a scripted scene from a prompt that provides exposition, consistent 

point of view, sensory details, and dialogue.




describing the distinguishing characteristics and interpreting meaning, themes, 




Benchmark: A. Use appropriate dramatic/theatrical vocabulary, elements and 

principles. 

Indicator: • Use appropriate dramatic/theatrical vocabulary to describe 

dramatic/theatrical experiences. 

• Use script-writing techniques including stage directions. 

• Identify character types and relationships. 

B. Discuss the collaborative nature of drama/theatre as a vehicle for the 

expression of ideas. 

• Explain how the setting of a dramatic/theatrical work affects 

characterization. 

• Explain the use of a production concept in a dramatic/theatrical work. 

• Differentiate among the unique characteristics of live theatre, film/video, 

and broadcast media. 

C. Articulate opinions about dramatic/theatrical work using established 

criteria. 

• Justify a presentation form (i.e., live theatre, film/video, and broadcast 

media) to communicate an idea or message. 

• Critique a dramatic/theatrical performance. 






Benchmark: A. Defend personal responses to a drama/theatre event. 

Indicator: • Describe ways that drama/theatre, film/video, and broadcast media 

express the artist's perspective and evoke a personal response. 

B. Compare personal responses to a drama/theatre event with the 

response of another. 

• Identify factors that cause diverse opinions about a drama/theatre work 

or experience.







the benefits of lifelong learning in drama/theatre 

Benchmark: A. Discover the interdependence of theatre and other art forms. 

Indicator: • Combine art forms to create a dramatic/theatrical experience. 

B. Explain the relationship between concepts and skills used in 

drama/theatre with other curricular subjects. 


event, or a concept from another content area 

C. Identify recurring drama/theatre ideas and concepts that occur across 

time periods and/or cultures. 

• Identify the cultural characteristics in selected drama/theatre 

performances from other countries. 

D. Discuss drama/theatre skills as a foundation for lifelong learning and 

potential employment. 

• Work cooperatively in different roles/jobs within a dramatic/theatrical 

experience




Students understand and appreciate the historical, social, political and cultural 



composers/lyricists, choreographers, directors, producing organizations and 





context. 

Indicator: • Discuss production styles. 

• Read, discuss and/or perform a play written in a time period. 

• Discuss the production styles of various cultures. 

B. Compare and contrast forms of popular theatre from various time 

periods. 

• Compare and contrast the styles of acting over time. 






context. 

Indicator: • Create a character using appropriate voice, posture, movement, and 

language 

• Use spatial awareness, focus, rhythm, and emotional recall to interpret 

experiences as an actor. 




• Design various technical components (e.g. scenery, sound, lighting, 

costume design, properties, makeup) for a particular story/scene. 


• Select a script or story for production and choose the media to be used 

(e.g., live theatre, film/video, broadcast media). 

• Explain the roles and responsibilities of a scenic designer, lighting 

designer, and sound designer.



• Write a scripted scene that uses plot structure, stage directions, 

develops characters, and employs vivid language to create a setting. 







Benchmark: A. Use appropriate dramatic/theatrical vocabulary, elements, and 

principles. 

Indicator: • Demonstrate accurate use of dramatic/theatrical vocabulary, elements, 

and principles. 



• Differentiate between character types and relationships. 

• Explain how a change in a production concept would change the 

presentation of a dramatic/theatrical work. 


criteria. 

• Evaluate the use of a production concept in an actual performance. 

• Support judgments about the effectiveness of the actors' interpretations 

of their roles in a performance. 

• Evaluate technical elements in a production. 







Indicator: • Discuss the role of drama/theatre in their lives. 



• Identify factors that cause changes in opinions about a drama/theatre 

work or experience.






experiences and potential careers in and outside the arts. Students recognize the 

benefits of lifelong learning in drama/theatre. 


Indicator: • Compare and contrast various art forms and their creative processes to 

those of drama/theatre. 



• Use dramatic/theatrical skills to communicate concepts or ideas from 

other academic content areas. 



• Collaborate in a dramatic/theatrical activity to achieve a common goal. 




experience 

• Describe what a director does. 

E. Discuss and debate the ethics of theatre and collaboration. 

• Explain and apply Grotowski’s principles of silence. 

• Explain and apply Grotowski’s principles of a clutter free workspace. 

• Identify and apply professional rehearsal and performance practices

Drama Int. Area 4 - 70 

Drama Interest Area 4 









Benchmark: A. Research a dramatic/theatrical form in historical or cultural context. 


• Research and explain where, when and how dramatic/theatrical activities 

occurred in a specific time period. 



B. Compare and contrast styles of theatre from various time periods. 

• Evaluate and analyzing the differences in silent vs. verbal work, by 

viewing films of silent film comedians, such as Charlie Chaplin. 

• Analyze the social and political influences on various forms of popular 

entertainment (immigration upon Vaudeville, etc). 

C. Discuss lasting contributions to theatre from a specific time period 

• Create a project and performance based upon analysis of clowning, 

Shakespeare, Vaudeville, or silent films. 


Students improvise, create, produce and perform dramatic/theatrical works. 



Benchmark: A. Develop a personal physical and vocal warm-up. 

Indicator: • Develop physical flexibility and tune the body/mind for 

rehearsal/performance 

• Develop vocal skills: projection, articulation, resonance and tone. 

B. Sustain characters with consistency in dramatizations. 

• Create the movement and voice of a character and predict/explain the 

consequences of the character's decisions and actions. 

• Manipulate voice, movement, space and/or physical objects to express 

or communicate thoughts, feelings and ideas both in improvised and 

scripted activities. 

• Create a variety of improvisations based on a dramatic theme.

C. Develop pantomime skills. 

• Create an individual pantomimed story. 

• Collaborate to create a group pantomime story 

D. Develop playwriting skills. 


• Use improvisation to create an outline for a play. 

• Understand and implement the elements of dramatic structure in a 

written script. 

E. Develop improvisation skills through use of a variety of theatre games. 

• Master the Who/What/Where elements separately, and then combine to 

create group collaborations. 

• Use improvisation to explore the collaborative process: learning how to 

build on ideas, respect each other's contributions, discover how to use 

time efficiently, develop positive understanding for each member of the 

group. 

• Use improvisation to evaluate effective performance qualities by 

soliciting feedback after each performance in class. 

• Use improvisation to explore the literature of a variety of cultures. 

• Apply improvisation techniques to stories from literature and real life 

situations. 


Students respond to dramatic/theatrical texts, experiences and performances by 

describing the distinguishing characteristics and interpreting meaning, themes 



using appropriate criteria 

Benchmark: A. Use dramatic/theatrical vocabulary and concepts in responding 

to dramatic/ theatrical experiences. 

Indicator: • Use appropriate dramatic/theatrical vocabulary (e.g., conflict, resolution) 

to describe dramatic/theatrical experiences. 

• Describe the plot, characters, conflict, resolution and theme of a 

dramatic/theatrical work or experience. 

B. Explain the impact of choices made by artists (e.g., playwrights, actors, 

directors, designers) in dramatic/ theatrical works or experiences. 

• Identify the production concept in a dramatic/theatrical work. 

• Compare and contrast the impact drama/theatre, film/video, and 

broadcast media have on the audience. 

• Analyze the playwright's use of language. 

C. Apply criteria for evaluating a theatrical work. 

• Assess if a dramatic/theatrical production fulfilled the playwright's intent. 

• Evaluate and analyze the differences in silent vs. verbal work, by viewing 

films of silent film comedians, such as Charlie Chaplin.







Benchmark: A. Apply personal criteria for evaluating drama/theatre works or 

experiences. 

Indicator: • Justify personal opinions about a drama/theatre work or experience. 

B. Represent the diversity of personal opinions expressed in response to 

a drama/theatre work or experience. 

• Restate opinions of others about a drama/theatre work or experience. 







Benchmark: A. Demonstrate ways that the principles and content of other school 

curricular disciplines including the arts are interrelated with those of 

theatre. 

Indicator: • Use elements of theatre in conjunction with at least one other art form to 

communicate information. 


event or a concept from another area. 

B. Collaborate with classmates to plan, prepare and present 

dramatizations including scenes from Ohio history and various 

cultures. 

• Use drama/theatre to retell events in Ohio history. 

• Identify where dramatic/theatrical activities occur in the 

school/community.

Drama Interest Area 5 











context. 






B. Compare and contrast forms of popular theatre from various time 

periods 

• Discuss contributions to theatre arts of circus and clowning, Vaudeville, 

and silent films. 





Benchmark: A. Use basic acting skills (e.g., voice, posture, movement, language) to 

develop characterizations. 

Indicator: • Create the movement and voice of a character in both comedic and 

dramatic situations. 

• Use spatial awareness and physical acting skills to create a character. 

• Develop focus, timing, and balance through use of clowning techniques 

such as juggling, simple acrobatics, tumbling, and slapstick comedy 


lighting, sound, costumes and makeup to create an environment 


• Analyze various design components used in a dramatic/theatrical event. 


• Explain the roles and responsibilities of a director, stage manager and 

business manager.



• Write a scripted scene from a prompt that provides exposition, consistent 

point of view, stage directions and dialogue. 

E. Select a poem to memorize and perform. 

• Incorporate vocal techniques for projection and articulation. 

• Develop appropriate emphasis, coloration, pacing and rhythm. 






using appropriate criteria 

Benchmark: A. Use appropriate dramatic/theatrical vocabulary, elements and 

principles. 

Indicator: • Use appropriate dramatic/theatrical vocabulary to describe 

dramatic/theatrical experiences. 

• Use script-writing techniques including stage directions. 

• Identify character types and relationships. 



• Explain how the setting of a dramatic/theatrical work affects 

characterization. 

• Explain the use of a production concept in a dramatic/theatrical work. 

• Differentiate among the unique characteristics of live theatre, film/video. 

and broadcast media 


criteria. 

• Justify a presentation form (i.e., live theatre, film/video, and broadcast 

media) to communicate an idea or message. 

• Critique a dramatic/theatrical performance.








Indicator: • Describe ways that drama/theatre, film/video, and broadcast media 

express the artist's perspective and evoke a personal response. 



• Identify factors that cause diverse opinions about a drama/theatre work 

or experience. 








Indicator: • Combine art forms to create a dramatic/theatrical experience. 




event, or a concept from another content area. 



• Identify the cultural characteristics in selected drama/theatre 

performances from other countries. 




experience. 

E. Discuss and apply the ethics of theatre and collaboration. 



• Identify and apply professional rehearsal and performance practices.

Drama Int. 6 - 76 

Drama Intermediate 6 










context. 

Indicator: • Discuss production styles. 

• Read, discuss, and/or perform a play written in a time period. 

• Discuss the production styles of various cultures 

B. Compare and contrast playwrights and/or screenwriters from various 

time periods. 

• Compare and contrast the work of a playwright and a screenwriter. 





Benchmark: A. Explain and demonstrate the style of commedia dell’arte in historical or 

cultural context. 

Indicator: • Create a commedia character using appropriate voice, posture, 

movement, and language 

• Create a commedia mask and demonstrate proper mask technique. 

• Develop a commedia scenario based upon a work of literature. 

• Collaborate to create an original commedia scenario. 

B. Explain the functions and interrelated nature of camcorder technique, 

editing, scenery, props, lighting, sound, costumes, and makeup to 

create an environment appropriate for creating a movie. 

• Create a production timeline from pre-production to post-production, 

including deadlines and a list of responsibilities. 

C. Explore the roles and responsibilities of video and film personnel. 

• Prepare a movie proposal and pitch it in front of the class. 

• Select a script or story for production and take on a role in the production 

team.

D. Create a screenplay as a class project. 


• Write a scripted scene that has structure, develops characters and 

employs vivid language to create a setting 

• Prepare a full storyboard for the director and camera operators. 

E. Use physical and vocal acting skills to develop a variety of 

characterizations. 

• Create and sustain various characters using appropriate voice, posture, 

movement, and language. 

• Demonstrate detailed and focused use of voice, movement, space, 

and/or physical objects to express thought, feeling, and character. 

• Identify the differences between stage and film acting. 








principles. 

Indicator: • Demonstrate accurate use of commedia dell’arte vocabulary, elements, 


• Demonstrate accurate use of drama/video vocabulary, elements, and 

principles. 

B. Discuss the collaborative nature of commedia dell’arte/film-making as a 

vehicle for the expression of ideas. 

• Differentiate between commedia character types and relationships. 

• Explain how a change in a production concept would change the 

presentation of a commedia or filmed work. 

C. Articulate opinions about dramatic/theatrical or filmed work using 

established criteria. 

• Evaluate the use of a production concept in an actual performance. 

• Support judgments about the effectiveness of the actors' interpretations 

of their roles in a performance. 

• Evaluate technical elements in a production. 







Indicator: • Discuss the role of drama/theatre in their lives.




• Identify factors that cause changes in opinions about a drama/theatre 

work or experience. 

C. Compare and contrast the needs of the performer with that of the 

audience. 

• Analyze the differences between indoor and outdoor performance 

techniques and how they enhance communication with the audience. 

• Identify differences between live and filmed performances. 

• Identify differences between a theatre audience and a movie audience. 








Indicator: • Compare and contrast filmmaking and commedia dell’arte and their 

creative processes to those of drama/theatre. 



• Use dramatic/theatrical skills to communicate concepts or ideas from 

other academic content areas. 



• Collaborate in a dramatic/theatrical activity to achieve a common goal. 




experience 

• Describe what a director does. 





Advanced Acting 7 


Adv. Acting 7 - 79 









context. 

Indicator: • Identify the basic principles and elements of representational theatre and 

presentational theatre. 





B. Compare and contrast actors, directors, or playwrights from various 

time periods 

• Research and report on the biography of an actor 





Benchmark: A. Use acting skills (e.g., voice, posture, movement, language) to develop 

characterizations. 

Indicator: • Create a variety of comic and dramatic characters using appropriate 

voice, posture, movement, and language to reveal a conflict and develop 

a resolution. 

• Prepare and present a duet pantomime 

• Select, prepare, and present a monologue from a Shakespeare play. 

• Prepare and present a duet scene from a Shakespeare play. 

B. Investigate the audience/performer relationship in terms of staging a 

scene. 

• Identify and experiment with arena, platform, thrust, proscenium, and 

environmental or found spaces. 

• Determine how the performance space shapes the performer and helps 

to determine the actions of the play.









principles. 

Indicator: • Demonstrate accurate use of dramatic/theatrical vocabulary, elements, 


• Demonstrate understanding of Shakespearean text and verse 

intellectually, vocally and physically. 


expression of ideas 

• Analyze a live dramatic/theatrical performance (e.g., class performance, 

school performance, community, or professional performance). 

• Analyze the features of setting and the interactions of characters and 

conflicts and their importance in a Shakespeare play. 



• Compare and contrast different filmed versions of a Shakespeare play. 

• Assess monologues and duet acting scenes 







Indicator: • Apply personal criteria to respond to a drama/theatre work, experience, 

or event. 


response of another person. 

• Compare personal opinions with those of critics about a drama/theatre 

work or experience.









Indicator: • Analyze the effectiveness of a given art form to communicate an idea or 

concept. 



• Use problem-solving and cooperative skills to dramatize a social issue 

and its potential impact and/or solution. 



• Explain how cultural influences affect the content or meaning of 

dramatic/theatrical works. 

• Compare and contrast how dramatic/theatrical works from different 

cultures and time periods convey the same or similar ideas and 

concepts. 



• Describe an individual's role in a collaborative effort. 

• Describe the roles and responsibilities of performing and technical artists 

in drama/theatre, film/video, and broadcast media. 





Directing 8 


Directing 8 - 83 









context. 

Indicator: • Compare and contrast styles of performance. 

• Identify principles and elements of a dramatic/theatrical work from a 

specific time period. 

• Change the production styles of a dramatic/theatrical work from one 

cultural perspective to another. 

B. Research and discuss the role of the director from a historical 

perspective. 

• Compare and contrast the functions of the director in the 19 th and 20 th 

centuries 

• Speculate on the role of the director in the future. 





Benchmark: A. Select and prepare a 15-minute scene for performance. 

Indicator: • Prepare and maintain a director’s journal. 

• Cast and rehearse the scene using a production plan and a rehearsal 

schedule. 

• Design and execute a scenic design for the scene. 

• Design and execute a plan for costumes, makeup, and special effects if 

needed. 

B. Investigate the audience/performer relationship in terms of staging a 

scene. 

• Identify and experiment with arena, platform, thrust, proscenium, and 

environmental or found spaces. 

• Determine how the performance space shapes the performer and helps 

to determine the actions of the play.


C. Use advanced acting skills and techniques to create multi-dimensioned 

characters that are believable and understandable by an audience. 

• Create various characters using appropriate voice, posture, movement, 

and language to reveal a conflict and develop a resolution. 








principles. 

Indicator: • Demonstrate accurate use of dramatic/theatrical vocabulary, elements 


• Discuss and apply the vocabulary and principles of directing. 



• Discuss the collaborative nature of drama/theatre. 

• Explain how a director’s choice of form, style, and cast affects the 

expression of a theme or topic. 

• Discuss how the whole of a dramatic/theatrical experience is more than 

the sum of its parts. 



• View and respond to examples of taped directing scenes. 

• Assess performances both orally and in written responses. 







Indicator: • Refine personal criteria to respond to a drama/theatre work, experience, 

or event. 


response of another person. 

• Compare personal opinions with those of critics about a drama/theatre 

work or experience.









Indicator: • Use drama/theatre to transform an idea/concept/story expressed through 

dance, visual art, or music. 



• Report how dramatic/theatrical skills are used in other disciplines. 

C. Discuss drama/theatre skills as a foundation for lifelong learning and 


• Research and report on the drama/theatre knowledge, skills, and 

discipline needed to pursue a chosen career. 

• Identify and report on specific factors to consider in choosing a career in 

drama/theatre, film/video, or broadcast media. 

D. Discuss and debate the ethics of theatre and collaboration. 




Stagecraft 7 - 86 

Stagecraft A: Technical Theatre 7 









Benchmark: A. Investigate the history of design/technical theatre. 

Indicator: • Create a visual timeline or performance to illustrate the changes in 

theatre practice over time from ancient Greece to the present. 

B. Investigate the history of the audience/performer relationship in terms 

of theatre architecture. 

• Identify different theatre spaces as proscenium, arena, thrust, and black 

box. 





Benchmark: A. Explain the functions and interrelated nature of scenery, props, 



Indicator: Document design ideas (e.g., illustrations, models, cue sheets, publicity) 

in order to communicate them clearly to others. 

Explore the principles of composition to create stage environment. 

B. Investigate and acquire specialized skills in carpentry and scenic 

construction. 

Identify and properly use the basic tools and materials used in set 

construction 

Acquire simple construction techniques such as building a flat. 

Identify basic scenery pieces such as wagons, platforms, and hard and 

soft cover flats. 

Maintaining the scene shop as a safe, clean, and well organized work 

space. 

C. Investigate and acquire specialized skills in scenic design 

Investigate the designer’s creative process (research, team meetings, 

concepts, color choices, etc.) 

Experience designing first hand with a project that focuses on an area of 

special interest with a script selected by the student.

D. Investigate and acquire specialized skills in electrics. 

Identify the types of lighting instruments used in our school. 

Focus and gel instruments 

Replace lamps 

Read a simple light plot. 

Operate the dimmer board. 

Operate the follow spot. 

E. Investigate and acquire specialized skills in scenic painting 

Identify and use basic tools and materials associated with scenic 

painting. 

Acquire basic scene painting techniques such as spattering, dry 

brushing, and scumbling. 

F. Investigate and acquire specialized skills in sound 

Identify the components of a basic sound system 

Set up and run a sound system. 

Coil cable and keep equipment in good working order. 

G. Identify the functions and duties of a Stage Manager 

Identify and discuss the role of Stage Manger in rehearsal and 

performance. 

Construct a prompt book. 

Call cues from a prompt book. 








Benchmark: A. Demonstrate understanding of technical theatre vocabulary. 

Indicator: • Identify tools and materials 

• Identify and describe types of scenery used in theatre productions 

B. Demonstrate knowledge and understanding of safety rules 

• Identify procedure for the auditorium area, scene shop, use of tools, and 

the handling of scenery.







Benchmark: A. Compare and contrast the process of producing a theatrical work in 

educational theatre, community theatre, and professional theatre. 

Indicator: • Identify skills and character traits that enhance collaboration. 

B. Understand theatre criticism; identify strengths and weaknesses of 

work verbally and in written form. 

• Evaluate the process of his/her own work as well as the product. 







Benchmark: A. Discuss the collaborative nature of technical theatre 

Indicator: • Identify potential careers in theatre and performance media. 

• Understand how technical skills and design work apply in non-theatre 

situations such as dance concerts, music performances, and video/film 

work. 

B. Discuss drama/theatre skills as a foundation for lifelong learning and 





C. Discuss and debate the ethics of theatre and collaboration. 




Stagecraft B: Costumes and Props - 7 










Benchmark: A. Investigate the history of design/technical theatre. 

Indicator: • Create a visual timeline or performance to illustrate the changes in 

theatre practice over time from ancient Greece to the present. 

B. Investigate the history of the audience/performer relationship in terms 

of theatre architecture. 

• Identify different theatre spaces as proscenium, arena, thrust, and black 

box. 





Benchmark: A. Investigate and acquire specialized skills in costume construction and 

wardrobe duties. 

Indicator: • Research the history of costume and identify costumes by time period. 

• Select a play/historical period and design a costume for it. 

• Acquire simple hand sewing and machine sewing skills. 

• Take accurate measurements. 

• Acquire and use costume terminology. 

• Organize a costume rack and run wardrobe for shows. 

B. Investigate and acquire specialized skills in properties. 

• Make a prop list using the script. 

• Research, gather and construct rehearsal and performance props. 

• Organize a prop table. 

C. Investigate and acquire specialized skills in makeup and mask-making 

• Identify the different types of makeup and their applications. 

• Design makeup for a specific character. 

• Identify and acquire mask-making techniques. 

• Design and construct a mask for performance.








Benchmark: A. Demonstrate understanding of technical theatre vocabulary. 

Indicator: • Identify tools and materials used in costuming, prop making, and makeup 

design. 

B. Demonstrate knowledge and understanding of safety rules. 

• Identify procedures for the auditorium area, wardrobe rooms, and scene 

shop, as well as use of tools, and the handling of materials. 






Benchmark: A. Compare and contrast the process of producing a theatrical work in 

educational theatre, community theatre, and professional theatre. 

Indicator: • Identify skills and character traits that enhance collaboration. 

B. Understand theatre criticism; identify strengths and weaknesses of 

work verbally and in written form. 

• Reflect upon the process of his/her own work as well as assessing the 

product. 







Benchmark: A. Discuss the collaborative nature of technical theatre. 

Indicator: • Identify potential careers in theatre and performance media. 

• Understand how technical skills and design work apply in non-theatre 

situations such as dance concerts, music performances, and video/film 

work.


B. Discuss drama/theatre skills as a foundation for lifelong learning and 





C. Discuss and debate the ethics of theatre and collaboration. 




Expl. Music 4-6 - 92 

Exploratory Music 4-6 


Students demonstrate knowledge and understanding of a variety of music styles 

and cultures and the context of musical expression or events, both past and 

present. Students identify significant contributions of composers and performers 

to music heritage. Students analyze the historical, social, and political forces that 

have influenced the function and role of music in the lives of people. 

Benchmark: A. Understanding music in relation to history and culture. 

Indicator: • Sing and play American and multicultural repertoire, understanding 

culture and customs, incorporating foreign languages when applicable. 


Students sing, play instruments, improvise, compose, read, and notate music. 

Benchmark: A. Singing alone and with others, a varied repertoire of music. 

Indicator: • Sing accurate pitches in head voice with singing posture, appropriate 

tone and breath support, unaccompanied, alone and in groups. 

• Sing with open, uniform vowel sounds and good diction. 

• Sing with accurate pitches in head voice in unison and in parts, working 

toward singer independence. 

• Echo sing melodic patterns, matching pitch and hand signs, including 

patterns from repertoire. 

• Sing melodic patterns from the staff, with accurate pitch and accurate 

hand signs, including patterns from repertoire. 

B. Performing on instruments, alone and with others, a variedrepertoire of 

music. 

• Play melodies (written music or by rote) on instruments with appropriate 

technique (including steps, skips, and repeated notes. 

• Perform self-composed or group-composed pieces on melodic 

instruments with appropriate technique. 

C. Improvising melodies, variations, and accompaniments. 

• Improvise melodic and/or rhythmic patterns to accompany songs or 

speech pieces using a variety of instruments played with appropriate 

technique. 

D. Composing and arranging music within specified guidelines. 

• Compose an original melody using melodic devices such a steps, skips, 

and repeated notes, as well as compositional techniques such as 

repetition, sequence, variation, and form.

E. Reading and notating music. 


Expl. Music 4-6 - 93 

• Read (identify) and notate rhythm patterns from dotted quarter plus an 

eighth, an eighth plus a dotted quarter, eighth-quarter-eighth, D.S. al fine 

and Coda. 

• Read (identify) and notate melodic patterns using note names, including 

ledger lines. 

Students listen to a varied repertoire of music and respond by analyzing and 

describing music using correct terminology. Students evaluate the creating and 

performing of music by using appropriate criteria. 

Benchmark: A. Listening to, analyzing, and describing music. 

Indicator: • Listen and identify form: rondo and theme and variations. 

• Identify by sight and sound instruments of all four orchestral families. 

B. Evaluating music and music performances. 

• Participate in discussion after a performance. Evaluate a performance 

(classroom performances or professional groups) based on pre-set 

criteria (to be determined by music teacher based on performance 

viewed and music skills taught in class). 


Students demonstrate an understanding of reasons why people value music and 

a respect for diverse opinions regarding music preferences. Students articulate 

the significance of music in their lives. 

Benchmark: A. Following learning strategies for understanding and skill development. 

Indicator: • Follow directions and have a cooperative attitude. 

Standard #5 Connections, Relationships and Applications 

Students identify similarities and differences between music and other arts 

disciplines. Students recognize the relationship between concepts and skills 

learned through music with knowledge learned in other curricular subjects, life 

experiences and potential careers in and outside the arts. Students develop a 

desire for lifelong learning in music. 

Benchmark: A. Understanding relationships between music, the other arts, and 

disciplines outside the arts. 

Indicator: • Learn about elements of opera, musical theatre and how it relates to 

music and the other arts, and experience a performance (live or 

recorded).

Band 5-6 - 94 

Band 5-6 (Level I-II) 

Standard #1 Historical, Cultural and Social Contexts 




to music heritage. Students analyze the historical, social and political forces that 


Benchmark: A. Student identifies music in relationship to history 

Indicator: • Identify and describe the styles of music of different periods in history 

and the major contributors to those styles (e.g.: Marches: Sousa; 

Baroque: Bach; Classical: Mozart; Romantic: Schubert; 20 th Century 

Band: Vaughn Williams, Holst, Swearingen) 

B. Student identifies music in relationship to culture 

• Describe and compare social occurrences and the possible influence on 

music 

• Describe and compare the social uses of music in various cultures 

C. Follows learning strategies for understanding and skill development. 

• Follows directions and has cooperative attitude 


Students sings, play instruments, improvise, compose, read and notate music 

Benchmark: A. Sings a variety of music using note names 

Indicator: • Student orally identifies standard notes, using proper pitches, for their 

chosen instrument. 

B. Sings a variety of rhythms using counts 

• Sings standard rhythms, appropriate for grade level, with traditional 

counts. 

C. Perform properly on chosen instrument 

• Student displays appropriate behavior and attitude; attends all rehearsals 

and performances. 

• Student has instrument, music, book(s), assignment(s), and other 

needed equipment (reeds, oil, pencil) for class. 

• Student shows willingness to practice. 

• Student demonstrates proper care of the instrument. 

• Student sustains and releases tone with characteristic sound with proper 

hand position, posture, and embouchure.

Band 5-6 - 95 

Range Indicators: • Ranges: Flute-low F to B b above staff; clarinet-low G (below staff) to 3 rd 

line B b ; sax-low F to G above staff; trumpet-low A to 3 rd space C; 

trombone- 1 st space A b to B b above staff; Perc (Bells) -Same as flute (5) 

• Ranges: Flute-low F to D above staff; clarinet-low E (below staff) to G 

above the staff; sax-low D to C above staff; trumpet-low G to 4 th line D; 

trombone- G (below staff) to C above staff; Perc (Bells) -Same as flute 

(6) 

Scale Indicators: • Concert B b , (split scale if necessary for range) half notes, quarter 

note=60; (5) 

• Concert A b , Eb, F, and C, in half notes, quarter note = 60; chromatic in 

the range of the instrument (6) 

Rhythm Indicators: • Whole, half, quarter, eighth, (and corresponding rests) dotted half note, 

tie across the bar line (5) 

• 4 16 th ’s; 2 16 th ‘s and an eighth, an eighth and 2 16 th ’s; dotted eighth and 

a 16 th ; eighth-quarter-eighth; (6) 

D. Performs as part of an ensemble 

• Student displays appropriate ensemble behavior and attitude, attends all 

rehearsals and performances. 



• Student demonstrates proper behavior in concert situation both as a 

performer and member of the audience. 

• Student demonstrates the ability to follow conductor (5), make simple 

tempo and dynamic changes (6). 

E. Performs a varied repertoire 

• Student performs a variety of styles including such styles as marches, 

blues, classical 

F. Improvises melody 

Student performs simple 8-16 measure melody using level appropriate 

rhythms and notation 

G. Improvises variations and accomplishments 

Student performs simple 8-16 measure variation using level appropriate 

rhythms and notation. 

H. Write original composition within specified guidelines 

Student writes simple 8-16 measure composition using guidelines 

rhythm, notation (5), form, score marking (dynamics, tempo, key 

signatures) (6). 

I. Arranges music within specific guidelines 

• Student arranges simple 8-16 measure composition using specific 

guidelines rhythms, notation (5), form, score markings (dynamics, tempo, 

key signature)(6).

Band 5-6 - 96 

J. Count and perform basic rhythmic notation 

• Whole, half, quarter, eighth, dotted half (5), dotted quarter, dotted eighth, 

sixteenth(6) and corresponding rest and ties in 4/4, C, 3/4 2/4. 

• Percussion: 

• • Perform flam, flam tap, flam accent, paradiddles (5), 5,9 and buzz 

rolls (6) 

• • Demonstrate a knowledge of proper stick and mallet technique (5-8). 

• • Perform a melody on a melodic instrument (5-8). 

K. Identifies and performs standard notation 

• Identifies flat, sharp and natural 

• Names all the notes in the clef of the instrument being studied. 

• Performs as accidental and in key of Concert F, Bb, Eb (5), Ab, C 

chromatic (6). 

• Properly begin, sustain and release a tone with the characteristic of the 

instrument. 

L. Identifies standard score markings 

Standard #3 Analyzing and Responding: 

• Performs p, mp, mf, f, . 

• Performs andante, moderato, allegro. 

• Performs repeats, 1st and 2nd endings, slurs, ties (5), D.C. al Fine, 

fermata, accent (6) 

• Performs correct articulations (5 - slur tie, 6- accent, staccato, legato) 



performing of music by using appropriate criteria 

Benchmark: A. Listen to a varied repertoire of music 

Indicator: • Participate in a variety of musical experiences (live or recorded) as an 

audience member (i.e. musical theater, opera, symphony concert, jazz 

concert, small recitals, solo and ensemble events, etc) 

B. Analyses and describe music 

• Student writes and shares reactions to a performance using appropriate 

musical terms 

• Identifies dynamics - p, mp, mf, f, . 

• Identifies tempos - andante, moderato, allegro. 

• Identifies score markings - repeats 1st and 2nd endings, slur, ties(5) D.C. 

al Fine, fermata, accent (6). 

• Identify the musical elements of melody, harmony and rhythm. 

• Student will write and share reactions to a performance using 

appropriate musical terms


Band 5-6 - 97 




Benchmark: A. Describe elements of tone, intonation/tuning, interpretation and 

Technique 

Indicator: • Describe a student, self, and/or professional performance using OMEA 

criteria of tone, interpretation and technique. 

• Student analyses proper concert behavior in concert situation both as a 

performer and audience member. 

• Student discuses how people from different backgrounds use and 

respond to music 







Benchmark: A. Relates music to other academic areas 

Indicator: • Identifies elements of music in common with other subjects. ( i.e. music 

used to promote national pride, as battle songs, record historical event, 

degrees of tuning both as science and math, use of fractions) 

• Identifies occupations that use music 

B. Relates music to other arts 

• Identify musical style elements (motif, form, subject mater) and other art 

forms (i.e. paintings, architecture, literature)

Band 7-8 - 98 

Band Grade Level 7-8 (Level III-IV) 







Benchmark: A. Student identifies music in relationship to history 

Indicator: • Identify and describe the styles of music of different periods in history 

and the major contributors to those styles (e.g.: Marches: Sousa; 

Baroque: Bach; Classical: Mozart; Romantic: Schubert; 20 th Century 

Band: Vaughn Williams, Holst, Swearingen) 

B. Student identifies music in relationship to culture 


music 



• Follows directions and has cooperative attitude 


Students sings, play instruments, improvise, compose, read and notate music. 

Benchmark: A. Sings a variety of music using note names 

Indicator: • Student orally identifies standard notes using proper pitches. 

B. Sings a variety of rhythms using counts 

• Sings standard rhythms, appropriate for grade level, using traditional 

counts 

Percussion: 

• Orally identify rudiments and rhythms, appropriate for grade level, by 

name, and traditional counts (6-8). 


• Student displays appropriate behavior and attitude; attends all rehearsals 




• Student shows willingness to practice. 

• Student demonstrates proper care of the instrument. 

• Student sustains and releases tone with characteristic sound with proper 

hand position, posture, embouchure, breathing, phrasing, and intonation.

Band 7-8 - 99 

Range Indicators: • Ranges: Flute-low Eb to Eb above staff; clarinet-low E to C above the 

staff; sax-low C to C above staff; trumpet-low G to G (above the staff); 

trombone- F (below staff) to D above staff (7) 

• Ranges: Flute-low C to G above staff; clarinet-low E to D above the staff; 

sax-low Bb to F above staff; trumpet-low F# to A above staff; trombone- 

F (below staff) to F above staff 

Scale Indicators: • (Concert Bb, Eb, Ab, F, C, G, Db) quarter note = 100; chromatic in the 

range of the instrument (7) 

• All major scales memorized 1 octave (except flute and clarinet, 2 

octaves) chromatic in the range of the instrument (8) 

Rhythm Indicators: • 6/8 and cut time with 3 eighth notes (7) 

• Quarter note triplet; simple mixed meter (e.g. 3/4 and 2/4); complex 6/8 

with quarter and eighth (8) 

D. Performs as part of an ensemble 

• Student displays appropriate ensemble behavior and attitude, attends all 

rehearsals and performances. 



• Student demonstrates proper behavior in concert situation both as a 

performer and member of the audience. 

• Student demonstrates the ability to follow conductor, make tempo 

changes, and correct balance and intonation problems 

E. Performs a varied repertoire 

• Student performs a variety of styles including such styles as marches, 

blues, classical, chorales, etc. 

• Student performs a variety of repertoire including music from various 

periods: Baroque, Classic, Romantic, and music from a graded list such 

as the OMEA list for ensemble and/or solo 

F. Improvises melody 

• Student performs simple 16+ measure melody using level appropriate 


G. Improvises variations and accomplishments 

• Student performs simple 16+ measure variation using level appropriate 



• Student writes simple 16+ measure composition using specific of level 

appropriate guidelines of rhythm, notation, form, score marking, simple 

ornamentation and instrumentation 

I. Arranges music within specific guidelines 

• Student arranges simple 16+ measure composition using specific level 


ornamentation and instrumentation

Band 7-8 - 100 


• Perform whole, half, quarter, eighth, dotted half, dotted quarter, dotted 

eighth, sixteenth, triplets and corresponding rest and ties in 4/4, C, 3/4 

2/4, cut time, 6/8, and mixed meter. 

• Demonstrate the ability to play with proper technique including accurate 

rhythm, articulation, and facility. 

Percussion: 

• Perform flam, flam tap, flam accent, paradiddles (5), 5, 9 and buzz rolls 

(6) 

• Demonstrate a knowledge of proper stick and mallet technique (5-8). 

• Perform a melody on a melodic instrument (5-8). 

• Demonstrate the ability to tune and produce a proper tone on the 

timpani(7-8). 

• Perform on the snare, bass and cymbals (7-8). 

K. Identifies and performs standard notation 

• Performs flats, sharps, and naturals as accidental and in keys of concert 

scales: F, Bb, Eb, Ab, C, G, Db, and chromatic. 

• Properly begin, sustain and release a tone with the characteristic of the 

instrument 

L. Identifies standard score markings 


• Performs simple ornamentation techniques (trill, grace note) appropriate 

for the instrument. 

• Performs pp, p, mp, mf, f, ff, fp, , sfz, subito. 

• Performs largo, adagio, ritard, a tempo, accelerando, rallendo. 

• Performs D.S., Coda 

• Performs with correct articulation, sustain and release tone with 

characteristic sound, breathing and phrasing. 






audience member (i.e. musical theater, opera, symphony concert, jazz 

concert, small recitals, solo and ensemble events, etc) 

B. Analyses and describe music 

• Student writes and shares reactions to a performance using appropriate 

musical terms 

• Identifies simple ornamentation techniques (trill, grace note) appropriate 

for the instrument. 

• Identifies pp, p, mp, mf, f, ff, fp, , sfz, subito. 

• Identifies largo, adagio, ritard, a tempo, accelerando, rallentando. 

• Identifies D.S., Coda 

• Identifies music forms and styles from baroque, classical, romantic, jazz 

• Describe a knowledge of the composer’s intent


Band 7-8 - 101 




Benchmark: A. Describe elements of tone, intonation/tuning, interpretation, and 

technique 

Indicator: • Describe a student, self, professional performance using OMEA criteria 

of tone, interpretation and technique. 

• Student analyses proper concert behavior in concert situation both as a 


• Student discuses how people from different backgrounds use and 








Benchmark: A. Relates music to other academic areas 

Indicator: • Identifies elements of music in common with other subjects. (i.e. music 

used to promote national pride, as battle songs, record historical event, 

degrees of tuning both as science and math, use of fractions) 


B. Relates music to other arts. 

• Identify musical style elements (motif, form, subject mater) and other art 

forms (i.e. paintings, architecture, literature).

Jazz Band 7-8 - 102 

Jazz Band 7-8 







Benchmark: A. Student identifies jazz music in relationship to history and culture 

Indicator: • Listen to jazz recordings and live performances identifying styles such 

as Dixieland, swing, popular music, rock, fusion, be-bop, jazz rock, and 

areas of Latin 

• List top jazz artists that perform on the student’s chosen instrument 

• Describe the instrumentation which creates different styles 



Benchmark: A. Perform properly on chosen instrument 

Indicator: • Demonstrate the swing, jazz eighth note, as well as other rhythms 

appropriate for the style being performed (i.e., swing, rock, Latin) 

• Drummers, bass players, guitarists, and pianists (rhythm section) 

demonstrate maintaining a steady beat in a given style 

• Rhythm section: demonstrate the beat style within each jazz style 

• Demonstrate the proper use of mutes and accessories 

• Identify and demonstrate the Blues scale 

• Identify chord symbols based on the dorian mode (ii7) 

• Identify major scale (I) and scale based on the dominate (V) 

• Follow interpretation of performing ensemble leader (first trumpet, etc) 

• Perform various jazz articulations 

• Demonstrate awareness of how one’s part fits into tonal scheme of the 

music (i.e., chord tone placement, balance) 

B. Improvises melody 

• Develop basic improvisation skills using tonal and rhythmic concepts, 

working primarily with major (I), minor (ii7), dominant (V7) and blues 

scales.






Benchmark: A. Analyze and describe jazz music 

Indicator: • Identify jazz style being played by own group or on recording 

• Evaluate improvisational solos as to whether they are accurate and fit 

the style 

• Critically analyze, using proper terminology, the performance of other 

jazz groups 

• Listen to jazz recordings and live performances identifying styles such as 

Dixieland, swing, popular music, rock, fusion, be-bop, jazz rock, and 

areas of Latin 

• List top jazz artist that perform on the student’s chosen instrument 

• Describe the instrumentation which creates different styles 

Standard #4 Valuing Drama/Theater/Aesthetic Reflection 





technique. 

Indicator: • Describe a student, self, professional performance using OMEA criteria 

of tone, interpretation, and technique. 

• Students analyze proper concert behavior in concert situation both as a 


• Students discuss how people from different backgrounds use and 


B. Willingly participate in the organization, attend all performances 

C. Attend other jazz performances (school or professional)






experiences, and potential careers in and outside the arts. Students develop a 


Benchmark: A. Relates jazz music to other academic areas 

Indicator: • Using instructional material, read historical musical information, and 

relate music to the social atmosphere of the time 

• Identifies elements of jazz music in common with other subjects. (i.e., 

music used to promote national pride, as battle songs, record historical 

event, degrees of tuning both as science and math, use of fractions) 

• Identifies occupations that use jazz music 

B. Relates jazz music to other arts. 

• Identify jazz style elements (motif, form, subject mater) and other art 

forms (i.e., paintings, architecture, literature). 

• Relate visual art, drama, dance, musical theater, opera to elements of 

jazz music (form, mood, harmony, etc.) through a live or recorded 

performance.

Choir 6, 7, 8 


Choir 6, 7, 8 - 105 






Benchmark: A. Perform American and multicultural music from various time periods. 

Indicator: • Discuss how different pieces of music from the same time period are 

similar. 

• Use a time line to show the placement of each piece of music learned. 


Students sing, play instruments, improvise, compose, read and notate music. 

Benchmark: A. Performs appropriate part independently and expressively while 

following the director’s conducting. 

Indicator: • Sings his/her part correctly (6 th grade and 7 th grade - 2/3 part, 8 th grade 

3/4 part) unaccompanied, alone or in groups. 

• Demonstrates understanding of basic conducting signals while 

performing alone or in groups. (Watches the director, follows tempo, cutoffs, 

dynamics, and phrasing directions.) 

B. Performs with correct posture, breathing technique, tone quality and 

diction. 

• Demonstrates correct posture for singing. 

• Demonstrates correct diaphramic breathing. (Can sing a complete 

phrase without taking a breath.) 

• Sings correct pitches with an open tone and pleasant sound. 

• Identifies and reproduces basic vowel sounds. (Provide a list indicating 

correct pronunciation of vowels.) 

• Sings with clear diction. 

C. Performs from a variety of styles, composers and languages, 

unaccompanied, and accompanied. 

• Performs at least 2 (6 th and 7 th grade) or 3 (8 th grade) different styles of 

music from the following: Baroque, Renaissance, Classical, Romantic, 

American Spiritual, Folk or Broadway Musical. 

• Knows the names of different styles of music and composers. 

• Performs at least one piece (6 th and 7 th grade) or two pieces (8 th grade) 

of music in a foreign language, using correct pronunciations. 

D. Play instrumental part while the group is singing. 

• Play or clap a rhythmic or melodic ostinato with appropriate technique.

Choir 6, 7, 8 - 106 

E. Count and perform basic rhythms in basic meters. 

• Count and perform (clapping or on rhythm instruments) basic rhythms 

including sixteenth, eighth, quarter, half, whole and dotted notes and 

rests in the meters of 2/4, 3/4 and 4/4. 

F. Improvises melodic and/or rhythmic patterns. 

• Creates (alone or in groups) rhythmic or melodic ostinato patterns of four 

measures or longer to accompany a song. 

G. Improvises a variation of a piece of music. 

• Improvises (alone or in groups) a variation of a well-known song. 

(example: Happy Birthday sung blues style or opera style) 

H. Creates a melody 

• Creates a short (8-16 measure) melody within given parameters of scale 

and time signature. 

I. Reads and notates rhythms 

• Reads and notates rhythm patterns from a given piece of music. 

(example: teacher claps a pattern from a piece of music the choir is 

rehearsing and student notates, given several choices) 

• Identifies names of notes and rests (including sixteenth, eighth, quarter, 

half, whole and dotted notes) and their values in 2/4, 3/4 or 4/4 meter. 

J. Reads and sings basic scales and melodic patterns 

• Reads and sings basic scales, ascending intervals including 2nds, 3rds, 

5ths and octaves and melodic lines at sight with minimal help. 

• Demonstrates understanding of solfege syllables or numbers while sightsinging. 

K. Follows basic tempo markings and directions in music. 

• Student identifies and follows tempo markings such as allegro, andante, 

largo, etc. 

• Student demonstrates knowledge of music directions and vocabulary 

while learning a piece of music. (repeats, 1st and 2nd endings, D.S., 

D.C., coda, ritard, fermata, rehearsal numbers/letters.) 

L. Identifies and sings his/her vocal part correctly with the entire choir in a 

three-part piece. 

• Follows appropriate part in an SAB piece. 

• Identifies correct vocal part being rehearsed. 

• Knows what part each group in the choir sings.


Choir 6, 7, 8 - 107 


describing music using correct terminology. Students evaluate performances by 

using appropriate criteria and vocabulary. 

Benchmark: A. Demonstrates understanding of dynamics, phrasing symbols and 

vocabulary. 

Indicator: • Identifies dynamic markings in a piece of music (pp, p, mp, mf, ff, ) 

and how they are used. 

• Identifies phrasing symbols (legato, staccato, accent, slur) and how they 

are used. 

• Listen to a piece of music and describes the dynamics and phrasing. 

(example: a recording of a choir is played and students analyze.) 

B. Listens and identifies form of various pieces of music. 

• Identifies form of music from a piece of music being rehearsed or from a 

recording. (AB, ABA, ABC, AABA, etc.) 





Benchmark: A. Student describes a performance or recording in terms of correct 

choral sound. 

Indicator: • After listening to a recording or live performance, student is able to 

identify good choral singing. 

B. Uses knowledge of music and vocabulary to describe phrasing, 

posture, dynamics, pitch, etc. of a performance or recording. 

• Student is able to determine good phrasing, posture, dynamics, pitch of a 

performance or recording. (Can be discussion after a performance, or 

essay after a recording) 


• Student follows directions and has a cooperative attitude. 

• Discuss appropriate rehearsal behavior/attitude as well as concert 

etiquette and attendance at performances. (Written rules for classroom 

behavior, concert etiquette and attendance at performances.)

Choir 6, 7, 8 - 108 







Benchmark: A. Understanding relationships between music and the other arts. 

Indicator: • Describe the relationship between music and dance, theater and visual 

arts, and experience a performance (live or recorded). Example: after 

attending a high school musical, discuss or write about the relationships 

between music and the other arts. 

B. Understanding relationships between music and disciplines outside the 

arts. 

• Discuss the relationship between music and disciplines outside the arts. 

Students are able to recognize, understand and apply integration of 

academics and the arts. (Ask students to provide examples of how music 

relates to other disciplines- example: counting rhythms and 

math/language and phrasing, styles of music in history)

Keyboard 7-8 


Keyboard 7-8 - 109 






Benchmark: A. Perform American and multicultural music from various time periods. 

Indicator: • Compare pieces of music from the same time period and list the 

similarities. 

• Use a time line to study various composers and their music. 


Students perform, play instruments, improvise, compose, read, and notate music. 

Benchmark: A. Performing independently and with others, a varied repertoire of music. 

Indicator: • Performs his/her part correctly, alone or in groups. 

• Performs by using appropriate tempo, dynamics, phrasing, and 


• Plays his/her part correctly. 

• Selects various instrument options on keyboard to perform various 

pieces. 

B. Improvising melodies, variations, and accompaniments. 

• Demonstrates correct posture when practicing and performing. 

• Follows teacher directed improvisational structures (e.g. hand 

movements describing chord notations). 

C. Count and perform basic rhythms in basic meters. 

• Perform correctly and identify notes/values of the following: sixteenth, 

eighth, quarter, half, dotted half and whole notes and rests in the meters 

of 4/4, 2/4, 3/4, and 6/8 . 

• Properly identify Time Signature. 

• Notate rhythm patterns clapped or tapped (rhythm dictation). 

D. Improvises melodic and/or rhythmic patterns. 

• Creates (alone or in groups) rhythmic or melodic ostinato patterns of four 

measures or longer to accompany a song.


E. Compose and arrange music within specified guidelines. 

• Create an original melody using melodic devices such as steps, skips, 

and repeated notes as well as using compositional techniques such as 

repetition, sequence, variation, and form. 

F. Read Music Notation 

• Reads, performs and notates rhythm patterns from a given piece of 

music. ((e.g.) teacher claps a pattern from a piece of music the student is 

rehearsing and student notates, given several choices) 

• Identifies names of notes and rests (including sixteenth, eighth, quarter, 

half, whole and dotted notes) and their values in 2/4, 3/4, 4/4 or 6/8. 

G. Sight reads and plays basic scales and melodic patterns 

• Sight reads and plays basic scales, ascending intervals including 2nds, 

3rds, 5ths and octaves and music lines at sight with minimal help. 

• The student is able to notate basic melodies from music being 

performed. 

H. Follows basic tempo markings and directions in music. 


• Student identifies and follows tempo markings such as allegro, andante, 

largo, etc. 

• Student demonstrates knowledge of music directions and vocabulary 

while learning a piece of music. (repeats, 1st and 2nd endings, D.S., 

D.C., coda, retard, fermata, rehearsal numbers/letters. 




Benchmark: A. Listen to and identify various musical form 

Indicator: • Identifies dynamic markings in a piece of music (pp, p, mp, mf, ff, ) 

and how they are used. 

• Listen and identify forms (AB. ABA, ABC, AABA, rondo and theme, and 

variations). 

B. Listen to music from different time periods (medieval, baroque, 

renaissance, classic, romantic, impressionistic, modern) and discuss 

similarities and differences.






Benchmark: A. Evaluate a performance (live or recorded) 

Indicator: • After listening to a recording or live performance, student is able to 

identify good instrumental performance. 

B. Uses knowledge of music and vocabulary to describe phrasing, 

posture, dynamics, etc., of a performance or recording. 

• Student is able to determine good phrasing, posture and dynamics of a 

performance or recording. (Can be discussion after a performance or 

essay after a recording) 


• Student follows directions and has a cooperative attitude. 

• Discuss appropriate rehearsal behavior/attitude as well as concert 

etiquette and attendance at performances. (Written rules for classroom 

behavior, concert etiquette and attendance at performances.) 







Benchmark: A. Understanding relationships between music and the other arts. 

Indicator: • Describe the relationship between music and dance, theater and visual 

arts, and experience a performance (live or recorded). Example: after 

attending a school musical, discuss or write about the relationships 

between music and the other arts. 

B. Understanding relationships between music and disciplines outside the 

arts. 

• Discuss the relationship between music and disciplines outside the arts. 

(Ask students to provide examples of how music relates to other 

disciplines - example: counting rhythms, math/language, and phrasing, 

styles of music in history.)

Orchestra - 112 

Orchestra 5 







Benchmark: A. Understanding history and culture through instruments and 

composers. 

Indicator: • Describe the history of their instrument 

• Identify various composers and describe two facts about them 

B. Understanding history and culture through performance 

• Perform multicultural repertoire and identify its origin (including folk 

music) 

C. Recognize the interaction of people in music 

• Recognize and describe how string music is used for a variety of 

occasions 



Benchmark: A. Sing a variety of music using note names or Solfege syllables 

Indicator: • Sing assigned exercise with accurate intonation and rhythm using note 

names or solfege syllables 

B. Performing on instruments, alone and with others, a varied repertoire of 

music 

• Demonstrate a willingness to practice by returning assigned practice 

reports. 

• Demonstrate proper instrument care and preparation. 

• Demonstrate proper posture and instrument position. 

• Demonstrate proper mechanics of both hands. 

• Perform music and/or scales in the key of C, G, and D Major with 

accurate intonation and appropriate tone. 

• Perform music in 4/4, 2/4, 3/4 and common time using whole, half, 

quarter, eighth, sixteenth, dotted half notes, syncopated rhythms, dotted 

eighth followed by sixteenth notes, and corresponding rests. 

• Perform bow markings such as ties, slurs, staccato, and hooked bowing. 

• Perform with accurate dynamics and tempo. 

• Perform in a concert setting as part of an ensemble.

C. Improvise melodies, variations, and accompaniments 

• Given a familiar melody, students improvise a variation 

D. Composing and arranging music within specified guidelines 

Orchestra 5 - 113 

• Compose an original melody of at least four measures using accurate 

music notation (clef, bar lines) and include new symbols such as ties, 

slurs, staccato, and/or hooked bowings 

E. Reading and notating music 


• Count, clap, and notate rhythms in 4/4, 2/4, 3/ 4, and common time using 

whole, half, quarter, eighth, sixteenth, dotted half notes, and 

corresponding rests 

• Identify and notate pitches in C, G, and D Major 

• Identify and notate symbols from Grade 4 (clef, meter signature, key 

signature, bar line, measure, double bar line, repeat sign, bow lift, up 

bow, and down bow) as well as first and second endings, ties, slurs, D. 

C, al fine, upbeat, staccato, and hooked bowing 

• Identify tempo markings Allegro, Moderato, and Andante 

• Identify dynamic markings of forte and piano 




Benchmark: A. Analyze and describe music 

Indicator: • Write and share reactions to a performance using appropriate musical 

terms (melody, harmony, dynamics, tempo) in paragraph form 

B. Evaluating music and music performances 

• Participates in discussion after the performance 

• Evaluate a performance (classroom performance or professional groups) 

based on pre-set criteria (to be determined by music teacher based on 

performance experienced and music skills taught in class) 





Benchmark: A. Reflect on their own performances and the performances of others 

Indicator: • Describe and express how playing an instrument has impacted their lives 

(written form)

Orchestra - 114 

B. Demonstrate audience behavior appropriate for the context and style of 

music performed 

• Follow directions, have a cooperative attitude, and display appropriate 

rehearsal and concert behavior 

C. Demonstrate how music communicates meaning of text, feelings, 

moods, or images, and influences personal preferences 

• Describe when, why and what type of music they listen to 







Benchmark: A. Relating music to other academic areas 

Indicator: • Identify two ways in which music is related to both math and history 

• Identify occupations that deal with music other than performance 

B. Relating music to other arts 

Identify and describe elements of opera, how it relates to music and 

other arts (drama, visual art) and experience a performance (live or 

recorded)

Orchestra 6 








Benchmark: A. Understanding history and culture through instruments and 

composers. 

Indicator: • Identify by sight and sound instruments of the full orchestra. 

• Identify various composers and describe two facts about them 

B. Understanding history and culture through performance 

• Perform multicultural repertoire and identify its origin and composer 

(including folk music) 

C. Recognize the interaction of people in music 

• Recognize and describe how string music is used for a variety of 

occasions in various cultures 



Benchmark: A. Sing a variety of music using note names or Solfege syllables 

Indicator: • Sing assigned exercise in F and/or A Major with accurate intonation and 

rhythm using note names or solfege syllables 


music 


reports. 



• Perform music and/or scales in the keys of C, G, A, Bb Major, and D and 

G minor with accurate intonation and appropriate tone, and F Major with 

accurate intonation and appropriate tone. 

• Perform melodic material in I and III position on all strings including 

forward and backward extensions (basses include 1/2, I, II, II 1/2 and III 

positions) (cellos include 4 th finger extensions). 

• Perform music in various meter signatures (4/4, 2/4, 3/ 4 common time) 

including 6/8 and cut time using whole, half, quarter, eighth, dotted half 

notes, dotted quarter sixteenth notes, triplets and corresponding rests. 

• Perform bow markings such as ties, slurs, accents, staccato, and 

hooked bowing.



• Perform in a concert setting as part of an ensemble. 

C. Improvise melodies, variations, and accompaniments 

• Given a familiar melody, students improvise a variation 


• Compose an original melody of at least eight measures using accurate 

music notation (clef, bar lines) and including one of the following: D.C. al 

fine or first and second endings. 



• Count, clap, and notate rhythms in various meter signatures (4/4, 2/4, 3/ 

4, common time) including cut time using whole, half, quarter, eighth, 

dotted half notes, dotted quarter, and corresponding rests. 

• Identify and notate pitches in C, G, A, and F Major 

• Identify and notate symbols from Grade 5 (first and second endings, ties, 

slurs, D. C. al fine, upbeat, staccato, and hooked bowing) as well as 

fermata. 

• Identify tempo markings Moderato, Andante, Allegro, and a tempo 

• Identify dynamic markings of forte, piano, mezzo piano. and mezzo 






terms (dynamics, tempo and personal impressions) in paragraph form. 


• Participate in discussion after the performance 


based on the district rubric or OMEA criteria 





Benchmark: A. Reflect on and describe how music performance and settings affect 

audience response 

Indicator: • Identify the use of music in movies and describe the impact these uses 

have on an audience

B. Reflect on why others may have different music preferences 


• Listen to various musical styles and describe why they are important to 

themselves or others 

C. Demonstrate audience behavior appropriate for the context and style of 



rehearsal and concert behavior 







Benchmark: A. Relating music to other academic areas 

Indicator: • Compare and contrast performance preparation strategies that lead to a 

successful performance in music to academic performance in other 

subject areas. 

• Describe occupations musicians can engage in and identify skills needed 

for each occupation 

B. Relating music to other arts 

• Describe ways that music relates to other art forms using appropriate 

terminology.

Orchestra 7-8 - 118 

Orchestra 7-8 







Benchmark: A. Compare and contrast styles and forms of music from various 

historical periods. 

Indicator: • Identify and describe the form and historical time period of pieces that 

they have listened to or played 

B. Identify composers and classify them according to chronological 

historical period 

• Write the names of composers of pieces that they have played or 

listened to on a time line that includes the historical time periods. 



Benchmark: A. Sing a variety of music using note names or Solfege syllables. 

Indicator: • Sing assigned exercise in Bb Major and/or d or g minor with accurate 

intonation and rhythm using note names or Solfege syllables 


music. 


reports. 



• Perform music and/or scales in the keys of A, F, Bb Major and d and g 

minor with accurate intonation and appropriate tone. 

• Perform melodic material in I position on all strings including forward and 

backward extensions (basses include ½, I, II, II ½ and III positions). 

• Perform music in various meter signatures (4/4, 2/4, 3/ 4, common time) 

including 6/8 and cut time using whole, half, quarter, eighth, dotted half 

notes, dotted quarter sixteenth notes, triplets, and corresponding rests. 

• Demonstrate bow technique as indicated by score. 


• Perform in a concert setting as part of an ensemble. 

• Respond appropriately to the cues of a conductor or section leader. 

• Sight-read grade level appropriate music (use performance rubric for 

evaluation).

C. Improvise melodies, variations, and accompaniments. 


• Improvise a melody based on pre-set criteria (to be determined by music teacher 

based on skill level) 


• Compose an original melody of at least eight measures using accurate music 

notation (clef, bar lines) and including one of the following: D.C. al fine, or first 

and second endings. 


• Count, clap, and notate rhythms in various meter signatures (4/4, 2/4, 3/ 4, 

common time) including 6/8 and cut time using whole, half, quarter, eighth, 

dotted half notes, dotted quarter, sixteenth notes, triplets, and corresponding 

rests 

• Identify and/or notate pitches in F, Bb Major, and d and g minor 

• Identify tempo markings Moderato, Andante, Allegro, a tempo, and ritardando. 

• Identify dynamic markings of forte, piano, mezzo piano, mezzo forte, crescendo, 

and decrescendo. 





Benchmark: A. Analyze and describe music. 


terms (dynamics, tempo, and personal impressions) in paragraph form. 

B. Evaluating music and music performances. 








Benchmark: A. Reflect on and describe how music performance and settings affect 

audience response. 

Indicator: • Identify the use of music in movies and describe the impact these uses 

have on an audience. 

B. Reflect on why others may have different music preferences. 

• Listen to various musical styles and describe why they are important to 

themselves or others.





rehearsal and concert behavior. 







Benchmark: A. Relating music to other academic areas. 

Indicator: • Compare and contrast performance preparation strategies that lead to a 

successful performance in music to academic performance in other 


• Describe occupations musicians can engage in and identify skills needed 

for each occupation. 

B. Relating music to other arts. 

• Describe ways that music relates to other art forms using appropriate 

terminology.


Grades 9-12 

121

122

Advanced Placement Studio Art 

AP Studio Art - 123 

Teachers will provide their syllabus which has been pre-approved by the College 

Board Advanced Placement.


Art Fundamentals 








Benchmark: A. Explain how and why visual art forms develop in the contexts (e.g.; 

cultural, social, historical, and political) in which they were made. 

Indicator: • Discuss the roles of visual art forms within social contexts.[A1] 

• Make a presentation that shows stylistic changes in an applied art form 

from a single culture and over a specified time period. [A2] 

• Explain how the content, subject matter, and style of a portrait, 

landscape, or still life relate to the period in which the work was created. 

[A3] 

B. Compare works of art to one another in the terms of cultural, social, 

historical, and political influences evident in the works. 

• Compare and contrast the use of the elements and principles of design 

in applied art works from one historical period with those of the previous 

time period. [B4] 

• Explain how issues of time, place, and culture influence trends in the 

visual arts. [B5] 

• Compare and contrast historical, cultural, social, and political influences 

in artworks by various painters or printmakers. [B6] 

C. Explain the characteristics and content of culturally and historically 

representative works to demonstrate understanding of how visual arts 

reflects historical issues, events, and cultural traditions. 

• Describe and trace the recurrence of a traditional culturally 

representative style or technique in a contemporary artwork. [C7] 

• Explain how art history interrelates with the study of aesthetics, criticism, 

and art making. [C8] 

• Compare and contrast the artistic styles and subject matter in artworks 

by painters from different cultures or nationalities. [C9] 

D. Select a culture and create an original work of art that demonstrates 

understanding of a historical, social or political issue of the culture. 

• Create an artwork that reflects a stylistic characteristic of cultural minority 

group and addresses a social issue relevant to that group. [D10] 

• Create an artwork that appropriates stylistic characteristics, content and 

or subject matter from historical works relating to his/her cultural 

heritage. [D11] 

• Identify the sources of inspiration for a variety of paintings (personal 

experience, imagination, interests, and social issues) and create 

personal artworks based on the same sources. [D12]







Benchmark: A. Demonstrate mastery of materials, concepts, and personal 

concentration when creating original art works. 

Indicator: • Maintain a sketchbook of work that includes multiple sketches drawn 

from direct observation. [A1] 

• Develop steps towards the mastery of the following media: charcoal, 

pastel, graphite pencil, ink, conte, and in at least one color media (oil 

pastel, color pencil). [A2] 

• Demonstrate increased proficiency in mixing colors according to desired 

intensities and tints, tones, or shades. [A3] 

• Draw a landscape, portrait, and still life from direct observation. [A4] 

• Use brush strokes to evoke mood, describe shapes and textures, and 

create a variety of surface effects. [A5] 

• Work towards personal development when doing independent study 

homework assignments. [A6] 

• Develop skills in the care and maintenance of art supplies. [A7] 

• Create a series of connected works that focus on a specific theme, 

subject, or technique. [A8] 

B. Create expressive art works that demonstrate a sense of purpose and 

understanding of the relationship between materials, technique, and 

ideas. 

• Use various materials to create and emphasize texture, pattern, and 

forming their projects. [B9] 

• Use various materials and the Elements and Principles of Design to 

master the following tasks: [B10] 

Create value using various marking methods (hatching, blending, 

stippling). 

Create representational works that show form by utilizing a light 

source. 

Create representational works using linear and aerial perspective. 

Render textures using various methods. 

Use measurement and sighting to establish proper proportions. 

Render a portrait using correct facial proportions. 

Use and identify various compositional techniques. (cropping, forms 

of balance, positive and negative space). 

• Create moods in works using various compositional techniques, line and 

shape qualities, and contrast. 

• Create space and depth using perspective techniques, overlap, size 

change, and modeling. [B11] 

• Create original paintings that employ a variety of color schemes and 

color theory. [B13]




technical and expressive aspects in works of art. They understand and use line 




Benchmark: A. Apply the knowledge and skills of art criticism to conduct in depth 

analysis of works of art. 

Indicator: • Apply a critical analysis method and use appropriate art vocabulary when 

discussing works of art. [A1] 

(Four step method: Description, Analysis, Interpretation, & 

Judgment). 

• Provide written critical analysis, of a selected artwork using one of 

various methods of criticism (e.g; Feldman, Yenawine, Lankford) and 

provide personal interpretation of the work. [A2] 

B. Explain how form, subject matter, and context contribute to meanings 

of works of art. 

• Interpret a work of art, setting media usage, compositional elements, and 

subject matter to support their interpretation. [B3] 

• Research the work of a painter and make a presentation explaining how 

the artist’s choice of media and style contribute to the meaning of the 

work. [B4] 

C. Critique their own work, the works of peers, and other artists on the 

basis of formal, technical, and expressive aspects in the work. 

• Use art vocabulary appropriately when writing and talking about 

artworks. [C5] 

• Analyze and describe how the art Elements and Principles of Design are 

used in their own artworks and the works of others. 

• Establish and apply criteria when selecting works for exhibition. [C6} 



about the nature and significance of selected artworks and the reason for holding 

these beliefs. Students reflect on and respect diverse points of view about 

artworks and artifacts. 

Benchmark: A. Communicate how an aesthetic point of view contributes to the ideas, 

emotions, and overall impact of personal art works and the works of 

others. 

Indicator: • Formulate generalizations about the value of art from their past 

experiences making and responding to art. [A1] 

• Compare and contrast historical painting styles that were considered to 

be scandalous in their own time with controversial contemporary 

paintings. [A2] 

• Develop aesthetic criteria for selecting a body of work for their portfolios 

that demonstrates accomplishment, knowledge and skill. [A3]


B. Identify and analyze a variety of view points on aesthetic issues and 

develop a personal point of view. 

• Demonstrate logical reasoning when arguing the merit of a selected work 

of art and discuss the arguments put forward by others. [B4] 

• Analyze how society influences the interpretation of works of art. [B5] 

• Compare and contrast the reactions to and messages interpreted from a 

single painting by several viewers. [B6] 

• Compare and contrast responses to works of visual art on the basis of 

how well the works communicate intent and purpose. [B7 

C. Judge the merit of selected art works and provide the aesthetic basis 

for their positions. 

• Determine which aesthetic theories are appropriate to the evaluation of 

an artwork (Imitationalism, Formalism, and Expressionism) and then 

apply them when evaluating the work. [C8] 


Students connect and apply their learning of visual art to the study of other 

arts areas and disciplines outside the arts. They understand relationships 

between and among concepts and ideas that are common across subjects in the 



Benchmark: A. Summarize and explain the impact of a historical event or movement 

(e.g., Realism, feminism, modernism, or post modernism) on the 

development of visual art. 

Indicator: • Identify connections between historical events during a major art 

movement or design period and stylistic characteristics of utilitarian and 

art objects from the same period. [A1] 

• Connect introduction of the printmaking process to the social, political, 

philosophical, and industrial revolutions. [A2] 

B. Formulate and solve a visual art problem using strategies and 

perspectives from other disciplines. 

• Explain commonalities between visual art and other disciplines. [B3] 

• Identify when he/she is required to apply skills and knowledge from other 

academic content areas (language arts, mathematics, social studies, and 

science.) when creating, interpreting, and evaluating works of art. [B4] 

• Identify applications of graphic design in the public domain. [B5] 

C. List and explain opportunities for lifelong involvement in the visual 

arts. 

• Research and report on a career related to one of the arts. [C6] 

• Visit a museum, studio, gallery, or fair and describe the experience. [C7] 

• Help to promote and attend at least one community art activity over the 

duration of the course. (art opening, theatre production, competition). 

[C8]

Art History I - 128 

Art History I 








Benchmark: A. Explain how and why visual art forms develop in the contexts (e.g., 


Indicator: • Trace changes and trends in visual art forms as they relate to 

development of cultures and societies. [A1] 

• Discuss the importance of art and art forms within the society that makes 

it. [A2] 

B. Compare works of art to one another in terms of cultural, social, 


• Make comparisons of works of art as they relate to the social, political or 

cultural circumstances in which they were made. [B3] 


representative art works to demonstrate understanding of how visual 

art reflects historical issues, events, and cultural traditions. 

• Discuss the historic or cultural narrative of chosen works of art. [C4] 

• Identify characteristics that artist include to reflect the values of the 

culture. [C5] 

• Trace major developments in art as they relate to world historical events. 

[C6] 



• Create an artwork that reflects the values or aesthetic style of a chosen 

region or time period. [D7] 








Indicator: • Identify characteristics of media or process used in creating art. [A1] 

• Apply advanced level of media skill in creating artworks. [A2]



understanding of the relationship between materials, techniques, and 

ideas. 

• Create work of art that demonstrates specific message. [B3] 

• Identify inherent message or meaning with use of media or materials. 

[B4] 

C. Engage in ongoing assessment to revise and improve art works and to 

produce a well organized portfolio of works. 


• Establish aesthetic criteria to select related works. [C5] 








Indicator: • Provide written critical analysis of selected artwork using one of the 

various methods of art criticism to provide personal interpretation of the 

work. [A1] 

• Discuss the relationship of a selected work to the style or era of artwork 

which it represents. [A2] 


in works of art. 

• Analyze and interpret the theme or meanings within a work of art. [B3] 

• Discuss the meanings of artworks in terms of social political or cultural 

commentary. [B4] 

• Discuss how the art form or style impacts the meaning of the work. [B5] 

C. Critique their own work, the works of peers, and other artists on the basis of the 

formal, technical, and expressive aspects in the works. 

• Discuss individual works based on formal, imitational and expressive qualities. 

[C6] 

• Demonstrate understanding of style or consistent characteristics within a group 

of artworks. [C7]









others. 

Indicator: • Discuss the aesthetic basis of a chosen time period or region. [A1] 

• Demonstrate a connection between the aesthetic theory and the function 

or purpose of art. [A2] 



• Trace the changes of visual stylization from era to era. [B3] 

• Relate the visual reflection to the social or political influences of the 

artist. [B4] 



• Assess the qualities of artworks according to the aesthetic norms from 

which they originate. [C5] 

• Assess the qualities of artworks using aesthetic norms other than those 

of the time or region. [C6] 








(e.g. realism, feminism, modernism, or post modernism) on the 


Indicator: • Discuss the impact of historical events on visual art styles or forms. [A1] 

• Analyze and interpret the historical record within selected works of art. 

[A2] 

• Trace the changes in visual art relating to advances in technology. [A3] 



• Identify the use of mathematical or scientific formulae within a specific 

work of art. [B4]



arts. 

• Visit a gallery or museum exhibition and relate the experience. [C5] 

• Discuss the roles of arts related professionals within society. [C6]

Art History II - 132 

Art History II 










Indicator: • Trace changes and trends in visual art forms as they relate to 

development of cultures and societies. [A1] 

• Discuss the importance of art and art forms within the society that makes 

it. [A2] 

• Discuss the role of the individual and the artist within society. [A3] 



• Make comparisons of works of art as they relate to the social, political or 

cultural circumstances in which they were made. [B4] 

• Identify the social or political influences on the artist based on clues 

found within works of art. [B5] 




• Discuss the historic or cultural narrative of chosen works of art. [C6] 

• Trace major developments in art as they relate to world historical events. 

[C7] 


understanding of a historical, social, or political issue of the culture. 

• Create an artwork that reflects the values or aesthetic style of a chosen 

region or time period. [D8] 








Indicator: • Identify characteristics of media or process used in creating art. [A1] 

• Apply advanced level of media skill in creating artworks. [A2]




ideas. 

• Create work of art that demonstrates specific message. [B3] 

• Identify inherent message or meaning with use of media or materials. 

[B4] 




• Establish aesthetic criteria to select related works. [C5] 










work. [A1] 

• Discuss the relationship of a selected work to the style or era of artwork 

which it represents. [A2] 

• Identify the influences and reactions of groups of artists on one another. 

[A3] 


in works of art. 

• Analyze and interpret the theme or meanings within a work of art. [B4] 

• Discuss the meanings of artworks in terms of social political or cultural 

commentary. [B5] 

C. Critique their own work, the works of peers, and other artists on the 

basis of the formal, technical, and expressive aspects in the works. 

• Discuss individual works based on formal, imitational and expressive 

qualities. [C6] 

• Demonstrate understanding of style or consistent characteristics within a 

group of artworks or artists. [C7] 

• Read an art critic’s review of an artist or exhibition and assess the 

author’s response. [C8]









others. 

Indicator: • Discuss the aesthetic basis of a chosen time period or style. [A1] 

• Trace the development of individual style. [A2] 



• Trace the growth of individual expression. [B3] 

• Relate the visual reflection to the social or political influences of the 

artist. [B4] 



• Assess the qualities of artworks according to the aesthetic norms from 

which they originate. [C5] 

• Assess the qualities of artworks using aesthetic norms other than those 

of the artist or group of origin. [C6] 








(e.g. realism, feminism, modernism, or post modernism) on the 


Indicator: • Discuss the impact of historical events on visual art styles or forms. [A1] 

• Analyze and interpret the social commentary within selected works of art. 

[A2] 

• Trace the changes in visual art relating to advances in technology. [A3] 



• Relate the changes in artistic expression with the spread of Democracy. 

[B4]



arts. 

• Visit a gallery or museum exhibition and relate the experience. [C5] 

• Use aesthetic understanding to make selections of artworks in the role of 

curator. [C6]

Color Theory and Design - 136 

Color Theory and Design 










Indicator: • Investigate the traditions and values that influenced the first known 

paintings and the media color and type used. [A1] 

• Analyze one of the works and explain how it reflects the traditions, 

attitudes, and beliefs of the artists. (Caves of Lasceau France, Altamara 

Spain, and Indian Wall Paintings of America ) [A2] 



• Investigate historical, cultural, and social influences on art works and use 

of color and media. (Egyptian to Early Christian) [B3] 

• Compare and contrast art works and media of specific cultures and time 

periods. (encaustic of Rome, Fresco of Greece, egg tempera paintings of 

France) [B4] 




• Compare and contrast subject matter, color, and styles in artworks from 

different cultures. [C5] 

• Research the use of color and symbolism in artworks from different 

cultures, and times. [C6] 



• Identify the source of inspiration for a variety of paintings and create 

personal artworks based on the same source. [D7] 

• Report on a specific artist’s style and the use of color in his/her artwork. 

[D8]


Color History and Design - 137 







Indicator: • Work towards mastery of mixing the following colors: Secondary, 

intermediate, and the tints and shades of at least two colors. [A1] 

• Work toward mastery of creating an accurate color wheel. [A2] 

• Using two sets of complementary colors mix to create neutral colors. [A3] 

• Compare and contrast paintings created in arbitrary and local colors. [A4] 

• Research and report on the science (physics) of light and color. (why do 

we see the apple as red and the grass as green). [A5] 

• Research and report on how light is used in stage and theatre 

production. [A6] 

• Explain the difference between subtractive and additive colors. [A7] 

B. Create expressive art works that demonstrates a sense of purpose and 


ideas. 

• Create an original work using a monochromatic (one) color scheme. [B8] 

• Select an artist who worked during a specific time and style 

(Impressionist, Post Impressionist, or Expressionist) and then create 

your own original work in that style and color technique. [B9] 

• Create at least three portrait color studies using different expressive 

colors. [B10] 

• Create an artwork using nontraditional color media. (House paint, fruit 

juice, lipstick, nail polish, shoe polish etc) [B11] 



• Mat or mount color studies and best examples of color problems. (Color 

wheel, tints, shades, and neutral value of complimentary colors, color 

contrasts, and value studies. [C12] 

• Maintain sketchbook with notes done during the duration of the course 

that documents sketches, notes, and other preparatory work related to 

artwork. [C13]

Color Theory and Design - 138 









Indicator: • Provide written critical analysis, of a selected artwork using one of the 

various methods of art criticism (e.g. Feldman, Yenawine, Lankford, or 

Barrett) and provide a personal interpretation of the work. [A1] 


in artwork. 

• Research the work of an artist and make a presentation explaining how 

the artist’s use of color contributes to the meaning of the work. [B2] 

• Provide a written artist’s statement for selected personal works collected 

at the end of course. [B3] 

C. Critique their work, the work of peers, and other artists on the basis of 

formal, technical, and expressive aspects in the work. 

• Apply imitationalist, formalist, and expressive criteria when evaluating 

works during critiques. [C4] 

• Establish and apply criteria in selecting works for exhibition and final 

portfolio.[C5] 







emotions, and overall impact of personal art works and the work of 

others. 

Indicator: • Compare and contrast historic paintings in which the style and use of 

color were considered to be scandalous in their own time with the 

controversial contemporary works. (Monet’s Impression Sunrise, Andy 

Warhol’s Jackie). [A1] 

• Select a body of work for their portfolio that demonstrates 

accomplishment, knowledge, and skill in the use of color in visual art. 

[A2]

Color History and Design - 139 

B. Identify and analyze a variety of viewpoints on aesthetic issues and 


• Justify the merit of selected art works and provides the aesthetic basis 

for their position. [B3] 

• Explain how the use of color has given certain art works great notoriety. 

Defend the view with aesthetic theories. [B4] 


for their position. 

• Research and report on a specific painting movement (ism) and the 

foundation of the movement. [C5] 







Benchmark: A. Summarize and explain the impact of a historical event or movement on 

the development of visual art. 

Indicator: • Identify ways in which culture has influenced the use of color in a specific 

work of art. [A1] 

• Compare and contrast the influence of culture on the use of color in two 

different works of art. [A2] 


perspective from other disciplines 

• Create an artwork that incorporates content or knowledge of color theory 

from another discipline. [B3] 

• Compare the use of color in visual art with the use of color in the 

following: theatre, advertising, clothing design. [B4] 

• Research the use of Subtractive color and Additive color (pigment to 

properties of light in physics). [B5] 

C. List and explain opportunities for lifelong learning in the visual arts. 

• Investigate the opportunities for lifelong involvement in the arts and art 

related careers. [C6] 

• Attend at least one art related activity over the duration of the course. 

(Art opening at University, Art Gallery, Museum) [C7]

Figure Drawing - 140 

Figure Drawing 


Students understand the impact of visual art on the history, culture, and from 

which it emanates. They understand the cultural, social, and political forces that 

in turn shape visual art communications and expression. Students identify the 

significant contributions of visual artists to cultural heritage. They analyze the 



Benchmark: A. Explain how and why visual art forms develop in the contexts (e.g. 


Indicator: • Make connections between the images of humans and the social, 

cultural or political circumstances in which they were made. [A1] 

B. Compare works of art to one another in terms of culture, social, 

historic, and political influences evident in the works. 

• Discuss and compare interpretations of human figures from various 

regions and time periods. [B2] 




• Trace the stylization or emphasis of figurative works as they reflect 

historical or cultural influences. [C3] 


understanding of a historical, social, political, issue of the culture. 

• Create a work of art that incorporates the attitudes, proportions, or 

aesthetics of a specific region or time period. [D4] 








Indicator: • Develop an increased level of skill and sophistication in interpreting the 

human figure from direct observation. [A1] 

• Achieve steps toward mastery in use of a variety of drawing media. [A2] 

• Demonstrate increased understanding of proportion and gesture of the 

human form. [A3] 

• Demonstrate understanding of skeletal and muscular structures of the 

figure. [A4] 

• Exhibit knowledge of inner structure and forms as they effect the outer 

clothing and drapery. [A5]




ideas. 

• Incorporate the use of the figure within compositions [B6] 

• Create images that employ the human figure to hold symbolic or 

metaphoric meaning. [B7] 

• Demonstrate the ability to illustrate a variety of moods or emotions in 

portrait and figure drawing. [B8] 




• Maintain a sketchbook that documents study of anatomy and structure 

both in class and independently. [C9] 

• Develop a portfolio of works using figurative drawing. [C10] 

• Participate in group and individual critiques to improve the quality of their 

work. [C11] 



vocabulary of art criticism to describe visual features, analyze relationships and 







work. [A1] 


in artwork. 

• Present information on contemporary or historic figurative artwork 

relating the pose and depiction of figures to the overall meanings. [B2] 

• Discuss the use of figure as symbol within works of art. [B3] 



• Examine imitational, formal and expressive qualities when discussing 

works during critiques. [C4] 

• Apply information in critiques to improve accuracy of figurative depiction. 

[C5] 

• Generate and apply criteria to the selection process in preparing portfolio 

for review. [C6]









others. 

Indicator: • Discuss the interpretation and stylization of the human form regarding 

time and region. [A1] 

• Compare interpretations of the concept of physical beauty. [A2] 

• Identify differences in interpretation of the human form relating to the 

gender, ethnicity, or culture of the artist. [A3] 



• Compare interpretations of figurative work that are heroic, symbolic or 

stylized. [B4] 

• Discuss the interpretations of figurative works that are directly 

representative compared to those which are abstracted. [B5] 



• Research and report on the depiction of figures as they represent the 

aesthetic, religious or cultural influences that created them. [C6] 









Indicator: • Identify instances of political or social movements influencing the 

depiction of figures. [A1] 

• Identify the use of portraiture or figurative work to record historical events 

or individuals. [A2] 



• Create a composition of figurative work that incorporates understanding 

of other arts or curricular area. [B3] 


• Visit a gallery or museum exhibition of works that include figures and 

discuss the quality and impact of the work.

Media Exploration 


Media Exploration - 143 









Indicator: • Discuss media and technology developments and their direct influences 

on the art processes at that time. [A1] 

• Investigate traditions and values that have influenced imagery within a 

culture. [A2] 

• Report on an artist whose media choices relate directly to the message 

of the artwork. [A3] 



• Compare works of similar theme or subject matter that reflect social or 

cultural attitudes. [B4] 

• Compare works of a similar theme or subject matter in which media 

choices effect the message. [B5] 




• Identify social or political stances made in artist [C6] 

• Trace major developments in the history of a chosen medium including 

influences of the digital age. [C7] 



• Describe aspects of a chosen medium specific to regional or ethnic art 

traditions. [D8] 

• Apply information to create a piece that relates to the regional or ethnic 

values identified in research. [D9]









Indicator: • Explore variations and combinations of chosen media in completing a 

series of related images. [A1] 

• Develop increased proficiency in at least two wet and two dry media 

processes. [A2] 

• Take steps toward mastery in a chosen medium [A3] 

• Develop a series of related images that combine media [A4] 

• Create an original work that uses traditional media and digital process 

[A5] 

• Create a work of art that combines two-dimensional and threedimensional 

processes. [A6] 



ideas. 

• Create artwork that interprets a theme idea or concept and demonstrates 

technical skill and perceptive use of visual art elements. [B7] 

• Solve visual art problems that demonstrate skill, imagination and indepth 

understanding of media and processes. [B8] 

• Connect media choices and application methods to specific messages 

in artwork. [B9] 



• Establish and apply criteria for compiling a portfolio of work in a chosen 

medium. [C10] 

• Engage in verbal and written critiques of work in progress as well as 

finished work. [C11]










Indicator: • Provide a written statement of aesthetic principles that can be used to 

guide selections of work for portfolios. [A1] 

• Apply the critical analysis method to discuss works of art, either historical 

or student work. [A2] 

• Describe the influence an artist’s media and compositional choices has 

on the resulting message. [A3] 


in artwork. 

• Examine artworks of similar theme or subject matter for differences in 

message. [B4] 

• Find repeating symbols in artwork and examine their meanings. [B5] 

• Find artworks that are similar in message, and differ in subject matter, 

form or imagery. [B6] 



• Identify formal, imitational and expressive qualities of their own artworks, 

that of peers or historical artworks. [C7] 

• Compare works of similar media regarding technical proficiency. [C8] 








others. 

Indicator: • Provide a written statement of aesthetic principles guiding the selections 

for his/her portfolio. [A1] 

• Apply the same aesthetic principles to the selection of peer or historical 

artworks [A2] 

• Identify the use of specific design principles noting how composition 

affects the viewer’s interpretation of the piece. [A3]




• Compare thoughts of a variety of artists working within a selected 

medium about their own artwork. [B4] 

• Discuss concepts of beauty and ugliness. [B5] 



• Research and explain various aesthetic theories in visual art. [C6] 

• Discuss aesthetic qualities of selected works of art. [C7] 

• Read a published criticism of an artwork and support or refute the 

author’s position. [C8] 









Indicator: • Compare works of art before and after a significant historical event. [A1] 

• Examine an artist’s direct response to a specific event and create a piece 

that relates to a newsworthy contemporary event. [A2] 



• Discuss the mathematical or scientific connections to a media process. 

[B3] 

• Apply a mathematical or scientific formula in creation of a piece of art. 

[B4] 


• Visit a gallery or museum exhibition and report on the specific artworks 

viewed. [C5] 

• Participate in school-wide exhibition of student artwork. [C6]

Photography 


Photography - 147 









Indicator: • Provide an example of photography that attempts to persuade or 

influence the viewer and identify the message intended. [A1] 

• Analyze a photograph and discuss relationships to the cultural heritage, 

traditions, attitudes and beliefs of the artist. [A2] 

• Trace the changes in attitudes toward photography as an art form 

through the words of various authors [A3] 

• Identify specific applications of photographic processes in mass media 

over a specified time period. [A4] 



• Compare different photographers who approach similar themes from 

different methods or viewpoints. [B5] 

• Identify similarities or differences in photographs from a variety of 

cultures. [B6] 




• Determine the influence of community or cultural values on the choices 

artists make when creating art. [C7] 

• Examine photographs from a selected historical era and determine the 

photographer’s attitude toward the subject. [C8] 



• Create images that reflect the values or attitudes of a specified culture. 

[D9] 

• Create a series of related images that address divergent values. [D10]









Indicator: • Demonstrate increased proficiency in using a camera to compose with 

the elements and principles of two dimensional design. [A1] 

• Achieve steps toward mastery of the following tasks [A2] 

Compose and capture images using a mechanical camera 

Make accurate focal adjustments 

Process black and white film 

Process photographic papers 

Produce contact and enlarged prints 

Identify and adhere to safe darkroom procedures 

Measure existing light and make accurate exposure adjustments 

Explore at least three alternative photographic techniques 

Compose and capture images using a digital camera 

Make corrections and manipulations in digital formats 

Produce color digital prints 

Explore possible applications of photographic medium 



ideas. 

• Select media and process to emphasize message or mood [B3] 

• Identify how elements and principles of design work together to create 

emphasis in his/her work and the work of others. [B4] 



• Develop and apply criteria to assess the quality of photographs during 

individual and group critiques and use the criteria to revise and improve 

quality of their work. [C5] 

• Provide written and oral assessments of his/her work. [C6] 

• Develop criteria to select works for portfolio. [C7]










Indicator: • Discuss the messages communicated in his/her photographs and those 

of their peers. [A1] 

• Apply the critical analysis method to discuss either historical or student 

photography. [A2] 


in artwork. 

• Use the same image cropped in a variety of manners to alter the 

emphasis. [B3] 

• Create a series of digital manipulations to an image and discuss how the 

meaning changes with the appearance. [B4] 

• Present the work of a chosen photographer and discuss the artist’s 

process and technique as it used to emphasize a political or social 

message. [B5] 



• Discuss formal, imitational and expressive qualities when evaluating 

photos during critiques. [C6] 

• Evaluate print quality based on increased technical understanding. [C7] 








others. 

Indicator: • Compare various interpretations of the same photograph in a group 

discussion. [A1] 

• Discuss choices made in improving his/her own work. [A2] 

• Support choices made in creating a series of related images. [A3]




• Analyze differences in peer responses and interpretations of various 

photographic works. [B4] 

• Develop individual responses and opinions following group discussions 

of a photographer’s work. [B5] 



• Research and explain various aesthetic theories in visual art. [C6] 

• Discuss aesthetic qualities of selected works of art. [C7] 

• Read a published criticism of an artwork and support or refute the 

author’s position. [C8] 









Indicator: • Research and present information on the work of a photographer that 

deals with political, social, or cultural issues. [A1] 

• Select and discuss photographic images that reflect his/her personal 

values. [A2] 

• Create images that directly address contemporary newsworthy events. 

[A3] 



• Compare and contrast methods and techniques used in film, television, and 

painting with techniques used in still photography. [B4] 

• Incorporate photographic techniques in scientific study. [B5] 


• Attend an exhibition of photographic wok in a public or community venue. 

[C6] 

• Participate in school-wide exhibition of photographic work. [C7]

Research and Analysis 


Research & Analysis - 151 









Indicator: • Make connections to their own culture and society and explain how it has 

affected their work. [A1] 

• Make comparisons and connections to history of artworks that influenced 

their works. [A2] 



• Compare works of art related by theme, subject, or media that represent 

the culture or era in which the works were created. [B3] 




• Select the art of two cultures to research and write findings in journal 

through the duration of this course. [C4] 

• Research and report on major developments, history, and effects of 

technology for a chosen medium. [C5] 



• Select a culture and create an original work of art that demonstrates 

understanding of a historical, social, or political issue of the culture. [D6] 

• Describe some of the aspects of personal artworks and how it relates to 

their own culture or society. [D7] 

• Identify and apply concepts and techniques derived from the study of art 

history to the production of his/her artwork. [D8]









Indicator: • Demonstrate steps toward mastery of materials, concepts, and personal 

concentration when creating original art works. [A1] 

• Explore the use of nontraditional media in artworks. [A2] 

• Explore combinations of a chosen media in completing a series of 

related images. [A3] 



ideas. 

• Create artworks that interpret a theme, idea, or concept and demonstrate 

technical skill and perceptive use of visual elements (e.g., show light 

sources, different vantage points, and local or subjective color: Value.) 

[B4] 

• Create artworks that demonstrate a range of individual ideas, subject 

matter, and themes with at least one idea explored in depth: 

Concentration. [B5] 

• Thinking process sketches and ideas are worked out in journal. [B6] 

• Solve visual art problems that demonstrate skill, imagination, and indepth 

understanding of media and process: Breadth. [B7] 

• Create artworks that demonstrate and understanding of figure 

proportions and movement. [B8] 



• Establish and apply criteria for compiling a portfolio of connected works 

in a chosen medium. [C9] 

• Prepare a digital portfolio of artworks demonstrating knowledge of 

technology in preparation for competitions. [C10] 

• Organize and display their original artworks as a part of a public art 

exhibition. (School Art Show, National Scholastics Competition, local 

gallery shows). [C11] 

• Prepare a portfolio of personal works demonstrating technical skill, a 

range of media and various original solutions to two-and threedimensional 

problems. [C12]










Indicator: • Describe the relationship between the content or ideas in artworks and 

the artist’s use of media and compositional elements. [A1] 

• Analyze and interpret both in writing and in verbal critiques the way in 

which theme or meaning in an artwork expresses a social, political, or 

cultural comment and use examples from the artwork to support the 

interpretation. [A2] 


in artwork. 

• Explain how visual, spatial, and temporal concepts integrate with the 

content and meaning in artworks. [B3] 

• Explain the role of galleries, museums, art periodicals, and performances 

in interpreting works of art. [B4] 

• Read an art critic’s article pertaining to a recent art show or theatre 

performance and write your impression of his article. [B5] 

• Attend an art show, or theatre performance and write in your journal an 

explanation of the artist’s message and your personal critique. [B6] 

• Watch a selected classic film (Citizen Cain, North by North West, Gone 

with the Wind). Discuss the historic importance of the techniques and 

types of messages presented by this work. Contact a theatre 

professional for correct information. [B7] 



• Develop and use criteria to select works for their portfolios that reflect 

artistic growth and achievement. (Attend a university portfolio review) 

[C1]









others. 

Indicator: • Provide a written statement of aesthetic principles guiding selections for 

his/her portfolio. [A1] 

• Explain how the value of a work of art is affected by the manner in which 

it is exhibited. Write in your journal a critique of how some of the 

exhibitions you have attended were displayed. [A2] 



• Research and report on selected significant philosophers beliefs about 

the nature of art. [B1] 

• Compare and contrast aesthetic characteristics of works from a variety of 

sources. [B2] 









Indicator: • Examine and discuss public and private resources for artists and art 

organizations. [A1] 

• Research and report a comparison of the works of past controversial 

artists to a selected contemporary artwork. [A2] 

• Discuss how an artist as responded to specific historic event and create 

an original visual response to a contemporary event. [A3] 



• Create an artwork that incorporates content or knowledge of color theory 

from another discipline. [B3] 

• Compare the use of color in visual art with the use of color in the 

following: theatre, advertising, clothing design. [B4] 

• Research the use of Subtractive color and Additive color (pigment to 

properties of light in physics). [B5]



• Select interdisciplinary visual art projects for a series and write a 

description of the processes with thoughts and ideas for further study. 

• (Science and physics of light) (Theatre stage lighting) [B4] 

• Make two contacts in the art community from different areas. (Architect, 

painter, printer) [C5] 

• Interview two art professionals and write information learned from your 

interview in journal. [C6] 

• Compare the educational differences between higher level educational 

programs. (e.g., art schools, technical schools, universities). [C7]

3-D Fundamentals - 156 

Three-Dimensional Fundamentals 










Indicator: • Investigate and report on the traditions and values that influence the 

stylistic developments of functional art or architectural designs. [A1] 

• Analyze a sculptural work of art and explain how it reflects the cultural 

heritage, traditions, beliefs, and attitudes of the artist. [A2] 

• Analyze a work of product or package design and explain how it reflects 

the cultural heritage, traditions, beliefs, and attitudes of the society. [A3] 



• Examine the designs of public use spaces as they relate to the society in 

which they were created. [B4] 

• Compare and contrast various artists’ uses of historical, cultural, and 

political influences in three-dimensional works. [B5] 

• Examine and compare monumental sculpture from a variety of time 

periods and the social/ political climates for which they were created. 

[B6] 




• Compare artistic styles and subject matter in artwork by contemporary 

artists from different cultures. [C7] 

• Trace major developments in the history of sculpture and architecture. 

[C8] 

• Describe similarities in style in the architectural design and functional art 

design of a chosen society. [C9] 



• Determine the influence of community or cultural values in an artist’s 

selection of media or materials. [D10] 

• Design a building, room, or space that involves cultural or social values 

in the visual design as well in the function of the space. [D11]









Indicator: • Create original artworks that demonstrate the development of a personal 

style and increased proficiency with the following skills, media and 

techniques [A1]: 

Create original works in a variety of three-dimensional media. 

Create sculptures using additive, subtractive, and construction 

techniques. 

Create works in the round and in relief format. 

Develop sculptures from preliminary sketches. 

Use materials and tools effectively to achieve a variety of textural 

changes. 

Design and construct models of large scale compositions. 

• Create designs that exhibit independent development of ideas. [A2] 



ideas. 

• Demonstrate increased understanding of elements and principles of 

design by applying them to his/her work. [B3] 

• Discuss intrinsic qualities of a sculptural media and the symbolism and 

meaning that choice adds to a piece. [B4] 

• Create three-dimensional artwork that uses found objects or assemblage 

of materials that relate to the communicated message of the piece. [B5] 

• Design a specific use structure that uses non traditional materials. [B6] 



• Develop criteria to assess the quality of artworks and apply the criteria to 

the critiques, revision, and improvement of students’ works. [C7] 

• Maintain a sketchbook that documents sketches, notes, and other 

preparatory work related to his/her studio experience. [C8]










Indicator: • Provide written critical analysis of a selected artwork using one of the 

various methods of art criticism (e.g. Yenawine, Feldman, Lankford, or 

Barrett) and provide a personal interpretation of the work. [A1] 

• Identify how design elements or principles effect the viewer’s experience 

as they move through an architectural or public space. [A2] 


in artwork. 

• Research and describe the work of an artist on the basis of how choice 

of media and style contribute to the meaning of the work. [B3] 

• Identify sculptural or functional designs that relate formal qualities to 

expressive qualities. [B4] 



• Examine imitational, expressive, and formal qualities of artworks 

discussed in class critiques. [C5] 

• Evaluate ceramic or industrial designs on the basis of technical 

craftsmanship and functional qualities. [C6] 








others. 

Indicator: • Describe the reactions of viewers to different public sculptural or 

architectural works and explain some of the variables that contribute to 

the viewer’s reactions. [A1] 



• Discuss the balance of importance of form and function in threedimensional 

design. [B2] 

• Compare messages interpreted by several viewers of a single piece of 

art. [B3]




• Identify various sources for published reviews of artworks and use them 

to analyze and understand different aesthetic perspectives. [C4] 









Indicator: • Identify ways in which culture has influenced the work of contemporary 

artists. [A1] 

• Identify ways in which three-dimensional art forms have documented 

historical events or contributed to cultural understanding. [A2] 



• Create a three-dimensional work of art that incorporates knowledge or 

understanding from another curricular content area. [B3] 

• Select an interdisciplinary art project and provide a description of the 

processes used. [B4] 


• Identify career opportunities that incorporate three-dimensional design 

applications. [C5] 

• Visit a local gallery, museum, or public exhibition emphasizing threedimensional 

media and describe the experience. [C6]

Dance and the Creative Process I - 160 

Dance and the Creative Process I 


Students understand dance forms and styles from a diverse range of cultural 


significant choreographers, dancers, and dance organizations to dance heritage. 

Students analyze the philosophical beliefs, social systems, and movement norms 


Benchmark: A. Synthesize contextual information about culturally representative 

dances to understand and explain their development. 

Indicator: • Compare and contrast interpretations of dances and remakes performed 

in different historical and cultural contexts (e.g., The Nutcracker and The 

Hard Nut; Giselle and Creole Giselle) 

• Compare and contrast ballet across several artistic periods (e.g., 

romantic, classical, neo-classical, and contemporary) and explain its 

changes, development and influences over time. 

B. Explain ways in which works of dance relate to the themes and issues 

of their historical, cultural, and social contexts. 

Indicator: • Select a universal, recurring theme in the arts and analyze how it is 

expressed through dance across different cultures. 

• Research the contributions of significant choreographers of the 19 th and 

early 20 th century and identify how their works are representative of the 

time period and culture. 


Students create, interpret, and perform dances to demonstrate understanding of 


use dance and movement to express ideas and to make meaning of their world. 

Benchmark: A. Create a work that demonstrates originality, unity, clarity of intent, and 


Indicator: • Generate original movement through improvisation and exploration. 

• Compose dance studies that solve a given problem or explore a concept. 

• Compose a small group study that explores spatial relationships. 

• Compose a small group study that explores dynamics. 

• Compose a small study that explores time and musicality. 

• Demonstrate knowledge of the difference between literal and abstract 

movements. 

• Compose a dance that demonstrates personal original movement 

preferences. 

• Compose a dance that demonstrates a range of movement vocabulary. 

• Collaborate with peers to create a group work demonstrating originality, 

unity, clarity of intent, and a thorough exploration of movement 

possibilities.


B. Review, revise, and refine an original dance with attention to the full 

production value. 

• Apply review and revision processes to improve personal dance works. 

• Develop a personal system of notating movement phrases and studies. 





Benchmark: A. Analyze and interpret recognized works of dance by a variety of 

choreographers. 

Indicator: • Analyze the stylistic devices used by ballet choreographers and 

determine the effects on dance performance. 

• Discuss how dances reflect the heritage, traditions, and beliefs of the 

ballet choreographer. 

• Analyze and interpret the works of selected ballet artists based on their 

use of dance structures, music forms, and theatrical elements. 

B. Use established criteria to assess the effectiveness of dance and 

theatrical elements in communicating meaning. 

• Explain how a choreographer’s philosophy influences the meaning of a 

ballet. 




Students present points of view about dance and respond thoughtfully to others' 


Benchmark: Develop a philosophy of dance by examining sources (e.g., personal 

experience, professionals in the field and artists’ biographies) that 

contribute to their thinking. 

Indicator: • Determine the basis for their viewpoints about a selected dance (e.g., 

personal experience, interest, gender, age, and culture).






Benchmark: A. Explain common issues, topics and problems that demonstrate the 

connections between dance, other arts areas and disciplines outside 

the arts. 

Indicator: • Compare and contrast dance and other arts disciplines on the basis of 

art elements, common themes, and ways of communicating meaning. 

B. Develop an understanding of advocacy for dance and dance education. 

• Explain the concept of arts advocacy and its importance to dance and 

dance education.

Dance and the Creative Process II 


Dance and the Creative Process II - 163 








Indicator: • Compare and contrast jazz, tap, and musical theater across the 20 th 

century and explain its changes, development, and influences over time. 

• Use examples to explain the influences of culture and historical events 

on the work of dance artists (e.g., dancers, choreographers, and 

producers). 

• Analyze the philosophical beliefs, social systems, and movement norms 

that influence the function and form of dance. 

• Research social dance styles and place them within a personal, 

historical, and cultural context. 

• Analyze how popular social dance trends are influenced by sociopolitical 

issues. 

B. Explain how dance is a meaningful expression of culture. 

• Explain the relationship between form and meaning in selected American 

dances using visual details from the works. 

• Trace the origin and development of American dance styles and explain 

what each style reveals about American culture. 

C. Explain ways in which works of dance relate to the themes and issues 


• Research the contributions of significant American choreographers of the 

20 th century and identify how their works are representative of the time 

period and culture. 

• Collaborate with others to create original material for a dance that 

communicates a universal theme or sociopolitical issue. 







Indicator: • Generate original movement through improvisation and exploration. 


• Compose a small group study that explores vocabulary from a given 

dance style.


• Compose a small group study that explores rhythm. 

• Compose a small study that communicates emotion. 

• Compose a solo study exploring use of a prop. 

• Demonstrate knowledge of the difference between original and learned 

movements. 

• Compose a dance that demonstrates an increased range of movement 

vocabulary. 

• Collaborate with peers to create a group work demonstrating originality, 

unity, clarity of intent, and a thorough exploration of movement 

possibilities. 




• Apply a personal system of notating movement phrases and studies to 

their personal creative process. 

• Review, revise and refine an original dance with attention to internal 

phrasing and the communication of emotion or theme. 







Indicator: • Analyze the stylistic devices used by jazz, tap, and/or musical theater 

choreographers and determine the effects on dance performance. 

• Discuss how dances reflect the heritage, traditions and beliefs of the 

jazz, tap and/or musical theater choreographer. 

• Analyze and interpret the works of selected jazz, tap, and/or musical 

theater artists based on their use of dance structures, music forms, and 

theatrical elements. 




jazz, tap and/or musical theater dance.







Benchmark: Determine a philosophy of dance and identify sources (e.g., personal 


contributed to their thinking. 

Indicator: • Qualify and challenge the basis for their viewpoints about a selected dance 

(e.g., personal experience, interest, gender, age, and culture). 

• Identify and explain their preferences for choreography using the vocabulary 

of dance. 

• Examine the value of dance in social, theatrical, and cultural settings. 






connections between dance, other arts areas, and disciplines outside 

the arts. 

Indicator: • Compare and contrast dance and other academic disciplines on the 

basis of elements, common themes and processes. 

• Discuss how knowledge and practices learned in other disciplines can 

serve the dance student. 

B. Develop an individual advocacy statement in support of dance and 

dance education. 

• Research one local, state, or national professional dance organization 

and explain how it advocates for dance and dance education.

Dance and the Creative Process III - 166 

Dance and the Creative Process III 









Indicator: • Compare and contrast modern dance across the early 20 th century and 

explain its changes, development and influences over time. 

• Discuss innovations (e.g., computer movement, electronic media, and 

technical theater developments) that have affected modern dance 

production. 



producers). 




• Explain the relationship between form and meaning in selected modern 

dances using visual details from the works. 

• Trace the origin and development of modern dance styles and explain 

what each style reveals about its choreographer’s culture. 

• Compare and contrast the traditions, techniques, and cultural contexts of 

traditional, social and theatrical dance styles. 



• Research the contributions of significant modern dance choreographers 

of the early 20 th century and identify how their works are representative 

of the time period and culture. 

• Deliver a report (e.g., oral, written, visual, or multimedia) on a modern 

dance choreographer and show how his/her works reflect his/her 

heritage, traditions, beliefs, research, or philosophy.






Benchmark: A. Create a solo work that demonstrates originality, unity, clarity of intent, 

and a dynamic range of movement. 

Indicator: • Generate original movement through solo and group improvisation and 

exploration. 


• Compose a small study that communicates a theme or meaning. 

• Compose a small study that explores inversion. 

• Create movement studies that explore a variety of choreographic 

processes (e.g., chance operations, music visualization, and specific 

compositional structures). 

• Demonstrate knowledge of the difference between original and learned 

movements. 

• Compose a dance that demonstrates an increased range of original and 

expressive movement vocabulary. 






• Review, revise and refine an original dance with attention to internal 


• Review, revise, and refine an original work with attention to theatrical 

elements and sound accompaniment. 

• Communicate artistic ideas with theater personnel using appropriate 

vocabulary to represent theatrical processes, elements, and effects. 







Indicator: • Analyze the stylistic devices used by pioneering modern dance 

choreographers and determine the effects on dance performance. 

• Discuss how dances reflect the heritage, traditions, and beliefs of the 

early modern dance choreographer. 

• Analyze and interpret the works of selected mainstream modern dance 

artists based on their use of dance structures, music forms, and 

theatrical elements.





modern dance. 






Benchmark: Articulate a philosophy of dance and cite sources (e.g., personal 



Indicator: • Defend the basis for their viewpoints about a selected dance (e.g., personal 

experience, interest, gender, age, and culture). 

• Qualify and challenge their preferences for choreography using the 

vocabulary of dance and theater. 

• Research the value of dance selected in social, theatrical, and cultural 

settings. 







the arts. 

Indicator: • Summarize and present the perspectives of a choreographer, historian 

and scientist during a major historical event or period (e.g., the Harlem 

Renaissance). 

• Explore the study of dance in higher education and/or pairing dance 

study with another content area. 

B. Create an individual advocacy statement in support of dance and dance 

education. 

• Attend an event hosted by a local, state or national professional dance 

organization and explain the service the organization/event provides. 

• Examine the impact of government and policy-making on dance 

advocacy. 

• Discuss the attributes of an advocate for the arts and an arts program or 

organization.

Dance and the Creative Process IV 


Dance and the Creative Process IV - 169 








Indicator: • Compare and contrast modern dance across the later 20 th century to the 

present and explain its changes, development and influences over time. 

• Discuss innovations (e.g., computer movement, electronic media, and 

technical theater developments) that have affected postmodern and 

contemporary dance production. 



producers). 




• Explain the relationship between form and meaning in selected 

postmodern and contemporary dances using visual details from the 

works. 

• Trace the origin and development of postmodern and contemporary 

dance styles and explain what each style reveals about its 

choreographer’s culture. 

• Compare and contrast the traditions, techniques and cultural contexts of 

traditional, social, and theatrical dance styles. 



• Research the contributions of significant modern dance choreographers 

of the later 20 th century through the present and identify how their works 

are representative of the time period and culture. 

• Research a postmodern or contemporary dance work and show how the 

work’s central theme reflects the heritage, traditions, beliefs, research, or 

philosophy of the choreographer.








Indicator: • Generate original movement alone and with a group through participation 

in and directing of improvisations and explorations. 


• Compose dance studies that explore non-traditional partnering, weightsharing, 

and contact with others. 

• Use previously composed studies as material for creating larger works. 

• Create movement studies that explore a variety of choreographic 



• Demonstrate an ability to adapt and manipulate learned movements. 

• Use available technology to develop a dance study. 

• Compose a group dance that demonstrates an increased range of 

original and expressive movement vocabulary and spatial relationships. 

• Collaborate with peers to create original material for a dance. 






• Review, revise, and refine an original dance with attention to internal 


• Review, revise, and refine an original work with attention to theatrical 

elements and sound accompaniment. 

• Effectively communicate artistic ideas and collaborate with theater 

personnel using appropriate vocabulary to represent theatrical 

processes, elements, and effects. 

• Document selected personal dances/studies using established systems 

(e.g., personal notations, Labanotation, motif writing, Life Forms, and/or 

video recording). 

• Demonstrate an ability to notate, record, and preserve selected personal 

works.








Indicator: • Analyze the stylistic devices used by postmodern and contemporary 

dance choreographers and determine the effects on dance performance. 

• Discuss how dances reflect the heritage, traditions, and beliefs of 

postmodern and contemporary dance choreographers. 

• Analyze and interpret the works of selected postmodern and 

contemporary artists based on their use of dance structures, music 

forms, and theatrical elements. 




postmodern or contemporary dance. 






Benchmark: Articulate and justify a philosophy of dance and cite sources (e.g., personal 

experience, professionals in the field, and artists’ biographies) that 


Indicator: • Express viewpoints about a selected dance form, style or genre, and qualify 

its bases of influence (e.g., personal experience, interest, gender, age, and 

culture). 

• Articulate their preferences for choreography using the vocabulary of dance 

and theater. 

• Research choreographers and/or theater artists who share similar interests 

and approaches to dance making. 

• Communicate the value of dance in selected social, theatrical, and cultural 

settings. 

• Research and compare a choreographer’s artistic philosophy with that of a 

dance educator and explain the similarities and differences in their beliefs.






Benchmark: A. Explain common issues, topics, and problems that demonstrate the 


the arts. 

Indicator: • Interview a full time working artist to discover other knowledge areas 

necessary to earn a living. 

• Interview or research an artist who has other full time employment to 

discover the connections between his/her art and his/her occupation. 

B. Communicate an individual advocacy statement in support of dance 

and dance education. 

• Become involved in a local, state, or national arts organization and 

explain the service the organization/event provides. 

• Examine the impact of government and policy-making on dance 

advocacy. 

• Advocate for an arts program or organization in writing balancing 

professional language and documented research with personal 

accounts. 

• Use multiple resources (e.g., newsletters, professional magazines, 

interviews with arts administrators, or online Web sites) to research how 

local, state, or national professional dance organizations address 

dance/arts issues related to public policy, research, advocacy, and 

education.

Technique and the Dancer I 


Technique and the Dancer I - 173 







dances to understand and explain their relevance. 

Indicator: • Describe the influences of gender, class, ethnicity, and geography on 

traditional, social, and theatrical dance. 

• Determine influences of gender, class, ethnicity, and geography on 

dance styles in which they are personally involved. 


• Analyze and discuss the relationship between form and meaning in 

dance of different cultures. 



• Explain how the dance styles in which they are personally involved is a 

meaningful expression of their culture. 





Benchmark: A. Demonstrate alignment, articulation, strength, flexibility, agility, 

coordination, and focus while dancing. 

Indicator: • Perform movement sequences with technical awareness and focus. 

• Refine technique through self-evaluation and correction in each class. 

• Increase knowledge of and ability to perform movement vocabulary. 

• Demonstrate pre-professional work habits, attitude, and attention while 

participating as a student in dance class, rehearsal, and performance. 

B. As a soloist or with an ensemble, perform a dance that demonstrates 

expression and clarity and includes a variety of complex movement 

sequences (e.g., use of space, dynamics, rhythms, pathways, and 

forms). 

• Identify and demonstrate movements from established dance styles. 

• Perform a small group study that explores spatial relationships. 

• Perform a small group study that explores dynamics. 

• Perform a small study that explores time and musicality. 

• Perform a dance for an audience that demonstrates increased technical 

skill, dynamic range, and expression.






Benchmark: A. Use knowledge of all aspects of a dance performance (e.g., dance 

elements, choreography, performance skills, staging, theatrical 

elements, and sound) to interpret and evaluate dances. 

Indicator: • Observe a variety of performances and describe the dance and theatrical 

elements. 

• Use art criticism vocabulary to discuss the form, meaning, and 

effectiveness of selected ballets. 

B. Analyze and interpret recognized works of dance by a variety of 


• Differentiate between description and interpretation when discussing 

dances. 

• Articulate the difference between literal and abstract movements in 

dance. 

• Determine and articulate the relationship between movement and sound 

in ballet. 

• Support their interpretations of a ballet with references to the 

choreography (e.g., steps, movements, and patterns). 

C. Use established criteria to assess the effectiveness of dance and 


• Discuss how elements of production affect the meaning of a ballet (e.g., 

costumes, lights, props, sound, and venue). 

• Analyze how a dancer’s technical and performance skills affect the 

meaning of a ballet. 

D. Critique a dance and justify opinions using a defined set of criteria. 

• Use recognized exemplary works of dance to identify criteria for 

assessing outstanding dance performance.







Benchmark: Write and present personal statements about the meaning and significance 

of dance experiences (e.g., observing, performing, or responding to dance). 

Indicator: • Differentiate between aesthetic statements and questions about dance 

experiences and general, objective statements. 

• Identify and raise aesthetic questions about their dance experiences 

(e.g., questions related to the significance, beauty, and intent of the 

dance). 





Benchmark: A. Explore common issues, topics and problems that demonstrate the 


the arts. 

Indicator: • Select and research a theme or topic studied in another content area and 

compose a dance to enhance understanding of the topic. 

• Develop personal study habits that reflect the works habits and discipline 

learned in dance. 

• Research safe exercise practices and employ them into a personal 

dance training program. 

B. Explore how the study of dance provides knowledge and skills 

essential to life, personal health and effective work in various careers. 

• Develop strategies for promoting safe dance practices and for coping 

with unsafe practices. 

• Discuss dance’s role in an overall health and fitness plan.

Technique and the Dancer II - 176 

Technique and the Dancer II 









Indicator: • Describe the influences of gender, class, ethnicity, and geography on 

traditional, social, and theatrical dance. 

• Determine influences of gender, class, ethnicity, and geography on 

dance styles in which they are personally involved. 


• Explain how the dance styles in which they are personally involved is a 

meaningful expression of their culture. 







Indicator: • Perform movement sequences with increased technical awareness and 

focus. 

• Refine technique through self-evaluation and correction in each class. 


• Demonstrate pre-professional work habits, attitude, and attention while 

participating as a student in dance class, rehearsal, and performance. 




forms). 

• Identify and perform movements from more than one established dance 

style. 

• Perform a small group study that communicates emotion. 

• Perform a small group study that explores rhythm. 

• Perform a solo study exploring the use of a prop. 

• Perform a dance for an audience that demonstrates increased technical 

skill, dynamic range, and expression. 

• Memorize and perform complex movement sequences with technical 

awareness, focus, and greater risk-taking.






Benchmark: A. Synthesize knowledge of all aspects of a dance performance (e.g., 

dance elements, choreography, performance skills, staging, theatrical 

elements and sound) to interpret and evaluate dances. 


elements. 

• Use art criticism vocabulary to analyze the form, meaning and 

effectiveness of selected American dance styles. 

• Become proficient in theatrical stage and process vocabulary. 




dances. 


dance. 


in jazz, tap, and/or musical theater. 

• Support their interpretations of a jazz, tap, and/or musical theater dance 

with references to the choreography (e.g., steps, movements, and 

patterns). 



• Demonstrate an understanding of theater terminology, stage directions, 

equipment, processes and practices. 

• Discuss how elements of production affect the meaning of a jazz, tap, or 

musical theater dance (e.g., costumes, lights, props, sound, and venue). 


meaning of a jazz, tap, and/or musical theater dance. 



assessing outstanding dance performance. 

• Explain and justify opinions about how venue influences the way a dance 

is perceived and understood. 

• Describe, interpret, and evaluate dance performances using appropriate 

vocabulary.








of dance experiences (e.g., observing, performing or responding to dance). 

Indicator: • Use inquiry skills to develop their beliefs about dance and the way they 

experience dance. 

• Write reflections about dance experiences that include personal meaning, 

growth and challenges. 





Benchmark: A. Identify common issues, topics and problems that demonstrate the 


the arts. 

Indicator: • Employ personal study habits that reflect the works habits and discipline 

learned in dance. 

• Research the Theory of Multiple Intelligences (Howard Gardner) and 

determine personal strengths and tendencies. 

• Research dance-related exercise practices (e.g., Pilates, Skinner 

Release, yoga, Bartenieff Fundamentals, Feldenkrais, Alexander 

Technique and GyroKenesis) and employ concepts into a personal 

dance training program. 

• Identify the connections between dance and theater and plan 

choreography that demonstrates this understanding. 

B. Identify how the study of dance provides knowledge and skills 


• Develop and discuss strategies for promoting safe dance practices and 

for coping with unsafe practices. 

• Identify and discuss the specific ways that dance contributes to personal 

fitness and physical and mental health.

Technique and the Dancer III 


Technique and the Dancer III - 179 






Benchmark: Explain how dance is a meaningful expression of culture. 

• Explain how a dance which they create is a meaningful expression of their 

culture. 







Indicator: • Perform movement sequences with increased technical accuracy and 

clear focus. 

• Refine technique through self-evaluation and correction in each class 

and rehearsal. 


• Actively pursue new, more challenging movements and skills in dance. 

• Demonstrate professional-level work habits, attitude, and attention while 

participating as a student in dance class, rehearsal and performance. 

• Demonstrate leadership and modeling in the dance classroom and 

rehearsal. 

• Perform a variety of complex movement sequences with an ensemble 

that demonstrate self-awareness and awareness of others. 




forms). 


styles. 

• Perform a study exploring inversion. 

• Perform movement studies that explore a variety of choreographic 



• As a soloist or as a part of an ensemble, perform dances for an audience 

from a variety of styles (e.g., ballet, jazz, and modern) that demonstrate 

expression, dynamic range, and technical accuracy. 

• Memorize and perform complex movement sequences with technical 

accuracy, clear focus, and greater risk-taking.

Technique and the Dancer IV - 180 









elements. 

• Use art criticism vocabulary to analyze the form, meaning, and 

effectiveness of selected modern dance performances. 

• Evaluate various media for observing live and recorded dance 

performances. 




dances. 


dance. 


in early modern dance. 

• Support their interpretations of a modern dance with references to the 

choreography (e.g., steps, movements, and patterns). 




equipment, processes, and practices. 

• Discuss how elements of production affect the meaning of a modern 

dance (e.g., costumes, lights, props, sound, and venue). 


meaning of a modern dance. 

• Discuss how a viewer’s personal experiences affect the meaning of a 

modern dance. 




• Explain and justify opinions about how venue influences the way a dance 

is perceived and understood. 


vocabulary and established criteria.


Technique and the Dancer III - 181 






of dance experiences (e.g., observing, performing, or responding to dance). 

Indicator: • Reflect on and refine their beliefs and questions about their dance 

experiences. 

• On an ongoing basis, write reflections about dance experiences that include 

personal meaning, growth, challenges, and interests. 







the arts. 

Indicator: • Report successful personal study habits that reflect the works habits and 

discipline learned in dance to peers. 

• Pair two preferred intelligences (Howard Gardner) to create an 

interdisciplinary project [e.g., dance (kinesthetic intelligence) and English 

literature (linguistic intelligence)]. 

• Research anatomical and kinesiological concepts to prevent injury, 

increase overall fitness, and enhance a personal dance training program. 

• Participate in the theatrical component of a performance and report on 

the connection of that experience to that of performing dance. 

B. Explain how the study of dance provides knowledge and skills 


• Employ strategies for promoting safe dance practices and for coping with 

unsafe practices. 

• Document the specific ways that dance has contributed to their personal 

fitness and physical and mental health thus far. 

• Discuss the responsibilities of the professional dancer for personal health 

and injury prevention, care, and rehabilitation.


Technique and the Dancer IV 







Benchmark: Explain how dance is a meaningful expression of culture. 

Indicator: • Explain how dances which they create are meaningful expressions of their 

culture. 







Indicator: • Perform movement sequences with increased technical accuracy and 

performance-level focus. 

• Refine technique through self-evaluation and correction in each class 

and rehearsal. 


• Actively pursue new, more challenging movements and skills in dance. 

• Demonstrate professional-level work habits, attitude, and attention while 

participating as a student, teacher, or choreographer in dance class, 

rehearsal and performance. 

• Demonstrate leadership and modeling in the dance classroom and 

rehearsal. 

• Perform a variety of complex movement sequences with an ensemble 

that demonstrate self-awareness and awareness of others. 

• Perform a complex work by a recognized choreographer and 

communicate the artist’s intent. 




forms). 

• Demonstrate and coach similarities and differences between dance 

styles. 

• Demonstrate the ability to adapt to and perform two or more different 

dance styles. 

• Perform a small study exploring non-traditional partnering, weightsharing 

and contact with others. 

• Perform movement studies that explore a variety of choreographic 

processes (e.g., chance operations, music visualization and specific 

compositional structures).


• As a soloist or as a part of an ensemble, perform dances for an audience 

from a variety of styles (e.g., ballet, jazz and modern) that demonstrate 

expression, dynamic range and technical accuracy. 

• Memorize and perform complex and challenging movement sequences 

with technical accuracy, performance focus, increased expressivity, and 

greater risk-taking. 







elements and sound) to interpret and evaluate dances. 


elements. 

• Use art criticism vocabulary to analyze the form, meaning and 

effectiveness of selected postmodern and/or contemporary dance 

performances. 

• Evaluate various media and venues for observing live and recorded 

dance performances. 

• Analyze the way in which the central theme of a dance selection 

expresses a comment on daily life and use well-chosen details from the 

dance to support their analysis. 




dances. 


dance. 


in postmodern and contemporary dance. 

• Determine the relationship between movement and theatrical elements in 

postmodern and contemporary dance. 

• Articulate the relationship between the performers and the audience in 

postmodern dance and compare to previously studied dance styles. 

• Support their interpretations of a postmodern and/or contemporary dance 

with references to the choreography (e.g., steps, movements, and 

patterns). 




equipment, processes, and practices. 

• Discuss how elements of production affect the meaning of a postmodern 

and/or contemporary dance (e.g., costumes, lights, props, sound, and 

venue). 


meaning of a postmodern and/or contemporary dance.


• Discuss how a viewer’s personal experiences affect the meaning of a 

postmodern and/or contemporary dance. 



assessing outstanding dance performance across genres and styles. 

• Explain and justify opinions about how venue and/or media influences 

the way a dance is perceived and understood. 


vocabulary and established criteria. 

• Assess the effectiveness of all aspects of a dance performance and 

professionally suggest alternative choices or revisions, if necessary. 







of dance experiences (e.g., observing, performing or responding to dance). 

Indicator: • On an ongoing basis, write reflections about dance experiences that include 

personal meaning, growth, challenges, and interests. 

• Develop a point of view about the significance of their dance experiences 

and support their viewpoint with well-chosen details. 





Benchmark: A. Articulate common issues, topics and problems that demonstrate the 


the arts. 

Indicator: • Report and coach successful personal study habits that reflect the works 

habits and discipline learned in dance to peers. 

• Use two preferred intelligences (Howard Gardner) to create a dance 

project [e.g., drawings (spatial intelligence) and geometry (analytical 

intelligence)]. 

• Research nutrition and wellness concepts to prevent injury, increase 

overall health and enhance a personal positive healthy lifestyle. 

• During an interdisciplinary collaboration, identify creative process 

commonalities between arts disciplines.


B. Articulate how the study of dance provides knowledge and skills 


• Teach and employ strategies for promoting safe dance practices and for 

coping with unsafe practices. 

• Discuss unsafe health practices found in dance (e.g., eating disorders, 

over-exercising, inadequate rest, and risky occupations) and discuss 

prevention and treatment. 

• Articulate the specific ways that dance has contributed to their personal 

fitness and physical and mental health thus far. 

• Identify and explain the responsibilities of the professional dancer for 

personal health and injury prevention, care, and rehabilitation.

Intro. to Dance - 186 

Introduction to Dance 









Indicator: • Identify a variety of historical, social, cultural, and ritual dances. 

Describe the influences of gender, class, ethnicity, and geography on 

ritual, social, and theatrical dance. 

Analyze the philosophical beliefs, social systems, and movement 

norms that influence the function and form of dance. 

Research social dance styles and place them within a personal, 

historical, and cultural context. 

Analyze how popular social dance trends are influenced by 

sociopolitical issues. 

• Discuss cultural influences on dance in various periods. 

Discuss innovations that have affected contemporary dance 

production. 

Use examples to explain the influences of culture and historical 

events on the work of dance artists. 

Compare and contrast interpretations of the same dance performed 

in different historical contexts. 

Analyze a selected dance and explain its cultural role and 

significance. 

Analyze the impact of one or more major artistic periods on the 

development of dance in various cultures. 

• Analyze contributions of various choreographers to dance in this century. 

Examine a renowned choreographer who is representative of a 

specific time period and culture and describe his/her work. 

Analyze a selected dance and explain its cultural role and 

significance. 


• Analyze and discuss the relationship between form and meaning in 

dances of different cultures. 



• Discuss the cultural influences on dance in America today.




• Research the contributions of significant choreographers of the 19 th , 20 th , 

and 21 st centuries and identify how their works are representative of the 


• Deliver a report (e.g., oral, written, visual, or multimedia) on a 

choreographer and show how his/her works reflect his/her heritage, 

traditions, or beliefs. 

• Collaborate with others to create original material for a dance that 

communicates a universal theme or sociopolitical issue. 







Indicator: • Perform movements with technical awareness and focus. 

• Demonstrate increased abilities and skills in various dance styles. 


expression and clarity and includes a variety of movement sequences 

(e.g., use of space, dynamics, rhythms, pathways, and forms). 

• Identify and demonstrate established dance styles. 


range, and expression for an audience. 

• Perform movement sequences from memory in more than one dance 

style. 


styles. 

• Perform dances for peers with technical awareness, dynamic range, and 

performance focus. 

C. Create a personal work that demonstrates originality, unity, clarity of 

intent, and a dynamic range of movement. 

• Identify personal movement preferences and demonstrate an increased 

range of personal movement vocabulary used in improvisation. 

• As a soloist or as a part of an ensemble, create dances from two 

different genres that demonstrate expression, dynamic range, and 

technical awareness. 

• Create a dance study that demonstrates an understanding of the 

difference between literal and abstract movements.









Indicator: • Use proper vocabulary to describe dances and their theatrical elements. 

Observe a variety of performances and describe the dance, its 

theatrical elements, and its presentation. 

Evaluate various media for observing live and recorded dance 

performances. 

Analyze the stylistic and theatrical devices used by a choreographer 

and determine the effects on a dance performance. 

• Use proper vocabulary to interpret dance works based on their 

description and presentation. 

Explain how the elements of a dance are used to communicate its 

theme. 

Support interpretations of a dance with references to the 

choreography (e.g., steps, movements, and movement patterns). 

Determine and articulate the relationship between movement and 

sound in a dance. 



• Discuss how a dance reflects the heritage, traditions, and beliefs of the 

choreographer. 

• Describe and interpret the works of selected choreographers based on 

their use of dance vocabulary, choreographic structures, and theatrical 

elements. 



• Articulate the difference between description, interpretation, and 

judgment in viewing dances. 

• Explain and justify personal opinions about a dance. 

• Analyze how elements of production (e.g., costumes, lights, props, 

sound, and venue) affect the meaning of a dance. 


• Objectively communicate likes and dislikes for a dance using proper 

vocabulary and effective reasoning. 



• Explain and justify opinions about how venue and audience behavior 

influences the way a dance is perceived and understood.







Benchmark: A. Create personal statements about the meaning and significance of 

dance experiences (e.g., observing, performing, or responding to 

dance). 

Indicator: • Identify and raise aesthetic questions about dance experiences (e.g., 

questions related to the significance, beauty, and intent of a dance). 

• Use inquiry skills to develop their beliefs about dance and the way they 


• Reflect on and refine their beliefs and questions about their dance 

experiences. 

B. Articulate and justify a philosophy of dance and cite sources (e.g., 

personal experience, professionals in the field or artists’ biographies) 

that contributed to their thinking. 

• Determine the basis (e.g., personal experience, interest, gender, age, 

and culture) for their viewpoints about a selected dance. 








the arts. 

Indicator: • Discuss a selected work of art’s use of dance, sound, visual art, media, 

and theatre elements (e.g., a musical, a multi-media performance event, 

or any collaboration between choreographer/composer/designers). 

• Compare and contrast dance and other arts disciplines on the basis of 

art elements, common themes and ways of communicating meaning. 

• Discuss other areas of study important to students of dance (e.g., 

anatomy, kinesiology, nutrition, biology, physics, etc.).

Dance for the Athlete I - 190 

Dance for the Athlete I 







Benchmark: A. Use contextual information about culturally representative dances to 

understand and explain their development. 

Indicator: • Discuss traditional, social, and theatrical dance in various cultures. 

• Compare selected dances to those in their culture and experience. 


• Discuss the relationship between form and meaning in dances of 

different cultures. 

• Discuss the traditions of dances of different cultures and periods. 







Indicator: • Perform movement sequences with technical awareness and focus. 

• Demonstrate increased physical abilities and skills in two dance styles. 

• Demonstrate knowledge of proper behavior as a student of dance class. 




forms). 



• Identify and perform vocabulary from two established dance styles. 

• Perform a dance for peers with technical awareness, dynamic range, and 

performance focus. 

C. Create a work that demonstrates originality, unity, clarity of intent, and 


• Create a study that demonstrates a personal movement preference and 

a broadening range of vocabulary. 

• Create a study that demonstrates the difference between abstract and 

literal movements.

D. Review, revise and refine an original dance. 


• Apply review and revision processes to improve personal dance studies. 









Indicator: • Observe a variety of dances and identify the elements of dance within 

them. 

• Explain how the elements of a dance are used to communicate its 

theme. 

• Assess the success of an artist’s use of dance elements in 

communicating a theme. 

• Differentiate between a dance’s movements and its theatrical elements. 

B. Describe and interpret recognized works of dance by a variety of 



dances. 

• Discuss the relationship between movement and sound in a dance. 

• Discuss how a dance reflects the heritage of the choreographer. Use 

recognized, exemplary works of dance to identify criteria for assessing 

outstanding dance performance. 



• Discuss how theatrical elements (e.g., costumes, lights, props, sound, 

and venue) affect the meaning of a dance. 

• Discuss how movements of the dancers communicate meaning of a 

dance. 

• Discuss how the personal experience of an audience member affects the 

meaning of a dance.







Benchmark: A. Form personal statements about the meaning and significance of dance 

experiences (e.g., observing, performing, and responding to dance). 

Indicator: • Use inquiry skills to develop their beliefs about dance and the way they 


• Research and identify opportunities for life-long involvement in dance 

(e.g., career, patron, recreation, and/or entertainment). 

B. Develop a philosophy of dance by examining sources (e.g., personal 

experience, professionals in the field, and artists’ biographies) that 

contribute to their thinking. 




• Articulate why a selected choreographer demonstrates or embodies their 

personal philosophy. 






connections between dance, other art areas, and disciplines outside 

the arts. 

Indicator: • Identify and compare how learning habits acquired in dance can be 

applied to the study of/participation in sports, athletics, and physical 

education. 

• Compare and contrast dance and physical education on the basis of 

elements, common themes and purposes. 

• Define dance and compare it to sport.



essential to life, personal health, and effective work in various careers. 

• Identify areas of personal fitness that dance has improved as well as 

areas not addressed by dance. 

• Identify risky and unsafe practices in dance and athletic training. 

• Demonstrate an informed approach to personal health and wellness 

practices as related to dance and participation in athletics. 

• Form strategies for coping with traditional yet unsafe practices in 

athletics. 

• Apply anatomical and kinesthetic concepts to training practices. 

• Apply knowledge of injury prevention techniques and injury rehabilitation 

(when necessary). 

• Identify and create appropriate personal health/well-being goals for 

implementation and improvement of physical health. 

C. Create an individual advocacy statement in support of dance and 

movement education. 

• Explain the concept of advocacy and its importance to the arts and to 

physical education. 

• Create a personal advocacy statement in writing supporting the role of 

movement education in students’ educational lives.

Dance for the Athlete II - 194 

Dance for the Athlete II 







Benchmark: A. Use contextual information about culturally representative dances to 

understand and explain their development. 

Indicator: • Compare traditional, social, and theatrical dance in various cultures. 

• Compare and contrast selected dances to those in their culture and 

experience. 


• Discuss the relationship between form and meaning in dances of 

different cultures. 

• Discuss the traditions of dances of different cultures and periods. 

• Discuss the traditions of dance in their own culture. 







Indicator: • Perform movement sequences with technical awareness and clear focus. 

• Demonstrate increased physical abilities and skills in two dance styles. 

• Demonstrate knowledge of proper behavior as a student of dance class. 




forms). 



• Identify and perform vocabulary from two established dance styles. 

• Perform a dance for peers with technical awareness, dynamic range, and 

performance focus.


C. Create a work that demonstrates originality, unity, clarity of intent and a 

dynamic range of movement. 

• Create a study that demonstrates a personal movement preference and 

a broadening range of vocabulary. 

• Create a study that demonstrates the difference between abstract and 

literal movements. 

• Create a study that could be used in an exercise warm-up or training 

program. 

D. Review, revise, and refine an original dance. 

• Apply review and revision processes to improve personal dance studies. 


• Critique, assess, and reflect on personal studies and suggest revisions. 








Indicator: • Observe a variety of dances and identify the elements of dance within 

them. 

• Explain how the elements of a dance are used to communicate its 

theme. 

• Assess the success of an artist’s use of dance elements in 

communicating a theme. 

• Differentiate between a dance’s movements and its theatrical elements. 

• Discuss the role of sound in a particular dance. 

B. Describe and interpret recognized works of dance by a variety of 



dances. 

• Refer to specific movements in a dance when communicating an 


• Give clear, educated reasons for opinions about a dance. 

• Discuss how a dance reflects the heritage of the choreographer. 

• Use recognized, exemplary works of dance to identify criteria for 

assessing outstanding dance performance.




• Discuss how theatrical elements (e.g., costumes, lights, props, sound, 

and venue) affect the meaning of a dance. 

• Discuss how movements of the dancers communicate meaning of a 

dance. 

• Discuss how the personal experience of an audience member affects the 

meaning of a dance. 






Benchmark: A. Form personal statements about the meaning and significance of dance 

experiences (e.g., observing, performing, and responding to dance). 

Indicator: • Question and challenge their beliefs about dance and the way they 


• Research and identify opportunities for life-long involvement in dance 

(e.g., career, patron, recreation, and/or entertainment). 

B. Articulate and justify a philosophy of dance and cite sources (e.g., 

personal experience, professionals in the field, and artists’ biographies) 

that contributed to their thinking. 



• Examine the value of dance in social, theatrical and cultural settings. 

• Examine the value of dance in their life and culture. 

• Articulate why a selected choreographer demonstrates or embodies their 

personal philosophy. 






connections between dance, other art areas, and disciplines outside 

the arts. 

Indicator: • Identify and compare how learning habits acquired in dance can be 

applied to the study of/participation in sports, athletics, and physical 

education. 

• Compare and contrast dance and physical education on the basis of 

elements, common themes, and purposes. 

• Define dance and compare it to sport. 

• Research higher education courses of study in both physical education 

and dance to find commonalities.



essential to life, personal health, and effective work in various careers. 

• Document areas of personal fitness that dance has improved as well as 

areas not addressed by dance. 

• Identify and discuss risky and unsafe practices in dance and athletic 

training. 

• Demonstrate an informed approach to personal health and wellness 

practices as related to dance and participation in athletics. 

• Form strategies for coping with traditional yet unsafe practices in 

athletics. 

• Apply anatomical and kinesthetic concepts to training practices. 

• Apply knowledge of injury prevention techniques and injury rehabilitation 

(when necessary). 

• Identify and create appropriate personal health/well-being goals for 

implementation and improvement of physical health. 

C. Create an individual advocacy statement in support of dance and 

movement education. 

• Explain the concept of advocacy and its importance to the arts and to 

physical education. 

• Create a personal advocacy statement in writing supporting the role of 

movement education in students’ educational lives. 

• Advocate for a movement education program in writing balancing 

documented research with personal experience.

Acting I 


Acting I - 201 







Benchmark: A. Determine the authenticity and effectiveness of a dramatic/theatrical 

work or experience in terms of style, time period, culture, and theatre 

heritage. 

Indicator: • Explain why one style of performance is more appropriate to a given 

story or message than another style. 

• Identify key figures, works, and trends in various cultures. 

• Analyze the cultural, social, political, and technological influences on an 

artist and his/her choices. 

B. Discuss the place a dramatic/theatrical writer’s body of work in 

drama/theatre history. 

• Compare and contrast two playwrights and/or screenwriters of two 

distinct theatre time periods. 




dramatic/theatrical skills and participate in drama/theatre 

Benchmark A. Analyze the physical, social, and psychological dimensions of a 

character and create believable multidimensional portrayal of that 

character. 

Indicator: • Distinguish between the voice used in life situations and the voice used 

in performance situations 

• Manipulate vocal qualities, posture, movement, and language to express 

a variety of characters. 

• Develop contrasting pieces/monologues for presentations and auditions 

appropriate for inclusion in a portfolio.







using the appropriate criteria. 

Benchmark A. Incorporate specialized dramatic/theatrical terminology accurately and 

consistently in analyzing and responding to dramatic theatrical 

experiences. 

Indicator: • Use accurate terminology in dramatic/thematic activities. 

B. Indicate the artistic techniques used in planning and performing 

drama/theatre work. 

• Determine how a theatrical device can be used to communicate an 

author’s or playwright’s intent. 

• Explain how a theatre artist’s use of symbols helps to create meaning in 

a dramatic/theatrical work. 

• Explain the changes that occur as a result of self-evaluation as an artist 

or audience member. 

• Defend the use of a specific style, form, or period to express an intended 

message. 

• Demonstrate the changes that occur as a result of self-evaluation an 

artist or audience member. 

• Use self-evaluation strategies and audience response to improve their 

artistic works and experiences. 

C. Evaluate dramatic/theatrical works using appropriate criteria. 

• Develop and employ a system of evaluation of self and peer presentation 

of creative work in the classroom. 

• Develop a system for evaluating formal work presented by peers and 

others in a formal setting.. 






Benchmark A. Defend their responses to a drama/theatre event based on their 

personal drama/theatre philosophies. 

Indicator: • Explain the role of drama/theatre in their lives. 

• Identify and analyze components that comprise a philosophy. 

B. Respect diverse opinions regarding drama/theatre preferences. 

• Identify culturally diverse opinions about a drama/theatre event.








Benchmark A. Synthesize knowledge of the arts through participation in the creation 

of a dramatic/theatrical work or experience. 

Indicator: • Demonstrate the integration of several arts media in a presentation. 

• Explain drama/theatre as a synthesis of all the arts. 

B. Synthesize the relationship between concepts and skills used in 


• Recognize the necessity of integration of all disciplines in 

dramatic/theatrical activity. 

• Use skills learned in other disciplines in producing a dramatic/theatrical 

piece. 

C. Explain how the arts are an index to social values and 

accomplishments of civilization. 

• Describe ways in which drama/theatre can reveal universal concepts 

with references to specific works. 

• Cite specific examples of the relationship between drama/theatre and 

their communities. 

D. Engage in activities that lead to continued involvement in theatre. 

• Describe the established standards of the theatre profession.

Acting II 


Acting II - 201 









heritage. 



• Compare and contrast the principles and elements of a 

dramatic/theatrical work from various time periods. 

• Describe various periods of theatre history. 


• Identify significant issues that are important to live theatre, film/video, 

and broadcast media today. 



• Justify a performance style to communicate an original message or story. 

• Compare and contrast the elements of dramatic/theatrical works from 

different time periods. 





• Identify the significant playwrights/screenwriters and their works from 

various periods of theatre history. 





Benchmark: A. Analyze the physical, social, and psychological dimensions of a 


character. 





• Use breath control and the vocal characteristics necessary to develop an 

effective characterization. 

• Demonstrate in dramatic action how various factors such as emotional 

attitude contribute to characterization.


• Deliver memorized lines and/or read aloud from a script with clarity, 

volume, and vocal variety. 

• Demonstrate collaborative discipline necessary for an ensemble 

performance. 

• Use movement qualities and patterns to create a specific character. 

• Use various vocal techniques to develop a consistent character. 

• Sustain convincing multidimensional characters. 


appropriate for inclusion in a portfolio. 







Benchmark: A. Incorporate specialized dramatic/theatrical terminology accurately and 


experiences. 











message. 





• Compare and contrast motivations and reactions of characters 

confronting similar situations. 

• Explain how the playwright’s choices influence the message. 



• Compare and contrast their artistic choices before and after a selfevaluation. 





others in a formal setting.







Benchmark: A. Defend their responses to a drama/theatre event based on their 




• Develop a personal drama/theatre philosophy. 


• Identify culturally diverse opinions about a drama/theatre event. 

• Identify factors among cultures that generate diverse opinions about a 

drama/theatre event. 







Benchmark: A. Synthesize knowledge of the arts through participation in the creation 



• Recognize the relationships between drama/theatre and other art forms 

during specific historical periods. 







piece. 







• Describe how drama/theatre affects social change. 



Acting III - 204 

Acting III 










heritage. 





• Describe how dramatic/theatrical literature and production film/video and 

broadcast media reflect the concerns of their time. 










• Analyze the relationships between cultural and social attitudes and 

emotional reactions to a dramatic/theatrical event with references to the 

experience. 

• Use drama/theatre heritage and drama/theatre experiences as a means 

to explore philosophical, ethical, and religious issues. 

• Analyze a dramatic/theatrical work in the context of its time period. 

• Research the historical background of a script as a basis for 

interpretation and presentation. 







• Discuss a playwright’s body of work and place in theatre heritage.






Benchmark A. Analyze the physical, social, and psychological dimensions of a 


character. 








attitude contribute to characterization. 




performance. 




• Analyze text on the basis of the physical, social, and psychological 

dimensions of the characters. 











experiences. 











message.
















others in a formal setting. 











• Articulate a personal drama/theatre philosophy and its role in their lives. 





• Analyze factors among cultures that generate diverse opinions about a 

drama/theatre event.














• Analyze drama/theatre as a synthesis of all the arts. 






piece. 

• Integrate the essential skills from all disciplines needed for 

dramatic/theatrical production. 








• Analyze relationships among cultural norms, artistic expressions, ethics, 

and the choices made in dramatic/theatrical productions. 


• Describe the established standards of the theatre profession. 

• Identify personal strengths and weaknesses and potential success in 

drama/theatre, film/video and broadcast media.

Acting IV - 208 

Acting IV 






inventors to drama/theatrical heritage. Students analyze the social and political 





heritage. 


















experience. 



• Explore the use of various styles to achieve an intended purpose. 










• Discuss a playwright’s body of work and place in theatre heritage. 

• Research a contemporary playwright’s body of work and speculate on 

the artist’s potential place in theatre heritage.








character. 








attitude contribute to characterization. 




performance. 



• Develop and effectively use audition skills. 














experiences. 









or audience member.



message. 
















• Evaluate one playwright’s presentation of universal themes across 

different works. 

• Evaluate a dramatic/theatrical script for its potential choices. 

• Evaluate a production’s faithfulness to the playwright’s intent and to the 



















• Compare and contrast culturally diverse opinions about a drama/theatre 

event.




















piece. 















drama/theatre, film/video and broadcast media.

Beginning Acting - 212 

Beginning Acting I and II 











heritage. 









character. 















experiences. 

Indicator: • Use accurate terminology in dramatic/thematic activities.











message. 




















• Identify culturally diverse opinions about a drama/theatre event.










Indicator: • Explain drama/theatre as a synthesis of all the arts. 






piece. 









Directing for the Stage 


Directing for the Stage - 215 









heritage. 

Indicator: • Explain how one style of performance is more appropriate to a given 




• Explain how live theatre, film/video and broadcast media reflect the 

artistic and social values and accomplishments of civilization. 



• Explain how dramatic/theatrical literature and production film/video and 


• Describe the connection between style and form. 
















various periods of theatre history.







character and create believable multi-dimensional portrayal of that 

character. 

Indicator: • Demonstrate collaborative discipline necessary for an ensemble 

performance. 

• Use movements qualities and patterns to create a specific character. 



B. Effectively use technology and/or resources to mount a performance. 

• Determine costumes and make-up needed to create a character. 

• Use technical elements safely to focus attention, establish mood, locale 

and time, and support plot. 

• Apply the principles of composition to create an effective stage. 

• Summarize the costs of mounting a dramatic/theatrical production. 

• Explain an area of technical production in depth. 

• Identify the roles of collaboration between various technical 

professionals. 

• Compare and contrast the directing and management skills needed in 

different media. 

• Pre-block and direct peers in a scene. 

• Create designs in a specific technical emphasis. 

• Select, cast, block, and direct a scene for performance. 

• Apply appropriate technology to a theatrical production. 

• Select, cast, block, and direct a one-act play for performance. 









experiences. 







• Explain how a theatrical artist’s use of symbols helps create meaning in 





message. 

• Demonstrate the changes that occur as a result of the self-evaluation as 

an artist or audience member. 







• Evaluate the resources used in a production to enhance the intent of the 

playwright. 

• Evaluate variations of universal themes across different time periods and 

cultures. 

• Evaluate variations of universal themes across different works. 






























Indicator: • Recognize the relationships between drama/theatre and other art forms 




B. Explain how the arts are an index to social values and 








• Describe established standards of the theatre profession. 

• Investigate the level of discipline, knowledge, and skills required for 

career preparation in drama/theatre. 

• Investigate a selected career in drama/theatre, film/video and broadcast 

media.

Introduction to Theatre 


Intro. to Theatre - 219 










heritage. 































experiences. 
















playwright. 







































• Describe how drama/theatre affects social change.

Intro. to Musical Theatre - 222 

Introduction to Musical Theatre 











heritage. 






















• Research the historical background of a script as basis for interpretation 

and presentation. 




various periods of theatre history.








character. 

Indicator: • Demonstrate collaborative discipline necessary for an ensemble 

performance. 

• Use movements, qualities and patterns to create a specific character. 




• Determine costumes and make-up needed to create a character. 

• Use technical elements safely to focus attention, establish mood, locale 

and time, and support plot. 








• Pre-block and direct peers in a scene. 


• Select, cast, block, and direct a scene for performance. 


• Select, cast, block, and direct a one-act play for performance. 









experiences. 












message. 










playwright. 


cultures. 









































C. Engage in activities that lead to continued involvement in theatre. 



career preparation in drama/theatre.

Prof. Theatre Issues - 226 

Professional Theatre Issues 











heritage. 

Indicator: • Explain how dramatic/theatrical literature and production film/video and 







Benchmark: B. Discuss the place a dramatic/theatrical writer’s body of work in 


• Identify the significant writers and their works from various periods of 

theatre history. 







character. 

Indicator: • Develop contrasting pieces/monologues for presentations and auditions 


• Develop and effectively use audition skills. 




• Compare and contrast the directing and management kills needed in 

different media (e.g. stage. film, television, radio).










experiences. 




























• Articulate a personal drama/theatre philosophy and its role in their lives.




































drama/theatre, film/video and broadcast media. 

• Identify the purposes of a portfolio and resume. 

• Assemble a personal drama/theatre portfolio and resume including works 

completed and works-in-progress. 

• Revise the portfolio and resume. 

• Investigate a selected career in drama/theatre, film/video, and broadcast 

media. 

• Participate in portfolio review. 

• Describe how drama/theatre affects social change.

Scenic Design 


Scenic Design - 229 










heritage. 




















• Discuss a playwright’s body of work and place it in theatre heritage. 


the artist’s potential place in theatre heritage. 




dramatic/theatrical skills and participate in drama/theatre. 



character. 

Indicator: • Analyze text on the basis of the physical, social, and psychological 

dimensions of the characters.



• Determine costumes and make-up needed to create character. 

• Use technical theatre elements safely to focus attention, establish mood, 

locale and time, and support plot. 




• Apply technical knowledge and skills to collaborate and safely create 

functional scenery, properties, lighting, sound, costumes, and make-up. 






• Identify the application of new technology to a selected area of technical 

emphasis. 

• Collaborate with others to develop a unified production design for a 

production. 










experiences. 











message. 






• Compare and contrast their artistic choices before and after a selfevaluation.



• Compare and contrast a traditional interpretation of a dramatic/theatrical 

work with nontraditional interpretation. 

• Evaluate the resources used in production to enhance the intent of the 

playwright. 






playwright. 


cultures. 















































media.

Technical Theatre I 


Technical Theatre I - 233 










heritage. 






















Benchmark: A. Effectively use technology and/or resources to mount a performance. 

Indicator: • Determine costumes and make-up needed to create character. 









professionals.



production. 










experiences. 










playwright. 






playwright. 







































media.

Technical Theatre II 


Technical Theatre II - 236 










heritage. 






























character. 




• Determine costumes and make-up needed to create character. 













• Identify the application of new technology to a selected area of technical 

emphasis. 

• Construct and operate technical production equipment safely and 

independently. 


production. 


• Work safely and independently with all technical aspects of theatrical 

production. 









experiences. 












message. 











playwright. 






playwright. 


cultures. 















































media.

Theatre and History - 240 

Theatre and History 











heritage. 









experience. 






















This standard does not apply.










experiences. 









message. 










playwright. 


• Evaluate one playwright’s presentation of universal themes across 



• Evaluate variations of universal themes across different works by the 

same playwright and by different playwrights. 


time period and culture.




















event. 





















and the choices made in dramatic/theatrical productions.

Theatre in Film 


Theatre in Film - 243 










heritage. 






































character. 



















experiences. 











message. 



• Explain how the playwright’s choices influence the message.








playwright. 


cultures. 

































• Analyze drama/theatre as a synthesis of all the arts.














media.

Theatre Writing 


Theatre Writing - 247 










heritage. 












• Identify significant issues that are important to live theatre. Film/video, 

















Benchmark: A. Effectively use technology and/or resources to mount a performance. 

Indicator: • Compare and contrast the directing and management skills needed in 

different media (e.g. stage. film, television, radio).


B. Create an imaginative and complex script using historical, cultural, 

and/or symbolic information and refine it so that story and meaning are 

conveyed to an audience. 

• Write a dramatic or tragic scene incorporating elements of drama. 

• Write a dramatic or tragic one-act play, screenplay, or short radio play 

incorporating elements of drama. 

• Write a one-act play, screenplay, or radio play incorporating elements of 

drama. 

• Write a one-act play, screenplay, or radio play for production and 

critique. 









experiences. 











message. 








• Compare and contrast their artistic choices before and after a selfevaluation.










playwright. 

• Evaluate one playwright’s presentation or universal themes across 





















event. 












• Analyze drama/theatre as a synthesis of all the arts.


















drama/theatre, film/video, and broadcast media. 

• Investigate a selected career in drama/theatre, film/video, and broadcast 

media.

Advanced Placement Music Theory 

AP Music Theory - 251 

Teachers will provide their syllabus which has been pre-approved by College Board - 

Advanced Placement.

Bands 9-12 - 252 

Bands 9-12 


Students demonstrate knowledge and understanding of a variety of music styles and 

cultures and the context of musical expression or events, both past and present. 

Students identify significant contributions of composers and performers to music 

heritage. Students analyze the historical, social, and political forces that have 

influenced the function and role of music in the lives of people. 

Benchmark: A. Identify music in relationship to history 

Indicator: • Identify and describe the styles of music of different periods in history and the 

major contributors to those styles (e.g.: Marches: Sousa; Baroque: Bach; 

Classical: Mozart; Romantic: Schubert; 20 th Century Band: Vaughn Williams, 

Holst, Swearingen) 

B. Identify music in relationship to culture 


music 


C. Follow learning strategies for understanding and skill development 

• Follow directions and has cooperative attitude 



Benchmark: A. Sing a variety of music using note names or solfage 

Indicator: • Orally identify standard notes using proper pitches. 

B. Sing a variety of rhythms using counts or Kodaly 

• Orally identify rhythms appropriate for grade level, using traditional counting 

• Percussion: 

Orally identify rudiments and rhythms, appropriate for grade level by 

name and counts 


• Continue to display appropriate behavior and attitude; attend all rehearsals 

and performances 

• Have instrument, music, book(s), assignment(s), and other needed 

equipment (reeds, oil, pencil) for class. 

• Show willingness to practice. 

• Demonstrate proper care of the instrument 

• Sustain and release tone with characteristic sound with proper hand position, 

posture, embouchure, breathing, phrasing, and intonation. 

• Sight read music demonstrating proficiency in rhythms, pitch, key, and 

expressive elements

Bands 9-12 - 253 

• Demonstrate knowledge of characteristic tuning adjustments of individual 

instruments 

• Perform music that reflects social values of different periods and cultures 

• Perform a variety of musical styles 

• Perform proficiently from a graded list (At an APS Rubric level of 3) 

• Range Indicator: 

Ranges: Flute-low C to high C (3 octaves); clarinet - low E to high G (3 

octaves plus); sax-low C to F above staff (2+ octaves); trumpet -low G to 

D (2+ octaves) above staff; trombone - E (below staff) to B b above staff 

(2+ octaves) (end of 12) 

• Scale Indicator: 

All natural minor scales; chromatic in the range of the instrument (end of 

12) 

D. Perform as part of an ensemble 

• Display appropriate ensemble behavior and attitude, attends all rehearsals 


• Have instrument, music, book(s), assignment(s), and other needed 

equipment (reeds, oil, pencil) for class. 

• Demonstrate proper behavior in concert situation both as a performer and 

member of the audience. 

• Demonstrate personal pride and commitment as a member of a performing 

group. 

• During large ensemble rehearsal, follow gestures of conductor, while 

maintaining the proper tempo, blend, balance, and style without verbal 

prompting 

• Perform proficiently (at an APS Rubric level 3) from a graded list 

E. Perform a varied repertoire 

• Perform a variety of styles including such styles as marches, blues, classical, 

chorales, etc. 

• Perform a variety of repertoire including music from various periods: 

Baroque, Classic, Romantic, and music from a graded list such as the OMEA 

list for ensemble and/or solo 

F. Improvise melody 

• Perform simple 16+ measure melody using grade level appropriate rhythms 

and notation. 

G. Improvise variations and accomplishments 

• Perform simple 16+ measure variation using grade level appropriate rhythms 

and notation.

Bands 9-12 - 254 


• Student writes simple 16+ measure composition using specific of level 


ornamentation, and instrumentation 

I. Arrange music within specific guidelines 

• Arrange simple 16+ measure composition using specific of level appropriate 

guidelines of rhythm, notation, form, score marking, simple ornamentation, 

and instrumentation 


• Perform in time signatures such as 5/4, 9/8, 12/8 

• Play a variety of music that includes advanced rhythmic patterns such as 

duple against triple 

K. Identify and perform standard notation 

• Identify and perform all major and melodic minor scales 

• Identify by name all major and minor key signatures 

• Identify and perform the chromatic scale 

L. Identify standard score markings 


• Demonstrate the knowledge of all tempos and tempo changes including 

rubato 

• Demonstrate knowledge of dynamics at all levels and sensitivity to 

relationship of dynamics to piece and context in an ensemble 

• Perform music using correct articulation, both written and stylistically 

appropriate 

• Demonstrate the ability to interpret music on the written page including 

stylistic elements (i.e., mordents, turns, grace notes, etc.) 






audience member (i.e., musical theater, opera, symphony concert, jazz 

concert, small recitals, solo and ensemble events, etc.) 

B. Analyzes and describes music 

• Write and share reactions to a performance using appropriate musical terms 

• Describe homophonic, polyphonic, ostinato, counter melodies, tone clusters, 

etc. 

• Describe a knowledge of the composer’s intent 

• Describe music in terms of basic forms including symphonic, rondo, 

concerto, theme, and variations


Bands 9-12 - 255 

Students demonstrate an understanding of reasons why people value music and a 

respect for diverse opinions regarding music preferences. Students articulate the 

significance of music in their lives. 

Benchmark: A. Describe elements of tone, intonation/tuning, interpretation, and technique 

Indicator: • Describe a student, self, professional performance using OMEA criteria of 

tone, interpretation and technique. 

• Analyze proper concert behavior in concert situation both as a performer and 

audience member. 

• Discuss how people from different backgrounds use and respond to music 



disciplines. Students recognize the relationship between concepts and skills learned 

through music with knowledge learned in other curricular subjects, life experiences, 

and potential careers in and outside the arts. Students develop a desire for lifelong 

learning in music. 

Benchmark: A. Relate music to other academic areas 

Indicator: • Using instructional material, read historical musical information and relate 

music to the social atmosphere of the time 

• Relate math to elements of music (i.e., computing measures, working story 

problems, fractions) 

• Relate science to elements of music (i.e., the physics of sound production) 


B. Relate music to other arts 

• Relate visual art, drama, dance, musical theater, opera to elements of music 

(form, mood, harmony, etc.) through a live or recorded performance

Jazz Band 9-12 - 256 

Jazz Band Grade 9–12 







Benchmark: A. Identify jazz music in relationship to history and culture 

Indicator: • Identify the different style periods of jazz (i.e., ragtime, Dixie, swing, etc.) 

and the major contributors to those styles 

• Identify the cultural aspects of each period (i.e., the speakeasy during 

the 20’s) 

• Discuss the social context of a piece of music (i.e., work song, gospel, 

dance) 

• Participate in jazz musical experiences as an audience member 

• Identify the reason for the basic nature and need for jazz music in 

Western culture 



Benchmark: A. Perform properly on chosen instrument 

Indicator: • Perform in small and large jazz groups (i.e., combos, full jazz band) 

• Demonstrate the ability to interpret jazz from the written page 

• Identify styles of jazz (swing, Latin, funk, etc.) 

• Sight read music with special attention to style 

• Demonstrate knowledge of the composer’s creative intent through 

performance 

• Respond to the conductor in communicating the mood and expression in 

a piece 

• Demonstrate good/appropriate tone relative to the style being performed 

• Demonstrate good technique and posture 

• Demonstrate knowledge of jazz chord structure, scales and their uses 

B. Improvise melody 

• Improvise in several styles (i.e., swing, blues, etc.) 

• Create music through composition, written or improvised


Jazz Band 9 -12 - 257 




Benchmark: A. Listen to a varied repertoire of jazz music 

Indicator: • Identify the different style periods of jazz (i.e., ragtime, Dixie, swing. etc.) 

and the major contributors to those styles 

• Identify the cultural aspects of each period (i.e., the speakeasy during 

the 20’s) 

• Discuss the social context of a piece of music (i.e., work song, gospel, 

dance) 

• Participate in jazz musical experiences as an audience member 

B. Analyses and describe jazz music 

• Evaluate one’s own performance using a given criteria appropriate for 

jazz 

• Evaluate the performance of other musicians using appropriate musical 

terms 

• Express his/her interpretation of themes, moods, or meanings of a piece 

of jazz music 

• Use correct nomenclature when discussing the styles of jazz 






technique 

Indicator: • Demonstrate respect for all styles of jazz including avant-garde 

• Demonstrate appropriate concert etiquette as a performer and audience 

member 

• Express thoughts about a particular jazz piece (written or recorded) 

• Identify audience responses to different pieces of music 

• Identify the reason for the basic nature and need of jazz music in 

Western culture

Jazz Band 9-12 - 258 







Benchmark: A. Relate jazz music to other academic areas 

Indicator: • Using instructional material, read historical musical information and 

relate music to the social atmosphere of the time 

• Identify elements of jazz music in common with other subjects. ( i.e., 

music used to promote national pride, as battle songs, record historical 

event, degrees of tuning both as science and math, use of fractions) 

• Identify occupations that use jazz music 

B. Relate jazz music to other arts. 

• Identify jazz style elements (motif, form, subject matter) and other art 

forms (i.e., paintings, architecture, literature). 

• Relate visual art, drama, dance, musical theater, opera to elements of 

jazz music (form, mood, harmony, etc.) through a live or recorded 

performance

High School Choir 


Choir 9- 12 - 259 

Students demonstrate knowledge and understanding of a variety of music styles and 

cultures and the context of musical expression or events, both past and present. 

Students identify significant contributions of composers and performers to music 

heritage. Students analyze the historical, social, and political forces that have 

influenced the function and role of music in the lives of people. 

Benchmark: A. Perform music from a minimum of three different eras/genres including 

Medieval, Renaissance, Baroque, Classic, Romantic, Impressionistic, Jazz, 

Contemporary, Gospel, Spiritual, Folk Song, and Broadway Musical. 

Indicator: • Identify qualities specific to each era and correlate artistic events to other major 

historical events. 

B. Perform music from a minimum of three different eras/genres including 


Contemporary, Gospel, Spiritual, Folk Song, and Broadway Musical. 

• Identify qualities specific to each era and correlate artistic events to other major 

historical events. 

C. Exhibit proper performance protocol and audience etiquette. 

• Maintain excellent attendance to all rehearsals and concerts. 

• Behave properly before, during and after a concert. 

• Come prepared in proper performance attire to concert. 

• Are punctual to all rehearsals and concerts. 

• Display a cooperative attitude amongst his fellow peers. 


Students sign, play instruments, improvise, compose, read and notate music. 

Benchmark: A. Perform printed musical phrases with correct pitch 

Indicator: • Identify and apply symbols of pitch including the treble clef, bass clef, names of 

lines and spaces, and ledger lines. (Teacher will introduce, reinforce, drill, and 

test on elements listed above.) 

• Identify and sing melodic intervals of seconds, thirds, fifths, and octaves using 

scale degree numbers or solfeggio. (Teacher will introduce intervals in writing, 

have students practice singing them, locate specific intervals in rehearsal 

music.) 

B. Perform printed musical phrases with correct rhythm.. 

• Identify and apply symbols of rhythm including whole, half, quarter, eighth, 

sixteenth notes and rests, meters of 2/2, 2/4, 3/4, 4/4, 5/4, 6/8, 9/8. (Teacher 

will introduce, reinforce, drill, and test on the elements listed above.) 

• Tap and sing printed rhythmic patterns correctly. (Teacher will introduce how to 

write counting numbers under a rhythmic pattern enabling the student to figure 

out how to execute the rhythm aloud. Practice and test as a class and as 

individual.) 

C. Perform independently and correctly in a small ensemble with one on a part.

Choir 9- 12 - 260 

• Actively analyze and rehearse musical score. (Teacher will monitor rehearsal 

engagement, attendance and rate of growth.) 

• Participate in ensembles of diminishing size until there is only one voice per 

part. (Teacher will provide written feedback to student each time he/she sings 

in an ensemble) 

D. Perform with good tonal center and placement/control of breath 

• Demonstrate ability to ration and control air usage by singing a variety of 

musical phrases. (Teacher will use warm-up time to reinforce good breathing 

and rationing techniques.) 

• Demonstrate correct use of vowel color, diphthongs, and consonants. (Teacher 

will model different vowel sounds to show appropriate usage.) 

• Record rehearsals for critique of vowel color and breath control. (Quality choral 

recordings will be studied to determine preference for different tone colors.) 

E. Perform music from a minimum of three different eras/genres (each year) 

including Medieval, Renaissance, Baroque, Classic, Romantic, 

Impressionistic, Jazz, Gospel, Spiritual, Folk Songs, and Broadway. 

• Identify basic stylistic qualities of the genres listed above. (Teacher will 

introduce elements of each era and incorporate choral recordings from each. 

Teacher will encourage students to attend concerts where multiple languages 

will be sung.) 

• Sing literature from a minimum of three languages. (Teacher will choose 

repertoire to reinforce good quality singing skills and expose students to a 

variety of cultures and history.) 

F. Supplement a choral ensemble by playing a percussive instrument 

• Add a rhythmic pattern on a percussive instrument such as the bongos, wood 

block or drums. (Teacher can create an accompanying rhythm or use a 

supplemental score to enhance a piece.) 

• Add a melodic descant, counter melody, or bridge on an instrument of choice 

and proficiency to enhance a piece. (Teacher can create an accompanying line 

or choose music with a supplemental score.) 

G. Perform music with the appropriate stylistic elements 

• Listen to and analyze music from many different eras/genres including the 


Spiritual, Folk Song, and Broadway Musical. (Teacher will share recordings 

and highlight specific tendencies in rhythm, texture, and form.) 

H. Supplement a choral ensemble by playing percussive patterns at will. 

• Experiment with rhythmic patterns while accompanying a choral ensemble. 

(Teacher will help guide student as to which choices are stylistically appropriate 

and appealing.) 

I. Create a melodic descant, counter melody or bridge on an instrument of 

choice to a choral piece. 

• Create simple phrases on an instrument of choice. (Teacher may give specific 

stylistic parameters to encourage student creativity.)

J. Identify styles of music from various genres of history and culture. 

Choir 9- 12 - 261 

• Scat-sing in the jazz idiom or improvise a gospel phrase in between refrains. 

(Once teacher has introduced elements of this particular style, students will feel 

more comfortable at their own attempts.) 

K. Sing a specific line within a printed musical score. 

• Correctly write one-lined melodic dictation after hearing it played or sung. 

(Teacher will drill dictation exercises to reinforce the relationship between 

reading and writing music.) 

L. Create measures of pitch and rhythm to be sung. 

• Write fragments using specific meter and tonality patterns. (Teacher will have 

students write original measures on the chalkboard to be used as sight-singing 

practice charts.) 

M. Read musical phrases with correct pitch. 

• Identify and apply symbols of pitch including the treble clef, bass clef, names of 

lines and spaces, and ledger lines. (Teacher would introduce, reinforce, drill, 

and test on these elements.) 

• Identify and sing melodic intervals of seconds, thirds, fifths, and octaves using 

scale degrees or solfeggio. (Teacher would introduce intervals in writing, have 

students practice singing them, locate specific intervals in rehearsal music.) 

N. Read printed musical phrases with correct rhythm. 

• Identify and apply symbols of rhythm including whole, half, quarter, eighth, 

sixteenth notes and rests, meters of 2/2, 2/4, 3/4, 4/4, 5/4, 6/8, 9/8. (Teacher 

will introduce, reinforce, drill and test on elements listed above.) 

• Tap and sing printed rhythms correctly. (Teacher will introduce how to write 

counting numbers under a rhythmic pattern enabling the student to figure out 

how to execute the rhythm aloud.) 

O. Sing a specific line within a printed score. 

• Correctly write a one-lined melodic dictation after hearing it played or sung. 

(Teacher will drill dictation exercises to reinforce the relationship between 

reading and writing music.) 

P. Perform music using correct dynamics and phrasing 

• Correctly identify all dynamic markings. (Teacher introduces these elements, 

and has student locate in rehearsal score.) 

• Vocally execute a variety of dynamic contrasts. 

• Sing an expressive phrase indicating a preparation, climax, and resolution. 

Q. Correctly interpret a printed musical score 

• Identify all symbols relating to the structure/form of a piece including ABA, 

repeats, codas, refrain, etc. 

• Identify monophonic, homophonic, and polyphonic texture.

Choir 9- 12 - 262 


Students listen to a varied repertoire of music and respond by analyzing and describing 

music using correct terminology. Students evaluate the creating and performing of 

music by using appropriate criteria. 

Benchmark: A. Interpret a musical score. 

Indicator: • Understand and identify phrasing decisions made by composer. 

• Identify use of structure and texture to create the mood of a piece. 

• Identify types of tonalities (including major, minor, whole tone, chromatic, 

atonal, pentatonic) that contribute to the mood of a piece. (Teacher will 

introduce the scales of the elements listed above and provide listening quizzes 

to train the ear of the student.) 

B Demonstrates ability to follow a conductor and execute all cues given 

• Analyze score according to form to remember the structure of the piece while 

memorizing. 

• Practice conducting portions of a rehearsed piece to further understand breath 

placement, tempo, and dynamic needs. 

C. Compare stylistic choices and tastes. 

• Write observations within given guidelines regarding a rehearsal recording with 

regards to appropriate style, execution of score markings, and tempo. 

Write and share observations after attending a choral concert featuring a 

varied repertoire. 

D. Perform independently and correctly in a small ensemble. 

• Actively analyze and rehearse musical score. 

E. Compare stylistic choices and tastes. 

• Write and share in class observations within given guidelines regarding a choral 

rehearsal. 

• Write and share observations after attending a choral concert featuring varied 

repertoire. 

F. Understand the impact of tone color and vocal texture (vibrato) on a 

performance. 

• Demonstrate correct use of tone color to fit style of piece. 

• Demonstrate the correct use of vibrato to fit the style of a piece.


Choir 9- 12 - 263 

Students demonstrate an understanding of reasons why people value music and a 

respect for diverse opinions regarding music preferences. Students articulate the 

significance of music in their lives. 

Benchmark: A. Appreciate and experience the analytical/cognitive requirements for creating 

expressive choral music. 

Indicator: • Write of similarities between the task of making good music and performing well 

in athletics or academics 

B. Exhibit proper performance protocol and audience etiquette. 

• Maintain excellent attendance to all rehearsals and concerts. 

• Behave properly before, during, and after a concert. 

• Come prepared in proper performance attire to concert. 

• Are punctual to all rehearsals and concerts. 

• Display a cooperative attitude amongst his fellow peers. 


Students identify similarities and differences between music and other arts disciplines. 

Students recognize the relationship between concepts and skills learned through music 

with knowledge learned in other curricular subjects, life experiences and potential 

careers in and outside the arts. Students develop a desire for lifelong learning in music. 

Benchmark: A. Appreciate and experience the analytical/cognitive requirements for creating 

expressive choral music. 

Indicator: • Student will write of similarities between the task of making good music and 

performing well in athletics or academics 

B. Experience other art forms to provide a base to correlate with 

• Attend other artistic events, write about them, and share written observations in 

class.

Music History and Analysis – page 264 

Music History and Analysis 







Benchmark: A. Students will understand the contemporaneous political, social, 

economic, and technological circumstances that lead to the 

differentiation of musical periods from the ancient Greeks to modern 

time. 

Indicator: • Students will be able to identify events, people, and conditions in terms 

of their place in history and how they lead to historical change. 



Benchmark: A. Students will understand the fundamentals of music criticism. 

Indicator: • Students will be able to write an article of music criticism for 

performances of varied repertoire from different musical styles and 

historical periods. 





Benchmark: A. Students will understand the musical differences between various 

composers, musical styles, and historical periods. 

Indicator: • Students will be able to aurally identify musical excerpts from various 

composers, musical styles, and historical periods.


Music History and Analysis – page 265 




Benchmark: A. Students will understand how the objectives, ideals, and values of 

composers change over time and leads to the development of style. 

Indicator: • Students will be able to elucidate the important aspects of musical 

movements, schools of thought and individual composers. 







Benchmark: A. Students will understand the stylistic nuances of various styles of 

music pertinent to historical periods. 

Indicator: • Students will apply their historical and stylistic knowledge in performance 

of music of various composers, musical styles, and historical periods

Music Theory I – page 266 

Music Theory I 







Benchmark: A. Students understand the historical development and potential 

development of the music of the early common practice period. 

Indicator: • Describe the conditions in which the tonal system developed. 



Benchmark: A. Student will understand musical pitch notation. 

Indicator: • Identify, notate, and play on the piano the notes in the treble and bass 

clefs under timed conditions. 

B. Students use scales and simple melodies in major and minor keys. 

• Use Solfege, identify, write notation, play on the piano the major, natural 

minor, harmonic minor and melodic minor scales. 

• Use Solfege, take dictation, write in notation, and play on the piano 

melodies in major and minor keys using primarily stepwise motion. 

C. Students understand the system of diatonic keys. 

• Read and write all major and minor key signatures and will be able to 

draw a Circle of 5ths for both major and minor keys. 

D. Students understand the conventional meaningfulness of generalized 

musical expressions of the early common practice period. 

• Identify and write diatonic musical phrases and cadences. 

E. Students understand musical rhythm in simple and compound meter. 

• Perform, take rhythmic dictation, and compose rhythms in simple and 

common meters. 

F. Students write music in SATB form. 

• Part write soprano, alto, tenor, and bass parts to musical examples that 

provide one or more voices as given material. 

• Compose one period of SATB music (using melodic figuration) in the 

style of the common practice period.






Benchmark: A. Students understand diatonic intervals. 

Indicator: • Identify diatonic intervals aurally and by reading notation and will be able 

to produce diatonic intervals in written form, on the piano keyboard, and 

by singing. 

B. Students understand diatonic chord formation. 

• Identify and create diatonic chords in their inversions aurally, orally, on 

the piano keyboard, and in written notation using notes, figured bass and 

Roman numeral symbols. 

C. Students identify musical function aurally and by written notation. 

• Identify and write harmony expressing pre-dominant, dominant, tonic, 

and embellishing functions of tonal music. 

D. Students identify forms of the early common practice period. 

• Identify and describe the internal structure of binary, ternary, theme and 

variation, and sonata forms. 

E. Students make a reductive analysis of a short piece of music or 

excerpt. 

• Use the Schenkarian method separating musical structure from musical 

figuration to analyze the foreground, middleground and background of a 

musical piece or excerpt. 





Benchmark: A. Students evaluate the quality of musical expression in relation to the 

intent and purpose of the composer. 

Indicator: • Write a review of a musical performance in scholarly form, making 

evaluations and comparisons of aesthetic quality.








Benchmark: A. Students apply their theoretical knowledge to performance practice 

through their ensemble participation. 

Indicator: • Interact with their ensemble directors at a more advanced level. 

B. Students understand the acoustical fundamentals of sound production. 

• Describe music in objective, acoustical terms related to sound 

production. 

C. Students understand the abilities and limitations of musical hearing 

and perception. 

• Describe music in the subjective terms of hearing and auditory 

perception.

Music Theory II 


Music Theory II –269 







development of the music from the later common practice period and 

20th Century. 

Indicator: • Describe the conditions under which the tonal system expands and 

fractures. 



Benchmark: A. Students understand the development of chromatic harmony. 

Indicator: • Construct chromatic harmonies and predominant elaborations of the late 

common practice period. 

B. Students learn integer notation. 

• Use numerical relationships to represent musical information such as 

pitch, rhythm, dynamics, and timbre. 

C. Students understand the meaningfulness of atonal musical 

expressions of the 20th Century. 

• Relate musical information using techniques such as set class and 

interval class vector. 

D. Students understand complex musical rhythm in simple, compound, 

and complex meter. 

• Perform, take rhythmic dictation, and compose complex rhythms in 

simple, common, and complex meters. 

E. Students write music in SATB form including tonicization and 

modulation. 

• Part write soprano, alto, tenor, and bass parts to musical examples that 

provide one or more voices as given material. 

• Compose one period of SATB music (using tonicization and modulation) 

in the style of the late common practice period.


F. Students compose musical examples in the Atonal (Serial) style. 


• Compose short musical examples using 20th Century serial techniques 




Benchmark: A. Students understand tonicization and modulation. 

Indicator: • Identify and part write musical examples using tonicization and 

modulation to closely and distantly related keys. 

B. Students understand extended diatonic chord formation. 

• Identify and create extended diatonic chords in their inversions aurally, 

on the piano keyboard, and in written notation using notes, figured bass 

and Roman numeral symbols. 

C. Students understand forms of the late common practice period 

including generalized and complex forms of the 20th Century. 

• Identify and describe the internal and overall structure of a musical 

example. 

D. Students make a reductive analysis of a significant piece of music or 

excerpt. 

• Use the Schenkarian method separating musical structure from musical 

figuration to analyze the foreground, middleground and background of a 

musical piece or excerpt. 

E. Students use 20th Century techniques of analysis. 

• Manipulate serial information using normal form, prime form, 

transposition, and inversion. Indicator 

• Analyze a piece of 20th Century Atonal (Serial) music.






Benchmark: A. Students evaluate the quality of musical expression in relation to the 

intent and purpose of the composer. 

Indicator: • Write a review of a musical performance in scholarly form, making 

evaluations and comparisons of aesthetic quality. 







Benchmark: A. Students apply their theoretical knowledge to performance practice 

through their ensemble participation. 

Indicator: • Interact with their ensemble directors at a more advanced level. 

B. Students understand the acoustical fundamentals of sound production. 

• Describe music in objective, acoustical terms related to sound 

production. 

C. Students understand the abilities and limitations of musical hearing 

and perception. 

• Describe music in the subjective terms of hearing and auditory 

perception.

Orchestra 9-12 –272 

Orchestra 9-12 








development of the music of the early common practice period. 

Indicator: • Students will be able to describe the conditions in which the tonal system 

developed. 



Benchmark: A. Student will understand musical pitch notation. 

Indicator: • Students will be able to identify, notate, and play on the piano the notes 

in the treble and bass clefs under timed conditions. 

B. Students will be able to use scales and simple melodies in major and 

minor keys. 

• Students will be able to Solfege, identify, write notation, play on the piano 

the major, natural minor, harmonic minor and melodic minor scales. 

• Students will be able to Solfege, take dictation, write in notation, and play 

on the piano melodies in major and minor keys using primarily stepwise 

motion. 

C. Students will understand the system of diatonic keys. 

• Students will be able to read and write all major and minor key 

signatures and will be able to draw a Circle of 5ths for both major and 

minor keys. 

D. Students understand the conventional meaningfulness of generalized 

musical expressions of the early common practice period. 

• Students will be able to identify and write diatonic musical phrases and 

cadences. 

E. Students will be able understand musical rhythm in simple and 

compound meter. 

• Students will be able to perform, take rhythmic dictation, and compose 

rhythms in simple and common meters.

F. Students will be able to write music in SATB form. 



• Students will be able to part write soprano, alto, tenor, and bass parts to 

musical examples that provide one or more voices as given material. 

• Students will be able to compose one period of SATB music (using 

melodic figuration) in the style of the common practice period. 






terms (dynamics, tempo and personal impressions) in paragraph form 

• Identify traditional harmonic progressions (e.g., I-V-I) in selected 

repertoire aurally (9th Grade) 

• Identify traditional harmonic progressions (e.g., I-IV-V-I) in selected 

repertoire aurally (10th, 11th and 12 th Grade) 









Benchmark: A. Articulate and justify personal philosophies regarding music in their 

lives and cite examples that contributed to this thinking. 

• Through writing and attendance at various musical events, students 

identify and describe the significance of music in their lives and cite 

specific examples of how they arrived at this personal philosophy 

B. Explain how people differ in their music preferences based on their 

personal experiences 

• Explain how people from different backgrounds use and respond to 

music and cite specific examples 



• Follow directions, have a cooperative attitude, demonstrate leadership , 

willingly contribute and display appropriate rehearsal and concert 

behavior








Benchmark: A. Articulate similarities and differences between music and other content 

areas 

Indicator: • Apply problem-solving and creative thinking skills used in music to other 

content areas 

• Identify the various ways that technology is used to create and perform 

music 

B. Articulate music career opportunities found in Western Cultures and 

identify experiences necessary for success 

• Explore and identify opportunities for life-long involvement in music (e.g., 

religious/community music organization, arts advocacy, consumer)

Fine Arts Glossary 

Glossary 9-12 –275

Glossary - 276

Dance 

ABA 

Abstract 

Accumulation 

Aesthetic 

Alignment 

Art criticism 

Arts advocacy 

Audience 

Ballet 

Call and response 

Canon 

Chance 

Choreographer 

Choreographic principles 

Classical dance 

Context 

Fine Arts Glossary 

As suggested in the Ohio Department of Education, 

Academic Content Standards: K-12 Fine Arts Standards 

Glossary 9-12 –277 

dance \'dan(t)s\ n : movement in space and time that is 

structured and rhythmic, expressing an idea, emotion, or 

situation 

A movement sequence with three parts in which the second part 

contrasts with the first and the third part condenses, abbreviates, or 

extends the first. 

Movement that is removed from a particular or representative context. 

The repetition of a sequence of movements in which a new movement is 

added to each repetition. 

Of or relating to that which is beautiful, artistic, and pleasing to the 

senses. 

A dynamic posture that allows the body to move efficiently and freely. 

The line of gravity is pulling downward through the vertical axis and the 

center of gravity is over the base of support. 

A system for describing, analyzing, interpreting, and judging works of 

art. 

The act or process of supporting actions to advance the arts and create 

opportunities for arts appreciation and participation. 

The spectators of a dance performance. 

A classical Western dance form. First performed in the Renaissance 

courts of Europe (14 th to 17 th centuries), ballet steps and body positions 

were codified in the mid-1600s. 

A dance structure in which a soloist or group performs and then a 

second soloist or group enters to perform a response. This structure is 

typical of, although not exclusive to, African dance. 

A movement sequence in which parts are performed in overlapping 

succession. 

A way of choreographing in which the elements of the dance are 

defined but randomly structured to create the effect of free-association 

and spontaneous movement. 

A person who creates or directs the movements and details of a dance or 

other performance. 

Methods used to form, create, organize and define a choreographic 

product. 

Dance that was first performed in earlier times, usually within the circle 

of power of society, and has evolved into highly stylized structures. 

The conditions of specific places and time periods (including social, 

economic, political, historical and cultural conditions) that influence the 

development of thoughts, ideas or concepts.

Glossary - 278 

Contrasting complimentary shapes 

Criteria 

Culture 

Dance 

Dance element 

Dance sequence 

Dance study 

Discipline 

Dynamic 

Ensemble 

Folk/traditional dance 

Form 

Gesture 

Improvise 

Inquiry 

Interdisciplinary 

Internal phrasing 

Jazz dance 

Kinesthetic 

Laban analysis 

Level 

Locomotor movements 

Shapes created by dancers and their movements to emphasize 

differences or similarities. 

Characteristics that serve as the basis for judging a work. 

The ideas, beliefs, and customs of a group of people. 

Movement in space and time which is structured and rhythmic, 

expressing an idea, emotion or situation. 

A component of dance expression (such as time, space, force and body). 

The order in which dance movements occur. 

A movement exploration, either planned or improvised, that investigates 

an idea or concept. 

Any subject that has an organized body of knowledge and skills such as 

dance, drama/theatre, music and visual art. 

Of or relating to physical force and intensity of energy. 

A group of dancers working together to create a dynamic and 

harmonious effect. 

Dance that originated with the common people of a country or region. 

Folk and traditional dances are usually performed today during 

traditional celebrations or in social settings. 

The structure and organization of a dance movement such as ABA, call 

and response, or canon. 

An expressive movement of a body part or parts usually derived from 

everyday tasks, often with guidelines and suggesting a specific 

meaning. 

To explore, create, and perform dance movements spontaneously, 

without preplanning. 

In art, this approach to learning is distinguished by its emphasis on 

personal reasoning or interpretation in response to open-ended 

questions. 

Instruction that connects the content of two or more disciplines or 


A natural division of the movements within a dance, similar to a 

sentence of text. 

Jazz dance is an American style of dance that stems from African- 

American music, such as ragtime, jazz, and blues. Movements are 

performed with a small part of the body (such as rolling the head or 

rotating the pelvis) and rhythms are complex and combined in contrast. 

A sensory experience related to the ability to control the movement of 

the body's muscles, tendons, and joints. 

A way to describe, analyze, and record human movement invented by 

Rudolf von Laban (1879-1958). 

The height of a dancer in relation to the floor. 

Movements such as walking, running, hopping, or leaping that move the 

body from one point in space to another.

Modern dance 

Motif 

Movement pattern 

Movement phrase 

Movement problem 

Movement vocabulary 

Musical visualization 

Nonlocomotor 

Notate 

Partnering 

Pathway 

Post modern 

Reflection 

Renaissance 

Reordering 

Retrograde 

Rhythms 

Romantic 

Social dance 

Style 


A 20 th -century dance form that began as a response against the formal 

steps and positions of ballet. Modern dance is characterized by its 

experimental nature and its value on original or authentic movements. 

A repeating gesture of specific movement used to provide a theme or 

meaning to a dance. 

A movement pattern may refer to a pattern made by repeating 

movement sequences or by organizing and grouping dancers in space. 

A group of related movements that have a beginning, middle and end. 

A dance assignment or task, usually with defined characteristics, that is 

a starting point for exploring and composing different movements. 

Defined personal movement preferences or choices. 

A way of choreographing in which the dancer responds to the rhythms 

and musical elements of dance while creating and performing. 

Movement in which the body is anchored and does not move from one 

point to another. This type of movement also is called axial movement 

because it is centered on the axis of the body. 

To use a system of signs or symbols to represent movements and dance 

steps. 

Leading, following, weight sharing, or lifting another dancer. 

A line along which the body or body parts, such as arms or head, 

moves. This line may be straight, circular or some combination. 

Of or relating to a reaction against the form and content of modern 

movements. In dance, post modern dance refers to a type of dance, 

introduced in the 1960s, that rejects the narrative and emotion of earlier 

dance forms and accepts any movement as dance and untrained 

performers as dancers. 

The process of thinking about one's own thinking, thought processes 

and actions or products. 

The time period following the Medieval Age, beginning in 14 th -century 

Italy and lasting until the 17 th century. In dance, the Renaissance period 

is the first period from which notes on dance choreography survive and 

European dances can be reconstructed. 

A choreographic process in which the elements of a dance are structured 

in a different sequence. 

A choreographic process in which specific movements of a dance are 

reordered in reverse, from last to first. 

The patterns in music that are produced by altering the emphasis and 

duration of notes. 

A time period beginning in the 18 th century marked by an artistic 

movement that emphasized the imagination and emotions. 

Any dance done in a social setting. The term most often refers to 

ballroom dance, but encompasses all types of popular dance. 

A distinctive or characteristic manner of moving that distinguishes 

different dancers, choreographers, periods or types of dance.


Technology 

Tempo 

Theatrical dance 

Transition 

Universal theme 

Warm-up activities 

Weight sharing 

Drama/Theatre 

Action 

Actor 

Art forms 

Artistic choices 

Audience 

Audition skills 

Basic acting skills 

Block 

Broadcast media 

Cast 

Character 

In dance, technology may include electronic media such as videotapes, 

camcorders, CD and cassette players, lighting, sound, cameras, and 

computers. 

The speed of dance. 

Dance, such as jazz or tap, designed for performance on the stage. 

The passage from one single movement or section of a dance into the 

next movement, phase or sequence. 

A major idea or subject repeatedly represented over time through 

various art forms. 

Movements intended to prepare the dancer for practice or performance, 

by raising the body's temperature and bringing the mind into focus. 

When a dancer holds another dancer's weight or gives own weight to 

another dancer. 

dra-ma \'dräm-ə\ the-ater \'the-ət-ər\ n : a formal or informal 

process where the drama/theatre experience (process) is 

tantamount to the performance (product); drama: plays, 

dramatic literature, and the works of authors providing 

literal dramatization of life; theatre: production activities - 

acting, directing, designing, scene construction, operating, 

and managing - in synthesis for performance. 

The unfolding events of a drama. 

A performer in a dramatic/theatrical work. 

Forms (structures) germane to the fine arts - dance, drama/theatre, 

music, and visual art. 

Decisions about the situation, action, direction, and design of a 

dramatic/theatrical work. 

Those who participate in drama as spectators. 

Techniques used when trying out for a part in a performance. 

Abilities such as changing voice, posture, movement, and language, that 

are fundamental to creating a character in a dramatic/theatrical work. 

To determine the placement and movement of actors in a 


Information that is made public via electronic media such as radio or 

television. 

To assign the parts or roles of a play to actors (verb); the actors in a 

dramatic/theatrical work (noun). 

One of the people within a dramatic/theatrical work; the part or 

personality an actor portrays.

Characterization 

Choreographer 

Collaborative discipline 

Conflict 

Context 

Costume design 

Costume designer 

Criteria 

Critique 

Culture 

Design components 

Dialogue 

Direct 

Director 

Discipline 

Drama/theatre 

Drama/theatre heritage 

Drama/theatre philosophy 

Dramatic play 


The method an author uses to create the appearance and personality of 

imaginary characters in a piece of fiction often developed by describing 

a character's physical appearance, by revealing a character's nature 

through the character's speech, thoughts, feelings, or actions, by using 

the speech, thoughts, feelings, or actions of other characters and by 

using direct comments from the narrator. 

One who arranges or directs the movements and details of a dance or 

other performance. 

The ability to work effectively with one or more people. 

The struggle between opposing forces that brings about the action in a 

dramatic/theatrical work or story; can be internal (within a character) or 

external (between a character and an outside force). 


economic, political, historical, and cultural conditions) that influence 

ideas or concepts in drama/theatre. 

A fashion and look of the clothing actors wear in portraying characters 

on stage. 

A person who designs costumes. 


To evaluate a work (verb); an evaluation of a work (noun). 


Components such as clothing, props, sound, or lighting that create the 

environment for a dramatic/theatrical work. 

A conversation between two or more characters in a work that is used 

by writers to give insight into the characters themselves. 

To lead by directions the performance of actors in a play. 

The person responsible for making decisions about the artistic 

interpretation and presentation of a dramatic/theatrical work. 


dance, drama/theatre, music, and visual art. 

A formal or informal process where the drama/theatre experience 

(process) is tantamount to the performance (product); drama: plays, 

dramatic literature, and the works of authors providing a literal 

dramatization of life; theatre: production activities - acting, directing, 

designing, scene construction, operating, and managing - in synthesis 

for performance. 

The continuity of dramatic/theatrical knowledge, structures, and style 

that results when historical traditions and culture are passed down from 

one generation to another. 

A person's beliefs and attitudes about drama/theatre. 

When children engage independently in pretending or imitating events 

or actions.


Dramatic/theatrical processes 

Dramatic/theatrical work 

Dramatization 

Elements of theatre 

Emotional recall 

Exposition 

Form 

Improvisation 


Lighting designer 

Makeup designer 

Monologue 

Mood 

Mount 

Pacing 

Pantomime 

Playwright 

Plot 

Plot pyramid 

Plot sequence 

Portfolio 

Preblock 

The acts and strategies of imagination, creation, interpretation, and 

collaboration to reach consensus of an approach to and expression of a 

dramatic text. 

A piece written to be performed on stage; a play's script. 

Events or actions presented in a dramatic manner or for theatrical 

presentation. 

The ingredients of dramatic/theatrical activity including space, time, 

imitation, action, language, and energy. 

The emotional connection that an actor tries to make with a character's 

situation, so that the emotions on stage seem realistic. 

The information given to the audience about the characters and setting 

of a play. 

The type of theatrical presentation such as a musical comedy, 

melodrama, or tragedy. 

The spontaneous, unscripted use of words and actions to create a 

character or represent an object. 



A person who plans the lighting. 

A person who designs an actor's makeup. 

A scene written for one actor in which the actor speaks aloud to 

him/herself, to another character or to the audience. 

The feeling or atmosphere that a writer creates for a reader; a reflection 

of an author's attitude toward a subject or theme; the feeling or 

atmosphere created by a dramatic/theatrical work. 

To prepare, organize and implement materials needed for a 

performance. 

The rate at which something moves; the rate at which a writer or actor 

moves the action or information; the rate in delivery of speech a speaker 

uses. 

Acting without speaking. 

A person who writes plays. 

The sequence of events in a dramatic/theatrical work. 

A sequence of events that includes rising action, climax, falling action, 

and resolution. 

The careful sequencing of events generally built around a conflict. 

Stages of plot include exposition (background), rising action, climax, 

falling action, and denouement (resolution). 

A collection of samples of one's completed work or work-in-progress 

including a resume (e.g., photographs, sketches, renderings, light plots, 

change plots, student created prompt books, individual events 

adjudication comments, video, CDs, playbills). 

To plan the movement and grouping of actors on the stage.

Presentational theatre 

Principles of drama 

Production design 

Production form 

Production staff 

Production styles 

Prompt 

Properties master/mistress 

Props 

Reflection 

Representational theatre 

Resolution 

Scenic designer 

Script 

Script development 

Scripted screen work 

Sensory details 

Sensory recall 

Setting 

Sound designer 

Stage directions 

Stage environment 

Stage manager 


Works of drama in which the audience is recognized, perhaps by actors 

speaking directly to the audience. 

The components of a drama including plot development, theme and 

elements such as language or character motivation. 

The look of a dramatic/theatrical work. 

The manner in which a dramatic/theatrical work is presented such as by 

live theatre, film, television, or radio. 

Persons responsible for the design and production of a 


The manner in which a work is presented on stage or screen; the type of 

theatrical presentation such as a musical comedy, melodrama or 

tragedy. 

A cue or suggestion for action. 

A person who selects props. 

From the word properties. The objects used on stage to enhance the 

believability of characters and action. 


and actions or products. 

Works of drama in which the audience is not recognized and watches 

the action as an outside observer. 

The point in a dramatic/theatrical work when the main conflict is 

resolved. 

A person who designs the setting. 

Written dialogue and directions for a dramatic work. 

The process of creating written dialogue and directions for a 


A written set of dialogue, description, and directions for a work 

intended to be performed and recorded on film to be shown on screen. 

Details perceived by sight, hearing, smell, or any mode by which one 

perceives stimuli outside or within the body. 

An actor's use of his/her memory of sensations (sight, hearing, smell, 

taste, touch) to make a connection with a character that will make the 

portrayal more realistic. 

Time and place of the action of a dramatic/theatrical work; the scenery 

used to represent a time and place. 

A person who plans sound effects. 

Directions in a script written to tell how to perform the action on stage. 

The physical surroundings that set the place, time, and mood of a 

dramatic/theatrical work. The environment also may be designed as a 

reflection of the characters' emotions and thoughts. 

A person responsible for maintaining the stage.


Style 

Tableau 

Technical crew 

Technical elements 

Theatrical personnel 

Theme 

Time period 

Music 

AB form 

Accompaniment 

Aesthetic quality 

Aesthetic reflection 

American music theatre 

Analyze 

Articulation 

Arts advocacy 

Arts disciplines 

Audience etiquette 

Authentic performance practice 

Basic principles of music 

Particular technique and movements that distinguish different actors, 

playwrights, periods, or types of dramatic/theatrical works. 

A scene or picture depicted by silent and motionless actors. 

A group of people responsible for technical aspects of production such 

as sound and lighting. 

Components, such as scenery, sound, lighting, costume design, props, 

and makeup, which are used to develop setting, action, and characters in 

dramatic/theatrical works. 

Persons responsible for the planning, design, production, and promotion 

of a dramatic/theatrical work. 

Meaning or message of a literary or dramatic work. 

A time period recognized for its distinct characteristics. In drama, 

recognized historical time periods include Origin, Greek/Roman, 

Medieval, Renaissance, Restoration, 17 th Century, 18 th Century, 19 th 

Century, 20 th Century, and Contemporary. 

mu-sic \'myü-zik\ n : organization of sound within time 

demonstrating structure, discipline and refinement 

A music form with two parts in which the first idea is stated twice and 

then a contrasting idea is stated twice [AB]. 

The voices or instruments that accompany a melody. 

The qualities of a music work that make it beautiful or artistic and that 

engender a human response. 

The study of that which is beautiful and artistic; an examination of the 

human responses to arts and beauty. 

A 20th-century music form in which music and drama are combined 

into a form distinct from operatic dramas. Emphasis is placed on spoken 

dialogue supported by related songs and/or instrumental pieces. 

The process of identifying the aspects of a music work and examining 

how they function independently and together. 

In a musical performance, the clarity and distinct rendition of music 

tones. 

The act or process of supporting steps to advance the arts and create 

opportunities for arts appreciation and participation. 

An organized body of knowledge or learning such as dance, 

drama/theatre, music, visual art. 

The rules for good conduct as a member of an audience. 

A performance that is marked by its attention to historical music details 

(e.g., performing on period instruments; playing music the way it was 

performed when created). 

The components of music activity including pitch, rhythm, melody, 

harmony, dynamics, timbre, texture, and form. Sometimes referred to as 

elements of music.

Breath control 

Call and response 

Canon 

Chord progression 

Chromatic 

Classroom instrument 

Clef 

Compose 

Composer 

Concept 

Concert pitch 

Conducting gesture 

Context 

Criteria 

Critique 

Cues 

Culture 

Diatonic 

Discipline 

Duple meter 


The regulation of one's breathing for better vocal or instrumental (wind) 

performance. 

A music form that follows a question-and-answer pattern in which a 

soloist or group performs and then a second soloist or group responds. 

A music form in which the same melody is started at different times and 

performed together in overlapping succession. Sometimes referred to as 

round. 

The progression of chords (simultaneous combinations of three different 

pitches) in a piece of music. 

Incorporating notes that lie outside the regular diatonic scale. 

Instruments that are typically used within the classroom. These may 

include recorders, autoharps, mallet instruments, simple percussion 

instruments, fretted instruments, keyboards, and electronic instruments. 

A symbol at the beginning of a staff that indicates the location of pitch 

on its lines and spaces (e.g., treble, bass). 

To create a music work from original thought. 

A person who creates music from original thought. 

Idea or thought. 

A specific frequency of sound recognized as the standard pitch. In an 

ensemble of mixed instruments (e.g., band), playing a Concert B♭ 

major scale indicates that nontransposing instruments (e.g., flute) play a 

B♭ major scale. Transposing instruments, in order to play a Concert 

B♭ major scale, would need to play the scale, that when performed, 

sound the B♭ concert pitch as the starting note [e.g., B♭ Trumpet 

would play a C to sound B♭ (concert pitch); E♭ Alto Saxophone 

would play a G to sound B♭ (concert pitch); French Horn in F 

would play F to sound B♭ (concert pitch)]. 

The expressive movements of the head, arms and hands that conductors 

make to direct a performing group. 

The conditions of specific places and time periods, including social, 

economic, political, historical and cultural conditions, that influence 

thoughts, ideas or concepts in music. 


To evaluate a work (verb); an evaluation of a work (noun). 

Signals, usually nonverbal, given by a conductor or section leader 

during rehearsal and performance. 

The ideas, beliefs and customs of a group of people. 

The notes of a major or minor scale. 


dance, drama/theatre, music, and visual art. 

A measurement of music's time; duple meter is beats grouped two beats 

(strongweak) per measure.


Dynamic markings 

Dynamics 

Elements of music 

Embouchure 

Ensemble 

Evaluate 

Expressive qualities 

Folk music 

Found sounds 

Genre 

Half step 

Harmony 

Head voice 

Historical periods 

Homophonic 

Icons 

Idea 

Improvise 


Interpret 

Justify 

Key signature 

Lali 

Signs that indicate the volume (loudness or softness) of a note passage. 

The volume (loudness or softness) of sound in music. 

The components of music activity including pitch, rhythm, melody, 

harmony, dynamics, timbre, texture, and form. Sometimes referred to as 

basic principles of music. 

The position of the face, lips, tongue, teeth, and jaws when playing wind 

instruments. 

A group of musicians performing together to create a dynamic and 

harmonious effect. 

To determine the value, importance, or condition of a music selection. 

The characteristics of a musical performance that convey meaning or 

feeling. 

A simple style of music that speaks directly of everyday matters and 

typically performed by nonprofessionals. 

Sounds that are present in everyday life (e.g., car horn, train whistle, 

jackhammer stutter). 

A style or category of music work such as sonata, opera, gospel, jazz, 

madrigal, march, mariachi, or lullaby. 

Also called semitone. The smallest interval or closest pitch above or 

below a given pitch on the keyboard, such as C to C♯ or E to F. 

Two or more different tones sounded at the same time. 

The higher register of the voice; the chest voice produces the lower 

register. 

A time period recognized for its distinct characteristics. In music, 

recognized historical time periods may include the Middle Ages, 

Renaissance, Baroque, Classical, Romantic, and 20 th Century. 

Music in which the melody is concentrated in one voice or part. 

Objects or symbols used to represent something else. 

The central meaning of a music work. 

To create music spontaneously, by chance rather than plan. 



To bring a unique manner or feeling to a performance or direction of a 

music 

To show evidence that one is right or reasonable. 

The sharps or flats at the beginning of a written piece of music that 

indicate its basic scale and tonality. 

A warrior dance common to African, South Seas, and Pacific Island 

cultures. A hollow, hardwood gong beaten with two short sticks that 

regulate the beat.

Madrigal 

Major key 

Mass 

Melody 

Meter signature 

Minor key 

Mixed meter 

Modal 

Mood 

Motif 

Music 

Music form 

Music heritage 

Musician 

Music setting 

Music style 

Music vocabulary 

Opera 

Ostinato 

Partner songs 

Peking opera 

Pentatonic 


Secular choral music of the Renaissance in two or more parts; usually 

lyrics are pastoral or romantic (amorous or unrequited love) in content. 

A key based on a major scale that contains the following step pattern: 

whole, whole, half, whole, whole, whole, half, or uses the sol-fa tones 

of do, re, mi, fa, sol, la, ti. 

The principal service of the Roman Catholic rite. Traditionally, music 

settings of the Mass include: Kyrie, Gloria, Credo, Sanctus/Benedictus, 

and Agnus Dei. 

A logical, organized sequence of music notes. 

An indication of a music work's meter or its rhythmic measure of beats. 

The meter signature is typically shown similar to a fraction in 

mathematics with the denominator indicating the unit of measurement 

and the numerator indicating the number of units that make a measure. 

A key based on a minor scale that contains the following step pattern: 

whole, half, whole, whole, half, whole, whole or uses the sol-fa tones of 

la, ti, do, re, mi, fa, sol. 

A mixture of duple and triple meters. 

Music that is characterized by the use of a mode, especially the church 

modes of the Middle Ages and Renaissance. 

The feeling or atmosphere created by a music work. 

A short, distinctive rhythmic or melodic idea. 

Organization of sound within time demonstrating structure, discipline 

and refinement. 

The structure and organization of a music composition (such as AB, 

ABA, call and response, rondo, or theme). 

The continuity of music knowledge and style that results when historical 

traditions and culture are passed down from one generation to another. 

A person who makes music. 

The time, place, and situation in which music is performed. 

The particular technique and manner in which the elements of music are 

treated that distinguish different composers, performers, directors, 

periods, or genre. 

The words and terms specific to the field of music study and 

performance. 

A drama set to music primarily for voices with orchestra and performed 

with dramatic costumes and sets. 

A brief music pattern repeated continually in a composition or 

throughout a performance. 

Songs written with different parts (different words and melodies) but are 

to be sung at the same time. 

A Chinese music form characterized by its combination of instruments, 

speaking, singing, acrobatics, martial arts, and pantomime. 

A scale made up of five tones to the octave: do, re, mi, sol, la.


Personal philosophy 

Phrase 

Pitch 

Polyphonic 

Portfolio 

Posture 

Range 

Reflection 

Renaissance period 

Repertoire 

Rhythm 

Rondo form 

Round 

Sight-reading 

Solfege 

Sound 

Staff 

Steady beat 

Studio musician 

Stylistic qualities 

Syncopation 

System 

A person's beliefs and attitudes about music. 

A series of connected pitches with a sense of completion; a musical 

thought. 

The highness or lowness of sound. 

Music in which the melody is distributed among all voices or parts of 

the music. 

A collection of samples of one's completed work or work-in-progress 

(e.g., video/audio recordings, adjudication comments, compositions, 

critiques). 

The position or bearing of the body that is assumed for singing or 

playing an instrument. 

The distance between the highest and lowest pitches in a melody. 


and actions, or products. 

The historical period from about 1430 to 1600. This period is marked by 

the emergence of a music language that spread through Western Europe 

and characterized by genres such as Mass and madrigal. 

A set of compositions mastered and performed by a musician. 

Patterns in music that are produced by altering the emphasis and 

duration of notes; the way music moves through time. 

A music form in which a repeating theme alternates with contrasting 

sections [ABACAD]. 

A music form in which the same melody is started at different times and 

performed together in overlapping succession. Sometimes referred to as 

canon. 

The ability to perform music upon first reading (attempt). 

A method of reading music by sight, using the syllables do, re, mi, fa, 

sol, la, ti. 

The sensation that is perceived by one's sense of hearing. 

A set of five horizontal lines with equal distance between them on 

which notes are written to indicate pitch; the lines on which music is 

written. 

The regular pulse or unit of time in music. 

A person who performs music when audio recordings are made, usually 

in a recording studio setting. 

The artistic characteristics of a music composition. 

A temporary contradiction of the regular beat of music. 

A method for teaching music reading (e.g., solfege, numbers, letters); 

two or more staves that are connected by bar lines for the purpose of 

notating music that is not readily accommodated on a single staff.

Technology 

Tempo 

Texture 

Theme and variation 

Tone production 

Tone quality 

Triple meter 

Tritonic 

Verse/refrain form 

Vocal placement 

Western music literature 

Whole step 

World music 

Visual Art 

Aesthetics 

Analyze 

Art critic 

Art criticism 

Art forms 

Art history 


Electronic media including CD and cassette players, computer, 

synthesizer, video, MIDI, and music software used as tools to create, 

learn, explain, document, analyze, or present music. 

The pace, or speed, of music. 

The pattern and quality of sound created by the elements in a music 

work, including the number of instruments, voices, or chordal tones in a 

specific section. 

A music form in which a theme is sounded and then varied. 

The ability to produce a specific pitch. 

The quality of music as sound. 

A measurement of music's time; triple meter is beats (strong-weakweak) 

grouped into a set of three. 

A tone set of three pitches such as la-sol-mi. 

A music form in which a chorus is repeated at intervals, usually 

following each verse or stanza. 

The concept of directing a singer's mental focus to places within the 

facial masque that affects tone quality when singing. 

Music compositions from Western Europe and the United States. 

The distance of two half steps in the same direction such as the distance 

between C and D or E and F sharp. 

Ethnic music with a style not identified with Western music. 

vi-su-al art \vizh-(ə-)-wəl 'ärt\ n : forms or categories of 

creative and expressive production including the 

following: drawing, painting, printmaking, sculpture, 

graphics, photography, architecture, folk art, ceramics, 

fiber arts, jewelry, and others. 

An area of philosophy that studies the beautiful and artistic and 

examines related human responses to art through inquiry processes. 

The process of identifying the aspects of a work of art and examining 

how they function independently and together. 

A person who evaluates a work of art. 

The process of describing, interpreting, and judging the aesthetic value 

and meaning of a work of art. 

The categories used to classify various types of visual artwork. These 

include painting, drawing, sculpture, and ceramics. 

The field of study that examines the origins and developments of visual 

art over time and in different cultures. Those who study art history 

examine various factors that influence art including society, religion, 

culture, philosophy, aesthetics, and technology.


Assess 

Composition 

Contemporary 

Content 

Context 

Create 

Criteria 

Critique 

Cultural heritage 

Culture 

Cultural values 

Discipline 

Elements of art 

Expression 

Form 

Function 

Icon 


Materials 

Media 

Observational skill 

Perceptual skill 

To use subject-appropriate standards, evaluation methods, and criteria to 

make judgments about student achievement or program quality. 

The arrangement of an artwork's formal elements including, but not 

limited to, line, shape, and color. 

Art made after 1970 or works of art made by living artists. 

Contemporary art is not defined by a succession of periods, schools, or 

styles. 

The subject matter, concepts or ideas associated with a work of art. A 

work's content is shaped by the artist's intent, the context and by the 

experiences, thoughts, and reactions of the viewer. 


economic, political, historical, and cultural conditions) that influence 

the development of thoughts, ideas or concepts in the visual arts. 

To make works of visual art using materials, techniques, processes, and 

reflection. 


To evaluate a work of art (verb); an evaluation of a work of art (noun). 

The cultural continuity that is created when traditions, attitudes, and 

beliefs are passed down from one generation to another. 


The beliefs and attitudes shared by a group of people. 

A branch of knowledge or learning such as dance, drama/theatre, music, 

visual art, or other subject areas. 

The components of visual arts expression (such as line, shape, color, 

form, value, and space). 

The use of visual art to convey beliefs, feelings, and meanings through 

selective use of art media. 

The shape and structure of a work of art. Many artists strive for a 

relationship between form and content, so that the way something is 

made fits with what the artist intends the work to be about or how it will 

be viewed. 

The purpose and use of an artwork. 

An object or symbol that represents something culturally significant. 



The substances used to create visual art, such as canvas, clay, fabric, 

fibers, paint, paper, or wood. 

The materials (such as acrylics, oils, pastels, pen and ink, watercolors, 

and electronic forms of communication) used to produce visual art 

works. Works are often categorized by their media. 

The ability to observe firsthand the details of objects, figures or places. 

The ability to observe the details of objects, figures, or places and 

represent these observations accurately.

Perspective 

Portfolio 

Principles 

Process 

Reflection 

Self-assessment 

Style 

Subject matter 

Techniques 

Technology 

Three-dimensional 

Tools 

Two-dimensional 

Universal theme 

Visual art 

Visual art problem 

Visual culture 


A system for representing three-dimensional objects viewed as receding 

on a two-dimensional surface. 

A collection of samples of one's completed artwork and works-inprogress. 

The organization of design elements including balance, contrast, 

dominance, emphasis, movement, repetition, rhythm, subordination, 

variation, and unity. 

A complex operation that involves a number of methods and techniques 

to create a work of art. 

A structure through which students can consider their own thinking 

about an aesthetic experience, an artwork or the creative process. 

The process of engaging students in thinking about their own abilities 

and performance. Performance is usually related to students' 

understanding of specific knowledge and skills, performance standards 

and criteria, and personal goals. The intent is to teach students to 

monitor their progress and learning. 

The particular technique and characteristics that distinguish the art of 

different cultures or artists and periods or schools of art. 

The content of a work of visual art including portraits, human figures, 

cityscapes, landscapes, seascapes, animals, nonobjective, or abstract 

forms. 

The processes by which materials are used to create visual art including 

carving, drawing, painting, printing, rendering, sketching, or stippling. 

Electronic media, including computers, cameras and video equipment 

and visual art software, used to learn about, create, and document visual 

artwork. 

Showing three dimensions, thereby giving the illusion of depth and 

appearing lifelike. 

The instruments (including brushes, scissors, brayers, easels, knives, 

kilns, and cameras) that are used to create works of visual art. 

Showing two dimensions, thereby lacking depth and appearing flat. 

A major idea or subject repeatedly represented over time through 

various art forms. 

Forms or categories of creative and expressive production including the 

following: drawing, painting, printmaking, sculpture, graphics, 

photography, architecture, folk art, ceramics, fiber arts, jewelry, and 

others. 

A visual art assignment or task, usually with defined characteristics, that 

is a starting point for thinking about and using visual arts components. 

The elements in society that shape and reflect our ideas about and tastes 

in visual design. In modern American society these include elements 

such as television, museums, movies, the Internet, and shopping malls.

Glossary - 292

Resources 

Resources - 293

Resources - 294

Instructional Resources 

(suggested in part by the Ohio Department of Education) 

Resources - 295 

These sample resources can be used to aid in the understanding of academic content standards. In 

addition, these resources can be used to begin the process of implementing standards-based instruction 

and assessment. The model curriculum will provide a greater opportunity to explore best practices, 

research-based instruction and effective lessons and strategies for all children. 

Instructional Resources 

Resources listed in this section provide information for educators seeking practical and creative ways to 

implement standards-based instruction in the fine arts. 

Instructional Resources on the Internet 

• ArtsEdge - The National Arts and Education Network - A program of the Kennedy Center for the 

Performing Arts, ArtsEdge supports the placement of the arts at the center of the curriculum and 

advocates creative use of technology to enhance the K-12 educational experience. ArtsEdge 

empowers educators to teach in, through and about the arts by providing the tools to develop 

interdisciplinary curricula that fully integrate the arts with other academic subjects. ArtsEdge offers 

free, standards-based teaching materials for use in and out of the classroom, as well as professional 

development resources, student materials and guidelines for arts-based instruction and assessment. 

www.artsedge.kennedy-center.org 

• ArtsEdNet - The Getty Education Institute for the Arts - The Getty's art education Web site offers 

kindergarten through 12th-grade teachers access to reference materials, lessons and activities for arts 

and interdisciplinary teaching and learning. 

www.getty.edu/artsednet 

• Lincoln Center Institute for the Arts in Education (LCI) - LCI has developed and refined a 

distinctive approach to the arts and education; one that challenges all students to learn about and 

through the arts. Working in partnership with prekindergarten through grade 12 educators and college 

teacher education programs, the Institute develops experiential studies, theatre, visual art and 

architecture. The online Resource Center houses a specialized collection of print and media— some 

6,000 reference and circulating items—on arts and education and the various performing and visual 

arts. 

www.lcinstitute.org 

• MarcoPolo - Internet Content for the Classroom - MarcoPolo provides quality standards-based 

Internet content and professional development to kindergarten through 12th-grade teachers and 

students throughout the United States. 

www.marcopolo-education.org 

• Smithsonian - This Internet resource of The Smithsonian Institution is a resource for students and 

teachers that includes curricular ideas, research, exhibitions and events to support and enrich 

learning in the arts, humanities and the sciences. 

www.si.edu


• Voices Across Time - A product developed by the Center for American Music, Voices Across Time is 

a classroom resource of nine units embracing themes taken from the National U.S. History Standards 

(c.1763-present). Supported by recordings of historic American music, it can be a tool to bring to life 

the various time periods, issues and events traditionally discussed in social studies, language arts 

and music classrooms. 

Assessment Resources on the Internet 

www.amerimus+@pitt.edu 

• Developing an Arts Assessment: Some Selected Strategies - This Web-only report is based on 

the 1997 arts assessment field test and describes six strategies for creating an effective assessment. 

www.nces.ed.gov/nationsreportcard/pubs/strategies 

• National Assessment of Educational Progress (NAEP) Arts Assessment - This Internet resource 

provides information about the 1997 NAEP arts assessment administered to 6,480 eighth-grade 

students in the nation. The assessment measured students' knowledge and skills in music, theatre 

and visual art. Arts educators can explore major findings, sample questions, achievement levels and 

other publications about NAEP arts. 

www.nces.ed.gov/nationsreportcard/arts 

Instructional Publications 

• Barrett, Terry Michael. Interpreting Art: Reflecting, Wondering, and Responding. Massachusetts: 

McGraw-Hill, 2002. 

• Brandt, Ronald S. ed. Assessing Student Learning: New Rules, New Realities. Alliance for Curriculum 

Reform: University of Cincinnati, 1998. 

• Consortium of National Arts Education Associations (American Alliance for Theatre & Education, 

MENC: The National Association for Music Education, National Art Education Association and 

National Dance Association). National Standards for Arts Education: What Every Young American 

Should Know and Be Able to Do in the Arts. Reston, Va.: Music Educators National Conference, 

1994. 

• Gilbert, A.G. Teaching the Three R's Through Movement Experiences. Seatlle, Wash.: University of 

Washington, 2000. 

• Lindeman, Carolynn A. ed. Strategies for Teaching Series. MENC: The National Association for Music 

Education, 1994. 

• Mirus, J., White, E., Bucek, L. and Paulson, P. Dance Education Initiative Curriculum Guide. Golden 

Valley, Minn.: Perpich Center for Arts Education, 1996. 

• National Study of School Evaluation and MENC: The National Association for Music Education, 

Program Evaluation: Visual and Performing Arts. Music Educators National Conference, 1994. 

• Stewart, Marilyn. Thinking Through Aesthetics. Worcester, Mass.: Davis, 1997.

Professional Resources 


Resources listed in this section provide access to professional organizations and public institutions to 

afford educators opportunities to stay informed within their fields. 

Professional Organizations 

• American Alliance for Health, Physical Education, Recreation and Dance (AAHPERD) - 

AAHPERD is an organization of professionals supporting and promoting high-quality programs in 

health, physical education, recreation, dance and sport. 

www.aahperd.org 

• American Alliance for Theatre & Education (AATE) - Theatre artists, educators, researchers and 

scholars will find opportunities for connecting and networking through the mission of the American 

Alliance for Theatre & Education. The promotion of standards and excellence in theatre and theatre 

education presents opportunities to learn, exchange, expand and diversify the work, audiences and 

perspectives of and by its membership. 

www.aate.com 

• Arts Education Partnership (AEP) - The Arts Education Partnership (formerly the Goals 2000 Arts 

Education Partnership) is a national coalition of arts, education, business, philanthropic and 

government organizations that demonstrates and promotes the essential role of the arts in the 

learning and development of every child and in the improvement of America's schools. The 

Partnership includes over 140 organizations that are national in scope and impact. 

www.aep-arts.org 

• American Choral Directors Association (ACDA) - Founded in 1959, ACDA is a nonprofit music- 

education organization whose central purpose is to promote excellence in choral music through 

performance, compositions, publications and teaching. In addition, ACDA strives through arts 

advocacy to elevate music's position in American Society. 

www.acdonline.org 

• American Music Conference (AMC) - The goal of AMC is to build credibility of music and music 

education, especially at an early age, and to expand that portion of the population that enjoys and 

makes its own music. Through its programs of music education and instruction, performance and 

student and community recognitions, AMC supports music students, educators and advocates in 

promoting involvement in music making. 

www.amc-music.com 

• American School Band Directors Association (ASBDA) - ASBDA promotes instrumental music 

through educational programs directed toward instrumental music students and teachers as well as the 

public through scholarship, commissioning projects and compositions, research, publications and 

recording projects. 

www.asbda.com


• American String Teachers Association (ASTA) - Founded in 1946, ASTA serves the general public 

through the teaching, performance and leadership of string teachers, orchestra directors and 

professional string musicians. The association promotes excellence, communication and 

professionalism among its members and throughout the music community. Its ultimate goals are 

maintaining standards of musical excellence, professional communication, member inspiration, and 

increased visibility of its position, activities, and the art it serves. 

www.astaweb.com 

• Educational Theatre Association (EdTA) - Membership in EdTA provides theatre educators 

opportunities to grow as professionals in knowledge of theatre and skills of acting, locate resources 

and remain current with developments in the theatre arts. Since 1929, students of its members have 

been honored for excellence in theatre arts by being invited to membership in The International 

Thespian Society. Learning for students is enriched through workshops, technical experiences, and 

productions of this student-based, educator-guided society. 

www.edta.org 

• Music Educators National Conference (MENC) - Founded in 1907, MENC is an organization of 

music teachers, university faculty and researchers, college students preparing to be teachers, high 

school honor society members and MusicFriends. Its mission is to advance music education by 

encouraging the study and making of music by all. Programs and activities are national in scope and 

include the publication of books, video, compact discs, two general-interest music education 

magazines, four targeted topic-centered journals, biennial national and regional conferences, an 

annual public outreach program: Music in Our Schools Month (MIOSM) including the "World's Largest 

Concert" (WLC), and partnerships with business and philanthropic organizations and foundations. All 

50 states have direct state affiliates of MENC that continue the organization's mission at the state and 

local level. 

www.menc.org 

• National Art Education Association (NAEA) - Founded in 1947, NAEA is the largest professional 

organization of art educators from every level of instruction including early childhood, elementary, 

intermediate, secondary, college and university and administration and museum education. Members 

also include publishers, manufacturers and suppliers of art materials, parents, students, retired 

teachers, arts councils and others concerned about quality art education in schools. NAEA's mission is 

to promote art education through professional development, advancement of knowledge, service and 

leadership. The association's Web site provides advocacy and policy resources, program and 

convention news and various publications focused on instruction, assessment, research and 

standards for art education. 

www.naea-reston.org 

• National Dance Association (NDA) - The mission of NDA is to increase knowledge, improve skills 

and encourage sound professional practices in dance education while promoting and supporting 

creative and healthy lifestyles through high-quality dance programs. 

www.aahperd.org/nda


• National Dance Education Organization (NDEO) - NDEO advances dance education centered in 

the arts. The organization represents the field in legislatures, schools of dance, Prekindergarten 

through grade 12 schools and institutions of higher education throughout the country. As a nonprofit 

organization, NDEO is dedicated to promoting excellence in dance education, in the art of dance 

through professional development, service and leadership. NDEO holds public discussions and 

sponsors institutes, workshops, conferences and programs. The organization also develops 

guidelines, promotes standards and designs curricula. 

www.ndeo.org 

• Ohio Alliance for Arts Education (OAAE) - OAAE is a statewide network that supports arts 

education and exists to ensure that the arts are an integral part of the education of every Ohioan. The 

OAAE builds collaborations between schools and cultural institutions to promote partnerships, speaks 

on behalf of arts education before policy makers, provides professional development for teachers, 

spearheads public awareness of arts education and advocacy and supports the positioning of the arts 

at the core of education. 

www.oaae.net 

• Ohio Art Education Association (OAEA) - The mission of OAEA is to advance and support quality 

art education through professional development, leadership, service, advocacy and education. OAEA 

aims to unite art educators across the state in the promotion and understanding of visual art in a 

quality education. 

www.oaea.org 

• Ohio Arts Council (OAC) - The Ohio Arts Council is a state agency that funds and supports quality 

arts experiences to strengthen Ohio communities culturally, educationally and economically. The 

OAC was created in 1965 "to foster and encourage the development of the arts and assist the 

preservation of Ohio's cultural heritage." The Council's Arts Learning Program, in particular, can 

assist educators interested in deepening students' skills and knowledge in the arts through cultural 

partnerships and artist-in-residence activities. 

www.oac.state.oh.us 

• Ohio Association for Gifted Children (OAGC) - An organization dedicated to gifted children, it 

promotes research in gifted education and serves as a clearinghouse of information sharing for 

teachers and those who work with gifted students in Ohio. OAGC recognizes and encourages the 

need to identify talented students in the visual and performing arts in addition to students in the 

cognitive, specific academic and creative thinking domains. 

www.oagc.com 

• Ohio Choral Directors Association (OCDA) - A state affiliate of the American Choral Directors 

Association, OCDA continues the purpose of ACDA in Ohio's schools, colleges and universities, 

churches and communities. Professional development, inservice, model performance and advocacy 

are opportunities provided to and presented by its membership. 

www.ohiocda.org 

• OhioDance - OhioDance is the statewide service organization for dance and movement art and 

includes dancers, choreographers, educators, companies and dance supporters. OhioDance is an 

inclusive umbrella for information sharing, education, cooperation building and increased visibility for 

dance in Ohio. 

www.ohiodance.org


• Ohio Educational Theatre Association (OEdTA) - The purpose of OEdTA is to continue, advance 

and improve the purpose of the Educational Theatre Association and The International Thespian 

Society by promoting educational theatre in Ohio. This association encourages teaching, educating 

and instructing students in the performing arts and related subjects. 

www.ohioedta.com 

• Ohio Music Education Association (OMEA) - One of the largest state affiliates of MENC: The 

National Association for Music Education, OMEA is the principle organization for promoting music 

education in Ohio's elementary and secondary schools, colleges and universities. It promotes life- 

long participation and learning in music and the value of artistic and musical experiences for every 

citizen. It advocates for comprehensive school programs in general, instrumental and choral music 

education, national and state music standards, assessment and resources of adequate personnel, 

time, facilities and materials for the teaching of music. 

www.omea-ohio.org 

Departments of Education 

• Career-Technical and Adult Education www.ode.state.oh.us/ctae/default.asp 

• Ohio Department of Education www.ode.state.oh.us 

• Office of Curriculum and Instruction www.ode.state.oh.us/curriculum-assessment/ci 

• Office of Assessment www.ode.state.oh.us/curriculum-assessment/Assessment 

• Other state Departments of Education (via CCSSO) www.ccsso.org/seamenu.html 

• U.S. Department of Education www.ed.gov 

Research Resources 

Resources listed in this section provide information about educational theories, skills and strategies to 

build knowledge and understanding of standards as well as other related topics. 

Research Publications 

• Bauer, W. ed. Contributions to Music Education. Ohio Music Education Association, Cleveland, Ohio 

(issued semi-annually). 

• Colwell, Richard & Richardson, Carol eds. (2002). The New Handbook of Research on Music 

Teaching and Learning. New York, N.Y.: Oxford University Press. 

• Deasy, Richard J. ed. Critical Links: Learning in the Arts and Student Academic and Social 

Development. Arts Education Partnership, Washington D.C., 2002. 

• Jensen, Eric. Arts With the Brain In Mind. Association for Supervision and Curriculum Development, 

Alexandria, Va., 2001. 

• National Association of State Boards of Education (NASBE), The Complete Curriculum: Ensuring a 

Place for the Arts and Foreign Languages in America's Schools. Alexandria, Va., 2003. 

• Yarbrough, Cornelia, et.al.eds. The Journal of Research in Music Education. Music Educators 

National Conference, Reston, Va. (issued quarterly).

VPA Graded Course Of Study - Akron Public Schools

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