Music

Performance Assessments

Music performance assessments are searchable by grade or grade-span. They are also searchable by MAEIA performance standards, VPAA Guidelines, and NCAS Anchor Standards or Educator Evaluation Method.

Browse MAEIA Performance Assessments

Scroll down to see the entire catalogue or use the form below to search. You can hover over the standards' codes for each assessment to read the standards.  All items have an overview. Some have exemplars attached to the rubrics.

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  • Any
  • M.EL.C.1
  • M.EL.P.1
  • M.I.K.1
  • M.I.1.3
  • M.I.2.3
  • M.II.EL.2
  • M.II.K.2
  • M.II.2.2
  • MU:Cr1
  • MU:Cr3
  • MU:Pr5
  • M.EL.R.1
  • ART.M.III.EL.4
  • ART.M.III.3.4
  • ART.M.III.4.4
  • MU:Re7
  • M.HS.C.1
  • M.HS.R.3
  • C.1
  • R.3
  • R.4
  • ART.M.II.HS.4
  • MU:Cr2
  • MU:Cn10
  • M.HS.R.3
  • R.1
  • ART.M.III.HS.1
  • ART.M.III.HS.2
  • ART.M.III.HS.3
  • ART.M.III.HS.5
  • MU:Re8
  • M.MS.R.2
  • M.MS.R.3
  • ART.M.V.6.2
  • ART.M.V.7.2
  • ART.M.V.8.2
  • MU:Cn11
  • M.MS.P.1
  • ART.M.I.MS.4
  • ART.M.I.6.4
  • ART.M.I.7.4
  • ART.M.I.8.4
  • MU:Pr5
  • MU:Cn10
  • M.MS.C.1
  • ART.M.II.6.4
  • ART.M.II.7.4
  • ART.M.II.8.4
  • ART.M.II.6.6
  • ART.M.II.7.6
  • MU:Cr2
  • MU:Cr3
  • M.MS.R.2
  • ART.M.IV.MS.2
  • ART.M.IV.6.2
  • ART.M.IV.7.2
  • ART.M.IV.8.2
  • MU:Re7
  • M.MS.R.1
  • ART.M.III.6.1
  • ART.M.III.6.2
  • MU:Re8
  • M.MS.C.1
  • ART.M.II.MS.3
  • ART.M.II.6.3
  • ART.M.II.7.3
  • ART.M.II.8.3
  • MU:Cr3
  • M.EL.R.1
  • ART.M.III.EL.4
  • ART.M.III.4.4
  • ART.M.III.5.4
  • MU:Pr5
  • M.EL.C.1
  • ART.M.II.EL.3
  • ART.M.II.K.3
  • ART.M.II.1.3
  • ART.M.II.2.3
  • MU:Cr2
  • MU:Cr3
  • M.EL.R.1
  • ART.M.III.EL.4
  • ART.M.III.3.4
  • ART.M.III.4.4
  • ART.M.III.5.4
  • M:Re9
  • M.EL.P.2
  • M.I.EL.1
  • M.I.K.1
  • M.I.1
  • MU:Re7
  • M.EL.C.1
  • M.II.5.4
  • M.II.5.5
  • MU:Cr2
  • MU:Cr3
  • M.HS.R.3
  • R1
  • R.2
  • R.3
  • R.4
  • ART.M.5.HS.2
  • MU:Re7
  • MU:Cn11
  • M.HS.R.2
  • R1
  • ART.M.III.HS.3
  • MU:Re7
  • MU:Re9
  • M.HS.R.3
  • R1
  • ART.M.III.HS.2
  • MU:Re8
  • MU:Cn10
  • M.HS.R.2
  • R1
  • ART.M.IV.HS.1
  • MU:Re7
  • M.HS.R.1
  • R1
  • ART.M.III.HS.1
  • MU:Re7
  • MU:Re9
  • M.HS.C.1
  • R1
  • ART.M.III.HS.2
  • MU:Re7
  • MU:Re9
  • M.HS.C.1
  • C.3
  • ART.M.II.HS.2
  • MU:Cr1
  • MU:PR4
  • M.HS.C.1
  • C1
  • ART.M.II.HS.4
  • MU:
  • M.HS.C.1
  • C.3
  • ART.M.II.HS.4
  • MU:Cr1
  • MU:Cr3
  • M.HS.C.1
  • C2
  • ART.M.III.HS.6
  • MU:Cr2
  • M.HS.C.1
  • C1
  • ART.M.II.HS.4
  • MU:Cr2
  • MU:Cr3
  • M.HS.P.1
  • P.1
  • P.2
  • ART.M.I.HS.6
  • MU:Pr4
  • MU:Pr5
  • M.HS.P.1
  • P1
  • ART.M.I.HS.6
  • MU:Pr4
  • M.HS.P.1
  • P.1
  • ART.M.I.HS.1
  • MU:Cr1
  • MU:Pr6
  • M.HS.P.1
  • P.4
  • ART.M.I.HS.1
  • MU:Pr5
  • MU:Pr6
  • M.HS.P.1
  • P.1
  • P.2
  • ART.M.1.HS.3
  • MU:Pr6
  • M.HS.R.2
  • R.1
  • R.2
  • R.3
  • R.4
  • ART.M.IV.HS.1
  • MU:Re7
  • M.HS.R.3
  • R.2
  • ART.M.V.HS.2
  • MU:Re7
  • MU:Cn11
  • M.HS.R.1
  • R.1
  • R.2
  • R.3
  • R.4
  • ART.M.3.HS.5
  • MU:Re9
  • M.HS.R.2
  • R.3
  • Art.M.III.HS.2
  • MU:Re9
  • M.HS.R.1
  • P.2
  • ART.M.III.HS.1
  • MU:Re9
  • M.HS.C.1
  • C.2
  • ART.M.II.HS.7
  • MU:CR1
  • MU:Cr3
  • M.HS.C.1
  • C.1
  • ART.M.II.HS.4
  • MU:Cr1
  • MU:Cr3
  • MU:Cn10
  • MU:Cn11
  • M.HS.C.1
  • C.1
  • ART.M.II.HS.7
  • Mu:Cr1
  • MU:Cr2
  • MU:Cr3
  • M.HS.C.1
  • C.3
  • ART.M.II.HS.4
  • MU:Cr1
  • MU:Cr3
  • M.HS.C.1
  • C.3
  • ART.M.II.HS.5
  • MU:Cr2
  • MU:Cr3
  • M.HS.P.1
  • P.1
  • P.2
  • M.1.HS.3
  • MU:Pr5
  • MU:Pr6
  • M.HS.P.1
  • P.1
  • P.2
  • M.I.HS.1
  • MU:Pr6
  • M.HS.P.1
  • P.4
  • ART.M.I.HS.3
  • MU:Pr5
  • P.1
  • P.1
  • ART.M.I.HS.1
  • MU:Pr5
  • MU:Pr6
  • M.HS.P.1
  • P.1
  • P.2
  • ART.M.I.HS.1
  • MU:Pr4
  • MU:Pr5
  • M.MS.P.1
  • ART.M.I.MS.5
  • ART.M.I.6.5
  • ART.M.I.7.5
  • ART.M.I.8.5
  • MU:Pr4
  • M.MS.R.1
  • ART.M.III.MS.1
  • ART.M.III.6.1
  • ART.M.III.7.1
  • ART.M.III.8.1
  • ART.M.III.MS.2
  • ART.M.III.6.2
  • ART.M.III.7.2
  • ART.M.III.8.2
  • MU:Re7
  • MU:Cn11
  • M.MS.C.1
  • ART.M.II.MS.3
  • ART.M.II.6.3
  • ART.M.II.7.3
  • ART.M.II.8.3
  • MU:Cr3
  • M.MS.P.1
  • M.MS.C.1
  • ART.M.I.8.2
  • ART.M.II.8.1
  • MU:Cr1
  • MU:Cr2
  • M.MS.C.1
  • M.II.7.1
  • MU:Cr1
  • MU:Cr2
  • M.MS.R.1
  • ART.M.III.6.1
  • ART.M.III.7.1
  • ART.M.III.8.1
  • ART.M.III.6.5
  • ART.M.III.7.5
  • ART.M.III.8.5
  • MU:Cr3
  • M.MS.R.1
  • ART.M.II.6.1
  • ART.M.III.6.4
  • ART.M.III.6.5
  • MU:Re9
  • M.MS.P.1
  • ART.M.I.MS.1
  • ART.M.I.MS.3
  • ART.M.I.7.1
  • ART.M.I.8.1
  • ART.M.I.7.3
  • ART.M.I.8.3
  • MU:Pr6
  • M.MS.P.1
  • M.I.MS.2
  • M.I.7.2
  • M.I.MS.3
  • M.I.6.3
  • M.I.7.3
  • M.I.8.3
  • MU:Pr6
  • MU:Pr5
  • M.MS.R.1
  • M.MS.R.2
  • ART.M.III.MS.1
  • ART.M.III.6.1
  • ART.M.III.7.1
  • ART.M.III.8.1
  • M.IV.MS.1
  • M.IV.7.1
  • M.IV.8.1
  • M.IV.MS.2
  • M.IV.6.2
  • M.IV.7.2
  • M.IV.8.2
  • MU:Re7
  • M.MS.R.1
  • ART.M.III.MS.4
  • ART.M.III.6.4
  • ART.M.III.7.4
  • ART.M.III.8.4
  • MU:Re9
  • M.MS.C.1
  • M.II.8.4
  • MU:Cr2
  • MU:Cr3
  • M.MS.R.3
  • M.V.MS1
  • M.V.6.1
  • M.V.7.1
  • M.V.8.1
  • MU:Cn11
  • MU:Re8
  • M.MS.C.1
  • ART.M.II.MS.5
  • ART.M.II.6.5
  • ART.M.II.7.5
  • ART.M.II.8.5
  • ART.M.II.6.6
  • ART.M.II.7.6
  • ART.M.II.8.6
  • MU:Cr3
  • M.EL.R.1
  • M.III.3.6
  • M.III.3.7
  • M.III.4.6
  • M.III.4.7
  • M.III.5.6
  • M.III.5.7
  • MU:Re8
  • M.EL.C.1
  • ART.M.II.EL.2
  • M.11.3.2
  • M.11.4.2
  • M.11.5.2
  • MU:Cr3
  • MU:Cr2
  • M.EL.R.2
  • ART.M.III.EL.5
  • M.III.3.5
  • M.III.4.5
  • M.III.5.5
  • MU:Re7
  • M.EL.P.1
  • ART.M.I.3.10
  • ART.M.I.4.10
  • ART.M.I.5.10
  • MU:Pr4
  • M.EL.P.1
  • M.EL.P.2
  • M.I.3.9
  • M.I.4.9
  • M.I.5.9
  • MU:Pr4
  • M.EL.R.3
  • ART.M.V.5
  • ART.M.V.5.2
  • MU:Cn11
  • M.EL.C.1
  • ART.M.II.4.3
  • ART.M.II.5.3
  • MU:Cr1
  • M.EL.P.1
  • M.1.3.1
  • M.1.5.1
  • MU:Pr6
  • MU:Pr5
  • M.EL.P.2
  • M.I.3.1
  • MU:Pr4
  • M.EL.P.1
  • ART.MI.EL.1
  • M.1.2.4
  • MU:Pr6
  • M.EL.P.1
  • M.1.3.8
  • M.1.4.8
  • M.1.5.8
  • MU:Pr6
  • M.EL.C.1
  • M.EL.P.1
  • ART.M.II.EL.5
  • ART.M.I.EL.8
  • M.II.3.5
  • M.II.4.5
  • M.II.5.5
  • ART.M.I.3.8
  • ART.M.I.4.8
  • ART.M.I.5.8
  • MU:Cr1
  • MU:Cr3
  • M.EL.R.2
  • ART.M.IV.EL.1
  • M.IV.3.2
  • M.IV.4.2
  • M.IV.5.1
  • MU:Cn11
  • MU:Re7
  • M.EL.C.1
  • M.II.4.4
  • M.II.4.5
  • MU:Cr2
  • MU:Cr3
  • M.EL.P.1
  • ART.M.I.EL.6
  • M.1.3.8
  • M.1.4.8
  • M.1.5.8
  • MU:Pr6
  • C.M.EL.C.1
  • ART.M.II.3.6
  • ART.M.II.4.6
  • ART.M.II.5.6
  • MU:Cr3
  • MU:Cr2
  • M.EL.P.1
  • ART.M.I.EL.1
  • M.1.5.1
  • M.1.K.4
  • M.1.1.4
  • M.1.2.4
  • M.1.3.2/M.1.4.2
  • M.1.5.2
  • M.1.5.3
  • M.1.3.11
  • M.11.4.4
  • M.11.5.4
  • MU:Pr6
  • M.EL.P.1
  • ART.M.I.2.1
  • MU:Pr4
  • MU:Re7
  • M.EL.P.1
  • M.1.EL.4
  • M.I.2.4
  • MU:Pr6
  • MU:Pr5
  • M.EL.R.3
  • M.V.2.2
  • MU:Re8
  • M.EL.R.1
  • M.III.EL.3
  • M.III.K.3
  • M.III.1.3
  • MU:Pr4
  • MU:Re7
  • M.EL.C.1
  • M.II.2.2
  • M.II.2.3
  • M.II.EL.2
  • MU:Cr1
  • MU:Cr3
  • M.EL.C.1
  • M.II.K.2
  • MU:Cr1
  • MU:Cr3
  • M.EL.R.2
  • ART.M.IV.EL.1
  • ART.M.IV.1.1
  • ART.M.IV.2.1
  • MU:Re8
  • MU:Cn10
  • M.EL.P.2
  • M.I.K.6
  • M.I.K.8
  • M.I.1.8
  • M.I.2.8
  • MU:Pr6
  • MU:Pr5
  • M.EL.R.1
  • M.III.EL.6
  • MU:Pr5
  • MU:Re9
  • M.EL.C.1
  • M.II.EL.2
  • M.II.K.2
  • M.II.1.2
  • M.II.2.2
  • MU:Cr1
  • M.EL.P.1
  • M.I.K.1
  • M.I.2.1
  • M.I.EL.2
  • M.I.EL.3
  • MU:Pr6
  • MU:Pr5
  • M.EL.C.1
  • M.II.2.5
  • MU:Pr6
  • MU:Cr1
  • M.EL.R.2
  • M.IV.2.1
  • MU:Cr1
  • MU:Cr3

Showing all results for "Music"


Assessment Title Grades High School Level Educator Effectiveness Method MAEIA Performance Standard Content Standard VPAA Guideline NCAS Anchor Standard Requires Recording Time

M.T101 MT101

AB & ABA Form Identification and Composition

AB & ABA Form Identification and Composition

Students will listen to several pieces of music and identify the form of each. ABA and AB form should have been taught and discussed prior to this assessment. Students will then compose and perform a piece of music in groups that reflects one of the forms. Prior to the assessment, students also should have experience with composing in a group. These performances will be video or audio recorded.

After the compositions are complete, students will watch the videos or listen to the audio recording, and will reflect on their compositions and performances. This assessment probably would work best at the end of the school year when routines and classroom expectations are well established.

This assessment may be more successful if someone other than the teacher supervises audio or video recording of the performances. If this is not possible, the teacher should be careful to ensure that students who are performing stay in the video frame during the recording process.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
2ndN/A 2 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. It is suggested that the item be used in two or more adjacent grades, administering the item once per school year. This is especially suitable for assessments (e.g., MAEIA tasks) that require more time and effort to administer. M.EL.R.2M.EL.R.2 – Critically analyze a musical work and reflect on its cultural context using developmentally appropriate terminology.M.IV.2.1M.IV.2.1 – Identify and describe distinguishing characteristics of several different styles presented in second grade.N/AMU:Cr1MU:Cr1 – Generate and conceptualize artistic ideas and work.MU:Cr3MU:Cr3 – Refine and complete artistic work.Approx. 120 min

M.T205 MT205

Arrange a Familiar Song

Arrange a Familiar Song

Working in small groups, students will arrange a familiar song. They will take a vocal piece that they have learned in previous lessons and arrange it as an instrumental piece. This assessment will require both individual and group work. Students will be responsible for playing an instrument of their choosing and writing out the part that they will play. Students will work together to make sure that all parts of the song are covered. They may use a variety of melody instruments and unpitched percussion instruments, including electronic or nontraditional sound sources.

Students will work in groups of four. Teachers may need to arrange for smaller or larger groups if the class cannot be divided into groups of four. Each student must play his or her part at the time of the performance. The arrangement will typically be 8 or 16 measures long. However, the length of the arrangement is up to the teacher and will be dependent on the amount of time that the teacher has with the students as well as the experience of the students. The final performances will be video recorded for scoring later. The parts of the assessment are as follows:

Part 1 (Day 1)—Students will take notes on and practice writing elements of notation on blank staff paper in their Student Booklets. This part may be skipped if the teacher wishes to use non-traditional notation, no notation, or a different method of teaching notation.

Part 2 (Day 2)—Students will meet in their groups to decide on instrumentation. Groups of four students will be created and assigned by the teacher using the template found on page 21 of this Teacher Booklet.
Students will use a checklist when meeting in their groups to make sure that all criteria for the arrangement have been met. They will at least need a melody instrument, a rhythm instrument, a tone-color instrument, and a nontraditional sound source in their arrangement.

Part 3 (Day 3)—Each student must write out his or her own part on the staff paper in his or her Student Booklet. This part may continue on to Day 4 if necessary. This is a workshop day, during which students can ask questions of the teacher and each other as they write their parts.

Part 4 (Day 4)—Students will have time to practice their parts both individually and with their groups.

Part 5 (Day 5)—Students will perform their arrangements in their groups for the class. These performances will be video recorded and evaluated by the teacher. This may continue for another class period if necessary.

Part 6 (Day 6)—Students will reflect on their work. Students will reflect on the quality of the final product and their experience. Students also will be asked to reflect on the assessment and what aspects overall make a good arrangement.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
4thN/A 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.EL.C.1M.EL.C.1 – Create a melodic line (e.g., a consequent phrase to an antecedent phrase, melodic line within a harmonic structure, extending a melodic idea) using their understanding of the elements of music to inform their creative decision-making.M.II.4.4M.II.4.4 – Arrange songs in various ways.M.II.4.5M.II.4.5 – Use a variety of traditional and non–traditional sound sources and electronic media when composing, arranging, and improvising appropriate to 4th grade.N/AMU:Cr2MU:Cr2 – Organize and develop artistic ideas and work.MU:Cr3MU:Cr3 – Refine and complete artistic work.Approx. 180 min

M.T209 MT209

Arrange an Accompaniment for a Simple Song using Nonpitched Instruments

Arrange an Accompaniment for a Simple Song using Nonpitched Instruments

In this assessment, students will create an arrangement based on a nursery rhyme or song. Working in groups created by the teacher, students will create their arrangements using non-pitched instruments. They will be expected to perform the micro and/or macro beats, create an ostinato, an introduction, and a coda, and use dynamics. This will be noted on the arrangement worksheets found in the Student Booklet. Students will write the same responses on their arrangement worksheet if they are in the same group. Before their performance, students will decide who in their group will perform which part in their group arrangement and will rehearse their performance. Students will perform their arrangements on traditional or nontraditional instruments. Their performances will be video recorded for later scoring.

For this assessment, students should have had previous experience using class percussion instruments, nontraditional sound sources (e.g., the music group STOMP), or electronic sound sources through the use of apps on a device such as an iPad. Students need previous exposure to rhymes or songs and rhythm patterns in duple and triple meters. Students should have previous experience arranging and performing, using duple and triple meters, and playing ostinati, micro and/or macro beats, introductions, codas, and dynamics.

This assessment may be easier to implement if someone other than the teacher supervises the video recording of the performances. If this is not possible, the teacher should be careful to ensure that students who are performing stay in the video frame during the recording process.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
3rd, 4th, 5thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.C.1M.EL.C.1 – Create a melodic line (e.g., a consequent phrase to an antecedent phrase, melodic line within a harmonic structure, extending a melodic idea) using their understanding of the elements of music to inform their creative decision-making.M.EL.P.1M.EL.P.1 – Sing and play alone and with others a diverse repertoire of songs in both one and two parts with expression and accuracy. ART.M.II.EL.5ART.M.II.EL.5 – Use a variety of traditional and nontraditional sound sources and electronic media when composing, arranging, and improvising.ART.M.I.EL.8ART.M.I.EL.8 – Perform independent instrumental parts while other students sing or play contrasting parts. M.II.3.5M.II.3.5 – Use a variety of traditional and nontraditional sound sources and electronic media when composing, arranging, and improvising appropriate to third grade.M.II.4.5M.II.4.5 – Use a variety of traditional and nontraditional sound sources and electronic media when composing, arranging, and improvising appropriate to fourth grade.M.II.5.5M.II.5.5 – Use a variety of traditional and nontraditional sound sources and electronic media when composing, arranging, and improvising appropriate to fifth grade.ART.M.I.3.8ART.M.I.3.8 – Play instrumental parts independently while other students sing.ART.M.I.4.8ART.M.I.4.8 – Play instrumental parts independently while other students sing a contrasting part.ART.M.I.5.8ART.M.I.5.8 – Perform independent instrumental parts while other students sing or play contrasting parts.N/AMU:Cr1MU:Cr1 – Generate and conceptualize artistic ideas and work.MU:Cr3MU:Cr3 – Refine and complete artistic work.Approx. 60-90 min

M.T301 MT301

Arranging Folk Songs

Arranging Folk Songs

Students will be placed into groups and work together to arrange a folk tune. The teacher should assign student groups prior to announcing the assignment in order to ensure that each group contains students with as much variety of musical backgrounds and levels of experience as possible.
In Part 1, students will choose a tune from a pre-established list of familiar folk tunes and begin to arrange and rehearse their selected tune. Part 2 (one week after Day 1) will be for a second 50-minute rehearsal period. In Part 3, students will perform their arrangements in class. Students will be expected to rehearse outside of class over the two-week period. Students will also maintain a rehearsal journal in which they reflect on their experiences of arranging their selected tune and preparing it for performance.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students.
6th, 7th, 8thN/A 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.MS.C.1M.MS.C.1 – Create a melody that has tonal and rhythmic coherence.ART.M.II.MS.5ART.M.II.MS.5 - Arrange simple pieces for voices or instruments other than those for which pieces were written.ART.M.II.6.5ART.M.II.6.5 - Demonstrate an understanding of some instrumental and vocal ranges.ART.M.II.7.5ART.M.II.7.5 - Arrange simple pieces for student’s classroom instrument or voice.ART.M.II.8.5ART.M.II.8.5 - Arrange simple pieces for voices or instruments other than those for which pieces were written.ART.M.II.6.6ART.M.II.6.6 - Use a variety of traditional and nontraditional sound sources when composing, arranging, and improvising.ART.M.II.7.6ART.M.II.7.6 - Use a variety of traditional and nontraditional sound sources when composing, arranging, and improvising.ART.M.II.8.6ART.M.II.8.6 - Use a variety of traditional, nontraditional, and electronic sound sources when composing, arranging, and improvising.N/AMU:Cr3MU:Cr3 – Refine and complete artistic work.Approx. 150 min

M.T401 MT401

Audition Day

Audition Day

Students will each prepare and perform four short excerpts selected by the teacher (no less than one minute or more than three minutes per selection) from their current large-ensemble music, ètudes from ètude books, and/or solo passages from solo literature for their own individual instruments or voices. The excerpts should be of an appropriate level of difficulty and represent at least three distinct musical practices, styles, or genres such as:

o Art song, pop song, and Broadway show tune
o Rose ètude for clarinet, Dixieland clarinet solo, and clarinet solo in Klezmer style
o Classical or Baroque violin solo, fiddle tune, and mariachi song

Students must include at least two examples from their current large-ensemble repertoire and at least one example from outside of their current large-ensemble repertoire.

Students will record all excerpts on a visual/audio recording device and submit them to the teacher via the school’s available recording devices (e.g., audio recording, video recording, digital video recording, etc., as available at your school).

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 2 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. It is suggested that the item be used in two or more adjacent grades, administering the item once per school year. This is especially suitable for assessments (e.g., MAEIA tasks) that require more time and effort to administer. M.HS.P.1M.HS.P.1 – Perform a diverse repertoire of music at an appropriate level of difficulty with expression and technical accuracy.ART.M.I.HS.1ART.M.I.HS.1 – Sing and play, with expression and technical accuracy, a diverse repertoire of vocal and instrumental literature, with and without notation, including selections performed from memory.P.1P.1 – Apply the techniques, elements, principles, intellectual methods, concepts, and functions of the visual, performing, or applied arts discipline to communicate ideas, emotions, and experiences; address opportunities to improve daily life; and solve problems with insight, reason, and competence.P.2P.2 – Demonstrate skillful use of appropriate vocabularies, tools, instruments, and technologies of the visual, performing, or applied arts discipline.MU:Pr4MU:Pr4 – Select, analyze and interpret artistic work for performance.MU:Pr5MU:Pr5 – Develop and refine artistic technique and work for presentation.Approx. five 50 min class periods

M.E413 ME413

Blues Performance Evaluation

Blues Performance Evaluation

Students will listen to a performance of “Backwater Blues” performed by Bessie Smith and answer analysis questions in the Student Booklet. You can find the song on multiple websites like YouTube or Spotify. The song should be played at least five times during the Part 1 (30-minute) time frame.

In Part 1 the students will work on the analysis worksheet while listening to the song. They will be asked to describe the lyrics, the chord progression, the rhythm, and the meter. Then, on a second worksheet, students will consider those key musical elements of a blues song and write a short paper that reflects on the success of this particular performance. Using musical terminology, the students will justify whether they believe it was an effective blues song performance and will support their papers with at least five reasons.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 1 Students who fulfill their one credit visual, performing, or applied arts (VPAA) high school graduation requirement only, or who are in their first year of a multi-year VPAA program 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.HS.C.1M.HS.C.1 – Critically analyze a musical work and reflect on its cultural context using developmentally appropriate terminology.ART.M.III.HS.2ART.M.III.HS.2 – Analyze aural examples of varied repertoire of music, representing diverse genres and cultures, by describing the uses of elements of music and expressive devices.R1R1 - Observe, describe, reflect, analyze, and interpret works of visual, performing, or applied arts.MU:Re7MU:Re7 – Perceive and analyze artistic work.MU:Re9MU:Re9 – Apply criteria to evaluate artistic work.Approx. one 50 min class period

M.T404 MT404

Chamber Music

Chamber Music

Students will form small performing groups (quartets, trios, etc.), select a brief (2-3 minute) piece to perform, and prepare it on their own with minimal teacher guidance over a period of four weeks. At the end of this period, students will perform their brief pieces in class for their peers and be scored on a number of dimensions from the process and the performance.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.HS.P.1M.HS.P.1 – Perform a diverse repertoire of music at an appropriate level of difficulty with expression and technical accuracy.ART.M.I.HS.3ART.M.I.HS.3 – Perform an appropriate part in large and small ensembles, demonstrating well-developed ensemble skills.P.4P.4 – Perform, present, exhibit, publish, or demonstrate the results of the artistic/creative process for an audience.MU:Pr5MU:Pr5 – Develop and refine artistic technique and work for presentation. Approx. 4 weeks

M.T305 MT305

Classifying Three Musical Genres

Classifying Three Musical Genres

In this assessment, students will observe, describe, and classify American folk music, rock, and jazz from the twentieth century. This assessment has two parts.

In Part 1, students will listen to three listening excerpts. The excerpts will be examples of exemplary music in the American folk music, rock, and jazz genres from the twentieth century. Students will record their observations about each excerpt on a worksheet in their Student Booklet.

In Part 2, students will listen to two new excerpts in each of the three genres to help determine distinguishing characteristics common to each. Based on these characteristics, students will then write a working definition for each genre of music. This portion of the assessment should be done over the course of three class periods to avoid confusion among the genres.

Teachers may wish to modify this assessment to include genres of music that are culturally relevant and appropriate to a particular student population. Teachers can use the same assessment setup and use excerpts that are similar in length to excerpts listed below, but will need to modify directions for students in the script. Teachers also will need to modify the Teacher Scoring Rubric and materials in the Student Booklet to reflect chosen genres of music.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
6th, 7th, 8thN/A 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.MS.R.1M.MS.R.1 – Listen to their own performances as well as those of others and critically analyze and reflect on those performances using developmentally appropriate musical terminology.M.MS.R.2M.MS.R.2 – Critically analyze a musical work and reflect on its cultural context using developmentally appropriate terminology.ART.M.III.MS.1ART.M.III.MS.1 – Identify and describe specific musical elements and events in a given aural example, using appropriate terminology.ART.M.III.6.1ART.M.III.6.1 – Identify and describe specific musical elements and events in a given aural example, using appropriate terminology.ART.M.III.7.1ART.M.III.7.1 – Identify and describe specific musical elements and events in a given aural example, using appropriate terminology.ART.M.III.8.1ART.M.III.8.1 – Identify and describe specific musical elements and events in a given aural example, using appropriate terminology.M.IV.MS.1M.IV.MS.1 – Describe distinguishing characteristics of representative music genres and styles from a variety of cultures.M.IV.7.1M.IV.7.1 – Describe distinguishing characteristics of a repertoire of music from diverse cultures.M.IV.8.1M.IV.8.1 – Describe distinguishing characteristics of representative music genres and styles from a variety of cultures.M.IV.MS.2M.IV.MS.2 – Classify by genre and style (and, if applicable, by historical period, composer, and title) a varied body of exemplary musical works and explain the characteristics that cause each work to be considered exemplary.M.IV.6.2M.IV.6.2 – Classify by genre a varied body of exemplary musical works.M.IV.7.2M.IV.7.2 – Classify by genre and style (and, if applicable, by historical period, composer, and title) a varied body of exemplary musical works.M.IV.8.2M.IV.8.2 – Classify by genre and style (and, if applicable, by historical period, composer, and title) a varied body of exemplary musical works and explain the characteristics that cause each work to be considered exemplary.N/AMU:Re7MU:Re7 – Perceive and analyze artistic work.Approx. 200 min

M.E206 ME206

Compare/ Contrast across Disciplines

Compare/Contrast across Disciplines

Students will identify ways in which the concepts from other content areas, such as visual arts, language arts, mathematics, science, and social studies, are related to music. Students will then produce a written comparison/contrast response on a chart provided in the Student Booklet.

Prior to the assessment, the teacher should lead a discussion regarding the definitions of the concepts of “compare” and “contrast.” The teacher should ask the students for examples of things that are the same and things that are different. The teacher should model comparing and contrasting using example concepts from another content area compared with music. This modeling should take place several times prior to the assessment so students are aware of the use of comparison/contrast charts.

Students should have a working vocabulary of musical concepts, including rhythm, pitch, melody, harmony, dynamics, texture, form, variation, and interpretation. These words should be placed on a word wall or on the board.

This Teacher Booklet provides two examples that might be used in this assessment:

  1. 1. Compare the rhythm and timing of Arthur Honegger’s Pacific 231 to the rhythmic prose of
  2.     Jonathan Robin’s poem The Whirling Wheels of Change
  5. 2. Compare John Coltrane’s jazz piece Impressions to Wassily Kandinsky’s painting Improvisation
  6.     28

Consider any specific technology that may be needed for using either example.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. connections cross-discipline field-tested integration language arts math multi-discipline science social studies
5thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.R.3M.EL.R.3 – Make connections between musical concepts and similar concepts in other ways of thinking (disciplines).ART.M.V.5ART.M.V.5 – All students will recognize, analyze, and describe connections among the arts; between the arts and other disciplines; between the arts and everyday life.ART.M.V.5.2ART.M.V.5.2 – Observe and identify cross-curricular connections.N/AMU:Cn11MU:Cn11 – Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding. Approx. 35 min

M.E331 ME331

Comparing and Contrasting Musical Performances

Comparing and Contrasting Musical Performances

Students will identify similarities and differences between two musical performances of the same piece. Students then will complete the compare/contrast worksheet provided in the Student Booklet.

Prior to the assessment, students should have a working vocabulary of musical concepts, including melody, harmony, rhythm, dynamics, form, timbre, interpretation, and expression. Students should have had previous experience listening to and critically analyzing musical examples. The teacher should model comparing and contrasting musical examples and analyzing musical performances in advance of the assessment.

Teachers should choose two performances of a piece that they determine to be appropriate. Teachers might use performances of a piece that they are rehearsing in class or may be rehearsing in the future.

This item has not been field-tested by Michigan teachers.
6thN/A 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.MS.R.1M.MS.R.1 – Listen to their own performances as well as those of others and critically analyze and reflect on those performances using developmentally-appropriate musical terminology.ART.M.III.6.1ART.M.III.6.1 – Identify and describe specific musical elements and events in a given aural example, using appropriate terminology. ART.M.III.6.2ART.M.III.6.2 – Identify elements of music used in music of diverse genres and styles.N/AMU:Re8MU:Re8 – Interpret intent and meaning in artistic work.Approx. 45 minutes

M.E211 ME211

Comparing and Contrasting Performances

Comparing and Contrasting Performances

Students will watch two different video recordings of choral performances of the same piece. One will be their performance, and the other will be a performance by a professional choral ensemble. While watching the videos, students will fill in a Venn diagram comparing and contrasting the two performances. Students will then analyze and reflect on the two performances in writing.

It is important that the teacher has modeled this activity in a previous class. Students will use a Venn diagram to guide an essay comparing and contrasting two performances. Students should be familiar with watching and analyzing performances while completing a Venn diagram.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
3rd, 4th, 5thN/A 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.EL.R.1M.EL.R.1 – Listen to their own performances as well as those of others and critically analyze and reflect on those performances using developmentally appropriate musical terminology.M.III.3.6M.III.3.6 – Devise student-created criteria for objective evaluation of performances and compositions.M.III.3.7M.III.3.7 – Use music vocabulary to express personal reactions for musical works and styles.M.III.4.6M.III.4.6 – Devise student-created criteria for objective evaluation of performances and compositions.M.III.4.7M.III.4.7 – Use music vocabulary and aesthetic vocabulary to describe personal response to music.M.III.5.6M.III.5.6 – Devise criteria for objective evaluation of performances and compositions.M.III.5.7M.III.5.7 – Explain, using music vocabulary, personal aesthetic response to music.N/AMU:Re8MU:Re8 – Interpret intent and meaning in artistic work.Approx. 35 min

M.E110 ME110

Comparing and Contrasting Two Pieces of Music

Comparing and Contrasting Two Pieces of Music

Students will listen to two different versions of a song or piece of music and then compare and contrast the two (provide similarities and differences). The examples provided here can be used, or teachers may wish to substitute other examples they prefer. This option is similar to what is done in the ELA curriculum with different versions of the same story.

For this assessment, you should use at least two of examples of a “hunt”-style story or song. This could also be done using the story and song of the gingerbread man compared with John Lithgow’s “Marsupial Sue Presents the Runaway Pancake.”

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
2ndN/A 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.EL.R.3M.EL.R.3 – Make connections between musical concepts and similar concepts in other ways of thinking (disciplines).M.V.2.2M.V.2.2 – Observe and identify cross-curricular connections within the 2nd Grade curriculum.N/AMU:Re8MU:Re8 – Interpret intent and meaning in artistic work.Approx. 30 min

M.E411 ME411

Compose a Consequent Phrase

Compose a Consequent Phrase

Teachers will provide an antecedent musical phrase of four measures in length. Students will then compose a new consequent phrase on demand during a single class period.

This item has not yet been field-tested.
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.HS.C.1M.HS.C.1 – Demonstrate an appropriate level of musical understanding through their interpretive decisions made when composing, improvising, or arranging music.ART.M.II.HS.4ART.M.II.HS.4 – Compose music in several different styles and demonstrate creativity in using the elements of music for expressive effect.C.3C.3 – Understand, recognize, and use the elements, organizational principles, patterns, relationships, techniques, skills, and applications of the visual, performing, or applied arts discipline.MU:Cr1MU:Cr1 – Generate and conceptualize artistic ideas and work.MU:Cr3MU:Cr3 – Refine and complete artistic work.Approx. 50 min

M.T410 MT410

Compose a Harmony Line

Compose a Harmony Line

Students will compose a harmonizing part for a four- to eight-measure excerpt from a piece of music being used in their music class. The teacher will carefully chose a four- to eight-measure excerpt for each instrument or voice from one of the songs being studied in the class.

The students will be given time in class to create a harmony line of equal length for their principal instrument. At the end of the class period, the teacher will collect their completed work. The following music class, they will perform their harmony parts while another student or the teacher performs the original melody. Audio or video recording may be used for further reference in the project.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 1, 2 Students who are in their first or second year in a single arts discipline. 2 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. It is suggested that the item be used in two or more adjacent grades, administering the item once per school year. This is especially suitable for assessments (e.g., MAEIA tasks) that require more time and effort to administer. M.HS.C.1M.HS.C.1 – Demonstrate an appropriate level of musical understanding through interpretive decisions made when composing, improvising or arranging music.ART.M.II.HS.4ART.M.II.HS.4 – Compose music in several different styles, and demonstrate creativity in using elements of music for expressive effect.C.3C.3 – Understand, recognize, and use the elements, organizational principles, patterns, relationships, techniques, skills, and applications of the visual, performing, or applied arts discipline.MU:Cr1MU:Cr1 – Generate and conceptualize artistic ideas and work. MU:Cr3MU:Cr3 – Refine and complete artistic work.Approx. two 50 min class periods

M.E407 ME407

Compose A Jingle

Compose A Jingle

This assessment will ask students to individually create a short melody or jingle solo based upon the criteria outlined in the task. Teachers should modify this model plan to match the instructional level of their students.

Students will be assessed on their ability to correctly notate a melody that is 12 or more measures in length, correctly notate in the chosen key signature, correctly notate in the chosen time signature with the correct number of beats in each measure, and correctly notate using a variety of rhythmic values.

NOTE: Phase 2, in which students notate their compositions, is optional. The elements related to Phase 2 are delineated in this booklet.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.HS.C.1M.HS.C.1 – Demonstrate an appropriate level of musical understanding through their interpretive decisions made when composing, improvising, or arranging music.ART.M.II.HS.4ART.M.II.HS.4 – Compose music in several different styles and demonstrate creativity in using the elements of music for expressive effect.C1C1 – Engage in full iterative cycles of the artistic/creative process by problem seeking, exploring, and making analytical, application, aesthetic, and design choices before completionMU:Cr2MU:Cr2 – Organize and develop artistic work and ideas.MU:Cr3MU:Cr3 – Refine and complete artistic work.Approx. three 50 min class periods

M.T412 MT412

Compose to Poetry

Compose to Poetry

Students will select two contrasting poems (contrasting mood, contrasting form/style, contrasting time period, etc.) and compose a brief (two- to three-minute) musical composition that reflects each. This could be a vocal piece that sets the poetry’s words to music or an instrumental composition that seeks to depict or represent the poems’ meanings. Students will also submit a brief written reflection (one to two pages) that explains the thinking behind their compositions.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
9th, 10th, 11th, 12th 3 Students who have already completed their first and second year courses in a single arts discipline and are now in their third year or fourth year of instruction in the same arts discipline. 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.HS.C.1M.HS.C.1 – Demonstrate an appropriate level of musical understanding through interpretive decisions made when composing, improvising or arranging music.ART.M.II.HS.4ART.M.II.HS.4 – Compose music in several different styles, demonstrate creativity in using the elements of music for expressive effect.C.1C.1 – Engage in full iterative cycles of the artistic/creative process by problem seeking, exploring, and making analytical, application, aesthetic, and design choices before completion.MU:Cr1MU:Cr1 – Generate and conceptualize artistic ideas and work.MU:Cr3MU:Cr3 – Refine and complete artistic work.MU:Cn10MU:Cn10 – Synthesize and relate knowledge and personal experience to make art.MU:Cn11MU:Cn11 – Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding. Approx. 4 weeks

M.E431 ME431

Composer Intent

Composer Intent

Students will listen to a complete musical work, movement of a musical work, or excerpt from a musical work and describe how a composer or musical artist uses elements of music to evoke an intended extramusical mood or scene or, in the case of a soundtrack, how the composer uses elements of music effectively to accompany visual images and enhance the viewing experience. Musical examples to be analyzed can include music from the repertoire of the class, program music, movie/television soundtracks (with accompanying video), popular music, and music of various cultures.

This item has not been field-tested by Michigan teachers.
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.HS.R.3M.HS.R.3 – Make connections between musical concepts and similar concepts in other ways of thinking (disciplines).ART.M.III.HS.1ART.M.III.HS.1 – Demonstrate extensive knowledge and use of the technical vocabulary of music. ART.M.III.HS.2ART.M.III.HS.2 – Analyze aural examples of a varied repertoire of music, representing diverse genres and cultures, by describing the uses of elements of music and expressive devices. ART.M.III.HS.3ART.M.III.HS.3 – Identify and explain compositional devices and techniques and their purposes, giving examples of other works that make similar uses of these devices and techniques.ART.M.III.HS.5ART.M.III.HS.5 – Make informed, critical evaluations of the quality and effectiveness of performances, compositions, arrangements, and improvisations applying specific criteria.R.1R.1 – Observe, describe, reflect, analyze, and interpret works of the visual, performing, or applied arts. MU:Re8MU:Re8 – Interpret intent and meaning in artistic work.Approx. 50 minutes

M.E210 ME210

Composing a Melody

Composing a Melody

This assessment has three parts. In Part 1, students will compose their own 16 macrobeat or 32 macrobeat melodies. Third-grade students will be asked to compose a four-bar melody, while fourth-grade students will be asked to compose an eight-bar melody. This assessment can be done using tone-bar instruments or voice in third grade and recorder or voice in fourth grade. In Part 2, students will have time to practice their melodies and perform them for the class. In Part 3, students will reflect in writing on their compositions.

Third-grade students will be asked to compose and practice their melodies using the pitches B, A, and G, while using eighth notes, quarter notes, quarter rests, half notes, half rests, whole notes, and whole rests.

Fourth-grade students will be asked to compose and practice their melodies using the pitches C, B, A, G, and F#, while using eighth notes, quarter notes, quarter rests, half notes, half rests, whole notes, and whole rests.

Students will be given the opportunity to practice their melodies at the beginning of the second class period before students perform them. These performances will be video recorded for later scoring.

Students will write their melodies on the staff paper included in the Student Booklets. If students are composing vocal melodies, they will do this composition without lyrics.

Students will reflect in writing on their compositional experiences in their Student Booklets.

This assessment will be video recorded by the teacher for scoring purposes. This assessment may be easier to administer if someone other than the teacher supervises the video recording. If this is not possible the teacher should be careful to ensure that students who are performing stay in the video frame during the recording process.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students.
3rd, 4thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.C.1M.EL.C.1 – Create a melodic line (e.g., a consequent phrase to an antecedent phrase, melodic line within a harmonic structure, extending a melodic idea) using their understanding of the elements of music to inform their creative decision-making.ART.M.II.EL.2ART.M.II.EL.2 – All students will apply skills and knowledge to create in the arts.M.11.3.2M.11.3.2 – Create through exploration, improvisation, and composition, answers that are rhythmic and melodic.M.11.4.2M.11.4.2 – Create through exploration, improvisation, and composition, answers that are rhythmic and melodic.M.11.5.2M.11.5.2 – Create through exploration, improvisation, and composition, answers in the same style to given rhythmic and melodic phrases.N/AMU:Cr3MU:Cr3 – Refine and complete artistic work.MU:Cr2MU:Cr2 – Organize and develop artistic ideas and work.Approx. 80 min

M.T303 MT303

Composing in ABA Form

Composing in ABA Form

Students will compose a 24-bar composition in ABA form, with eight measures in each section. Suggested keys for orchestra students are Concert C, G, D, F, or B-flat major; suggested keys for band students are Concert B-flat or E-flat major; suggested keys for choral students are B-flat, C, D, or E-flat major.

The composition should communicate contrasting ideas or emotions in each section, using the following parameters:
o appropriate key signature
o keys suggested above are used for orchestra, band, or choir students
o each section must start and end on the tonic
o range is restricted to one octave
o a variety of rhythm patterns are used

Students should use appropriate musical styles and expressive elements to demonstrate contrast. They must be able to perform their composition and then complete a brief reflective prompt about it. Performances will be audio recorded so that the teacher is able to determine the level of each performance when looking at and listening to the student compositions.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
8thN/A 2 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. It is suggested that the item be used in two or more adjacent grades, administering the item once per school year. This is especially suitable for assessments (e.g., MAEIA tasks) that require more time and effort to administer. M.MS.C.1M.MS.C.1 – Create a melody that has tonal and rhythmic coherenceM.II.8.4M.II.8.4 – Compose short pieces to communicate ideas and/or stories, within defined parameters and using standard notation.N/AMU:Cr2MU:Cr2 – Organize and develop artistic ideas and work.MU:Cr3MU:Cr3 – Refine and complete artistic work.Approx. 150 min

M.T201 MT201

Composition – Melody and Soundscape

Composition–Melody and Soundscape

Students will create their own melodic line using a traditional sound source (e.g., recorder, voice, piano, other classroom instrument). Students then will create a soundscape to accompany their composition, using a nontraditional sound source. This nontraditional sound source can be a found instrument, objects around the classroom, a synthesized sound from a computer program, or any other source of the teacher’s choosing. This assessment is broken into several parts:

  • Students will take notes on and practice classical conventions of notation on a notation worksheet in their Student Booklets. This part may be skipped if the teacher wishes to use nontraditional notation, no notation, or a different method of teaching notation.
  • Students will compose their melodic line. The composition must be eight measures or 32 beats long and make musical sense. This will involve staying within the key and time signature that the student designates at the beginning of their composition. Students will compose in the key of C. They will compose in the time signature of either 4/4, 3/4, or 2/4. Students will be evaluated on their notation conventions: time signature, stem direction, line and space notes notated correctly, etc., if traditional music notation is used.
  • Students will practice, perform, and discuss their melodic compositions.
  • Students will reflect on their melodies and brainstorm their soundscapes for Part 4. Students will compose soundscapes to accompany their melodies. These soundscapes will not be notated, but they will be audio or video recorded. A soundscape, in this assessment, is a background sound composition that provides a context and depth to the melodic composition. This soundscape will last for the duration of each student’s composition. It should be recorded as if the student were playing or singing the melody with the soundscape.
  • Students will reflect on their project—on the compositional process, the quality of their final product, and the reasoning for the decisions that they made in their soundscapes. Students also will be asked to reflect on the projects of their peers and what aspects overall make a good composition.
This item has not been field-tested by Michigan teachers.
5thN/A 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.EL.C.1M.EL.C.1 – Create a melodic line (e.g., a consequent phrase to an antecedent phrase, melodic line within a harmonic structure, extending a melodic idea) using their understanding of the elements of music to inform their creative decision-making.M.II.5.4M.II.5.4 – Create and arrange songs and instrumental pieces within specified guidelines. M.II.5.5M.II.5.5 – Use a variety of traditional and nontraditional sound sources and electronic media when composing, arranging, and improvising.N/AMU:Cr2MU:Cr2 – Organize and develop artistic ideas and work. MU:Cr3MU:Cr3 – Refine and complete artistic work.Approximately 240-270 minutes

M.T415 MT415

Concert/ Album Review for TV

Concert/Album Review for TV

Students will watch or listen to a concert recording or an album and present a review in the form of a television report. Most of the work will be done on the student’s own time.

The students will each select a recording of an appropriate performance. After watching or listening to the entire performance or album, students will choose three selections from the larger recording to analyze, using music vocabulary appropriate to the performance medium (band, choir, orchestra, pop, jazz, rock, for example).

The final submitted product will be a five-minute video, uploaded online, in which students deliver their critique directly to the camera as if they were on TV.

This item has not yet been field-tested.
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.HS.R.1M.HS.R.1 – Listen to their own performances, as well as those of others, and critically analyze and reflect on those performances using developmentally appropriate musical terminology.ART.M.III.HS.1ART.M.III.HS.1 – Demonstrate extensive knowledge and use of the technical vocabulary of music.P.2P.2 – Demonstrate skillful use of appropriate vocabularies, tools, instruments, and technologies of the visual, performing, or applied arts discipline.MU:Re9MU:Re9 – Apply criteria to evaluate artistic work.Approx. 2 weeks

M.T330 MT330

Create a Context-Appropriate Playlist

Create a Context-Appropriate Playlist

In this assessment, students will create a playlist of music that they would use in a specific setting. The assessment has three parts. In Part 1, the teacher will provide an example and guide brainstorming. Students will identify a setting for which a playlist would be appropriate. Examples will be provided, but students should be allowed to choose their own settings. Alternatively, the teacher could assign settings to students. In Part 2, students will create an appropriate playlist for their chosen setting. In Part 3, students will justify their musical choices using appropriate music terminology.

This item has not been field-tested by Michigan teachers.
6th, 7th, 8thN/A 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.MS.R.2M.MS.R.2 – Critically analyze a musical work and reflect on its cultural context using developmentally appropriate terminology.ART.M.IV.MS.2ART.M.IV.MS.2 – Classify by genre and style (and, if applicable, by historical period, composer, and title) a varied body of exemplary musical works and explain the characteristics that cause each work to be considered exemplary. ART.M.IV.6.2ART.M.IV.6.2 – Classify by genre a varied body of exemplary musical works.ART.M.IV.7.2ART.M.IV.7.2 – Classify by genre and style (and, if applicable, by historical period, composer, and title) a varied body of exemplary musical works.ART.M.IV.8.2ART.M.IV.8.2 – Classify by genre and style (and, if applicable, by historical period, composer, and title) a varied body of exemplary musical works and explain the characteristics that cause each work to be considered exemplary. N/AMU:Re7MU:Re7 – Perceive and analyze artistic work. Approx. 105 minutes

M.E107 ME107

Create a Different Melodic Pattern

Create a Different Melodic Pattern

During the song “Six Little Ducks,” students will create a melodic phrase in response to an antecedent phrase that was performed by the teacher. Students will reflect on their performance by giving a thumbs up, thumbs down, or thumbs sideways, and first-grade students will also reflect in one sentence on why they rated their performance thumbs up, thumbs down, or thumbs sideways. The performances of students will be video recorded. Their reflections will also be video recorded.

This assessment may be more successful if someone other than the teacher supervises the video recording of the performances. If this is not possible, the teacher should be careful to ensure that students who are performing stay in the video frame during the recording process.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
Kindergarten, 1stN/A 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.EL.C.1M.EL.C.1 – Create a melodic line (e.g., a consequent phrase to an antecedent phrase, melodic line within a harmonic structure, or extending a melodic idea) using their understanding of the elements of music to inform their creative decision-making.M.II.K.2M.II.K.2 – Create, through exploration, improvisation, and composition, an answer to a melodic question.N/AMU:Cr1MU:Cr1 – Generate and conceptualize artistic ideas and work.MU:Cr3MU:Cr3 – Refine and complete artistic work.Approx. 20-30 min

M.T203 MT203

Create and Notate a Multi-layered Composition

Create and Notate a Multi-layered Composition

For this assessment, students will work in small groups of four. The assessment has four parts:

1. Students will be given an eight-measure melodic line to extend for another eight measures, working in small groups. It is suggested that a major pentatonic melodic line is used for third grade, a minor pentatonic melodic line is used for fourth grade, and a melodic line from various tonalities of appropriate difficulty is used for fifth grade.

2. The second part of the task requires students to compose a simple harmonic line that complements the melodic line. The teacher will present several options for students on how to do this, but the students must notate their harmonic line while working in a small group.

3. Students will create and notate a rhythmic ostinato with movement/body percussion for the third part of the assessment.

4. The fourth portion of the assessment requires students to perform their melodic, harmonic, and ostinato parts for the class. Students will then reflect on their work during this task and their performance as a small group.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
3rd, 4th, 5thN/A 2 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. It is suggested that the item be used in two or more adjacent grades, administering the item once per school year. This is especially suitable for assessments (e.g., MAEIA tasks) that require more time and effort to administer. C.M.EL.C.1C.M.EL.C.1 – Create a melodic line (e.g., a consequent phrase to an antecedent phrase, melodic line within a harmonic structure, extending a melodic idea) using his or her understanding of the elements of music to inform his or her creative decision making.ART.M.II.3.6ART.M.II.3.6 – Add vocal, instrumental, and physical responses to a selection presented in third grade.ART.M.II.4.6ART.M.II.4.6 – Add vocal, instrumental, and physical responses to a selection presented in fourth grade.ART.M.II.5.6ART.M.II.5.6 – Create and arrange music to accompany readings, dramatizations, or visual media.N/AMU:Cr3MU:Cr3 – Refine and complete artistic work.MU:Cr2MU:Cr2 – Organize and develop artistic ideas and work.Approx. 110 min

M.T102 MT102

Create and Sing DO-MI-SOL Patterns

Create and Sing DO-MI-SOL Patterns

After the songs (“Great Big House” and “Love Somebody”) have been learned, students will create tonal patterns on a neutral syllable between repetitions of a song in the first two class periods. In the second class period, the class will echo the patterns. On days 3 and 4, students will individually create different DO-MI-SOL patterns and insert the patterns into a song. Both parts will be video recorded. All singing should be unaccompanied.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
2ndN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.C.1M.EL.C.1 – Create a melodic line (e.g., a consequent phrase to an antecedent phrase, melodic line within a harmonic structure, extending a melodic idea) using their understanding of the elements of music to inform their creative decision making.M.II.2.5M.II.2.5 – Use a variety of traditional and non-traditional sound sources and electronic media when composing arranging, and improvising appropriate to second grade.N/AMU:Pr6MU:Pr6 – Convey meaning through the presentation of artistic work. MU:Cr1MU:Cr1 – Generate and conceptualize artistic ideas and work.Approx. 75-120 min

M.E108 ME108

Create Your Own Ending to a Song

Create Your Own Ending to a Song

Students will create rhythmic and melodic variations for the song “I’ve Got a Dog” by creating new words. Students should have learned the song in a prior class period.

During this assessment, each student will create his or her own new ending phrase. Students will adjust or manipulate the words and/or melody to fit inside the musical phrase based on the beats available.

Students also will reflect verbally on the quality of their performances immediately upon completion. The performance and reflection of each student will be video–recorded and later scored using the Teacher Scoring Rubric included.

This item contains only a Teacher Booklet.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
2ndN/A 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.EL.C.1M.EL.C.1 – Create a melodic line (e.g., a consequent phrase to an antecedent phrase, melodic line within a harmonic structure, or extending a melodic idea) using their understanding of the elements of music to inform their creative decision-making.M.II.2.2M.II.2.2 – Create through exploration, improvisation, and composition answers that are rhythmic and melodic. M.II.2.3M.II.2.3 – Create through exploration, improvisation and composition, rhythmic variations for a familiar song.M.II.EL.2M.II.EL.2 – Create through exploration, improvisation, and composition, answers in the same style to given rhythmic and melodic phrases. N/AMU:Cr1MU:Cr1 – Generate and conceptualize artistic ideas and work.MU:Cr3MU:Cr3 – Refine and complete artistic work.Approx. 30-60 min

M.T331 MT331

Create Your Own STOMP Performance

Create Your Own STOMP Performance

Students will be placed into groups of four or five and will work together to create their own STOMP-inspired group percussion performances. The teacher should assign groups prior to the assessment in order to ensure that each group has students with varying musical backgrounds and experience.

In Part 1, students will assemble in their groups, gather objects to be used as instruments, and begin to create their performance. In Part 2, students will continue to create and rehearse their performances in their groups. In Part 3, students will perform their creations in class. Students will complete a reflection worksheet in which they reflect on their experience of creating a group percussion performance and preparing it for performance.

This item has not been field-tested by Michigan teachers.
6th, 7th, 8thN/A 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.MS.C.1M.MS.C.1 – Create a melody that has tonal and rhythmic coherence.ART.M.II.6.4ART.M.II.6.4 – Compose short pieces to communicate ideas and/or stories. ART.M.II.7.4ART.M.II.7.4 – Compose short pieces to communicate ideas and/or stories, within defined parameters.ART.M.II.8.4ART.M.II.8.4 – Compose short pieces to communicate ideas and/or stories, within defined parameters and using standard notation.ART.M.II.6.6ART.M.II.6.6 – Use a variety of traditional and nontraditional sound sources when composing, arranging, and improvising.ART.M.II.7.6ART.M.II.7.6 – Use a variety of traditional and nontraditional sound sources when composing, arranging, and improvising.N/AMU:Cr2MU:Cr2 – Organize and develop artistic ideas and work. MU:Cr3MU:Cr3 – Refine and complete artistic work.Approx. 150 minutes

M.E130 ME130

Creating a Melodic Phrase

Creating a Melodic Phrase

This assessment has two parts. In Part 1, each student will individually create a melodic consequent phrase in response to an antecedent phrase that is performed by the teacher for the song “Joshua Fit the Battle of Jericho.” In Part 2, students will individually sing their consequent phrases and then immediately reflect on their individual performances.

The performances and self-reflections should be video recorded for later teacher scoring using the Teacher Scoring Rubric and Student Self-Evaluation Rubric found on pages 6 and 8 of the Teacher Booklet. For this assessment, no Student Booklet is needed.

This item has not been field-tested by Michigan teachers.
Kindergarten, 1st, 2ndN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.C.1M.EL.C.1 – Create a melodic line (e.g., a consequent phrase to an antecedent phrase, melodic line within a harmonic structure, extending a melodic idea) using their understanding of the elements of music to inform their creative decision-making.M.EL.P.1M.EL.P.1 – Sing and play alone and with others a diverse repertoire of songs in both one and two parts with expression and accuracy.M.I.K.1M.I.K.1 – Demonstrate uses of the voice, proper instrumental technique, and steady beat.M.I.1.3M.I.1.3 – Sing and play expressively with phrasing and interpretation.M.I.2.3M.I.2.3 – Sing and play expressively with phrasing and appropriate dynamics.M.II.EL.2M.II.EL.2 – Create, through exploration, improvisation, and composition, answers in the same style to given rhythmic and melodic phrases.M.II.K.2M.II.K.2 – Create, through exploration, improvisation, and composition, an answer to a melodic question.M.II.2.2M.II.2.2 – Create, through exploration, improvisation, and composition, answers that are rhythmic and melodic.N/AMU:Cr1MU:Cr1 – Generate and conceptualize artistic ideas and work.MU:Cr3MU:Cr3 – Refine and complete artistic work.MU:Pr5MU:Pr5 – Develop and refine artistic technique and work for presentation. 20-30 minutes

M.E304 ME304

Critical Listening and Assessing Group Performance Skills in the Music Classroom

Critical Listening and Assessing Group Performance Skills in the Music Classroom

This assessment has five parts. First, students will review (play or sing) a song or portion of a song that they are presently working on in class. Second, the teacher will record the students’ performance as a group. Third, the students will listen to the recording and then score their performance using a rubric that highlights appropriate musical expression and technical accuracy. Fourth, students will explain their ratings on the Student Rating and Rationale Worksheet, citing specific examples that support the scores they selected. Fifth, students will identify three performance praises and three performance suggestions based on their evaluations. The teacher will score the students work using the Teacher Scoring Rubric.

It is assumed that students have a working understanding of appropriate music terminology encompassing technical and expressive elements in performance.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
6th, 7th, 8thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.MS.R.1M.MS.R.1 – Listen to their own performances, as well as those of others, and critically analyze and reflect on those performances using developmentally appropriate musical terminology.ART.M.III.6.1ART.M.III.6.1 – Identify and describe specific musical elements and events in a given aural example, using appropriate terminology. ART.M.III.7.1ART.M.III.7.1 – Identify and describe specific musical elements and events in a given aural example, using appropriate terminology. ART.M.III.8.1ART.M.III.8.1 – Identify and describe specific musical elements and events in a given aural example, using appropriate terminology.ART.M.III.6.5ART.M.III.6.5 – Evaluate the quality and effectiveness of one’s own and others’ musical performances and creations by applying specific and appropriate criteria, and offering constructive suggestions for improvement. ART.M.III.7.5ART.M.III.7.5 – Evaluate the quality and effectiveness of one’s own and others’ musical performances and creations by applying specific and appropriate criteria, and offering constructive suggestions for improvement.ART.M.III.8.5ART.M.III.8.5 – Evaluate the quality and effectiveness of one’s own and others’ musical performances and creations by applying specific and appropriate criteria, and offering constructive suggestions for improvement.N/AMU:Cr3MU:Cr3 – Refine and complete artistic work.Approx. 50 min

M.E203 ME203

Demonstrate Macro Beats and Micro Beats

Demonstrate Macro Beats and Micro Beats

This assessment has two parts. During Part 1, students will complete one assessment question to assess understanding of macro beat and micro beat. During Part 2 of the assessment, students will demonstrate the macro beat and the micro beat in at least two different meters while singing familiar songs in small groups.

This assessment will be video recorded by the teacher for scoring purposes. This assessment may be easier to administer if someone other than the teacher supervises the video recording. If this is not possible, the teacher should be careful to ensure that students who are performing stay in the video frame during the recording process.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
3rdN/A 2 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. It is suggested that the item be used in two or more adjacent grades, administering the item once per school year. This is especially suitable for assessments (e.g., MAEIA tasks) that require more time and effort to administer. M.EL.P.2M.EL.P.2 – Students can perform multiple levels of beat in several meters.M.I.3.1M.I.3.1 – Use developmentally appropriate singing voice, sing melodies accurately, and physically demonstrate macro and micro beat.N/AMU:Pr4MU:Pr4 – Select, analyze, and interpret artistic work for presentation. Approx. 50 min

M.E404 ME404

Different Interpretations

Different Interpretations

Students will take a teacher-selected section of music currently under study in an ensemble (or composed song in a songwriting course, etc.) and perform it with two distinctly different interpretations. Level 1 students must perform a section that is 10–20 seconds in length, Level 2 students must perform a section that is 30–40 seconds in length, and Level 3 students must perform a section that is 50–60 seconds in length.

The teacher should take care to avoid choosing sections of music with extensive periods of rests. The student will individually record two interpretations and will be assessed on accuracy and communication of expressive choices. Each student should record his or her excerpt in a single class period, but the total assessment (for all students) may occur over a period of up to two weeks.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.HS.P.1M.HS.P.1 – Perform a diverse repertoire of music at an appropriate level of difficulty with expression and technical accuracy.ART.M.I.HS.1ART.M.I.HS.1 – Sing and play with expression and technical accuracy a large and varied repertoire of vocal and instrumental literature with a moderate level of difficulty, including selections performed from memory.P.1P.1 – Apply the techniques, elements, principles, intellectual methods, concepts, and functions of the visual, performing, or applied arts discipline to communicate ideas, emotions, experiences; address opportunities to improve daily life; and solve problems with insight, reason, and competence.MU:Cr1MU:Cr1 – Generate and conceptualize artistic ideas and work.MU:Pr6MU:Pr6 – Convey meaning through the presentation of artistic work.Approx. 2 weeks

M.E112 ME112

Drawing Melodic Shapes

Drawing Melodic Shapes

Students will listen to three songs performed by the teacher and draw the shapes of the melodic lines of those songs as they listen.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
Kindergarten, 1st, 2ndN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.P.1M.EL.P.1 – Sing and play alone and with others a diverse repertoire of songs in both one and two parts with expression and accuracy.ART.M.I.2.1ART.M.I.2.1 – Use developmentally appropriate singing voice and physically show melodic contour.N/AMU:Pr4MU:Pr4 – Select, analyze, and interpret artistic work for presentation. MU:Re7MU:Re7 – Perceive and analyze artistic work.Approx. 15 min

M.T422 MT422

Duets and Trios

Duets and Trios

Students will be divided into duets and trios. The teacher may assign the students to groups or allow them to select their own groups. After students receive directions, they will be given their piece of music to rehearse for the next four weeks. The music (chosen and prepared by the teacher) should: (1) be unfamiliar to the students, (2) be two to three minutes in length, (3) include at least one tempo change, and (4) be appropriate for a third- or fourth-year (Level 3) student.

Students will also keep a log of their practice schedule and a weekly journal of the their progress in their Student Booklets. The teacher will review the logs and journals on a weekly basis.

At the end of the four weeks, each duet and trio will record his or her performance of the assigned piece. All students will also complete a written reflection of the experience based on their journal and practice log. This reflective piece will not be scored but is part of the requirement for this assessment.

The teacher may wish to arrange with a colleague, parent, or senior student to set up the recording space and monitor the recording process. This includes logging in the students, providing the directions, operating the recording equipment, and logging the recording timer information.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 2 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. It is suggested that the item be used in two or more adjacent grades, administering the item once per school year. This is especially suitable for assessments (e.g., MAEIA tasks) that require more time and effort to administer. M.HS.P.1M.HS.P.1 – Perform a diverse repertoire of music at an appropriate level of difficulty with expression and technical accuracy.M.1.HS.3M.1.HS.3 – Perform an appropriate part in large and small ensembles, demonstrating well-developed ensemble skills.P.1P.1 – Apply the techniques, elements, principles, intellectual methods, concepts, and functions of the visual, performing, or applied arts discipline to communicate ideas, emotions, and experiences; address opportunities to improve daily life; and solve problems with insight, reason, and competence.P.2P.2 – Demonstrate skillful use of appropriate vocabularies, tools, instruments, and technologies of the visual, performing, or applied arts discipline.MU:Pr5MU:Pr5 – Develop and refine artistic technique and work for presentation.MU:Pr6MU:Pr6 – Convey meaning through the presentation of artistic work. Approx. three 50-min class periods and four weeks outside of class

M.T332 MT332

Electronic Composition Project

Electronic Composition Project

Students will create a composition as directed by the teacher in GarageBand (Mac), Mixcraft (PC), Soundation (cloud-based for both platforms), or similar composition software. Then, students will use teacher-provided (sixth grade), collaboratively developed (seventh grade), or student-developed (eighth grade) criteria to refine their compositions and determine when compositions are ready for public performance and teacher assessment.

This item has not been field-tested by Michigan teachers. connections cross-discipline integration multi-discipline technology
6th, 7th, 8thN/A 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.MS.P.1M.MS.P.1 – Perform a diverse repertoire of music at an appropriate level of difficulty with expression and technical accuracy.ART.M.I.MS.4ART.M.I.MS.4 – Use technology in a variety of ways in musical performance. ART.M.I.6.4ART.M.I.6.4 – Use technology in a variety of ways in musical performance.ART.M.I.7.4ART.M.I.7.4 – Use technology in a variety of ways in musical performance.ART.M.I.8.4ART.M.I.8.4 – Use technology in a variety of ways in musical performance. N/AMU:Pr5MU:Pr5 – Develop and refine artistic technique and work for presentation. MU:Cn10MU:Cn10 – Synthesize and relate knowledge and personal experiences to make art.Approx. 150 minutes

M.E232 ME232

Evaluating a Performance Using a Rubric

Evaluating a Performance Using a Rubric

Students will evaluate a performance using the criteria provided. Students will be evaluated based on the depth and accuracy of their evaluation and reflection.

It is suggested that the performance that will be evaluated by the students be a performance of the students themselves or of another school group. This will allow for the most thorough and applicable evaluation.

This item has not been field-tested by Michigan teachers.
3rd, 4th, 5thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.R.1M.EL.R.1 – Listen to their own performances as well as those of others and critically analyze and reflect on those performances using developmentally appropriate musical terminology.ART.M.III.EL.4ART.M.III.EL.4 – Use music vocabulary to analyze, describe, and evaluate music of various styles. ART.M.III.3.4ART.M.III.3.4 – With teacher guidance, use music vocabulary to analyze, describe, and evaluate music of various styles.ART.M.III.4.4ART.M.III.4.4 – In small groups, use music vocabulary to analyze, describe, and evaluate music.ART.M.III.5.4ART.M.III.5.4 – Use music vocabulary to analyze, describe, and evaluate music.N/AM:Re9M:Re9 – Apply criteria to evaluate artistic work. Approx. 30 minutes

M.E109 ME109

Following the Melodic Contour through Movement

Following the Melodic Contour through Movement

Students will create movements to match the melody of a major scale–based song (the teacher may substitute other song types as long as they are age appropriate and students will be able to follow and show the shape of the melody with their hands).

Movements should be restricted to hands, since students will have their eyes closed. Alternatively, students could draw a picture of the melody (writing materials would be needed in addition to the materials listed below).

The performance and reflection of each student will be video recorded and scored later using the Teacher Scoring Rubric.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students.
Kindergarten, 1stN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.R.1M.EL.R.1 – Listen to their own performances as well as those of others and critically analyze and reflect on those performances using developmentally appropriate musical terminology.M.III.EL.3M.III.EL.3 – Describe music of various styles representing diverse cultures by moving, writing, drawing, or through other appropriate responses.M.III.K.3M.III.K.3 – Describe the music performed and presented in kindergarten by moving, drawing, or through other appropriate responses.M.III.1.3M.III.1.3 – Describe the music performed and presented in 1st grade by moving, drawing, or through other appropriate responses.N/AMU:Pr4MU:Pr4 – Select, analyze, and interpret artistic work for presentation. MU:Re7MU:Re7 – Perceive and analyze artistic work.Approx. 30 min

M.T420 MT420

Group Soundtrack

Group Soundtrack

Students will collaboratively compose and perform an ostinato-based piece to accompany a selected video clip. All students will watch a selected “wordless” video clip (i.e., a clip with the soundtrack muted) that is about two minutes in length.

Students will form groups composed of three to five musicians and compose an ostinato-based musical soundtrack between one minute and thirty seconds and two minutes thirty seconds in length that is meant to accompany the video clip. At the completion of the project, the groups will each perform their composition as an accompaniment to the video clip (with the original audio muted). Additionally, each student will keep a journal of the progress and process of his/her group, use staff paper to experiment with different ideas, and, upon completion, write a reflection based on the experience.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. connections cross-discipline field-tested integration multi-discipline random random2 technology
9th, 10th, 11th, 12th 1 Students who fulfill their one credit visual, performing, or applied arts (VPAA) high school graduation requirement only, or who are in their first year of a multi-year VPAA program 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.HS.C.1M.HS.C.1 – Demonstrate an appropriate level of musical understanding through interpretive decisions made when composing, improvising or arranging music.ART.M.II.HS.7ART.M.II.HS.7 – Create or adapt music to integrate with other media.C.2C.2 – Develop an idea, question, or problem that is guided by the personal, historical, contemporary, cultural, environmental, and/or economic contexts of the visual, performing, or applied arts discipline.MU:CR1MU:CR1 – Generate and conceptualize artistic ideas and work.MU:Cr3MU:Cr3 – Refine and complete artistic work.Approx. four 50 min class periods

M.E106 ME106

Identifying Key Features of Familiar Musical Genres

Identifying Key Features of Familiar Musical Genres

Students will be able to identify and talk about common qualities of lullabies, reels, and marches using both musical terms and the in-class teacher performance of pieces within each genre. Students will answer “yes” or “no” to questions about music elements of the teacher performances.

This assessment has no rubric.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
1st, 2ndN/A 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.EL.R.2M.EL.R.2 – Critically analyze a musical work and reflect on its cultural context using developmentally appropriate terminology.ART.M.IV.EL.1ART.M.IV.EL.1 – Describe distinguishing characteristics of representative music genres and styles from various historic periods and cultures. ART.M.IV.1.1ART.M.IV.1.1 – Identify and describe distinguishing characteristics of several different styles presented in first grade.ART.M.IV.2.1ART.M.IV.2.1 – Identify and describe distinguishing characteristics of several different styles presented in second grade.N/AMU:Re8MU:Re8 – Interpret intent and meaning in artistic work.MU:Cn10MU:Cn10 – Synthesize and relate knowledge and personal experiences to make art. Approx. 60 min

M.E306 ME306

Improvise Basic Harmonic Accompaniments

Improvise Basic Harmonic Accompaniments

Working in small groups, students will be assigned a three-chord folk song (I, IV, V) that is approximately 8-16 measures long. The teacher may use the example folk song, “Ally Bally,” or an appropriate song of his or her choosing. This assessment has three parts to it. Each part is summarized below:

Part 1–Sing a Melody with Chord Roots—Students will figure out the chord roots and changes by singing. Some of the students in the group will sing the melody while the remaining group members will determine and sing the chord roots using the solfège syllables “do” (tonic), “fa” (subdominant), and “sol” (dominant).

Once students have determined the correct chord roots and changes, each student will write the tonic, subdominant, and dominant chord changes in his or her Student Booklet. Students will do this by writing beneath the song lyrics “do” to indicate tonic chords, “fa” to indicate subdominant chords, and “sol” to indicate dominant chords. This will be used as a framework for their accompaniment improvisation. Students should practice singing the folk song with the chord root accompaniment, taking turns singing both the melody and the chord roots.

Part 2–Improvise an Accompaniment—When students can confidently sing both the melody and the chord roots, they are ready to move on to the next part of this assessment. Students will use the work from Part 1 as a framework to improvise variations of their accompaniment. Students can either vary the rhythm or replace chord roots with other chord members.

Part 3–Recording—Individual students will take turns improvising an accompaniment while the other group members sing the melody. Student performances of the improvised accompaniments will be audio recorded and scored using the Teacher Scoring Rubric.

This item has not been field-tested by Michigan teachers.
8thN/A 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.MS.P.1M.MS.P.1 – Perform a diverse repertoire of music at an appropriate level of difficulty with expression and technical accuracyM.MS.C.1M.MS.C.1 – Create a melody that has tonal and rhythmic coherence.ART.M.I.8.2ART.M.I.8.2 – Sing an ostinato.ART.M.II.8.1ART.M.II.8.1 – Improvise basic harmonic accompaniments.N/AMU:Cr1MU:Cr1 – Generate and conceptualize artistic ideas and work.MU:Cr2MU:Cr2 – Organize and develop artistic ideas and work.Approx. 50 min

M.E301 ME301

Improvise Tonic Accompaniments

Improvise Tonic Accompaniments

In this assessment, students will improvise tonic accompaniments to a melody that is sung.  Students will use criteria for self-evaluation and improvement, then apply these criteria, and, finally, reflect on the experience.

The teacher may choose any song he or she deems appropriate. However, the song must work with a tonic ostinato/drone. This assessment uses the song “Hey, Ho, Nobody Home” as an example. Other possible songs are on page 7 of the Teacher Booklet, although almost any round or pentatonic song of the teacher’s choice would work.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
6thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.MS.R.1M.MS.R.1 – Listen to their own performances as well as those of others and critically analyze and reflect on those performances using developmentally appropriate musical terminology.ART.M.II.6.1ART.M.II.6.1 – Improvise tonic accompaniments.ART.M.III.6.4ART.M.III.6.4 – Develop criteria based on musical knowledge and personal reflections to evaluate the quality and effectiveness of music performances. Apply these criteria as self-evaluation when performing and creating.ART.M.III.6.5ART.M.III.6.5 – Evaluate the quality and effectiveness of one’s own and others’ musical performances and creations by applying specific and appropriate criteria, and offering constructive suggestions for improvement.N/AMU:Re9MU:Re9 - Apply criteria to evaluate artistic workApprox. 50 min

M.E330 ME330

Improvise Your Own Ending

Improvise Your Own Ending

Students will improvise two-measure melodic endings to teacher-selected etudes, method book exercises, and/or repertoire melodies that are two or six measures in length to create a phrase of either four or eight measures. Improvised endings must be consistent in style, meter, and tonality with the composed materials. Sixth-grade students will improvise without an accompaniment. Seventh-grade students will improvise over rhythmic accompaniments. Eighth-grade students will have the option of improvising over rhythmic accompaniments. The provided melodies should vary according to the different competencies expected of students in grades six, seven, and eight.

This assessment requires the assistance of a musically qualified proctor, such as a parent, a music colleague at the school, a student teacher, or another music student, to administer the assessment in the assessment space.

This item has not been field-tested by Michigan teachers.
6th, 7th, 8thN/A 2 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. It is suggested that the item be used in two or more adjacent grades, administering the item once per school year. This is especially suitable for assessments (e.g., MAEIA tasks) that require more time and effort to administer. M.MS.C.1M.MS.C.1 – Create a melody that has tonal and rhythmic coherence.ART.M.II.MS.3ART.M.II.MS.3 – Improvise short melodies, unaccompanied and over given rhythmic accompaniments, each in a consistent style, meter, and tonality. ART.M.II.6.3ART.M.II.6.3 – Improvise short melodies consistent in style, meter, and tonality.ART.M.II.7.3ART.M.II.7.3 – Improvise short melodies over given rhythmic accompaniments, each in a consistent style, meter, and tonality.ART.M.II.8.3ART.M.II.8.3 – Improvise short melodies, unaccompanied and over given rhythmic accompaniments, each in a consistent style, meter, and tonality.N/AMU:Cr3MU:Cr3 – Refine and complete artistic work. Approx. 50 minutes

M.E205 ME205

Improvise—Embellishments to a Familiar Song

Improvise—Embellishments to a Familiar Song

Students, through exploration and improvisation, will play or sing embellishments on a familiar melody. This assessment can be done using instruments or voices. The teacher will make this decision based on the abilities and previous experiences of the class. Students need to know the definitions of the words “embellishment” and “improvisation” in order to be successful in this assessment.

Each student will be asked to improvise variations on the second phrase of a short melody (e.g., a four-measure phrase followed by another four-measure phrase for a complete song). Students will be given the opportunity to practice this song as well as experiment with possible embellishments at the beginning of the class period before the start of the assessment.

Possible song choices include: “Hot Cross Buns,” “Gently Sleep,” “Merrily We Roll Along,” “Frog in the Meadow,” “Pierrot” or any similar song that is currently being studied in the music classroom.

Students can be seated in a circle for this assessment. The piece they are singing or playing should be memorized; rote instruction is advised. If choosing to sing, use a neutral syllable.

The students will play or sing the complete song once as a class with the help of the teacher. The teacher will model embellishments twice at the beginning of the assessment before asking individual students to play or sing. Then the class will play or sing the first phrase while individuals improvise embellishments on the second phrase. This will continue until each student has improvised individually.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
4th, 5thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.C.1M.EL.C.1 – Create a melodic line (e.g., a consequent phrase to an antecedent phrase, melodic line within a harmonic structure, extending a melodic idea) using their understanding of the elements of music to inform their creative decision-making.ART.M.II.4.3ART.M.II.4.3 – Create through exploration, improvisation and composition, melodic embellishments on familiar melodies.ART.M.II.5.3ART.M.II.5.3 – Create, through exploration, improvisation, and composition, simple rhythmic variations, and simple melodic embellishments on familiar melodies.N/AMU:Cr1MU:Cr1 – Generate and conceptualize artistic ideas and work.Approx. 35 min

M.E102 ME102

Improvising a Consequent Phrase

Improvising a Consequent Phrase

This assessment has two parts. For Part 1, in between repetitions of the song “High, High Hill,” students will improvise a consequent phrase in response to an antecedent phrase that was performed by the teacher. For Part 2, they will reflect on their performances by circling a smiley face that reflects how well they felt that they did on their improvisation performance. The performance of each student will be video–recorded for teacher scoring later using the Teacher Scoring Rubric found on page 8 of this Teacher Booklet. For this assessment, no Student Booklet is needed.

This assessment may be easier to implement if someone other than the teacher supervises the video recording of the performances. If this is not possible, the teacher should be careful to ensure that students who are performing stay in the video frame during the recording process.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
Kindergarten, 1st, 2ndN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.C.1M.EL.C.1 – Create a melodic line (e.g., a consequent phrase to an antecedent phrase, melodic line within a harmonic structure, extending a melodic idea) using their understanding of the elements of music to inform their creative decision-making.M.II.EL.2M.II.EL.2 – Create, through exploration, improvisation, and composition, answers in the same style to given rhythmic and melodic phrases.M.II.K.2M.II.K.2 – Create, through exploration, improvisation and composition, an answer to a melodic question.M.II.1.2M.II.1.2 – Create, through exploration, improvisation, and composition, an answer to a rhythmic question.M.II.2.2M.II.2.2 – Create, through exploration, improvisation, and composition, answers that are rhythmic and melodic.N/AMU:Cr1MU:Cr1 – Generate and conceptualize artistic ideas and work.Approx. 20 min

M.E307 ME307

Improvising a Melody

Improvising a Melody

During this assessment, students will use their instruments or voices to improvise a melody over a provided accompaniment. Student improvisations will be scored using a Teacher Scoring Rubric.

This assessment has two parts. In Part 1, students will improvise using one note. In Part 2, students will improvise using the blues scale.

This item has not yet been field-tested.
6th, 7th, 8thN/A 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.MS.C.1M.MS.C.1 – Create a melody that has tonal and rhythmic coherence.ART.M.II.MS.3ART.M.II.MS.3 – Improvise short melodies, unaccompanied and over given rhythmic accompaniments, each in a consistent style, meter, and tonality.ART.M.II.6.3ART.M.II.6.3 – Improvise short melodies consistent in style, meter, and tonality.ART.M.II.7.3ART.M.II.7.3 – Improvise short melodies over given rhythmic accompaniments, each in a consistent style, meter, and tonality.ART.M.II.8.3ART.M.II.8.3 – Improvise short melodies, unaccompanied and over given rhythmic accompaniments, each in a consistent style, meter, and tonality.N/AMU:Cr3MU:Cr3 – Refine and complete artistic work.Approx. 50 min

M.E305 ME305

Improvising Accompaniments

Improvising Accompaniments

Working in small groups, students will be assigned a two-chord folk song that uses only tonic and dominant chords and is approximately 8 to 16 measures long. The teacher may select from the list of suggested songs on page 7 or may use an appropriate song of his or her choosing.

Part 1–Sing a Melody with Chord Roots—Students will determine the chord roots and changes by singing. Some of the students in the group will sing the melody, while the remaining group members will determine and sing the chord roots using the solfège syllables “do” (tonic) and “sol” (dominant).
Once students have determined the correct chord roots and changes, each student will write the tonic and dominant chord changes in his or her Student Booklet under the lyrics of the song, writing “do” to indicate tonic chords and “sol” to indicate dominant chords. This will be used as a framework for the accompaniment improvisation in Part 2. Students should practice singing their folk song with the chord root accompaniment, taking turns singing both the melody and the chord roots.

Part 2–Improvise an Accompaniment—When students can confidently sing both the melody and the chord roots, they are ready to move on to the next part of this assessment. Students will use the work from Part 1 as a framework to improvise variations of their accompaniment. Students might vary the rhythm or replace chord roots with other chord members.

Part 3–Recording—When students have completed Part 2, individual students will take turns improvising an accompaniment while the other group members sing the melody. Student performances of the improvised accompaniments will be audio recorded and scored according to the Teacher Scoring Rubric.

This item has not been field-tested by Michigan teachers.
7thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.MS.C.1M.MS.C.1 – Create a melody that has tonal and rhythmic coherence.M.II.7.1M.II.7.1 – Improvise tonic and dominant accompaniments.N/AMU:Cr1MU:Cr1 – Generate and conceptualize artistic ideas and work.MU:Cr2MU:Cr2 – Organize and develop artistic ideas and work.Approx. 50 min

M.E201 ME201

Instrumental Performance

Instrumental Performance

Students will perform a piece of music that is approximately eight measures in length on either an Orff instrument or a recorder. This piece of music will be an accompaniment part to a vocal piece. Students should have learned both the vocal part and the instrumental part(s) in previous lessons. Though examples of sample pieces are provided in the Teacher Booklet, the piece used is up to the teacher.

Students will perform the instrumental part in groups of three to six (the size of the groups will vary based on the number of students and the materials available in the classroom). The rest of the class will be singing the song while the instrumentalists accompany them. The students playing the instruments the first time through will return to the rest of the class for the second time through, while a new group of students moves to the instruments. Repeat this procedure until each student has played the instrumental part.

There are three levels of difficulty for this performance event. Choose the one that most closely resembles the level of repertoire of your students as well as your expectations for your specific students. The three levels are as follows:
Level 1 (suggested for Grade 3)—Students play an instrument part that is the same as the part being sung by the class. They are not asked to play a contrasting part.
o Level 2 (suggested for Grade 4)—Students play a contrasting instrument part different from the part being sung by the class.
o Level 3 (suggested for Grade 5)—Each student is responsible for playing an independent instrument part different from other instrumental parts and different from the part being sung by the class.

These performances will be video-recorded as artifacts to be evaluated using the Teacher Scoring Rubric on page 4 of the Teacher Booklet. This assessment may be more successful if someone other than the teacher supervises the video recording of the performances. If this is not possible, the teacher should be careful to ensure that students who are performing stay in the video frame during the recording process.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
3rd, 4th, 5thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.P.1M.EL.P.1 – Sing and play alone and with others a diverse repertoire of songs in both one and two parts with expression and accuracy.M.1.3.8M.1.3.8 – Play instrumental parts independently while other students sing.M.1.4.8M.1.4.8 – Play instrumental parts independently while other students sing a contrasting part.M.1.5.8M.1.5.8 – Perform independent instrumental parts while other students sing or play contrasting parts.N/AMU:Pr6MU:Pr6 – Convey meaning through the presentation of artistic work. Approx. 30 min

M.T430 MT430

Interpreting and Conveying Musical Meaning

Interpreting and Conveying Musical Meaning

Students will be placed into groups of three or four to work together to interpret meaning in popular songs. The teacher should assign groups prior to announcing the assignment in order to ensure that each group comprises students with varying musical backgrounds and experience.

In Part 1, students will assemble into their groups, listen to a song of the teacher’s choice, and complete a song interpretation worksheet for the song. The worksheet can be found in the Student Booklet. Teachers should modify song choices to match the instructional levels of their students. In Part 2, students will work in their groups to write their own songs. This part will take place over two class periods. In Part 3, student groups will each perform their song in class and convey its musical meaning to their peers.

This item has not been field-tested by Michigan teachers.
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 2 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. It is suggested that the item be used in two or more adjacent grades, administering the item once per school year. This is especially suitable for assessments (e.g., MAEIA tasks) that require more time and effort to administer. M.HS.C.1M.HS.C.1 – Demonstrate an appropriate level of musical understanding through their interpretive decisions made when composing, improvising, or arranging music. M.HS.R.3M.HS.R.3 – Make connections between musical concepts and similar concepts in other ways of thinking (disciplines).ART.M.II.HS.4ART.M.II.HS.4 – Compose music in several different styles and demonstrate creativity in using the elements of music for expressive effect.C.1C.1 – Engage in full iterative cycles of the artistic/creative process by problem seeking, exploring, and making analytical, application, aesthetic, and design choices before completion. R.3R.3 – Describe, analyze, and understand the visual, performing, or applied arts in historical, contemporary, social, cultural, environmental, and/or economic contexts.R.4R.4 – Experience, analyze, and reflect on the variety of meanings that can be derived from the results of the artistic/creative process.MU:Cr2MU:Cr2 – Organize and develop artistic ideas and work. MU:Cn10MU:Cn10 – Synthesize and relate knowledge and personal experiences to make art.Approx. 150 minutes

M.E401 ME401

Laying Down a Track

Laying Down a Track

In this event, students will demonstrate mastery of a short (12–44 measures) segment of
music that is currently being performed in their large ensemble class. The music for this exercise should be selected from pieces for full band, orchestra, or choir that are already part of the curriculum and being rehearsed for performance at a future date.

Students in each section will be given a copy of the music they will perform, a Student Booklet containing the directions, a Student Reflection Sheet, and a copy of the Teacher
Scoring Rubric that the teacher will use to score the work. The students will be recorded individually with a video camera and assessed on the technically correct and expressive performance of their assigned part.

For scoring, the teacher will read a reflective piece written by the student, view the student’s recorded evidence, and then score the performance based on the Teacher Scoring Rubric in the Student Booklet.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.HS.P.1M.HS.P.1 – Perform a diverse repertoire of music at an appropriate level of difficulty with expression and technical accuracy.ART.M.1.HS.3ART.M.1.HS.3 – Perform an appropriate part in large and small ensembles, demonstrating well-developed ensemble skills.P.1P.1 – Apply the techniques, elements, principles, intellectual methods, concepts, and functions of the visual, performing, or applied arts discipline to communicate ideas, emotions, experiences; address opportunities to improve daily life; and solve problems with insight, reason, and competence.P.2P.2 – Demonstrate skillful use of appropriate vocabularies, tools, instruments, and technologies of the visual, performing, or applied arts discipline.MU:Pr6MU:Pr6 – Convey meaning through the presentation of artistic work. Approx. 50 min

M.E309 ME309

Listening for Musical Concepts

Listening for Musical Concepts

This assessment will measure students’ proficiency in identifying, describing, and analyzing musical elements within a given aural example.

Students will listen to an excerpt commonly referred to as the “Cancan Dance” from Jacque Offenbach’s work Orpheus in the Underworld, or another culturally relevant example with accompanying teacher-created listening map. Students will follow a Listening Map and make musical observations during a repeated audio playback of the piece. The teacher will facilitate a group discussion highlighting student thoughts and impressions of the work. Next, students will review a word bank of musical terms and reflect upon their meanings and functions within music. Using the word bank as a reference, students will complete a Listening Detective Log that charts musical elements they have identified in the piece.
Finally, students will report their musical analysis on the worksheet labeled “Sherlock Says . . .” using complete sentences. Students will finish their investigation by explaining why they would or why they would not recommend this piece to a friend.

The “Cancan Dance” is suggested as the listening example for use in this assessment. This piece contains a familiar melodic theme, has contrasting musical elements, and is interesting and accessible to students in grades 6, 7, and 8. The teacher might opt to substitute another piece relevant to his or her instruction for Parts 1-3.

It is assumed that students have a working knowledge of the musical terminology used in Watson’s Bank of Musical Elements and Descriptions on page 8 in the Student Booklet.

This item has not been field tested by Michigan teachers. exemplars
6th, 7th, 8thN/A 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.MS.R.1M.MS.R.1 – Listen to their own performances as well as those of others and critically analyze and reflect on those performances using developmentally appropriate musical terminology.ART.M.III.MS.1ART.M.III.MS.1 – Identify and describe specific musical elements and events in a given aural example, using appropriate terminology.ART.M.III.6.1ART.M.III.6.1 – Identify and describe specific musical elements and events in a given aural example, using appropriate terminology.ART.M.III.7.1ART.M.III.7.1 – Identify and describe specific musical elements and events in a given aural example, using appropriate terminology.ART.M.III.8.1ART.M.III.8.1 – Identify and describe specific musical elements and events in a given aural example, using appropriate terminology.ART.M.III.MS.2ART.M.III.MS.2 – Analyze the uses of musical elements in aural examples from diverse genres and cultures.ART.M.III.6.2ART.M.III.6.2 – Identify elements of music used in music of diverse genres and styles.ART.M.III.7.2ART.M.III.7.2 – Analyze elements of music used in music of increasingly diverse genres and styles.ART.M.III.8.2ART.M.III.8.2 – Analyze the uses of musical elements in aural examples from diverse genres and cultures.N/AMU:Re7MU:Re7 – Perceive and analyze artistic work.MU:Cn11MU:Cn11 – Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding. Approx. 50 min

M.T409 MT409

Make a Cover Song

Make a Cover Song

This assessment has three parts to it:
o Part 1–Select a Song with Your Group
o Part 2–Create a “Cover” with Your Group
o Part 3–Perform “Cover”

Students will work in groups of four to produce a “cover” version of a song that they will perform for other members of their class. The instruments chosen may be from traditional band or orchestra instruments, non traditional band or orchestra instruments, or voice.

Students will be given time in class to meet in their groups, come up with a name for their group, and chose their song. It is the teacher’s decision as to whether the groups should be assigned or formed by the students themselves. If the teacher opts to assign students to groups, he or she should have the group assignments prepared and ready to hand out at the first session.

The groups may also need guidance when choosing their song. Depending on the students’ age and experience, they may need additional support with rehearsal strategies.

The songs should be ones that the teacher could hear on the radio and should be age-appropriate for the students. The songs should be approved by the teacher. The students will learn the songs aurally and copy all of the musical parts from the recordings as needed; no traditional sheet music is allowed. A performance of the task will happen at the end of the allotted time frame.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.HS.C.1M.HS.C.1 – Demonstrate an appropriate level of musical understanding through their interpretative decisions made when composing, improvising, or arranging musicART.M.II.HS.5ART.M.II.HS.5 – Arrange pieces for voices and instruments, other than those for which the pieces were written, in ways that preserve or enhance the expressive effect of the music.C.3C.3 – Understand, recognize, and use the elements, organizational principles, patterns, relationships, techniques, skills, and applications of the visual, performing, or applied arts discipline.MU:Cr2MU:Cr2 – Organize and develop artistic ideas and work.MU:Cr3MU:Cr3 – Refine and complete artistic work.Approx. 4 weeks

M.E421 ME421

Making Connections

Making Connections

Students will compare and contrast the representations of peacefulness in “Impression, Sunrise” by Claude Monet and “Venus” from The Planets by Gustav Holst. Students will listen to the musical excerpt, study the painting, take preliminary and refined notes comparing and contrasting the two pieces, and write an analysis and summary of their findings.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. connections cross-discipline exemplars field-tested integration multi-discipline visual arts
9th, 10th, 11th, 12th 2, 3 Students who have at least had one year in a specific arts discipline. 2 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. It is suggested that the item be used in two or more adjacent grades, administering the item once per school year. This is especially suitable for assessments (e.g., MAEIA tasks) that require more time and effort to administer. M.HS.R.3M.HS.R.3 – Make connections between musical concepts and similar concepts in other ways of thinking (disciplines).ART.M.5.HS.2ART.M.5.HS.2 – Compare characteristics of two or more arts within a particular historical period or style and cite examples from various cultures.R1R1 – Observe, describe, reflect, analyze, and interpret works of visual, performing, and applied arts.R.2R.2 – Identify, describe, and analyze connections across the visual, performing, and applied arts disciplines, and other academic disciplines.R.3R.3 – Describe, analyze, and understand the visual, performing, or applied arts in historical, contemporary, social, cultural, environmental, and/or economic contexts.R.4R.4 – Experience, analyze, and reflect on the variety of meanings that can be derived from the results of the artistic/creative process.MU:Re7MU:Re7 – Perceive and analyze artistic work.MU:Cn11MU:Cn11 – Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding.Approx. one 50 min class period

M.E131 ME131

Melodic Pattern Elaboration

Melodic Pattern Elaboration

During the song “Bought Me a Cat,” students will create a melodic pattern to complete a familiar phrase provided by the teacher. Students will use visual manipulatives in order to plan and prepare their responses. Students will be given the opportunity to create multiple responses and will be evaluated on their creativity and their ability to accurately perform the patterns they have created. Performances of students will be video recorded. Their reflections also will be video recorded.

This assessment may be easier to implement if someone other than the teacher supervises the video recording of the performances. If this is not possible, the teacher should be careful to ensure that students who are performing stay in the video frame during the recording process.  The teacher will assess the performances from the video recording after class.

This item contains only a Teacher Booklet.

This item has not been field-tested by Michigan teachers.
Kindergarten, 1st, 2ndN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.C.1M.EL.C.1 – Create a melodic line (e.g., a consequent phrase to an antecedent phrase, melodic line within a harmonic structure, and extending a melodic idea) using their understanding of the elements of music to inform their creative decision making.ART.M.II.EL.3ART.M.II.EL.3 – Create, through exploration, improvisation, and composition, rhythmic variations and simple melodic embellishments on familiar melodies. ART.M.II.K.3ART.M.II.K.3 – Create vocal embellishments for a song or rhyme.ART.M.II.1.3ART.M.II.1.3 – Create vocal and rhythmic embellishments for a song or rhyme.ART.M.II.2.3ART.M.II.2.3 – Create, through exploration, improvisation and composition, rhythmic variations for a familiar song. N/AMU:Cr2MU:Cr2 – Organize and develop artistic ideas and work. MU:Cr3MU:Cr3 – Refine and complete artistic work. Approx. 30-40 minutes

M.E132 ME132

Moving to the Macrobeat in Duple and Triple

Moving to the Macrobeat in Duple and Triple

For this assessment, students will demonstrate the macrobeat (big beat) and microbeat (little beat) in duple or triple meter in various styles of recorded music. For this assessment, no Student Booklet is needed.

This assessment may be easier to implement if someone other than the teacher supervises the video recording of the performances. The teacher should be careful to ensure that the whole class is in the video frame during the recording process.

This assessment does not contain a Student Booklet.

This item has not been field-tested by Michigan teachers.
Kindergarten, 1st, 2ndN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.P.2M.EL.P.2 – Students can perform multiple levels of beat in several meters.M.I.EL.1M.I.EL.1 – Sing and play independently with accurate rhythm, pitch, intonation, with appropriate timbre, technique, and tempo within various musical contexts.M.I.K.1M.I.K.1 – Demonstrate uses of the voice, proper instrumental technique, and steady beat.M.I.1M.I.1 – Demonstrate uses of the voice, proper instrumental technique, and steady beat and melodic rhythm.N/AMU:Re7MU:Re7 – Perceive and analyze artistic work.Approx. 10-20 minutes

M.E417 ME417

Music Editor

Music Editor

Each student will act as the editor for a music publishing company by helping a composer finish the rough draft of a new solo piece.

Students will receive a Student Booklet with an unfinished printed score. The teacher will then play a recorded version. Students will be able to listen to the recording a total of five times over the course of one class period (50–60 minutes).

In a short essay, students will write (1) one paragraph about three things (e.g., compositional devices, melodic contour, key, range, tempo changes) they find effective and worth keeping in the piece, (2) one paragraph about three changes the composer should make to the existing piece, and (3) one paragraph suggesting how to finish the piece.
To best ensure students are prepared for this kind of assessment, the suggested time of year for administration is winter/spring.

NOTE: This assessment model can be modified to adapt music presently being used in the class. The teacher would need to (1) select a solo piece from music presently being used in the class, (2) determine what might constitute an “unfinished” section, (3) reproduce that part of the score for the students, (4) replace the relevant parts in the Student and Teacher Booklets, and (5) prepare a recording of the fragment for the listening part of the exercise.

This item has not yet been field-tested.
9th, 10th, 11th, 12th 1, 2 Students who are in their first or second year in a single arts discipline. 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.HS.R.2M.HS.R.2 – Critically analyze a musical work and reflect on its cultural context using developmentally appropriate terminology.ART.M.III.HS.3ART.M.III.HS.3 – Analyze aural examples of a varied repertoire of music, representing diverse genres and cultures, by describing the uses of elements of music and expressive devices.R1R1 – Observe, describe, reflect, analyze, and interpret works of visual, performing, and applied arts.MU:Re7MU:Re7 – Perceive and analyze artistic work. MU:Re9MU:Re9 – Apply criteria to evaluate artistic work. Approx. one 50 min class period

M.T416 MT416

Music Genome Project

Music Genome Project

Students will choose a genre of music outside of their typical listening pleasure and explore the nuances and conventions of that genre through listening and explanations on worksheets.

The project is based on Pandora’s “Music Genome Project” and explores how streaming music services classify pieces of music and provide suggestions based on exhibited preferences. The final project will be an audio or video recording of the student’s final written genre presentation.

After the first-day introduction and directions, students will work independently until the final day of recording. At the first day of each week of the exercise, the teacher will present a brief “progress” session and will collect the Student Booklets to examine the assigned worksheets.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. connections cross-discipline field-tested integration math mult discipline multi-discipline technology
9th, 10th, 11th, 12th 2, 3 Students who have at least had one year in a specific arts discipline. 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.HS.R.2M.HS.R.2 – Critically analyze a musical work and reflect on its cultural context using developmentally appropriate terminology.Art.M.III.HS.2Art.M.III.HS.2 – Analyze aural examples of a varied repertoire of music, representing diverse genres and cultures, by describing the uses of elements of music and expressive devices.R.3R.3 – Describe, analyze, and understand the visual, performing, or applied arts in historical, contemporary, social, cultural, environmental, and/or economic contexts.MU:Re9MU:Re9 – Apply criteria to evaluate artistic work.Approx. five weeks

M.T207 MT207

Music Listening Response

Music Listening Response

The teacher will play a piece of music from a genre and/or style period for the students. Then students will identify the types and qualities of the sounds (instrumentation, texture, dynamics, timbre). Students will analyze the technical elements of the work.

In the second part of this assessment, students will hear the same piece of music and will make a visual representation, write a piece of poetry, or write a short story that expresses the same qualities that are in the musical example.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
5thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.R.2M.EL.R.2 – Critically analyze a musical work and reflect on its cultural context using developmentally appropriate terminology.ART.M.IV.EL.1ART.M.IV.EL.1 – All students will understand, analyze, and describe the arts in their historical, social, and cultural contexts.M.IV.3.2M.IV.3.2 – Describe how elements of music are used in examples from world cultures.M.IV.4.2M.IV.4.2 – Describe how elements of music are used in examples from world cultures.M.IV.5.1M.IV.5.1 – Describe distinguishing characteristics of representative music genres and styles from various historic periods and cultures.N/AMU:Cn11MU:Cn11 – Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding. MU:Re7MU:Re7 – Perceive and analyze artistic work.Approx. 45 min

M.T424 MT424

Music through a Time Machine

Music through a Time Machine

Students will compare and contrast 60-second excerpts of music from the baroque, classical, romantic, and twentieth-century eras.

Students will listen to each excerpt, take notes on style characteristics, and use their notes to create a written comparison of the four works.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 2, 3 Students who have at least had one year in a specific arts discipline. 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.HS.R.2M.HS.R.2 – Critically analyze a musical work and reflect on its cultural context using developmentally appropriate terminology.ART.M.IV.HS.1ART.M.IV.HS.1 – Classify by genre or style and by historical periods or culture unfamiliar but representative aural examples of music and explain the reasoning behind their classifications.R.1R.1 – Observe, describe, reflect, analyze, and interpret works of the visual, performing, or applied arts.R.2R.2 – Identify, describe, and analyze connections across the visual, performing, and applied arts disciplines and other academic disciplines.R.3R.3 – Describe, analyze, and understand the visual, performing, or applied arts in historical, contemporary, social, cultural, environmental, and/or economic contexts.R.4R.4 – Experience, analyze, and reflect on the variety of meanings that can be derived from the results of the artistic/creative process.MU:Re7MU:Re7 – Perceive and analyze artistic work.Approx. one 50 min class period

M.T333 MT333

Musical Theatre: Combining Music, Drama, and Dance

Musical Theatre: Combining Music, Drama, and Dance

In this task, students will explore the same story through two musical theatre versions: The Wizard of Oz and The Wiz. In Part 1, the teacher will provide contextual information that will be helpful for Part 2 and model the note-taking process that the students will use in Part 2.

In Part 2, students will focus on different musical, theatrical, and dance elements in one number from each musical and brainstorm some main ideas for the reflection they will write in Part 3. Students should be able to describe, using accurate terminology, how music, acting, and dance are used individually and in combination to portray the drama in the scene.

This item has not been field-tested by Michigan teachers. connections cross-discipline integration multi-discipline
6th, 7th, 8thN/A 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.MS.R.2M.MS.R.2 – Critically analyze a musical work and reflect on its cultural context using developmentally appropriate terminology. M.MS.R.3M.MS.R.3 – Make connections between musical concepts and similar concepts in other ways of thinking (disciplines).ART.M.V.6.2ART.M.V.6.2 – List musical elements and find a connection to at least one other discipline. ART.M.V.7.2ART.M.V.7.2 – Describe ways in which music is related to the subject matter of at least two other disciplines.ART.M.V.8.2ART.M.V.8.2 – Analyze ways in which music is related to the principles and subject matter of other disciplines. N/AMU:Cn11MU:Cn11 – Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. Approx. 85 minutes

M.T421 MT421

Performance Critique

Performance Critique

In this assessment, students watch a video of their ensemble performing a piece of music they are currently studying and critique their own performances.

Students will identify strengths and weaknesses and make suggestions for improvement. After reviewing the recording and making notes on a work sheet, each student will write a critical analysis of the performance. The teacher will also assess the performance and each student’s critique and then share both with students to enhance their perceptual, descriptive, and analytical skills in music.

The teacher will need to identify a colleague, a parent volunteer, or an older student to film the ensemble performing an excerpt from a piece of music currently being studied in class. The teacher will also need to identify which part of the piece should be performed and ensure that the selection fairly represents all parts of the ensemble equally and comparably.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.HS.R.1M.HS.R.1 – Listen to his/her own performances, as well as those of others, and critically analyze and reflect on those performances using developmentally appropriate musical terminology.ART.M.3.HS.5ART.M.3.HS.5 – Make informed, critical evaluations of the quality and effectiveness of performances, compositions, arrangements, and improvisations, applying specific criteria.R.1R.1 – Observe, describe, reflect, analyze, and interpret works of the visual, performing, or applied arts.R.2R.2 – Identify, describe, and analyze connections across the visual, performing, and applied arts disciplines and other academic disciplines.R.3R.3 – Describe, analyze, and understand the visual, performing, or applied arts in historical, contemporary, social, cultural, environmental, and/or economic contexts.R.4R.4 – Experience, analyze, and reflect on the variety of meanings that can be derived from the results of the artistic/creative process.MU:Re9MU:Re9 – Apply criteria to evaluate artistic work.Approx. one - two 50 min class periods

M.E104 ME104

Performing a Steady Beat Accompaniment on Instruments

Performing a Steady Beat Accompaniment on Instruments

This assessment has two parts. First, students will perform micro beats and/or macro beats on instruments as the rest of the class sings a song. Then they will reflect on their performances. Their performances will be video-recorded for scoring at a later time.

Kindergarten students will perform macro beats on a Taos drum. First-grade students will perform macro beats on a Taos drum and micro beats on an alto xylophone. Second-grade students will perform macro beats on a bass xylophone and micro beats on an alto xylophone.

Following each performance, students will reflect using a “thumbs up,” “thumbs sideways,” or “thumbs down’ gesture, which also will be video-recorded for later evaluation.

This item contains only a Teacher Booklet.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
Kindergarten, 1st, 2ndN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.P.2M.EL.P.2 – Students can perform multiple levels of beat in several meters.M.I.K.6M.I.K.6 – Play a steady beat.M.I.K.8M.I.K.8 – Play a steady beat in a group while other students sing a song. M.I.1.8M.I.1.8 – Play instrumental parts in a group while other students sing or recite rhymes.M.I.2.8M.I.2.8 – Play instrumental parts independently.N/AMU:Pr6MU:Pr6 – Convey meaning through the presentation of artistic work. MU:Pr5MU:Pr5 – Develop and refine artistic technique and work for presentation. Approx. 30 min

M.T403 MT403

Playing Before and After

Playing Before and After

Students will receive a teacher-selected excerpt from an unfamiliar piece of music that is 16-32 bars in length of appropriate difficulty for a first-year (Level 1) student. The assessment will be individually administered in two rounds. In the first round, the students will be given their Student Booklets and directions and begin individual recordings of themselves sight-reading the excerpt. Immediately after the recording session, the students will fill out a worksheet where they will identify three practice strategies for improving their performances. In the second round, the students will record themselves practicing using the three strategies they had devised and record a second take that demonstrates their improvement.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 2 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. It is suggested that the item be used in two or more adjacent grades, administering the item once per school year. This is especially suitable for assessments (e.g., MAEIA tasks) that require more time and effort to administer. P.1P.1 – Perform a diverse repertoire of music at an appropriate level of difficulty with expression and technical accuracy.ART.M.I.HS.1ART.M.I.HS.1 – Sing and play, with expression and technical accuracy, a diverse repertoire of vocal and instrumental literature, with and without notation, including selections performed from memory.P.1P.1 – Apply the techniques, elements, principles, intellectual methods, concepts, and functions of the visual, performing, or applied arts discipline to communicate ideas, emotions, and experiences; address opportunities to improve daily life; and solve problems with insight, reason, and competence.MU:Pr5MU:Pr5 – Develop and refine artistic technique and work for presentation. MU:Pr6MU:Pr6 – Convey meaning through the presentation of artistic work.Approx. half of a 50 min class period

M.T419 MT419

Playing Test: Scales

Playing Test: Scales

Instrumental music students will be given six scales to prepare for performance. Vocal music students will be given one scale pattern, which should be sung in three different keys. Students will have four weeks to rehearse the scales. Students will also keep a log of their practice schedule and a weekly journal of the their progress in their Student Booklet, which the teacher will review on a weekly basis.

For vocalists, each scale is to be played or sung in one octave. Students must be prepared to perform legato and staccato. Students must crescendo while ascending the scale and decrescendo while descending the scale. The required rhythm for diatonic scales is quarter note, six eighth notes, quarter note, six eighth notes, and whole note. The chromatic scale must be performed with even rhythms. The difficulty of the scales increases for each level.
The required scales for each student level are as follows:

First-Year Students (Level 1)
o Instrumental—concert B-flat major, concert E-flat major, concert F major, concert G melodic minor, concert C melodic minor, and concert D melodic minor
o Vocal—major scale, sung on solfège or scale degree numbers in three different keys

Second-Year Students (Level 2)
o Instrumental—concert C major, concert A-flat major, concert G major, concert A melodic minor, concert F melodic minor, and concert E melodic minor
o Vocal—melodic minor scale, sung on solfège or scale degree numbers in three different keys

Third-Year Students (Level 3)
Instrumental—concert D-flat major, concert D major, concert G-flat major, concert B-flat melodic minor, concert B melodic minor, and concert E-flat melodic minor
o Vocal—harmonic minor, sung on solfège or scale degree numbers in three different keys

Fourth-Year Students (Level 3)
o Instrumental—concert A major, concert E major, concert B major, concert F-sharp melodic minor, concert C-sharp melodic minor, and concert G-sharp melodic minor
o Vocal—chromatic scale, sung on solfège or a neutral syllable in three different keys

At the end of the four weeks, each student will have his/her performance of the assigned scales recorded. Students will be evaluated in five categories of musical performance: Tone Quality, Intonation, Rhythm, Technique, and Interpretation according to a rubric found in their Student Booklets. Students will also complete a written reflection of the experience based on their journal and practice log that will not be scored but will be part of the requirement for completion.

The teacher should designate a colleague, parent, or senior student to be the test administrator. The test administrator will set up the recording space and monitor the process, which includes logging in the students, providing the directions, operating the recording equipment, and logging the recording timer information.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.HS.P.1M.HS.P.1 – Perform a diverse repertoire of music at an appropriate level of difficulty with expression and technical accuracy.M.I.HS.1M.I.HS.1 – Sing and play with expression and technical accuracy a large and varied repertoire of vocal and instrumental literature with a moderate level of difficulty, including some selections performed from memory.P.1P.1 – Apply the techniques, elements, principles, intellectual methods, concepts, and functions of the visual, performing, or applied arts discipline to communicate ideas, emotions, and experiences; address opportunities to improve daily life; and solve problems with insight, reason, and competence.P.2P.2 – Demonstrate skillful use of appropriate vocabularies, tools, instruments, and technologies of the visual, performing, or applied arts discipline.MU:Pr6MU:Pr6 – Convey meaning through the presentation of artistic work. Approx. 4 weeks

M.E403 ME403

Quick Learning Performance

Quick Learning Performance

Students will be assessed individually according to a prepared schedule. Students will be sent to a location such as a small practice room for 10 minutes to learn and prepare a piece of notated music, 12–16 measures long, that they have never seen before.

After the practice period, students will have their performance of the excerpt recorded. They will also write a short reflective piece on their experience and suggest what they might have done differently to improve.

Students will be evaluated based on their ability to learn the notes and rhythms, and interpretive features (dynamics, articulation) during the 10-minute practice period.
The music for this exercise might be a brief solo piece or excerpt, an excerpt from an unfamiliar ensemble piece (i.e., not one that the student is already performing with his/her class), or a teacher-composed melody.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.HS.P.1M.HS.P.1 – Perform a diverse repertoire of music at an appropriate level of difficulty with expression and technical accuracy.ART.M.I.HS.1ART.M.I.HS.1 – Sing and play with expression and technical accuracy a large and varied repertoire of vocal and instrumental literature with a moderate level of difficulty, including selections performed from memory.P.4P.4 – Perform, present, exhibit, publish, or demonstrate the results of the artistic/creative process for an audience.MU:Pr5MU:Pr5 – Develop and refine artistic technique and work for presentation.MU:Pr6MU:Pr6 – Convey meaning through the presentation of artistic work. Approx. 15 min per student

M.E415 ME415

Radio Station—Identify the Genre

Radio Station—Identify the Genre

The teacher will play three brief excerpts of music (one to two minutes in length) from one particular genre and/or style period, selected by the teacher based upon genres/style periods that have been studied closely in class.

For classes oriented toward Western art music, a teacher might play examples that students will recognize as Baroque, such as a movement from one of Bach’s Brandenburg concerti, a chorus from Handel’s Messiah, and another example.

In classes oriented toward popular music, teachers might choose a specific style movement (e.g., early blues) and play selections by three of its iconic artists such as Son House or Robert Johnson. Examples will vary according to the focus of the particular class.

The teacher will share with students that these samples are tracks that will be featured on a new radio station that is being started locally. Students will be asked to identify what kind of radio station this will be (classical, country, alternative, hip-hop, etc.) by describing the common stylistic characteristics they hear in the examples. Then they will suggest two other selections for the radio station to add to its playlist.

This activity can be adapted for third- and fourth-year (Level 3) students by requiring more detailed, specific knowledge of genres or styles and their characteristic features (e.g.., not just identifying the station as a jazz station, but instead identifying it as a cool jazz, bebop, or big band station).

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
9th, 10th, 11th, 12th 2, 3 Students who have at least had one year in a specific arts discipline. 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.HS.R.2M.HS.R.2 – Critically analyze a musical work and reflect on its cultural context using developmentally appropriate terminology.ART.M.IV.HS.1ART.M.IV.HS.1 – Classify by genre or style and by historical periods or culture unfamiliar but representative aural examples of music and explain the reasoning behind their classifications.R1R1 – Observe, describe, reflect, analyze, and interpret works of visual, performing, and applied arts.MU:Re7MU:Re7 – Perceive and analyze artistic work.Approx. two 50 min class periods

M.E103 ME103

Reflection on a Group Performance

Reflection on a Group Performance

In this assessment, students will first listen to a recording of one of their own performances and reflect on that performance using a worksheet in their Student Booklets. Then they will be asked to reflect, either in writing or verbally, on their favorite aspect of the performance, as well as the aspect of the performance that most needs improvement. The score for Part 1 is the number of questions correct. Use the Teacher Scoring Rubric for Part 2.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students.
2ndN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.R.1M.EL.R.1 – Listen to their own performances as well as those of others and critically analyze and reflect on those performances using developmentally appropriate musical terminology.M.III.EL.6M.III.EL.6 – Devise criteria for objective evaluation of performances and compositions.N/AMU:Pr5MU:Pr5 – Develop and refine artistic technique and work for presentation. MU:Re9MU:Re9 – Apply criteria to evaluate artistic work.Approx. 20 min

M.T230 MT230

Reflection on and Refinement of Group Performance

Reflection on and Refinement of Group Performance

This assessment has three parts. In Part 1, students will listen to and/or watch themselves perform a piece from class in a small group that has been recorded prior to the assessment. Then they will reflect on the recording of their performance and make suggestions for improvement. In Part 2, they will practice and improve based on their reflection. Then, they will re-record themselves in their small group performance. In Part 3, they will watch this performance and reflect on the process of reflection and re-recording.

Students will be evaluated in two areas: the quality of their reflections and the improvements that were made in their performances between recordings.

This item has not been field-tested by Michigan teachers.
4th, 5thN/A 2 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. It is suggested that the item be used in two or more adjacent grades, administering the item once per school year. This is especially suitable for assessments (e.g., MAEIA tasks) that require more time and effort to administer. M.EL.R.1M.EL.R.1 – Students listen to their own performances as well as those of others and can critically analyze and reflect on those performances using developmentally appropriate musical terminology.ART.M.III.EL.4ART.M.III.EL.4 – Use music vocabulary to analyze, describe, and evaluate music of various styles. ART.M.III.4.4ART.M.III.4.4 – In small groups, use music vocabulary to analyze, describe, and evaluate music.ART.M.III.5.4ART.M.III.5.4 – Use music vocabulary to analyze, describe, and evaluate music.N/AMU:Pr5MU:Pr5 – Develop and refine artistic work and technique for presentation.Approx. 65 minutes

M.T302 MT302

Representing Form: An Interdisciplinary Approach

Representing Form: An Interdisciplinary Approach

This assessment task has three parts each lasting approximately 50 minutes each.

In Part 1, the teacher will conduct a group assessment on form and connect with dance education. As a group, students will listen to a recording of a piece of music in ABA form that has been selected and provided by the teacher. The listening example must be in ABA form and could be a piece of music that students are working on in class or a new listening example. If a piece of music from class is used, the teacher must not have labeled or discussed the form of the piece in class prior to the assessment.

In small groups, students will analyze the form of the piece of music and then physically demonstrate the form. Everyone in the group must participate in the activity. Students should come up with their own movements without teacher assistance; movements must represent ABA form. Student groups will be video recorded. The teacher will later evaluate the students’ work using the Teacher Scoring Checklist.

In Part 2, the students will listen to a new piece of music that is in ABA form and individually analyze it in writing. Students will describe select musical elements (characteristic materials) represented in each section, using appropriate terminology. The teacher will later evaluate the students’ work using the Teacher Scoring Rubric for Part 2.

At the end of Part 2, each student will be given a copy of a piece of sheet music in ABA form (to be supplied by the teacher). Students will be asked to choose or create a visual representation of the form of that piece outside of class for use in Part 3 of the assessment. The visual representation could be a photograph, an image from the Internet, a drawing, a painting, or another piece of artwork that represents the form of the piece the student has been assigned.

During Part 3, students will write an essay that describes how the visual they provided meets the criteria for the form of their song. They will use both the sheet music provided in Part 2 and the visual representation chosen or created outside of class. The teacher will later score the students’ work using the Teacher Scoring Rubric for Part 3.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
6th, 7th, 8thN/A 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.MS.R.3M.MS.R.3 – Make connections between musical concepts and similar concepts in other ways of thinking (disciplines).M.V.MS1M.V.MS1 – Compare how the characteristic materials of each art can be used to transform similar events, scenes, emotions, or ideas into works of art.M.V.6.1M.V.6.1 – Identify characteristic materials of each art from.M.V.7.1M.V.7.1 – Describe and compare the relationships between the art forms and their characteristic materials.M.V.8.1M.V.8.1 – Compare how the characteristic materials of each art can be used to transform similar events, scenes, emotions, or ideas into works of art.N/AMU:Cn11MU:Cn11 – Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding. MU:Re8MU:Re8 – Interpret intent and meaning in artistic work.Approx. 150 min

M.E416 ME416

Reverse Soundtrack

Reverse Soundtrack

Teachers will select a piece of instrumental music of relatively short length (3-4 minutes) and play a recording for the class. The style of the piece should be connected to the context of the class setting: teachers of traditional ensembles might be more inclined (though not necessarily) to play a piece of Western art music, and teachers in non-ensemble settings (electronic music, for example) might play an instrumental example in a related style.

The student’s task is to imagine what sort of on-screen scene might accompany this music if this music were part of a movie soundtrack. The student’s response will contain three parts: a rough sketch/drawing depicting the movie scene, a brief description of the action taking place in the scene, and a description of at least two specific musical features that guided him or her toward the scene described.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 1, 2 Students who are in their first or second year in a single arts discipline. 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.HS.R.3M.HS.R.3 – Make connections between musical and similar concepts in other ways of thinking (disciplines).ART.M.III.HS.2ART.M.III.HS.2 – Analyze aural examples of a varied repertoire of music, representing diverse genres and cultures, by describing the uses of elements of music and expressive devices.R1R1 – Observe, describe, reflect, analyze, and interpret works of visual, performing, and applied arts.MU:Re8MU:Re8 – Interpret intent and meaning in artistic work.MU:Cn10MU:Cn10 – Synthesize and relate knowledge and personal experience to make art.Approx. one 50 min class period

M.E207 ME207

Rhythm Reading

Rhythm Reading

Two versions of this assessment are provided to check students’ music reading skills. Teachers may choose to use one or both of these versions.

Version 1 is a sight-reading assessment. Students will read rhythm patterns that the teacher shows them on flashcards. This assessment can take place at the beginning of each class period over several days. Each day, the teacher will listen to three or four students. Alternatively, the teacher can administer the assessment to individual students in a single class period, while the rest of the class is engaged in other music activities.

Version 2 of the assessment is a listening assessment. Students will listen to the teacher perform a rhythmic pattern on an instrument (recorder or keyboard). Then they will select the rhythmic notation that correctly matches the performed rhythm in their Student Booklets. The score for this assessment is number of questions correct.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
3rd, 4th, 5thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.P.1M.EL.P.1 – Sing and play alone and with others a diverse repertoire of songs in both one and two parts with expression and accuracy M.EL.P.2M.EL.P.2 – Students can perform multiple levels of beat in several meters.M.I.3.9M.I.3.9 – Use a system to read quarter notes and rests, eighth notes, half notes, and whole notes.M.I.4.9M.I.4.9 – Use a system to read quarter notes and rests, eighth notes and rests, half notes and rests, and whole notes and rests.M.I.5.9M.I.5.9 – Use a system to read rhythmic notation in various meters.N/AMU:Pr4MU:Pr4 – Select, analyze, and interpret artistic work for presentation. Several class periods

M.E420 ME420

Scale Improvisation

Scale Improvisation

Students will choose a scale type, such as major, minor, mixolydian, or the pentatonic set (major or minor). After performing the scale/set, the student will improvise a melody that uses the same scale/set. The scale and ensuing improvisation should be audio recorded for later scoring. The teacher will prepare a list of students to tell them the order in which they will perform.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 2, 3 Students who have at least had one year in a specific arts discipline. 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.HS.C.1M.HS.C.1 – Demonstrate an appropriate level of musical understanding through their interpretive decisions made when composing, improvising, or arranging music.ART.M.II.HS.2ART.M.II.HS.2 – Improvise rhythmic and melodic variations given pentatonic melodies and melodies in major and minor keys.C.3C.3 – Understand, recognize, and use the elements, organizational principles, patterns, relationships, techniques, skills, and applications of the visual, performing, or applied arts discipline.MU:Cr1MU:Cr1 – Generate and conceptualize artistic ideas and work.MU:PR4MU:PR4 – Select, analyze, and interpret artistic work for presentation.Approx. one 50 min class period

M.E414 ME414

Self-Evaluation

Self-Evaluation

Students will watch or listen to a recording of their own ensemble performance of a single piece of music and will analyze their performance with a rubric. The recording may have to be played up to five times.

After scoring the performance with the Student Scoring Rubric, students will provide specific examples of why they gave the ratings that they did on a separate sheet in their Student Booklets. Then they will provide three specific examples of things that went well in their performance and three specific examples of things that they can improve upon.

The teacher will then score the students’ work with the Teacher Scoring Rubric.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.HS.R.1M.HS.R.1 – Listen to their own performances as well as those of others and critically analyze and reflect on those performances using developmentally appropriate musical terminology.ART.M.III.HS.1ART.M.III.HS.1 – Demonstrate extensive knowledge and use of the technical vocabulary of music.R1R1 – Observe, describe, reflect, analyze, and interpret works of visual, performing, and applied arts.MU:Re7MU:Re7 – Perceive and analyze artistic work.MU:Re9MU:Re9 – Apply criteria to evaluate artistic work.Approx. one 50 min class period

M.T411 MT411

Short Soundtrack

Short Soundtrack

Each student will compose a soundtrack for a brief (30 seconds to one minute) video clip of his or her choosing, likely from an online video site such as YouTube or Vimeo. In the interest of avoiding legal issues, students should be instructed to choose video material that is not copyrighted.

Each student may use his or her voice, instruments, or a digital medium such as GarageBand to compose the soundtrack. Each student will submit a recording of his or her soundtrack, a file containing the original video (or a link to its online location), and a brief written reflection that describes his or her compositional decision-making and processes.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.HS.C.1M.HS.C.1 – Demonstrate an appropriate level of musical understanding through interpretive decisions made when composing, improvising or arranging music.ART.M.II.HS.7ART.M.II.HS.7 – Create or adapt music to integrate with other media.C.1C.1 – Engage in full iterative cycles of the artistic/creative process by problem seeking, exploring, and making analytical, application, aesthetic, and design choices before completion.Mu:Cr1Mu:Cr1 – Create and conceptualize artistic ideas and work.MU:Cr2MU:Cr2 – Organize and develop artistic ideas and work.MU:Cr3MU:Cr3 – Refine and complete artistic work.Approx. 2 weeks

M.E422 ME422

Sight Reading–Full Spectrum

Sight Reading–Full Spectrum

Students will be given an unfamiliar piece of music. The music will vary based on instrumentation or voice part.

Students will be called individually into the assessment space according to a prepared schedule. They will have 60 seconds to silently study the music. After the silent study time, students will perform the music while being recorded.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.HS.P.1M.HS.P.1 – Perform a diverse repertoire of music at an appropriate level of difficulty with expression and technical accuracy.ART.M.I.HS.6ART.M.I.HS.6 – Sight-read music with a moderate level of difficulty accurately and expressively.P.1P.1 – Apply the techniques, elements, principles, intellectual methods, concepts, and functions of the visual, performing, or applied arts discipline to communicate ideas, emotions, experiences; address opportunities to improve daily life; and solve problems with insight, reason, and competence.P.2P.2 – Demonstrate skillful use of appropriate vocabularies, tools, instruments, and technologies of the visual, performing, or applied arts discipline.MU:Pr4MU:Pr4 – Select, analyze and interpret artistic work for performance.MU:Pr5MU:Pr5 – Develop and refine artistic technique and work for presentation.Approx. three 50 min class periods

M.E312 ME312

Sight-Reading

Sight-Reading

Each student will sight-read one of the four-measure melodies provided in this item or another developmentally appropriate example chosen by the teacher. The melodies provided vary according to the different competencies expected of students in grades 6, 7, and 8, as specified in the GLCEs above. Alternatively, musical excerpts could be chosen by the teacher and should differ according to the level of experience, skill, and ability of the students. Examples should be approximately four to eight measures in length, and can be chosen from a method book or piece of music or be created by the teacher. Excerpts should be aligned with the appropriate grade-level content standards.

Instrumental examples should be in an appropriate key and range for the instrument that students are playing and the developmental level of the students being assessed. Suggested keys for middle school-level band students include Concert B-flat major, Concert E-flat major, Concert F major. Suggested keys for middle school-level orchestra students include G major, D major, and A major.

Students will be assigned by the teacher to a separate assessment space (practice room, office, vacant classroom, etc.) for the assessment.

If the teacher chooses to use the melodies in the Teacher Booklet, because the melody bank does not appear in the Student Booklet, students will not have time to practice before they report to the assessment space, which allows for consistency.

Students will be evaluated on their ability to perform the correct pitches and rhythms, their performance fluency, and their ability to play with musical expression (e.g., dynamics, articulation). The teacher will score the work later and compile the results on the MAEIA Classroom Score Summary on page X of the Teacher Booklet.

This assessment requires the assistance of a musically qualified proctor, such as a parent, a music colleague at the school, a student teacher, or another music student, to administer the assessment in the assessment space.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
6th, 7th, 8thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.MS.P.1M.MS.P.1 – Perform a diverse repertoire of music at an appropriate level of difficulty with expression and technical accuracy.ART.M.I.MS.5ART.M.I.MS.5 – Sight-read basic melodies in treble and bass clefs, using combinations of whole, half, quarter, eighth, sixteenth, and dotted notes and rests; in simple, compound, and alla breve meters.ART.M.I.6.5ART.M.I.6.5 – Sight-read basic melodies in treble or bass clef, using combinations of whole, half, quarter, and eighth notes and rests; in simple meter.ART.M.I.7.5ART.M.I.7.5 – Sight-read basic melodies in treble and bass clefs, using combinations of whole, half, quarter, eighth, sixteenth, and dotted notes and rests; in simple meter.ART.M.I.8.5ART.M.I.8.5 – Sight-read basic melodies in treble and bass clefs, using combinations of whole, half, quarter, eighth, sixteenth, and dotted notes and rests; in simple, compound, and alla breve meters.N/AMU:Pr4MU:Pr4 – Select, analyze, and interpret artistic work for presentation. Approx. 50 min

M.E419 ME419

Sight-Reading Notes and Rhythms

Sight-Reading Notes and Rhythms

Students will be given an unfamiliar piece of music to sight-read and perform. The teacher will select the piece(s) of music. The level of difficulty should be appropriate for a first-year high school student.

The music will vary based on instrumentation or voice part and must include division-level and elongation-level rhythms, slurs, accents, staccato markings, and at least one other articulation marking. Students will be assessed on an individual basis according to a list prepared by the teacher (i.e., an alphabetical list of students). Performance time of the music should not exceed 60 seconds.

The teacher or a person designated to supervise the recording should monitor the assessment in the recording room. After the student enters the recording room, he/she will have one minute to silently study the music. After the silent study time, the student will perform the music, and the performance will be recorded.

Students will be assessed based on a Teacher Scoring Rubric in two areas of musicianship, Rhythm and Technique.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.HS.P.1M.HS.P.1 – Perform a diverse repertoire of music at an appropriate level of difficulty with expression and technical accuracy.ART.M.I.HS.6ART.M.I.HS.6 – Sight-read music with a moderate level of difficulty accurately and expressively.P1P1 – Perform a diverse repertoire of music at an appropriate level of difficulty with expression and technical accuracy.MU:Pr4MU:Pr4 – Select, analyze, and interpret artistic work for presentation. Approx. one 50 min class period

M.E101 ME101

Singing a Song

Singing a Song

Each student will sing a verse of the song “The Muffin Man” and will reflect on his or her performance. The performance of each student will be video-recorded for later scoring, using the scoring rubrics and Classroom Score Sheet on page 6.

This assessment may be more successful if someone other than the teacher supervises the video recording of the performances. If this is not possible, the teacher should be careful to ensure that students who are performing stay in the video frame during the recording process.

This item contains only a Teacher Booklet.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
Kindergarten, 1st, 2ndN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.P.1M.EL.P.1 – Sing and play alone and with others a diverse repertoire of songs in both one and two parts with expression and accuracyM.I.K.1M.I.K.1 – Demonstrate use of the voice, proper instrumental technique, and steady beat. M.I.2.1M.I.2.1 – Use developmentally appropriate singing voice and physically show melodic contour.M.I.EL.2M.I.EL.2 – Sing from memory and play a varied repertoire of music representing genres and styles from diverse cultures.M.I.EL.3M.I.EL.3 – Sing expressively with appropriate dynamics, phrasing, and interpretation.N/AMU:Pr6MU:Pr6 – Convey meaning through the presentation of artistic work. MU:Pr5MU:Pr5 – Develop and refine artistic technique and work for presentation. Approx. 20-30 min

M.T204 MT204

Singing and Playing Instrumental Parts With Musical Independence

Singing and Playing Instrumental Parts With Musical Independence

In this assessment, students will:

1. Sing the melody of a song.
2. Sing a bassline/harmony part to that same song.
3. Play that bassline/harmony part on a tonebar or other pitched instrument. (If the students play a bassline, the full chords could be played on a guitar or ukulele or the chord roots could be played on a tonebar instrument, a recorder, or boomwhackers.)
4. Learn and perform an unpitched percussion ostinato to accompany the song and bassline.
5. Put all parts together and perform them in a larger ensemble.
6. Reflect on their performances. These performances will be video-recorded for scoring at a later time.

The teacher will choose a musical work that has three parts: a melody, a harmony/countermelody/bassline, and one unpitched percussion ostinato. The song “Yankee Doodle” is included in this assessment as an example and may be used. The teacher may also select another suitable song.

This assessment may be easier to use if someone other than the teacher supervises the video recording of the performances. If this is not possible, the teacher should be careful to ensure that students who are performing stay in the video frame during the recording process.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
4th, 5thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.P.1M.EL.P.1 – Sing and play alone and with others a diverse repertoire of songs in both one and two parts with expression and accuracy.ART.M.I.EL.6ART.M.I.EL.6 – Demonstrate technical skills on rhythmic, melodic, and harmonic instruments.M.1.3.8M.1.3.8 – Play instrumental parts independently while other students sing.M.1.4.8M.1.4.8 – Play instrumental parts independently while other students sing a contrasting part.M.1.5.8M.1.5.8 – Perform independent instrumental parts while other students sing or play contrasting parts.N/AMU:Pr6MU:Pr6 – Convey meaning through the presentation of artistic work. Approx. 110 min

M.T202 MT202

Singing and Playing Instruments in Parts

Singing and Playing Instruments in Parts

This assessment has four parts to it:

1. Students will complete three assessment items to determine their understanding of musical terminology used in the assessment. (Day 1)

2. Students will be assessed singing a teacher-selected traditional round (such as “Frère Jacques,” Tallis “Canon,” “Canoe Song,” or “Row, Row, Row Your Boat”) in parts with three partners. This is a teacher selected and arranged round that must be transferable to tone bar instruments and have two ostinati. For this part, at least two students sing the round and one sings each ostinato. (Day 2)

3. Students will be assessed performing the same multiple-part arrangement on instruments. (Days 3 and 4)

4. Students will describe their arrangement using developmentally appropriate musical terminology. (Day 5)

Students will respond to the assessment questions in the first class period. On Days 2-3, students will perform the vocal arrangements for the class in small groups and will be video recorded. On Day 3, the students will work in small groups to transfer their vocal arrangements to tone-bar instruments (singing the round and playing the ostinati). On Day 4, students will perform their instrumental arrangements for the class in small groups and will be video recorded. On Day 5, the students will reflect in written form, using appropriate musical terminology, on the process of creating their arrangement.

This assessment will be video recorded by the teacher for scoring purposes. This assessment may be easier to administer if someone other than the teacher supervises the video recording. If this is not possible, the teacher should be careful to ensure that students who are performing stay in the video frame during the recording process.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students.
4th, 5thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.P.1M.EL.P.1 – Sing and play alone and with others a diverse repertoire of songs in both one and two parts with expression and accuracy.ART.M.I.EL.1ART.M.I.EL.1 – All students will apply skills and knowledge to perform in the arts.M.1.5.1M.1.5.1 – Sing and play independently with accurate rhythm, pitch, intonation, with appropriate timbre, technique, and tempo within various musical contexts.M.1.K.4M.1.K.4 – Sing melodies with confidence in a large group.M.1.1.4M.1.1.4 – Sing a melody in a small group.M.1.2.4M.1.2.4 – Sing an ostinato.M.1.3.2/M.1.4.2M.1.3.2/M.1.4.2 – Continue to develop repertoire.M.1.5.2M.1.5.2 – Sing from memory and play a varied repertoire of music representing genres and styles from diverse cultures.M.1.5.3M.1.5.3 – Sing expressively with appropriate dynamics, phrasing, and interpretation.M.1.3.11M.1.3.11 – Perform music with a variety of expressive qualities, articulation, and tempo.M.11.4.4M.11.4.4 – Arrange songs in various ways.M.11.5.4M.11.5.4 – Create and arrange songs and instrumental pieces within specific guidelines.N/AMU:Pr6MU:Pr6 – Convey meaning through the presentation of artistic work. Approx. 170 min

M.E111 ME111

Singing in Two Parts

Singing in Two Parts

Students will perform the song “The Ghost of John” with two vocal parts. Sample ostinati are included in this Booklet. The teacher and class also may create their own ostinato. Students should have learned the song and the vocal ostinato and performed them together in a class period prior to the assessment. During this assessment, students will be divided into groups of two, with one student singing the song and the other student singing the ostinato. Students then will reflect briefly on their performances, describing what they feel they did well or areas in which they could improve.

The teacher could allow both students in the pair to perform both parts (the ostinato and the song), but the time allowed for this activity would need to be doubled. The performance of each student will be video recorded for scoring later using the scoring rubric included. Students’ scores can be recorded in the MAEIA Classroom Score Summary provided on page 8 of the Teacher Booklet.

This item contains only a Teacher Booklet.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
2ndN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.P.1M.EL.P.1 – Sing and play alone and with others a diverse repertoire of songs in both one and two parts with expression and accuracy.M.1.EL.4M.1.EL.4 – All students will apply skills and knowledge to perform in the arts.M.I.2.4M.I.2.4 – Sing an ostinato.N/AMU:Pr6MU:Pr6 – Convey meaning through the presentation of artistic work. MU:Pr5MU:Pr5 – Develop and refine artistic technique and work for presentation. Approx. 30-60 min

M.E202 ME202

Singing Partner Songs and an Ostinato

Singing Partner Songs and an Ostinato

Students will sing partner songs that are approximately eight measures long and will sing an ostinato in groups. Students should have learned both of the partner songs and the ostinato in previous lessons and had the opportunity to sing the songs and ostinato in previous lessons. Though examples of sample song pairs and an ostinato are provided in this Booklet, the teacher can choose which pieces are to be used.

After the students have performed, they will reflect on the quality of their performances using a reflection checklist.

This assessment will be video recorded by the teacher for scoring purposes. This assessment may be easier to administer if someone other than the teacher supervises the video recording. If this is not possible the teacher should be careful to ensure that the students who are performing stay in the video frame during the recording process.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
3rdN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.P.1M.EL.P.1 – Sing and play alone and with others a diverse repertoire of songs in both one and two parts, with expression and accuracy.ART.MI.EL.1ART.MI.EL.1 – All students will apply skills and knowledge to perform in the arts.M.1.2.4M.1.2.4 – Sing an ostinato.N/AMU:Pr6MU:Pr6 – Convey meaning through the presentation of artistic work. Approx. 20-30 min

M.E204 ME204

Singing Solo

Singing Solo

Students will individually perform a song based on grade-level knowledge and skills. Students should be familiar with singing songs with dynamic markings. Dynamic markings should be present in music or may need to be added by the teacher to music score.
After the song has been taught, students will perform the song alone and be video recorded for the teacher to evaluate based on the rubric provided. Students also will complete a Reflection and Self-Assessment Checklist found in the Student Booklet. The teacher may choose the repertoire or the student may choose from a repertoire list provided by the teacher.
The rubric used for this assessment addresses accurate pitches, accurate rhythms, tonal center/home tone/resting tone, tempo, voice type, use (singing voice/speaking voice/head voice), dynamics (loud/soft or piano/forte), and vocabulary for voice type, pitch, tonal center, rhythm, tempo, and dynamics.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
3rd, 4th, 5thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.P.1M.EL.P.1 – Sing and play alone and with others a diverse repertoire of songs in both one and two parts with expression and accuracy.M.1.3.1M.1.3.1 – Using developmentally appropriate singing voice, sing melodies accurately, and physically demonstrate macro and micro beat.M.1.5.1M.1.5.1 – Sing and play independently with accurate rhythm, pitch intonation, with appropriate timbre, technique, and tempo within various musical contexts.N/AMU:Pr6MU:Pr6 – Convey meaning through the presentation of artistic work. MU:Pr5MU:Pr5 – Develop and refine artistic technique and work for presentation. Approx. 30 min

M.T307 MT307

Small Group Performance: Process and Product

Small Group Performance: Process and Product

Students will form small performing groups (quartets, trios, etc.), and then select and prepare a short piece for performance with minimal teacher guidance. Each student will complete a Rehearsal Journal for each day of rehearsal. This assessment will take place over four weeks but use only four class periods.

In Part 1, groups will be assigned and the music distributed. The remainder of the class is to be used by the groups to plan their selected pieces and rehearsal schedules.

In Part 2, which will take place in the next class period, facilitated practice by the newly formed small ensembles will occur. The teacher will oversee the small group rehearsals and offer comments and practice strategies when needed.

In Part 3, the midpoint (which will take place two weeks from the starting day), students will practice in class for additional brief feedback from the teacher, who will also check rehearsal journals.

In Part 4, which will take place at the end of the four weeks, students will perform their pieces in class for their peers and be scored on a number of dimensions from the process and the performance using a provided rubric. An audio recording of each performance will be made for the teacher’s use in scoring students’ performances.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
6th, 7th, 8thN/A 2 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. It is suggested that the item be used in two or more adjacent grades, administering the item once per school year. This is especially suitable for assessments (e.g., MAEIA tasks) that require more time and effort to administer. M.MS.P.1M.MS.P.1 – Perform a diverse repertoire of music at an appropriate level of difficulty with expression and technical accuracy.M.I.MS.2M.I.MS.2 – Sing and play music in two and three parts within appropriate ranges.M.I.7.2M.I.7.2 – Sing a melody in a small group.M.I.MS.3M.I.MS.3 – Sing and play accurately as a soloist, and in both small and large ensembles, with appropriate technique and breath control.M.I.6.3M.I.6.3 – Sing and play accurately, in both small groups and large ensembles, with appropriate technique and breath control.M.I.7.3M.I.7.3 – Sing and play accurately as a soloist, and in both small and large ensembles, with appropriate technique and breath control.M.I.8.3M.I.8.3 – Sing and play accurately, as a soloist and in both small and large ensembles, with appropriate technique and breath control.N/AMU:Pr6MU:Pr6 – Convey meaning through the presentation of artistic work. MU:Pr5MU:Pr5 – Develop and refine artistic technique and work for presentation. Approx. 200 min

M.T308 MT308

Solo Performance

Solo Performance

Students will perform a piece of music from memory as a soloist. They will be evaluated on memorization, expression, technique, technical elements, breath control, and preparation. Students will prepare and practice the solo on their own, outside of the regular class time. Students will also make and continually revise a practice plan with specific goal items.

At the midpoint of performance preparation, the students will practice their solos in class for brief feedback from the teacher, who will also review the progress of the Practice Plan and Practice Log. Once the students have had adequate time to study and memorize their pieces, each student will present his or her solo piece for the class. The teacher will record student progress.

Following the class performance, students will perform the solo, from memory, at a performance venue. An audio or video recording of the performance will be made as an artifact of the assessment. Students will review the performances and reflect on the activity. The teacher will also review the students’ performances and assess them using the Teacher Scoring Rubric provided.

This item has not yet been field-tested.
7th, 8thN/A 2 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. It is suggested that the item be used in two or more adjacent grades, administering the item once per school year. This is especially suitable for assessments (e.g., MAEIA tasks) that require more time and effort to administer. M.MS.P.1M.MS.P.1 – Perform a diverse repertoire of music at an appropriate level of difficulty with expression and technical accuracy.ART.M.I.MS.1ART.M.I.MS.1 – Sing and play, with expression and technical accuracy, a diverse repertoire of vocal and instrumental literature, with and without notation, including selections performed from memory.ART.M.I.MS.3ART.M.I.MS.3 – Sing and play accurately, as a soloist and in both small and large ensembles, with appropriate technique and breath control.ART.M.I.7.1ART.M.I.7.1 – Sing and play, with expression and technical accuracy, an increasingly diverse repertoire of literature at developmentally appropriate levels. Perform at least one selection from memory.ART.M.I.8.1ART.M.I.8.1 – Sing and play, with expression and technical accuracy, a diverse repertoire of vocal and instrumental literature, with and without notation, including selections performed from memory.ART.M.I.7.3ART.M.I.7.3 – Sing and play accurately as a soloist, and in both small and large ensembles, with appropriate technique and breath control.ART.M.I.8.3ART.M.I.8.3 – Sing and play accurately as a soloist and in both small and large ensembles, with appropriate technique and breath control.N/AMU:Pr6MU:Pr6 – Convey meaning through the presentation of artistic work. Approx. 300 min

M.E209 ME209

Sound Source Identification

Sound Source Identification

In this assessment, the students will identify different sounds from traditional and nontraditional instruments as well as other sound sources, and then provide the context and the rationale for their identifications.

The students should have had previous experiences using class percussion instruments, nontraditional sound sources (e.g., STOMP), or electronic sound sources through apps on an iPad or comparable device. Students should have had previous exposure to rhymes/songs and rhythm patterns in duple and/or triple meters. Students also should have had listening lessons that exposed them to instrument families, singing, non-Western instruments, and nontraditional sound sources. Finally, students should have a working vocabulary of terms to describe timbre and sound characteristics.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
3rd, 4th, 5thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.R.2M.EL.R.2 – Critically analyze a musical work and reflect on its cultural context using developmentally appropriate terminology.ART.M.III.EL.5ART.M.III.EL.5 – Identify and describe a variety of sound sources, including orchestral, band, electronic, world instruments, and voices.M.III.3.5M.III.3.5 – Identify the timbre of specific instruments in string, brass, woodwind, and percussion families.M.III.4.5M.III.4.5 – Identify the timbre of non-western instruments.M.III.5.5M.III.5.5 – Identify and describe a variety of sound sources, including orchestral, band, electronic, world instruments, and voices.N/AMU:Re7MU:Re7 – Perceive and analyze artistic work.Approx. 50 min

M.E412 ME412

Theme & Variations

Theme & Variations

Year 1 (Level 1) – These students will take a single, prominent theme that is 8–16 bars in length from a piece of music that they are currently studying (e.g., an ensemble performance piece, an excerpt presented to a music theory course). Within the class period, the student will create a variation on the theme that is both similar to and different from the original source theme. The student’s original variation must be notated. The created variation must be in the same tonality and meter as the original theme, but it should differ in use of other elements of music (e.g., rhythm, pitches, intervals, contour). The variation should also be the same number of bars as the original theme.

Year 2 (Level 2) – These students must change both the tonality and the meter, vary other elements of the music (as listed above), and extend the length up to twice that of the original theme.

This item has not been field-tested by Michigan teachers.
9th, 10th, 11th, 12th 1, 2 Students who are in their first or second year in a single arts discipline. 2 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. It is suggested that the item be used in two or more adjacent grades, administering the item once per school year. This is especially suitable for assessments (e.g., MAEIA tasks) that require more time and effort to administer. M.HS.C.1M.HS.C.1 – Demonstrate an appropriate level of musical understanding through their interpretive decisions made when composing, improvising, or arranging music.ART.M.II.HS.4ART.M.II.HS.4 – Compose music in several different styles and demonstrate creativity in using the elements of music for expressive effect.C1C1 – Understand, recognize, and use the elements, organizational principles, patterns, relationships, techniques, skills, and applications of the visual, performing, or applied arts discipline.MU:MU: Cn10 – Synthesize and relate knowledge and personal experiences to make art.Approx. one 50 min class period

M.E208 ME208

Tonal Reading

Tonal Reading

Two versions of this assessment are provided to check student music reading skills. Teachers may choose to use one or both of these versions.

Version 1 is a sight-reading assessment in the key of G major or in the key of E minor. This assessment can take place at the beginning of each class period over several days. Each day, the teacher will listen to three or four students. Alternatively, the teacher can administer the assessment to individual students in a single class period, while the rest of the class is engaged in other music activities.

Version 2 of the assessment is a listening assessment. It is administered to the entire class at the same time. In this version, students listen to a pattern performed by the teacher and select the music notation pattern that they hear. Students will circle their answers on worksheets in the Student Booklet.

The tonal patterns in these assessments are in G major and E minor. The teacher can use the same patterns in another key and/or tonality of his or her choosing. However, this will require the transposition of the patterns in the Teacher Booklet and the Student Booklet prior to the assessment.

Students should have had previous experience reading and singing patterns in G major, E minor, or a key/tonality of the teacher’s choice. Also, students’ previous experience in writing these patterns will support their ability to read and sing patterns for these assessments, although this is not essential in order to engage in these assessments.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. field-tested
3rd, 4th, 5thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.P.1M.EL.P.1 – Sing and play alone and with others a diverse repertoire of songs in both one and two parts with expression and accuracyART.M.I.3.10ART.M.I.3.10 – Use a system to read pitch notation for a major scale.ART.M.I.4.10ART.M.I.4.10 – Use a system to read pitch notation for a minor scale.ART.M.I.5.10ART.M.I.5.10 – Use a system to read pitch notation in various tonalities.N/AMU:Pr4MU:Pr4 – Select, analyze, and interpret artistic work for presentation. Approx. 5-10 min

M.E230 ME230

Tonality and Meter Identification

Tonality and Meter Identification

Students will listen to the teacher sing songs in major tonality, minor tonality, duple meter, and triple meter. Students will identify the tonality and/or meter aurally and mark their responses in the Student Booklet. Students then will reflect on their performance during the assessment.

Before beginning this assessment, students must have a working knowledge of the terms “major tonality,” “minor tonality,” “duple meter,” and “triple meter.” They should have experience using these terms and aurally identifying music in these categories.

This item has not been field-tested by Michigan teachers.
3rd, 4thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.EL.R.1M.EL.R.1 – Listen to their own performances as well as those of others and critically analyze and reflect on those performances using developmentally appropriate musical terminology.ART.M.III.EL.4ART.M.III.EL.4 – Use music vocabulary to analyze, describe, and evaluate music of various styles. ART.M.III.3.4ART.M.III.3.4 – With teacher guidance, use music vocabulary to analyze, describe, and evaluate music of various styles. ART.M.III.4.4ART.M.III.4.4 – In small groups, use music vocabulary to analyze, describe, and evaluate music.N/AMU:Re7MU:Re7 – Perceive and analyze artistic work. Approx. 20 minutes

M.T417 MT417

Visual Arts Comparison

Visual Arts Comparison

Students will choose two pieces of visual art from a set of famous/iconic pieces (representative of different eras/genres). For each of the two visual art pieces, students will choose a piece of music from the same era/genre and write a short essay about the similarities between the artworks and the musical pieces.

This item has not been field-tested by Michigan teachers. connections cross-discipline integration multi-discipline music
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 3 This assessment can be used in demonstrating arts educator effectiveness through organizing and presenting student performance data along with information about the steps the teacher used to instruct, support, and encourage students. M.HS.R.3M.HS.R.3 – Make connections between musical concepts and similar concepts in other ways of thinking (disciplines).ART.M.V.HS.2ART.M.V.HS.2 – Compare characteristics of two or more arts within a particular historical period or style and cite examples from various cultures.R.2R.2 – Identify, describe, and analyze connections across the visual, performing, and applied arts disciplines and other academic disciplines.MU:Re7MU:Re7 – Perceive and analyze artistic work.MU:Cn11MU:Cn11 – Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding. Approx. 4 weeks

M.E408 ME408

Writing Scales

Writing Scales

Student will be given staff paper in their Student Booklets. Then, based on the number of years they have been in a high school music program, they will write a number of major scales.

The number of scales that students will write depends on their year in high school music:
o First-year (Level 1) students will write one scale.
o Second-year (Level 2) students will choose two scales to write.
o Third- and fourth-year (Level 3) students will choose three scales to write.

Students will be scored on accuracy of key signature and notes written, corresponding to the key signatures they chose. This exercise should take one class period.

This item has been voluntarily field-tested by Michigan teachers with a non-representative sample of students. exemplars field-tested
9th, 10th, 11th, 12th 1, 2, 3 Students who are at any year in a single arts discipline. 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.HS.C.1M.HS.C.1 – Demonstrate an appropriate level of musical understanding through their interpretive decisions made when composing, improvising, or arranging music.ART.M.III.HS.6ART.M.III.HS.6 – Evaluate a performance, composition, arrangement, or improvisation by comparing it to similar or exemplary models.C2C2 – Develop an idea, question, or problem that is guided by the personal, historical, contemporary, cultural, environmental, and/or economic contexts of the visual, performing, or applied arts discipline.MU:Cr2MU:Cr2 – Organize and develop artistic ideas and work.Approx. 50 min

M.T304 MT304

You Be the Judge: Creating and Applying Criteria to Performance

You Be the Judge: Creating and Applying Criteria to Performance

In this assessment, students will develop criteria to evaluate the quality and effectiveness of musical performances. Students will use the created criteria to evaluate a musical work performed by their own ensemble, providing a rationale for their scoring choices. Students will then give suggestions to improve future performances of the piece. This assessment has three parts that should be conducted over the course of three class periods.

In Part 1, the teacher will play an audio or video recording of a musical work performed by two different artists or ensembles. Each should be played twice.
Students will respond by listing five things they noticed about the piece using musical and performance terminology. The students will conclude Part 1 by writing a review that states which of the two listening examples they would recommend and why. Their review will cite details from the reflection they wrote in the Listening Log. The teacher will score the student work using a provided rubric.

In Part 2, students will develop their own criteria to evaluate the quality and effectiveness of musical performances. They will complete a performance rubric template found in the Student Booklet. Students will use their self-created rubrics to evaluate a musical performance. Part 2 will conclude as the class reflects on the criteria that the students chose and how it impacted their ratings.

In Part 3, the teacher will record the class performing a musical work. Students will listen to an audio playback of their ensemble and rate their performance using their self-created rubric. Students will provide a rationale for their ratings, citing details they heard during the playback. Part 3 will conclude as students provide praises and suggestions that will improve the quality of future performances.

This item has not yet been field-tested.
6th, 7th, 8thN/A 1 This assessment can be used in demonstrating arts educator effectiveness by changing the prompt(s) used, if any, and repeating the item one or more times. Sufficient instructional time on the underlying concepts assessed (not the assessment item itself) should occur so that change in student performance is possible. This is especially suitable for assessments (e.g., MAEIA events) that require less time and effort to administer. M.MS.R.1M.MS.R.1 – Listen to their own performances as well as those of others and critically analyze and reflect on those performances using developmentally appropriate musical terminology.ART.M.III.MS.4ART.M.III.MS.4 – Develop criteria based on musical knowledge and personal reflections for evaluating the quality and effectiveness of music performances and creations. Apply these criteria as self-evaluation when performing and creating.ART.M.III.6.4ART.M.III.6.4 – Develop criteria based on musical knowledge and personal reflections to evaluate the quality and effectiveness of music performances. Apply these criteria as self-evaluation when performing and creating.ART.M.III.7.4ART.M.III.7.4 – Develop criteria based on musical knowledge and personal reflections to evaluate the quality and effectiveness of music performances. Apply these criteria as self-evaluation when performing and creating.ART.M.III.8.4ART.M.III.8.4 – Develop criteria based on musical knowledge and personal reflections to evaluate the quality and effectiveness of music performances. Apply these criteria as self-evaluation when performing and creating.N/AMU:Re9MU:Re9 – Apply criteria to evaluate artistic work.Approx. 150 min