Music: Minidoka County Joint School District #331

Minidoka County Joint School District #331
Ensuring academic excellence, ethical behavior, and personal responsibility
MUSIC
2005 - 2010
COMMITTEE MEMBERS
Cathryn Garner, Acequia and Rupert Elementary-Memorial Campus
Stan Bruns, Rupert Elementary-Big Valley Campus
Renae Higley, Heyburn Elementary
Virginia Ortega-Pollard, Paul Elementary
Ross Barson, West Minico Instrumental
Julie Shepard, East Minico and Minico Instrumental
Ruth Lovelace, Junior High Choral
Jeffery Collier, Minico Choral
Elizabeth McFadden, Elementary Strings
Marika Holbrook, Middle School and High School Strings
John Fennell, Curriculum Director
TABLE OF CONTENTS
District Mission Statement.................................................................................................................iv
District Philosophy.............................................................................................................................iv
Music—Philosophy/Assumptions......................................................................................................iv
Recommendations for the New Curriculum ......................................................................................vi
Assessment in Music..........................................................................................................................viii
K-12 Scope and Sequence .................................................................................................................1
Elementary Music ..............................................................................................................................7

Assessment...............................................................................................................................7
Standards, Benchmarks, and Student Objectives
Kindergarten ..................................................................................................................8
First Grade .....................................................................................................................11
Second Grade .................................................................................................................15
Third Grade....................................................................................................................18
Fourth Grade ..................................................................................................................23
Fifth Grade .....................................................................................................................27
Elementary Strings...................................................................................................................31
Middle School Music.........................................................................................................................32

Course Descriptions .................................................................................................................32
Content and Achievement Standards .......................................................................................36
High School Music ............................................................................................................................39

Course Descriptions .................................................................................................................40
Content and Achievement Standards .......................................................................................43
Assessment Reporting and Monitoring..............................................................................................47

Integration of Curriculum with Career Pathways ..............................................................................47
In-Service...........................................................................................................................................47
Glossary .............................................................................................................................................48
Music Standards Publications ............................................................................................................49
ii
Addendum—Recommended National Standards ..............................................................................50
Curriculum and Scheduling .....................................................................................................50
Staffing.....................................................................................................................................53
Materials and Equipment .........................................................................................................55
Facilities...................................................................................................................................59
iii
DISTRICT MISSION STATEMENT
The mission of the Minidoka County Joint School District #331 is to prepare a community of
students for their futures by ensuring academic excellence, ethical behavior, and personal
responsibility.
DISTRICT PHILOSOPHY
We in the Minidoka County Joint School District #331 community believe the future lies in the
education of our youth. To this end we believe in and support a strong system of public
schooling for all youth that will provide a solid foundation of basic academic skills, advanced
and enhanced learning, and will develop character, ethical thought, and behavior.
We believe that such a system of schooling can best be achieved when supported by all
stakeholders in the community, and when students are encouraged and supported in their
learning endeavors.
We believe that our young people desire to learn and grow, and that in the schools the teachers,
administrators, and other educational professionals control the conditions that contribute to
success. We further believe that our schools and the school district should be organized and
operated in a manner that will assist, support and ensure excellence in education as stated in the
mission of this district.
We believe that a positive work and study environment, supported with energy by adequate
funding and technology, and an involved staff and citizenry will contribute to the achievement of
our mission, and will move us all toward the vision we have set forth.
MUSIC--PHILOSOPHY/ASSUMPTIONS
1. Every student can learn music. Every student is capable of singing, playing instruments,
and learning about music. Every student has the potential to meet the voluntary national
standards for music instruction if given the opportunity.
2. Music instruction should begin in the pre-school years. Students are seriously
disadvantaged when a school district fails to begin a systematic program of music instruction
before grade one.
3. Universal access to music education. Every student at every level, PreK-12 should have
access to a comprehensive program of music instruction in school, taught by teachers
qualified in music. General music classes should be required of all students through grade 8.
Every student should elect at least one year of study in music, dance, theatre, or visual arts in
grades 9-12. Every secondary school should offer courses for those students who are
interested in music but who, for lack of ability, background, or time do not participate in
band, orchestra, or chorus. The curriculum should include a broad array of opportunities for
learning diverse genres of music in diverse settings, at least some of which have no
prerequisites.
iv
4. A comprehensive music curriculum. The music curriculum should be balanced,
comprehensive, and sequential. It should consist not of a collection of unfocused activities,
but rather of a sequential series of carefully planned leaning experiences leading toward well-
defined goals. Every course in music should provide experiences in creating, performing,
listening to, and analyzing music in addition to focusing on its specific subject matter.
Traditional performance courses should include work in composing, improvising, and
analyzing music as well as studying music of various styles and cultures. Traditional
nonperformance courses should include making music and listening to it as well as talking
about and analyzing it.
5. Opportunity to learn. No student should be deprived of the opportunity to meet the content
and achievement standards because of the failure of his or her school to provide an adequate
learning environment. Every school must make available sufficient courses, staffing,
materials and equipment and facilities for musical learning.
6. Adequate support for music education. In order to achieve our commitment to equal
educational opportunity for all we should provide adequate financial resources to support a
music program designed to achieve the national voluntary standards. This support should
come from public funds and not be dependent on funds raised by students, teachers, or
support groups.
7. Interrelatedness within the curriculum. Listing the desired skills and knowledge in a set of
standards tends to conceal their interrelatedness. The skills and knowledge cited in the music
standards are related to one another. Evaluating, for example, is not an isolated skill but one
that permeates every other music experience. Only one of the nine standards refers to
singing, but that does not mean that only one-ninth of the instructional time should be
devoted to singing. Similarly, only one of the standards deals with understanding music in
relation to history and culture, and it would be totally unacceptable to ignore cultural and
historical contexts in instruction and the other eight standards. Well-planned learning
experiences will contribute to achieving two, three, or more standards simultaneously.
8. Provision for exceptional students. Students with disabilities and those with limited English
proficiency should have, to the fullest extent possible, the same opportunity to participate in
music, and on the same basis, as other students. This should include both general classroom
and elective experiences. Increased efforts are often necessary to meet the musical needs of
these students. Special programs and opportunities should be available to meet the needs of
students who are gifted and talented in music.
9. Utilization of community resources. Music education can benefit greatly from utilizing the
professional musicians and the musical institutions of the local community to enhance and
strengthen the school music curriculum. The contributions of these musicians and
institutions serve to complement but not substitute for a balanced, comprehensive, and
sequential school music program taught by qualified music educators.
10. New directions in teacher education. Pre-service and in-service education programs for
teachers should emphasize developing the ability to design and implement programs based
on the national voluntary standards.
v
RECOMMENDATIONS FOR THE NEW CURRICULUM
1. Skills and knowledge as objectives. The music curriculum should be conceived not as a
collection of activities in which students engage, but rather as a well-planned sequence of
learning experiences leading to clearly defined skills and knowledge. These experiences
should be challenging and rigorous but should reflect the joy and personal satisfaction that
are inherent in music. The purpose of studying music should be to enable our students to
enhance the quality of their lives by participating fully in their musical culture.
2. Diverse genres of styles of music. The music studied should reflect the multicultural
diversity of America’s pluralistic culture. It should include a broad range of genres, styles
and periods, including music from outside the art music traditions, music from various
cultures and ethnic groups that comprise American society and authentic examples from the
various musical cultures of the world. Many communities and schools, including ours, are a
smaller version of the global village. Our school music program should reflect that fact. The
music used should be of the highest quality within each genre, style and period. Moreover, a
variety of music within each genre or culture should be used in order to avoid musical
stereotyping.
3. Creative skills. The curriculum for every student should include improvisation and
composition. Many students gain considerable information about music and acquire
rudimentary performing skills, but too few have ample opportunities to improvise and
compose music. Today, electronic technology has brought improvisation and composition
within the capability of every student regardless of his or her level of advancement.
4. Problem solving and higher-order thinking skills. The curriculum for every student should
emphasize problem-solving and higher-order thinking skills. Music education should move
beyond the acquisition of facts toward the synthesis of knowledge. Beginning in middle
school, students are capable of exercising considerable independence in learning, both as
individuals and as members of groups. The learning tasks they are given should be
challenging, thought provoking and related to the real world of music as it is experienced
outside the school. Cooperative learning should be stressed. Students should be encouraged
to take the initiative and accept a share of responsibility for their own learning. The
emphasis should be on education rather than on entertainment.
5. Interdisciplinary relationships. Effective leaning is not subject to the artificial boundaries
traditionally separating subject matter in school. Ultimately the outcomes of schooling must
cut across subject-matter fields in order to be useful. Music, as with each of the arts must
maintain its integrity in the curriculum and be taught for its own sake, but at the same time
the curriculum should emphasize relationships among the arts and relationships between the
arts and disciplines outside the arts. Music can serve as a particularly useful framework
within which to teach a wide array of skills and knowledge, particularly in social studies and
language arts.
vi
6. Technology. The curriculum should utilize current technology to individualize and expand
music learning. Through the uses of computers, electronic keyboards, synthesizers,
samplers, CDs, CD-ROMs and various MIDI devices, every student can be actively involved
in creating, performing, listening to, and analyzing music. Computers in particular can be
used to facilitate the learning of basic skills and low-level information, so as to free the
teacher to work with students toward higher-lever learning. Digital techniques make sound
reproduction of the highest quality available in every classroom, while music scores and
resource materials also are instantly accessible. The technological limitations of the past
have largely been erased. Advances in computer communications make possible the sharing
of learning beyond school boundaries. However, technology should be used not for its own
sake, but in order to achieve the objectives of music education.
7. Assessment. Our district, each school and each music teacher should develop reliable, valid
and appropriate techniques for assessing student learning in music. Assessment, based on
explicit objectives derived from the skills, knowledge and understandings called for in the
standards and in this curriculum should be an integral part of instruction. Assessment in
music is difficult for many reasons, but it is essential if music is to achieve its place as one of
the basics in the new curriculum. “Authentic assessment” which refers to assessment
techniques that require demonstration of specific behavior or skill sought in the objective
rather than a paper-and-pencil representation of it has long been the standard practice among
music teachers in assessing skills in performance. The techniques of authentic assessment
should be extended to all classroom learning in music as well.
vii
ASSESSMENT IN MUSIC
Because of the nature of music education, the music educators in the Minidoka County School
District will not use the same types of written assessments that have been developed by the Math
and Social Studies committees. No single method of assessment is appropriate at all levels of
music instruction. Assessment at all levels is frequent. The teacher is constantly assessing, with
or without the students being aware they are being assessed. Music teachers use assessment
methods that help evaluate the performance of students, from beginning through highly
accomplished levels.
1. Assessment in music is not only possible, but is necessary. We should develop reliable,
valid and useful techniques for assessing student learning in music. Assessment should be
based on explicit objectives that identify clearly the skills and knowledge expected of
students. If instruction is effective, then the student will in some way behave differently as a
result. If that happens a basis for assessment exists. It is difficult or impossible to assess the
most intangible and exalted qualities of musicianship, but it is possible to assess the practical,
everyday skills and knowledge called for in the music standards.
2. The purpose of assessment is to improve learning. It does this by:
a. Informing students, parents, and teachers of individual and group progress toward
meeting the standards of the school.
b. Demonstrating to students, parents, and the community the types of learning and levels of
achievement sought by the school.
c. Furnishing teachers with information on the effectiveness of instruction and thereby
proving a basis for improvement.
d. Making possible comparisons involving student achievement across time and, when
desired among school districts or states.
e. Motivating student learning.
f. Providing information to policy-makers at all levels to aid in decision making.
3. Assessment of student learning is not synonymous with evaluation of teaching or
evaluation of instructional programs. The quality of teaching naturally affects the quality of
student learning as the quality of the school’s instructional programs affects student learning.
Teaching and instructional programs can both be evaluated, but are separate from student
learning
4. Assessment in music requires various techniques in various settings. Comprehensive
assessment takes place in a wide variety of contexts and settings, and each assessment
context requires different assessment techniques. The teacher’s observation and response to
a group or individual can teach and assess. Technology can also be used for assessing
student progress and learning: recorded performances, computer training courses in ear
training and theory, and electronic keyboards for individual musicianship enhancement.
5. Reports to parents should be based on standards. Traditionally, one of the most common
uses of assessment has been reporting to parents on student progress. Grading assessments in
large groups, as in smaller classes, should be based on content standards translated into
objectives that are expressed in terms of specific skills and knowledge.
viii
6. Guidelines for assessment: Based on the MENC standards, which are included in this
curriculum.
a. Assessment should be standards-based and should reflect the music skills and knowledge
that are most important for students to learn. Assessment of student achievement should
not be based on the skills and knowledge that are easiest to assess, but on the extent to
which each student has met the standards established, and should reflect the priorities of
the instructional program.
b. Assessment should support, enhance and reinforce learning. Assessments should be
viewed by both students and teachers as a continuing, integral part of instruction rather
than as an intrusion or interruption of the process of learning. The assessment process
should itself be a learning experience, not conducted or viewed as separate from the
learning process.
c. Assessment should be reliable. Reliability refers to consistency. For assessment to be
reliable every student must be assessed by identical procedures and the assessors must
share the same levels of expectation.
d. Assessment should be valid. Validity means that the assessment technique actually
measures what it claims to measure. The mental processes represented by the scores
correspond to the mental processes being assessed,
e. Assessment should be authentic. Authentic assessment means that assessment tasks
reflect the essential nature of the skill or knowledge being assessed. The student should
actually demonstrate a music behavior in an authentic or realistic situation rather than
merely answer written questions about it.
f. The process of assessment should be open to review by interested parties. Although
assessment of music learning can best be carried out by qualified music teachers, it is
important that students, parents, and the public be provided with sufficient information
and help that they can make judgments about the extent to which music learning is taking
place in their schools.
• Music exalts the human spirit. It enhances the quality of life. It brings joy,
satisfaction, and fulfillment to every human being. It is one of the most powerful,
compelling, and glorious manifestations of human culture. It is the essence of
civilization itself. Music learning would deserve to be included in the curriculum
even if it could not be assessed. But music learning based on explicit standards can
be assessed. Music should never be neglected in the school merely because its
assessment may be difficult, time-consuming, or costly.
ix
District Music K-12 Scope and Sequence
Language and Structure of Music K 1 2 3 4 5 6 7 8 9 10 11 12

Rhythm
Identify, describe, and respond (play, sing, move, create, listen) to steady beat * * * * * * * * * * * * *
Identify and respond to long and short sounds * * * * * * * * * * * * *
Define and distinguish between beat and rhythm * * * * * * * * * * * *
Identify and distinguish between rhythms in 2/4 meter * * * * * * * * * * * *
Read and respond to symbols: quarter notes, two-eighth notes and quarter rest * * * * * * * * * * * *
Read and respond to: half note, half rest, and tied notes * * * * * * * * * * *
Read and respond to: whole note, whole rest, and dotted half note * * * * * * * * * *
Read and respond to: sixteenth note, dotted quarter note, eighth rest, and
anacrusis * * * * * * * * *
Read and respond to: dotted eighth/sixteenth pattern, and triplet * * * * * * * *
Define and experience accent * * * * * * * * * * * *
Understand bar lines and measures * * * * * * * * * * * *
Read and respond to music in 2/4 meter * * * * * * * * * * * *
Read and respond to 4/4 meter * * * * * * * * * *
Read and respond to 3/4 meter * * * * * * * * * *
Read and respond to 6/8 meter * * * * * * * *
Read and respond to compound meters of 5/4, 9/8, 2/2 * * * * * * *
Read and respond to music in duple and triple meters, stressing accented and
unaccented beats * * * * * * * * * *
Write rhythmic dictation * * * * * * * * * * * *
Improvise rhythmic patterns * * * * * * * * *
Play and sing descant and ostinato * * * * * * * *
Read and respond to syncopation * * * * * * * *
1

Melody
Distinguish between speaking and singing voices * * * * * * * * * * * * *
Sing in tune * * * * * * * * * * * * *
Sing from memory, folk and composed songs * * * * * * * * * * * * *
Explore high and low pitches * * * * * * * * * * * * *
Explore contour, smooth, and "zigzag" melodies * * * * * * * * * * * * *
Read and respond to melodic phrases * * * * * * * * * * * * *
Read and respond to pitches and intervals that include so, mi, and la * * * * * * * * * * * *
Read and respond to pitches and intervals that include do and re * * * * * * * * * * *
Read and respond to pitches and intervals that include fa * * * * * * * * * *
Read and respond to direction of melodic line including steps, leaps and repeated
notes * * * * * * * * * *
Learn note names for treble clef * * * * * * * * * *
Hear, sing, and play music in major, minor, and pentatonic tonalities * * * * * * * * * *
Read and respond to notes on the five-line musical staff * * * * * * * * * * *
Read and respond to the keys of C and G * * * * * * * *
Write melodic dictation * * * *
Harmony
Demonstrate an ability to concentrate on two things at once * * * * * * * * * * * * *
Sing a melody while being accompanied by the instructor * * * * * * * * * * * * *
Hear and sing melodies having harmonic accompaniment * * * * * * * * * * * * *
Perform sung and spoken rounds * * * * * * * * * *
Identify instruments that provide harmonic accompaniment * * * * * * * * * * * *
Sing rounds, ostinati, and partner songs * * * * * * * * * *
Play ostinati and chords on Orff instruments and chord instruments * * * * * * * * * *
Sing and play descants, 2-part songs, and countermelodies * * * * * * * *
Hear and play primary chords (I, IV, V) * * * * * * * *
Sing in harmony by ear, using parallel melodies based on 3rds and 6ths * * * * * * *
2

Tempo and Dynamics
Read and respond (read, sing, play, create, move to, listen to) fast and slow tempo * * * * * * * * * * * * *
Read and respond to loud and soft * * * * * * * * * * * * *
Read and respond to getting louder and softer, and getting faster and slower * * * * * * * * * * *
Express concepts of tempo and dynamics by using musical terms * * * * * * * * * *
Read and respond to tempos of largo and presto * * * * * * * * * *
Read and respond to tempo of andante, and to fermata * * * * * * * * *
Read and respond to tempo of vivace * * * * * * * *
Read and respond to dynamics of crescendo, decrescendo, forte, and piano * * * * * * * * * *
Read and respond to dynamics of fortissimo and pianissimo * * * * * * * * *
Read and respond to dynamics of mezzo piano and mezzo forte * * * * * * * *
Read and respond to styles of staccato and accents * * * * * * *
Form
Respond (read, sing, play, create, move to, listen to) call and response, echo, and
antiphonal songs * * * * * * * * * * * * *
Identify and respond to musical phrases * * * * * * * * * * * * *
Identify and respond to two-part sectional form: AB * * * * * * * * * * * * *
Identify and respond to songs, marches, dances, and waltzes * * * * * * * * * * * * *
Identify and respond to suites, overtures, program music, absolute music, and
ballet music * * * * * * * * * *
Identify and respond to three-part sectional form: ABA * * * * * * * * * * *
Identify and respond to 1st and 2nd ending, D.C. al fine, and D.S. al fine * * * * * * * * * *
Identify and respond to rounds * * * * * * * * * *
Identify and respond to rondo (ABACA) * * * * * * * * *
Identify and respond to recognizable thematic material * * * * * * * * *
Identify and respond to theme and variations * * * * * * * *
Identify and respond to simple cadence * * * * * * *
3

Timbre
Experiment with the sound qualities of a variety of sound sources * * * * * * * * * * * * *
Distinguish one sound-producing source from another * * * * * * * * * * * * *
Identify by sight and sound familiar musical instruments * * * * * * * * * * * *
Perform choral readings * * * * * * * * * * *
Identify by sight and sound the orchestral family groups: percussion, strings,
brass, and woodwinds * * * * * * * * * * * *
Identify by sight and sound various folk instruments * * * * * * * *
Performance
Match pitches * * * * * * * * * * * * *
Sing with adequate breath support * * * * * * * * * * * * *
Sing with and without accompaniment * * * * * * * * * * * * *
Sing with attention to clarity and quality of tone * * * * * * * * * * * * *
Sing with good singing posture * * * * * * * * * * * * *
Sing expressively with attention to proper dynamics, tempo, and style * * * * * * * * * *
Sing with proper enunciation * * * * * * * *
Create music dramatizations of stories and poems by using instruments, speech,
singing, and chants, or combinations thereof * * * * * * * * * * * * *
Use creative movement to interpret the expressive qualities in music * * * * * * * * * * * * *
Demonstrate appropriate playing techniques on the recorders, ukulele, autoharp,
tone bars, tone bells, and percussion instruments * * * * * * * * * *
Respond to music through higher level structured dance and movement activities,
including folk dance, singing games, line dances, square dances, creative
movement, pantomime, and dramatization * * * * * * * * * * * * *
Improvise on instrument of choice, in a variety of musical styles * * * *
4
Heritage and History of Music K 1 2 3 4 5 6 7 8 9 10 11 12

Sing and perform songs representing our country's heritage and multi-ethnic
cultures * * * * * * * * * * * * *
Sing songs for national holidays and special celebrations * * * * * * * * * * * * *
Respond (sing, play, etc.) to music from other countries * * * * * * * * * * * * *
Discuss musical characteristics found in music from other countries * * * * * * * * * * *
Be aware of principles and elements of music also found in visual arts, dance, and
poetry * * * * * * * * * * *
Perform and discuss music used for different lifestyles and settings * * * * * * * * * * *
Respond to music indigenous to the United States * * * * * * * * * * * *
Respond to music pertaining to Idaho * * * * * * * * *
Recognize that music can be associated with historical periods * * * * * * * * *
Discuss the lives and listen to works of well-known composers * * * * * * * * * * * *
Discuss the lives and listen to works of American composers * * * * * * * * * * * *
Sing songs with foreign language texts * * * * * * * * * * * * *
5
Appreciation, Enjoyment, and Discrimination K 1 2 3 4 5 6 7 8 9 10 11 12

Respond to the feelings and mood in music * * * * * * * * * * * * *
Remain quiet during a concert * * * * * * * * * * * * *
Sit in one place during an entire concert * * * * * * * * * * * * *
Clap at the appropriate time, and with an appropriate length and dynamic level * * * * * * * * * * * * *
Wear proper attire to a concert * * * * * * * * * * * * *
Develop beauty and clarity of their own sound * * * * * * * * * * * * *
Listen to quality examples of performing groups * * * * * * * * * * * * *
Explore music as a career, especially the careers of singers and dancers * * * * * * * * * * * *
Explore music as a career, especially the careers of composers and conductors * * * * * * * * * * *
Explore music as a career, especially the careers of music teaching and
performing * * * * * * * * * *
Explore music as a career, especially the careers of music librarians, instrument
repairmen, and composers/arrangers * * * * * * * *
Share impressions and feelings about concerts and assemblies * * * * * * * * * * * * *
Evaluate performances * * * * * * * * * * * *
Evaluate elements of music when listening to a performance * * * * * * * *
Attend music concerts and performances outside of school time * * * * * * *
6
Elementary Music
Elementary Music Assessment
No single method of assessment is appropriate at the elementary level. Music teachers use
assessment methods that help evaluate the performance of many students and that fit into a
limited time schedule. Assessment at this level is frequent and may cover a shorter length of
teaching time compared to the regular classroom. The teacher is constantly assessing, with or
without the students being aware they are being assessed. Report cards will be marked “S” for
satisfactory or “U” for unsatisfactory.
The following music skills will be assessed by various observation of the student’s response on a
scale ranging from “beginning” through “mastery”:
• Participating in music games.
• Singing individually and in groups
• Playing ukuleles, recorders, autoharps and a variety of pitched and non-pitched

instruments.
• Creating rhythmic and melodic patterns
• Listening with understanding to a variety of music styles
• Moving to music appropriately
• Preparing for formal performances
• Modeling acceptable concert behavior
7
Kindergarten
Standard 1: Students understand the Language and Structure of Music
Benchmark: Perceive and understand the features of rhythm through a variety of experiences
including singing, playing, creating, listening and moving.
Student objectives:
1. Identify and describe steady beat in environmental sounds, such as a clock
ticking.
2. Move to a steady beat through activities such as patting, tapping, and walking
3. Demonstrate sensitivity to beat through use of rhythm instruments.
4. Identify and respond to long and short sounds through a variety of
movements.
Benchmark: Perceive and understand the features of melody through a variety of experiences
Student objectives:
1. Distinguish between their speaking and singing voices.
2. Grow in the ability to sing, in tune, songs having a narrow range.
3. Sing from memory a variety of folk and composed songs.
4. Explore high and low pitches through a variety of mediums.
5. Demonstrate the difference between smooth melodies and “zig-zag” melodies.
Benchmark: Perceive and understand the features of Harmony through a variety of

experiences including singing, playing, creating, listening and moving.
Student objectives:
1. Demonstrate an ability to concentrate on two things at once by activities such
as singing and clapping or singing and stepping.
2. Sing a melody while being accompanied by the instructor.
3. Listening to and singing melodies having harmonic accompaniment.
Benchmark: Perceive and understand the features of Tempo and dynamics through a variety
of experiences including singing, playing, creating, listening and moving.
Student objectives:
1. Demonstrate awareness of fast and slow tempo using appropriate body
movements and loco motor activities such as running and walking.
2. Distinguish between loud and soft sounds.
8
Benchmark: Perceive and understand the features of form through a variety of experiences
Student objectives:
1. Demonstrate awareness of musical structure through a wide variety of musical
experiences such as call and response songs and antiphonal songs.
Benchmark: Perceive and understand the features of timbre through a variety of experiences
Student objectives:
1. Experiment with the different qualities of sound that a single object can
produce.
2. Distinguish one sound-producing source from another.
3. Experiment with the sound quality of a variety of sound sources, including
environmental sources and classroom instruments.
Standard 2: Students gain an understanding of the heritage and history of

Music
Benchmark: Understand our national music heritage.
Student objectives:
1. Sing and perform songs, singing games and dances that represent our
country's heritage and multi-ethnic culture.
2. Sing patriotic songs and songs associated with national holidays and special
celebrations.
Benchmark: Understand music of many historical periods and cultures.
Student objectives:
1. Sing, perform, move and listen to songs, singing games, and dances from
other countries.
Benchmark: Understand the relationship of music to other areas of the arts and humanities.
Standard 3: Students grow in appreciation, enjoyment, and discrimination of

music.
Benchmark: Respond to the feeling music can evoke.
Student objectives:
1. Demonstrate awareness of happy and sad mood in songs.
9
Benchmark: Exhibit proper and appreciative audience behavior.
Student objectives:
1. Remain quiet during a concert.
2. Sit in one place during an entire concert
3. Clap at the appropriate time, length, and dynamic level.
10
First Grade
Standard 1: Students understand the language and structure of music
Student objectives:
1. Define and distinguish between beat and rhythm.
2. Distinguish between two short sounds and one long sound in 2/4 meter.
3. Identify, read the symbols, and respond to quarter notes, two eighth notes,
and quarter rest.
Ta tee tee ta tee tee quarter rest
4. Define and experience accent as a device for grouping strong and weak beats
in duple meter.
5. Understand that bar lines can be used to create measures containing a strong
and a weak beat.
6. Use the symbol 2/4 or 2/quarter to designate the grouping of two beats per
measure.
Student objectives:
1. Identify and describe the difference between high and low sounds in a variety
of mediums.
2. Demonstrate understanding of the pitches so, mi, and la.
3. Grow in the ability to sing on pitch, using a voice that is natural and
comfortable.
11
Benchmark: Perceive and understand the features of harmony through a variety of
Student objectives:
1. Perform two-part speech exercises, including spoken rounds and chants with
accompanying ostinati patterns.
2. Identify instruments that provide harmonic accompaniments, such as piano,
autoharp, and guitar.
3. Listen and move to a variety of music containing harmony.
Benchmark: Perceive and understand the features of tempo and dynamics through a variety
Student objectives:
1. Recognize and perform fast and slow and loud and soft music.
2. Recognize and perform getting faster and getting slower, and getting louder
and getting softer.
3. Recognize the symbols for getting louder and getting

softer.
Student objectives:
1. Identify where phrases begin and end in a simple song.
2. Identify phrases as being the same or different
3. Recognize two-part sectional form: AB
4. Perform two-part spoken rounds.
5. Perform correctly music containing a repeat symbol.
6. Recognize structures such as songs, marches, and dances.
including singing, playing, creating, listening, and moving.
Student objectives:
1. Experiment with a variety of body sounds, such as clapping, snapping, and
mouth sounds.
2. Experiment with "found sounds" in the environment.
3. Distinguish between adult and children's voices
4. Distinguish between high and low sounds.
5. Identify traditional classroom rhythm instruments by sight and sound.
6. Identify by sight and sound familiar musical instruments.
12
music
Student objectives:
1. Sing and perform songs, singing games and dances that represent our
country's heritage and multi-ethnic culture.
celebrations.
Student objectives:
1. Sing, perform, move and listen to songs, singing games, and dances from
other countries.
Student objectives:
1. Experiment with a variety of sound sources to accompany stories, dances,
dramas, and choral readings.

music.
Benchmark: Find enjoyment in responding to the feelings music can evoke.
Student objectives:
1. Explore fast and slow, loud and soft, as they affect the mood of a
composition.
2. Listen to music having a variety of moods.
Benchmark: Appreciate excellence in performance.
Student objectives:
1. Develop beauty and clarity of their own sound.
2. Listen to quality examples of children's choirs and other performing groups.
Benchmark: Learn of musical careers
Student objectives:
1. Explore music as a career, especially the careers of singers and dancers.
13
Student objectives:
1. Remain quiet during a concert.
2. Sit in one place during an entire concert
Benchmark: Evaluate individual and group performances and defend judgments in music
terms.
Student objectives:
1. Describe a performance.
2. Discuss improvements in their own performance.
14
Second Grade
Student objectives:
1. Identify and experience half note, half rest, and tied notes.
2. Understand 2/4 meter.
Student objectives:
1. Sing on pitch, using a voice that is natural and within a comfortable range.
2. Demonstrate an understanding of the pentatonic scale—do, re, mi, so, la.

Student objectives:
1. Sing simple two-part rounds.
2. Play simple ostinati with well-known melodies
Benchmark: Perceive and understand the features of tempo and dynamics through a variety of
Student objectives:
1. Distinguish between getting faster and getting slower.
2. Distinguish between getting louder and getting softer
3. Symbolize soft with 'p' and loud with 'f'.
4. Symbolize slow with 'largo' and fast with 'presto'.
15
Student objectives:
1. Distinguish between phrases that are the same and those that are different.
2. Distinguish between two-part (AB) and three-part (ABA) forms.
3. Use letters to designate the form of two-part and three-part sectional
compositions—AB and ABA.
4. Participate in two-part spoken and sung rounds.
5. Perform correctly a song having a first and second ending, D.C. al fine, and
D.S. al fine.
Student objectives:
1. Experiment with body sounds and found sounds from the environment.
2. Identify by sight and sound traditional classroom rhythm and melody
instruments.
3. Identify by sight and sound various musical instruments.
4. Perform choral readings of favorite poems.

music
Student objectives:
1. Sing and perform songs, singing games and dances, which are representative
of our country's heritage and culture.
celebrations.
Student objectives:
1. Sing and perform songs, singing games and dances from other countries.
2. Discuss musical characteristics found in music from other countries.
Benchmark: Understand the relationship of music to other areas of the arts and humanities
Student objectives:
1. Experiment with a variety of sound sources to accompany stories, dances,
dramas, and choral readings.
16
2. Be aware of principles and elements of music, which are also common in
visual arts, dance, and poetry, such as repetition, contrast, rhythm, etc.
Benchmark: Understand the purposes for which music is created and how those purposes
affect its style and form.
Student objectives:
1. Perform and discuss music used for different lifestyles and settings, such as
railroad songs, sea chanteys, etc.

music.
Student objectives:
1. Experiment with altering the mood of music by using gradual tempo changes
and changing dynamic levels.
2. Listen and respond to music having a variety of moods.
Student objectives:
1. Develop excellence in students’ own performances.
2. Listen to quality examples of children's choirs and other musical ensembles.
Benchmark: Gain an understanding of musical careers.
Student objectives:
1. Be aware of musical careers of composers and conductors.
Student objectives:
1. Remain silent during a concert
2. Sit in one place during an entire concert.
Benchmark: Evaluate individual and group performances and defend judgments in musical
terms
Student objectives:
1. Share impressions and feelings about concerts and assemblies.
2. Discuss how they might improve their own performances.
17
Third Grade
Student objectives:
1. Recognize and respond to beats and rhythm patterns in music using body
percussion, instruments and movement.
2. Identify, read, write, and respond to basic rhythmic notation learned in
previous grades: quarter note, two eighth notes, half note, quarter rest, half
rest and tied notes.
3. Identify, read, write, and respond to 4/4 meter, whole note, whole rest, dotted
half note.
4. Experience songs in 2 (duple) and 3 (triple) beat meters, stressing accented

and unaccented beats.
5. Play rhythm patterns on tone bells and tone bar instruments using proper
mallet technique.
Student objectives
1. Respond to the direction of a melodic line, including repeated notes, steps,
and skips
2. Recognize and read pitch syllables/numbers/intervals learned in previous
grades.
3. Learn note names for melodic patterns of limited range, i.e. mi, re, do in the
key of G (BAG), F (AGF), and C (EDC).
4. Hear, sing and play the interval fa-do (4-8, perfect 5th ).
5. Hear, sing, and play music in major, minor, and pentatonic tonalities.
18
6. Demonstrate an understanding of melodic phrases through body movement,
singing, and breathing with the phrases.
7. Be introduced to the five line musical staff.
8. Play melody lines on tone bells and tone bar instruments using proper mallet
technique.

Student objectives:
1. Sing rounds, ostinati, and partner songs.
2. Play instrumental rounds, ostinati, and chords on tone-bar, keyboard, and
chord instruments.
Student objectives:
1. Differentiate between variations in tempo.
2. Express slow and fast, soft and loud in musical terms, such as largo, presto,
piano, forte.
3. Respond to common dynamic markings, written or conducted,
such as crescendo decrescendo forte (f), piano (p).
Student objectives:
1. Identify simple AB form (verse-refrain) and ABA form (verse-refrain-verse)
by listening for repetition and contrast.
2. Recognize and identify structure found in rounds and canons.
3. Understand musical structures associated with their classroom experiences,
such as waltzes, suites, marches, overtures, program music, absolute music,
ballet music.
19
Student objectives:
1. Perceive differences in instrumental tone colors, including pitched and
unpitched rhythm instruments and orchestra instruments.
2. Identify vocal sound sources such as adult male, adult female, or children's
voices.
3. Identify by sound the orchestral family groups: percussion, strings, woodwind,
and brass.
Benchmark: Develop skill in singing.
Student objectives:
1. Match pitches of short musical phrases produced vocally by the
Instructor.
2. Sing with good posture.
3. Sing with and without accompaniment.

music
Student objectives:
1. Sing, discuss, and listen to music indigenous to the United States, such as
Sousa marches, folk music, songs of the West, etc.
2. Sing, play and dance singing games and dances representative of our country's
folk heritage and multiple cultures.
Student Objectives:
1. Sing, discuss, and listen to music of other countries with attention given to
indigenous musical characteristics.
2. Sing, play and dance singing games and dances from other lands.
Student objectives:
1. Understand music's relationship to and commonality with visual art, dance,
drama, and literature.
2. Perform and listen to music relating to the history, geography and literature of
our own and other lands.
20
Benchmark: Understand the purposes for which music is created and how those purposes will
Student objectives:
1. Understand the music they perform and listen to by exploring and discussing
its background and purpose.

music
Student objectives:
1. Respond to the expressive quality of the music in performance and listening.
2. Perceive how dynamic changes can affect the feeling, mood, and message of
music in performance and listening.
3. Listen to works of great composers.
Student objectives:
1. Strive for excellence in performance, including singing on pitch, singing
with good tone quality and enunciation, accurately following the conductor,
and showing good stage presence.
2. Perceive what contributes to excellence in the performance of others.
3. Exhibit proper playing techniques and care of instruments.
Benchmark: Be aware of musical careers.
Student objectives:
1. Be aware of careers of music teaching and performing.
Benchmark: Seek out additional performing and listening opportunities

.
Student objectives:
1. Attend concerts and other musical and fine arts presentations.
Student objectives:
1. Exhibit appropriate concert manners when attending concerts and assemblies.
21
terms.
Student objectives:
1. Share impressions and feelings about concerts and assemblies as well as their
own performances.
22
Fourth Grade
Student objectives:
1. Read, write, and perform sixteenth note, dotted quarter note, eighth rest, ¾
meter, and anacrusis (pick-up note)
2. Read and respond to rhythmic symbols and meters learned in previous grades,
using body percussion, instruments and movement.
3. Sing, clap, chant, and play rhythm patterns presented on flash cards, charts,
etc.
4. Play beats and rhythm patterns on pitched and un-pitched instruments.
5. Write simple rhythmic dictation.
6. Improvise short rhythmic patterns.
Student objectives:
1. Respond to the aural and visual direction of melodic lines, including repeated
notes, steps, and skips.
2. Recognize and read pitch syllables/numbers/intervals learned in previous
grades.
3. Sing and play intervals of a third, i.e. f-a, a-c, etc.
4. Identify letter names of notes in treble clef and understand their relationship
to each other.
5. Recognize the sound of and be aware of contrasts between major, minor and
pentatonic tonalities.
6. Demonstrate understanding of melodic phrases.

Student objectives:
1. Hear and perform two-part harmony by singing and playing rounds,
descants, ostinati figures, and partner songs.
23
Student objectives:
1. Respond to common musical terms related to tempo, such as presto, andante,
accelerando, ritardando.
2. Respond to expressive markings, such as fermata, ff, pp, etc.
3. Read and perform music with attention to tempo, dynamics, and style.
4. Listen to many different types of music and identify meter, mood, tempo and
dynamics.
Student objectives:
1. Identify musical forms such as two-part (AB), three-part (ABA), and rondo
(ABACA).
2. Identify easily recognizable thematic materials in listening selections.

Student objectives:
1. Perceive differences in voice qualities when listening to treble and bass vocal
selections.
2. Identify traditional and non-traditional instruments by sight and sound, such
as orchestral instruments, folk and ethnic instruments.
Benchmark: Develop skills in singing and playing.
Student objectives:
1. Sing with attention to clarity and quality of tone.
2. Sing with adequate breath support and good singing posture.
3. Sing expressively with attention to proper dynamics, tempo and style
4. Demonstrate appropriate playing techniques on the recorder.
5. Create music dramatization of stories or poems by using instruments, speech,
singing, chant or a combination thereof.
6. Use creative movement to interpret the expressive qualities in music.
24
music
Student objectives:
1. Sing and listen to folk songs and patriotic songs.
2. Perform songs, singing games and dances, which are indigenous to the United
States.
3. Sing and listen to folk and composed songs relating to the study of Idaho and
its history.
Benchmark: Understand the music of many historical periods and cultures.
Student objectives:
1. Recognize that music can be associated with general historical periods.
2. Sing and perform songs, singing games and dances from other lands and
cultures.
Benchmark: Recognize important composers and selections of their music.
Student objectives:
1. Be introduced to the lives and works of well-known composers
Benchmark: Understand the relationship of music to other areas of the humanities.
Student objectives:
1. Become aware of principles and elements of music, which are also common to
visual arts, dance, and poetry, specifically form and balance.
2. Sing and listen to music that relates to the history, geography and cultures of
our country and of other lands.
Benchmark: Understand the purposes for which music is created and how those purposes will
Student objectives:
1. Explore and discuss the purposes and historical settings of the music they
perform and listen to, such as work songs, railroad songs, cowboy songs, and
holiday songs.
25
music.
Student objectives:
1. Perceive and express the feeling or message of the music they perform.
Student objectives:
1. Be sensitive to factors contributing to excellence in their own and others'
performances, such as good intonation, balance blend, proper phrasing and
dynamics.
Benchmark: Understand musical careers.
Student objectives:
1. Be aware of potential career choices in music, specifically those of performer,
conductor, and disc jockey.
Benchmark: Seek additional performing and listening opportunities.
Student objectives:
1. Hear and see live performances outside the school setting.
2. Be involved in musical activities that give proper consideration to their needs
and abilities.
Student objectives:
1. Follow appropriate concert manners when attending concerts and assemblies
including applauding at the proper time, and not talking during the
performance.
Student objectives:
1. Share impressions and feelings about concerts and assemblies as well as their
own performance.
26
Fifth Grade
Student objectives:
1. Review and understand features of rhythm learned in previous grades.
2. Read, write and perform rhythms including dotted eighth note, sixteenth
note, and triplets.
3. Play rhythmic descants and ostinati by sight.

4. Create short rhythmic patterns using a variety of timbres, styles and forms.
5. Read, write and perform syncopation.
6. Perform complex rhythm patterns in a variety of meters including 2/4, 3/4, 4/4,
and 6/8.
Student objectives:
1. Review and understand features of melody learned in previous grades.
2. Read, write, sing and play melodic notation using pitch names, numbers or
syllables.
3. Read, write, sing and play the intervals 1-3, do-mi; 1-4, do-fa; 1-5, do-so; 1-8,
do-do (see Appendix B).
4. Identify sounds of major, minor, and pentatonic tonalities.
5. Follow melodic lines both aurally (recorded and live) and visually (staff
notation).
6. Play and create melodic patterns using a variety of timbres, styles and forms.
7. Review and reinforce knowledge of letter names in treble clef.
27
Student objectives:
1. Hear and produce harmony by singing and playing rounds, descants, partner
songs, two-part songs, and counter melodies.
2. Be introduced to primary chords (I, IV, V) as found in three-chord
instrumental accompaniments using keyboard, tone bar, tone bell and
chording instruments.
Student objectives:
1. Differentiate between varying degrees of tempo, such as allegro, largo,
vivace.
2. Respond to dynamics pp, p, mp, mf, f, ff.
3. Control dynamic levels when playing or singing.
4. Demonstrate an awareness that changes in tempo and dynamics can help
determine the mood of a piece of music.
Student objectives:
1. Respond when playing, singing, listening, and moving to features of forms
learned previously, including AB, ABA, and rondo (ABACA).
2. Become familiar with theme and variation form.
Student objectives:
1. Identify and classify traditional and non-traditional instruments by sight and
sound, such as orchestral, folk, and ethnic instruments.
Benchmark: Develop skills in singing and playing.
Student objectives:
1. Sing with increasing artistry by consciously striving for quality in tone and
dynamics.
2. Sing accompanied and unaccompanied songs.
3. Sing with increasing attention to proper breathing, good singing posture,
open vowels, and clear consonants.
28
4. Experience instrumental ensemble playing using a variety of instruments such
as recorders, ukuleles, autoharps, tone bells, tone bars, and percussion
instruments. Play instruments with correct technique.
5. Respond to music through activities such as higher level structured dance and
movement activities, including folk dances, singing games, line dances,
square dances, creative movement, pantomime and dramatization.

music
Student objectives:
1. Sing, dance, play a variety of American folk songs and singing games.
2. Become acquainted with American composers and their compositions
Benchmark: Understand the music of many historical periods and cultures.
Student objectives:
1. Sing and listen to a variety of ethnic music.
2. Sing songs with foreign language texts.
Benchmark: Gain knowledge of important composers and their music
Student objectives:
1. Listen to the music of various renowned composers and study their lives and
historical backgrounds, such as in a "Composer of the Week" program (see
Appendix A)
Benchmark: Understand the relationship of music to the other areas of the humanities.
Student objectives:
1. Relate and correlate music with other humanistic disciplines, such as history,
literature, drama, visual art, etc.
Benchmark: Understand the purposes for which music is created and how that affects its style
and form.
Student objectives:
1. Gain insight into expressive characteristics in music.
2. Identify the purposes of the music they perform or to which they listen and
how these purposes are related to expressive characteristics of the music.
29
music.
Student objectives:
1. Express and respond to the mood and message of the music being performed.
Student objectives:
1. Evaluate components of their own or others' performance with guidance by
the teacher.
Benchmark: Be aware of musical careers.
Student objectives:
1. Be exposed to an increasing variety of career opportunities in music,
specifically those of teacher, performer, composer-arranger, music librarian,
instrument repairman.
Benchmark: Seek performing and listening opportunities.
Student objectives:
1. Attend a variety of cultural performances.
2. Be involved in musical groups in the community, which give proper
consideration to their needs and abilities.
Student objectives:
1. Exhibit correct behavior for the performing or responding to our national
anthem, The Star Spangled Banner.
2. Exhibit correct courtesies to be extended to the performer—applause, not
whistling.
3. Exhibit self-discipline and attentiveness during a performance.
4. Understand and respond appropriately to cues from the conductor for audience
behavior.
terms.
Student objectives:
1. Evaluate elements of music when listening to performances.
30
ELEMENTARY STRINGS
Training in string instruments begins at the fourth grade level. Students should achieve the
following benchmarks in fourth and fifth grades in order to attain an adequate level of
proficiency by junior high/middle school.
Fourth Grade/Beginning Level:

Students shall demonstrate comprehension and skill competency in the following areas:
Posture: Proper aligned body position when playing while standing
Proper position for holding and playing the instrument while standing
Bowing: Pizzicato technique, with and without holding bow
Proper hand position in holding bow
Bowing with "full" bow
Slurring up to 4 notes, including slurred staccato as indicated in music
Notes/Fingerings: Recognize and play all notes in first position on all strings, including
both “high” and “low” second-finger notes
Rhythms: Recognize, count, and play half- and quarter-notes and rests, and eighth notes, 4/4
and 3/4 meter
Harmony: Play harmonic parts different from other students
Scales: G, D, A, & C 1 octave
Dynamics: Beginning understanding and use of p and f, crescendo and decrescendo
Tuning Instrument: Recognition of strings sounding out of tune, determining if they are too
high or too low
FIFTH GRADE:
Second-year students shall demonstrate comprehension and skill competency in the following
additional areas:
Bowing: Staccato, Double stops using one open string
Double-stops using one open string
Notes/Fingerings: Violins: Recognize and play low second and 1st finger, high 3rd finger, start
shifting to 3rd position
Cello: Play low 1st, use 2nd finger, and ½ position
Rhythms: Sixteenth notes, dotted eighths with sixteenths, dotted quarter, simple syncopation,
6/8 time
Scales: G, D, A, and C 2 octaves, F and B flat 1 octave
Dynamics: Can identify and produce dynamics including p, f, mf, crescendo, and decrescendo
Markings: Rallentando, ritardando, accelerando, Andante, Allegro, and Moderato
Tuning: Recognize if open string is sharp or flat
31
MIDDLE SCHOOL MUSIC
The period represented by grades 5-8 is especially critical in students' musical development. The
music they perform or study often becomes an integral part of their personal musical repertoire.
Composing and improvising provide students with unique insight into the form and structure of
music and at the same time help them to develop their creativity. Broad experience with a
variety of music is necessary if students are to make informed musical judgments. Similarly, this
breadth of background enables them to begin to understand the connections and relationships
between music and other disciplines. By understanding the cultural and historical forces that
shape social attitudes and behaviors, students are better prepared to live and work in
communities that are increasingly multicultural. The role that music will play in students' lives
depends in large measure on the level of skills they achieve in creating, performing, and listening
to music.
Terms identified by an asterisk (*) are explained in the glossary. Except as noted, the standards
in this section describe the cumulative skills and knowledge expected of all students upon exiting
grade 8. Students in grades 5-7 should engage in developmentally appropriate learning
experiences to prepare them to achieve these standards at grade 8. These standards presume that
the students have achieved the standards specified for grades K-4; they assume that the students
will demonstrate higher levels of the expected skills and knowledge, will deal with increasingly
complex music, and will provide more sophisticated responses to works of music. Every course
in music, including performance courses, should provide instruction in creating, performing,
listening to, and analyzing music, in addition to focusing on its specific subject matter.
Determining the curriculum and the specific instructional activities necessary to achieve the
standards is the responsibility of states, local school districts, and individual teachers.
COURSE DESCRIPTIONS
6TH GRADE BEGINNING BAND
Through performance in band, students will gain an appreciation and understanding of music in
relation to history, culture, other arts, and disciplines outside the arts. By understanding the
cultural and historical forces that shape social attitudes and behaviors, students are better
prepared to live and work in communities that are increasingly multicultural. The role that music
will play in students' lives depends in large measure on the level of skills they achieve in
creating, performing, and listening to music.
Students will become proficient on a band instrument being able to read, analyze, and evaluate
music. Students will also be given opportunity to create their own music through improvisation
and composition. This will provide students with unique insight into the form and structure of
music and at the same time help them to develop their creativity. Broad experience with a variety
of music is necessary if students are to make informed musical judgments.
32
TH
7 GRADE INTERMEDIATE BAND
8TH GRADE ADVANCED BAND

6TH GRADE CHOIR SURVEY

The choir survey course (9-12 weeks, depending on scheduling) is designed to introduce the
students to choir and to help them achieve self-efficacy in ensemble singing. In the course of
fulfilling state and national standards, it will include:
1. Introduction to singing
a. Games, activities, and simple songs designed to make students comfortable
with singing in group contexts and to develop pitch accuracy
b. Principles of healthy vocal technique: posture, diaphragmatic breath support,
open mouth position
c. Principles of vocal health
d. Singing easy songs in 2-part harmony
d. Participation in concert performance
e. Attendance in concert, applying principles learned about appropriate concert
behavior
33
2. Development of music literacy:
a. Recognition and application of treble clef notes
b. Recognition and application of simple rhythms: whole, half, quarter notes &
rests
c. Understanding of beat, rhythm, meter, and appropriate music vocabulary
terms
d. As available, basic training on electronic keyboards will assist students in
understanding music relationships and establish a neural-physical connection
in grasping music literacy
e. As available, playing of Orff instruments in simple ostinatos will develop
understanding of accompaniment principles, improvisation, and composition –
as per state & national standards
3. Awareness of the significance of vocal/choral music in culture & society
a. Discussion of the importance of music in society & specifically the roles of
choral music in history and current society
b. Learning the National Anthem with its history
c. Learning songs of other cultures & historical periods
7TH GRADE/INTERMEDIATE CHOIR

Seventh grade students, and those eighth grade students who have not taken choir during
the seventh grade, need to develop an intermediate level of musicianship and skill competency.
Building on a review of those skills and principles learned in the sixth grade survey course,
students will learn the following principles and develop the following skills, according to state
and national standards:
1. Develop harmonic singing capabilities to a sing in three parts
a. Understand principles of ensemble blend and balance
2. Develop further understanding of music literacy
a. Eighth note and dotted rhythms
b. Strengthen sight-singing skills to an intermediate level
3. Explore more music of other cultures and historical periods
a. Singing folk music of other cultures
b. Singing music representative of other historical periods
4. Develop further knowledge of music vocabulary and form, and use this writing about
music when listening to a range of significant choral recordings.
8TH GRADE ADVANCED CHOIR

It is important at the middle school level to separate students with beginning level skills from
those with advanced skills; this may be best accomplished with separate intermediate and
advanced choirs. Boys whose voices have changed need to be in an advanced group that can sing
SATB music, and need to learn to read bass clef notation. It is important that students have
achieved intermediate skills in order to prepare them, in the eighth grade, for high school
ensembles. The following advancements should be made at the eighth grade level:
1. Singing in four-part (SATB) harmony
2. Ability to sing polyphonic and a cappella music
34
3. Pitch independence and consistency, especially necessary with developing boys’
voices
4. Tone quality development appropriate to the individual’s stage of physiological vocal
maturity
5. Thorough understanding of the differences of styles appropriate to each era of music
history, including singing music of all periods
6. Development of competency in singing in other languages of the standard music
repertoire
7. Development of understanding of intervallic relationships and keys
8. Perform, in concert and at adjudicated festival, 4-part music from a variety of cultures
and historical period at the appropriate skill level, demonstrating creative expression
and the application of learned skills
INTERMEDIATE ORCHESTRA
This three-trimester course is designed for the education of orchestra students, grades 6-8, who
have already received beginning instruction on their instrument. Other situations are welcome at
the teacher’s discretion. Through this course students should: (1) gain a deeper understanding of
the language and structure of orchestral music; (2) enhance personal and group skills in
performing, creating, listening to, and analyzing music; (3) enhance their awareness and
understanding of our music heritage; and (4) deepen their appreciation and valuing of music.
Students will participate in concerts, clinics, and festivals throughout the year. Students are
expected to enroll in all three trimesters.
ADVANCED ORCHESTRA
By audition or appointment only. This three-trimester course is designed for the education of
orchestra students, grades 6-8, who have already received a considerable level of proficiency on
their instrument. Through this course students should: (1) gain a deeper understanding of the
language and structure of orchestral music; (2) enhance personal and group skills in performing,
creating, listening to, and analyzing music; (3) enhance their awareness and understanding of our
music heritage; and (4) deepen their appreciation and valuing of music. Students will participate
in concerts, clinics, and festivals throughout the year. Students are expected to enroll in all three
trimesters.
35
1. Content and Achievement Standards
1. Content Standard: Singing, alone and with others, a varied repertoire of music
Achievement Standard:
Students
a. sing accurately and with good breath control throughout their singing ranges, alone and in
small and large ensembles
b. sing with *expression and *technical accuracy a repertoire of vocal literature with a *level of
difficulty of 2, on a scale of 1 to 6, including some songs performed from memory
c. sing music representing diverse *genres and cultures, with expression appropriate for the
work being performed
d. sing music written in two and three parts Students who participate in a choral ensemble
e. sing with expression and technical accuracy a varied repertoire of vocal literature with a level
of difficulty of 3, on a scale of 1 to 6, including some songs performed from memory
2. Content Standard: Performing on instruments, alone and with others, a varied repertoire of
music
Students
a. perform on at least one instrument accurately and independently, alone and in small and large
ensembles, with good posture, good playing position, and good breath, bow, or stick control
b. perform with expression and technical accuracy on at least one string, wind, percussion, or
*classroom instrument a repertoire of instrumental literature with a level of difficulty of 2, on
a scale of 1 to 6
c. perform music representing diverse genres and cultures, with expression appropriate for the
work being performed
d. play by ear simple melodies on a melodic instrument and simple accompaniments on a
harmonic instrument
Students who participate in an instrumental ensemble or class

a. perform with expression and technical accuracy a varied repertoire of instrumental literature
with a level of difficulty of 3, on a scale of 1 to 6, including some solos performed from
memory
3. Content Standard: Improvising melodies, variations, and accompaniments
Students
a. improvise simple harmonic accompaniments
b. improvise melodic embellishments and simple rhythmic and melodic variations on given
pentatonic melodies and melodies in major keys
c. improvise short melodies, unaccompanied and over given rhythmic accompaniments, each in
a consistent *style, meter, and tonality
36
4. Content Standard: Composing and arranging music within specified guidelines
Students
a. compose short pieces within specified guidelines, demonstrating how the elements of music
are used to achieve unity and variety, tension and release, and balance
b. arrange simple pieces for voices or instruments other than those for which the pieces were
written
c. use a variety of traditional and nontraditional sound sources and electronic media when
composing and arranging
5. Content Standard: Reading and notating music
Students
a. read whole, half, quarter, eighth, sixteenth, and dotted notes and rests in 2/4 , 3/4 , 4/4 , 6/8 ,
3/8 , and alla breve meter signatures
b. read at sight simple melodies in both the treble and bass clefs
c. identify and define standard notation symbols for pitch, rhythm, dynamics, tempo,
articulation, and expression
d. use standard notation to record their musical ideas and the musical ideas of others
Students who participate in a choral or instrumental ensemble or class

a. sight read accurately and expressively, music with a level of difficulty of 2 on a scale of 1 to 6
6. Content Standard: Listening to, analyzing, and describing music
Students
a. describe specific music events in a given aural example, using appropriate terminology
b. analyze the uses of *elements of music in aural examples representing diverse genres and
cultures
c. demonstrate knowledge of the basic principles of meter, rhythm, tonality, intervals, chords,
and harmonic progressions in their analyses of music
7. Content Standard: Evaluating music and music performances
Students
a. develop criteria for evaluating the quality and effectiveness of music performances and
compositions and apply the criteria in their personal listening and performing
b. evaluate the quality and effectiveness of their own and others' performances, compositions,
arrangements, and improvisations by applying specific criteria appropriate for the style of the
music and offer constructive suggestions for improvement
37
8. Content Standard: Understanding relationships between music, the other arts, and
disciplines outside the arts
Students
a. compare in two or more arts how the characteristic materials of each art can be used to
transform similar events, scenes, emotions, or ideas into works of art
b. describe ways in which the principles and subject matter of other disciplines taught in the
school are interrelated with those of music
9. Content Standard: Understanding music in relation to history and culture
Students
a. describe distinguishing characteristics of representative music genres and styles from a variety
of cultures
b. classify by genre and style (and, if applicable, by historical period, composer, and title) a
varied body of exemplary (that is, high-quality and characteristic) musical works and explain
the characteristics that cause each work to be considered exemplary
c. compare, in several cultures of the world, functions music serves, roles of musicians, and
conditions under which music is typically performed
Notes:
1. E.g. band or orchestra instrument, keyboard instrument, fretted instrument, electronic
instrument
2. E.g. a particular style, form, instrumentation, compositional technique
3. E.g. entry of oboe, change of meter, return of refrain
4. I.e. sound in music, visual stimuli in visual arts, movement in dance, human interrelationships
in theatre
5. E.g. language arts: issues to be considered in setting texts to music; mathematics: frequency
ratios of intervals, sciences: the human hearing process and hazards to hearing; social studies:
historical and social events and movements chronicled in or influenced by musical works
6. E.g. jazz, mariachi, gamelan
7. E.g. lead guitarist in a rock band, composer of jingles for commercials, singer in Peking opera
38
HIGH SCHOOL MUSIC
The study of music contributes in important ways to the quality of every student’s life. Every
musical work is a product of its time and place, although some works transcend their original
settings and continue to appeal to humans through their timeless and universal attraction.
Through singing, playing instrument and composing students can express themselves creatively,
while knowledge of notation and performance traditions enables them to learn new music
independently throughout their lives. Skills in analysis, evaluation, and synthesis are important
because they enable students to recognize and pursue excellence in their musical experiences and
to understand and enrich their environment. Because music in an integral part of human history,
the ability to listen with understanding is essential if students are to gain a broad cultural and
historical perspective. The adult life of every student is enriched by the skills, knowledge, and
habits acquired in the study of music. Every course in music, including performance courses,
should provide instruction in creating, performing, listening to, and analyzing music.
Terms identified by an asterisk (*) are explained in the glossary. Two levels of achievement,
"proficient" and "advanced," have been established for grades 9-12. The proficient level is
intended for students who have completed courses involving relevant skills and knowledge for
one to two years beyond grade 8. The advanced level is intended for students who have
completed courses involving relevant skills and knowledge for three to four years beyond grade
8. Students at the advanced level are expected to achieve the standards established for the
proficient as well as the advanced levels. Every student is expected to achieve the proficient level
in at least one arts discipline (that is, music, dance, theatre, visual arts) by the time he or she
graduates from high school.
The standards in this section describe the cumulative skills and knowledge expected of students
exiting grade 12 who have enrolled in relevant music courses. They presume that the students
have achieved the standards specified for grades 5-8; they assume that the students will
demonstrate higher levels of the expected skills and knowledge, will deal with increasingly
complex music, and will provide more sophisticated responses to works of music. Every course
in music, including performance courses, should provide instruction in creating, performing,
listening to, and analyzing music, in addition to focusing on its specific subject matter.
Determining the curriculum and the specific instructional activities necessary to achieve the
standards is the responsibility of states, local school districts, and individual teachers.
39
COURSE DESCRIPTIONS
INSTRUMENTAL MUSIC COURSES

CONCERT BAND
Concert band students will learn and perform band literature by a variety of classic and modern
composers. Through performance in band, students will gain an appreciation and understanding
of music in relation to history, culture, other arts, and disciplines outside the arts.
music. Emphasis is on concert style performance, with concerts, large group contest and solo
and ensemble festivals being supported. Community support in the forms of pep band, marching
in parades and playing at graduation are expected.
JAZZ BAND
Jazz band students will learn and perform classic and modern jazz by a variety of composers.
Students will become proficient on a jazz band instrument, being able to read, analyze and
evaluate music. Emphasis on improvisation and performance in concert and at festivals gives
students the opportunities to grow musically and socially.
PERCUSSION ENSEMBLE
Basic skills, including individual rudimental playing and ensemble technique will be taught in a
class setting. Marching drum line techniques, jazz style and concert ensemble for performance at
solo & ensemble are covered.
GUITAR CLASS
Beginning and intermediate guitar are taught in a class setting, giving basic instruction in
Classical, jazz, folk, rock, country and blues styles. Students are expected to learn to read
tablature as well as traditional notation. No other instrument lends itself to such a variety of
moods and styles of music.
MUSIC LITERATURE
Through research, lecture, video, audio and live performance, students will gain a basic exposure
to various musical genres from differing historical periods and cultural areas. Listening skills in
music prepare students to critically evaluate the quality of the music they hear around them
constantly. Music education prepares students to better live and work in communities that are
increasingly multicultural
40
ORCHESTRA
This three-trimester course is designed for the education of orchestra students, grades 9-12, who
have already received a considerable level of proficiency on their instrument. Other situations
are welcome at the teacher’s discretion. Through this course students should: (1) gain a deeper
understanding of the language and structure of orchestral music; (2) enhance personal and group
skills in performing, creating, listening to, and analyzing music; (3) enhance their awareness and
understanding of our music heritage; and, (4) deepen their appreciation and valuing of music.
Students will participate in concerts, clinics, and festivals throughout the year. Students are
expected to enroll in all three trimesters.
CHAMBER ORCHESTRA
By audition only. This three-trimester course is designed for the education of orchestra students,
grades 9-12, who have received a considerable level of advanced ability on their instrument.
Through this course students should: (1) gain a deeper understanding of the language and
structure of orchestral music; (2) enhance personal and group skills in performing, creating,
listening to, and analyzing music; (3) enhance their awareness and understanding of our music
heritage; and (4) deepen their appreciation and valuing of music. Students will participate in
concerts, clinics, and festivals throughout the year. Students are expected to enroll in all three
trimesters.
VOCAL MUSIC COURSES
CONCERT CHOIR
This course is open to any student. Students will attain working knowledge of the voice and
build a solid basis for further vocal instruction. The student desiring membership in one of the
select ensembles is encouraged to participate in three trimesters of Concert Choir. The ensemble
will perform choral literature by a variety of composers from the renaissance to contemporary
music. The Concert Choir participates in all applicable festivals, school programs, and citywide
concerts. Students are required to purchase an activity card each fall.
SERENITY SOUNDS (A Women’s Chorus)

This course is open to students through successful audition only (Auditions held each Spring).
You are required to participate for three trimesters. Students will attain working knowledge of
the voice and build a solid basis for further vocal instruction. This group will focus on choral
music written specifically for women voices. This group will focus on a wide variety of musical
styles and composers. A willingness to enthusiastically study voice and quality literature is
required. The Concert Choir participates in all applicable festivals, school programs, and
citywide concerts. Serenity Sounds singers will be required to purchase an activity card and their
own performance attire each fall.
41
SPARTAN SINGERS
You are required to participate for three trimesters. This select mixed ensemble specializes in
major choral works and spirituals. Enthusiastic, positive, dependable singers are ideal for this
class. The choir participates in all applicable festivals, school programs, and citywide concerts.
The singers in this group will be participating in a variety of festivals and performance situations
in and out of our area. Students will be required to purchase an activity card and pay a robe
maintenance fee each fall.
REFLECTIONS
You are required to participate for three trimesters. You are required to participate in both
Spartan Singers and Reflections for all three trimesters. This Zero hour class is a small
ensemble, which focuses primarily on chamber and madrigal music in addition to vocal jazz.
Enthusiastic, musically literate, positive, dependable singers with past vocal training are ideal for
this class. The singers in this group will be participating in a variety of festivals and
performance situations in and out of our area. Students will be required to attend the Fall Retreat
and purchase an activity card. Singers will be required to purchase their own performance and
travel attire each fall.
42
CONTENT AND ACHIEVEMENT STANDARDS
1. Content Standard: Singing, alone and with others, a varied repertoire of music
Achievement Standard, Proficient:

Students
a. sing with *expression and *technical accuracy a large and varied repertoire of vocal literature
with a *level of difficulty of 4, on a scale of 1 to 6, including some songs performed from
memory
b. sing music written in four parts, with and without accompaniment
c. demonstrate well-developed ensemble skills
Achievement Standard, Advanced:

Students
a. sing with expression and technical accuracy a large and varied repertoire of vocal literature
with a level of difficulty of 5, on a scale of 1 to 6
b. sing music written in more than four parts
c. sing in small ensembles with one student on a part
2. Content Standard: Performing on instruments, alone and with others, a varied repertoire of
music

Students
a. perform with expression and technical accuracy a large and varied repertoire of instrumental
literature with a level of difficulty of 4, on a scale of 1 to 6
b. perform an appropriate part in an ensemble, demonstrating well-developed ensemble skills
c. perform in small ensembles with one student on a part

Students
a. perform with expression and technical accuracy a large and varied repertoire of instrumental
literature with a level of difficulty of 5, on a scale of 1 to 6
3. Content Standard: Improvising melodies, variations, and accompaniments

Students
a. improvise stylistically appropriate harmonizing parts
b. improvise rhythmic and melodic variations on given pentatonic melodies and melodies in
major and minor keys
c. improvise original melodies over given chord progressions, each in a consistent *style, meter,
and tonality
43
Students
a. improvise stylistically appropriate harmonizing parts in a variety of styles
b. improvise original melodies in a variety of styles, over given chord progressions, each in a
consistent style, meter, and tonality
4. Content Standard: Composing and arranging music within specified guidelines

Students
a. compose music in several distinct styles, demonstrating creativity in using the *elements of
music for expressive effect
b. arrange pieces for voices or instruments other than those for which the pieces were written in
ways that preserve or enhance the expressive effect of the music
c. compose and arrange music for voices and various acoustic and electronic instruments,
demonstrating knowledge of the ranges and traditional usages of the sound sources

Students
a. compose music, demonstrating imagination and technical skill in applying the principles of
composition
5. Content Standard: Reading and notating music

Students
a. demonstrate the ability to read an instrumental or vocal score of up to four staves by
describing how the elements of music are used


Students
a. demonstrate the ability to read a full instrumental or vocal score by describing how the
elements of music are used and explaining all transpositions and clefs
b. interpret nonstandard notation symbols used by some 20th- century composers

44
6. Content Standard: Listening to, analyzing, and describing music

Students
a. 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
b. demonstrate extensive knowledge of the technical vocabulary of music
c. identify and explain compositional devices and techniques used to provide unity and variety
and tension and release in a musical work and give examples of other works that make similar
uses of these devices and techniques

Students
a. demonstrate the ability to perceive and remember music events by describing in detail
significant events occurring in a given aural example
b. compare ways in which musical materials are used in a given example relative to ways in
which they are used in other works of the same genre or style
c. analyze and describe uses of the elements of music in a given work that make it unique,
interesting, and expressive
7. Content Standard: Evaluating music and music performances

Students
a. evolve specific criteria for making informed, critical evaluations of the quality and
effectiveness of performances, compositions, arrangements, and improvisations and apply the
criteria in their personal participation in music
b. evaluate a performance, composition, arrangement, or improvisation by comparing it to
similar or exemplary models

Students
a. evaluate a given musical work in terms of its aesthetic qualities and explain the musical
means it uses to evoke feelings and emotions
8. Content Standard: Understanding relationships between music, the other arts, and
disciplines outside the arts

Students
a. explain how elements, artistic processes, and organizational principles are used in similar and
distinctive ways in the various arts and cite examples
b. compare characteristics of two or more arts within a particular historical period or style and
cite examples from various cultures
c. explain ways in which the principles and subject matter of various disciplines outside the arts
are interrelated with those of music
45
Students
a. compare the uses of characteristic elements, artistic processes, and organizational principles
among the arts in different historical periods and different cultures
b. explain how the roles of creators, performers, and others involved in the production and
presentation of the arts are similar to and different from one another in the various arts
9. Content Standard: Understanding music in relation to history and culture

Students
a. classify by genre or style and by historical period or culture unfamiliar but representative
aural examples of music and explain the reasoning behind their classifications
b. identify sources of American music genres, trace the evolution of those genres, and cite well-
known musicians associated with them
c. identify various roles that musicians perform, cite representative individuals who have
functioned in each role, and describe their activities and achievements

Students
a. identify and explain the stylistic features of a given musical work that serve to define its
aesthetic tradition and its historical or cultural context
b. identify and describe music genres or styles that show the influence of two or more cultural
traditions, identify the cultural source of each influence, and trace the historical conditions
that produced the synthesis of influences
Notes:
1. E.g. rubato, dynamics
2. E.g. fugal entrances, chromatic modulations, developmental devices
3. E.g. imagination, craftsmanship
4. E.g. unity and variety, repetition and contrast
5. E.g. Baroque, sub-Saharan African, Korean
6. E.g. language arts: compare the ability of music and literature to convey images, feelings, and
meanings; physics: describe the physical basis of tone production in string, wind, percussion, and
electronic instruments and the human voice and of the transmission and perception of sound
7. E.g. creators: painters, composers, choreographers, playwrights; performers: instrumentalists,
singers, dancers, actors; others: conductors, costumers, directors, lighting designers
8. E.g. swing, Broadway musical, blues
9. E.g. entertainer, teacher, transmitter of cultural tradition
46
Assessment Reporting and Monitoring
No formal reporting or monitoring, as part of the curriculum outline approved by the
Board of Trustees, will be provided to the Board of Trustees for music education. However,
students, teachers, staff, administration, parents, and patrons at large will continually monitor the
over-all condition and success of the various music programs. Such monitoring will occur
whenever students in these programs perform at concerts or athletic contests, or in other formal
or informal settings, and as the number of students participating in the different music programs
varies from year to year.
Integration of Curriculum with Career Pathways

The Idaho Arts and Communications Career Pathway includes programs related to the
humanities and to the performing, visual, literary, and media arts. Music education is an integral
part of the Arts and Communications Career Pathway.
The Idaho Career Pathways emphasizes the inclusion of Humanities in the areas of Arts
and Communications, Human Resources, and Industrial and Engineering pathways. In addition,
the state of Idaho and the Minidoka School District require 4 credits of Humanities or
Practical/Performing Arts in order to meet graduation requirements. Several of the classes
currently meet either the academic or performing humanities requirement.
Music courses that can be taken to meet the requirements for graduation are Music
Literature A/B/C, chorus (this includes Spartan Singers, Serenity Sounds, Reflections, and
Concert Choir), Band, Guitar, and Orchestra. Students may take additional elective classes as
part of the completion of the Arts and Communications Career Pathway.
Students as Minico High School can receive 60 credits by attending school full time for
four years. The completion of an Arts and Communications pathway allows a student to select
29 elective credits if selecting a standard diploma. Students who wish to receive a prep diploma
may select 25 elective credits, while the honors diploma allows 23 credits. Students who choose
to take release time religious education classes have 8 less electives to choose. It should be
noted that the electives selected are in addition to the 4 credits of humanities required to
graduate. During the 1999-2000 school year Minico was approved for dual credit for Music
Literature. Students participating in those classes can choose to receive college credit.
In addition to High School requirements, most college programs require the inclusion of
humanities classes for completion of an associates or baccalaureate degree. Music education is
considered a vital part of education, as the inclusion of these classes in the Career Pathways and
post-secondary programs indicates.
In-Service
Music teachers will receive in-service training in order to better use the new textbooks
and other materials that are part of this adoption cycle. This training will be provided in August
2005.
47
GLOSSARY
Classroom instruments. Instruments typically used in the general music classroom, including, for
example, recorder-type instruments, chorded zithers, mallet instruments, simple percussion
instruments, fretted instruments, keyboard instruments, and electronic instruments.
Elements of music. Pitch, rhythm, harmony, dynamics, timbre, texture, *form. Expression,
expressive, expressively. With appropriate dynamics, phrasing, *style, and interpretation and
appropriate variations in dynamics and tempo.
Form. The overall structural organization of a music composition (e.g. AB, ABA, call and
response, rondo, theme and variations, sonata-allegro) and the interrelationships of music events
within the overall structure.
Genre. A type or category of music (e.g. sonata, opera, oratorio, art song, gospel, suite, jazz,
madrigal, march, work song, lullaby, barbershop, Dixieland).
Level of difficulty. For purposes of these standards, music is classified into six levels of
difficulty:
Level 1-Very easy. Easy keys, meters, and rhythms; limited ranges.
Level 2-Easy. May include changes of tempo, key, and meter, with modest ranges.
Level 3-Moderately easy. Contains moderate technical demands, expanded ranges, and
varied interpretive requirements.
Level 4-Moderately difficult. Requires well-developed *technical skills, attention to phrasing
and interpretation, and ability to perform various meters and rhythms in a variety of keys.
Level 5-Difficult. Requires advanced technical and interpretive skills; contains key
signatures with numerous sharps or flats, unusual meters, complex rhythms, subtle dynamic
requirements.
Level 6-Very difficult. Suitable for musically mature students of exceptional competence.
(Adapted with permission from NYSSMA Manual, Edition XXIII, published by the New
York State School Music Association, 1991).
MIDI (Musical Instrument Digital Interface)--Standard specifications that enable electronic

instruments such as the synthesizer, sampler, sequencer, and drum machine from any
manufacturer to communicate with one another and with computers.
Style--The distinctive or characteristic manner in which the *elements of music are treated. In
practice, the term may be applied to, for example, composers (the style of Copland), periods
(Baroque style), media (keyboard style), nations (French style), form or type of composition
(fugal style, contrapuntal style), or *genre (operatic style, bluegrass style).
Technical Accuracy, Technical Skills--The ability to perform with appropriate timbre, intonation,
and diction, and to play or sing the correct pitches and rhythms.
48
MUSIC STANDARDS PUBLICATIONS
Publications explaining and supporting the standards are available from Music Educators
National Conference. Write to:
MENC Publications Sales, 1806 Robert Fulton Drive, Reston, VA 22091. Credit card
holders may call 800-828-0229.
Standards Publications: The Arts
National Standards for Arts Education: What Every Young American Should Know and
Be Able to Do in the Arts. Content and achievement standards for dance, music, theatre,
and visual arts; grades K-12. Reston, VA: Music Educators National Conference, 1994.
Stock # 1605. ISBN 1-56545-036-1.
Perspectives on Implementation: Arts Education Standards for America's Students. A

discussion of the issues related to implementation of the standards and of strategies for
key constituencies that need to be involved in the process. Reston, VA:
Music Educators National Conference, 1994. Stock #1622. ISBN 1-56545-042-6.
The Vision for Arts Education in the 21st Century. The ideas and ideals behind the
development of the National Standards for Arts Education. Reston, VA: Music Educators
National Conference, 1994. Stock #1617. ISBN 1-5645-025-6.
Standards Publications: Music
Music for a Sound Education: A Tool Kit for Implementing the Standards. Resources for
everyone interested in the fight to provide all children with a rigorous, standards-
influenced curriculum in music. Reston, VA: Music Educators National Conference,
1994. Stock #1600.
The School Music Program: A New Vision. The K-12 National Standards, Pre-K
standards, and what they mean to music educators. Reston, VA: Music Educators
National Conference, 1994. Stock #1618. ISBN 1-56545-039-6.
Opportunity-to-Learn Standards for Music Instruction: Grades PreK12. Information on

what schools should provide in terms of curriculum and scheduling, staffing, materials
and equipment, and facilities. Reston, VA: Music Educators National Conference, 1994.
Stock #1619. ISBN 1-56545-040-X.
Teaching Examples: Ideas for Music Educators. Instructional strategies to help teachers
design and implement a curriculum leading to achievement of the standards. Reston, VA:
Music Educators National Conference, 1994. Stock #1620. ISBN 1-56545-041-8.
49
ADDENDUM
The Music Educators National Conference (M.E.N.C.) has developed specific recommendations
for curriculum and scheduling, staffing, materials and equipment, and facilities as they relate to
musical programs and instruction. The music program in the Minidoka County School District is
currently not meeting all of these recommendations, but the music curriculum committee feels it
is important to include these recommendations as an addendum to the proposed curriculum.
These recommendations should serve as goals for the music program and its instructors as they
continue to move music education forward within the district.
CURRICULUM & SCHEDULING

Elementary
Teaching and learning music, in both practice and history, supports the belief that there is a high
correlation between effective student learning in music and existence of favorable conditions. It
is obviously unfair to expect students to meet achievement standards in any discipline, including
music, unless they are given reasonable opportunities to learn the skills and knowledge specified.
“Adequate” staff, “sufficient” materials, and “appropriate” facilities should be the minimum
goals and requirements for our district.
Secondary
MIDDLE SCHOOL
1. The music program in the middle schools builds sequentially on the music program in the
elementary school and provides the foundation for the music program in the high school.
Instructional activities are directed toward achieving the national voluntary content and
achievement standards.
2. Every music course, including performance courses, provides experiences in creating,
performing, listening to, and allaying music, in addition to focusing on its specific subject
matter. Also included are learning experiences designed to develop the ability to read music,
use the notation and terminology of music, describe music, make informed evaluations
concerning musician, and understand music and music practices in relation to history and
culture and to other disciplines in the curriculum.
3. The repertoire taught includes music representing diverse genres and styles from various
period and cultures.
4. The music curriculum is described and outlined in a series of sequential and articulated
curriculum guides for each grade level or course.
5. Every music course meets at least every other day in periods of at least forty-five minutes.
Except for bands, orchestras, and choruses, music class size does not exceed the average
class size of the school by more than 10 percent.
6. One semester-length music course other than band, orchestra, and chorus is offered for each
four hundred students in the school. At least one of these courses has no prerequisites.
50
7. Choral and instrumental ensembles and classes are offered during the school day and are
scheduled so that all members of each ensemble meet as a unit throughout he year or have
equivalent time under an alternative scheduling arrangement. When enrollment justifies, the
school offers at least two bands, two orchestras, and two choruses, differentiated by the
experience or age level of their members, or in the case of choruses by their composition
(e.g., treble voices, lower voices, mixed voices). Other choral and instrumental ensembles or
classes are offered that reflect the musical interests of the community when clearly
identifiable.
8. In schools not utilizing block scheduling, the school day includes no fewer than eight
instructional periods. Every effort is made to avoid scheduling single-section courses in
music against single-section courses in required subjects.
9. Every performing group presents a series of performances or open rehearsals each year for
parents, peers, and the community. The number of performances is sufficient to demonstrate
the nature and extent of the student’s learning experiences but not so great as to interfere with
the learning process, to reduce the amount of time available to achieve the instructional
objectives of the ensemble, or to suggest an emphasis on entertainment rather than education.
10. Beginning and intermediate instruction is available on woodwind, string, brass, and
percussion instruments. Instruction is also provided on instruments that reflect the musical
interest of the community when clearly identifiable.
11. Musicians and music institutions of the community are utilized, when available, to enhance
and strengthen the school music curriculum.
12. When students with disabilities are included in regular music classes:
a. Their placement is determined on the same basis as placement for students without
disabilities (e.g., musical achievement, chronological age).
b. Music educators are involved in placement decisions and are fully informed about the
needs of each student.
c. Their placement does not result in classes that exceed the average size for the school
by more than 10 percent.
d. The number of these students does not exceed the average for other classes in the
school by more than 10 percent.
13. Music instruction is provided for students receiving special education who are not included
in regular music classes. Music instruction for students with disabilities is designed to teach
practical music skills and knowledge that will assist the students to function successfully in
the music environment of the home, school, and community. The amount of time for music
instruction is equivalent to that provided to students without disabilities.
14. Students with disabilities are given the same opportunities to elect choral and instrumental
instruction as other students. If a music task cannot be performed by students with
disabilities exactly as it would be by other students, adaptation is provided so that students
with disabilities can participate insofar as possible.
15. Special experiences are designed for musically gifted and talented students according to their
abilities and interests.
51
HIGH SCHOOL
1. The music program in the high school builds sequentially on the music program in the junior
highs schools and provides the foundation for a lifelong participation in and enjoyment of
music. Instructional activities are directed toward achieving the national voluntary content
and achievement standards.
2. Every music course, including performance courses, provides experiences in creating,
performing, listening to, and allaying music, in addition to focusing on its specific subject
matter. Also included are learning experiences designed to develop the ability to read music,
use the notation and terminology of music, describe music, make informed evaluations
concerning musician, and understand music and music practices in relation to history and
culture and to other disciplines in the curriculum.
3. The repertoire taught includes music representing diverse genres and styles from various
period and cultures.
4. The music curriculum is described and outlined in a series of sequential and articulated
curriculum guides for each grade level or course
5. Every music course meets at least every other day in periods of at least forty-five minutes.
6. One semester-length music course other than band, orchestra, and chorus is offered for each
four hundred students in the school. At least one of these courses has no prerequisites.
7 Choral and instrumental ensembles and classes are offered during the school day and are
scheduled so that all members of each ensemble meet as a unit throughout he year or have
equivalent time under an alternative scheduling arrangement. When enrollment justifies, the
school offers at least two bands, two orchestras, and two choruses, differentiated by the
experience or age level of their members, or in the case of choruses by their composition
(e.g., treble voices, lower voices, mixed voices). Other choral and instrumental ensembles or
classes are offered that reflect the musical interests of the community when clearly
identifiable.
8 At least one performing organization other than band, orchestra, and chorus (e.g., jazz
ensemble, and madrigal singers, show choir, gospel choir) is available fore each three
hundred students in the school.
9. In schools not utilizing block scheduling or the trimester 5-period day with 70-minute
classes, the school day includes no fewer than eight instructional periods. Every effort is
made to avoid scheduling single-section courses in music against single-section courses in
required subjects.
10. Every performing group presents a series of performances or open rehearsals each year for
parents, peers, and the community. The number of performances is sufficient to demonstrate
the nature and extent of the student’s learning experiences but not so great as to interfere with
the learning process, to reduce the amount of time available to achieve the instructional
objectives of the ensemble or to suggest an emphasis on entertainment rather than education.
11. Beginning and intermediate instruction is available on woodwind, string, brass, and
percussion instruments. Instruction is also provided on instruments that reflect the musical
interest of the community when clearly identifiable.
12. Musicians and music institutions of the community are utilized, when available, to enhance
and strengthen the school music curriculum.
13. When students with disabilities are included in regular music classes:
52
a. Their placement is determined n the same basis as placement for students without
disabilities (e.g., musical achievement, chronological age).
b. Music educators are involved in placement decisions and are fully informed about the
needs of each student.
14. Students with disabilities are given n the same opportunities to elect choral and instrumental
instruction as other students. If a music task cannot be performed by students with
disabilities exactly as it would be by other students, adaptation is provided so that students
with disabilities can participate insofar as possible.
15. Academic credit is awarded for music study on the same basis as for comparable courses.
Grades earned in music courses are considered in determining the grade point averages and
class rankings of students on the same basis as grades in comparable courses.
16. Special experiences are designed for musically gifted and talented students according to their
abilities and interests.
STAFFING
Elementary
1. Elementary music should be taught by music specialists in collaboration with classroom

teachers. Leadership, guidance, and musical expertise are provided by specialists, who
possess the skills and knowledge to teach the structure of music, the performance of vocal
and instrumental music, the appropriate use of the voice, accurate pitch discrimination, and
creativity in music. Music specialists’ efforts are complemented by classroom teachers, who
have a unique opportunity to make music a part of the daily life of their students and to
integrate music into the total curriculum.
2. All music educators are musicians/teachers who are certified to teach music, have expensive
specialized knowledge and training, and are fully qualified for their instructional assignments
in music.
3. In order that every student may receive adequate instruction, at least one general music
teacher is available for every 400 students at the elementary level.
4. In order that every student may receive a comprehensive, balanced, and sequential program
of study, every music educator has a block of time of at least thirty minutes for preparation
and evaluation each day, excluding time for lunch and time for travel from room to room and
building to building. Sufficient time for travel is calculated in the teaching loads of teachers
who are required to move from one building to another.
53
5. In order that every student may have access to a teacher whose knowledge is current and
whose teaching embodies the best current practices, every school district or school provides a
regular program of in-service education that includes at least two paid days for professional
development activities arranged by the district or school each year for every music educator.
In addition every music educator is permitted at least two paid days of leave each year for
professional development activities proposed by the teacher and approved by the district or
school.
6. Special-education classes in music are no larger than other special-education classes.
Teacher aides are provided for special-education classes in music if they are provided for
other special-education classes. If a student with a disability has an aide to assist in other
classes the aide also assists the student in music classes.
Secondary
JUNIOR HIGH SCHOOL
in music.
school.
HIGH SCHOOL
in music.
54
school.
6. In order that special-education students may receive adequate instruction, every music
educator working with these students has received training in special education and, for
purposes of consultation, has convenient access to trained professionals in special education
or music therapy.
7. In order that the instruction program of every student may be adequately coordinated and
articulated from level to level, one music educator in every district or school is designated as
coordinator or administrator to provide leadership for the music program. This person is
employed on a full-time basis for administration when the staff includes twenty-five or more
music educators. The amount of administrative time is adjusted proportionately when the
staff is smaller. Additional administrative staff is employed at a rate of one-fifth time for
each additional five teachers above twenty-five.
MATERIALS AND EQUIPMENT
Elementary
1. Every room in which music is taught is equipped with a high-quality sound reproduction
system capable of utilizing current recording technology. Students should be capable of
operating at least some of the audio equipment. Every teacher has convenient access to
recordings representing a wide variety of music styles and cultures.
2. In every school the following are available for use in music instruction: microcomputers and
appropriate music software, including notation and sequencing software; printers; sufficient
MIDI equipment; multiple electronic keyboards; synthesizers; CD-ROM-compatible
computers and music-related CD-ROMS. Also available are video cameras, color monitors,
stereo VCRs, and multimedia equipment combining digitized sound and music with graphics
and text.
3. Every school provides high-quality instructional materials and equipment of sufficient
quantity for a variety of every type of content taught and for every instructional setting.
55
4. Every school provides a set of music textbooks published not more than six years previously
for every grade level. A book is available for every student. Teacher’s editions of the
textbooks with accompanying sound recordings, as well as other resource materials in music,
are readily available for music educators and classroom teachers.
5. Every school contains a library or student resource center that provides a variety of music-
related books and other print materials, audio and video materials, and computer software.
6. For band, orchestra, and chorus, a library of music is provided that includes at least forty
titles for each type of group. At least fifteen titles for each type of group are added each
year. The library of music for performing groups is sufficient in size to provide a folder of
music for each student in choral groups, and for each stand of no more than two performers
in instrumental groups. The library contains no materials produced in violation of copyright
laws.
7. Every room in which music is taught has convenient access to a high-quality acoustic or
electronic piano, sufficient sturdy music stands, and an assortment of pitched and non-
pitched instruments of good quality for classrooms use, including fretted instruments,
recorders, melody bells, barred instruments, autoharps, and assorted instruments representing
a variety of cultures. Adaptive devices (e.g., adaptive picks, and beaters) are available for
use by students with disabilities.
8. The following are provided in sufficient quantity: French horns, baritones, and tubas,
appropriately sized violas, cellos, double basses, percussion equipment. Additional
instruments are provided where students have difficulty in purchasing instruments due to
financial hardship.
9. An annual budget is provided for the purchase of records, CDs, and audiotape and videotape;
computer and electronic materials; and the other special supplies, materials, and equipment
needed for the teaching of music.
10. All equipment is maintained in good repair, with pianos tuned at least three times each year.
An annual budget is provided for the repair and maintenance of instruments and equipment
that is equal to at least 5 percent of the current replacement value of total inventory of
instruments and equipment.
11. An annual budget is provided for the replacement of school-owned instruments that is equal
to at least 5 percent of the current replacement value of the total inventory of instruments.
Secondary
JUNIOR HIGH SCHOOL
system capable of utilizing current recording technology. Every teacher has convenient
access to sound recordings representing a wide variety of music styles and cultures.
ant text.
56
quantity for a variety for course offered.
4. Every school provides a set of music textbooks published not more than six years previously,
for every grade level through grade 8. A book is available for every student. Teachers’
editions of the textbooks with accompanying sound recordings, as well as other resource
materials in music, are readily available for music educators and classroom teachers.
6. For band, orchestra, and chorus, a library of music is provided that includes at least seventy-
five titles for each type of group. At least fifteen titles for each type of group are added each
year. For other performing groups sufficient repertoire is available to provide a three-year
cycle of instructional materials, and new materials are purchase each year. The library of
music for performing groups is sufficient in size to provide a folder of music for each student
in choral groups, and for each stand of no more than two performers in instrumental group0s.
The library contains no materials produced in violation of copyright laws.
7. A library of small-ensemble music is provided that contains at least seventy-five titles for
various types of ensembles. At least fifteen new titles are added each year. The library
contains no materials produced in violation of copyright laws.
8. An instruction books and supplementary materials are provided for each student enrolled in
beginning intermediate instrumental classes.
electronic piano, sufficient sturdy music stands, and an assortment of pitched and non-
pitched instruments of good quality for classroom use, including fretted instruments,
recorders, melody bells, barred instruments, chorded zithers, and assorted instruments
representing a variety of cultures. Adaptive devices (e.g., adaptive picks, and beaters) are
available for use by students with disabilities. A set of portable choral risers is conveniently
available to every room in which choral music is taught.
10. The following are provided in sufficient quantity: 15 ½-inch and 16-inch violas, ¾ size and
full-size cellos, ½ size and ¾ size basses, C piccolos, bass clarinets, tenor saxophones,
baritone saxophones, oboes, bassoons, double French horns, baritone horns tubas, concert
snare drums, pedal timpani, concert bass drums, crash cymbals, suspended cymbals,
tambourines, triangle, xylophones, or marimbas orchestra bells, assorted percussion
equipment, drum stands, movable percussion cabinets, tuba chairs, bass stools, conductors;
stands, tuning devices, music folders, chairs designed for music classes. Additional
instruments are provided for each additional large ensemble and in situations where students
have difficulty in purchasing instruments due to financial hardship.
11. An annual budget is provided for the purchase of records, CDs and audiotape and videotape;
computer and electronic materials; and the other special supplies, materials and equipment
12. All equipment is maintained in good repair with pianos tuned at least three times each year.
An annual budget is provided for he repair and maintenance of instruments and equipment
that is equal to at least 5 percent of the current replacement value of the total inventory of
13. An annual budget is provided for the replacement of school-owned instruments that is
equivalent to at least 5 percent of the current replacement value of the total inventory of
instruments.
57
HIGH SCHOOL
system capable of utilizing current recording technology. Every teacher has convenient
access to sound recordings representing a wide variety of music styles and cultures.
ant text.
quantity for a variety for course offered.
5. For band, orchestra, and chorus, a library of music is provided that includes at least seventy-
five titles for each type of group. At least fifteen titles for each type of group are added each
year. For other performing groups sufficient repertoire is available to provide a three-year
cycle of instructional materials, and new materials are purchased each year. The library of
music for performing groups is sufficient in size to provide a folder of music for each student
in choral groups, and for each stand of no more than two performers in instrumental group0s.
The library contains no materials produced in violation of copyright laws.
6. A library of small-ensemble music I provided that contains at least seventy-five titles for
various types of ensembles. At least fifteen new titles are added each year. The library
contains no materials produced in violation of copyright laws.
electronic piano. A set of portable choral risers is conveniently available to every room in
which choral music is taught.
8. The following are provided in sufficient quantity: 15 ½-inch and 16-inch violas, ¾ size and
full-size cellos, ½ size and ¾ size basses, C piccolos, bass clarinets, tenor saxophones,
baritone saxophones, oboes, bassoons, double French horns, baritone horns tubas, concert
snare drums, pedal timpani, concert bass drums, crash cymbals, suspended cymbals,
tambourines, triangle, xylophones, or marimbas orchestra bells, assorted percussion
equipment, drum stands, movable percussion cabinets, tuba chairs, bass stools, conductors;
stands, tuning devices, music folders, chairs designed for music classes. Additional
instruments are provided for each additional large ensemble and in situations where students
have difficulty in purchasing instruments due to financial hardship.
9. An annual budget is provided for the purchase of records, CDs and audiotape and videotape;
computer and electronic materials; and the other special supplies, materials and equipment
10. All equipment is maintained in good repair with pianos tuned at least three times each year.
An annual budget is provided for the repair and maint4nance of instruments and equipment
that is equal to at least 5 percent of the current replacement value of the total inventory of
58
11. An annual budget is provided for the replacement of school-owned instruments that is
equivalent to at least 5 percent of the current replacement value of the total inventory of
instruments.
FACILITIES
Note: These standards apply to all new construction and to all music facilities being
renovated or adapted
Elementary
1. A suitable room is available for teaching general music and other music classes in every
school. The room is large enough to accommodate the largest group taught, and provides
ample space for physical movement. It has appropriate acoustical properties, a quiet
environment, good ventilation, and adequate lighting. It contains storage space for classroom
instruments, equipment, and instructional materials.
2. A suitable room is available for teaching instrumental music in every school. The room is
large enough to accommodate the largest group taught. It has appropriate acoustical
properties, a quiet environment, good ventilation, and adequate lighting. It contains storage
space for instruments, equipment, and instructional materials. Running water is available for
instrument maintenance.
3. Sufficient secured storage space is available in every school to store instruments, equipment,
and instructional materials. Shelving or lockers are provided for various large and small
instruments.
4. In order that every student may have convenient, private access to his or her teacher for
consultation and help, office or studio space is provided for every music educator.
5. The music facilities in every school are adjacent to one another. They are acoustically
isolated from one another and from the rest of the school, and they are readily accessible to
the auditorium stage. All facilities are accessible to persons with disabilities.
Secondary
JUNIOR HIGH SCHOOL
1. A suitable room is available for teaching general music and other music classes in every
school. The room is large enough to accommodate the largest group taught and to provide
ample space for physical movement.
2. Every school with both instrumental and choral music educators contains a rehearsal room
for instrumental groups and a rehearsal room for choral groups. Curtains are available to
adjust the acoustics.
3. Every instrumental rehearsal room contains at least 2,500 square feet of floor space, with a
ceiling at least twenty feet high. Running water is available for instrument maintenance.
4. Every choral rehearsal room contains at least 1,800 square feet of floor space, with a ceiling
at least sixteen feet high.
5. Adequate classroom space is provided for teaching of nonperformance classes in music, and
specialized facilities are available for electronic music and class piano if taught.
59
6. Every room in which music is taught has appropriate acoustical properties, a quiet
environment, good ventilation and adequate lighting. The ventilation is quiet enough to
allow students to hear soft music, and every room is acoustically isolated form the rest of the
school.
7. Rehearsal rooms, practice rooms, and instrument storage room maintain a year-round
temperature range between sixty-eight and seventy degrees with humidity between 40 and 50
percent and an air-exchange rate double that of regular classrooms. Lighting level not to
exceed NC25, ensemble rooms, teaching studios, and electronic or keyboard rooms not to
exceed NC30, and practice rooms not to exceed NC35.
8. Rehearsal rooms have double-entry doors, nonparallel or acoustically treated walls, and a
Sound Transmission Classification (STC) of at least STC50 for the interior and exterior walls
and at least STC45 for doors and windows.
and instructional materials. Cabinets and shelving are provided as well as lockers for the
storage of instruments in daily use. This space is located in or immediately adjacent to the
rehearsal facilities. Space is available for the repair and maintenance of instruments.
10. Every music classroom and rehearsal room contains sufficient chalk or whiteboard, some of
which has permanent music staff lines, and sufficient corkboard.
11. Every school provides at least two rehearsal rooms of at least 350 square feet each for small
ensembles.
12. Every school provides several practice rooms of at least fifty-five square feet each.
consultation and help, office or studio space is provided for every music educator. This
space is adjacent to the instructional area in which the educator teaches and is designed to
that he or she can supervise the area. There is convenient access to a telephone.
14. The music facilities in every school are adjacent to one another and are so located so that
they can be secured and used independently of the rest of the building. All facilities are
accessible to persons with disabilities.
15. The music facilities are easily accessible to the auditorium stage. The stage is large and open
and is adaptable to the various needs of the performing arts. The auditorium is designed as a
music performance space, with good, adjustable acoustics for music and speech
requirements, with stage lighting of at least seventy foot-candles, and with quiet and
adequate mechanical and lighting systems that do not exceed NC20.
HIGH SCHOOL
1. Every school with both instrumental and choral music educators contains a rehearsal room
for instrumental groups and a rehearsal room for choral groups. Curtains are available to
adjust the acoustics.
2. Every instrumental rehearsal room contains at least 2,500 square feet of floor space, with a
ceiling at least twenty feet high. Running water is available for instrument maintenance.
3. Every choral rehearsal room contains at least 1,800 square feet of floor space, with a ceiling
at least sixteen feet high.
4. Adequate classroom space is provided for teaching of nonperformance classes in music, and
specialized facilities are available for electronic music and class piano if taught.
60
5. Every room in which music is taught has appropriate acoustical properties, a quiet
environment, good ventilation and adequate lighting. The ventilation is quiet enough to
allow students to hear soft music, and every room is acoustically isolated form the rest of the
school.
6. Rehearsal rooms, practice rooms, and instrument storage room maintain a year-round
temperature range between sixty-eight and seventy degrees with humidity between 40 and 50
percent and an air-exchange rate double that of regular classrooms. Lighting level not to
exceed NC25, ensemble rooms, teaching studios, and electronic or keyboard rooms not to
exceed NC30, and practice rooms not to exceed NC35.
7. Rehearsal rooms have double-entry doors, nonparallel or acoustically treated walls, and a
Sound Transmission Classification (STC) of at least STC50 for the interior and exterior walls
and at least STC45 for doors and windows.
and instructional materials. Cabinets and shelving are provided as well as lockers for the
storage of instruments in daily use. This space is located in or immediately adjacent to the
rehearsal facilities. Space is available for the repair and maintenance of instruments.
9. Every music classroom and rehearsal room contains sufficient chalk or whiteboard, some of
which has permanent music staff lines, and sufficient corkboard.
10. Every school provides at least two rehearsal rooms with at least 350 square feet each for
small ensembles.
11. Every school provides several practice rooms of at least fifty-five square feet each.
consultation and help, office or studio space is provided for every music educator. This
space is adjacent to the instructional area in which the educator teaches and is designed to
that he or she can supervise the area. There is convenient access to a telephone.
13. The music facilities in every school are adjacent to one another and are so located so that
they can be secured and used independently of the rest of the building. All facilities are
accessible to persons with disabilities.
14. The music facilities are easily accessible to the auditorium stage. The stage is large and open
and is adaptable to the various needs of the performing arts. The auditorium is designed as a
music performance space, with good, adjustable acoustics for music and speech
requirements, with stage lighting of at least seventy foot-candles, and with quiet and
adequate mechanical and lighting systems that do not exceed NC20.
61

Music: Minidoka County Joint School District #331

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Music: Minidoka County Joint School District #331

Uploaded by

Copyright:

Available Formats

Minidoka County Joint School District #331

Ensuring academic excellence, ethical behavior, and personal responsibility

District Mission Statement.................................................................................................................iv

Recommendations for the New Curriculum ......................................................................................vi

K-12 Scope and Sequence .................................................................................................................1

Elementary Music ..............................................................................................................................7

Middle School Music.........................................................................................................................32

High School Music ............................................................................................................................39

Assessment Reporting and Monitoring..............................................................................................47

Music Standards Publications ............................................................................................................49

Language and Structure of Music K 1 2 3 4 5 6 7 8 9 10 11 12

Language and Structure of Music K 1 2 3 4 5 6 7 8 9 10 11 12

Language and Structure of Music K 1 2 3 4 5 6 7 8 9 10 11 12

Language and Structure of Music K 1 2 3 4 5 6 7 8 9 10 11 12

Heritage and History of Music K 1 2 3 4 5 6 7 8 9 10 11 12

Appreciation, Enjoyment, and Discrimination K 1 2 3 4 5 6 7 8 9 10 11 12

• Participating in music games.

• Singing individually and in groups

• Playing ukuleles, recorders, autoharps and a variety of pitched and non-pitched

• Creating rhythmic and melodic patterns

• Listening with understanding to a variety of music styles

• Moving to music appropriately

• Preparing for formal performances

• Modeling acceptable concert behavior

Benchmark: Perceive and understand the features of Harmony through a variety of

Standard 2: Students gain an understanding of the heritage and history of

Benchmark: Understand our national music heritage.

Benchmark: Understand music of many historical periods and cultures.

Standard 3: Students grow in appreciation, enjoyment, and discrimination of

Benchmark: Respond to the feeling music can evoke.

Ta tee tee ta tee tee quarter rest

3. Recognize the symbols for getting louder and getting

Benchmark: Understand our national music heritage.

Benchmark: Understand music of many historical periods and cultures.

Standard 3: Students grow in appreciation, enjoyment, and discrimination of

Benchmark: Find enjoyment in responding to the feelings music can evoke.

Benchmark: Appreciate excellence in performance.

Benchmark: Learn of musical careers

2. Understand 2/4 meter.

Benchmark: Perceive and understand the features of harmony through a variety of

Standard 2: Students gain an understanding of the heritage and history of

Benchmark: Understand music of many historical periods and cultures.

Standard 3: Students grow in appreciation, enjoyment, and discrimination of

Benchmark: Find enjoyment in responding to the feelings music can evoke.

Benchmark: Appreciate excellence in performance.

Benchmark: Gain an understanding of musical careers.

Benchmark: Exhibit proper and appreciative audience behavior.

4. Experience songs in 2 (duple) and 3 (triple) beat meters, stressing accented

Benchmark: Perceive and understand the features of harmony through a variety of

such as crescendo decrescendo forte (f), piano (p).

Benchmark: Develop skill in singing.

Standard 2: Students gain an understanding of the heritage and history of

Benchmark: Understand music of many historical periods and cultures.

Standard 3: Students grow in appreciation, enjoyment, and discrimination of

Benchmark: Find enjoyment in responding to the feelings music can evoke.

Benchmark: Appreciate excellence in performance.

Benchmark: Be aware of musical careers.

Benchmark: Seek out additional performing and listening opportunities

Benchmark: Exhibit proper and appreciative audience behavior.

Benchmark: Perceive and understand the features of harmony through a variety of

Benchmark: Perceive and understand the features of harmony through a variety of

Benchmark: Develop skills in singing and playing.

Benchmark: Understand the music of many historical periods and cultures.