Flat For Education – Music I (Grade 6)

Evaluation for 1.1a
Materials include a scope and sequence outlining the TEKS, ELPS, and concepts taught in the course.

The materials include a Scope and Sequence resource with “Quarter-by-Quarter Map” and “Day-by-Day Scope and Sequence” sections that break down the music curriculum, including descriptions. The detailed descriptions of the content by unit and by lesson concept support the educator in planning for the school year.

The materials include an outline of the Texas Essential Knowledge and Skills (TEKS) designated for the course. For example, in the Scope and Sequence resource, the “Master TEKS & ELPS Alignment Table (per Unit and per Lesson)” section lists the TEKS standards across the essential music units and supplemental lessons. The materials provide educators with guides that show alignment with the educational standards.

Evaluation for 1.1b
Materials include suggested pacing to support effective implementation for various instructional schedules (e.g., rotational schedules) and various instructional calendars (e.g., varying number of instructional days).

The materials include a suggested pacing guide and calendar to support effective implementation. For example, the Scope and Sequence resource’s “Pacing Models for Effective Implementation Across Different School Schedules” section provides pacing and instructional calendars, along with suggested adjustments. These guidelines help educators adjust and plan for learner outcomes throughout the school year.

The materials include suggested pacing to support effective implementation across rotational schedules. For example, the Scope and Sequence resource’s “Pacing Models for Effective Implementation Across Different School Schedules” section features a Rotational Schedule Pacing Model spanning 55–70 lessons, each lasting 45–50 minutes. These guidelines help educators manage flexible school schedules.

The materials include suggested pacing to support effective implementation across instructional calendars with varying numbers of instructional days. For example, in the Scope and Sequence resource, the “Pacing Models for Effective Implementation Across Different School Schedules” section categorizes pacing and instructional calendars, and the “Pacing for Schools with Varying Weekly Meetings” section recommends adjustments for schools with different weekly meeting schedules. These varied instructional schedules and calendars help educators plan a flexible daily lesson allotment for the school year.

Evaluation for 1.1c
Materials include an explanation for the rationale of unit order as well as how concepts to be learned connect throughout the course.

The materials explain the rationale for the unit order. For example, the Scope and Sequence resource’s “Rationale for Unit Order and Curricular Coherence” section outlines four music units for the school year. This detailed unit order provides the educator with an overview of the unit objectives and their interrelationships.

The materials include an explanation of how the concepts to be learned connect throughout the course. For example, in the Scope and Sequence resource, the “Rationale for Unit Order and Curricular Coherence” section includes curriculum connections across the school year in the sections “How Musical Concepts Connect Throughout the Year” and “The Single Coherent Musical Arc.” The materials support the educator by providing a conceptual framework for the entire course.

Evaluation for 1.1d
Materials include protocols with corresponding guidance for unit and lesson internalization.

The materials include protocols with corresponding guidance for unit internalization. For example, in the Scope and Sequence resource, the “Protocols for Unit and Lesson Internalization” section lists five protocols, each with specified Guidance and Why It Works statements. These protocols support educators by providing parameters and strategies for implementing the curriculum.

The materials include protocols with corresponding guidance for lesson internalization. For example, the Scope and Sequence resource includes a “Protocols for Unit and Lesson Internalization” section that outlines six Unit Protocols. The materials provide educators with appropriate internalization strategies to ensure successful implementation in each lesson.

Evaluation for 1.1e
Materials include resources and guidance for instructional leaders to support teachers with implementing the materials as designed.

The materials include resources for instructional leaders to support educators in implementing the materials as designed. For example, the Scope and Sequence resource’s “Instructional Leader Resources and Guidance for Supporting Implementation” section explains look-fors, implementation priorities, observation skills, and performance rubrics. These varied resources support educators by providing music-learning tools for implementing the lessons.

The materials include guidance for instructional leaders to support educators in implementing the materials as designed. For example, the Scope and Sequence resource’s “Comprehensive Teacher Implementation Guide” section offers explicit guidance for educators, including Support Adjustments and Extension Adjustments. The materials also include assessment and progress-monitoring guides that provide additional guidance on their use. These varied guidelines give educators appropriate instructional pathways for implementing the lessons.

Evaluation for 1.2a
Materials include comprehensive unit overviews that provide the background content knowledge and academic and discipline-specific vocabulary necessary to effectively teach the concepts in the unit.

The materials include comprehensive unit overviews that provide the background knowledge needed to teach the unit’s concepts effectively. For example, in the Scope and Sequence resource, the “Quarter-by-Quarter Map” and “Day-by-Day Scope and Sequence” sections offer a detailed overview of each major unit and school quarter. The educator can prepare effectively for the unit by referencing the document and using the unit overviews in the digital program.

The materials include comprehensive unit overviews that provide the discipline-specific vocabulary needed to teach the concepts effectively. For example, the platform provides a single, general vocabulary list integrated into every unit overview and organized by grade level. Additionally, the “Day-by-Day Scope and Sequence” section in the Scope and Sequence resource explicitly references vocabulary specific to each unit’s focus. The vocabulary resource supports student learning by providing music vocabulary in the Unit Overviews.

Evaluation for 1.2b
Materials contain supports for families in both Spanish and English for each unit with suggestions on supporting the progress of their student.

The resources provide adequate English-language materials to support the school and home community by offering ways to engage. For example, in the Scope and Sequence resource, the “Comprehensive Family and Caregiver Guide” section focuses on connecting learning at home, specifically through “Supporting Healthy Musical Habits at Home.”

The materials include Spanish-language supports for families in each unit, along with suggestions for supporting student progress. For example, the “Emergent Bilingual Support Guide” provides families with bilingual materials that address specific target-language communication needs through translated curriculum materials. These materials provide accessibility for emergent bilingual (EB) students and include essential Spanish resources for families.

Evaluation for 1.3a
Materials include comprehensive, structured, detailed lesson plans that include objectives, questions, tasks, materials, and instructional assessments required to meet the content and language standards of the lesson (aligned with the TEKS and the ELPS).

The materials include comprehensive, structured, and detailed lesson plans with lesson objectives. For example, in unit 1, the “When the Saints Go Marching In: Practice Log 2” lesson includes a learning goal at the beginning of the educator narrative. The Lesson Objective reinforces the lesson’s goals by providing the educator with a clear overview of the musical concepts.

The materials include comprehensive, structured, and detailed lesson plans that identify TEKS correlations. For example, in unit 2, the “Oh! Susanna: Sight Read” lesson lists the TEKS standards at the beginning of the educator narrative. The lesson aligns with Texas music education standards by clearly presenting the specific TEKS alignment, ensuring a comprehensive educational framework.

The materials include comprehensive, structured, and detailed lesson plans with tasks and questions aligned with the lesson objectives. For example, in unit 3, the “Star-Spangled Banner: Sight-Read” lesson includes a range of tasks and questions throughout the modeling, concept introduction, and student task flow. The varied activities support the lesson objective by reinforcing sight-reading of the music score. The lesson plans reinforce student learning by breaking down varied activities throughout the educator and student narratives.

The materials include comprehensive, structured, and detailed lesson plans with instructional assessments aligned with the lesson objectives. For example, in unit 4, the “The Water Is Wide: Sight-Read” lesson includes an instructional assessment using a performance-recording video. The practice recording provides students with a formative assessment of their sight-reading ability on new music. The materials evaluate and reinforce student learning by including both formative and summative assessments.

Evaluation for 1.3b
Materials include a lesson overview listing the teacher and student materials necessary to effectively deliver the lesson (e.g., equipment, supplies, technology) and the suggested timing for each lesson component.

The materials do not consistently include a lesson overview that lists the educator materials needed to deliver the lesson effectively. For example, in unit 1, the “When the Saints Go Marching In: Practice Log 2” lesson does not include the practice log, which should be linked to each lesson, along with a specific rubric and practice objectives. The materials create organizational and planning challenges for educators because they do not consistently include all lesson components, and educators must navigate the platform to supplement these elements effectively.


In unit 2, the “Oh! Suzanna! (Solo): Rubric Generation” Lesson Overview references a rubric template for the student activity. However, the materials do not include the referenced resource. The materials pose instructional challenges for students because they do not consistently include all lesson components.

The materials do not consistently include a lesson overview that lists suggested timing or time allocations for each lesson component. For example, in unit 1, the “The Water is Wide: Peer Evaluation” lesson does not include timing or pacing in either the student activity or the educator narrative. The materials pose time-management challenges because they do not provide pacing guidance or structured activity time.

Evaluation for 1.3c
Materials include guidance on the effective use of lesson materials for extended practice (e.g., homework, extension, enrichment).

The materials include guidance on using lesson materials effectively for extended practice. For example, in unit 3, the “Star-Spangled Banner: Pitches and Rhythms” lesson includes a “Differentiation: Support” section suggesting students perform in small ensembles rather than solos to build confidence. The materials support all learners by providing consistent support strategies and accommodations in every lesson.

In the “Supplemental Lessons” unit, the “Skill Builder 4: Mechanical March” lesson includes a “Differentiation: Extension” section that challenges advanced students to analyze the rhythmic subdivisions in the composition. The materials support all music learners by consistently offering extensions to challenge students and support further development in each lesson.

Evaluation for 2.1a
Materials include a variety of instructional assessments at the unit and lesson level (including diagnostic, formative, and summative) that vary in types of tasks and questions, including skills demonstration.

In the Scope and Sequence resource, the “Comprehensive Assessment Guide” section does not include diagnostic assessments in its assessment explanation. The materials also lack diagnostic tools essential for improving student performance and providing feedback on the lesson’s introductory concepts. The assessment guide relies solely on formative and summative assessments (i.e., recordings, evaluations, annotations, and practice logs), which do not adequately address pre-checking or assessing students’ prior knowledge when introducing concepts.

The materials include a variety of unit-level instructional assessments, including summative assessments that vary in task and question types and in the skills demonstrated. For example, the “When the Saints Go Marchin’ In” unit includes summative assessments such as class performances, recordings, and final reflections. These performance and writing assessments support student learning and retention across the musical concepts covered in the units.

The materials include a variety of instructional assessments at the lesson level, including formative assessments that vary in task and question types, such as skills demonstrations. For example, in unit 1, the “When the Saints Go Marching in (Small Group): Self Evaluation” lesson includes formative assessments such as the student performance recording and the self-evaluation rubric.

Evaluation for 2.1b
Materials include the definition and intended purpose for the types of instructional assessments included.

The Scope and Sequence resource includes a rubric and a variety of assessments in the “Comprehensive Assessment Guide” and “Comprehensive Progress Monitoring Guide” sections. The materials define the assessment types (i.e., diagnostic, formative, summative) and provide clear scoring targets, such as performance tasks and self-checks, using a TEKS-tagged scoring rubric with one criterion per cited standard on a 4–1 scale.

In the Supplemental Lessons unit, the “Teacher Led: Identifying the Musical Symbols” lesson includes an in-depth rubric that clearly defines scoring targets for composition assessments and for assessing skill mastery. The materials support instructional assessments through the educator rubric, which provides progress monitoring, observation notes, and Teacher Feedback Frames that promote student learning.

Evaluation for 2.1c
Materials include teacher guidance to ensure consistent and accurate administration of instructional assessments.

The Scope and Sequence resource includes the “Comprehensive Assessment Guide” and “Comprehensive Progress Monitoring Guide” sections, which feature a rubric and a variety of assessments. The materials provide time allocations, grouping information, and resources for effective administration across assessment types (i.e., diagnostic, formative, summative), supporting student assessment.

In the Supplemental Lessons unit, the “Independent Learning: Describing Rhythm in Chicka-hanka” lesson includes educator guidance for assessments and for evaluating skill mastery, such as using the Diagnostic Pre-Check, reteaching, and feedback. The materials offer comprehensive guidance for educators on implementing instructional assessments that enhance student learning outcomes.

Evaluation for 2.1d
Diagnostic, formative, and summative assessments are aligned to the TEKS and objectives of the course, unit, or lesson.

The materials include summative assessments aligned with the TEKS or the course and unit objectives. For example, in unit 1, the “When the Saints Go Marchin’ In: 6U1-Final Performance” lesson includes alignment with the TEKS in the summative and self-assessments, with performance recorded and evaluated using a self-evaluation rubric. The materials align with the required educational standards and enable the educator to administer a variety of summative unit assessments to demonstrate student mastery.

The materials include formative assessments aligned with the TEKS or the course and lesson objectives. For example, in unit 1, the “When the Saints Go Marchin’ In (Small Group): Peer Evaluation” lesson includes a Peer Evaluation rubric with clear TEKS targets and criteria for scoring formative assessments and assessing mastery of the expressive performance objective. The materials align with the required educational standards for the lessons and allow the educator to conduct formative expressive performance assessment adequately.

The materials include diagnostic assessments aligned to the TEKS or the course and lesson objectives. For example, in unit 1, the “When the Saints Go Marchin’ In: Independent Learning” lesson includes TEKS targets for diagnostic assessments that pre-assess student performance (i.e., a two-minute diagnostic pre-check and a pre-teaching/SDI given five minutes before the assignment). The materials align with the required educational standards for the lessons, enabling the educator to diagnose student performance adequately.

Evaluation for 2.1e
Instructional assessments include TEKS-aligned items at varying levels of complexity.

The instructional assessments provided in the materials include a variety of item types (two or more). For example, in unit 1, the “When the Saints Go Marchin’ In (Small Group): Text Responses and Rubric Generation” lesson includes a variety of assessment formats, such as small group, reflection, and recording. These varied assessment formats provide students with differentiated activities and evaluations that offer feedback to guide educator instruction.

The instructional assessments in the materials do not include TEKS-aligned items that assess varying levels of complexity. For example, in unit 1, the “When the Saints Go Marchin’ In (Small Group): Text Responses and Rubric Generation” lesson does not describe varying levels of assessment complexity, including self-evaluation, performance recording, and peer evaluation. The assessments only reference the rubric type and score. The lesson does not explicitly align with the TEKS and fails to address the criteria with specificity, as it uses a single rubric throughout the program: the Universal Music Education Rubric.

Evaluation for 2.2a
Instructional assessments and scoring information provide guidance for interpreting student performance.

The Scope and Sequence resource’s “Embedded Supports for Diverse Learners” section includes a detailed scoring rubric for assessing performance: the Universal Music Education Rubric. The rubric guides educators in applying a standard-score criterion to complete formative and summative assessments accurately.

The Scope and Sequence resource includes a “Comprehensive Progress Monitoring Guide” section with a general assessment rubric (the Universal Music Education Rubric). Additionally, the lessons include specific performance and learning rubrics that provide clear guidance and evaluation criteria. The materials provide educators with the guidance necessary to use data gathered from instructional assessments and student performance.

Evaluation for 2.2b
Materials provide guidance for the use of included tasks and activities to respond to student trends in performance on assessments.

The materials outline a process for students to use self- and peer feedback from a performance, along with a comparison chart, to improve a second performance. However, the materials offer no guidance for the educator on how to respond to student trends. Educators are not given information on identifying common trends in weak performances across the class or on integrating activities and tasks to strengthen those skills. If students have fundamental misconceptions about the skills, their second attempts will be less successful without targeted remediation.

The “Oh Suzanna! (Solo)” unit includes varied formative and summative assessments. However, the materials lack specific activities and tasks that educators can use to respond to trends in student performance, such as having students build critical evaluative routines by defining custom rubrics for self- and peer-evaluations. The unit does not provide adequate strategies throughout the lessons to guide student assessment and to provide feedback that further informs learning trends.

Evaluation for 2.2c
Materials include tools for teachers to track student progress and growth and tools for students to track their own progress and growth.

The materials include tools to help students track their progress and growth. For example, in unit 1, the “When the Saints Go Marchin’ In (Small Group)” lesson includes resources for student practice logs, goals, reflection sheets, and self-evaluation rubrics. These materials allow students to track their progress in mastering the performance elements.

The materials include tools for educators to track student progress and growth. For example, the Scope and Sequence resource includes “Comprehensive Progress Monitoring Guide” sections with data analysis tools and resources for manipulating data, including spreadsheets, grade export, data growth, and progress tracking. The materials support educators in interpreting and using student assessment data to inform growth.

Evaluation for 3.1a
Materials include teacher guidance for differentiated instruction, activities, and/or paired (scaffolded) lessons for students who have not yet reached proficiency on content and skills in the course TEKS.

In unit 3, the “Star-Spangled Banner (Full Ensemble): Dynamics, Expression and Articulation” lesson includes a “Differentiation” section with clear support guidance, including a Feedback Sentence Starter Guide that provides prompts like “I really liked your volume when . . . ” or “Next time, try to breathe at . . . ”. The reading and writing accommodations enable the educator to differentiate instruction and support successful mastery of music concepts and analysis.

In unit 2, the “Oh Suzanna! (Solo): Historical Research” lesson includes a “Differentiation” section with clear support guidance, such as providing students with short reading passages instead of assigning open online historical research resources. The reading and research-gathering modifications enable the educator to differentiate instruction and support successful mastery of music concepts and analysis.

Evaluation for 3.1b
Materials include pre-teaching or embedded supports for unfamiliar vocabulary and references in text (e.g., figurative language, idioms, academic and discipline-specific language).

The materials include pre-teaching or embedded supports for unfamiliar vocabulary in the text (i.e., academic and discipline-specific language). For example, in the Specially Designed Instruction (SDI) resource, the “Comprehensive Teacher Implementation Guide: Daily Differentiation” section includes embedded vocabulary supports, such as vocabulary banks, symbol dictionaries, solfege support, and other support adjustments. These English Language Arts and Reading (ELAR) accommodations and independent practice strategies help educators differentiate instruction for students who require assistance with reading comprehension and writing.

The materials do not consistently include pre-teaching or embedded supports for unfamiliar references in the text. For example, the SDI resource includes supports for unfamiliar text references in the “Supporting Emergent Bilingual Students: Building Academic Language” section. However, these supports are not consistently present throughout the lessons. The resource also references cross-linguistic connections such as the classroom music word wall, the Frayer Model, and the say-show-explain-practice sequence. In unit 3, the “Historical Research” lesson requires students to research one new fact about a song’s history using links to online research resources. However, these links are not embedded in the lesson. These inconsistencies do not provide students with the tools and resources to complete the assignments.

Evaluation for 3.1c
Materials include teacher guidance for differentiated instruction, enrichment, and extension activities for students who have demonstrated proficiency in content and skills in the course TEKS.

In the SDI resource, the “Adapting Instruction: The Three SDI Components” section breaks down differentiation across content, methodology, and delivery. The guidance recommends increasing lesson rigor and strategy intensity as needed, enabling the educator to implement lessons that meet students’ needs through higher-level music activities and scaffolded instruction.

In unit 6, the “Practice Log 2” lesson includes educator guidance in the “Differentiation: Extension,” which provides an extension for further reflection writing on performance recording. These extensions challenge students to engage in advanced self-critique, promoting independent musicianship.

Evaluation for 3.1d
Materials include teacher guidance for providing specially designed instruction (SDI) for students receiving supports and services through special education.

The materials include guidance for providing SDI to students receiving special education supports and services. For example, the SDI resource’s “Adapting Instruction: The Three SDI Components” section offers guidance on supportive services, categorized by differentiation in content, methodology, and instructional delivery. The resource also includes recommendations for lessons that support alignment with students’ individualized education plan (IEP) by utilizing resource educators and members of the IEP/special education teams. The materials provide educators with resources and recommendations to align instruction with the needs of students who may require specific accommodations.

In the SDI resource, the “Putting It Into Practice” section provides guidance on supportive services within an SDI-Infused lesson, in which a sample student receives various levels of accommodation. The sample lesson resource includes exemplars for educators and instructional leadership that reference the student’s individualized education plan. The SDI resource and overall program benefit music educators by aligning instruction with the needs of students who may require specific accommodations.

Evaluation for 3.2a
Materials include explicit (direct) prompts and guidance to support the teacher in modeling and explaining the concept(s) to be learned.

In unit 6, the “When the Saints Go Marchin’ In (Group): Peer Evaluation” lesson includes direct language for educator scripting and student writing in the “Teacher Modeling & Procedure-Model Feedback” section. The lesson provides educators with scripting (“Musicians learn by listening to each other. Today we’ll use peer review to help each other grow.”) as well as sentence examples for students (e.g., “Glow: I liked your clear rhythm. Grow: You could make the ending louder to show excitement.”). These prompts guide the educator in modeling the correct tone and providing effective feedback during the lesson. The peer evaluation prompts instruct students on appropriate feedback and communication regarding performance.


The materials include guidance to support the educator in modeling and explaining the concept(s) to be learned. For example, in unit 4, the “Water is Wide: Pitches and Rhythms” lesson includes educator guidance and student criteria for music analysis in the “Instructions for Teachers: Pitch Analysis” section. The lesson supports the educator by providing clear sequencing and modeling task flow for the assignment: “Draw the G Major scale on the board: G–A–B–C–D–E–F#–G. Have students label solfege syllables, Do–Re–Mi, under the notes.”

Evaluation for 3.2b
Materials include teacher guidance and recommendations for effective lesson delivery and facilitation using a variety of instructional approaches.

In the SDI resource, the “Adapting Instruction: The Three SDI Components” section outlines a range of differentiation strategies for content, methodology, instructional delivery, and alignment with students’ IEPs. However, the team does not apply these approaches consistently across lessons. In unit 6, the “Oh Suzanna! (Solo): Pitches and Rhythms” lesson lacks instructional variety. The lesson includes whole-group instruction, followed by students completing the assignment individually by annotating a score and answering a written question. The lesson does not provide varied strategies, such as small-group instruction, think-pair-share, kinesthetic movements, or other activities, to support all types of learners.

The “Embedded Supports for Diverse Learners” section of the SDI resource includes a variety of instructional approaches, including embedded differentiation, scaffolded instruction routines, flexible grouping, and various modalities of kinesthetic engagement. However, in unit 4, the “The Water is Wide (Full Ensemble): Pitches and Rhythms” lesson lacks a consistent variety of instructional approaches. The lesson includes performance and identification activities that are not adapted to the referenced SDI measures. The materials do not offer educators varied strategies, such as small-group instruction, think-pair-share, kinesthetic movements, or other activities, to support all types of learners.

Evaluation for 3.2c
Materials support multiple types of practice (e.g., guided, independent, collaborative) and include guidance for teachers and recommended structures (e.g., whole group, small group, individual) to support effective implementation.

The materials support multiple types of practice (i.e., guided, independent, and collaborative) during lessons. For example, in the SDI resource, the “Embedded Supports for Diverse Learners” section includes flexible grouping structures such as ensemble, partner, solo, and whole group, all of which support a scaffolded learning environment. The lessons provide varied practice opportunities that let students learn through different activities and at different levels of instruction and musical engagement.

The materials include guidance for educators and recommended performance settings (i.e., whole-group, small-group, individual) to support effective lesson implementation. For example, in unit 1, the “When the Saints Go Marchin’ In: Final Performance” lesson includes educator guidance for independent performance practice, ensemble active listening and blending, and student self-evaluation rubrics in the “Teacher Modeling and Procedure” section. The varied individual and whole-group activities promote student engagement and can be practiced and evaluated carefully.

Evaluation for 3.3a
Materials include teacher guidance on providing linguistic accommodations for various levels of language proficiency [as defined by the English Language Proficiency Standards (ELPS)], which are designed to engage students in using increasingly more academic and discipline-specific language.

The materials include educator guidance on providing linguistic accommodations for students at various levels of language proficiency. For example, in the “Emergent Bilingual Support Guide,” the “Proficiency Levels (TELPAS-aligned)” and “Linguistic Accommodations by Task Type” sections include supports for acquiring discipline-specific musical language, embedded within the lessons’ multisensory framework to support linguistic goals. The materials explicitly outline English Language Proficiency Standards (ELPS) strategies for students with learning needs, as well as accommodations that support academic language, vocabulary, and sentence stems.

In the “Emergent Bilingual Support Guide,” the “ELPS Alignment & How This Pairs With the Lessons” and “Rubric Supports (simplified & additional)” sections include specific, high-quality supports for the varying linguistic levels (pre-production, beginning, intermediate, high-intermediate, and advanced), along with linguistic accommodations and samples. The materials support the leveled academic learning necessary for all students’ success.

Evaluation for 3.3b
Materials include implementation guidance to support teachers in effectively using the materials in state-approved bilingual/ESL programs.

The materials include implementation guidance to help educators use them effectively in state-approved bilingual/ESL programs. For example, the SDI resource “Support for Emergent Bilingual Students-Implementation Guidance for Bilingual and ESL Programs” provides guidelines for coordinating with ESL educators, leveraging bilingual curriculum content, using translation tools, and varying assessment types. The resources direct educators to the strategies and personnel needed to support all EB students in the lessons.

In the web browser settings, the materials include Google Translate compatibility, which allows students to translate the materials into a wide variety of languages. Additionally, the materials give students access to respond to writing prompts and music text annotations in their native language as part of their accommodation plan.

Evaluation for 3.3c
Materials include embedded guidance for teachers to support emergent bilingual students in developing academic and discipline-specific vocabulary, increasing comprehension, building background knowledge, and making cross-linguistic connections through oral and written discourse.

The materials include embedded guidance for educators to support EB students in developing academic and discipline-specific vocabulary, improving comprehension, building background knowledge, and making cross-linguistic connections through oral and written discourse. In the “Emergent Bilingual Support Guide,” the “Family & Caregiver Guides” section provides embedded bilingual guidance for EB students in both oral and written discourse. The “Unit 1—When the Saints Go Marching In” section references academic and discipline-specific vocabulary strategies, including pre-teaching, multisensory methods, bilingual vocabulary walls, and leveraging cognates. The lessons include language support with specific terms and sentence stems to elaborate on intervallic, rhythmic, and tempo concepts. The materials provide fully bilingual support, evident in the lessons and in at-home connections, where families have access to educator feedback and rubrics.

The “Music From Around the World” section outlines strategies for exploring diverse musical connections through students’ cultural connections, activating prior knowledge, and supplemental cultural research lessons. The “All-Year—Composition Strand” section offers clear student support throughout the year’s music-creation projects, and it encourages families to track students’ progress. Additionally, the “Supplemental Lessons” unit includes “Skill-Builder 1: The Midnight Masquerade,” which features bilingual resources and language development strategies. The materials provide the necessary EB supports, embedding resources and strategies in the lessons.

Evaluation for 3.3d
If designed for dual language immersion (DLI) programs, materials include resources that outline opportunities to address metalinguistic transfer from English to the partner language.

This guidance is not applicable because the program is not designed for dual language immersion (DLI) programs.

Evaluation for 4.1a
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic literacy in alignment with the course TEKS.

The materials do not include guidance for educators on providing explicit (direct) instruction in discipline-specific artistic literacy aligned with the course TEKS. For example, in unit 4, the “The Water Is Wide: Historical Research” lesson lacks TEKS-aligned instruction and educator guidance, such as in the educator modeling and concept introduction sections. For example, the unit provides only one opportunity for students to discuss oral tradition. The only explicit instruction provided states, “Explain how songs change as they are passed down by ear rather than written on paper.” The lesson provides no further guidance on how educators can help students understand this concept. Additionally, the lesson also does not address all the TEKS components.

In unit 1, the “When the Saints Go Marching In: Historical Research” lesson lacks TEKS-aligned instruction and educator guidance, particularly in the educator modeling and concept introduction sections. The educator facilitates a class discussion on the music’s duality, asking, “Why do you think the song could be both joyful and serious?” and “How does music help communities express emotions like hope and grief?” The materials do not provide guidance for educators to deliver explicit (direct) instructions that are developmentally appropriate and aligned with the course TEKS. The materials do not sufficiently support discipline-specific artistic literacy or clearly connect to the referenced TEKS.

Evaluation for 4.1b
Materials explicitly connect new discipline-specific artistic literacy to prior learning across lessons and units within the course and across courses as applicable.

The materials do not explicitly connect new discipline-specific artistic literacy to prior learning across lessons and units within the course. For example, in the Scope and Sequence resource, the “Rationale for Unit Order and Curricular Coherence” and “How Musical Concepts Connect Throughout the Year” sections reference prior learning across the courses. However, the materials do not do this consistently. The Scope and Sequence does not accurately represent the connections among the course materials, contrary to what the unit overview descriptions explicitly state. The four-course unit overview fails to adequately connect the courses and spiral concepts by omitting necessary elements, such as an introductory review component in a new unit.

The materials do not explicitly connect new discipline-specific artistic literacy to prior learning across courses as applicable. The unit 2 “Oh! Susanna” overview includes a brief review of previous concepts that build on the foundations of unit 1. This unit introduces the 2/4 time signature. However, the materials do not include explicit connections coordinated across the course. The materials do not provide sufficient guidance and organization across units, concepts, themes, and lessons to build discipline-specific artistic literacy.

Evaluation for 4.1c
Materials consistently provide opportunities for students to develop and use discipline-specific artistic literacy vocabulary.

The materials consistently give students opportunities to use discipline-specific artistic literacy vocabulary. For example, in unit 4, the “The Water Is Wide: Rubric Generation” lesson includes vocabulary opportunities, such as rubric creation with explicit criteria for pitch accuracy, tone, diction, phrasing, and interpretation. The materials support music literacy vocabulary through written discourse in activities that sufficiently allow students to demonstrate their understanding of music vocabulary.

The materials give students opportunities to develop discipline-specific artistic literacy vocabulary. For example, the Music I/II/III—Vocabulary Bilingual resource includes a bilingual vocabulary set for middle school. In the “Teacher-Led: 2 Part Sight Reading” lesson, the vocabulary section provides a comprehensive breakdown of definitions and references to student work throughout the educator workflow. The materials support students in developing music literacy vocabulary by embedding terminology within activities.

Evaluation for 4.1d
Materials include activities and tasks that require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the course TEKS.

In unit 4, the “The Water Is Wide: Historical Research” lesson does not include a student demonstration of literacy or connect to the assigned educational standards or TEKS. The musical literacy activity does not align with the designated 5B standard (i.e., identify criteria for listening and evaluating musical performances), as the musical form and analysis activity does not address music listening and evaluation using appropriate music terminology, only asking the students to “listen carefully to the song and write a few words that describe how it makes you feel.” The materials lack the resources and support students need to demonstrate their musical understanding.

In unit 1, the “When the Saints Go Marchin’ In: Final Performance” lesson does not include a student demonstration of literacy or connect to the assigned educational standards or TEKS. The musical literacy activity does not align with the designated 5D standard (i.e., evaluate the quality and effectiveness of musical performances by comparing them to exemplary models). The large-group performance recording does not address music listening for exemplary models; instead, it asks students to listen to and evaluate their own live or recorded performance. The materials lack the resources and support students need to demonstrate their musical understanding as it pertains to the 5D standard.

Evaluation for 4.2a
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic skills at developmentally appropriate levels and in alignment with the course TEKS.

In unit 4, the “The Water Is Wide (Full Ensemble): Sight Read” lesson lacks TEKS-aligned instruction and educator guidance for varied skill levels, as demonstrated in the ensemble sight-reading activity. This lesson does not correctly use the 2D TEKS (i.e., reading music notation using appropriate cognitive and kinesthetic responses, such as inner hearing or Curwen hand signs). The materials do provide guidance for educators on musical sight-reading and performing, but the use of Curwen hand signs and solfege singing does not support discipline-specific artistic skills, as this approach is not an appropriate practice strategy for instrumental ensemble work. A more discipline-specific approach would be to have students secure meter and rhythm before pitch, eventually performing the unison melody in G Major using movable-Do solfege and accurate phrasing. The materials lack the music-reading skills and strategies students need to develop the appropriate musical skills for the assigned instrumental piece.

In the “Supplemental Lessons” unit, the “Skill-Builder 3: Performance” lesson lacks TEKS-aligned instruction and guidance for educators across skill levels. For example, the full-ensemble rehearsal activity does not correctly address the 2B TEKS (i.e., sight-reading unison and homophonic music using the appropriate clef in at least three meters, including 2/4). The materials guide educators on meter and tempo during performance. However, the materials do not reference sight-reading practice, as only typical rehearsal strategies were implemented, such as rehearsing and performing the unison piece “The River Sprite” in 2/4 meter. The materials lack the sight-reading skills and strategies needed to help students develop this crucial performance practice method.

Evaluation for 4.2b
Materials explicitly connect new discipline-specific artistic skills to prior learning across lessons and units within the course and across courses as applicable.

In the Scope and Sequence resource, the “Rationale for Unit Order and Curricular Coherence” and “The Single Coherent Musical Arc” sections reference prior learning across the courses. However, the materials do not do this consistently throughout the units. In the “Composition” unit, the “Duo Composition” lesson does not provide sufficient educator guidance on the musical skill of understanding phrases. The materials do not clarify phrase development, such as the antecedent and consequent terminology typical in phrasing explanations. The unit does not adequately build students’ compositional skills, offering only surface-level explanations of crucial terminology and compositional skills that are not explicitly connected to this lesson or to other aspects of the composition unit.

In unit 2, “Oh! Susanna,” the unit overview briefly reviews previous concepts and introduces the 2/4 time signature. However, the overview does not explicitly connect the course materials. The materials do not provide sufficient guidance and organization across units, concepts, themes, and lessons to build discipline-specific artistic literacy.

Evaluation for 4.2c
Materials provide opportunities for students to develop discipline-specific artistic skills through performing, exhibiting, or presenting artistic works at developmentally appropriate levels and in alignment with the course TEKS.

In unit 2, the “Oh! Susanna: Final Performance” lesson does not include the appropriate level of musical skill in fundamental techniques, which is assigned to the 3B standard, which requires that students perform music alone and in groups, demonstrating appropriate fundamental physical techniques such as hand position, bowing, embouchure, articulation, and posture. The materials do not reinforce or support any instrumental strategies. The lesson’s goal states, “Students will perform ‘Oh! Susanna’ as a final demonstration of musicianship, combining technical skill and expressive confidence.” However, the materials do not explicitly specify which instruments to use or provide the fundamental technical support needed. The materials lack the resources and support students need to demonstrate the musical skills referenced in the 3B standard.

In unit 4, the “Water is Wide: Self-Evaluation” lesson does not include TEKS-aligned instruction and appropriate skill levels, such as in the self-evaluation activity, which includes the 3E standard (i.e., sight-read independently and expressively, with accurate intonation and rhythm, demonstrating fundamental skills). The lesson does not include the sight-reading component stipulated by the 3E standard because it focuses on self-evaluating a performance recording. The materials lack the resources and support students need to demonstrate their musical understanding of how to implement sight-reading skills in an independent performance activity.

Evaluation for 4.2d
Materials provide opportunities for students to refine discipline-specific artistic skills through activities and tasks that progressively increase in rigor and complexity over lessons and units within the course.

The materials do not provide opportunities for students to refine discipline-specific artistic skills through activities and tasks across lessons and units within the course. For example, in the Scope and Sequence resource, the “Rationale for Unit Order and Curricular Coherence” and “The Single Coherent Musical Arc” sections reference prior learning across the course. However, the materials do not do so consistently throughout the units. In unit 3, the “Star-Spangled Banner: Pitches and Rhythms” lesson includes a student task flow that includes only a warm-up sequence and does not provide an opportunity to hone their playing skills or elaborate specifically on the lesson focus of pitches and rhythms. The materials include assessment opportunities that are aligned with the same musical skill expectation, with self-evaluation rubrics and no exemplary resources. The materials fail to provide students with sufficient and targeted growth and development by not addressing specific skills across lessons and units.

The materials do not give students opportunities to refine discipline-specific artistic skills through activities and tasks that progressively increase in rigor and complexity across lessons and units within the course. For example, the “Composition Unit” lessons include a four-tier unit progression that does not address skill development by rigor and instead functions as a stand-alone quarter-system with projects that do not sufficiently correlate; that is, they do not provide structured opportunities for students to create original music using concepts learned throughout units 1–4. Students progress through four major projects that gradually increase in complexity. The composition unit features lessons with inconsistent rigor in music composition skills. For example, the third lesson, “Quartet Composition,” lacks rigor and is more complex for group work tasks. The lesson does not lend itself well to a particular musical skill or standard for compositional skill. The materials provide a problematic framework for developing individual compositional skills and instrument mastery and do not create a true progression of skills.

Evaluation for 4.2e
Materials include activities and tasks that require students to demonstrate mastery of discipline-specific artistic skills through performing, exhibiting, or presenting artistic works at developmentally appropriate levels and in alignment with the course TEKS.

In unit 3, the “Star-Spangled Banner: Final Performance” lesson does not include a performance skills assessment that adequately demonstrates the four-part choral singing skills referenced in the 3C standard, “perform independently and expressively, with accurate intonation and rhythm, developing fundamental skill.” The learning goal includes the choral score with varied dynamics, phrases, articulation, and fermatas. However, the materials do not sufficiently reference or review these as a rehearsal inventory or performance guide. Educator guidance states, “Practice crescendos across long tones” and “Remind students of the tempo marking Maestoso (majestic) and that ‘home of the brave’ should feel triumphant.” Additionally, the materials focus primarily on maestoso and neither include it in the score nor reference it in previous lessons. Students cannot demonstrate mastery of accurate intonation, fundamental expressive skills, and ensemble performance. The materials do not sufficiently address the music strategies needed for final performances and do not allow students to demonstrate mastery through an adequate final performance review.

In unit 1, the “When the Saints Go Marchin’ In: Final Performance” lesson does not include a performance skills assessment that adequately demonstrates the full ensemble skills referenced in the 3C standard, where students “perform independently and expressively, with accurate intonation and rhythm, developing fundamental skills.” The learning goal includes the instrumental score with varied dynamics, phrases, articulation, and fermatas. However, the materials do not sufficiently reference or review these as a rehearsal inventory or performance guide. Educator guidance states, “Conduct a quick run-through of tricky measures, such as the pickup or syncopated sections. Focus on maintaining a steady tempo and balanced tone.” Additionally, the materials primarily focus on syncopation and do not include this information in the even-metered music score. Instead, the material reinforces an incorrect musical skill and concept.

Evaluation for 4.3a
Materials provide opportunities for students to explore a variety of discipline-specific art forms (e.g., variety of media, variety of performance genres and styles).

The materials give students opportunities to explore a range of discipline-specific art forms, including media, performance genres, and styles. For example, in the Scope and Sequence resource, the “Comprehensive Research Guide” section offers specific guidance for historical and cultural studies—historical research is positioned as the second step in every unit’s instruction. The materials support diverse art forms by incorporating multicultural perspectives on the musical content, such as using the songs “Mi Vaca Lechera” and “Streets of Laredo” to explore polka’s influence on regional Mexican music.

In Unit 3, the “When the Saints Go Marchin’ In (Small Group): Historical Research” lesson features a culturally infused research project that connects the song to early jazz traditions and explores its cultural meaning in New Orleans. The New Orleans and jazz origins music research activity supports students’ musical learning in multicultural traditions by challenging them to explore and write about diverse musical styles.

Evaluation for 4.3b
Materials provide opportunities for students to create, adapt, or extend discipline-specific artistic works for performance, exhibition, or presentation (in line with appropriate fair use and copyright).

In the “Supplemental Lessons” unit, the “Democratic Composition: Creating Music Through Shared Governance” lesson does not offer a sufficient performance or presentation opportunity for the historical group composition activity. The political-themed project requires group participation that unifies democratic principles, group roles, and melodic criteria based on theme and variations, but it does not extend the group project into any form of performance or presentation. Instead, it only requires a digital submission and reflection.

In the “Composition” unit, the “Solo Composition” lesson does not provide a sufficient performance or presentation opportunity for the ternary-form music activity, in which students write a solo piano piece in ABA form. The ABA composition lesson does not specify whether students will use the completed work in any final showcase, portfolio, or concert. The lesson includes no criteria beyond the ternary-form composition activity, as it does not require a music presentation.

Evaluation for 4.3c
Materials include guidance for teachers on promoting student agency in making or selecting discipline-specific artistic works for study, performance, exhibition, or presentation.

In the “Supplemental Lessons” unit, the “Democratic Composition: Creating Music Through Shared Governance” lesson provides educators with guidance for students to select their own roles, democratic themes, and melodic compositions in the group music activity, where students create a musical composition by working like a democratic government: voting on rules, sharing responsibilities, and compromising. The political-themed group project includes criteria for selecting quotes from historical documents and for creating a brief contrasting melodic work. The materials support independent and collaborative student choice by providing explicit guidance for fulfilling student group roles (composer, editor, or performer), voting on democratic rules for the song, and composing the musical piece.

In the “Composition” unit, the “Class Composition” lesson includes educator guidance to help students create a large-group composition score. In this lesson, students collaborate in a large group of 10 or more to compose a 24–36-measure ensemble piece in theme-and-variation form. The materials promote independent and collaborative creative choice in the large-group composition assignment by assigning individual composing roles, such as focusing on writing one instrumental line, avoiding crowding other melodies, and adding harmonies.

Evaluation for 5.1a
Materials include guidance for teachers to provide explicit (direct) instruction in interpreting, evaluating, and responding to discipline-specific artistic works of other artists at the level of depth and complexity required by the course TEKS.

In unit 2, the “Oh! Susannah: Peer Evaluation” lesson does not provide sufficient instruction on evaluating recorded performances in the peer evaluation activity, in which students develop the skill of giving and receiving constructive peer feedback using the rubrics they created in earlier lessons. The criteria refer to a student-made rubric focused on constructive feedback. The assignment does not align with the 5B standard (identify criteria for listening to and evaluating musical performances), as the standard intends for students to evaluate professional, exemplar recordings rather than their peers’ work. Additionally, the lesson uses music criteria that do not align with music standards for analysis, such as a focus on performance techniques and articulation. The materials lack the depth and complexity required by the TEKS standard because they do not use high-quality artistic works for the listening and written evaluation activity.

In the “Supplemental Lessons” unit, the “Cross-Curricular: Social Studies” lesson offers insufficient instruction in interpreting national anthems, emphasizing literary elements over musical techniques. In the assignment, students compare and contrast the national anthems of Mexico, Canada, and the United States by analyzing lyrics, tempo, and musical mood to identify relationships among the pieces. The assignment does not align with the 1A standard (experience and explore exemplary musical examples using technology and available live performances), which calls for professional, exemplary music rather than the in-app Flat music scores. Additionally, the music criteria do not provide sufficient interpretive guidance, focusing primarily on general observations like “How do the instruments or volume create the mood? How does the speed make you feel?” The materials do not meet the depth and complexity requirements of the TEKS standard because they do not incorporate high-quality artistic works in the analysis and evaluation of national anthems.

Evaluation for 5.1b
Materials emphasize the use of discipline-specific vocabulary in interpreting, evaluating, and responding to artistic works.

In unit 4, the “Water Is Wide (Full Ensemble): Dynamics, Expression and Articulation” lesson does not emphasize the appropriate music vocabulary in the dynamics and articulation score analysis assignment, in which students are asked to listen to two versions of the song, compare the dynamics, volume, and articulation, and describe how each version made them feel. The student task flow does not adequately emphasize the music vocabulary needed to complete the assignment. The materials do not support the student’s use of music vocabulary in this score-response activity because they provide inadequate guidance on musical terminology, which is neither provided nor explained.

In the “Supplemental Lessons” unit, the “Supplemental Sight-Reading 4: Response and Reflection” lesson does not emphasize appropriate music vocabulary in the multicultural and folk instrument writing assignment, which focuses on researching the historical and cultural context of the traditional Mexican corrido “La Entalladita.” The student task flow provides minimal examples of music vocabulary and offers no resources on polka music, Mexican instrument history, or even English translations of the Spanish song. The materials do not support the student’s use of music vocabulary in this Mexican folk music writing assignment because there are insufficient resources on musical terminology to respond adequately to the questions and the translation.

Evaluation for 5.1c
Materials provide opportunities for students to practice interpreting, evaluating, and responding to discipline-specific artistic works of other artists through activities and tasks that progressively increase in rigor and complexity over lessons and units within the course.

The “Supplemental Lessons” unit overview does not include correlations and interpretations of musical works across lessons and units. It is organized into four culturally diverse repertoire sub-units that reinforce fundamental musicianship skills through four ensemble pieces: “The Midnight Masquerade,” “The Rising Storm,” “The River Sprite,” and “Mechanical March.” The sub-units include varied lessons that focus on a single musical sample across several lessons, which students analyze, record, and perform. However, these sub-units do not connect to other sub-units that use different musical components. The materials do not give students opportunities to develop a varied musical repertoire when they explore and examine only a single work.

In the Scope and Sequence resource, the “Rationale for Unit Order and Curricular Coherence” section explains how rigor develops and how music skills align across units. Each unit builds on the cognitive, technical, and expressive skills established in earlier units, and the order reflects a progression from fundamental literacy to advanced interpretive and creative musicianship. However, music analysis across units does not show increased rigor from unit 1 to unit 2, as the units differ only in content: unit 1’s composition, “When the Saints Go Marchin’ In,” is a complex mixed ensemble piece, while unit 2’s, “Oh! Susannah,” is a short solo folk melody. The materials do not sufficiently progress across lessons and units, as they do not consistently increase the rigor or musical skill of the artistic works.

Evaluation for 5.2a
Materials include guidance for teachers to provide explicit (direct) instruction in giving and receiving feedback on discipline-specific artistic works to self and other students.

The materials include guidance for educators to provide explicit (direct) instruction in giving feedback on discipline-specific artistic works to themselves and other students. For example, in unit 4, the “Water is Wide (Full Ensemble): Self-Evaluation” lesson includes explicit self-evaluation feedback on the unit song, with individual recordings and lesson extensions for peer reviews. Students evaluate their “own performance kindly and use what [they] learn to grow as a musician.” The task flow provides students with a clear criteria scorecard and reflection questions after they actively listen to themselves. Students must give themselves a score of 1–4 for each of these categories: pitch accuracy, rhythm control, tone quality, dynamics and expression, phrasing and breath support, and stage presence. Short-answer questions also ask what went well, what changes they would make next time, and what surprised them. Additionally, the lesson includes an activity in which students share one strength and one goal with a partner, and an extension for advanced students to trade recordings and self-evaluations with a partner for peer review.

The materials do not consistently include guidance for educators to provide explicit (direct) instruction in receiving feedback on discipline-specific artistic works from other students. For example, in unit 2, the “Oh! Susanna: Peer Feedback” lesson includes explicit peer feedback on the unit song, with peer recordings and evaluations. However, the lesson does not provide clear criteria, leaving the educator unable to expand further without additional guidance. The materials do not sufficiently prepare the educator to guide students in receiving feedback. The lessons do not consistently include a clear evaluative document with explicit guidelines.

Evaluation for 5.2b
Materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students.

In unit 3, the “Star-Spangled Banner: Peer Evaluation” lesson offers opportunities for peer feedback on student performance evaluations of the unit song, using their personal rubrics to evaluate and encourage their peers’ performances. The task flow includes explicit guidelines and sentence starters for students to follow in their evaluations, such as “Write one thing they did really well” and “Write one thing they can fix to be even better.” The materials also include opportunities for peer evaluations of “The Star-Spangled Banner” recordings, with explicit guidelines and criteria for peers to use when providing feedback.

In unit 4, the “Water is Wide: Peer Evaluation” lesson offers opportunities for peer feedback on students’ performance evaluations of the unit song, in which students evaluate each other’s performances and offer constructive advice using a specific rubric. The task flow includes explicit guidelines and examples for students to follow.

Evaluation for 5.2c
Materials provide opportunities for students to receive feedback on their discipline-specific artistic works from teachers and other students.

In unit 3, the “Star-Spangled Banner (Full Ensemble): Peer Evaluation” lesson includes student feedback on ensemble playing in the unit’s rehearsal activity, using personal rubrics to evaluate and encourage peers’ performances. The lesson focuses on small-group active listening, performance scoring, and read-aloud comments for each performer. The materials include lessons that provide peer evaluation by including criteria and roles for student feedback.

The materials provide students with opportunities to receive feedback from educators on their discipline-specific artistic work. For example, in the Supplemental Lessons unit, the “Independent Learning: Identifying the musical symbols” lesson includes a variety of assessment types, feedback frames, and specific guidance on responding to student learning.

Evaluation for 5.2d
Materials include guidance for teachers to provide feedback to students to refine their discipline-specific artistic works.

The materials do not intentionally include planned opportunities for students to receive feedback from educators on their artistic work. While the program implementation guide suggests that instructors offer corrections during rehearsals, it does not specify when to deliver feedback within lessons. The grade 6 scope and sequence occasionally mentions, “Teacher reviews and provides personalized comments,” but it does not detail when or how students will receive these comments. The instructional leader resources within the scope and sequence hint that leaders should ensure educators provide ongoing, content-focused coaching and regular, personalized feedback. However, the program materials do not clearly guide educators on how to deliver this ongoing support. The program includes no embedded opportunities for educators to provide feedback throughout a lesson or unit. Instead, the grade 6 program only suggests using an educator rubric to give feedback at the end of each unit, rather than integrating strategic, planned feedback opportunities throughout the program. For example, the unit 1 overview of “When the Saints Go Marchin’ In” does not explicitly support educator-guided refinement. The materials suggest that educators use custom-designed grading rubrics, formal self-evaluation and peer evaluation with constructive “Glow and Grow” feedback, and “Practice Logs” to track focused rehearsal goals and time management. However, materials do not include sufficient educator guidance to support students in refining music concepts and work. The lesson materials require the educator to supplement with additional music development strategies.

In unit 2, the “Oh! Susanna: Final Performance” lesson does not provide educators with refinement feedback for the unit song’s final performance and self-reflection. For example, students perform ‘Oh! Susanna’ as a final demonstration of musicianship, combining technical skill and expressive confidence, followed by self- and peer evaluation to reflect on personal growth. The performance preparation lacks specific educator feedback; instead, it offers general recommendations, including reviewing entrances, dynamics, and phrasing, and encouraging expressive phrasing and confident posture. Additionally, the instruction does not consistently reinforce musical skills and vocabulary. The lesson’s score omits crucial articulations and expression, a pattern underscored throughout the task flow. The final reflection also lacks educator-refinement support, as the criteria are based on self-made rubrics and peer evaluation. The materials do not sufficiently enable the educator to refine musical concepts and work, requiring the educator to supplement the materials with additional music development strategies.

Evaluation for 5.2e
Materials provide opportunities for students to engage in self-reflection or self-evaluation to refine their discipline-specific artistic works.

In unit 2, the “Oh! Susanna: Rubric Generation” lesson includes a student-created self-evaluation rubric that provides criteria for refining performance of the unit song. Students design a custom performance rubric for “Oh! Susanna” that evaluates five specific categories: rhythm, pitch, dynamics, tone, and stage presence. The educator guides the class in developing strong criteria so that students can define quality points in the rubric. Educator guidance encourages educators to “Demonstrate how to write clear criteria for each level using ‘Rhythm’ as an example.” Students generate their own descriptors for levels 1–4 across all five categories: excellent, good, developing, and beginning. The materials reinforce student self-evaluation by providing opportunities for refinement through a performance rubric and quality standards.

In unit 4, the “Water is Wide: Self-Evaluation” lesson includes a self-evaluation criterion to refine performance of the unit song. Students apply the rubric from the previous lesson to evaluate themselves and write a short reflection using positive self-talk and constructive feedback language. The educator guides the class in developing strong criteria, including pitch accuracy, rhythm control, tone quality, and dynamics/expression. Additionally, the educator models positive feedback so that students can write a self-reflection response. The materials support student self-assessment by offering opportunities for improvement through a performance rubric and quality standards.

Evaluation for 6.1a
Materials include guidance for teachers to provide explicit (direct) instruction on cross-curricular connections within and across the fine arts disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.

In unit 1, the “When the Saints Go Marchin’ In: Historical Research” lesson guides students to make connections within the fine arts and across core academic disciplines. The materials include a New Orleans jazz research project that links music to historical and cultural contexts. Students explore the origins, historical context, and musical form of “When the Saints Go Marching In” to connect the song to early jazz traditions, understand its cultural meaning in New Orleans, and describe written music representative of the jazz era. The materials provide appropriate guidance for making cross-curricular connections in the fine arts by linking music to cultural and historical elements.

In the “Supplemental Lessons” unit, the “Musical Vocations: Your Own National Anthem” lesson guides students in connecting the fine arts to core academics. The materials include an anthem-composition assignment that addresses social values and literary elements: students compose a class “National Anthem” by writing an original melody and lyrics that express classroom values and identity, establish a clear tonal center in C Major, and create singable melodic phrases supported by simple harmonic accompaniment. The materials also offer clear guidance for integrating music by incorporating patriotic and historical elements into fine arts content.

Evaluation for 6.1b
Materials provide opportunities for students to explore cross-curricular connections within and across the various fine art disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.

In the “Supplemental Lessons” unit, the “Cross-Curricular Social Studies” lesson connects the fine arts with core academics. The materials include a national anthem comparison research project that links music to historical and political context: students compare and contrast the national anthems of Mexico, Canada, and the United States by analyzing the lyrics, tempo, and musical mood to identify relationships between the music, describe aurally presented music, and describe written music representative of diverse styles and the history and cultural values of each nation. The materials provide the necessary guidance for making fine arts cross-curricular connections by linking music to historical elements.

In the “Supplemental Lessons” unit, the “Music of the Frontier: Texas Statehood, Citizenship, and Musical Storytelling” lesson connects the fine arts with the core academic subjects. The research writing assignment includes a study of historical and American folk music that links the founding documents to frontier culture: students explore how music reflected American and Texan civic identity in the 1800s by analyzing a frontier-era folk song, connecting it to Texas statehood, founding principles, and free enterprise, and performing a simplified version of music representative of Texas heritage. The materials provide essential guidance for integrating the fine arts by incorporating historical elements through music.

Evaluation for 6.2a
Materials include guidance for teachers to provide explicit (direct) instruction on relevant discipline-specific historical and cultural context in alignment with the course TEKS.

In the “Supplemental Lessons” unit, the “Music of the Frontier: Texas Statehood, Citizenship, and Musical Storytelling” lesson includes a Texas historical and political study: students explore how music reflected American and Texan civic identity in the 1800s by studying a frontier-era folk song, such as “The Yellow Rose of Texas” or “Shenandoah,” connecting it to Texas statehood, founding principles, and free enterprise, and performing music representative of Texas heritage through a simplified version. However, the lesson focuses solely on the political context and offers very little guidance on music selections. The materials partially align with the TEKS by identifying and introducing general concepts, such as the 4C standard, but they do not further examine American and Texan folk music styles. The materials do not align with standard 4B, which requires students to describe written and aurally presented music representative of diverse styles, periods, and cultures. The materials lack TEKS-aligned guidance and student connections to the historical musical context of Texan culture by failing to link the historical context to the folk music adequately and to provide the necessary resources for the unspecified frontier-era folk songs.

In unit 4, the “Water is Wide: Historical Research” lesson includes a Scottish folk cultural study: students explore the historical and cultural background of “The Water Is Wide,” connecting its Scottish folk origins and oral tradition to its strophic structure and lyrical meaning. However, the concept discussion references the cultural context without further exploration or concrete resources. The materials do not align with the TEKS because they focus only on Scottish culture and do not examine musical style. As a result, the lessons do not align with the TEKS standards 4B (describe written and aurally presented music representative of diverse styles, periods, and cultures) and 4C (identify relationships of music concepts to other academic disciplines). The materials lack TEKS-aligned guidance and connections to Scotland’s cultural context, and they do not provide resources or context for the folk music tradition or the history of the Scottish folk song “Waly, Waly.”

Evaluation for 6.2b
Materials provide opportunities for students to explore a variety of discipline-specific artistic works and traditions (e.g., variety of historical and contemporary artistic works, artistic traditions from diverse cultures).

In the Scope and Sequence resource, the “Rationale for Unit Order and Curricular Coherence” section outlines coursework that explores styles, traditions, and concepts, from the cultural and historical connections that trace back to African American spiritual traditions and New Orleans jazz, through American folk tradition and westward expansion, to national identity and historical conflict, and to Scottish folk tradition and oral transmission. The materials also offer varied opportunities for musical exploration by including artistic works from diverse cultures, styles, and periods.

The “6th Grade Supplemental Lessons” unit overview outlines coursework that explores various styles, traditions, and concepts. The materials offer a range of cultural and contemporary selections through supplemental lessons: students engage in culturally diverse sight-reading challenges with pieces such as “Goodbye, Old Paint,” “Mi Vaca Lechera,” “Streets of Laredo,” and “La Entalladita,” which explore historical styles ranging from cowboy ballads to Regional Mexican polka and the Corrido tradition. The unit overview provides a varied repertoire for musical exploration by including artistic works from diverse cultures, styles, and periods.

Evaluation for 6.2c
Materials include activities and tasks that require students to demonstrate understanding of relevant discipline-specific historical and cultural context in alignment with the course TEKS.

In the “Supplemental Lessons” unit, the “Supplemental Sight-Reading 4: Response and Reflection” lesson includes a Mexican folk music research activity on the sub-unit song: students research the historical and cultural context of the traditional Mexican corrido “La Entalladita,” and analyze its specific instrumentation, narrative style, and European influences. The cultural research includes a score analysis of the musical style and text of “La Entalladita,” as well as the general historical background of polka music, instrumentation, and the corrido style. The materials provide cultural and historical connections that align with the attached 4A, 4B, and 4C standards. The Mexican folk music lesson explores cultural context through a folksong analysis and research project.

In the “Supplemental Lessons” unit, the “Music and Self-Governance: How Songs Reflect American Ideals” lesson includes a patriotic-themed music research activity on the sub-unit songs: students analyze American civic songs to identify the foundational purposes of the United States and Texas and connect musical collaboration to democratic principles. The patriotic research includes a score-based investigation of civic-song lyrics, such as “The Star-Spangled Banner” or “This Land Is Your Land,” connecting the text to patriotic beliefs and ideals found in the constitutional preambles. The materials provide historical and lyrical connections that align with the attached 4A and 4C standards. This patriotic-themed lesson explores historical context through lyrical analysis and a constitutional research project.