Flat For Education – Music II (Grade 7)

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

In the Scope and Sequence resource, the “Complete Lesson Inventory and Time Estimates” section includes four unit summaries, each outlining the 36 weekly lessons. The detailed content descriptions by unit and by lesson concept help the educator plan 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 “7th Grade Music TEKS Alignment and Rationale Guide” section lists the TEKS standards assigned in the unit overview and quarterly descriptions. The materials do not provide educators with crucial guides showing alignment with 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, in the Source and Sequence resource, the “Pacing Recommendations for Multiple Instruction Schedules” section outlines pacing and instructional calendars for the 36-week school year (three weekly lessons, each lasting 45 minutes), along with recommended adjustments. Additionally, the materials provide further pacing and differentiation in the Ability-Based Pacing & Differentiation Guide. The pacing guidelines support educators by providing resources to adjust and plan for learner outcomes throughout the school year.

The materials include suggested pacing to support effective implementation of rotational schedules. For example, the Scope and Sequence resource’s “Rotational Schedule Implementation” section outlines different weekly calendars, including 6-day, 7-day, and specialty rotations. These guidelines help educators manage flexible school schedules.

The materials include suggested pacing to support effective implementation for instructional calendars with varying numbers of instructional days. For example, the Scope and Sequence resource includes a “Scheduling Scenario Models” section with a varied class-breakdown schedule. These varied instructional schedules and calendars help educators plan flexible daily lesson allotments 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 includes a “Rationale for Unit Order and Conceptual Connectivity Across the Course: Why This Unit Order Works” section that outlines four music units for the school year. The 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 Conceptual Continuity” section outlines curriculum connections across the school year within the following curriculum threads: literacy, expressive, evaluation, cultural understanding, creativity, and performance. The materials assist 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 Scope and Sequence resource includes the “Protocols and Guidance for Unit and Lesson Internalization” section, which lists seven protocols with criteria, along with the Unit Internalization Protocol, which breaks down internalization strategies. These protocols support educators by providing parameters and strategies for implementing the curriculum.

In the Scope and Sequence resource, the “Protocols and Guidance for Unit and Lesson Internalization” section lists seven protocols with criteria, as well as the Lesson Internalization Protocol, which breaks down the protocol into sections such as “Why This Matters” and “Evidence of Internalization.” The materials support the educator with appropriate internalization strategies that 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.

In the Scope and Sequence resource, the “Resources and Guidance for Instructional Leaders” section includes rubrics, pacing calendars, performance tasks, sample responses, observation tools, and assessments, all embedded in the Flat digital platform. These resources support educators by providing music-learning tools for implementing the lessons.


In the Scope and Sequence resource, the “Resources and Guidance for Instructional Leaders” section outlines seven criteria for leadership, support structures, and professional development. These guidelines provide educators with 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, the Scope and Sequence resource includes four unit summaries in the “Rationale for Unit Order and Conceptual Continuity” section, along with a detailed breakdown of each of the 36 weekly lessons. Educators can prepare for the unit’s content and course information by consulting the document and using the unit overviews in the digital program.



The materials do not include comprehensive unit overviews that provide the academic and discipline-specific vocabulary needed to teach the concepts effectively. For example, in the Scope and Sequence resource, the “Rationale for Unit Order and Conceptual Connectivity Across the Course” section does not reference vocabulary specific to the individual unit’s focus. The unit overviews include a general vocabulary list that does not align with the unit’s specific focus (e.g., the Dance of Youth unit overview). The materials hinder the educator’s ability to plan for developing and using music vocabulary. The materials lack sufficient, accessible vocabulary resources.

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 materials include English-language support for families for each unit, with suggestions to support student progress. For example, the Scope and Sequence resource includes a “Family and Caregiver Guide: Engaging Communities in Musical Growth” section that offers guidance on connecting learning at home, including the diverse repertoire and practice strategies. The resources provide adequate English-language materials to support the school and home community and offer ways to engage.


The materials do not include Spanish-language supports for families in each unit or suggestions for supporting student progress. For example, in the Scope and Sequence resource, the “Family and Caregiver Guide: Engaging Communities in Musical Growth” section provides neither Spanish-language materials for families nor specific target-language communications through translated curriculum materials. The materials lack sufficient accessibility for emergent bilingual (EB) learners because they fail to provide essential Spanish resources for students who need them.

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 clear lesson objectives. For example, in the “Composition” unit, the “Composition 1” lesson presents the learning goal at the beginning of the educator’s 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 aligned with the TEKS. For example, in unit 1, the “Drink to Me Only with Thine Eyes: Historical Research” lesson incorporates the TEKS standards at the outset of the educator’s narrative. The materials align with Texas music education standards by clearly presenting the specific TEKS alignment and providing 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 4, the “Dance of Youth: Sight Read” lesson includes a range of tasks and questions throughout the modeling, concept introduction, and student task flow (e.g., arpeggio warm-up, rehearsing rhythm patterns, attention to articulation and blend). The lesson plans reinforce student learning by breaking down varied activities across 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 2, the “De Colores: Pitches and Rhythms” lesson includes a variety of assessments, such as pitch identification, rhythm-pattern labeling, and music-score annotations. The materials evaluate and reinforce student learning through formative and summative assessments embedded in the lessons.

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 (e.g., equipment, supplies, technology). For example, in unit 2, the “De Colores: Practice Log 1” lesson overview references a log template, but the materials do not provide it. 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 them effectively.


In the “Supplemental Lessons” unit, the “Health Concepts” lesson does not clearly guide students on which words to define. The materials do not include a definitive vocabulary list. The materials create vocabulary development challenges because they do not consistently include all necessary 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 4, the “Dance of Youth: Self-Evaluation” does not provide sufficient lesson timing and pacing in either the student activity or the educator narrative (i.e., the educator narrative includes “Review 5–10 min” but provides no other pacing). The materials pose time-management challenges by not providing pacing 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 4, the “Dance of Youth: Dynamics, Expression and Articulation” lesson includes a “Differentiation: Support” section that guides educators to provide a “Word Bank” of descriptive terms, such as energetic, smooth, bouncy, and heavy, to help students build musical vocabulary. The materials support all types of learners by providing consistent support strategies and accommodations for every lesson.

In the “Composition” unit, the “Composition 3” lesson includes a “Differentiation: Extension” section that guides educators in challenging advanced students to use polyrhythm across the parts. The materials support all music learners by consistently offering extensions that 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.

The materials do not include a variety of instructional assessments, including diagnostic assessments that vary in task/question types and skill demonstration. For example, in the Scope and Sequence resource, the “Assessment Guide: Utilizing Assignments, Differentiation, and Evidence of Growth” section does not include diagnostic assessments across the six assignment types, which include Score Analysis & Literacy Annotations, Sight-Reading & Prepared Performances, Self/Peer and Live Evaluations, Structured Practice Logs, Composition and Creative Tasks, and Historical and Cross-Curricular Research. These materials do not provide educators with diagnostic assessment information, which is essential for instructional design driven by student performance and feedback. The assessment guide relies solely on formative and summative assessments, such as 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 how students demonstrate skills. For example, the “Drink to Me Only With Thine Eyes” 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 and the skills they demonstrate. For example, in unit 1, the “Drink to Me Only With Thine Eyes: Final Performance” lesson includes evaluation criteria, reflection, and extension for the “Final Performance Recording” section. The included materials, such as performance recordings, reflections, and evaluations, offer educators diverse assessment tools that provide information about student learning and feedback.

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

The materials do not define the types of instructional assessments or their intended purposes. For example, in the Scope and Sequence resource, the “Utilizing Assignments and Capturing Evidence of Growth” and “Understanding the Dual-Rubric System” sections do not explain the purpose of the assessment types (e.g., performance tasks, self-checks). The materials also do not define the assessment types (i.e., diagnostic, formative, summative) or provide clear scoring targets, such as for performance tasks and self-checks.

The “Universal Music Education Rubric” section in the Scope and Sequence resource provides a rubric that clearly defines scoring targets for composition assessments or for assessing mastery of skills, but it is not explicitly aligned with any specific lesson. In unit 1, the “Drink to Me Only With Thine Eyes: Final Performance” lesson includes final-performance recording criteria (i.e., play or sing the song from start to finish without stopping) and self-reflection. However, this evaluation does not provide adequate guidance on how to assess and score the rubric.

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

The materials lack educator guidance to ensure consistent, accurate administration of instructional assessments. For example, the Scope and Sequence resource’s “Understanding the Dual-Rubric System” section lacks guidance and only briefly explains the instructional assessments. The guide limits the educator’s ability to administer assessments accurately by omitting time allocations, grouping information, and resources for effective administration.

In unit 4, the “Dance of Youth: Final Performance” lesson includes self-reflection writing criteria but lacks a self-evaluation rubric within the lesson module. The materials do not provide the necessary evaluative information beyond the “Universal Music Education Rubric” in the unit overview. Without it, the educator cannot collect data to inform instructional decisions.

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

The materials do not include summative assessments aligned with the course TEKS or course or unit objectives. For example, in the Scope and Sequence resource, the “7th Grade Music TEKS Alignment and Rationale Guide” section does not sufficiently explain the specific TEKS alignment needed to implement summative assessments successfully. Instead, these resources categorize assessments by learning strands rather than by the TEKS. The materials do not align with the required educational standards for the lessons and do not allow the educator to administer any summative unit assessment to demonstrate mastery of the skills (e.g., Unit 1, “Drink to Me Only with Thine Eyes”).

The materials do not include formative assessments aligned with the TEKS or the course and lesson objectives. For example, in unit 1, the “Drink to Me Only with Thine Eyes: Sight-Read” lesson lacks a rubric with clear TEKS targets for scoring formative assessments or for assessing mastery of the expressive performance objective (i.e., record your best, most musical performance in Flat. Show off your hard work!). The materials do not align with the required educational standards for the lessons and do not allow the educator to conduct formative expressive performance assessment adequately.

The materials do not include diagnostic assessments aligned with the TEKS or the course and lesson objectives. For example, in unit 4, the “Dance of Youth: Final Performance” lesson lacks clear TEKS targets for diagnostic assessments that pre-assess student performance (e.g., displaying previous rubrics and discussing “Complete Musicianship.” Explain that a great performance isn’t just one thing, like rhythm—it is the intersection of accuracy, tone, and expression). The materials do not align with the required educational standards for the lessons and do not allow 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 3, the “Twilight: Self Evaluation” lesson includes a variety of assessments, such as small-group activities, reflections, and recordings. The 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 the Scope and Sequence resource, the “Ability-Based Pacing & Differentiation Guide: Accelerating the Pace and Supporting Developing Ensembles” section does not provide a consistent range of assessment complexity levels (i.e., using self-paced assignments, educators can effectively manage mixed-ability classrooms, ensuring developing musicians receive necessary support while advanced musicians remain engaged through enrichment). The guide offers independent formative and summative assessments with unclear connections to TEKS alignment and does not address specificity and complexity across the courses. The materials present the same level and variety of evaluation throughout the curriculum. Additionally, the materials do not include clear TEKS alignment criteria in the main assessment rubric used, the Universal Music Education Rubric.

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

The materials provide scoring guidance to help educators assess instructional materials accurately. For example, the Scope and Sequence resource includes a detailed scoring rubric in the “Progress Monitoring Guide: How to Access and Evaluate the Data” section 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 materials do not provide guidance for interpreting student performance on instructional assessments. For example, in unit 4, the “Dance of Youth: Final Performance” lesson references a general assessment rubric (i.e., the Universal Music Education Rubric), but it does not clearly outline guidance and criteria for interpreting instructional assessments and student performance data. The materials do not provide educators with the guidance needed to use the data correctly and therefore cannot be used to interpret student evaluations.

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 limited in success without targeted remediation.

The “De Colores” unit includes a variety of formative and summative assessments. However, the materials lack specific activities and tasks that educators can use to respond to trends in student performance (e.g., having students complete another full cycle of self-assessment, peer feedback, and practice logs). 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 4, the “Dance of Youth” lesson includes resources such as practice logs, goal-setting, reflection sheets, and self-evaluation rubrics to help students track their progress. The student resources adequately support students in evaluating their performance within the lesson.


The materials include tools that help educators track student progress and growth. For example, the Scope and Sequence resource includes a “Progress Monitoring Guide: How to Access and Evaluate the Data” section with data analysis tools and resources for manipulating data (e.g., spreadsheets, grade exporting, data growth, and progress). The materials also 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.

The materials provide consistent educator guidance for differentiated instruction, activities, and scaffolded lessons for students who have not yet reached proficiency in the course TEKS. For example, in the “Supplemental Lessons” unit, the “Health Concepts” lesson includes a “Differentiation” section with clear support guidance, such as providing pre-written rhythm starters in the score template. The score modifications and music examples enable the educator to differentiate instruction and support students who struggle with rhythm concepts as they work toward the composition objectives.

In the “Composition” unit, the “Composition 1” lesson includes a “Differentiation” section with clear support guidance, such as a rhythmic skeleton that helps students focus on melody and dynamics as they work toward the composition objectives. The score modifications and rhythm guidance enable the educator to differentiate instruction and support students who struggle with multiple higher-level music concepts as they work toward mastery of the composition objectives.

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 (e.g., academic and discipline-specific language). For example, in the Specially Designed Instruction (SDI) resource, the “Evidence-Based Practices: Practice 1” section includes embedded vocabulary supports such as student-friendly definitions, contextual frameworks, student vocabulary notebooks, and other retrieval-practice methods. These accommodations and independent practice strategies help the educator differentiate instruction for students who need support with reading comprehension and writing.

The materials do not include pre-teaching or embedded supports for unfamiliar references in the text (e.g., figurative language, idioms). For example, in unit 1, the “Historical Research” lesson provides no embedded supports for the historical and biographical information about Ben Johnson. The materials also lack the resources and links educators need to implement the lesson. Educators must conduct independent preliminary research before implementing the lesson.

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.

The materials include consistent educator guidance for differentiated instruction, as well as enrichment and extension activities for students who have demonstrated proficiency in the course TEKS. For example, in the “Supplemental Lessons” unit, the “Cross-Curricular 1” lesson includes educator guidance in the “Differentiation: Extension” section, which offers students an opportunity to use word painting in the prescribed musical poem assignment. These extensions challenge students with advanced compositional tasks that promote independent and creative musicianship.


In the “Supplemental Lessons” unit, the “Composition 1” lesson includes educator guidance in the “Differentiation: Extension” section, which offers extensions that let students apply advanced composition strategies, such as using retrograde or writing the piece in a specific form. These extensions challenge students by promoting higher-level composition and music theory techniques that go beyond the lesson.

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

The SDI resource includes a section titled “The Three Components of SDI in a Digital Music Setting” that outlines supportive services, categorized by differentiation in content, methodology, and delivery of instruction. 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 team. The materials provide educators with resources and recommendations to align instruction with the needs of students who may require specific accommodations.


The “Applying SDI to a Sample Lesson: Unit 3, Twilight” section of the SDI resource provides guidance on supportive services in a sample lesson where a student receives various levels of accommodation. The sample lesson resource includes exemplars for educator and instructional leadership that reference the student’s IEP. The program benefits music educators by connecting instruction to 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 the “Composition Lessons” unit, the “Composition 3” lesson includes direct language that guides students in crafting rhythms for compositions in the “Concept Introduction” section. The explicit prompt supports the educator in modeling by explaining new terminology (i.e., how individual parts can fit together like puzzle pieces to create a groove).


In the “Composition Lessons” unit, the “Composition 3” lesson includes direct language that guides students in crafting rhythms for compositions in the “Concept Introduction” section. The explicit prompt supports the educator in modeling by explaining new terminology, such as how individual parts can fit together like puzzle pieces to create a groove.

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

The “Evidence-Based Practices-Practice 3: Scaffolded Performance Through Modeling and Chunking” section of the SDI resource offers a range of instructional approaches for differentiating performance tasks (sight-reading, prepared solos, and ensemble work) that can be broken into smaller implementation steps. However, the lessons do not include this support. In Unit 4, the “Dance of Youth: Practice Log 1” lesson lacks a consistent variety of instructional approaches. It includes independent practice and an answer to a written question. However, the lesson content does not vary strategies, such as small-group instruction, think-pair-share, kinesthetic movements, or other activities, to support all types of learners.

In unit 3, the “Twilight: Dynamics, Expression and Articulation” lesson does not provide a consistent variety of instructional approaches, such as applying concepts and skills to performance as designated by the 3F standard (i.e., interpreting music symbols and terms referring to previously known elements appropriately when performing). The lesson does not apply the identified articulations and expressions to performance, as the activity is limited to computer-generated participation. The materials do not sufficiently offer practical music performance strategies, such as modeling phrasing, expressing emotion in practice, or other activities that uphold the intentions of the 3F standard.

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 (e.g., guided, independent, and collaborative) during lessons. For example, in unit 4, the “Dance of Youth: Sight Read” lesson includes educator guidance for group rhythm drills, ensemble sight-reading, and individual practice recordings in the “Teacher Modeling and Procedure: Warm-Up Sequence and Classroom Procedure” section. Individual and group collaboration in music activities enables students to learn through a variety of activities and at different musical levels.

The materials provide consistent guidance for educators and recommended structures (e.g., whole-group, small-group, individual) to support effective implementation. For example, in the “Supplemental Lessons” unit, the “Intellectual Independence and Democratic Principles in Musical Decision-Making” lesson includes educator guidance for small-group score analysis, a peer recording project, and written reflections in the “Teacher Modeling and Procedure: Musical Decision-Making Activity” section. These small-group assignments promote engagement and role differentiation, benefiting learners of all types.

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 “Support for Emergent Bilingual Students” section of the SDI resource provides specific, high-quality supports for discipline-specific musical language acquisition, embedded within the lessons’ multisensory framework to support linguistic goals. However, the lessons do not include this information. For example, in Unit 1, the “Drink to Me Only With Thine Eyes: Historical Research” lesson does not include an embedded English Language Proficiency Standards (ELPS) strategy in the “Reflection” section (i.e., support: provide a curated list of 2–3 specific articles or websites for research to reduce cognitive load, and provide sentence starters for each question). The lesson includes no ELPS support, sentence starters, or key terminology for the student.

The “Support for Emergent Bilingual Students-Linguistic Accommodations by English Language Proficiency Levels” section of the SDI resource provides specific, high-quality supports for the varying linguistic levels (Beginning, Intermediate, Advanced, High), along with linguistic accommodations and samples. However, the lessons do not offer this support. In Unit 2, the “De Colores: Dynamics, Expression and Articulation” lesson does not include the English Language Proficiency Standards (ELPS) support in the “Class Discussion” sections (e.g., “Does the music get louder when the lyrics talk about the ‘many colors’? Why?” and “Discuss how staccato vs. legato articulation changes the character of the melody”). The strategy lacks sufficient language and ELPS support, such as additional or simplified rubrics or sentence stems.

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

The “Support for Emergent Bilingual Students: Implementation Guidance for Bilingual and ESL Programs” section of the SDI resource 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 English language learners and bilingual students in lessons.

In the web browser settings, the materials include support for Google Translate. This feature allows students to translate into a wide variety of languages. Additionally, the materials support students in responding to writing prompts and in annotating music texts in their native language.

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.

In the SDI resource, the “Support for Emergent Bilingual Students: Building Academic Language, Comprehension, and Background Knowledge” section includes embedded guidance for assisting emergent bilingual students through oral and written discourse. However, this guidance is not consistently embedded throughout the curriculum. For example, the “Developing Academic and Discipline-Specific Vocabulary” section references vocabulary strategies (e.g., pre-teaching, multisensory methods, bilingual vocabulary walls, and leveraging cognates) that are not explicitly included in the lessons. In unit 1, the “Drink to Me Only With Thine Eyes: Historical Research” lesson does not include an embedded bilingual strategy in the “Reflection” section. The only support provided states, “Provide a curated list of 2–3 specific articles or websites for research to reduce cognitive load. Provide sentence starters for each question.” The lesson also lacks language support with specific terms and sentence stems for the writing assignment. In the “Increasing Comprehension” section, the materials reference comprehension strategies (e.g., chunking instructions, visual and auditory redundancy, and peer activities that support linguistic development) that are not explicitly included in the lessons. In unit 2, the “De Colores: Dynamics, Expression and Articulation” lesson does not include bilingual emergent supports in the “Class Discussion” sections. The materials provide no scaffolds as students answer these questions: “Does the music get louder when the lyrics talk about the ‘many colors’? Why?” “Discuss how staccato vs. legato articulation changes the character of the melody.” The activity does not include sufficient language support, as bilingual students would benefit from additional or simplified rubrics, such as further chunking the discussion or adapting the instructions.

The “Building Background Knowledge” section references strategies for building background knowledge (e.g., student cultural connections, prior knowledge activation, and supplemental cultural research lessons) that are not explicitly included in the lessons. In the “Composition” unit, the “Composition 1” lesson does not include supports for emergent bilingual learners. For example, in the “Concept Introduction,” educators “define a Motif” as “a short musical idea (2–4 notes) that acts as the ‘seed’ for a song.” This strategy does not provide sufficient support, as the lesson does not prompt students to draw examples of motifs in their own traditional music. Additionally, the “Making Cross-Linguistic Connections Through Oral and Written Discourse” section references cross-linguistic connections through musical terminology, bilingual lyric resources, bilingual reflections, and research that the lessons do not explicitly include. In the “Supplemental Lessons” unit, “Skill-Builder 1: Obsidian Shadows” includes bilingual resources. However, the lesson does not include language development strategies. Material support states, “Provide a ‘Symbol Word Bank’ with definitions for Adagio, pianissimo, fortissimo, and accent that students can copy/paste directly onto their score.” The support section of the lesson does not include the musical terminology language connections that would meet the needs of an emergent bilingual student.

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.

In unit 1, the “Drink to Me Only With Thine Eyes: Pitches and Rhythms” lesson lacks TEKS-aligned instruction and educator guidance, such as in the educator modeling and concept introduction sections (e.g., reviewing the 6/8 time signature rules: dotted quarter = 1 beat; eighth note = the subdivision). The materials provide educator guidance but do not sufficiently support discipline-specific artistic literacy or clearly connect to the attached TEKS. Additionally, the lesson does not address all the TEKS components.


In the “Supplemental Lessons” unit, the “Skill-Builder 1: Obsidian Shadows” lesson lacks TEKS-aligned instruction and educator guidance, particularly in the educator modeling and concept introduction sections. For example, materials prompt the educator to “Review 3/4 time. Explain that the rhythms consist primarily of dotted half notes, half notes, and quarter notes.” The materials provide educator guidance but do not sufficiently support discipline-specific artistic literacy or clearly connect to the attached 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 link new discipline-specific artistic literacy to prior learning across lessons and units within the course. For example, the Scope and Sequence resource’s “Rationale for Unit Order and Conceptual Continuity” and “How Concepts Connect Throughout the Course” sections reference prior learning across the course. However, the materials do not do this consistently. The Scope and Sequence does not accurately represent the connections among the course materials (e.g., the units “De Colores” and “Twilight” have differing concepts). The unit overviews for the four course units fail to connect with the spiraled concepts adequately, omitting essential references to prior learning, such as an introductory review component.

The materials do not explicitly connect new discipline-specific artistic literacy to prior learning across courses. For example, in the “Scope and Sequence” resource, the “Rationale for Unit Order and Conceptual Continuity” section does not include explicit connections to the other courses. The materials state, “The order is purposeful, developmentally appropriate for seventh-grade learners, and aligned with the demands of consistent practice, evaluation, reflective thinking, and creative expression.” The materials do not provide sufficient guidance or organization across courses to build discipline-specific artistic literacy, such as by reintroducing grade 6 concepts.

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

In unit 1, the “Drink to Me Only With Thine Eyes: Pitches and Rhythms” lesson offers vocabulary opportunities through music labeling and annotation activities. For example, students develop visual and analytical fluency by labeling pitches and color-coding rhythmic values. The materials support music literacy vocabulary through written discourse and supporting resources, including a digital reference chart showing the D-flat major scale and note names side by side. The resources enable students to demonstrate their understanding of music vocabulary.

In unit 1, the “Drink to Me Only with Thine Eyes: Dynamics, Expression and Articulation” lesson lacks sufficient vocabulary opportunities and does not provide consistent terminology support and clarification. For example, educator guidance simply states, “Add a text comment to at least five different markings. Explain what each marking does to the music.” The provided example states, “This slur makes the phrase sound smooth like water.” The “Differentiation: Extension” references a word bank of descriptive terms (e.g., smooth, bouncy, gentle, strong, building, and fading) but does not give students enough opportunity to elaborate on specific musical terms. The materials do not support students in developing music literacy vocabulary by embedding terminology for use in 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 “Dance of Youth: Pitches and Rhythms” lesson does not include a student demonstration of literacy, nor does it connect to the assigned educational standards or the TEKS. The musical literacy activity does not align with the designated 5B standard (i.e., identify criteria for listening and evaluating musical performances), and the music history reflection activity does not address music listening and evaluation using appropriate music terminology. Instead, it asks students to evaluate the music with general, informal terminology, prompting them to “think about ‘Dance of Youth’—does it sound like a city song or a country dance?” Additionally, the materials do not include a reference video or recording for students to use to provide feedback and evaluate. The materials lack the resources and support students need to demonstrate their musical understanding.


In unit 4, the “Dance of Youth: Final Performance” lesson includes neither a student demonstration of literacy nor a connection to the assigned TEKS educational standards. The musical literacy activity does not align with the designated 5D standard “identify and apply criteria for evaluating personal performances.” The independent performance recording does not address applied criteria or explicitly reference rubrics. Guidance simply states, “Display previous rubrics and discuss ‘Complete Musicianship.’” The materials lack the resources and support students need to demonstrate their musical understanding in relation 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 “Dance of Youth: Final Performance” lesson lacks TEKS-aligned instruction and educator guidance for varied skill levels. For example, the final performance recording activity is not aligned with the 5D standard, which states, “identify and apply criteria for evaluating personal performances.” The independent performance recording does not address music listening skill development and lacks the support students need to demonstrate their musical understanding. Students are instructed to record and listen to their “Showcase” performance of “Dance of Youth.” Review questions ask, “Does it sound balanced? Is the rhythm steady?” Additionally, the unit includes no instructions on music-reading skills and strategies students need to develop the assigned instrumental piece.

In unit 1, the “Drink to Me Only with Thine Eyes: Sight Read” lesson lacks TEKS-aligned instruction and educator guidance for varied skill levels. For example, the sight-reading activity does not correctly apply the 2E standard (i.e., sight-reading unison, homophonic, and polyphonic music using the appropriate clef in at least three keys and three meters, including 2/4, 3/4, and 4/4). The lesson primarily focuses on solfege singing and labeling techniques and does not correctly reference the bassoon instrument sight-reading activity. The lesson relies on a vocal strategy in a woodwind sight-reading ensemble activity, prompting the students to “sing the entire piece on solfege, focusing on maintaining rhythmic flow and the 6/8 lilt. Sing the text while observing the 6/8 grouping and phrasing.” Additionally, the materials do not correctly assign the 2E standard to this music sample, as it uses 6/8 meter, which is not aligned with the performance practice of grade 7 sight-reading. The materials lack the resources and support students need to demonstrate their musical understanding.

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.

The materials do not explicitly connect new discipline-specific artistic skills to prior learning across lessons and units within the course. For example, the Scope and Sequence resource’s “Rationale for Unit Order and Conceptual Continuity” and “How Concepts Connect Throughout the Course” sections reference prior learning across the course. However, the materials do not do so consistently. In the “Supplemental Lessons” unit, the “Skill-Builder 1: Performance” lesson introduces dynamic variations with “Obsidian Shadows,” but it does not review or build upon any explicit techniques from previous lessons or units. The materials guide the educator in introducing dynamics without explicit elaboration or connection to prior learning (i.e., remind them of the physical mechanics required to start at pp in measure 1, swell to the sudden, accented ff climax in measure 9, and fade by measure 16). The lesson and subsequent units lack a coherent connection because they fail to review the vocal, kinesthetic, breath management, and articulation techniques needed to develop dynamic control.


The materials do not explicitly connect new, discipline-specific artistic skills to prior learning across courses. For example, the “De Colores” guitar unit does not reinforce prior guitar experience from earlier grades or units. In unit 2, the “De Colores: Sight-Read” lesson does not provide technical knowledge. The materials treat the guitar as a new instrument and assume transfer skills (e.g., “pluck the rhythm only on the strings so your fingers know what to do”). The unit lacks guidance on specific guitar-playing skills and expects students to perform with accurate rhythm and tempo. The materials do not sufficiently connect guitar learning to prior lessons, units, or courses, and they fail to enrich the course with essential guitar pedagogy pertinent to student success in this unit.

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 the “Supplemental Lessons” unit, the “Skill-Builder 3: Performance” lesson does not address the instrumental sight-reading level assigned to the 3E standard (sight-read independently and expressively, with accurate intonation and rhythm, demonstrating fundamental skills). The materials do not reinforce or support any particular instrumental strategies and include a piano score as an assignment. However, the task flow suggests a woodwind or brass instrument, prompting students to “ensure accurate embouchure and finger placement, take a good breath before moving, and keep your air moving through the long phrases so the tone stays warm and lyrical.” 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 sight-reading and fundamental skills referenced in the 3E standard.

In the “Supplemental Lessons” unit, the “Supplemental Sight-Reading 1” lesson does not provide the appropriate level of instrumental sight-reading skills for the 3E standard (sight-read independently and expressively, with accurate intonation and rhythm, demonstrating fundamental skills). The materials do not reinforce or support any specific instrumental strategies, as the score presents a trumpet melody with piano accompaniment. However, the task flow suggests using solfege singing techniques and does not correctly reference the brass instrumental sight-reading activity, prompting students to “sing solfege up and down to establish the key center, sing on solfege or a neutral syllable, and sing with text/lyrics if confident.” The lesson incorrectly applies vocal pedagogy and skills to a trumpet sight-reading activity. The materials lack the resources and support students need to demonstrate their sight-reading skills.

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 Scope and Sequence resource’s “Rationale for Unit Order and Conceptual Continuity” and “How Concepts Connect Throughout the Course” sections address the refinement of musical skills across units. However, the materials do not do so consistently throughout the course. In unit 4, the “Dance of Youth: Historical Research” lesson does not give students an opportunity to refine their aural skills. The materials do not provide listening exemplars or the resources needed to research Cajun music’s instrumentation, function, and style. The materials do not allow students to develop musicological comprehension because they omit essential folk music resources, such as related regional music (e.g., jazz, blues, zydeco).

The four course units do not develop skill through rigor and instead function as stand-alone units that focus on entirely different instrument groups (i.e., bassoon in unit 1, “Drink to Me Only With My Eyes”; guitar ensemble in unit 2, “De Colores”; string ensemble in unit 3, “Twilight”; mallet percussion in unit 4, “Dance of Youth”). The units include lessons that focus on developing musical skills. However, these lessons do not offer true refinement and progress throughout the course, and frequent instrument changes each quarter hinder educators. The materials fail to develop students’ rigor by providing a framework for mastering any one instrument. The materials provide a problematic framework for developing 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 “Drink to Me Only With Thine Eyes: Final Performance” lesson lacks a performance-skills assessment that adequately demonstrates the solo bassoon skills referenced in the 3C standard, “perform independently and expressively, with accurate intonation and rhythm, developing fundamental skills.” The learning goal includes the bassoon melody and piano accompaniment score, which features varied dynamics, phrasing, articulation, and fermatas. However, the materials do not sufficiently reference or review these elements as a rehearsal inventory or performance guide. Educator guidance asks students to “Discuss key rubric components: Tone quality (resonant/controlled), Rhythm (steady tempo and correct 6/8 feel), Pitch (accurate intonation), and overall confidence.” Additionally, the materials intermingle vocal and instrumental performance strategies that contradict the instrumental bassoon score. “Warm up your voice or instrument.” “Play or sing the song from start to finish without stopping.” The materials do not sufficiently address music strategies needed for the final performance review and do not provide appropriate instrumental strategies to demonstrate mastery of accurate intonation, fundamental expressive skills, and ensemble performance.

In unit 2, the “Twilight: Final Performance” lesson lacks a performance-skills assessment that adequately demonstrates the string-instrument skills referenced in the 3C standard, “performing independently and expressively with accurate intonation and rhythm while developing fundamental skills.” The learning goal includes the string ensemble score with varied dynamics, phrasing, articulation, and fermatas. However, the materials do not sufficiently reference or review these elements as a rehearsal inventory or performance guide. Educator guidance asks students to “Focus on tone consistency (no scratchy/breathy sound, rhythmic precision (steady beat), and smooth articulation.” Additionally, the materials intermingle vocal and instrumental performance strategies, which contradict the string ensemble score: “Warm up your instrument/voice” and demonstrate a “technical command such as intonation, rhythm, bow/breath control.”

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 “Rationale for Unit Order and Conceptual Continuity: The Cultural Understanding Thread” section of the Scope and Sequence resource provides specific guidance for various historical and cultural studies, explaining that historical research situates music within a cultural context and teaches students that interpretation is connected to meaning. The materials support diverse art forms by including multicultural perspectives on the musical content (i.e., each piece introduces a cultural or historical lens).


In unit 1, the “Dance of Youth: Historical Research” lesson features a culturally infused research project in which students connect geography and identity by examining how Louisiana’s Cajun region shaped the style of “Dance of Youth.” The Louisiana and Cajun folk music research activity supports learning about multicultural musical traditions by challenging students 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 “Cross-Curricular 1” lesson does not offer enough opportunities for performance or presentation in the musical poetry activity. The musical poem requires students to write a short melody based on their own poetry and then self-evaluate: “Listen to your song; does it sound like the poem?” The lesson does not extend the musical poetry activity into any form of performance or presentation, but only requires a digital submission and reflection.


In the “Composition” unit, the “Composition 4” lesson does not offer sufficient opportunities to perform or present the theme-and-variations composition. The theme-and-variations assignment provides comprehensive criteria and techniques and asks students to compose a theme-and-variations piece for a large ensemble. However, the assignment has no performance component; students only turn in their score and a recording. The lesson lacks additional criteria beyond the composition assignment, as it does not require a musical presentation or performance of the artistic work.

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 “Music Careers and the Free-Enterprise System” lesson guides students to envision a music career and demonstrate free-enterprise principles through a music demo. It connects entrepreneurial principles to real music-industry careers and has students create a short musical product demo. The economic-themed music project further supports student learning by including guided discussion and written discourse. The materials support student agency by reinforcing students’ understanding of entrepreneurial principles and career choices and by engaging them in music production skills, creating a brief “sample product” to demonstrate their skills, such as a portfolio piece or demo tape.

In the “Supplemental Lessons” unit, the “Musical Vocations” lesson includes educator guidance to help students explore music-vocation themes through a video game composition activity in which students step into the role of a Game Audio Designer by composing a stable, eight-measure melodic loop. The materials support students’ creative decision-making by providing engaging music composition activities based on real-world interests and vocations.

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 1, the “Drink to Me Only With Thine Eyes: Live Recording Evaluation” lesson does not provide sufficient instruction on interpreting a live performance of the song, only asking the students to “research and listen to a live or recorded performance of ‘Drink to Me Only With Thine Eyes,’ evaluating how the performer expresses the poem’s meaning through dynamics, tone, and phrasing.” The assigned 1A standard does not align with the standard’s intent, as it includes no resources for comparison and references only one music sample; students are instructed to “compare and contrast exemplary musical examples using technology and available live performances.” Additionally, the lesson criteria do not provide sufficient discipline-specific vocabulary for interpretation, instead relying on general, informal observations and asking students to “use musical words like loud, soft, smooth, or slow to explain what you hear.” The materials lack the depth and complexity required by the TEKS standard, as they do not provide high-quality artistic works for a score analysis activity.


In unit 4, the “Dance of Youth: Peer Evaluation” lesson does not provide sufficient guidance for evaluating recorded performances in the peer evaluation activity. Students are guided to integrate technical and expressive listening skills by offering comprehensive peer feedback on a classmate’s performance of “Dance of Youth.” The provided criteria reference a 5-question feedback rubric that focuses on constructive feedback in three to five sentences, including “How well did your peer combine accuracy and expression?”; “Which dynamic or phrase was most effective?”; “How did their tone and intonation support the mood?”; “What technical area showed the most growth?”; and “What did you learn about musicianship from listening to them?” The assignment does not sufficiently align with the 5E standard (i.e., evaluate the quality and effectiveness of musical performances by comparing them to exemplary models and offer constructive suggestions for improvement), as the standard intends professional, exemplar recordings rather than those of student peers. 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.

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

In unit 3, the “Twilight: Pitches and Rhythms” lesson does not emphasize the appropriate music vocabulary for the score-analysis assignment, which focuses on pitches and rhythms. In the assignment, students identify how dynamics, articulations, and phrasing work together to express emotion in Florence Price’s “Twilight.” The lesson objective and task flow do not align with the overall subject matter, as students do not identify or interpret rhythmic and pitch notation (e.g., the score includes pitch alterations such as sharp and natural signs that are neither defined nor addressed). The materials do not support students’ use of music vocabulary in this score-response activity because there is inadequate guidance on musical terminology, which is neither provided nor explained.

In Unit 1, the “Drink to Me Only With Thine Eyes: Dynamics, Expression and Articulation” lesson does not emphasize the appropriate musical vocabulary for the score-analysis assignment, which focuses on the unit song’s musical articulations. The assignment asks students to analyze the score of “Drink to Me Only With Thine Eyes” to identify dynamic markings, articulation signs, and phrasing symbols, and to explain how these elements support the text and musical style. The student task flow does not consistently address musical vocabulary and provides examples, such as staccato and accents, that are not in the score; the assignment instructs students to “color the articulation—use green for symbols that show how to play the note, such as slurs, staccato dots, and accents.” Additionally, some musical symbols are not properly defined, and the materials use vocabulary such as crescendo/decrescendo, instructing students to color the dynamics blue for soft sounds. The materials do not support the student’s use of musical vocabulary in this score-response activity because they provide inadequate guidance on musical terminology, which is neither provided nor explained.

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 because the lessons are grouped into a mixed collection of musical concept sub-units. The “Supplemental Unit” includes health-based music lessons, cross-curricular composition activities, and additional sight-reading pieces that enhance and reinforce the core curriculum. It also provides a complete performance repertoire—such as “Obsidian Shadows,” “Citadel of Iron,” “Soliloquy of the Lake,” and “Three Harvest Dances”—which offer advanced opportunities for detailed score analysis, navigating new forms and articulations, and expressive solo and ensemble performance. The sub-units contain varied lessons that focus on a single musical sample or composition assignment across several lessons, which students analyze, record, and perform without connecting musical skills across sub-units. The materials do not give students opportunities to develop a varied musical repertoire because each sub-unit focuses on a single work to explore and examine.

The “Rationale for Unit Order and Conceptual Continuity” section of the Scope and Sequence resource explains how rigor develops and how music skills align across units, stating that the curriculum’s unit sequence is intentionally designed to build musical literacy, expressive understanding, evaluative skills, and independent musicianship in a clear, cumulative progression. However, music analysis does not increase in rigor from unit 1 to unit 2, as the units differ only in content and instrumentation. For example, the unit 1 composition, “Drink to Me Only With Thine Eyes,” is a bassoon solo in 6/8, while the unit 2 composition, “De Colores,” is an acoustic guitar trio in 3/4. The materials do not progress sufficiently across lessons and units, as they do not consistently increase the rigor or musical skill of the artistic work, and the lessons and units are not interconnected or related.

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.

In unit 3, the “Twilight: Self-Evaluation” lesson includes explicit self-evaluation feedback on the unit song using individual recordings. The assignment asks students to integrate both technical and expressive self-evaluation by recording “Twilight” and providing a balanced set of timeline comments focused on pitch, rhythm, tone, dynamics, and phrasing. The task flow provides a clear criteria timeline-comment prompt that students embed in their score after listening to the recording, asking for three technical comments on pitch, rhythm, and tone and three expressive comments on dynamics, phrasing, and mood. The unit provides further guidance on peer feedback in the “Twilight: Peer-Feedback” lesson. The materials include guidance on explicit instruction to prepare students for self-evaluative feedback, including criteria and reflective questions.

In unit 4, the “Dance of Youth: Peer Feedback” lesson includes explicit peer feedback on the unit song, with peer recordings and evaluations, and asks students to integrate technical and expressive listening skills by offering comprehensive peer feedback on a classmate’s performance of “Dance of Youth.” However, the lesson provides no guidance on how to receive feedback. The lesson leaves the educator unable to expand further without additional guidance, since it only focuses on providing feedback. The materials do not sufficiently prepare the educator to guide students in receiving feedback. The materials do not provide 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 “Twilight: Peer Evaluation” lesson offers opportunities for peer feedback on students’ performance evaluations of the unit song. Students design a four-point rubric for peer feedback on “Twilight,” highlighting specific musical criteria. The task flow includes explicit guidelines and sentence starters to help students structure their evaluations, guiding them to select four to five areas to rate and to describe what a 4 (Excellent) and 1 (Needs Work) sound like, such as “4: Tone is warm and steady” and “1: Tone is sometimes scratchy or breathy.” The materials also include opportunities for peer evaluations of “Twilight” recordings by providing explicit guidelines and criteria for peers to use when giving feedback.


In unit 2, the “De Colores: Peer Evaluation” lesson offers opportunities for peer feedback on students’ evaluations of the unit song. Students evaluate their peers’ performances of “De Colores,” focusing on expression, phrasing, dynamics, and musical communication, and provide descriptive, encouraging feedback. The task flow includes explicit guidelines and examples for students to follow in their evaluation: “Write a short paragraph of 4–6 sentences in the box; tell them what sounded expressive and one thing to fix to make it even better.” The materials also include opportunities for peer evaluations of “De Colores” recordings, with explicit guidelines and criteria for peers to use when providing feedback.

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

The materials give students opportunities to receive discipline-specific feedback on their artistic work from peers. For example, in unit 1, the “Drink to Me Only With Thine Eyes: Peer Assessment” lesson includes student feedback in the unit song’s peer evaluation activity: students listen to a peer’s live or recorded performance of “Drink to Me Only With Thine Eyes” and provide constructive written feedback. The lesson focuses on active listening and written feedback based on five criteria. The materials include lessons that provide peer evaluation by including criteria for student feedback.

The materials do not provide students with opportunities to receive feedback from educators on their discipline-specific artistic work. For example, in unit 1, the “Drink to Me Only With Thine Eyes: Practice Log 1” lesson references receiving feedback in the learning goal and task flow, directing students to listen to their previous recording or read their educator’s notes. However, the lesson does not sufficiently emphasize educator notes. The lesson material refers to a prior lesson and directs the student to the “Peer Evaluation” activity, which is referenced in the Scope and Sequence overview of the Practice Log 1 lesson (“Students review self- and peer-assessment notes, identify 1–2 targeted improvement goals, and complete initial practice log entries”). The materials do not provide sufficient opportunities for educator feedback, as they lack evaluative educator support within the lessons.

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

The “Scope and Sequence” resource’s “Protocols and Guidance for Unit and Lesson Internalization: Weekly Teacher Reflection and Adjustment Routine” section outlines four protocols to “ensure continuous improvement and responsive teaching.” However, these protocols offer general suggestions that do not include skill refinement or mention educator feedback, such as adjusting the following week’s instruction, adding quick drills, re-teaching specific measures, providing targeted modeling, or recording educator insights. Additionally, the unit overview does not reference educator feedback embedded in the coursework. For example, the unit 1 overview of “Drink to Me Only With Thine Eyes” does not explicitly support educator-guided refinement; the unit culminates in a polished performance where students demonstrate accuracy, tone control, phrasing, and expressive nuance while applying rubric-based evaluation criteria they helped generate. The materials do not sufficiently prepare the educator to guide students in refining music concepts and work and require the educator to supplement with additional music development strategies.

In Unit 3, the “Twilight: Final Performance” lesson does not provide educators with refinement feedback on the unit song’s final performance and self-reflection. In this activity, students perform “Twilight,” demonstrating technical command and musicality, and reflect on how their skills have developed. The performance preparation does not include specific feedback for educators. Instead, it reinforces general recommendations (e.g., “This is the Final Exam performance—encourage professionalism, such as posture and silence before/after.”). Additionally, the final reflection does not include educator-refinement support. The criteria are based on general feedback and are not specific to the unit song; students answer questions such as “What part of your technique improved the most during this unit?”; “How did you maintain rhythm accuracy in your performance?”; “Describe how you achieved good tone quality?”; “What section challenged your technique the most?” and “How has your overall musicianship changed since your first attempt?” The materials do not sufficiently enable the educator to refine music concepts and work, as they require the educator to supplement 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 “De Colores: Rubric Generation” lesson includes a student-created self-evaluation rubric used to refine the unit song’s performance; students design a performance rubric focused on musical expression, phrasing, tone, and audience communication to evaluate performances of “De Colores.” The educator guides the class in developing strong criteria so students can define quality points in the rubric; students create a rubric with 4–5 categories that measure expressive qualities rather than just technical accuracy. The materials reinforce student self-evaluation by providing opportunities for refinement through a performance rubric and quality standards.


In unit 3, the “Twilight: Self-Evaluation” lesson includes a self-evaluation criterion to refine performance of the unit song. Students integrate both technical and expressive self-evaluation by recording “Twilight” and providing a balanced set of timeline comments. The criteria provide technical and expressive comment categories for students to use in self-evaluation; students are guided to write three Technical Comments about pitch, rhythm, or tone, and three expressive comments about dynamics, phrasing, or mood. 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 “Drink to Me Only with Thine Eyes: Historical Research” lesson offers guidance on making connections within the fine arts and across core academic disciplines. The materials include a musical poetry project that links music to literary concepts. In this project, students explore the historical and cultural context of “Drink to Me Only With Thine Eyes,” connecting Ben Jonson’s 17th-century poetry to its musical setting to demonstrate how literature and music interact. The materials provide appropriate guidance for making cross-curricular connections between the arts by linking music to literary elements.

In the “Supplemental Lessons” unit, the “Cross-Curricular 2” lesson guides students in connecting the fine arts and core academics. The materials include a science-themed composition assignment that references environmental and ecosystem concepts. Students connect environmental balance to musical balance by composing an 8- to 12-measure melody that demonstrates interdependence through repetition and variation. The materials offer clear guidance for integrating music by incorporating scientific elements into the fine arts.

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 1” lesson connects the fine arts with core academics. The materials include a composition activity that links music to poetic elements; students connect literature and music by setting a short original or selected poem to a melody, reinforcing the relationship between linguistic stress/meter and musical rhythm/phrasing. The materials provide the necessary guidance for making fine arts cross-curricular connections by linking music to poetic elements.


In the “Supplemental Lessons” unit, the “Intellectual Independence and Democratic Principles in Musical Decision-Making” lesson connects the fine arts to core academic subjects. The music annotation and articulation activity includes a study of historical and political ideals; students examine the principles of separation of powers and shared responsibility in the U.S. and Texas Constitutions to understand how balanced decision-making operates in a republic and apply these concepts to collaborative musical interpretation within an ensemble. The materials provide essential guidance for integrating the fine arts by embedding historical elements through the lesson’s 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 unit 1, the “Drink to Me Only with Thine Eyes: Historical Research” lesson includes an English folk song and poetry lesson in which students explore the historical and cultural context of “Drink to Me Only With Thine Eyes,” connecting the 17th-century poetry of Ben Jonson to its musical setting to demonstrate an understanding of how literature and music interact. However, the lesson provides minimal guidance on the English folk style and cultural background. For example, educator guidance says, “Explain that the text originates from a 17th-century poem by Ben Jonson.” Students then use school-approved resources to research the following: Ben Jonson, music and poetry in the 1600s, and the poem “To Celia.” However, the lesson materials offer no further examination of English folk music.

In unit 4, the “Dance of Youth: Historical Research” lesson includes a Cajun cultural study in which students connect geography and identity by researching how Louisiana’s Cajun region shaped the style of “Dance of Youth” and by exploring how environment and migration patterns influence musical features. However, the historical and musical concept introductions reference the cultural context without further exploration or concrete resources. The materials prompt the educator to “discuss the migration of the French-Acadians from Canada to Louisiana (the ‘Grand Derangement’) and how their isolation in the bayous helped preserve their unique language and music.” The educator also explains how music was for “House Parties” (Fais do-do), requiring loud instruments. The lesson does not include further examination of musical style, so it does not align with standard 4B, “describe written and aurally presented music representative of diverse styles, periods, and cultures,” or 4C, “identify relationships of music concepts to other academic disciplines.” The materials lack TEKS-aligned guidance and connections to the Louisiana and Cajun cultural context, and they lack resources such as the referenced article and the geographical information required for the lesson.

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).

The Scope and Sequence source includes a “Rationale for Unit Order and Conceptual Continuity” section that breaks down the coursework and explores various styles, traditions, and concepts. The “Cultural Understanding Thread: Music in Context” section outlines the diverse unit songs that anchor the year’s music, including unit 2’s “De Colores,” a Mexican folk song, and unit 4’s “Dance of Youth,” a Cajun folk song. The “Supplemental Lesson Placement Guide” section reinforces the varied cultural and contemporary selections through supplemental lessons that cover a wide range of music, including “Get Off the Track,” “The Great Crush Collision March,” “The Old Chisholm Trail,” “La Adelita,” “Eb Major Alla Marcia,” and “F Major Adagio.” The materials provide varied opportunities for musical exploration by including artistic works from diverse cultures, styles, and periods.


The “7th 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, and the supplemental sight-reading units strengthen literacy by exposing students to diverse styles, meters, and historical contexts. The unit provides a complete performance repertoire, including “Obsidian Shadows,” “Citadel of Iron,” “Soliloquy of the Lake,” and “Three Harvest Dances,” which offer advanced opportunities for detailed score analysis. The unit overview offers a varied repertoire for musical exploration, including 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.

The materials include activities and tasks that require students to demonstrate understanding of relevant, discipline-specific historical and cultural context aligned with the course TEKS. For example, in unit 2, the “De Colores: Historical Research” lesson includes a Mexican folk music research activity on the unit song, in which students analyze the historical and social role of “De Colores” within community gatherings, focusing on its symbolism and message of unity, by comparing musical versions and synthesizing research in written responses. The cultural research includes a comparative analysis of the musical style and text of “De Colores,” as well as the broader community and religious context; students listen to the two versions of “De Colores” and describe their similarities and differences. The materials provide cultural and historical connections that align with the attached 4B and 4C standards. This Mexican folk music lesson explores cultural context through a folksong analysis and research project.

In unit 4, the “Dance of Youth: Historical Research” lesson includes a research activity on the unit song that focuses on Cajun folk music, in which students connect geography and identity by examining how Louisiana’s Cajun region shaped the style of “Dance of Youth” and how environment and migration patterns influence musical features. The cultural research includes a comparative analysis of the musical style and text of “Dance of Youth,” as well as the connections between Louisiana and French influences; students are directed to discuss the migration of the French-Acadians from Canada to Louisiana, the “Grand Dérangement,” and how their isolation in the bayous helped preserve their unique language and music. The materials provide cultural and historical connections that align with the attached 4B and 4C standards. The Cajun folk music lesson explores cultural context through a folksong analysis and research project.