Program Information
- ISBN
- 9798901559048
- Technical Specifications: Checklist
- Tech Specs: Checklist (pdf 553.38 KB)
- Technical Specifications: Professional Development
- Tech Specs: Professional Development (pdf 180.99 KB)
High School Music - Level II (Texas Edition)
Grade 10
IMRA 2026
Publisher: Music First LLC
Copyright: 2014
Series includes:
Rubric: Fine Arts K–12 (Download Not Available)
* Some programs submit evidence for only part of a standard, while others submit all sections. A 100% score means this program met all the expectations it submitted.
Quality Review
Standards Alignment
Rubric Section
| Grade | TEKS % | ELPS % |
|---|---|---|
| Grade 10 | 51.52% | N/A |
Criteria for Quality
Rubric Section 1
Intentional Instructional Design
Materials support educators in effective implementation through intentional course, unit, and lesson-level design.
Total
87% (20 out of 23 points)
Evaluation for 1.1a
The materials include a “Scope and Sequence with Syllabus” document that outlines the TEKS and the concepts taught throughout the course, aligned with content and grade-level standards. The “Scope and Sequence with Syllabus” lists the concepts covered in the course, along with associated skills and the TEKS for each set of skills. For example, “Fundamentals of Instrumental Music” includes “Band Basics” (TEKS 1.H, 5.C, 5.D, 6.A, 6.B, and 6.C) and “Fingering/Note Charts and Quizzes” (TEKS 1.B, 1.D, 1.H, and 3.B).
The “Scope and Sequence with Syllabus” document also includes a “Sequence and Pacing” chart that shows the progression of skills throughout the year. It also indicates when instruction begins for each topic, when new concepts occur, when ongoing reinforcement and formative assessments occur, and when summative assessments occur.
The materials include a TEKS Guide that outlines the TEKS and the concepts that are taught throughout the course, in alignment with content and grade-level standards. For example, TEKS 2.B appears 28 times and is included in nine units throughout the course.
Evaluation for 1.1b
The materials include a “Scope and Sequence with Syllabus” document that includes a “Sequence and Pacing” chart that illustrates the progression of skills throughout the year. It also indicates the months (August through May) for initial instruction, when new concepts occur, ongoing reinforcement and formative assessments, and summative assessment.
The Instructional Leader Guide: High School provides leader-facing resources like classroom observation look-fors, coaching moves, and PLC support. It also guides educators as they implement the materials as designed. It offers three schedule options, including 10-month, single semester, and reduced calendar. The guide provides a rationale for each calendar and specifies the curriculum changes needed to cover all TEKS for each schedule option.
Evaluation for 1.1c
The “Scope and Sequence with Syllabus” document provides a rationale for unit order and pacing with an understanding of the differences and unique needs of each campus and schedule structure. It highlights the interdependent, holistic nature of musical learning, which requires a continuous, concurrent learning structure. The Pacing Guide includes the same rationale as the “Scope and Sequence with Syllabus” for unit order and pacing within a 10-month instructional calendar.
Evaluation for 1.1d
The Pacing Guide includes a section about unit and lesson internalization. This section includes a discussion of the flexible organizational and scheduling tools that allow educators to manage and sequence instruction through class overviews, unit structures, and calendar views while maintaining control over the presentation and pacing of lessons, activities, and assessments.
In the Instructional Implementation and Support Guide, the section called “Unit & Lesson Internalization” includes clear, step-by-step instructions for effectively internalizing both the overall unit and individual lessons. This guidance helps educators understand key components of the instructional materials, prepare for instruction, and develop a deeper understanding of the content and learning objectives.
Evaluation for 1.1e
The materials provide guidance for educators on implementing units. For example, in the “Band Basics” unit, a Teacher Guide provides assessment guidance, differentiation tips, and ELPS integration. The materials also include differentiation resources like English and Spanish instrument lists and scaffolding ideas in the Family/Student Guide.
The Instructional Leader Guide: High School provides leader-facing resources, including look-fors, agendas, coaching actions, PLC materials, and guidance on interpreting assessment data, plus guidance to support educators in implementing the materials as designed.
Evaluation for 1.2a
The materials include comprehensive unit overviews that provide background content knowledge. For example, in the unit called “Composition in Band,” the unit overview describes how the lessons tie together. It also pre-teaches concepts if the lesson’s concepts and vocabulary are new for students. Additionally, the overview ends with a “Prior Knowledge” section to ensure students receive necessary information before completing the unit. However, the unit overviews do not include the academic and discipline-specific vocabulary needed to teach the concepts effectively.
The “Scope and Sequence with Syllabus” document provides conceptual descriptions, unit purposes, instructional rationale, content explanations, and implementation context. These materials incorporate the TEKS Guide, which identifies music terminology, discipline-specific concepts, technical vocabulary, and content-area language.
Evaluation for 1.2b
The Family/Student Guide, available in Spanish and English, provides suggestions to support students with material at home. For example, question stems are provided so families can engage in conversations about content, plus a table of vocabulary terms with definitions. The questions and vocabulary terms are available in both Spanish and English.
The materials include a Family/Student Guide for each unit in English. It includes some Spanish supports, like links to outside websites (MusicTheory.net, Teoria.com/es, and Musica.com). However, the family guide is the same for every unit, regardless of the unit’s topic. The Spanish vocabulary document includes only pictures that represent the definitions that are provided.
Evaluation for 1.3a
In “Composing for Band,” a comprehensive lesson plan is provided that includes objectives, TEKS correlations, and questions/tasks aligned to those objectives. It also includes a “Mastery Rubric” to determine progress and proficiency in the lesson’s objectives.
In the lesson titled “Sight-Reading Strategies,” a comprehensive lesson plan is provided with objectives, TEKS correlations, and aligned questions/tasks. A “Sight-Reading Progression” chart is included for formative and summative assessments for the corresponding lessons.
Evaluation for 1.3b
The materials provide Lesson Overviews so educators can effectively deliver each lesson, including equipment needs, supplies, and technology (embedded and supplemental). Student-facing Lesson Overviews include a simplified view of the same. For example, in the lesson titled “Putting Together Pitch and Rhythm,” in Teacher View, the materials listed include “Listening Selections: Symphony No. 9 in E Minor,” “Londonderry Air,” “Transcription,” “Response Rubric,” and “Composition Rubric.” The "Instructional Pacing Options" document includes suggested timing for each component of the lesson in the Detailed Instructional Pacing by Unit section.
Lesson materials include a Teacher View that provides a step-by-step procedure for the lesson with approximate timing for each lesson component in the lessons titled “Concert Etiquette for Band" and "Compare & Contrast: National Anthem of the United States."
Evaluation for 1.3c
The materials provide guidance on the effective use of lesson materials for extended practice at the conclusion of lessons in Teacher View, through the use of extension suggestions that increase rigor and utilize real-world application and cross-curricular alignment. For example, in “Building a Melody,” extensions allow students to engage in creating a four-measure melody in a different key or time signature, receive feedback from peers, and revise and edit based on the suggestions they receive.
The materials include suggestions for extensions in lessons. For example, in the lesson titled “Instrument Families,” an extension is provided that allows students to demonstrate each instrument, invite another band or orchestra director to play the instruments, and discuss instruments that appear outside of the band and orchestra classroom.
1.1 Course-Level Design
1.1a
Materials include a scope and sequence outlining the TEKS, ELPS, and concepts taught in the course.
Materials include a scope and sequence outlining the TEKS, ELPS, and concepts taught in the course.
2 out of 2 points
Evaluation for 1.1a
Evaluation for 1.1a
Materials include a scope and sequence outlining the TEKS, ELPS, and concepts taught in the course.
2 out of 2 points
The “Scope and Sequence with Syllabus” document also includes a “Sequence and Pacing” chart that shows the progression of skills throughout the year. It also indicates when instruction begins for each topic, when new concepts occur, when ongoing reinforcement and formative assessments occur, and when summative assessments occur.
The materials include a TEKS Guide that outlines the TEKS and the concepts that are taught throughout the course, in alignment with content and grade-level standards. For example, TEKS 2.B appears 28 times and is included in nine units throughout the course.
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).
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).
3 out of 3 points
Evaluation for 1.1b
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).
3 out of 3 points
The Instructional Leader Guide: High School provides leader-facing resources like classroom observation look-fors, coaching moves, and PLC support. It also guides educators as they implement the materials as designed. It offers three schedule options, including 10-month, single semester, and reduced calendar. The guide provides a rationale for each calendar and specifies the curriculum changes needed to cover all TEKS for each schedule option.
1.1c
Materials include an explanation for the rationale of unit order as well as how concepts to be learned connect throughout the course.
Materials include an explanation for the rationale of unit order as well as how concepts to be learned connect throughout the course.
2 out of 2 points
Evaluation for 1.1c
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.
2 out of 2 points
1.1d
Materials include protocols with corresponding guidance for unit and lesson internalization.
Materials include protocols with corresponding guidance for unit and lesson internalization.
2 out of 2 points
Evaluation for 1.1d
Evaluation for 1.1d
Materials include protocols with corresponding guidance for unit and lesson internalization.
2 out of 2 points
In the Instructional Implementation and Support Guide, the section called “Unit & Lesson Internalization” includes clear, step-by-step instructions for effectively internalizing both the overall unit and individual lessons. This guidance helps educators understand key components of the instructional materials, prepare for instruction, and develop a deeper understanding of the content and learning objectives.
1.1e
Materials include resources and guidance for instructional leaders to support teachers with implementing the materials as designed.
Materials include resources and guidance for instructional leaders to support teachers with implementing the materials as designed.
2 out of 2 points
Evaluation for 1.1e
Evaluation for 1.1e
Materials include resources and guidance for instructional leaders to support teachers with implementing the materials as designed.
2 out of 2 points
The Instructional Leader Guide: High School provides leader-facing resources, including look-fors, agendas, coaching actions, PLC materials, and guidance on interpreting assessment data, plus guidance to support educators in implementing the materials as designed.
1.2 Unit-Level Design
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.
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.
1 out of 2 points
Evaluation for 1.2a
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.
1 out of 2 points
The “Scope and Sequence with Syllabus” document provides conceptual descriptions, unit purposes, instructional rationale, content explanations, and implementation context. These materials incorporate the TEKS Guide, which identifies music terminology, discipline-specific concepts, technical vocabulary, and content-area language.
1.2b
Materials contain supports for families in both Spanish and English for each unit with suggestions on supporting the progress of their student.
Materials contain supports for families in both Spanish and English for each unit with suggestions on supporting the progress of their student.
0 out of 2 points
Evaluation for 1.2b
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.
0 out of 2 points
The materials include a Family/Student Guide for each unit in English. It includes some Spanish supports, like links to outside websites (MusicTheory.net, Teoria.com/es, and Musica.com). However, the family guide is the same for every unit, regardless of the unit’s topic. The Spanish vocabulary document includes only pictures that represent the definitions that are provided.
1.3 Lesson-Level Design
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).
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).
4 out of 4 points
Evaluation for 1.3a
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).
4 out of 4 points
In the lesson titled “Sight-Reading Strategies,” a comprehensive lesson plan is provided with objectives, TEKS correlations, and aligned questions/tasks. A “Sight-Reading Progression” chart is included for formative and summative assessments for the corresponding lessons.
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.
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.
3 out of 3 points
Evaluation for 1.3b
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.
3 out of 3 points
Lesson materials include a Teacher View that provides a step-by-step procedure for the lesson with approximate timing for each lesson component in the lessons titled “Concert Etiquette for Band" and "Compare & Contrast: National Anthem of the United States."
1.3c
Materials include guidance on the effective use of lesson materials for extended practice (e.g., homework, extension, enrichment).
Materials include guidance on the effective use of lesson materials for extended practice (e.g., homework, extension, enrichment).
1 out of 1 points
Evaluation for 1.3c
Evaluation for 1.3c
Materials include guidance on the effective use of lesson materials for extended practice (e.g., homework, extension, enrichment).
1 out of 1 points
The materials include suggestions for extensions in lessons. For example, in the lesson titled “Instrument Families,” an extension is provided that allows students to demonstrate each instrument, invite another band or orchestra director to play the instruments, and discuss instruments that appear outside of the band and orchestra classroom.
Rubric Section 2
Progress Monitoring
Materials support educators in effective implementation through frequent, strategic opportunities to monitor and respond to student progress.
Total
80% (12 out of 15 points)
Evaluation for 2.1a
The materials include a variety of assessments for lessons that can be used interchangeably as diagnostic, formative, and summative assessments. In the units called “Foundations of Music Literacy” and “Approaching a New Piece of Music,” examples of the assessments include music literacy quizzes, performance recordings, and short-answer questions. However, the diagnostic assessments that are provided do not include a skills demonstration.
Formative, summative, and diagnostic assessments are included throughout the curriculum. Diagnostic assessments appear in the embedded software called Auralia and Musition, particularly in units like “Band Basics,” but use a multiple-choice format that does not assess performance skills. Formative assessments are embedded throughout lessons through activities in Auralia, Musition, and Noteflight. Summative assessments at the lesson level within units like “UIL Concert Evaluation,” “Listening and Critique,” and “Composition” require students to demonstrate mastery through performances, compositions, and written analysis.
Evaluation for 2.1b
The materials include multiple diagnostic, formative, and summative assessments. The Assessment Guide states that any of the assessments can be used as formative or summative assessments. The section called “Formative/Summative Assessments by Unit Topic” details the types of assessments for each unit. However, it does not give a concrete definition and detailed instructions for the intended purpose.
While platform tools like Auralia, Musition, and PracticeFirst offer assessments that support progress monitoring and skill evaluation, the materials do not clearly define assessments or explain their intended instructional use.
The materials include an “Assessment and Review” document for “Inside Music.” It is located in the Teacher View tab of the Inside Music Teacher’s Guide: Intermediate, in the unit called “Composition in Band.” This document gives a general description of using both formative and summative assessments to gauge students’ progress and understanding of key concepts. However, the materials do not specifically list each assessment and its intended purpose.
Evaluation for 2.1c
The materials include different types of assessments for use at the educator’s discretion. All embedded software—Auralia, Noteflight, PracticeFirst, and Sight Reading Factory—can support various assessment types. In the lesson "Sight-Reading Strategies," the materials provide directions for teachers on how to use the Sight Reading Factory software.
In the lesson "Composing for Band," the Teacher View includes a "Composition Mastery Rubric" to use when evaluating students' work. It also provides teacher guidance to circulate the room and provide feedback, assistance, and redirection as needed.
Evaluation for 2.1d
In the Assessment Guide, all three types of assessments for the course are listed and organized by the TEKS and the unit. In the unit called “Aural Skills Development & Practice,” the materials include assessments that are aligned with the TEKS for the unit and can be used interchangeably for diagnostic, formative, or summative assessments.
The materials include the TEKS Guide, which maps each assessment and activity to specific TEKS standards. This guide organizes content by TEKS, unit, and activity, and provides direct links to diagnostic, formative, and summative assessments like quizzes, worksheets, performance tasks, and UIL evaluations. For example, the “Becoming Familiar with the Score” activity aligns with TEKS 1.H, 2.A, 2.B, 3.A, 3.B, 3.C, 3.D, 3.E, and 6.D. The guide provides a clear connection between assessments, instructional activities, and the identified TEKS.
Evaluation for 2.1e
The materials include instructional assessments that are aligned to the TEKS and vary in level of complexity. The Assessment Guide includes all of the assessments for the course, which are organized by TEKS and by unit. In the lesson titled “Tuning,” the tuning assessments increase in complexity by offering six levels of quizzes that become progressively more difficult.
The materials include the Assessment Guide, which outlines TEKS-aligned instructional assessments with varying types and levels of complexity. For example, performance reflection assessments allow students to reflect on a recording or their own performance and evaluate areas of success and areas for growth in written form. Some of the embedded software allows for scaffolded levels of multiple-choice questions and evaluative recording assessments in which parameters can be adjusted by skill level.
Evaluation for 2.2a
The materials include a “UIL Concert Rubric” and a “UIL Sight-Reading Rubric” to evaluate performance-based tasks/assessments. The rubrics outline descriptors and frequency indicators with a point value, providing guidance for interpreting student performance. These rubrics are repeated throughout the materials for listening and reflection assessments. There are also several mastery rubrics that are specific to the lesson topic. For example, in the lesson "Composing for Band," the Teacher View includes a "Composition Mastery Rubric" to use when evaluating students' work.
The materials include embedded software programs like Auralia, Musition, and PracticeFirst, which include self-grading tools for pitch accuracy and multiple-choice grading. Results are recorded in a gradebook with opportunities for educator feedback.
Evaluation for 2.2b
The materials provide various assessments. For example, the Teacher Guide for Brass Instrument Fingering Quizzes provides guidance for using the included assessment tasks. The guide states that quizzes can be used as diagnostic, formative, or summative assessments and are configured by grade level and instrument range. It also explains that question order and multiple-choice responses are randomized for each administration, allowing educators to reassign the quizzes to the same students multiple times. This guidance supports the repeated use of the assessment to monitor students’ performance over time. However, the materials do not provide specific guidance on selecting instructional tasks or activities in response to identified student performance trends.
The Teacher Guide for Aural Skills Development & Practice identifies assessments for diagnostic, formative, and summative purposes and highlights Listening Worksheets, Levels 1–4, as diagnostic tools. The guide also identifies Auralia assessments for multiple aural skills. However, the materials do not guide educators on how to use assessment results or student performance trends to select, adjust, or implement specific instructional tasks and activities.
The MusicFirst High School Music curriculum provides grading information through the Teacher Gradebook and the Student Gradebook. These books record results and feedback for automatically scored and educator-scored assignments and assessments. Although educators can access students’ performance data, the materials provide limited guidance for analyzing results, identifying learning gaps, or using assessment data to plan instruction.
The materials include tasks/activities that are provided in the Assessment Guide. However, guidance on how to respond to student trends in performance is not provided. The materials state that “any and all tasks may be used for diagnostic, formative, or summative assessment.” This statement does not provide guidance for educators on the assessment or task that is most appropriate based on student trends.
Evaluation for 2.2c
The materials include the Teacher Gradebook in Teacher View; it provides educators with a means to track students’ grades and task submissions in a cumulative view, allowing for individualized tracking and progress monitoring. Additionally, educators can leave individual feedback for students alongside their numerical grade.
The materials include the Student Gradebook in Student View. It gives numerical grades and educator-generated text feedback in a cumulative view, allowing for individualized tracking and progress monitoring. Additionally, for assignments that are automatically graded within the embedded software (Auralia, Musition, and PracticeFirst), individual question feedback can aid students with errors and misconceptions within tasks and assessments.
2.1 Instructional Assessments
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.
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.
2 out of 3 points
Evaluation for 2.1a
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.
2 out of 3 points
Formative, summative, and diagnostic assessments are included throughout the curriculum. Diagnostic assessments appear in the embedded software called Auralia and Musition, particularly in units like “Band Basics,” but use a multiple-choice format that does not assess performance skills. Formative assessments are embedded throughout lessons through activities in Auralia, Musition, and Noteflight. Summative assessments at the lesson level within units like “UIL Concert Evaluation,” “Listening and Critique,” and “Composition” require students to demonstrate mastery through performances, compositions, and written analysis.
2.1b
Materials include the definition and intended purpose for the types of instructional assessments included.
Materials include the definition and intended purpose for the types of instructional assessments included.
0 out of 1 points
Evaluation for 2.1b
Evaluation for 2.1b
Materials include the definition and intended purpose for the types of instructional assessments included.
0 out of 1 points
While platform tools like Auralia, Musition, and PracticeFirst offer assessments that support progress monitoring and skill evaluation, the materials do not clearly define assessments or explain their intended instructional use.
The materials include an “Assessment and Review” document for “Inside Music.” It is located in the Teacher View tab of the Inside Music Teacher’s Guide: Intermediate, in the unit called “Composition in Band.” This document gives a general description of using both formative and summative assessments to gauge students’ progress and understanding of key concepts. However, the materials do not specifically list each assessment and its intended purpose.
2.1c
Materials include teacher guidance to ensure consistent and accurate administration of instructional assessments.
Materials include teacher guidance to ensure consistent and accurate administration of instructional assessments.
1 out of 1 points
Evaluation for 2.1c
Evaluation for 2.1c
Materials include teacher guidance to ensure consistent and accurate administration of instructional assessments.
1 out of 1 points
In the lesson "Composing for Band," the Teacher View includes a "Composition Mastery Rubric" to use when evaluating students' work. It also provides teacher guidance to circulate the room and provide feedback, assistance, and redirection as needed.
2.1d
Diagnostic, formative, and summative assessments are aligned to the TEKS and objectives of the course, unit, or lesson.
Diagnostic, formative, and summative assessments are aligned to the TEKS and objectives of the course, unit, or lesson.
3 out of 3 points
Evaluation for 2.1d
Evaluation for 2.1d
Diagnostic, formative, and summative assessments are aligned to the TEKS and objectives of the course, unit, or lesson.
3 out of 3 points
The materials include the TEKS Guide, which maps each assessment and activity to specific TEKS standards. This guide organizes content by TEKS, unit, and activity, and provides direct links to diagnostic, formative, and summative assessments like quizzes, worksheets, performance tasks, and UIL evaluations. For example, the “Becoming Familiar with the Score” activity aligns with TEKS 1.H, 2.A, 2.B, 3.A, 3.B, 3.C, 3.D, 3.E, and 6.D. The guide provides a clear connection between assessments, instructional activities, and the identified TEKS.
2.1e
Instructional assessments include TEKS-aligned items at varying levels of complexity.
Instructional assessments include TEKS-aligned items at varying levels of complexity.
2 out of 2 points
Evaluation for 2.1e
Evaluation for 2.1e
Instructional assessments include TEKS-aligned items at varying levels of complexity.
2 out of 2 points
The materials include the Assessment Guide, which outlines TEKS-aligned instructional assessments with varying types and levels of complexity. For example, performance reflection assessments allow students to reflect on a recording or their own performance and evaluate areas of success and areas for growth in written form. Some of the embedded software allows for scaffolded levels of multiple-choice questions and evaluative recording assessments in which parameters can be adjusted by skill level.
2.2 Data Analysis and Progress Monitoring
2.2a
Instructional assessments and scoring information provide guidance for interpreting student performance.
Instructional assessments and scoring information provide guidance for interpreting student performance.
2 out of 2 points
Evaluation for 2.2a
Evaluation for 2.2a
Instructional assessments and scoring information provide guidance for interpreting student performance.
2 out of 2 points
The materials include embedded software programs like Auralia, Musition, and PracticeFirst, which include self-grading tools for pitch accuracy and multiple-choice grading. Results are recorded in a gradebook with opportunities for educator feedback.
2.2b
Materials provide guidance for the use of included tasks and activities to respond to student trends in performance on assessments.
Materials provide guidance for the use of included tasks and activities to respond to student trends in performance on assessments.
0 out of 1 points
Evaluation for 2.2b
Evaluation for 2.2b
Materials provide guidance for the use of included tasks and activities to respond to student trends in performance on assessments.
0 out of 1 points
The Teacher Guide for Aural Skills Development & Practice identifies assessments for diagnostic, formative, and summative purposes and highlights Listening Worksheets, Levels 1–4, as diagnostic tools. The guide also identifies Auralia assessments for multiple aural skills. However, the materials do not guide educators on how to use assessment results or student performance trends to select, adjust, or implement specific instructional tasks and activities.
The MusicFirst High School Music curriculum provides grading information through the Teacher Gradebook and the Student Gradebook. These books record results and feedback for automatically scored and educator-scored assignments and assessments. Although educators can access students’ performance data, the materials provide limited guidance for analyzing results, identifying learning gaps, or using assessment data to plan instruction.
The materials include tasks/activities that are provided in the Assessment Guide. However, guidance on how to respond to student trends in performance is not provided. The materials state that “any and all tasks may be used for diagnostic, formative, or summative assessment.” This statement does not provide guidance for educators on the assessment or task that is most appropriate based on student trends.
2.2c
Materials include tools for teachers to track student progress and growth and tools for students to track their own progress and growth.
Materials include tools for teachers to track student progress and growth and tools for students to track their own progress and growth.
2 out of 2 points
Evaluation for 2.2c
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.
2 out of 2 points
The materials include the Student Gradebook in Student View. It gives numerical grades and educator-generated text feedback in a cumulative view, allowing for individualized tracking and progress monitoring. Additionally, for assignments that are automatically graded within the embedded software (Auralia, Musition, and PracticeFirst), individual question feedback can aid students with errors and misconceptions within tasks and assessments.
Rubric Section 3
Supports for All Learners
Materials support educators in reaching all learners through design focused on engagement, representation, and action/expression for learner variability.
Total
100% (21 out of 21 points)
Evaluation for 3.1a
The Emergent Bilingual Guide provides educators with multiple support systems for emergent bilingual (EB) students. There are also scaffolded target points for Beginning EB, Intermediate EB, and Advanced EB students, plus sentence stems, cognates, bilingual discourse routines, and word walls. Scaffolding is provided in lessons titled “Compare & Contrast: National Anthem of the United States” and “Sight-Reading Strategies.”
The lesson titled “Compare & Contrast: National Anthem of the United States” includes general scaffolds for below-proficiency students. These scaffolds include sentence frames, a rubric-based rating scale, chunked listening (20–30 seconds, then full recording paused at sections), three named critique lenses, and a word wall that makes the grade-level task accessible at the point of use.
Evaluation for 3.1b
The lesson titled “Compare & Contrast: National Anthem of the United States” pre-teaches vocabulary words and references in multiple sections. For example, jargon and assessment terms are pre-taught with word-based definitions and an attached vocabulary list, “including translations for bilingual support.” Historical references are pre-taught as “fast facts” before further exploration and investigation within the lesson.
Additionally, the lesson titled “Sight-Reading Strategies” pre-teaches unfamiliar terms that students need to know (e.g., meter, key signature, tempo, interval, and fluency) with word-based definitions at the start of the lesson. The educator procedure re-embeds those definitions during review and supports students with fingering charts as well.
Evaluation for 3.1c
The lesson titled “Compare & Contrast: National Anthem of the United States” includes a dedicated “Extensions” section with guidance to deepen the same skill: analyze the arranger’s expressive choices with cited evidence, critique and rank a third rendition against the exemplar, write prioritized coaching notes, or lead a small-group critique.
Additionally, the lesson titled “Sight-Reading Strategies” provides an enrichment/extension set that prompts students to go deeper in the same skill: coach a peer, raise Sight Reading Factory (SRF) difficulty/tempo/keys/intervals, sight-read from a method book in PracticeFirst under real-world conditions, or role-play an audition as performer and adjudicator.
Evaluation for 3.1d
The lesson titled “Sight-Reading Strategies” includes a dedicated specially designed instruction (SDI) section that gives concrete accommodations: use SRF’s Custom level to limit to quarter notes/rests, easy rhythm difficulty, a range of a fifth, four measures, metronome and cursor on, and Free-Play playback to hear the example first—plus the in-procedure step “show SDI students how to slow tempo and limit to free play mode.”
The “Bilingual Music Vocabulary” chart includes musical terms that are paired with a pictorial representation. The visual supports adapt the content and its representation so a student whose needs include reduced text load, receptive-language, or reading support can access the same discipline-specific vocabulary non-textually.
Evaluation for 3.2a
The materials include explicit (direct) prompts and guidance to support the educator in modeling and explaining concepts that will be learned. For example, in the lesson titled “Composing for Band,” the educator models composing a short rhythmic, then melodic, idea in the software—choosing key/meter, writing a rhythm, playing it back, moving pitches into a melody, adding dynamics and articulation, and narrating throughout. The educator repeats the process with the class making the decisions (guided), then prompts students to compose independently.
The materials include a lesson titled “Becoming Familiar with the Score,” which provides prompts and guidance to support educators in modeling and explaining concepts. For example, a bulleted list is provided in the Teacher View of the lesson; it prompts educators to “have students read and work through the steps.” Additionally, educators are prompted to “guide students through sight-reading the piece.”
Evaluation for 3.2b
The lesson titled “Sight-Reading Strategies” includes educator guidance and recommendations for effective lesson delivery and facilitation, using a variety of instructional approaches like counting, saying notes and fingering, playing, adjusting speed and difficulty, providing direct feedback to students, and having students use SRF for feedback. It also includes extensions, SDI alterations, and enrichment opportunities using different materials.
The materials include educator guidance for delivery of the lesson titled “Small Ensemble Listening and Critique,” such as “arrange for students/groups of students to complete this activity round-robin style.” The guidance provides prompts for the educator to “facilitate as students brainstorm practice strategies to help improve” and execute “round-robin style.”
Evaluation for 3.2c
The materials include multiple types of practice and guidance for educators, plus recommended structures to support effective implementation. For example, in the lesson titled “Becoming Familiar with the Score,” the materials provide independent, guided, and collaborative practice. Also, the guidance gives students opportunities to provide feedback multiple times throughout the lesson on their own performance, individually, and as a whole group. In the lesson titled “Solo Performer Listening and Critique,” students work in small groups and perform individually for each other. An opportunity is provided for guided practice, with the educator monitoring and encouraging each group.
The materials support multiple types of practice, including guided practice (through educator modeling and rehearsal activities), independent practice (through Auralia, Musition, and PracticeFirst; reflections; critiques; and composition tasks), and collaborative practice (ensemble work, peer buddies, section leaders, peer coaching, and small-group reinforcement). The materials also provide guidance for implementation using whole-group, small-group, and individual structures, including differentiated assignments, ensemble and sectional work, independent activities, flipped classroom options, and software tools designed for full-class, group, or individual use.
Evaluation for 3.3a
The materials include educator guidance on providing linguistic accommodations for various levels of language proficiency, which are designed to engage students in using increasingly more academic and discipline-specific language. For example, the Teacher Guides for the units called “Music, Society, & Technology” and “Music Reading/Theory Skills Development & Practice” provide a grid for detailed ELPS guidance with correlations. These differentiated supports include various levels, like pre-production, beginning, intermediate, and advanced. Both Teacher Guides also include a family software guide in both English and Spanish.
The materials include educator guidance on providing linguistic accommodations for various levels of language proficiency, designed to engage students in using increasingly academic and discipline-specific language. For example, at the beginning of the unit called “Listening, Critique, & Self-Assessment,” the Teacher Guide includes a chart titled “Detailed ELPS Guidance with Correlations.” This chart is designed to engage students in using increasingly more academic and discipline-specific language for each activity throughout the unit.
Evaluation for 3.3b
The materials include implementation guidance to support educators in using materials that provide ELPS-aligned supports and linguistic accommodations for emergent bilingual students. For example, the Teacher Guides in the units called “The Foundations of Music Literacy” and “Aural Skills Development and Practice” include English and Spanish translations of software guides and a grid with ELPS-aligned support for students at various levels.
The materials provide implementation guidance for state-approved Transitional Bilingual and English as a Second Language (ESL) models using specific bilingual supports and ELPS-aligned language objectives. The “English/Spanish Vocabulary” document serves as the designated resource for bilingual vocabulary instruction, cognate support, and coordinated language development within these program models.
Evaluation for 3.3c
The Teacher Guidance: Emergent Bilingual Students, Band Basics guide includes embedded, educator-facing guidance in the unit guide that supports EB students across all four required areas—vocabulary, comprehension, background knowledge, and cross-linguistic connections—through both oral and written discourse, recurring throughout the program with oral and written strategies kept distinct. Each guide includes unit-specific vocabulary and concepts.
The “Bilingual Music Vocabulary” chart supports vocabulary and cross-linguistic-connection strands. For each music discipline-specific term, it provides the English term, an English definition, and a Spanish definition in words. It also builds explicit cross-linguistic connections through a cognate bridge that distinguishes true cognates from “false friends.”
Evaluation for 3.3d
This guidance is not applicable because the program is not designed for dual language immersion (DLI) programs.
3.1 Differentiation and Scaffolds
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.
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.
1 out of 1 points
Evaluation for 3.1a
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.
1 out of 1 points
The lesson titled “Compare & Contrast: National Anthem of the United States” includes general scaffolds for below-proficiency students. These scaffolds include sentence frames, a rubric-based rating scale, chunked listening (20–30 seconds, then full recording paused at sections), three named critique lenses, and a word wall that makes the grade-level task accessible at the point of use.
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).
Materials include pre-teaching or embedded supports for unfamiliar vocabulary and references in text (e.g., figurative language, idioms, academic and discipline-specific language).
2 out of 2 points
Evaluation for 3.1b
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).
2 out of 2 points
Additionally, the lesson titled “Sight-Reading Strategies” pre-teaches unfamiliar terms that students need to know (e.g., meter, key signature, tempo, interval, and fluency) with word-based definitions at the start of the lesson. The educator procedure re-embeds those definitions during review and supports students with fingering charts as well.
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.
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.
1 out of 1 points
Evaluation for 3.1c
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.
1 out of 1 points
Additionally, the lesson titled “Sight-Reading Strategies” provides an enrichment/extension set that prompts students to go deeper in the same skill: coach a peer, raise Sight Reading Factory (SRF) difficulty/tempo/keys/intervals, sight-read from a method book in PracticeFirst under real-world conditions, or role-play an audition as performer and adjudicator.
3.1d
Materials include teacher guidance for providing specially designed instruction (SDI) for students receiving supports and services through special education.
Materials include teacher guidance for providing specially designed instruction (SDI) for students receiving supports and services through special education.
1 out of 1 points
Evaluation for 3.1d
Evaluation for 3.1d
Materials include teacher guidance for providing specially designed instruction (SDI) for students receiving supports and services through special education.
1 out of 1 points
The “Bilingual Music Vocabulary” chart includes musical terms that are paired with a pictorial representation. The visual supports adapt the content and its representation so a student whose needs include reduced text load, receptive-language, or reading support can access the same discipline-specific vocabulary non-textually.
3.2 Instructional Methods
3.2a
Materials include explicit (direct) prompts and guidance to support the teacher in modeling and explaining the concept(s) to be learned.
Materials include explicit (direct) prompts and guidance to support the teacher in modeling and explaining the concept(s) to be learned.
2 out of 2 points
Evaluation for 3.2a
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.
2 out of 2 points
The materials include a lesson titled “Becoming Familiar with the Score,” which provides prompts and guidance to support educators in modeling and explaining concepts. For example, a bulleted list is provided in the Teacher View of the lesson; it prompts educators to “have students read and work through the steps.” Additionally, educators are prompted to “guide students through sight-reading the piece.”
3.2b
Materials include teacher guidance and recommendations for effective lesson delivery and facilitation using a variety of instructional approaches.
Materials include teacher guidance and recommendations for effective lesson delivery and facilitation using a variety of instructional approaches.
1 out of 1 points
Evaluation for 3.2b
Evaluation for 3.2b
Materials include teacher guidance and recommendations for effective lesson delivery and facilitation using a variety of instructional approaches.
1 out of 1 points
The materials include educator guidance for delivery of the lesson titled “Small Ensemble Listening and Critique,” such as “arrange for students/groups of students to complete this activity round-robin style.” The guidance provides prompts for the educator to “facilitate as students brainstorm practice strategies to help improve” and execute “round-robin style.”
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.
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.
2 out of 2 points
Evaluation for 3.2c
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.
2 out of 2 points
The materials support multiple types of practice, including guided practice (through educator modeling and rehearsal activities), independent practice (through Auralia, Musition, and PracticeFirst; reflections; critiques; and composition tasks), and collaborative practice (ensemble work, peer buddies, section leaders, peer coaching, and small-group reinforcement). The materials also provide guidance for implementation using whole-group, small-group, and individual structures, including differentiated assignments, ensemble and sectional work, independent activities, flipped classroom options, and software tools designed for full-class, group, or individual use.
3.3 Support for Emergent Bilingual Students
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.
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.
2 out of 2 points
Evaluation for 3.3a
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.
2 out of 2 points
The materials include educator guidance on providing linguistic accommodations for various levels of language proficiency, designed to engage students in using increasingly academic and discipline-specific language. For example, at the beginning of the unit called “Listening, Critique, & Self-Assessment,” the Teacher Guide includes a chart titled “Detailed ELPS Guidance with Correlations.” This chart is designed to engage students in using increasingly more academic and discipline-specific language for each activity throughout the unit.
3.3b
Materials include implementation guidance to support teachers in effectively using the materials in state-approved bilingual/ESL programs.
Materials include implementation guidance to support teachers in effectively using the materials in state-approved bilingual/ESL programs.
1 out of 1 points
Evaluation for 3.3b
Evaluation for 3.3b
Materials include implementation guidance to support teachers in effectively using the materials in state-approved bilingual/ESL programs.
1 out of 1 points
The materials provide implementation guidance for state-approved Transitional Bilingual and English as a Second Language (ESL) models using specific bilingual supports and ELPS-aligned language objectives. The “English/Spanish Vocabulary” document serves as the designated resource for bilingual vocabulary instruction, cognate support, and coordinated language development within these program models.
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.
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.
8 out of 8 points
Evaluation for 3.3c
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.
8 out of 8 points
The “Bilingual Music Vocabulary” chart supports vocabulary and cross-linguistic-connection strands. For each music discipline-specific term, it provides the English term, an English definition, and a Spanish definition in words. It also builds explicit cross-linguistic connections through a cognate bridge that distinguishes true cognates from “false friends.”
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.
If designed for dual language immersion (DLI) programs, materials include resources that outline opportunities to address metalinguistic transfer from English to the partner language.
Not applicable.
Evaluation for 3.3d
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.
Not applicable.
Rubric Section 4
Artistic Literacy and Creative Expression
Materials are designed to develop and refine discipline-specific artistic knowledge and skills while providing opportunities for students to perform, exhibit, or present artistic works.
Total
56% (9 out of 16 points)
Evaluation for 4.1a
The materials include lesson plans with instructional guidance that includes the use of discipline-specific artistic literacy. For example, in the unit called “Sight Reading II [UIL Grade 3,4],” the Teacher View of the lesson titled “Sight-Reading Strategies” includes detailed step-by-step procedures with at least four to six bullet points with information on instructing students through the lesson. The teacher guidance includes information that focuses on discipline-specific artistic literacy, such as "Use the criteria in the Mastery Rubric below to give specific, targeted feedback as students work through each step."
The materials include student-facing activities, videos, and repertoire with discipline-specific artistic literacy components. The “Scope & Sequence with Syllabus” document provides a list of lessons and activities, along with their intended purposes. For example, in the unit called “Foundations of Music Literacy II,” the lesson titled “Musical Terms & Symbols: Tempo, Dynamics, Articulation, & Repeat Signs” states that it includes “lessons with accompanying assessments via Focus on Sound multimedia software.” It then lists activities students will perform with the software.
Evaluation for 4.1b
MusicFirst High School Music, Level II lessons include activities that allow students to build on prior knowledge learned in the lessons. For example, in the unit called “Composition in Band II: Inside Music, Intermediate” and the lesson titled “Repetition and Variation,” students watch an instructional video and are then asked to apply discipline-specific artistic literacy in the assessments. In “UIL Concert Evaluation and Band Performance: Yellow Rose of Texas in Ab,” students need to already have artistic literacy to complete the music practice assessment. However, none of the materials explicitly connect new discipline-specific artistic literacy to prior learning across lessons and units in the course.
The materials do not explicitly connect new discipline-specific artistic literacy to prior learning across lessons and units within the course and across courses. For example, in “Foundations of Music Literacy II: Read, Count, Perform, & Create with Asymmetrical Meter,” basic rhythms are mentioned, but are not tied to new information or to how the two are connected. Students are not asked to connect prior knowledge to the new material being introduced. Similarly, in “Band Basics II: Listen, Move, Conduct,” students are asked to tap the pulse and conduct, but explicit connections to other learning from the course or previous courses are not provided.
Evaluation for 4.1c
The materials provide opportunities for students to develop discipline-specific artistic literacy vocabulary. For example, in the unit called “Foundations of Music Literacy II,” the lessons titled “Key Signatures,” “Musical Terms & Symbols: Tempo, Dynamics, Articulation, & Repeat Signs,” and “Musical Form/Structure 2” contain activities in the Focus on Sound multimedia software that teach discipline-specific vocabulary. Activities include vocabulary related to rhythm, meter, time signatures, key signatures, tempo, dynamics, articulation, intervals, textures, and modes. However, opportunities for students to use this vocabulary are inconsistent across the curriculum.
In the unit called “Listening, Critique, & Self-Assessment II,” the lesson titled “Star-Spangled Banner: Compare & Contrast” provides minimal opportunity for students to use discipline-specific artistic vocabulary. After students watch two videos, they are asked one question to respond to with a long answer. The question states, “Be sure to use as much music vocabulary as you can when describing the performances.” However, students are not provided with support or vocabulary to use in their responses.
Evaluation for 4.1d
The materials include activities and tasks that require students to demonstrate an understanding of discipline-specific artistic literacy aligned with the course’s TEKS. For example, in the unit called “Listening, Critique & Self-Assessment,” the lesson titled “Small Ensemble Listening and Critique” includes an activity that allows students to demonstrate their artistic literacy by performing for a small group of peers. Additionally, in the unit called “Approaching a New Piece of Music,” the lesson titled “Responding to Performances” instructs students to use their artistic literacy to critique a performance using discipline-specific vocabulary.
The materials include activities and tasks that require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the course’s TEKS. For example, in “Aural Skills Development & Practice I: Rhythm Dictation, Level 3 (Beginner),” the rhythm dictation quiz requires students to demonstrate discipline-specific artistic literacy by writing out musical rhythms after hearing them. The instructions state, “Extracts will be 2–4 bars in length in 6/8, 2/4, 3/4, or 4/4 time, played melodically, and contain half notes, quarter notes, eighth notes, dotted half notes, and dotted quarter notes.”
Evaluation for 4.2a
In the lesson titled “Sight-Reading Strategies,” the educator introduces and demonstrates the 1-2-3 process (clap the rhythm, finger the pitches without rhythm, then play both while narrating), models navigating trouble spots, then leads the whole group through a unison example before students work in pairs and independently, facilitating a gradual release model (I Do/We Do/You Do).
The lesson titled “Composing for Band” includes procedures for the educator to model composing a short rhythmic, then melodic, idea in the software—choosing key/meter, writing a rhythm, playing it back, moving pitches into a melody, adding dynamics and articulation, and narrating throughout. The educator repeats this process with the class making the decisions (guided), then prompts students to compose independently.
Evaluation for 4.2b
The materials include opportunities for students to develop discipline-specific artistic skills throughout the course. However, they do not consistently connect new artistic skills to skills students learned earlier across lessons and units. For example, in “Foundations of Music Literacy II: Following Music,” activities use the Focus on Sound multimedia software to introduce artistic skills such as tracking music with their eyes and music theory terminology. Additionally, in “Foundations of Music Literacy II: Meter Mastery,” the student-facing text explains the basic concepts of meter and time signatures. However, neither example explicitly connects new discipline-specific artistic skills to prior learning across lessons and units within the course.
Lesson plans throughout the curriculum do not provide opportunities for students to review and connect previously learned artistic skills before introducing new content. For example, in the unit called “Foundations of Music Literacy II,” the lesson titled “Read, Count, Perform, & Create with Asymmetric Meter” introduces students to complex meters. The lesson states, “You are probably an expert at counting and performing rhythms in Common Time (4/4).” However, students are not asked to apply or extend their prior knowledge of Common Time to support their understanding of asymmetric meter. The lesson does not include instructional guidance that explicitly prompts students to connect their understanding of Common Time to the new concept of asymmetric meter. The materials do not explicitly connect previously learned rhythmic concepts to the new content through a progression of discipline-specific artistic skills.
Evaluation for 4.2c
In the lesson titled “Sight-Reading Strategies,” students develop that skill by performing sight-reading repeatedly and presenting to peers. Partner & Practice allows students to take turns playing and giving feedback on a new example each round and requires every student to perform at least once and evaluate at least once.
In the unit called “Listening, Critique, & Self-Assessment II,” the lesson titled “Winter Concert Reflection” provides opportunities for students to develop discipline-specific artistic skills aligned with the course’s TEKS. For example, students use a performance recording and the “UIL Band Concert Evaluation Rubric” to evaluate the ensemble’s tone, technique, and musical understanding. The lesson prompts students to respond to open-ended questions like “Describe the ensemble’s musical expression” to reflect on the performance.
Evaluation for 4.2d
The materials include opportunities for students to refine discipline-specific artistic skills through activities and tasks. For example, in the unit called “Sight Reading II,” all lessons use either the Sight Reading Factory or PracticeFirst multimedia software to help students refine discipline-specific artistic skills through a range of activities and tasks. Additionally, the multimedia software Auralia is used in all lessons in the unit “Aural Skills Development & Practice II” and progressively increases in complexity from lesson to lesson.
The lesson titled “Sight-Reading Strategies” outlines rigor in the attached “Sight-Reading Progression” chart and the Differentiation variables (level, rhythm difficulty, key, tempo, interval, range, and number of measures). As students progress, the educator repeats the process with progressively harder examples, increasing rigor while refining discipline-specific skills throughout the course.
Evaluation for 4.2e
The lesson titled “Composing for Band” includes a culminating task to create a multi-part composition that is scored by the “Composition Mastery Rubric,” and students present it for the ensemble to sight-read.
The lesson titled “Sight-Reading Strategies” culminates in a “Mastery Level Sight-Reading” task in which students perform a sight-reading task scored by the “Mastery Rubric” (self-, peer-, and educator-scored) on the initial read. The procedure directs the educator to “score the recording against the ‘Mastery Rubric’ to evaluate demonstrated mastery of the 1-2-3 process, rhythmic accuracy, pitch accuracy, and tempo/fluency” through performing, exhibiting, or presenting at a developmentally appropriate level and in alignment with the course’s TEKS.
Evaluation for 4.3a
The MusicFirst High School Music, Level II curriculum offers limited opportunities to explore a variety of art forms across media, performance genres, and styles. For example, the units called “UIL Concert Evaluation and Band Performance Music II” and “Warm-Ups & Independent Practice II” include lessons and activities centered on concert band repertoire, like “God of Our Fathers (UIL 4),” “Incandescent Sky (UIL 4),” and “Undertow (UIL 4).” While students perform a variety of concert band selections, the materials do not include opportunities to explore additional performance genres, musical styles, or other discipline-specific art forms. Instead, the activities ask students to perform the selected repertoire using the PracticeFirst software or listen to recordings through the Focus on Sound platform.
The materials do not provide a variety of means, through differing media, performance genres, or styles, for students to explore discipline-specific art forms. For example, the unit called ”Warm-Ups & Independent Practice II” includes a range of concert band literature. However, the lessons are limited to this performance genre and do not include opportunities to engage with a broader range of musical genres or styles. Students perform assigned pieces using the PracticeFirst software, which focuses on pitch and rhythm accuracy. The materials consistently rely on this instructional format and do not include opportunities for students to explore discipline-specific art forms through varied media or compare and contrast different musical genres and styles.
Evaluation for 4.3b
The materials include 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). For example, in the unit called “Texas Songbook I,” the lesson titled “Texas Songbook Discovery & Creativity” gives students the opportunity to adapt a Texas song and perform it in a new way. The instructions in this lesson give the following example: “What would ‘Streets of Laredo’ sound like with a hip-hop backing track?” Similarly, in the unit called “Music, Society, & Technology II,” the lesson titled “Gwyneth Walker: ‘Happy Birthday’ March” prompts students to “Use Noteflight to create a composition or arrangement of a public domain tune.”
Throughout the MusicFirst High School Music, Level II curriculum, opportunities are provided for students to create, adapt, or extend discipline-specific artistic works for performance, exhibition, or presentation (in line with appropriate fair use and copyright). For example, in the unit called “Composition in Band II: Inside Music Intermediate,” the lesson titled “Composing for Band” allows students to create a new piece of music through the outlined composition process, and then perform it for at least one partner and request feedback. At the end of the lesson, the materials state, "Have students volunteer to share a composition with the class for the ensemble to sight-read."
Evaluation for 4.3c
The MusicFirst High School Music, Level II curriculum provides opportunities for students to exercise agency by making or selecting discipline-specific artistic works for study. For example, in the unit called “Listening, Critique, & Self-Assessment II,” the lessons titled “Solo Performer Listening and Critique” and “Small Ensemble Listening and Critique” instruct students to choose a piece to perform for their small peer group. However, the materials do not provide educator guidance for intentionally promoting student agency. Additionally, the instructions state, “You should include scales, exercises, etudes, and repertoire that your ensemble is currently studying,” but these instructions do not give students agency in selecting their own artistic works.
The materials provide opportunities for students to create or select discipline-specific artistic works for study, performance, exhibition, or presentation. For example, in the unit called “Listening, Critique, & Self-Assessment II,” the lesson titled “Playlist Challenge” provides parameters for students to select and nominate pieces for their “Best Ever” playlist. Guidance for educators is not provided on promoting student agency in making or selecting discipline-specific artistic works. Students are given the following instructions: “The goal is to explore additional music, not just think about pieces you have played.” The Teacher View provides instructions on the parameters of the music, but does not provide guidance to help educators guide students in selecting music on their own.
4.1 Artistic Literacy
4.1a
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic literacy in alignment with the course TEKS.
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic literacy in alignment with the course TEKS.
1 out of 1 points
Evaluation for 4.1a
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.
1 out of 1 points
The materials include student-facing activities, videos, and repertoire with discipline-specific artistic literacy components. The “Scope & Sequence with Syllabus” document provides a list of lessons and activities, along with their intended purposes. For example, in the unit called “Foundations of Music Literacy II,” the lesson titled “Musical Terms & Symbols: Tempo, Dynamics, Articulation, & Repeat Signs” states that it includes “lessons with accompanying assessments via Focus on Sound multimedia software.” It then lists activities students will perform with the software.
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.
Materials explicitly connect new discipline-specific artistic literacy to prior learning across lessons and units within the course and across courses as applicable.
0 out of 2 points
Evaluation for 4.1b
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.
0 out of 2 points
The materials do not explicitly connect new discipline-specific artistic literacy to prior learning across lessons and units within the course and across courses. For example, in “Foundations of Music Literacy II: Read, Count, Perform, & Create with Asymmetrical Meter,” basic rhythms are mentioned, but are not tied to new information or to how the two are connected. Students are not asked to connect prior knowledge to the new material being introduced. Similarly, in “Band Basics II: Listen, Move, Conduct,” students are asked to tap the pulse and conduct, but explicit connections to other learning from the course or previous courses are not provided.
4.1c
Materials consistently provide opportunities for students to develop and use discipline-specific artistic literacy vocabulary.
Materials consistently provide opportunities for students to develop and use discipline-specific artistic literacy vocabulary.
1 out of 2 points
Evaluation for 4.1c
Evaluation for 4.1c
Materials consistently provide opportunities for students to develop and use discipline-specific artistic literacy vocabulary.
1 out of 2 points
In the unit called “Listening, Critique, & Self-Assessment II,” the lesson titled “Star-Spangled Banner: Compare & Contrast” provides minimal opportunity for students to use discipline-specific artistic vocabulary. After students watch two videos, they are asked one question to respond to with a long answer. The question states, “Be sure to use as much music vocabulary as you can when describing the performances.” However, students are not provided with support or vocabulary to use in their responses.
4.1d
Materials include activities and tasks that require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the course TEKS.
Materials include activities and tasks that require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the course TEKS.
1 out of 1 points
Evaluation for 4.1d
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.
1 out of 1 points
The materials include activities and tasks that require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the course’s TEKS. For example, in “Aural Skills Development & Practice I: Rhythm Dictation, Level 3 (Beginner),” the rhythm dictation quiz requires students to demonstrate discipline-specific artistic literacy by writing out musical rhythms after hearing them. The instructions state, “Extracts will be 2–4 bars in length in 6/8, 2/4, 3/4, or 4/4 time, played melodically, and contain half notes, quarter notes, eighth notes, dotted half notes, and dotted quarter notes.”
4.2 Artistic Skill
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.
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.
1 out of 1 points
Evaluation for 4.2a
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.
1 out of 1 points
The lesson titled “Composing for Band” includes procedures for the educator to model composing a short rhythmic, then melodic, idea in the software—choosing key/meter, writing a rhythm, playing it back, moving pitches into a melody, adding dynamics and articulation, and narrating throughout. The educator repeats this process with the class making the decisions (guided), then prompts students to compose independently.
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.
Materials explicitly connect new discipline-specific artistic skills to prior learning across lessons and units within the course and across courses as applicable.
0 out of 2 points
Evaluation for 4.2b
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.
0 out of 2 points
Lesson plans throughout the curriculum do not provide opportunities for students to review and connect previously learned artistic skills before introducing new content. For example, in the unit called “Foundations of Music Literacy II,” the lesson titled “Read, Count, Perform, & Create with Asymmetric Meter” introduces students to complex meters. The lesson states, “You are probably an expert at counting and performing rhythms in Common Time (4/4).” However, students are not asked to apply or extend their prior knowledge of Common Time to support their understanding of asymmetric meter. The lesson does not include instructional guidance that explicitly prompts students to connect their understanding of Common Time to the new concept of asymmetric meter. The materials do not explicitly connect previously learned rhythmic concepts to the new content through a progression of discipline-specific artistic skills.
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.
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.
1 out of 1 points
Evaluation for 4.2c
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.
1 out of 1 points
In the unit called “Listening, Critique, & Self-Assessment II,” the lesson titled “Winter Concert Reflection” provides opportunities for students to develop discipline-specific artistic skills aligned with the course’s TEKS. For example, students use a performance recording and the “UIL Band Concert Evaluation Rubric” to evaluate the ensemble’s tone, technique, and musical understanding. The lesson prompts students to respond to open-ended questions like “Describe the ensemble’s musical expression” to reflect on the performance.
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.
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.
2 out of 2 points
Evaluation for 4.2d
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.
2 out of 2 points
The lesson titled “Sight-Reading Strategies” outlines rigor in the attached “Sight-Reading Progression” chart and the Differentiation variables (level, rhythm difficulty, key, tempo, interval, range, and number of measures). As students progress, the educator repeats the process with progressively harder examples, increasing rigor while refining discipline-specific skills throughout the course.
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.
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.
1 out of 1 points
Evaluation for 4.2e
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.
1 out of 1 points
The lesson titled “Sight-Reading Strategies” culminates in a “Mastery Level Sight-Reading” task in which students perform a sight-reading task scored by the “Mastery Rubric” (self-, peer-, and educator-scored) on the initial read. The procedure directs the educator to “score the recording against the ‘Mastery Rubric’ to evaluate demonstrated mastery of the 1-2-3 process, rhythmic accuracy, pitch accuracy, and tempo/fluency” through performing, exhibiting, or presenting at a developmentally appropriate level and in alignment with the course’s TEKS.
4.3 Creative Expression
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).
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).
0 out of 1 points
Evaluation for 4.3a
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).
0 out of 1 points
The materials do not provide a variety of means, through differing media, performance genres, or styles, for students to explore discipline-specific art forms. For example, the unit called ”Warm-Ups & Independent Practice II” includes a range of concert band literature. However, the lessons are limited to this performance genre and do not include opportunities to engage with a broader range of musical genres or styles. Students perform assigned pieces using the PracticeFirst software, which focuses on pitch and rhythm accuracy. The materials consistently rely on this instructional format and do not include opportunities for students to explore discipline-specific art forms through varied media or compare and contrast different musical genres and styles.
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).
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).
1 out of 1 points
Evaluation for 4.3b
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).
1 out of 1 points
Throughout the MusicFirst High School Music, Level II curriculum, opportunities are provided for students to create, adapt, or extend discipline-specific artistic works for performance, exhibition, or presentation (in line with appropriate fair use and copyright). For example, in the unit called “Composition in Band II: Inside Music Intermediate,” the lesson titled “Composing for Band” allows students to create a new piece of music through the outlined composition process, and then perform it for at least one partner and request feedback. At the end of the lesson, the materials state, "Have students volunteer to share a composition with the class for the ensemble to sight-read."
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.
Materials include guidance for teachers on promoting student agency in making or selecting discipline-specific artistic works for study, performance, exhibition, or presentation.
0 out of 1 points
Evaluation for 4.3c
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.
0 out of 1 points
The materials provide opportunities for students to create or select discipline-specific artistic works for study, performance, exhibition, or presentation. For example, in the unit called “Listening, Critique, & Self-Assessment II,” the lesson titled “Playlist Challenge” provides parameters for students to select and nominate pieces for their “Best Ever” playlist. Guidance for educators is not provided on promoting student agency in making or selecting discipline-specific artistic works. Students are given the following instructions: “The goal is to explore additional music, not just think about pieces you have played.” The Teacher View provides instructions on the parameters of the music, but does not provide guidance to help educators guide students in selecting music on their own.
Rubric Section 5
Critical Evaluation and Response
Materials provide opportunities for students to interpret, evaluate, and respond to discipline-specific artistic works of self and others.
Total
64% (7 out of 11 points)
Evaluation for 5.1a
In the “Listening, Critique, & Self-Assessment II” unit, the “Compare & Contrast: National Anthem of the United States” lesson provides the educator with rubrics for evaluating performances, including the "UIL Concert Evaluation Rubric" and the "Mastery Rubric for Listening/Critique." The materials include step-by-step guidance for educators on how to explicitly teach students to interpret, evaluate, and respond to discipline-specific artistic works. For example, one of the steps in the lesson is titled, "What Makes a Performance Good?" and includes time for rubric discussion.
In the unit called “Composition in Band II [Inside Music Intermediate]," the lesson "Composing for Band" includes a mastery rubric for students to use in evaluating their peers. In one of the final steps of the lesson, the materials state, "Instruct students to play back or perform each composition, share it with at least one partner, and ask for one thing that works and one thing to improve."
Evaluation for 5.1b
Throughout the MusicFirst High School Music, Level II curriculum, the materials do not emphasize the use of discipline-specific vocabulary in interpreting, evaluating, and responding to artistic works. For example, in the unit called “Listening, Critique, & Self-Assessment II,” the lesson titled “Small Ensemble Listening and Critique” provides students with a rubric for evaluating performances that includes discipline-specific vocabulary. However, these materials do not include instructions that emphasize the use of discipline-specific vocabulary in responses. Additionally, in the unit called “Approaching a New Piece of Music II,” the lesson titled “Responding to Performances” does not provide a rubric. Instead, it guides the educator to prompt students to create their own list of terminology and criteria for evaluating and responding to a performance. This guidance is not provided in the student-facing materials, and the question’s instructions do not ask students to use discipline-specific vocabulary.
Although opportunities to use discipline-specific vocabulary are provided, lessons do not emphasize the use of that vocabulary in interpreting, evaluating, and responding to artistic works. For example, in the unit called “Listening, Critique, & Self-Assessment II,” the lesson titled “Solo Performer Listening and Critique” asks students to evaluate their classmates’ artistic works using a provided rubric. The student instructions state, “Include 2–3 sentences about their individual strengths, areas of improvement, specific practice strategies, and overall effectiveness of the performance.” While students can use the rubric to evaluate performances, the directions do not emphasize the use of discipline-specific music vocabulary in interpreting, evaluating, and responding to artistic works.
Evaluation for 5.1c
The materials include opportunities for students to practice interpreting, evaluating, and responding to discipline-specific artistic works of other artists. For example, in the unit called “Listening, Critique, & Self-Assessment II,” the lesson titled “Critique Concert Band: ‘Tarantella’ by Carol Brittin Chambers” asks students to listen to two different performances of “Tarantella.” Students use the “UIL Band Concert Evaluation Rubric” to compare and contrast the performances using music vocabulary. Similarly, in the unit called “Approaching a New Piece of Music II,” the lesson titled “Responding to Performances” asks students to listen to exemplary performances using the “UIL Band Concert Evaluation Rubric” to compare and contrast the performances using music vocabulary. However, the rigor and complexity of the tasks and activities do not increase progressively across lessons and units within the course. Additionally, the lessons are the same from one course to the next. For example, “Approaching a New Piece of Music II: Responding to Performances” gives the same instructions and asks the same questions of students for MusicFirst High School Music, Level I through MusicFirst High School Music, Level IV. The only difference is the musical examples that are chosen.
The MusicFirst High School Music, Level II curriculum provides opportunities for students to practice interpreting, evaluating, and responding to discipline-specific artistic works of other artists. For example, in the unit called “Music, Society, & Technology II,” the lesson titled “Glière and Copland: Folk Songs in Theme and Variations” prompts students to listen to two different performances and write about which they prefer, using language from the “UIL Concert Performance Evaluation Rubric.” Despite these opportunities, the activities and tasks do not progressively increase in rigor or complexity throughout the lessons or units. Additionally, the lesson is the same in all four high school levels and does not increase in rigor or complexity.
Evaluation for 5.2a
The materials do not include guidance for educators to provide explicit (direct) instruction in giving and receiving student feedback on discipline-specific artistic works. They do include the unit called “Listening, Critique, & Self-Assessment II” and the lesson titled “Small Ensemble Listening and Critique,” which provides a framework for listening to and critiquing a small ensemble performance. However, the materials do not provide explicit instruction for the educator to facilitate self- or peer assessment.
Additionally, the materials include a “Winter Concert Reflection,” which provides targeted questions to guide students in giving feedback to peers and assessing their own performances. The educator instruction states, “Consider attaching a rubric for students to complete, assessing their own personal performance, class effort, or participation throughout the semester.” However, these materials do not include guidance for educators to provide direct instruction in how to ask students to give or receive feedback to themselves or their peers.
Evaluation for 5.2b
The materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students. For example, in the unit called “Listening, Critique, & Self-Assessment II,” the lesson titled “Solo Performer Listening and Critique” instructs students to listen to their peers and assess their performances using the “UIL Concert Repertoire Rubric.”
The materials include opportunities for students to give feedback on discipline-specific artistic works created by other students. For example, in the unit called “Listening, Critique, & Self-Assessment II”, the lesson titled “Sister Band Listening and Critique II” allows students to observe the practice and performance of another band and assess that performance using the “UIL Concert Repertoire Rubric.”
Evaluation for 5.2c
The materials provide opportunities for student-to-student feedback on discipline-specific artistic works. For example, “Solo Performer Listening and Critique II” includes opportunities for students to provide feedback to one another, plus “peer coaching” to offer suggestions for improvement.
The materials provide opportunities for students to receive feedback on their discipline-specific artistic works from educators and other students. For example, in the lesson titled “Sight-Reading Strategies,” the culminating “Mastery Level Sight-Reading” task is a performed first read scored by the “Mastery Rubric” (self-, peer-, and educator-scored). The procedure directs the educator to “score the recording against the ‘Mastery Rubric’ to evaluate demonstrated mastery of the 1-2-3 process, rhythmic accuracy, pitch accuracy, and tempo/fluency.” Additionally, the Teacher View includes guidance for the educator to prompt advanced students to play the role of performer and adjudicator and provide/receive feedback on their discipline-specific works from other students.
Evaluation for 5.2d
The materials include guidance for educators to provide feedback to students to refine their discipline-specific work. For example, in the lesson titled “Sight-Reading Strategies,” the culminating “Mastery Level Sight-Reading” task is a performed first read scored by the “Mastery Rubric” (self-, peer-, and educator-scored). The procedure directs the educator to “score the recording against the ‘Mastery Rubric’ to evaluate demonstrated mastery of the 1-2-3 process, rhythmic accuracy, pitch accuracy, and tempo/fluency.”
Additionally, the unit called “UIL Concert Evaluation & Band Performance Music” provides a Teacher Guide with instructions for using the multimedia software called PracticeFirst. This software allows students to practice, record, and receive feedback on their concert repertoire.
Evaluation for 5.2e
Throughout the MusicFirst High School Music, Level II materials, students receive opportunities to engage in self-reflection and self-evaluation to refine discipline-specific artistic works. In the unit called “Listening, Critique, & Self-Assessment II,” the “Winter Concert Reflection” and “Spring Concert Reflection” lessons instruct students to reflect on their concert performances. The questions include reflections on personal and ensemble performances. For example, two of the questions read, “Describe one specific area of your own performance during the concert for where improvement or growth is needed” and “Describe two or more specific types of practice techniques to foster growth for the ensemble and for yourself.”
Additionally, students receive the opportunity to engage in self-reflection and self-evaluation in the unit called “Band Basics,” and the lesson titled “Listen, Move, Conduct.” In this lesson, students are asked to move around the room in a variety of ways (tapping the pulse of the music, conducting, gesturing with hands/arms, etc.) while playing through an excerpt of music. Then, students are asked to reflect on what changed in their personal playing before, during, and after the movement activity and in the group performance.
5.1 Evaluating and Responding to Artistic Works
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.
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.
1 out of 1 points
Evaluation for 5.1a
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.
1 out of 1 points
In the unit called “Composition in Band II [Inside Music Intermediate]," the lesson "Composing for Band" includes a mastery rubric for students to use in evaluating their peers. In one of the final steps of the lesson, the materials state, "Instruct students to play back or perform each composition, share it with at least one partner, and ask for one thing that works and one thing to improve."
5.1b
Materials emphasize the use of discipline-specific vocabulary in interpreting, evaluating, and responding to artistic works.
Materials emphasize the use of discipline-specific vocabulary in interpreting, evaluating, and responding to artistic works.
0 out of 1 points
Evaluation for 5.1b
Evaluation for 5.1b
Materials emphasize the use of discipline-specific vocabulary in interpreting, evaluating, and responding to artistic works.
0 out of 1 points
Although opportunities to use discipline-specific vocabulary are provided, lessons do not emphasize the use of that vocabulary in interpreting, evaluating, and responding to artistic works. For example, in the unit called “Listening, Critique, & Self-Assessment II,” the lesson titled “Solo Performer Listening and Critique” asks students to evaluate their classmates’ artistic works using a provided rubric. The student instructions state, “Include 2–3 sentences about their individual strengths, areas of improvement, specific practice strategies, and overall effectiveness of the performance.” While students can use the rubric to evaluate performances, the directions do not emphasize the use of discipline-specific music vocabulary in interpreting, evaluating, and responding to artistic works.
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.
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.
1 out of 2 points
Evaluation for 5.1c
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.
1 out of 2 points
The MusicFirst High School Music, Level II curriculum provides opportunities for students to practice interpreting, evaluating, and responding to discipline-specific artistic works of other artists. For example, in the unit called “Music, Society, & Technology II,” the lesson titled “Glière and Copland: Folk Songs in Theme and Variations” prompts students to listen to two different performances and write about which they prefer, using language from the “UIL Concert Performance Evaluation Rubric.” Despite these opportunities, the activities and tasks do not progressively increase in rigor or complexity throughout the lessons or units. Additionally, the lesson is the same in all four high school levels and does not increase in rigor or complexity.
5.2 Giving and Receiving Feedback on Artistic Works
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.
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.
0 out of 2 points
Evaluation for 5.2a
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.
0 out of 2 points
Additionally, the materials include a “Winter Concert Reflection,” which provides targeted questions to guide students in giving feedback to peers and assessing their own performances. The educator instruction states, “Consider attaching a rubric for students to complete, assessing their own personal performance, class effort, or participation throughout the semester.” However, these materials do not include guidance for educators to provide direct instruction in how to ask students to give or receive feedback to themselves or their peers.
5.2b
Materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students.
Materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students.
1 out of 1 points
Evaluation for 5.2b
Evaluation for 5.2b
Materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students.
1 out of 1 points
The materials include opportunities for students to give feedback on discipline-specific artistic works created by other students. For example, in the unit called “Listening, Critique, & Self-Assessment II”, the lesson titled “Sister Band Listening and Critique II” allows students to observe the practice and performance of another band and assess that performance using the “UIL Concert Repertoire Rubric.”
5.2c
Materials provide opportunities for students to receive feedback on their discipline-specific artistic works from teachers and other students.
Materials provide opportunities for students to receive feedback on their discipline-specific artistic works from teachers and other students.
2 out of 2 points
Evaluation for 5.2c
Evaluation for 5.2c
Materials provide opportunities for students to receive feedback on their discipline-specific artistic works from teachers and other students.
2 out of 2 points
The materials provide opportunities for students to receive feedback on their discipline-specific artistic works from educators and other students. For example, in the lesson titled “Sight-Reading Strategies,” the culminating “Mastery Level Sight-Reading” task is a performed first read scored by the “Mastery Rubric” (self-, peer-, and educator-scored). The procedure directs the educator to “score the recording against the ‘Mastery Rubric’ to evaluate demonstrated mastery of the 1-2-3 process, rhythmic accuracy, pitch accuracy, and tempo/fluency.” Additionally, the Teacher View includes guidance for the educator to prompt advanced students to play the role of performer and adjudicator and provide/receive feedback on their discipline-specific works from other students.
5.2d
Materials include guidance for teachers to provide feedback to students to refine their discipline-specific artistic works.
Materials include guidance for teachers to provide feedback to students to refine their discipline-specific artistic works.
1 out of 1 points
Evaluation for 5.2d
Evaluation for 5.2d
Materials include guidance for teachers to provide feedback to students to refine their discipline-specific artistic works.
1 out of 1 points
Additionally, the unit called “UIL Concert Evaluation & Band Performance Music” provides a Teacher Guide with instructions for using the multimedia software called PracticeFirst. This software allows students to practice, record, and receive feedback on their concert repertoire.
5.2e
Materials provide opportunities for students to engage in self-reflection or self-evaluation to refine their discipline-specific artistic works.
Materials provide opportunities for students to engage in self-reflection or self-evaluation to refine their discipline-specific artistic works.
1 out of 1 points
Evaluation for 5.2e
Evaluation for 5.2e
Materials provide opportunities for students to engage in self-reflection or self-evaluation to refine their discipline-specific artistic works.
1 out of 1 points
Additionally, students receive the opportunity to engage in self-reflection and self-evaluation in the unit called “Band Basics,” and the lesson titled “Listen, Move, Conduct.” In this lesson, students are asked to move around the room in a variety of ways (tapping the pulse of the music, conducting, gesturing with hands/arms, etc.) while playing through an excerpt of music. Then, students are asked to reflect on what changed in their personal playing before, during, and after the movement activity and in the group performance.
Rubric Section 6
Connections and Context
Materials are designed to deepen understanding of the discipline by examining the arts through cross-curricular connections and historical and cultural context.
Total
60% (3 out of 5 points)
Evaluation for 6.1a
The materials include lessons with cross-curricular connections between fine arts and core academic subjects. For example, in the unit called “Music, Society, & Technology II,” the task called “Music & Physics: Fire and Ice” includes cross-curricular connections by asking students to watch a video demonstration of a physics concept that connects with music. However, the materials do not include educator guidance to explicitly teach these connections.
Although the materials include lessons with cross-curricular connections between fine arts and core academic subjects, they do not include guidance for educators to provide explicit (direct) instruction. For example, in the unit called “Music, Society, & Technology II,” the lesson titled “Music in Society, Culture, and Me” introduces the concept of culture’s impact on music, but educator guidance is not provided. The educator-facing materials list only three objectives in the “students will . . . ” format.
Evaluation for 6.1b
The materials provide opportunities for students to explore cross-curricular connections across various fine arts disciplines. For example, the unit called “Music, Society, & Technology II” includes a lesson titled “Beyond Performing: Career Paths with Music.” In this lesson, students are introduced to seven career paths in the music production industry, such as arts administration, production design, videography, and audio engineering. Students are asked to research several career paths to determine the financial stability, college preparation, responsibilities, and special skills needed for these careers.
The materials provide opportunities for students to explore cross-curricular connections across various fine arts disciplines. For example, in the unit called “Music, Society, & Technology II,” the lesson titled “John Adams: Short Ride in a Fast Machine” provides students with the opportunity to explore the connections between a piece of music (“Short Ride in a Fast Machine”) and poetic expression. The task asks students to write a haiku inspired by that musical piece.
Evaluation for 6.2a
In the unit called “Listening, Critique, & Self-Assessment II,” the assessment called “Star-Spangled Banner: Compare & Contrast” includes a link to an outside website so students can explore the historical significance of the “Star-Spangled Banner.” However, it does not provide guidance for the educator on how to teach this content.
Although the materials include lessons that offer discipline-specific historical and cultural context aligned with the course’s TEKS, they do not provide educators with guidance for explicit (direct) instruction on those topics. For example, in the unit called “Music, Society, & Technology II,” the lesson titled “Going Electric” allows students to explore the historical and cultural context of music technology. However, the materials do not provide explicit instruction in the relevant discipline-specific historical and cultural context aligned with the course’s TEKS. The Teacher View lists only procedures that include instructions like “Initiate a conversation with students about the impact of technology on music and life.”
Evaluation for 6.2b
The materials provide opportunities for students to explore a variety of discipline-specific historical and contemporary artistic works. For example, in the unit called “Foundations of Music Literacy II,” the lesson titled “Following Music” includes different types of music that students can explore in the form of seven tasks in the multimedia software called Focus on Sound. These modules include songs from different composers like Dvorak, Handel, Strauss, and Massenet, plus different types of cultural songs like Scottish reels, polka, and Irish folk songs.
Additionally, the MusicFirst High School Music, Level II curriculum provides opportunities for students to explore a variety of discipline-specific artistic traditions. For example, in the unit called “Music, Society, & Technology II,” the lesson titled “Durufle’s Ubi Caritas: From Chant to 20th Century” provides an opportunity for students to explore early plainchant and its adaptations, both aurally and in notation. It gives students the opportunity to learn how music notation evolved over time and how plainchant became more contemporary through arranging. It also provides the opportunity for students to use technology to remix and arrange an original plainchant.
Evaluation for 6.2c
The materials include activities that require students to demonstrate understanding of relevant discipline-specific historical and cultural context, in alignment with the course’s TEKS. For example, in the unit called “Listening, Critique & Self-Assessment II,” the lesson titled “Playlist Challenge” requires students to research pieces of band literature that they are not familiar with to create a “Best Ever” playlist of band repertoire. After students nominate three pieces for the playlist, they are asked to demonstrate their understanding of historical and cultural context with the following questions: “How does this work fit into the historical/social context of the time?” and “What makes it significant?”
The materials include tasks so students can demonstrate their understanding of relevant discipline-specific historical and cultural context, in alignment with the course’s TEKS. For example, in the unit called “Music, Society, & Technology II” and the lesson titled “John Cage: 4’33’: A Critique,” students are expected to listen to and analyze a performance of that work and write a critique using appropriate music vocabulary to describe the piece and evaluate its characteristics and artistic intent.
6.1 Cross-Curricular Connections
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.
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.
0 out of 1 points
Evaluation for 6.1a
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.
0 out of 1 points
Although the materials include lessons with cross-curricular connections between fine arts and core academic subjects, they do not include guidance for educators to provide explicit (direct) instruction. For example, in the unit called “Music, Society, & Technology II,” the lesson titled “Music in Society, Culture, and Me” introduces the concept of culture’s impact on music, but educator guidance is not provided. The educator-facing materials list only three objectives in the “students will . . . ” format.
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.
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.
1 out of 1 points
Evaluation for 6.1b
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.
1 out of 1 points
The materials provide opportunities for students to explore cross-curricular connections across various fine arts disciplines. For example, in the unit called “Music, Society, & Technology II,” the lesson titled “John Adams: Short Ride in a Fast Machine” provides students with the opportunity to explore the connections between a piece of music (“Short Ride in a Fast Machine”) and poetic expression. The task asks students to write a haiku inspired by that musical piece.
6.2 Historical and Cultural Context
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.
Materials include guidance for teachers to provide explicit (direct) instruction on relevant discipline-specific historical and cultural context in alignment with the course TEKS.
0 out of 1 points
Evaluation for 6.2a
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.
0 out of 1 points
Although the materials include lessons that offer discipline-specific historical and cultural context aligned with the course’s TEKS, they do not provide educators with guidance for explicit (direct) instruction on those topics. For example, in the unit called “Music, Society, & Technology II,” the lesson titled “Going Electric” allows students to explore the historical and cultural context of music technology. However, the materials do not provide explicit instruction in the relevant discipline-specific historical and cultural context aligned with the course’s TEKS. The Teacher View lists only procedures that include instructions like “Initiate a conversation with students about the impact of technology on music and life.”
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).
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).
1 out of 1 points
Evaluation for 6.2b
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).
1 out of 1 points
Additionally, the MusicFirst High School Music, Level II curriculum provides opportunities for students to explore a variety of discipline-specific artistic traditions. For example, in the unit called “Music, Society, & Technology II,” the lesson titled “Durufle’s Ubi Caritas: From Chant to 20th Century” provides an opportunity for students to explore early plainchant and its adaptations, both aurally and in notation. It gives students the opportunity to learn how music notation evolved over time and how plainchant became more contemporary through arranging. It also provides the opportunity for students to use technology to remix and arrange an original plainchant.
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.
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.
1 out of 1 points
Evaluation for 6.2c
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.
1 out of 1 points
The materials include tasks so students can demonstrate their understanding of relevant discipline-specific historical and cultural context, in alignment with the course’s TEKS. For example, in the unit called “Music, Society, & Technology II” and the lesson titled “John Cage: 4’33’: A Critique,” students are expected to listen to and analyze a performance of that work and write a critique using appropriate music vocabulary to describe the piece and evaluate its characteristics and artistic intent.