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)
Middle School Music - Level 2 (Texas Edition)
Grade 7
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 7 | 100% | 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
83% (19 out of 23 points)
Evaluation for 1.1a
The materials include a “Scope and Sequence with Syllabus” that outlines the TEKS and concepts taught throughout the course in alignment with content and grade-level standards. The “Scope and Sequence with Syllabus” includes a list of concepts covered in the course with the associated skills and the TEKS for each set of skills. For example, “Fundamentals of Instrumental Music” includes “Band Basics” (TEKS 1.E, 4.C, 4.D, 5.C, 5.D, and 5.F) and “Fingering/Note Charts and Quizzes” (TEKS 1.B).
The “Scope and Sequence with Syllabus” document also includes a “Sequence and Pacing” chart that shows the progression of skills throughout the year, specifying the months for initial instruction of new concepts, the months for ongoing reinforcement and formative assessments, and the month for summative assessment.
The materials include a TEKS Guide that outlines TEKS and concepts taught throughout the course in alignment with content and grade-level standards. For example, TEKS 1.A is listed 17 times and appears in six units throughout the course.
Evaluation for 1.1b
The materials include a “Scope and Sequence with Syllabus” that includes a “Sequence and Pacing” chart. The chart illustrates the progression of skills throughout the year. It indicates the months (August through May) for initial instruction of new concepts, ongoing reinforcement and formative assessments, and summative assessments.
MusicFirst Middle School Music, Level 2 includes a Pacing Guide with supports including a suggested curricular calendar and introductory unit-based timing guides for multiple instructional schedules including daily, block, and independent/asynchronous. In the Pacing Guide, “Instructional Calendar Options” map each unit’s lessons, activities, and assessments across the full year and confirm full TEKS coverage. The options include day-count calendar variants (a traditional-length calendar and a reduced-day calendar).
Evaluation for 1.1c
The “Scope and Sequence with Syllabus” provides a rationale for unit order and pacing, accounting for the differences and unique needs of each campus and schedule structure, while highlighting the interdependent, holistic nature of musical learning that requires continuous, concurrent learning. 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 MusicFirst Middle School Music Level 2 Pacing Guide includes a section about unit and lesson internalization. This section discusses scheduling tools that let educators manage and deliver instruction through class overviews, unit structures, and calendar views while maintaining control over how lessons, activities, and assessments are presented and paced.
The Instructional Implementation and Support Guide’s “Unit & Lesson Internalization” section includes clear, step-by-step instructions for effectively internalizing both the overall unit and individual lessons. This guidance helps educators understand the 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 include an Instructional Implementation and Support Guide with unit titles, course navigation, ELPS, and points of differentiation. It also provides guidance and resources for navigating program tools within the curriculum, such as embedded software programs, to help educators implement the program materials as designed.
The Instructional Leader Guide: Middle School provides leader-facing resources, including look-fors, agendas, coaching actions, PLC materials, and guidance on interpreting assessment data, as well as guidance for supporting educators in implementing the materials as designated.
Evaluation for 1.2a
The “MTSF: Musical Terms, Symbols and Form” unit overview lists activities and lessons; however, it does not provide the background knowledge or discipline-specific vocabulary educators need to teach the unit effectively. The materials include “Music Vocabulary” charts that provide the term, Spanish translation, picture, and definition.
The “Scope and Sequence with Syllabus” provides conceptual descriptions, unit purposes, instructional rationale, content explanations, and implementation context. The materials incorporate the TEKS Guide, which identifies music terminology, discipline-specific concepts, technical vocabulary, and content-area language.
Evaluation for 1.2b
The MusicFirst Student/Family Guide provides a document in Spanish and English with suggestions for families to support students with material at home. For example, there are question stems to help families engage in conversations about content and a link to a table of vocabulary terms with definitions.
The materials include a student/family guide for some English units, with some Spanish supports, such as links to outside websites (MusicTheory.net, Teoria.com/es, Musicaa.com). However, the family guide is the same for every unit, regardless of the unit topic. The Spanish vocabulary document provides only pictures to represent the definitions.
Evaluation for 1.3a
“Composing an Etude” includes a comprehensive lesson plan with objectives, TEKS correlations, and tasks and questions aligned to those objectives, followed by a “Mastery Rubric” to determine progress and proficiency against the lesson objectives.
The MusicFirst Middle School Music, Level 2 “Sight-Reading Strategies” lesson includes comprehensive lesson plans with objectives, TEKS correlations, aligned tasks and questions, and a “Sight-Reading Progression” chart for formative and summative assessments.
Evaluation for 1.3b
The materials provide Lesson Overviews to help educators deliver the lesson effectively, including equipment needs, supplies, and embedded and supplemental technology. Student-facing Lesson Overviews include a simplified view of the same. For example, in the “Composing” lesson “Creating a Two-Part Composition with Dynamics,” under the Teacher View, the materials listed include Noteflight music notation software; desktop or laptop computers or tablets; headphones; and a projector and speakers on the educator station. However, the Lesson Overview does not include timing for each lesson component.
The Pacing Guide provides timing guides for multiple instructional schedules, including daily, block, and independent/asynchronous. However, the Lesson Overviews do not include suggested timing or time allocations for each lesson component.
Evaluation for 1.3c
The Teacher View includes extension suggestions that increase rigor and utilize real-world application and cross-curricular alignment. For example, in “Composing with Stepwise Melodic Contour,” there are extensions allowing students to visualize the melodic contour with student-created two-dimensional drawings.
The materials provide extension methods for homework-based practice that educators can assign. For example, embedded Sight Reading Factory (SRF) software allows educators to generate sight-reading examples for students to practice using educator-set parameters.
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, specifying the months for initial instruction of new concepts, the months for ongoing reinforcement and formative assessments, and the month for summative assessment.
The materials include a TEKS Guide that outlines TEKS and concepts taught throughout the course in alignment with content and grade-level standards. For example, TEKS 1.A is listed 17 times and appears in six 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
MusicFirst Middle School Music, Level 2 includes a Pacing Guide with supports including a suggested curricular calendar and introductory unit-based timing guides for multiple instructional schedules including daily, block, and independent/asynchronous. In the Pacing Guide, “Instructional Calendar Options” map each unit’s lessons, activities, and assessments across the full year and confirm full TEKS coverage. The options include day-count calendar variants (a traditional-length calendar and a reduced-day calendar).
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
The Instructional Implementation and Support Guide’s “Unit & Lesson Internalization” section includes clear, step-by-step instructions for effectively internalizing both the overall unit and individual lessons. This guidance helps educators understand the 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: Middle School provides leader-facing resources, including look-fors, agendas, coaching actions, PLC materials, and guidance on interpreting assessment data, as well as guidance for supporting educators in implementing the materials as designated.
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” provides conceptual descriptions, unit purposes, instructional rationale, content explanations, and implementation context. The 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 student/family guide for some English units, with some Spanish supports, such as links to outside websites (MusicTheory.net, Teoria.com/es, Musicaa.com). However, the family guide is the same for every unit, regardless of the unit topic. The Spanish vocabulary document provides only pictures to represent the definitions.
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
The MusicFirst Middle School Music, Level 2 “Sight-Reading Strategies” lesson includes comprehensive lesson plans with objectives, TEKS correlations, aligned tasks and questions, and a “Sight-Reading Progression” chart for formative and summative assessments.
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.
2 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.
2 out of 3 points
The Pacing Guide provides timing guides for multiple instructional schedules, including daily, block, and independent/asynchronous. However, the Lesson Overviews do not include suggested timing or time allocations for each lesson component.
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 provide extension methods for homework-based practice that educators can assign. For example, embedded Sight Reading Factory (SRF) software allows educators to generate sight-reading examples for students to practice using educator-set parameters.
Rubric Section 2
Progress Monitoring
Materials support educators in effective implementation through frequent, strategic opportunities to monitor and respond to student progress.
Total
67% (10 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. For example, in the units “Foundations of Music Literacy” and “Approaching a New Piece of Music,” assessments include music literacy quizzes, performance recordings, and short-answer questions. However, the diagnostic assessments that are provided do not include a skills demonstration.
The materials provide formative assessments embedded throughout lessons via Auralia, Musition, and Noteflight activities. Summative assessments at the lesson level within the units “UIL Concert Evaluation,” “Listening and Critique,” and “Composition” require students to demonstrate mastery through performances, compositions, and written analysis. Diagnostic assessments appear in the embedded software programs Auralia and Musition, which are used in units such as “Band Basics.” These assessments are in a multiple-choice format and do not assess the performance skills.
Evaluation for 2.1b
The materials include multiple diagnostic, formative, and summative assessments. The Assessment Guide states that any assessment can be used as formative or summative. The section titled “Formative/Summative Assessments by Unit Topic” provides details about the types of assessments for each unit. However, it does not give a concrete definition or detailed instructions for the intended purpose.
While platform tools such as 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.
Evaluation for 2.1c
The materials include different types of assessments for educators to use at their discretion. The embedded software programs Auralia, Noteflight, SRF, and PracticeFirst are all used for various types of assessments. However, the information provided does not include guidance to ensure consistent and accurate administration. While the Assessment Guide states that any assessment can be used formatively or summatively, the materials do not include guidance to support consistent, standardized administration across classrooms.
The materials include descriptions of assessment tools and student procedures for completing assessments. For example, the recording assessments in PracticeFirst describe how to execute the recording. However, they do not provide sufficient guidance for educators to ensure consistent, accurate administration. The materials do not specify when to administer assessments, recommend time allocations, or provide standardized procedures and conditions for administration.
Evaluation for 2.1d
In the Assessment Guide, all three types of assessments for the course are listed and organized by the TEKS and by the unit. In the “Aural Skills Development and Practice” unit, the materials include assessments aligned with the TEKS for the unit that can be used interchangeably for diagnostic, formative, or summative assessments.
The materials include a “Scope and Sequence with Syllabus” that maps each assessment and activity to specific TEKS. The TEKS Guide organizes content by TEKS, unit, and activity with direct links. This organization includes diagnostic, formative, and summative assessments such as quizzes, worksheets, performance tasks, and UIL evaluations. For example, the guide outlines the unit “Music Performance” with a lesson group, “Warm-Ups and Independent Practice,” that includes “Half Note Warm-Up TEKS 3.A–F and 5.B–D” with a link directly to the task view. Connections between assessments, instructional activities, and the identified TEKS are clearly illustrated in this unit-by-unit guide.
Evaluation for 2.1e
The materials provide an Assessment Guide that outlines instructional assessments with varying types and levels of complexity. For example, performance reflection assessments allow students to reflect on a recording of their own performance and evaluate areas of success and growth in writing, while some embedded software offers scaffolded multiple-choice questions and evaluative recording assessments whose parameters can be adjusted by skill level.
The materials include a variety of assessment types. Students may take an “Aural Skills Assessment” with increasingly difficult practice examples, beginning with two-note differentiation and building to melodic patterns. In the “Composition in Band” unit, students also learn melodic contour through a variety of formats, first by shape, then through academic vocabulary for clearer description.
Evaluation for 2.2a
The materials include a “UIL Concert Rubric” and “UIL Sight-Reading Rubric” to evaluate performance-based tasks and assessments; they outline descriptors, frequency indicators, and point values. These rubrics are repeated throughout the materials for listening and reflection assessments.
The materials include many embedded software programs, such as Musition, Auralia, and PracticeFirst, which have self-grading tools for pitch accuracy or multiple-choice grading. However, for written assessments, the materials provide no rubric or scoring criteria. In some instances, a point value is provided, but no guidance or scoring criteria explain how an educator might score the assessment out of those points.
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 the quizzes may be used as diagnostic, formative, or summative assessments and that they 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 student 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 materials include assessments in the Assessment Guide. However, guidance on how to respond to student trends in performance is not present. The materials state that “any and all tasks may be used for diagnostic, formative, or summative assessment,” which does not instruct educators on the assessment or task that is most appropriate based on student trends.
Evaluation for 2.2c
The materials include a Teacher Gradebook within the Teacher View, which provides educators a means to track student 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 a Student Gradebook within the Student View with numerical grades and educator-generated text feedback in a cumulative view, allowing for individualized tracking and progress monitoring. Additionally, for assignments automatically graded within embedded software (Musition, Auralia, PracticeFirst), there is individual question feedback to 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
The materials provide formative assessments embedded throughout lessons via Auralia, Musition, and Noteflight activities. Summative assessments at the lesson level within the units “UIL Concert Evaluation,” “Listening and Critique,” and “Composition” require students to demonstrate mastery through performances, compositions, and written analysis. Diagnostic assessments appear in the embedded software programs Auralia and Musition, which are used in units such as “Band Basics.” These assessments are in a multiple-choice format and do not assess the performance skills.
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 such as 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.
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.
0 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.
0 out of 1 points
The materials include descriptions of assessment tools and student procedures for completing assessments. For example, the recording assessments in PracticeFirst describe how to execute the recording. However, they do not provide sufficient guidance for educators to ensure consistent, accurate administration. The materials do not specify when to administer assessments, recommend time allocations, or provide standardized procedures and conditions for administration.
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 a “Scope and Sequence with Syllabus” that maps each assessment and activity to specific TEKS. The TEKS Guide organizes content by TEKS, unit, and activity with direct links. This organization includes diagnostic, formative, and summative assessments such as quizzes, worksheets, performance tasks, and UIL evaluations. For example, the guide outlines the unit “Music Performance” with a lesson group, “Warm-Ups and Independent Practice,” that includes “Half Note Warm-Up TEKS 3.A–F and 5.B–D” with a link directly to the task view. Connections between assessments, instructional activities, and the identified TEKS are clearly illustrated in this unit-by-unit guide.
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 a variety of assessment types. Students may take an “Aural Skills Assessment” with increasingly difficult practice examples, beginning with two-note differentiation and building to melodic patterns. In the “Composition in Band” unit, students also learn melodic contour through a variety of formats, first by shape, then through academic vocabulary for clearer description.
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.
1 out of 2 points
Evaluation for 2.2a
Evaluation for 2.2a
Instructional assessments and scoring information provide guidance for interpreting student performance.
1 out of 2 points
The materials include many embedded software programs, such as Musition, Auralia, and PracticeFirst, which have self-grading tools for pitch accuracy or multiple-choice grading. However, for written assessments, the materials provide no rubric or scoring criteria. In some instances, a point value is provided, but no guidance or scoring criteria explain how an educator might score the assessment out of those points.
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 materials include assessments in the Assessment Guide. However, guidance on how to respond to student trends in performance is not present. The materials state that “any and all tasks may be used for diagnostic, formative, or summative assessment,” which does not instruct 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 a Student Gradebook within the Student View with numerical grades and educator-generated text feedback in a cumulative view, allowing for individualized tracking and progress monitoring. Additionally, for assignments automatically graded within embedded software (Musition, Auralia, PracticeFirst), there is individual question feedback to 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 materials provide educator guidance for differentiated instruction in the Instructional Support Guide through varied student groupings such as whole group, instrument section, clef group, and individually.
In level 2, “Sight-Reading Strategies” is scaffolded at the point of use: a three-step method broken into discrete steps; deliberately easy practice examples; educator-provided annotated examples (pitch letter names and counting); fingering charts; and a projected example the educator points to while leading.
Evaluation for 3.1b
The lesson “‘Star-Spangled Banner’—Compare and Contrast” pre-teaches vocabulary 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 “Sight-Reading Strategies” pre-teaches the unfamiliar terms students need (meter, key signature, tempo, interval, fluency) with word-based definitions at the start of the lesson. The educator procedure re-embeds those definitions during the review and also supports students with fingering charts.
Evaluation for 3.1c
The lesson “‘Star-Spangled Banner’—Compare and Contrast” includes a dedicated “Extensions” section with guidance to deepen the same skill by analyzing the arranger’s expressive choices with cited evidence, critiquing and ranking a third rendition against the exemplar, writing prioritized coaching notes, or leading a small-group critique.
Additionally, the lesson “Sight-Reading Strategies” provides an enrichment/extension set that pushes students to go deeper in the same skill by coaching a peer; raising SRF difficulty, tempo, keys, or intervals; sight-reading from a method book in PracticeFirst under real-world conditions; or role-playing an audition as performer and adjudicator.
Evaluation for 3.1d
The MusicFirst Middle School Music, Level 2 lesson “Sight-Reading Strategies” includes a dedicated specially designed instruction (SDI) section that gives concrete accommodations. Educators may use SRF’s Custom level to limit value to quarter notes and rests, limit rhythm difficulty to easy, limit range to a fifth, set a maximum leap of a second starting on the tonic, limit length to four measures, turn the metronome and cursor on, and use Free-Play playback to hear the example first. The materials also provide 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 paired with a pictorial representation. The visual supports adapt the content and its representation so a student whose needs include reduced text load or support with receptive language or reading can access the same discipline-specific vocabulary non-textually.
Evaluation for 3.2a
In the “Composing for Band” lesson, the Teacher Procedure has the educator model composing a short rhythmic, then melodic idea in the software—choosing key and meter, writing a rhythm, playing it back, moving pitches into a melody (tonic → tonic), and adding dynamics and articulation, narrating throughout. The educator then repeats while the class chooses components (guided), then has students compose independently.
The materials include the lesson “Becoming Familiar with the Score,” which provides prompts and guidance to support educators in modeling and explaining concepts. For example, the lesson’s Teacher View provides a bulleted list prompting 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
In the “Sight-Reading” lesson, the materials include educator guidance and recommendations for effective lesson delivery and facilitation using a variety of instructional approaches such as counting, saying notes and fingering, playing, adjusting speed and difficulty, providing direct feedback to students, and having students use SRF for feedback. The lesson also includes extensions, SDI alterations, and enrichment opportunities using different materials.
The materials include educator guidance for delivering the “Small Ensemble Listening and Critique” lesson, 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 to execute the “round-robin style.”
Evaluation for 3.2c
The materials include multiple types of practice and guidance for educators, along with recommended structures to support effective implementation. For example, in the lesson “Becoming Familiar with the Score,” the materials provide independent, guided, and collaborative practice, and guidance gives students multiple opportunities to provide feedback on their own performance throughout the lesson, individually and as a whole group. In the lesson “Solo Performer Listening and Critique,” students work in small groups and perform individually for one another. There is an opportunity 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 (PracticeFirst, Auralia, Musition, reflections, critiques, and composition tasks), and collaborative practice (ensemble work, peer buddies, section leaders, peer coaching, and small-group reinforcement). The materials also provide implementation guidance 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, aligned to the ELPS in the Teacher Guide: Music Reading & Theory Fundamentals (MRTF 1) as “Differentiation Tips for Teachers.” Within these tips, there is an ELPS integration guide that outlines the area, activity, alignment, and differentiated supports for multiple levels, such as gesturing up/down (pre-production), pitch icon identification (intermediate), describing interval direction (high intermediate), and explaining pitch tendencies (advanced).
At the beginning of the unit “Listening, Critique, and Self-Assessment,” the Teacher Guide includes a chart in the section titled “Detailed ELPS Guidance with Correlations,” which 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 Teacher Guidance: State-Approved Bilingual/ESL Programs resource gives materials-specific implementation instructions for delivering MusicFirst in two state-approved models: Transitional Bilingual, via a sequence of introduction, practice, and demonstration using named program tools; and ESL, by pairing each core music objective with an ELPS §120.21(d) language objective delivered through the program’s word walls, sentence frames, and bilingual rubrics. Unit- and lesson-level guidance and documentation are also included.
The “Bilingual Music Vocabulary” chart provides the Spanish-bridge resource named in the Transitional Bilingual sequence and the shared pre-teaching/word-wall resource coordinated between the content and ESL pull-out educators. It gives educators the actual bilingual vocabulary support that the model-specific implementation guidance directs them to use.
Evaluation for 3.3c
The Teacher Guidance: Emergent Bilingual Students, Band Basics guide includes embedded, educator-facing guidance in the unit guide that supports emergent bilingual 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 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
In level 2, “Sight-Reading Strategies” is scaffolded at the point of use: a three-step method broken into discrete steps; deliberately easy practice examples; educator-provided annotated examples (pitch letter names and counting); fingering charts; and a projected example the educator points to while leading.
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 “Sight-Reading Strategies” pre-teaches the unfamiliar terms students need (meter, key signature, tempo, interval, fluency) with word-based definitions at the start of the lesson. The educator procedure re-embeds those definitions during the review and also supports students with fingering charts.
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 “Sight-Reading Strategies” provides an enrichment/extension set that pushes students to go deeper in the same skill by coaching a peer; raising SRF difficulty, tempo, keys, or intervals; sight-reading from a method book in PracticeFirst under real-world conditions; or role-playing 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 paired with a pictorial representation. The visual supports adapt the content and its representation so a student whose needs include reduced text load or support with receptive language or reading 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 the lesson “Becoming Familiar with the Score,” which provides prompts and guidance to support educators in modeling and explaining concepts. For example, the lesson’s Teacher View provides a bulleted list prompting 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 delivering the “Small Ensemble Listening and Critique” lesson, 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 to execute the “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 (PracticeFirst, Auralia, Musition, reflections, critiques, and composition tasks), and collaborative practice (ensemble work, peer buddies, section leaders, peer coaching, and small-group reinforcement). The materials also provide implementation guidance 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
At the beginning of the unit “Listening, Critique, and Self-Assessment,” the Teacher Guide includes a chart in the section titled “Detailed ELPS Guidance with Correlations,” which 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 “Bilingual Music Vocabulary” chart provides the Spanish-bridge resource named in the Transitional Bilingual sequence and the shared pre-teaching/word-wall resource coordinated between the content and ESL pull-out educators. It gives educators the actual bilingual vocabulary support that the model-specific implementation guidance directs them to use.
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 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
50% (8 out of 16 points)
Evaluation for 4.1a
The materials provide lesson plans with instructional guidance that does not include the use of discipline-specific artistic literacy. For example, in “Music Creation: Composing” lesson 1, “Contour and Creating a Musical Score,” the Teacher View includes step-by-step directions. However, it does not include guidance for educators on providing explicit, direct instruction in discipline-specific artistic literacy aligned with the course TEKS. In “Approaching a New Piece of Music” and “Becoming Familiar with the Score,” the lesson procedures do not offer explicit guidance for the educator. For example, one bullet point in the procedure states, “Guide the students through sight-reading the piece,” but it provides no further instruction on how to do so.
The materials include student-facing activities, videos, and repertoire with discipline-specific artistic literacy components. The “Scope and Sequence with Syllabus” provides a list of lessons and activities, along with their intended purposes. For example, under the unit heading “Foundations of Music Literacy,” the entry for “Musical Terms and Symbols: Articulation” states that it includes “lessons with accompanying assessments via Focus on Sound multimedia software,” and then lists the activities the students will perform with the software. However, the materials do not provide guidance for educators on how to explicitly teach artistic literacy concepts.
Evaluation for 4.1b
The MusicFirst Middle School Music, Level 2 lessons include activities that allow students to build on prior knowledge. For example, in “Music Creation: Composing” lesson 1, “Contour and Creating a Musical Score,” 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, ‘American Patrol,’” 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 within the course or across courses.
The MusicFirst Middle School Music, Level 2 materials do not explicitly connect new discipline-specific artistic literacy to prior learning within lessons and units or across courses. For example, in “Foundations of Music Literacy,” the “MRTF Project 1: Composing with Rhythm” mentions basic rhythms, but this mention is not tied to new information, and it does not discuss how the two are connected. Students are not asked to connect prior knowledge to the new material being introduced. Similarly, in the unit “Band Basics,” lesson “Listen, Move, Conduct,” the students are asked to tap the pulse and conduct, but there are no explicit connections to other learning from the course.
Evaluation for 4.1c
The materials provide opportunities for students to develop discipline-specific artistic literacy vocabulary. For example, in the unit “Foundations of Music Literacy,” the lessons “Key Signatures” and “Musical Terms, Symbols, and Form: Articulation” 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 “Listening, Critique, and Self-Assessment,” the lesson “‘Star-Spangled Banner’—Compare and Contrast” provides minimal opportunity for students to use discipline-specific artistic vocabulary. After the students watch two videos, they are asked one long-answer question. The prompt states, “Be sure to use as much music vocabulary as you can when describing the performances.” However, the students are not provided with support or with explicit vocabulary to use in their responses.
Evaluation for 4.1d
In the unit “Listening, Critique, and Self-Assessment,” the lesson “Small Ensemble Listening and Critique” includes an activity that allows students to demonstrate their artistic literacy by performing for a small group of peers.
In the unit “Approaching a New Piece of Music,” the lesson “Responding to Performances” instructs students to use their artistic literacy to critique a performance using discipline-specific vocabulary.
Evaluation for 4.2a
Within the “Sight-Reading Strategies” lesson, the Teacher Procedure directs the educator to introduce and demonstrate the 1-2-3 process (clap the rhythm, finger the pitches without rhythm, then play both while narrating), model navigating trouble spots, then lead 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 “Composing an Etude” lesson uses educator-led modeling with gradual release of the composing skill. The lesson directs the educator to model composing a two-measure idea in Noteflight (choosing time and key signatures, selecting rhythms from the pattern chart, entering them, playing back, moving pitches into a melody, and adding dynamics/articulation while narrating), then to repeat with the class making decisions (guided), then to have students compose independently.
Evaluation for 4.2b
The MusicFirst Middle School Music, Level 2 curriculum includes explicit connections between new discipline-specific artistic skills and prior learning across lessons and units in MTRF lesson 5, “Treble and Bass Notes on the Grand Staff.” The lesson references previous lessons in the unit on notes of the treble and bass clefs in relation to the full score by indicating, “This lesson is identical to Lesson 1.5 of the Music Theory Course” (another unit within MusicFirst). Repeated practice in the Musition software quizzes is also linked within the lesson. However, these connections do not explicitly appear across multiple courses, as the lessons are identical in each middle school grade band without the explicit connection through consistent vocabulary, context, or pictorial reference to align with prior learning. Additionally, lessons such as “Treble and Bass Notes on the Grand Staff” are repeated across grade bands without explicit connection to new discipline-specific artistic skills because no new skills are presented.
Lesson plans throughout the curriculum provide opportunities to review previously learned artistic skills before introducing new content. For example, in MRTF lesson 9, “Rhythm Part A.3—Sixteenths and Triplets,” the lesson builds on fundamental prior knowledge of rhythms, such as half, quarter, and eighth notes, established earlier in the unit. However, these connections are not explicitly referenced across grade bands, except in statements such as “which [students] should know.”
Evaluation for 4.2c
In the “Sight-Reading Strategies” lesson, students build the skill by repeatedly sight-reading and presenting to peers. “Partner & Practice” lets students take turns playing and giving feedback on a new example each round, requiring every student to perform and evaluate at least once.
In the “Composing an Etude” lesson, students develop composition skills by creating an etude in a composition tool (Noteflight), performing it on their instrument or through Noteflight, and sharing it with peers in pairs and small groups for feedback. This helps students develop discipline-specific artistic skills by performing and presenting musical works aligned with the TEKS at developmentally appropriate levels.
Evaluation for 4.2d
The materials include opportunities for students to refine discipline-specific artistic skills through activities and tasks. For example, the unit “Aural Skills Development and Practice 2” includes multi-tiered Auralia software lessons on listening, aural chords, interval comparison, and aural scales. Each topic is organized into three progressively more rigorous lessons, allowing students to build on skills developed earlier in the unit.
The lesson “Sight-Reading Strategies” explicitly outlines rigor in the attached “Sight-Reading Progression” chart and the Differentiation variables (level, rhythm difficulty, key, tempo, interval, range, 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
In the “Composing an Etude” lesson, the etude is a culminating created work submitted via the “Etude for Band” tasks and scored with a “Composition Mastery Rubric.” In the Student View, the “Ask for Feedback and Revise” step gives students the rubric’s five criteria for self- and peer assessment before submission, allowing students to demonstrate and identify mastery of discipline-specific artistic skills through performing, exhibiting, and presenting developmentally appropriate artistic works in alignment with the TEKS.
The “Sight-Reading Strategies” lesson culminates in a “Mastery Level Sight-Reading” task: performing 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.” Students are thus required to show mastery through performing, exhibiting, or presenting at a developmentally appropriate level and in alignment with the course TEKS.
Evaluation for 4.3a
The Middle School Music, Level 2 curriculum provides limited opportunities for students to explore a variety of discipline-specific art forms. Most student activities focus on practicing and recording instrumental performance using the PracticeFirst software platform rather than engaging students with a variety of media, performance genres, or musical styles. For example, the “Warm-Ups and Practice 2” unit includes 24 assignments in which students use the PracticeFirst software to record themselves performing. Students receive feedback on pitch and rhythm accuracy by working toward a “green line” score. The activities use the same instructional format and media and do not provide opportunities for students to explore additional performance genres, musical styles, or other discipline-specific art forms.
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 “UIL Concert Evaluation and Band Performance Music 2” unit includes eight PracticeFirst assignments in which students record a variety of UIL-appropriate pieces. While the pieces vary, the instructional approach remains the same across the assignments, with students using the PracticeFirst platform to record their performances. The materials do not provide additional media, performance genres, or instructional approaches through which students can explore discipline-specific art forms.
Evaluation for 4.3b
The materials include limited opportunities for students to create, adapt, or extend discipline-specific artistic works for performance, exhibition, or presentation. For example, the activity in “Composing” lesson 3, “Adding Performance Text or Lyrics,” allows students to use a previously created Noteflight to create a poem or text for a piece of music. However, this opportunity occurs in only one lesson. The course does not offer multiple opportunities. Additionally, students are not asked to perform, exhibit, or present their final pieces.
Throughout the Middle School Music, Level 2 curriculum, there are limited 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, MTRF lesson 2, “Piano Keyboard—White Key Names,” allows for the use of graphic notation to challenge students to extend their practice to another song. However, the opportunity requires students to use a keyboard for the entire lesson, which is not discipline-specific to the instruments in the band. Additionally, students do not have an opportunity to perform or present their work.
Evaluation for 4.3c
The MusicFirst Middle School Music, Level 2 curriculum gives students opportunities to exercise agency by creating or selecting discipline-specific artistic works for study. For example, in “Listening, Critique, and Self-Assessment 2,” the “Solo Performer Listening and Critique” and “Small Ensemble Listening and Critique” lessons allow educators to help students select pieces for performance and critique. However, the educator guidance is limited, directing educators to have students select an appropriate performance piece, discuss options with classmates, and avoid overly simplistic selections unless they support the lesson focus. The materials do not include educator guidance for facilitating student choice in a way that supports student agency.
The materials provide opportunities for students to create or select discipline-specific artistic works for study, performance, exhibition, or presentation. For example, in “Listening, Critique, and Self-Assessment 2,” the “Small Ensemble Listening and Critique” lesson states that the educator should “guide students in selecting works they will perform themselves—pieces recently completed or those in progress . . . discourage overly-simplistic performance etudes/excerpts unless they focus solely on tone, intonation, and artistry.” However, this guidance provides structure for educators to define artistic works for study rather than intentionally promoting student agency in the performance process.
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.
0 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.
0 out of 1 points
The materials include student-facing activities, videos, and repertoire with discipline-specific artistic literacy components. The “Scope and Sequence with Syllabus” provides a list of lessons and activities, along with their intended purposes. For example, under the unit heading “Foundations of Music Literacy,” the entry for “Musical Terms and Symbols: Articulation” states that it includes “lessons with accompanying assessments via Focus on Sound multimedia software,” and then lists the activities the students will perform with the software. However, the materials do not provide guidance for educators on how to explicitly teach artistic literacy concepts.
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 MusicFirst Middle School Music, Level 2 materials do not explicitly connect new discipline-specific artistic literacy to prior learning within lessons and units or across courses. For example, in “Foundations of Music Literacy,” the “MRTF Project 1: Composing with Rhythm” mentions basic rhythms, but this mention is not tied to new information, and it does not discuss how the two are connected. Students are not asked to connect prior knowledge to the new material being introduced. Similarly, in the unit “Band Basics,” lesson “Listen, Move, Conduct,” the students are asked to tap the pulse and conduct, but there are no explicit connections to other learning from the course.
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 “Listening, Critique, and Self-Assessment,” the lesson “‘Star-Spangled Banner’—Compare and Contrast” provides minimal opportunity for students to use discipline-specific artistic vocabulary. After the students watch two videos, they are asked one long-answer question. The prompt states, “Be sure to use as much music vocabulary as you can when describing the performances.” However, the students are not provided with support or with explicit 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
In the unit “Approaching a New Piece of Music,” the lesson “Responding to Performances” instructs students to use their artistic literacy to critique a performance using discipline-specific vocabulary.
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 “Composing an Etude” lesson uses educator-led modeling with gradual release of the composing skill. The lesson directs the educator to model composing a two-measure idea in Noteflight (choosing time and key signatures, selecting rhythms from the pattern chart, entering them, playing back, moving pitches into a melody, and adding dynamics/articulation while narrating), then to repeat with the class making decisions (guided), then to have students 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.
1 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.
1 out of 2 points
Lesson plans throughout the curriculum provide opportunities to review previously learned artistic skills before introducing new content. For example, in MRTF lesson 9, “Rhythm Part A.3—Sixteenths and Triplets,” the lesson builds on fundamental prior knowledge of rhythms, such as half, quarter, and eighth notes, established earlier in the unit. However, these connections are not explicitly referenced across grade bands, except in statements such as “which [students] should know.”
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 “Composing an Etude” lesson, students develop composition skills by creating an etude in a composition tool (Noteflight), performing it on their instrument or through Noteflight, and sharing it with peers in pairs and small groups for feedback. This helps students develop discipline-specific artistic skills by performing and presenting musical works aligned with the TEKS at developmentally appropriate levels.
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 “Sight-Reading Strategies” explicitly outlines rigor in the attached “Sight-Reading Progression” chart and the Differentiation variables (level, rhythm difficulty, key, tempo, interval, range, 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 “Sight-Reading Strategies” lesson culminates in a “Mastery Level Sight-Reading” task: performing 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.” Students are thus required to show mastery through performing, exhibiting, or presenting at a developmentally appropriate level and in alignment with the course 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 “UIL Concert Evaluation and Band Performance Music 2” unit includes eight PracticeFirst assignments in which students record a variety of UIL-appropriate pieces. While the pieces vary, the instructional approach remains the same across the assignments, with students using the PracticeFirst platform to record their performances. The materials do not provide additional media, performance genres, or instructional approaches through which students can explore discipline-specific art forms.
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).
0 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).
0 out of 1 points
Throughout the Middle School Music, Level 2 curriculum, there are limited 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, MTRF lesson 2, “Piano Keyboard—White Key Names,” allows for the use of graphic notation to challenge students to extend their practice to another song. However, the opportunity requires students to use a keyboard for the entire lesson, which is not discipline-specific to the instruments in the band. Additionally, students do not have an opportunity to perform or present their work.
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 “Listening, Critique, and Self-Assessment 2,” the “Small Ensemble Listening and Critique” lesson states that the educator should “guide students in selecting works they will perform themselves—pieces recently completed or those in progress . . . discourage overly-simplistic performance etudes/excerpts unless they focus solely on tone, intonation, and artistry.” However, this guidance provides structure for educators to define artistic works for study rather than intentionally promoting student agency in the performance process.
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
55% (6 out of 11 points)
Evaluation for 5.1a
The MusicFirst Middle School Music, Level 2 curriculum does not include the educator guidance needed to provide explicit 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. For example, in “Approaching a New Piece of Music 2,” the “Responding to Performances” lesson provides a bulleted list of educator directions, including prompting students to consider “performance criteria, pitch and rhythm accuracy.” The prompts are customizable sentence stems, such as “How was the ensemble’s (insert any criteria)? Explain.” However, the educator materials do not include guidance for how to provide explicit instruction in interpreting, evaluating, and responding to artistic works or how to develop these skills at the level of depth and complexity required by the course TEKS.
The materials do not include educator guidance to provide explicit (direct) instruction in interpreting, evaluating, and responding to discipline-specific artistic works, as appropriate for the grade and TEKS alignment. For example, in “Listening, Critique, and Self-Assessment 2,” the “Small Ensemble Listening and Critique” lesson directs educators to “lead the students in assessing the recorded excerpt of music in rehearsal, model relevant observations, and reference the performance rubric with specific details.” However, there are no examples or guidance on how educators should complete these tasks with students.
Evaluation for 5.1b
Throughout the MusicFirst Middle School Music, Level 2 curriculum, the materials do not emphasize the use of discipline-specific vocabulary in interpreting, evaluating, and responding to artistic works. For example, in “Listening, Critique, and Self-Assessment 2,” the “Small Ensemble Listening and Critique” lesson provides students with a rubric for evaluating performances that includes discipline-specific vocabulary. However, the materials do not include instructions emphasizing the use of discipline-specific vocabulary in responses. Additionally, in “Approaching a New Piece of Music 2,” the “Responding to Performances” lesson provides educator guidance to “prompt students to use . . . the right terms for their observations.” However, the lessons do not emphasize the use of discipline-specific vocabulary in interpreting, evaluating, and responding to artistic works. Students are directed to use the Focus on Sound software to review terms or visit external websites to review vocabulary.
Although opportunities to use vocabulary are provided, lessons do not emphasize the use of discipline-specific vocabulary in interpreting, evaluating, and responding to artistic works. For example, in “Listening, Critique, and Self-Assessment,” the “How to Critique” activity provides a framework for students to interpret, evaluate, and respond to a piece of music by writing a reflection using a series of prompts such as “What is the style?” and “Describe the composition using your best music vocabulary.” However, there is no word bank or vocabulary resource to aid students in their written descriptions. Although opportunities to use vocabulary are provided, the lessons do not emphasize the use of discipline-specific 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 other artists’ discipline-specific works. For example, in “Listening, Critique, and Self-Assessment 2,” the “‘Star-Spangled Banner’—Compare and Contrast” lesson asks students to listen, evaluate, and respond to two performances of “The Star-Spangled Banner.” Students use the “UIL Band Concert Evaluation Rubric” to compare and contrast the performances using music vocabulary. Similarly, in the unit “Approaching a New Piece of Music 2,” the “Responding to Performances” lesson asks students to listen to exemplary performances and use 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, the “‘Star-Spangled Banner’—Compare and Contrast” lesson is the same lesson in Middle School Music, Level 1 as it is in Middle School Music, Level 3.
The MusicFirst Middle School Music, Level 2 curriculum offers students opportunities to practice interpreting, evaluating, and responding to discipline-specific artistic works by other artists. For example, in “Listening, Critique, and Self-Assessment 2,” the “Sister Band Listening and Critique” activity has students listen to another band’s rehearsal and use the “UIL Concert Repertoire Rubric” to evaluate and respond. Despite these opportunities, the activities and tasks do not progressively increase in rigor or complexity across lessons or units because the same “UIL Band Concert Evaluation Rubric” is used for all of them. Additionally, the lesson is the same across all middle school levels and does not increase in rigor or complexity.
Evaluation for 5.2a
The MusicFirst Middle School Music, Level 2 materials do not include guidance for educators to provide explicit (direct) instruction in giving and receiving student feedback on discipline-specific artistic works. In the unit “Listening, Critique, and Self-Assessment 2,” the materials do include a “Small Ensemble Listening and Critique 2” assignment, which provides a framework for listening to and critiquing a small ensemble performance. While the materials prompt educators to “model relevant observations,” the materials do not provide explicit instruction for the educator to facilitate self or peer assessment.
The materials include the “Sister Band Listening and Critique 2” assignment, which encourages students to reference a standardized performance rubric to critique a performance in both rehearsal and concert. The educator is guided to “lead students in assessing the same excerpt.” However, these materials do not include guidance for educators to provide direct instruction on how to have students give or receive feedback to themselves or their peers.
Evaluation for 5.2b
The MusicFirst Middle School Music, Level 2 materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students. For example, in the unit “Listening, Critique, and Self-Assessment 2,” the “Solo Performer Listening and Critique” lesson instructs students to listen to their peers and assess the performances using the “UIL Concert Repertoire Rubric.”
The materials for Middle School Music, Level 2 include opportunities for students to give feedback on discipline-specific artistic works created by other students. For example, in the unit “Listening, Critique, and Self-Assessment 2,” the “Sister Band Listening and Critique 1” lesson allows students to observe the practice and performance of another band and assess the performances using the “UIL Concert Repertoire Rubric.”
Evaluation for 5.2c
The MusicFirst Middle School Music, Level 2 materials include opportunities for student-to-student feedback on discipline-specific artistic works. For example, “Solo Performer Listening and Critique 2” includes opportunities for students to provide feedback to one another, as well as “peer coaching” to offer suggestions for improvement.
In the “Sight-Reading Strategies” lesson, the culminating “Mastery Level Sight-Reading” task is a first-read performance scored with the “Mastery Rubric,” which is used for self-, peer-, and educator scoring. 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 have advanced students play the roles of performer and adjudicator and exchange feedback with other students on their discipline-specific works.
Evaluation for 5.2d
In the lesson “Sight-Reading Strategies,” the culminating “Mastery Level Sight-Reading” task is a first-read performance scored using 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 “UIL Concert Evaluation and Band Performance Music” provides an educator guide with instructions for using the multimedia software PracticeFirst. This software allows students to practice, record, and receive feedback on their concert repertoire.
Evaluation for 5.2e
Throughout the Middle School Music, Level 2 materials, students have opportunities to engage in self-reflection and self-evaluation to refine discipline-specific artistic works. For example, in the unit “Listening, Critique, and Self-Assessment 2,” the lessons “Winter Concert Reflection” and “Spring Concert Reflection” instruct the students to reflect on their concert performances. The prompts include reflections on personal and ensemble performance such as “Describe one specific area of your own performance during the concert 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 have the opportunity to engage in self-reflection and self-evaluation in the “MusicFirst Library, Concert Reflection” assignment. Educators can tailor the reflection to a “recent or previous performance” and allow students to reflect using guided questions such as “Which area do you think you improved in most during this [preparation] season?”
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.
0 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.
0 out of 1 points
The materials do not include educator guidance to provide explicit (direct) instruction in interpreting, evaluating, and responding to discipline-specific artistic works, as appropriate for the grade and TEKS alignment. For example, in “Listening, Critique, and Self-Assessment 2,” the “Small Ensemble Listening and Critique” lesson directs educators to “lead the students in assessing the recorded excerpt of music in rehearsal, model relevant observations, and reference the performance rubric with specific details.” However, there are no examples or guidance on how educators should complete these tasks with students.
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 vocabulary are provided, lessons do not emphasize the use of discipline-specific vocabulary in interpreting, evaluating, and responding to artistic works. For example, in “Listening, Critique, and Self-Assessment,” the “How to Critique” activity provides a framework for students to interpret, evaluate, and respond to a piece of music by writing a reflection using a series of prompts such as “What is the style?” and “Describe the composition using your best music vocabulary.” However, there is no word bank or vocabulary resource to aid students in their written descriptions. Although opportunities to use vocabulary are provided, the lessons do not emphasize the use of discipline-specific 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 Middle School Music, Level 2 curriculum offers students opportunities to practice interpreting, evaluating, and responding to discipline-specific artistic works by other artists. For example, in “Listening, Critique, and Self-Assessment 2,” the “Sister Band Listening and Critique” activity has students listen to another band’s rehearsal and use the “UIL Concert Repertoire Rubric” to evaluate and respond. Despite these opportunities, the activities and tasks do not progressively increase in rigor or complexity across lessons or units because the same “UIL Band Concert Evaluation Rubric” is used for all of them. Additionally, the lesson is the same across all middle 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
The materials include the “Sister Band Listening and Critique 2” assignment, which encourages students to reference a standardized performance rubric to critique a performance in both rehearsal and concert. The educator is guided to “lead students in assessing the same excerpt.” However, these materials do not include guidance for educators to provide direct instruction on how to have students 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 for Middle School Music, Level 2 include opportunities for students to give feedback on discipline-specific artistic works created by other students. For example, in the unit “Listening, Critique, and Self-Assessment 2,” the “Sister Band Listening and Critique 1” lesson allows students to observe the practice and performance of another band and assess the performances 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
In the “Sight-Reading Strategies” lesson, the culminating “Mastery Level Sight-Reading” task is a first-read performance scored with the “Mastery Rubric,” which is used for self-, peer-, and educator scoring. 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 have advanced students play the roles of performer and adjudicator and exchange feedback with other students on their discipline-specific works.
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 “UIL Concert Evaluation and Band Performance Music” provides an educator guide with instructions for using the multimedia software 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 have the opportunity to engage in self-reflection and self-evaluation in the “MusicFirst Library, Concert Reflection” assignment. Educators can tailor the reflection to a “recent or previous performance” and allow students to reflect using guided questions such as “Which area do you think you improved in most during this [preparation] season?”
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 Middle School Music, Level 2 materials include lessons with cross-curricular connections between fine arts and core academic subjects. For example, in “Music and Me in the World,” “Music & Math 2,” students use music to show connections between fractions and meter. However, the materials do not include guidance for educators to provide explicit (direct) instruction on cross-curricular connections within and across the fine arts disciplines and between fine arts and core academic subjects. While there are references to cross-curricular connections, such as “Music & Math 2” relating to meter, the materials do not include educator guidance to explicitly teach these connections.
Although the Middle School Music, Level 2 materials include lessons with cross-curricular connections between fine arts and core academic subjects, the materials do not include guidance for educators to provide explicit (direct) instruction. For example, “Composing with Melodic Stepwise Contour” directs educators to draw a line on the board and have students compose music to match the shape. While melodic contour can be visualized in a drawn art form, there is no direct instruction on how to compose a melody that matches a drawn shape.
Evaluation for 6.1b
The Middle School Music, Level 2 materials include opportunities for students to explore cross-curricular connections across the various fine-arts disciplines and between fine arts and core academic subjects. For example, “Historical Context 2” allows students to explore a composer’s background and the musical elements of a fanfare. The lesson provides an informational video, and a reflection allows students to compare and contrast two different fanfares.
The Middle School Music, Level 2 materials give students opportunities to explore cross-curricular connections within and across subjects. For example, “Music and Physics: Fire and Ice” includes a descriptive video showing how instrument materials affect sound and engineering. A series of questions after the video allows students to consider the positive and negative aspects of different instrument materials as a musician.
Evaluation for 6.2a
The materials do not include guidance for educators to provide explicit (direct) instruction on relevant discipline-specific historical and cultural context in alignment with the course TEKS. For example, in the unit “Listening, Critique, and Self-Assessment 2,” the “‘Star-Spangled Banner’—Compare and Contrast” assignment includes a link to an outside website for students to explore the historical significance of “The Star-Spangled Banner.” However, it does not provide guidance for the educator on how to teach the content.
Although the materials include lessons that offer discipline-specific historical and cultural context in alignment with the course TEKS, the materials do not include guidance for educators to provide explicit (direct) instruction on the topics. For example, “Music in Context 2” includes the context of the composer’s background; however, materials ask educators to “edit the Student View Content to include historical info on the composer or time period.”
Evaluation for 6.2b
The materials provide opportunities for students to explore a variety of discipline-specific historical and contemporary artistic works. For example, “Music Around the Globe 2” provides guided lessons in the Focus on Sound software that allow students to explore music from regions such as Ireland, India, China, and Africa, as well as instruments from different cultures, followed by reflection questions.
Additionally, the Middle School Music, Level 2 curriculum provides opportunities for students to explore a variety of discipline-specific artistic traditions. For example, “Warm-Ups and Instrument Practice 2” includes a variety of songs such as “Tirra Lirra Lou,” “Cuckoo Song,” and “Minka, Minka.”
Evaluation for 6.2c
The MusicFirst Middle School Music, Level 2 materials include activities that require students to demonstrate understanding of relevant discipline-specific historical and cultural context in alignment with the course TEKS. For example, “Music for Exploration and Study 2” lets students explore pieces from different cultures and historical eras through audio, video, and reflection questions, such as Aaron Copland’s “Rodeo” and “Defying Gravity” from the musical Wicked.
The materials include tasks for students to demonstrate understanding of relevant discipline-specific historical and cultural context in alignment with the course TEKS. For example, “Popular Music Styles and Genres 2” allows students to engage with culturally significant musical styles from history, such as blues and EDM (house music), and to complete written reflections on what they observe and learn.
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 Middle School Music, Level 2 materials include lessons with cross-curricular connections between fine arts and core academic subjects, the materials do not include guidance for educators to provide explicit (direct) instruction. For example, “Composing with Melodic Stepwise Contour” directs educators to draw a line on the board and have students compose music to match the shape. While melodic contour can be visualized in a drawn art form, there is no direct instruction on how to compose a melody that matches a drawn shape.
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 Middle School Music, Level 2 materials give students opportunities to explore cross-curricular connections within and across subjects. For example, “Music and Physics: Fire and Ice” includes a descriptive video showing how instrument materials affect sound and engineering. A series of questions after the video allows students to consider the positive and negative aspects of different instrument materials as a musician.
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 in alignment with the course TEKS, the materials do not include guidance for educators to provide explicit (direct) instruction on the topics. For example, “Music in Context 2” includes the context of the composer’s background; however, materials ask educators to “edit the Student View Content to include historical info on the composer or time period.”
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 Middle School Music, Level 2 curriculum provides opportunities for students to explore a variety of discipline-specific artistic traditions. For example, “Warm-Ups and Instrument Practice 2” includes a variety of songs such as “Tirra Lirra Lou,” “Cuckoo Song,” and “Minka, Minka.”
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 for students to demonstrate understanding of relevant discipline-specific historical and cultural context in alignment with the course TEKS. For example, “Popular Music Styles and Genres 2” allows students to engage with culturally significant musical styles from history, such as blues and EDM (house music), and to complete written reflections on what they observe and learn.