Program Information
- ISBN
- 9781642853896
- Technical Specifications: Checklist
- Tech Specs: Checklist (pdf 516.92 KB)
- Technical Specifications: Professional Development
- Tech Specs: Professional Development (pdf 180.2 KB)
QuaverMusic Texas, Grade 5
Grade 5
IMRA 2026
Publisher: QuaverEd, Inc
Copyright: 2026
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 5 | 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
100% (23 out of 23 points)
Evaluation for 1.1a
The materials include a Scope and Sequence for each grade level on the program’s Curriculum Features and Best Practices page to assist educators with long-term planning. The Scope and Sequence provides the aligned Texas Essential Knowledge and Skills (TEKS) and English Language Proficiency Standards (ELPS) for each lesson. Additionally, the Scope and Sequence divides the program into modules, with each lesson numbered and titled and its purpose and objectives stated.
The materials include both the TEKS and the ELPS correlation tables on the program’s Curriculum Features and Best Practices page to support educators in knowing when the objectives cover the course TEKS. The materials provide correlations for each unit, identifying the exact activity and content type within a chapter that address the TEKS and the ELPS. The materials group the TEKS and the ELPS together with specific activities.
Evaluation for 1.1b
The materials include a Pacing Guide structured by lesson number and flexible based on the number of instructional days and the number of minutes per instructional period. The materials give educators options to extend, condense, or combine lessons to fit individual program needs. The Pacing Guide provides four examples of pacing for the curriculum (once-weekly, twice-weekly, daily, and every other week). Within each instructional schedule, the materials provide detailed instructions for implementing the curriculum effectively. The Pacing Guide also includes a “Quick-Reference Chart” to show various pacing examples. The detailed instructions provide information for each pacing scenario, including lesson frequency, modules covered, learning cycle per module, student experience, performance time, cross-curricular integration, and suggested extensions. The materials include a table showing lesson frequency by instructional frequency. The materials offer a hybrid learning option, showing educators how to focus on nine or 10 lessons instead of all 12, combining certain concepts and devoting more time to essential skills, such as rhythmic accuracy, melodic reading, and expressive performance.
Quaver Ed provides educators with pacing guides for each grade level. The pacing guides can be found in their Curriculum Features and Best Practices with each grade level to assist teachers with their long term planning. Each Pacing Guide is divided according to the instructional frequency available to the educator and the campus. The guide’s flexibility supports an equitable structure and curriculum integrity regardless of instructional availability. Additionally, each Pacing Guide provides the educator with the type of instruction they deliver to ensure the lesson’s success.
Evaluation for 1.1c
The materials offer a detailed description of the unit order, the rationale for the unit order, and the progression of skills (music fundamentals, singing, rhythmic concepts, melodic concepts, music literacy, music history, composition, instrument playing and recorder, and chords and harmony). The progression details how skills progress from grade K through grade 5. Each module cross-references the TEKS alignment with the unit’s rationale.
The materials include a detailed description of the rationale for unit order and how concepts will be learned throughout the course. The materials define each concept in general terms, and each grade level is broken down into Focus, Core Concepts, Skills, and Outcomes. The materials correlate the more detailed grade-level descriptions with the rationale for unit order and concept progression.
Evaluation for 1.1d
The materials include a Lesson Preparation Guide with subcategories, such as “Review Lesson Materials and Overviews,” “Internalize the Lesson,” “Gather and Organize Resources,” “Anticipate Differentiation and Supports,” “Plan for Classroom Management,” “Preview Assessment Opportunities,” and “Build Teacher Confidence.”
The materials include a Module-Level Overview with each module. Within the Module-Level Overview, the materials include lesson internalization information with a general overview of the module. Within the Module-Level Overview, the materials also include a “Teacher Preparation” section that offers unit preparation, background content knowledge, essential educator understandings, and essential student understandings.
Evaluation for 1.1e
The materials include a section for “Campus-Level Leadership and Administration” to help guide and support educators in implementing the materials. Topics within this document include “Planning and Preparation,” “Professional Development and Coaching,” “Monitoring and Data Use,” “Teacher Support and Differentiation,” “Walkthrough Observation Tool,” “Leader Coaching Protocol,” and “Pre-Observation, Observation, and Post-Observation.”
The materials include a section for “District-Level Leadership and Administration” to help guide and support educators in implementing the materials. This document includes topics such as beginning of the year, middle of the year, and end of the year checklists and assessments; building an implementation team; training and professional learning pathways; technology and classroom readiness; building community through music; recommended instruments and resources; curriculum alignment and customization; leadership reflection; license manager and usage readiness; and analyzing data and evaluating effectiveness.
Evaluation for 1.2a
The materials include unit overviews that provide background knowledge in the core areas of meter and rhythm, scales and tonality, chord structure and harmony, orchestral instruments, dynamics and tempo, musical notation, impressionistic music, commercial music, performance techniques, and music evaluation. Within each of these categories, the materials outline key concepts, educator knowledge, and classroom application. In addition, the materials include a grade-level instructional anchor chart with academic music vocabulary for each grade, along with lesson correlations indicating where each term can be found.
The materials provide background content knowledge and academic music vocabulary within each lesson. The materials list these items under the categories of “Keyword Vocabulary” and “Prior Knowledge.” The materials offer both categories in the student platform as well as the educator narrative for each lesson.
Evaluation for 1.2b
The materials provide English- and Spanish-language family supports for lesson 9 “Music from China” that outline the unit’s focus and expectations. The bilingual guidance introduces key musical ideas, such as instruments, stylistic features, and cultural elements in the repertoire, and encourages families to listen to music together and discuss what they hear using the unit vocabulary. By offering specific prompts and explanations in both languages, these materials help caregivers monitor students’ understanding and support their progress with music content.
The materials equip classrooms with Spanish and English resources that are intentionally designed to support emergent bilingual learners’ access to advanced musical content. Lessons incorporate side-by-side language options, sentence stems, visual cues, and targeted linguistic supports that connect language practice to listening, performance, composition, and reflection. Educators use these tools to differentiate instruction, provide meaningful entry points to grade-level vocabulary and concepts, and encourage students to express musical thinking in both oral and written forms. As a result, the materials help emergent bilingual students deepen their musical skills while continuing to build academic language in two languages.
Evaluation for 1.3a
The materials offer detailed lesson plans that include lesson purpose, key student objectives, standards alignment (with both the TEKS and the ELPS correlations), instructional depth, instructional resources, assessment plan, and detailed step-by-step instructions for each lesson. Each lesson includes a “Welcome and Engage” section (with learning objectives and academic music vocabulary), prior knowledge, direct instruction, practice and application, review and close, assessment, and extensions. Lesson plans have embedded links to the student portions of each lesson.
The materials provide tabs at the bottom of each student screen that provide the narrative for overview, objectives, and keywords. The materials include a “Planning” tab in the settings menu on the student screen that links the educator back to the narrative lesson plan. The Module Lesson Overview provides a table with the TEKS, the ELPS, lesson objectives, instructional purpose, and assessment information.
Evaluation for 1.3b
Within each lesson plan, the materials include the lesson purpose; key student objectives; standards alignment (the TEKS and the ELPS); instructional depth; instructional resources, including materials, worksheets, music tracks, and timings (both regular and with extensions); and assessments.
Within the lesson plan sequence, the materials use individual timings for each activity listed in the color-coded headings. If a workbook activity is built in, the materials list this activity and include a hyperlink in the body of text. The materials also link worksheets in the student screens under the settings menu.
Evaluation for 1.3c
Each lesson includes a section that guides educators in extending the material beyond the core instructional sequence. This section identifies specific extension opportunities, such as follow‑up activities, independent practice, and family-supported tasks, and explains how each option connects back to the lesson objectives. Extension platforms vary but include printable worksheets students can complete outside the classroom and digital activities students access through their student accounts. Together, these tools provide structured guidance so that educators can assign extended practice that reinforces key skills and concepts rather than simply adding extra work.
The materials also offer enrichment and extension activities within the module overview documents to support effective use of lesson materials for extended practice. In these overviews, the materials list each enrichment or extension option, along with a brief description and a stated purpose, such as reinforcing a core concept, challenging students to apply skills in a new context, or encouraging creative exploration. The overviews indicate when in the module educators might use the activity, whether during class, as homework, or as an at‑home learning task, so that educators can select the most appropriate options for their students. This guidance helps ensure that extended practice is intentional, aligned to module goals, and feasible for a variety of instructional settings.
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 materials include both the TEKS and the ELPS correlation tables on the program’s Curriculum Features and Best Practices page to support educators in knowing when the objectives cover the course TEKS. The materials provide correlations for each unit, identifying the exact activity and content type within a chapter that address the TEKS and the ELPS. The materials group the TEKS and the ELPS together with specific activities.
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
Quaver Ed provides educators with pacing guides for each grade level. The pacing guides can be found in their Curriculum Features and Best Practices with each grade level to assist teachers with their long term planning. Each Pacing Guide is divided according to the instructional frequency available to the educator and the campus. The guide’s flexibility supports an equitable structure and curriculum integrity regardless of instructional availability. Additionally, each Pacing Guide provides the educator with the type of instruction they deliver to ensure the lesson’s success.
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
The materials include a detailed description of the rationale for unit order and how concepts will be learned throughout the course. The materials define each concept in general terms, and each grade level is broken down into Focus, Core Concepts, Skills, and Outcomes. The materials correlate the more detailed grade-level descriptions with the rationale for unit order and concept progression.
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 materials include a Module-Level Overview with each module. Within the Module-Level Overview, the materials include lesson internalization information with a general overview of the module. Within the Module-Level Overview, the materials also include a “Teacher Preparation” section that offers unit preparation, background content knowledge, essential educator understandings, and essential student understandings.
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 materials include a section for “District-Level Leadership and Administration” to help guide and support educators in implementing the materials. This document includes topics such as beginning of the year, middle of the year, and end of the year checklists and assessments; building an implementation team; training and professional learning pathways; technology and classroom readiness; building community through music; recommended instruments and resources; curriculum alignment and customization; leadership reflection; license manager and usage readiness; and analyzing data and evaluating effectiveness.
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.
2 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.
2 out of 2 points
The materials provide background content knowledge and academic music vocabulary within each lesson. The materials list these items under the categories of “Keyword Vocabulary” and “Prior Knowledge.” The materials offer both categories in the student platform as well as the educator narrative for each lesson.
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.
2 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.
2 out of 2 points
The materials equip classrooms with Spanish and English resources that are intentionally designed to support emergent bilingual learners’ access to advanced musical content. Lessons incorporate side-by-side language options, sentence stems, visual cues, and targeted linguistic supports that connect language practice to listening, performance, composition, and reflection. Educators use these tools to differentiate instruction, provide meaningful entry points to grade-level vocabulary and concepts, and encourage students to express musical thinking in both oral and written forms. As a result, the materials help emergent bilingual students deepen their musical skills while continuing to build academic language in two languages.
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 materials provide tabs at the bottom of each student screen that provide the narrative for overview, objectives, and keywords. The materials include a “Planning” tab in the settings menu on the student screen that links the educator back to the narrative lesson plan. The Module Lesson Overview provides a table with the TEKS, the ELPS, lesson objectives, instructional purpose, and assessment information.
1.3b
Materials include a lesson overview listing the teacher and student materials necessary to effectively deliver the lesson (e.g., equipment, supplies, technology) and the suggested timing for each lesson component.
Materials include a lesson overview listing the teacher and student materials necessary to effectively deliver the lesson (e.g., equipment, supplies, technology) and the suggested timing for each lesson component.
3 out of 3 points
Evaluation for 1.3b
Evaluation for 1.3b
Materials include a lesson overview listing the teacher and student materials necessary to effectively deliver the lesson (e.g., equipment, supplies, technology) and the suggested timing for each lesson component.
3 out of 3 points
Within the lesson plan sequence, the materials use individual timings for each activity listed in the color-coded headings. If a workbook activity is built in, the materials list this activity and include a hyperlink in the body of text. The materials also link worksheets in the student screens under the settings menu.
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 also offer enrichment and extension activities within the module overview documents to support effective use of lesson materials for extended practice. In these overviews, the materials list each enrichment or extension option, along with a brief description and a stated purpose, such as reinforcing a core concept, challenging students to apply skills in a new context, or encouraging creative exploration. The overviews indicate when in the module educators might use the activity, whether during class, as homework, or as an at‑home learning task, so that educators can select the most appropriate options for their students. This guidance helps ensure that extended practice is intentional, aligned to module goals, and feasible for a variety of instructional settings.
Rubric Section 2
Progress Monitoring
Materials support educators in effective implementation through frequent, strategic opportunities to monitor and respond to student progress.
Total
100% (15 out of 15 points)
Evaluation for 2.1a
The materials offer diagnostic, formative, summative, and performance-based assessments at both the lesson and unit (module) levels. Lesson-level assessments serve as exit tickets and formative checks of specific lesson objectives, while module-level assessments act as more comprehensive summative measures across the module. Each module includes one to four performance-based assessments with rubrics that require students to demonstrate skills, such as singing, moving, or reading notation, and educators score performance using the provided criteria. Additional assessments, including Train the Brain, Bach’s Brain, Ear Training, Quaver’s Quirky Quizzes, song-based quizzes, and Quiz Challenges, provide multiple-choice, matching, listening, historical knowledge, and notation-reading tasks that educators can use to monitor student understanding.
The materials include a variety of instructional assessments, including diagnostic, lesson-level formative, and module-level summative assessments. These assessments feature diverse question and task types, including multiple-choice items, matching exercises, listening and ear-training tasks, notation identification, and performance-skill demonstrations. Together, these tools allow educators to assess musical learning in multiple ways and at different points in instruction.
The materials provide educators with a vast variety of instructional assessments at the unit and lesson levels to include diagnostic, summative module (unit) assessments, lesson-based formative assessments, and performance-based assessments. The materials also provide additional assessments, such as Quiz Challenges (Jeopardy style), Ear Training, Song-Based Quizzes, Train the Brain vocabulary matching, and Quaver’s Quirky Quizzes, to enhance and differentiate assessments. All varieties of instructional assessments provided include skills demonstration.
Evaluation for 2.1b
Within each lesson plan, the materials include a section that identifies formative and summative assessments and explains how educators should use them. The plan describes where the assessment appears on student screens, the materials needed, and the steps the educator takes to administer it. In the assessment section near the end of the lesson, the materials state the assessment’s purpose and list the questions or prompts that guide the task. For example, in lesson 19 “Symphony Orchestra,” the assessment section explains how the task measures students’ understanding of orchestral instruments and roles.
The materials include a section in each module overview that defines the types of instructional assessments used in the module and explains their intended purposes. The overview identifies assessment types, such as diagnostic, formative, and summative, and describes when in the module each type should be used. The overview explains how diagnostic assessments identify starting points, how formative assessments monitor progress, and how summative assessments evaluate mastery of module goals. The overview also highlights common misconceptions, helping educators interpret results more accurately and use assessment data to make informed instructional decisions.
Evaluation for 2.1c
The materials provide several assessment formats, including student self-assessment, peer assessment, and educator assessment, each supported by rubrics that describe clear expectations. The rubrics outline performance levels and criteria so that educators apply the same standards when scoring across classes and student groups. The materials also include a formative assessment tool that helps educators select the assessment type that best matches the task’s purpose, how students will respond, and the level of thinking required. This structure promotes consistent and accurate assessment administration within and across modules.
The materials include educator guidance within lesson plans to support consistent administration of instructional assessments. Assessment questions are accompanied by notes that indicate when to administer the assessment in the lesson, how much time to allow, and how students should be grouped for the task. This guidance helps educators follow the same procedures across classrooms so that assessment results more accurately reflect student understanding rather than differences in administration.
Evaluation for 2.1d
The materials include formative assessments in many lessons that align to the TEKS and to the lesson objectives. For example, in lesson 17 “Writing Rhythms and Melodies,” the lesson plan provides an assessment in which students listen to, write, and reproduce rhythmic patterns using standard notation and compose original rhythmic and melodic phrases in the C pentatonic scale. This assessment allows the educator to determine whether students can accurately notate rhythmic patterns, apply previously learned note values in different meters, and create original musical phrases aligned with the TEKS correlations listed in the lesson.
The materials show the TEKS and objective correlations in both the lesson plans and the lesson notes view. TEKS references appear in parentheses at the end of each lesson section so that educators can see which standards each part of the lesson addresses. Throughout the lesson, the materials include active standards boxes that educators select to display the TEKS that correlate to a specific activity or assessment. In assessment sections, these boxes also show IMRA citations. This structure makes the alignment between assessments, objectives, and standards clear.
Evaluation for 2.1e
The materials include end-of-module assessments with TEKS-aligned items that measure students’ understanding of music at increasing levels of complexity. Students begin by identifying key musical characteristics, instruments, and cultural elements. Students then apply their understanding by connecting these elements to listening examples and describing how they are used in performance. The assessment progresses from recognition of musical and cultural features to interpretation, allowing educators to evaluate students’ understanding of music within its cultural context.
The materials provide educators with several ways to see how diagnostic, formative, and summative assessments align with the TEKS and the module or lesson objectives. The materials embed formative assessments attached to activities throughout the lesson plans, with citations to the specific TEKS being assessed. Module-level and performance-based assessments also list the TEKS connections so that educators can confirm that items and tasks measure learning targets at different levels of complexity.
Evaluation for 2.2a
The materials include guidance that helps educators interpret and respond to diagnostic assessment data. A support resource titled Understanding and Analyzing Assessments includes a table that guides educators in analyzing diagnostic results, identifying student performance levels, and selecting appropriate instructional responses. The table also outlines how educators can adjust future instruction based on patterns in the assessment data.
The materials provide performance-based assessments with scoring rubrics that describe four levels of achievement: exceeding, meeting, approaching, and emerging. Within each subcategory of the rubric, the materials describe what the skill looks and sounds like at each performance level. These descriptors help educators consistently score student performance and use the results to identify strengths, needs, and next instructional steps.
Evaluation for 2.2b
The materials include formative assessments in many lessons and links the assessments to guidance for instructional response. For example, in lesson 11 “Major Scales and Key Signatures,” the lesson plan outlines an assessment in which students listen to and sing “Step by Step” while identifying and reviewing melodic elements of the major scale. Students demonstrate understanding by recognizing whole steps and half steps, responding to changes in tonality, and using appropriate music vocabulary to discuss how the melody shifts from C major to D major. This assessment allows the educator to evaluate how well students apply their knowledge of major scales and key signatures in both performance and listening contexts, aligned to the TEKS listed in the lesson.
The materials provide differentiation blocks within lessons that guide educators in selecting tasks and activities based on student performance trends. For example, in lesson 22 on the Impressionist period, the materials include suggestions for students who have not yet reached proficiency and for students who are already advanced. These supports help educators adjust instruction by offering targeted practice or extension activities based on assessment results.
Evaluation for 2.2c
The materials include tools for both educators and students to track progress and growth over time in grade 5. For educators, the program provides an online gradebook and assessment trackers that allow recording scores, monitoring performance on specific musical skills, and reviewing trends across modules and grading periods. These tools help educators identify students who need additional support or extension and adjust instruction accordingly.
The materials offer progress-tracking tools that help students monitor their own learning. Student-facing rubrics, checklists, and trackers help students reflect on their learning, identify areas of strength, and set goals for improvement. For example, a self-assessment form includes fields for the skill, a student rating using a thumbs-up or thumbs-down, and questions the student still has and it is available in English and Spanish. These tools encourage students to take an active role in understanding their progress throughout the year.
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.
3 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.
3 out of 3 points
The materials include a variety of instructional assessments, including diagnostic, lesson-level formative, and module-level summative assessments. These assessments feature diverse question and task types, including multiple-choice items, matching exercises, listening and ear-training tasks, notation identification, and performance-skill demonstrations. Together, these tools allow educators to assess musical learning in multiple ways and at different points in instruction.
The materials provide educators with a vast variety of instructional assessments at the unit and lesson levels to include diagnostic, summative module (unit) assessments, lesson-based formative assessments, and performance-based assessments. The materials also provide additional assessments, such as Quiz Challenges (Jeopardy style), Ear Training, Song-Based Quizzes, Train the Brain vocabulary matching, and Quaver’s Quirky Quizzes, to enhance and differentiate assessments. All varieties of instructional assessments provided include skills demonstration.
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.
1 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.
1 out of 1 points
The materials include a section in each module overview that defines the types of instructional assessments used in the module and explains their intended purposes. The overview identifies assessment types, such as diagnostic, formative, and summative, and describes when in the module each type should be used. The overview explains how diagnostic assessments identify starting points, how formative assessments monitor progress, and how summative assessments evaluate mastery of module goals. The overview also highlights common misconceptions, helping educators interpret results more accurately and use assessment data to make informed instructional decisions.
2.1c
Materials include teacher guidance to ensure consistent and accurate administration of instructional assessments.
Materials include teacher guidance to ensure consistent and accurate administration of instructional assessments.
1 out of 1 points
Evaluation for 2.1c
Evaluation for 2.1c
Materials include teacher guidance to ensure consistent and accurate administration of instructional assessments.
1 out of 1 points
The materials include educator guidance within lesson plans to support consistent administration of instructional assessments. Assessment questions are accompanied by notes that indicate when to administer the assessment in the lesson, how much time to allow, and how students should be grouped for the task. This guidance helps educators follow the same procedures across classrooms so that assessment results more accurately reflect student understanding rather than differences in 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 show the TEKS and objective correlations in both the lesson plans and the lesson notes view. TEKS references appear in parentheses at the end of each lesson section so that educators can see which standards each part of the lesson addresses. Throughout the lesson, the materials include active standards boxes that educators select to display the TEKS that correlate to a specific activity or assessment. In assessment sections, these boxes also show IMRA citations. This structure makes the alignment between assessments, objectives, and standards clear.
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 provide educators with several ways to see how diagnostic, formative, and summative assessments align with the TEKS and the module or lesson objectives. The materials embed formative assessments attached to activities throughout the lesson plans, with citations to the specific TEKS being assessed. Module-level and performance-based assessments also list the TEKS connections so that educators can confirm that items and tasks measure learning targets at different levels of complexity.
2.2 Data Analysis and Progress Monitoring
2.2a
Instructional assessments and scoring information provide guidance for interpreting student performance.
Instructional assessments and scoring information provide guidance for interpreting student performance.
2 out of 2 points
Evaluation for 2.2a
Evaluation for 2.2a
Instructional assessments and scoring information provide guidance for interpreting student performance.
2 out of 2 points
The materials provide performance-based assessments with scoring rubrics that describe four levels of achievement: exceeding, meeting, approaching, and emerging. Within each subcategory of the rubric, the materials describe what the skill looks and sounds like at each performance level. These descriptors help educators consistently score student performance and use the results to identify strengths, needs, and next instructional steps.
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.
1 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.
1 out of 1 points
The materials provide differentiation blocks within lessons that guide educators in selecting tasks and activities based on student performance trends. For example, in lesson 22 on the Impressionist period, the materials include suggestions for students who have not yet reached proficiency and for students who are already advanced. These supports help educators adjust instruction by offering targeted practice or extension activities based on assessment results.
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 offer progress-tracking tools that help students monitor their own learning. Student-facing rubrics, checklists, and trackers help students reflect on their learning, identify areas of strength, and set goals for improvement. For example, a self-assessment form includes fields for the skill, a student rating using a thumbs-up or thumbs-down, and questions the student still has and it is available in English and Spanish. These tools encourage students to take an active role in understanding their progress throughout the year.
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 include “Differentiation” boxes in the lessons to help educators support students who have not yet reached proficiency. For example, in the lesson “Use of Dynamics,” the “Differentiation” box in “Our Time Is Now” directs the educator to use the worksheet feature to access more advanced parts while keeping the main activity accessible. This guidance helps educators vary the level of challenge within the same activity so that students can work toward the same lesson goal at different readiness levels. The support allows educators to maintain participation in a shared task while adjusting the complexity of the musical work for individual students. This support also makes it easier to keep struggling students engaged without changing the lesson objective. These materials include educator guidance for differentiated instruction and scaffolded support for students who have not yet reached proficiency.
The materials also provide an “Accommodations and Modifications” section that helps educators adjust instruction for a range of student needs. For example, in the lesson “Writing Our Backing Music,” the “Accommodations and Modifications” box offers options, such as simplifying the skill, transferring it to an instrument, and pairing students to perform at different levels of difficulty. These options support access to the lesson while preserving the core musical task. The guidance provides educators with specific ways to reduce difficulty without compromising the lesson’s academic focus. As a result, students can continue pursuing the same musical goal with support that meets their needs. These materials include educator guidance for differentiated instruction and paired supports for students who have not yet reached proficiency.
Evaluation for 3.1b
The materials include keyword vocabulary in each lesson to support students with unfamiliar academic and music-specific terms. The “Welcome and Engage” section of each lesson lists and defines keyword vocabulary and includes an essential question with question stems that guide student discussion. This structure helps educators introduce key terms before instruction begins and gives students a clear language frame for discussing musical ideas. Students encounter the terms first through supported explanation and then revisit them during lesson tasks. This kind of pre-teaching reduces confusion and helps students participate more confidently in content-rich discussions. Therefore, the materials include pre-teaching and embedded supports for unfamiliar vocabulary and discipline-specific language.
The materials reinforce music-specific and general academic vocabulary through the “Literacy Connections” section in the grade 5 module workbook. These workbook pages include free-response, short-answer, and multiple-choice activities that provide students with repeated practice with key terms throughout the module. The written practice helps students strengthen comprehension and use vocabulary more independently as the unit progresses. Because students must apply words in several response formats, educators can see whether vocabulary understanding extends beyond recognition. The repeated written exposure also helps students retain and use music terms across lessons. Therefore, the materials include embedded supports for unfamiliar vocabulary and in-text references.
Evaluation for 3.1c
The materials provide enrichment activities at the end of each lesson to extend learning for students who have demonstrated proficiency. For example, in the lesson “Writing Rhythms and Melodies,” the “Enrichment” section includes one enrichment activity and one at-home activity. These options give educators a clear way to continue skill development. These options also encourage students to apply new learning beyond the main lesson. The additional tasks keep students working within the same content focus while increasing independence and transfer. This practice helps proficient students stay engaged and continue to grow rather than repeat the same level of work. Therefore, the materials include educator guidance for differentiated instruction, enrichment, and extension activities for students who have demonstrated proficiency.
The materials also include an “Extension” section at the end of each lesson to help students build on lesson content after demonstrating success. For example, in the lesson “Putting It All Together,” the “Extension” section includes one activity that continues learning beyond the main lesson. This structure helps educators keep proficient students engaged with purposeful follow-up rather than unrelated extra work. The extension remains tied to the lesson objective, which supports deeper understanding instead of simple task completion. By continuing the same line of learning, students have an opportunity to strengthen and extend their skills in a meaningful way. Therefore, the materials include educator guidance for extension activities for students who have demonstrated proficiency in content and skills.
Evaluation for 3.1d
The materials embed specially designed instruction (SDI) supports in lessons to help educators support students receiving special education services. For example, in the lesson “String Family,” the “Prior Knowledge” section includes a “Differentiation” box that suggests reducing the number of answer choices for students who need additional support. This scaffold helps educators lower language or processing demands while keeping students focused on the core content. The support maintains student participation in the same lesson while making the task more manageable. This kind of targeted adaptation helps preserve access to grade-level instruction without removing the student from the musical learning goal. These materials include educator guidance for providing SDI for students receiving supports and services through special education.
The materials also provide an “Accommodations and Modifications” section in lessons to guide instructional adjustments for student needs. For example, in the lesson “Writing Our Backing Music,” the “Prior Knowledge” section includes an “Accommodations and Modifications” box that explains how to simplify the ostinato, transfer the simplified version to an instrument, and pair students to perform different levels of difficulty. This guidance helps educators preserve participation and musical understanding even when students need adapted access points. The materials provide concrete recommendations that directly tie to the task students complete. This approach makes it easier for educators to respond to learner variability while maintaining the lesson’s musical focus. Therefore, the materials include educator guidance for SDI and accommodations for students receiving supports and services.
Evaluation for 3.2a
The materials offer detailed directions in the lesson plans to support educator modeling and explanation of concepts. Each screen includes its purpose, scripted instructions, and guidance on handling materials and instruments. The screens also include suggested questions and directions for assessment and workbook use. This level of detail supports clear explanations and helps educators model skills consistently across lessons. The step-by-step structure gives educators a clear instructional path and reduces the need to infer what should happen next. Students benefit because the materials present concepts through more deliberate and consistent modeling. Therefore, the materials include explicit direct prompts and guidance to support the educator in modeling and explaining the concepts to be learned.
The materials also provide module overviews with “Teacher Preparation” sections. These sections include unit preparation, background content knowledge, essential educator understandings, and essential student understandings to help educators prepare for clear instruction. These materials help educators connect daily teaching moves to the larger musical concepts and learning goals in the module. The overviews support a stronger explanation because educators have access to the broader context of the content before they begin teaching. This preparation helps ensure that lesson modeling is accurate, intentional, and connected across the unit. Therefore the materials include explicit guidance that supports the educator in modeling and explaining the concepts to be learned.
Evaluation for 3.2b
The materials provide detailed, sequential lesson plans to support effective lesson delivery and facilitation. The lesson plans and lesson views include educator instructions for each part of the lesson. The lesson plans and lesson views also suggest educator-to-student, student-to-student, and student-to-educator dialogue. This guidance helps educators manage lesson flow and create purposeful interaction during music instruction. The structure also supports pacing by showing how each part of the lesson connects to the next. Educators can guide student discussion and participation more intentionally because the facilitation moves are clearly built into the materials. Therefore, the materials include educator guidance and recommendations for effective lesson delivery and facilitation using a variety of instructional approaches.
The materials use a variety of instructional approaches in the lessons, including direct instruction, think-pair-share, independent workbook work, and whole-group singing or playing. These approaches appear in both the lesson plan and the lesson view. Each lesson screen links to the plan via a tab. This design helps educators shift between instructional strategies while maintaining clear guidance. Educators can move between whole-class explanation, partner discussion, individual application, and performance within the same lesson structure. The built-in variety supports engagement and makes it easier to match instruction to content and student needs. Therefore, the materials include educator guidance and recommendations for effective facilitation using varied instructional structures.
Evaluation for 3.2c
The materials provide educator guidance on guided, independent, and collaborative practice throughout the lessons. For example, in the “Music from China” lesson, students create movements during direct instruction. Students then practice the movements collaboratively in concentric circles during the “Practice and Application” section. On screen 11, students complete an assessment independently. This progression supports educator-directed learning, peer practice, and individual demonstration within one lesson. Each stage serves a different purpose, allowing students to build confidence before demonstrating understanding on their own. The structure also helps educators organize participation and monitor learning through several forms of practice. Therefore, the materials support multiple types of practice and include guidance for whole-group, collaborative, and individual implementation.
The materials support guided, independent, and collaborative practice and include structures for whole-group, small-group, and individual work. For example, in the lesson “Reading Compound Meter,” students participate in guided whole-group instruction and complete workbook tasks independently. Later, students work in small groups during extension, playing instrument parts to a backing track. This sequence helps educators build understanding gradually and gives students several ways to practice the same skill. The lesson’s organization makes clear when students should follow the educator, work alone, or collaborate with peers. This range of practice types supports both skill development and effective classroom implementation. Therefore, the materials support multiple types of practice and recommended structures for effective implementation.
Evaluation for 3.3a
The materials provide language-support strategies in the lessons and in the “Literacy Connections” sections in workbooks to support students at different levels of language proficiency. For example, the lesson “Steps in Major Scales” suggests using a dual-language word wall in the “Language Support Strategy” section. The lesson also includes pre-production and advanced guidance for different stages of language development. These supports help educators adjust language expectations while still engaging students in music-specific academic vocabulary. The lesson provides educators with structured ways to scaffold speaking and comprehension without lowering content demand. This approach helps emergent bilingual students participate in grade-level music learning while continuing to build English language proficiency. Therefore, the materials include educator guidance on providing linguistic accommodations for various levels of language proficiency as defined by the ELPS.
The materials also include a guide titled Support for Emergent Bilingual Learners with practical strategies for linguistic accommodation. The guide organizes support by proficiency level and provides examples for listening, speaking, reading, and writing. This resource provides educators with a framework for matching language supports to students’ needs across music instruction. Because the examples are tied to language domains and proficiency stages, educators can choose accommodations more intentionally. The guide helps educators connect classroom language support to the demands of music learning and participation. Therefore, the materials include educator guidance on providing linguistic accommodations for various levels of language proficiency.
Evaluation for 3.3b
The materials provide an implementation guide for language supports in the music classroom to help educators use the materials in bilingual and English as a Second Language (ESL) programs. The guide addresses social and academic language in music, key components of language support, second language acquisition, language proficiency levels, and linguistic accommodations. This guidance helps educators understand how to support language growth while teaching musical content. The guidance also gives educators a broader framework for using the program in classrooms in which students are developing English language proficiency alongside content knowledge. The emphasis on classroom application enhances the guide’s usefulness for daily instruction. Therefore, the materials include implementation guidance to support educators in effectively using the materials in state-approved bilingual and ESL programs.
The materials also include language settings in the lessons, allowing educators to choose English, Spanish, or a side-by-side language display for many activities. For example, in the lesson “Use of Accidentals” on screen 9 “C, F, and G Scales Songs,” the language settings provide both visual and audio support in English, Spanish, or side-by-side English and Spanish. These settings make vocabulary and directions more accessible and support cross-linguistic understanding during instruction. Educators can quickly adjust the presentation format while keeping all students engaged in the same musical task. This feature makes the materials easier to implement in bilingual and ESL settings without requiring additional translation resources. Therefore, the materials include implementation guidance and built-in supports for effective use in bilingual and ESL programs.
Evaluation for 3.3c
The materials embed support for emergent bilingual students through “Language Support Strategies,” the workbook “Literacy Connections” sections, and on-screen language options. The “Descants, Parts, and Rounds” lesson includes keyword vocabulary, gesture-based vocabulary support, and a stop-and-jot routine with new terms. Educators can also use language options on screen 4 “Get on Board.” These supports help students build oral and written vocabulary while connecting language to movement, notation, and song learning. The use of gestures, writing, and visual language supports gives students multiple entry points into the same content vocabulary. This variety helps increase comprehension and makes academic and discipline-specific language more usable during instruction. Therefore, the materials include embedded guidance for educators to support emergent bilingual students in vocabulary development, comprehension, and oral and written discourse.
The materials provide end-of-module assessments in English and Spanish to reinforce academic and discipline-specific vocabulary through written discourse. For example, in the module 4 “End-of-Module Assessment,” students answer multiple-choice, fill-in-the-blank, matching, and narrative questions using keyword vocabulary from the module. These bilingual assessment formats help students demonstrate comprehension, build background knowledge, and make cross-linguistic connections while working with music content. The written response types also give students structured ways to use vocabulary independently in academic contexts. By offering the assessment in both languages, the program supports access while maintaining content expectations. Therefore, the materials include embedded guidance to support emergent bilingual students in written discourse, vocabulary development, and comprehension.
Evaluation for 3.3d
This guidance is not applicable because the program is not designed for dual language immersion (DLI) programs.
3.1 Differentiation and Scaffolds
3.1a
Materials include teacher guidance for differentiated instruction, activities, and/or paired (scaffolded) lessons for students who have not yet reached proficiency on content and skills in the course TEKS.
Materials include teacher guidance for differentiated instruction, activities, and/or paired (scaffolded) lessons for students who have not yet reached proficiency on content and skills in the course TEKS.
1 out of 1 points
Evaluation for 3.1a
Evaluation for 3.1a
Materials include teacher guidance for differentiated instruction, activities, and/or paired (scaffolded) lessons for students who have not yet reached proficiency on content and skills in the course TEKS.
1 out of 1 points
The materials also provide an “Accommodations and Modifications” section that helps educators adjust instruction for a range of student needs. For example, in the lesson “Writing Our Backing Music,” the “Accommodations and Modifications” box offers options, such as simplifying the skill, transferring it to an instrument, and pairing students to perform at different levels of difficulty. These options support access to the lesson while preserving the core musical task. The guidance provides educators with specific ways to reduce difficulty without compromising the lesson’s academic focus. As a result, students can continue pursuing the same musical goal with support that meets their needs. These materials include educator guidance for differentiated instruction and paired supports for students who have not yet reached proficiency.
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
The materials reinforce music-specific and general academic vocabulary through the “Literacy Connections” section in the grade 5 module workbook. These workbook pages include free-response, short-answer, and multiple-choice activities that provide students with repeated practice with key terms throughout the module. The written practice helps students strengthen comprehension and use vocabulary more independently as the unit progresses. Because students must apply words in several response formats, educators can see whether vocabulary understanding extends beyond recognition. The repeated written exposure also helps students retain and use music terms across lessons. Therefore, the materials include embedded supports for unfamiliar vocabulary and in-text references.
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
The materials also include an “Extension” section at the end of each lesson to help students build on lesson content after demonstrating success. For example, in the lesson “Putting It All Together,” the “Extension” section includes one activity that continues learning beyond the main lesson. This structure helps educators keep proficient students engaged with purposeful follow-up rather than unrelated extra work. The extension remains tied to the lesson objective, which supports deeper understanding instead of simple task completion. By continuing the same line of learning, students have an opportunity to strengthen and extend their skills in a meaningful way. Therefore, the materials include educator guidance for extension activities for students who have demonstrated proficiency in content and skills.
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 materials also provide an “Accommodations and Modifications” section in lessons to guide instructional adjustments for student needs. For example, in the lesson “Writing Our Backing Music,” the “Prior Knowledge” section includes an “Accommodations and Modifications” box that explains how to simplify the ostinato, transfer the simplified version to an instrument, and pair students to perform different levels of difficulty. This guidance helps educators preserve participation and musical understanding even when students need adapted access points. The materials provide concrete recommendations that directly tie to the task students complete. This approach makes it easier for educators to respond to learner variability while maintaining the lesson’s musical focus. Therefore, the materials include educator guidance for SDI and accommodations for students receiving supports and services.
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 also provide module overviews with “Teacher Preparation” sections. These sections include unit preparation, background content knowledge, essential educator understandings, and essential student understandings to help educators prepare for clear instruction. These materials help educators connect daily teaching moves to the larger musical concepts and learning goals in the module. The overviews support a stronger explanation because educators have access to the broader context of the content before they begin teaching. This preparation helps ensure that lesson modeling is accurate, intentional, and connected across the unit. Therefore the materials include explicit guidance that supports the educator in modeling and explaining the concepts to be learned.
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 use a variety of instructional approaches in the lessons, including direct instruction, think-pair-share, independent workbook work, and whole-group singing or playing. These approaches appear in both the lesson plan and the lesson view. Each lesson screen links to the plan via a tab. This design helps educators shift between instructional strategies while maintaining clear guidance. Educators can move between whole-class explanation, partner discussion, individual application, and performance within the same lesson structure. The built-in variety supports engagement and makes it easier to match instruction to content and student needs. Therefore, the materials include educator guidance and recommendations for effective facilitation using varied instructional structures.
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 guided, independent, and collaborative practice and include structures for whole-group, small-group, and individual work. For example, in the lesson “Reading Compound Meter,” students participate in guided whole-group instruction and complete workbook tasks independently. Later, students work in small groups during extension, playing instrument parts to a backing track. This sequence helps educators build understanding gradually and gives students several ways to practice the same skill. The lesson’s organization makes clear when students should follow the educator, work alone, or collaborate with peers. This range of practice types supports both skill development and effective classroom implementation. Therefore, the materials support multiple types of practice and recommended structures for effective implementation.
3.3 Support for Emergent Bilingual Students
3.3a
Materials include teacher guidance on providing linguistic accommodations for various levels of language proficiency [as defined by the English Language Proficiency Standards (ELPS)], which are designed to engage students in using increasingly more academic and discipline-specific language.
Materials include teacher guidance on providing linguistic accommodations for various levels of language proficiency [as defined by the English Language Proficiency Standards (ELPS)], which are designed to engage students in using increasingly more academic and discipline-specific language.
2 out of 2 points
Evaluation for 3.3a
Evaluation for 3.3a
Materials include teacher guidance on providing linguistic accommodations for various levels of language proficiency [as defined by the English Language Proficiency Standards (ELPS)], which are designed to engage students in using increasingly more academic and discipline-specific language.
2 out of 2 points
The materials also include a guide titled Support for Emergent Bilingual Learners with practical strategies for linguistic accommodation. The guide organizes support by proficiency level and provides examples for listening, speaking, reading, and writing. This resource provides educators with a framework for matching language supports to students’ needs across music instruction. Because the examples are tied to language domains and proficiency stages, educators can choose accommodations more intentionally. The guide helps educators connect classroom language support to the demands of music learning and participation. Therefore, the materials include educator guidance on providing linguistic accommodations for various levels of language proficiency.
3.3b
Materials include implementation guidance to support teachers in effectively using the materials in state-approved bilingual/ESL programs.
Materials include implementation guidance to support teachers in effectively using the materials in state-approved bilingual/ESL programs.
1 out of 1 points
Evaluation for 3.3b
Evaluation for 3.3b
Materials include implementation guidance to support teachers in effectively using the materials in state-approved bilingual/ESL programs.
1 out of 1 points
The materials also include language settings in the lessons, allowing educators to choose English, Spanish, or a side-by-side language display for many activities. For example, in the lesson “Use of Accidentals” on screen 9 “C, F, and G Scales Songs,” the language settings provide both visual and audio support in English, Spanish, or side-by-side English and Spanish. These settings make vocabulary and directions more accessible and support cross-linguistic understanding during instruction. Educators can quickly adjust the presentation format while keeping all students engaged in the same musical task. This feature makes the materials easier to implement in bilingual and ESL settings without requiring additional translation resources. Therefore, the materials include implementation guidance and built-in supports for effective use in bilingual and ESL programs.
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 materials provide end-of-module assessments in English and Spanish to reinforce academic and discipline-specific vocabulary through written discourse. For example, in the module 4 “End-of-Module Assessment,” students answer multiple-choice, fill-in-the-blank, matching, and narrative questions using keyword vocabulary from the module. These bilingual assessment formats help students demonstrate comprehension, build background knowledge, and make cross-linguistic connections while working with music content. The written response types also give students structured ways to use vocabulary independently in academic contexts. By offering the assessment in both languages, the program supports access while maintaining content expectations. Therefore, the materials include embedded guidance to support emergent bilingual students in written discourse, vocabulary development, and comprehension.
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
100% (16 out of 16 points)
Evaluation for 4.1a
The materials provide lessons with explicit direct instruction in simple meter through listening activities that compare duple, triple, and quadruple groupings. For example, in lesson 2 “Meter Review” on screen 3 “Meter of 2, 3, or 4,” the educator plays a “Blue Wash Samba” medley and prompts students to feel the beat, clap along, and notice how the strong beats are grouped. The script provides language for labeling each example as having a meter of two, three, or four and for discussing how the beat pattern changes from one section to another. This approach helps students connect the abstract idea of meter to concrete musical examples they can hear and describe. Therefore, the materials include guidance for educators on providing explicit, direct instruction in discipline-specific artistic literacy aligned with the course TEKS.
The materials include lesson guidance for educators to provide direct instruction on advanced scale concepts by comparing the whole tone scale with the major scale. For example, in lesson 23 “Impressionist Period Music” on screen 5 “The Whole Tone Scale,” educators describe how the whole tone scale is built entirely on whole steps, show the scale’s notation, and demonstrate the scale on a keyboard so that students can hear its distinctive sound. Educators encourage students to listen for and discuss how this scale creates a different mood from the familiar major scale. This approach builds vocabulary for talking about pitch collections and style. By linking clear explanation, notation, and performance, the lesson helps students deepen their understanding of how scales shape musical expression. Therefore, the materials include guidance for educators on providing explicit, direct instruction in discipline-specific artistic literacy aligned with the course TEKS.
Evaluation for 4.1b
The materials connect new part-singing work to students’ prior understanding of canon from both earlier grades and earlier lessons in the unit. In lesson 6 “Part Singing” on screen 2 “Canon Vocalise,” the lesson reviews the meaning of canon before asking students to apply that knowledge in a more advanced vocal setting. This review helps students see that the new task grows from familiar musical structures rather than starting from scratch. Students strengthen their understanding of part singing by reusing a concept they have already encountered in progressively more complex ways. Therefore, the materials support explicit connections to prior learning across lessons and units within the course and, where applicable, across courses.
The materials connect new work on syncopation to earlier lessons on 16th-note combinations and rhythmic echoing in grade 5. In lesson 12 “Dotted Note Rhythms” on screen 2 “Identify Syncopation (Rhythm Patterns),” students review patterns they have already practiced in lessons 10 and 11 and then apply those familiar rhythmic building blocks to new syncopated examples. This sequence helps students understand syncopation as an extension of prior rhythmic learning rather than as a completely new skill. As the patterns become more complex, students continue building on knowledge developed earlier in the unit. Therefore the materials support explicit connections to prior learning across lessons and units within the course.
Evaluation for 4.1c
The materials provide vocabulary development for pitch concepts by combining definitions with visual and aural examples of sharps and flats. In lesson 10 “Steps in Major Scales” on screen 6 “All About Sharps and Flats,” students explore how accidentals affect pitches by selecting “Explore” and identify the changes by listening when they select “Identify.” This structure moves students from recognition to understanding and application. As students interact with the screen, they build more accurate use of technical language related to pitch. Therefore, the materials consistently support the development and use of discipline-specific artistic literacy vocabulary.
The materials reinforce artistic literacy vocabulary by labeling contrasting parts of a song with terms, such as chorus, descant, and ostinato. In lesson 8 “Descants, Parts, and Rounds” on screen 5 “Wade in the Water (Lyrics),” students read those terms on the screen and use the terms to identify and perform their assigned parts. This activity makes the vocabulary functional within the performance rather than separate from it. As students sing and respond to the labeled sections, they deepen their understanding of the terms through direct use. Therefore, the materials consistently support the development and use of discipline-specific artistic literacy vocabulary.
Evaluation for 4.1d
The materials include listening tasks in which students identify and describe musical works from diverse styles using music vocabulary. In lesson 18 “Identifying Music Styles” on screen 5 “Name the Style,” students apply stylistic and descriptive language to what they hear, which shows whether they understand the features of each style. This kind of task measures more than just recall because students use vocabulary to analyze live examples from the lesson. Students’ responses demonstrate understanding of discipline-specific artistic literacy through real listening and discussion. Therefore, the materials require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the TEKS 5.5.C.
The materials also include summative assessment questions that check student understanding of melodic elements, such as scales, keys, and accidentals. For example, in lesson 12 “Improvising on a Major Scale” on screen 11 “5th - Module 4 - Melody Assessment (TX),” students respond to questions individually to demonstrate their ability to apply artistic literacy terms and concepts. The assessment helps educators determine how well students understand the vocabulary and ideas associated with melodic structure. Because the questions focus on key music concepts, the assessment provides direct evidence of student understanding. Therefore, the materials require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the TEKS 5.2.B.
Evaluation for 4.2a
The materials provide lesson guidance for educators to give direct instruction in instrumental techniques related to timbre and dynamics through explanation and modeling. In lesson 23 “Impressionist Period Music” on screen 4 “Exploring the Boundaries of Timbre and Dynamics,” educators explain and model how changes in touch, sound production, and expressive choices affect the musical result. Students observe these techniques and then apply them in guided practice. This structure supports developmentally appropriate skill building through demonstration followed by active use. Therefore, the materials include guidance for educators to provide explicit, direct instruction in discipline-specific artistic skills aligned with the course TEKS.
The materials also provide guidance for educators on showing students how to perform harmonic progressions with Boomwhackers. In lesson 27 “Progressions Using I, IV, and V” on screen 11 “Boomwhacker® Chord Bash,” the lesson reviews chord relationships and models how students should play each part to build the progression accurately. This direct instruction helps students connect their understanding of harmony to hands-on performance skills. By hearing, seeing, and playing the chords, students strengthen both technical control and musical understanding. Therefore, the materials include guidance for educators to provide explicit, direct instruction in discipline-specific artistic skills aligned with the course TEKS.
Evaluation for 4.2b
The materials connect new chord and notation skills to students’ earlier work in solfège, echoing, labeling, and reading. In lesson 26 “Notating Major and Minor Chords” on screen 2 “Identify I-IV-V Chords (Pitch Patterns),” the lesson asks students to recall how they previously read and labeled pitch patterns, then apply those same skills in a more advanced harmonic context. This progression helps students use familiar note-reading habits as a bridge into new content. Students build confidence because the new skill grows directly out of earlier musical practice. Therefore, the materials support explicit connections between new artistic skills and prior learning across lessons and units within the course.
The materials also connect new accompaniment-writing tasks to prior learning about ostinatos from earlier grades. In lesson 30 “Writing Our Backing Music” on screen 2 “Say It, Play It,” educators guide students to review what an ostinato is and how it functions before creating and performing their own rhythmic and melodic ostinatos in a live accompaniment setting. This structure helps students move from performing prewritten patterns to composing original ones based on a familiar concept. The lesson builds rigor by asking students to extend earlier knowledge into new creative work. Therefore, the materials support explicit connections between new artistic skills and prior learning across lessons and grades as applicable.
Evaluation for 4.2c
The materials provide students with opportunities to develop artistic skills by rehearsing and performing an ensemble song that strengthens vocal, reading, and echo-singing skills. In lesson 10 “Steps in Major Scales” on screen 5 “Step by Step (Full Score),” students practice these skills in the context of a complete musical selection rather than in disconnected drills. This approach helps students understand how individual skills work together during performance. As students rehearse and perform, they develop greater control, accuracy, and confidence. Therefore, the materials provide opportunities for students to develop discipline-specific artistic skills through performing at developmentally appropriate levels and in alignment with the course TEKS.
The materials also develop artistic skills through a performance task that combines reading, playing an instrument, and improvising. In lesson 12 “Improvising on a Major Scale” on screen 8 “G Major Scale Song,” students rehearse and perform a song while applying the specific skills taught in the lesson, which makes the task both musical and skill-based. This task gives students a structured opportunity to transfer new learning directly into performance. By combining several artistic processes into a single activity, the lesson supports fuller musical development. Therefore, the materials provide opportunities for students to develop discipline-specific artistic skills through performing at developmentally appropriate levels and in alignment with the course TEKS.
Evaluation for 4.2d
The materials provide students with opportunities to refine composition skills by creating and revising ostinato accompaniments using scaffolds from earlier instruction in a lesson. In lesson 30 “Writing Our Backing Music” on screen 7 “My Backing Music,” students work with syncopation in increasingly demanding ways as they apply previously introduced concepts in their own writing. This structure helps students move from guided practice into more independent musical decision-making. As students revise and improve their accompaniments, students demonstrate growing control over increasingly complex rhythmic ideas. Therefore, the 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.
The materials also strengthen improvisation skills through increasingly difficult scaffolded tasks. In lesson 12 “Improvising on a Major Scale” on screen 7 “G Major Improvisation,” students begin with guided call-and-response work and then move into more independent improvisation using a growing number of pitches from the G major scale. This sequence allows students to practice more complex choices in successive steps while still building on familiar material from earlier lessons in the module. The progression supports refinement by combining repetition, support, and increased musical freedom. Therefore, the 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.
Evaluation for 4.2e
The materials include summative performance tasks that require students to demonstrate mastery of tuneful singing. In lesson 36 “Family Day” on screen 13 “Step by Step (Video Performance),” students perform a song that has been rehearsed throughout the course, allowing the assessment to measure sustained skill development rather than a one-time attempt. This assessment helps educators judge whether students can sing accurately and musically after repeated instruction and practice. The performance serves as a clear indicator of whether the skill has reached mastery. Therefore, the materials include activities and tasks that require students to demonstrate mastery of discipline-specific artistic skills through performing at developmentally appropriate levels and in alignment with the course TEKS.
The materials also require students to demonstrate mastery by performing and presenting original compositions in groups. In lesson 33 “The Performance” on screen 4 “Commercial Performance,” students sing, play, and create as part of the performance, demonstrating that they can combine several artistic skills into a single finished product. This type of presentation measures mastery through authentic musical application rather than isolated practice. Because students must prepare and present original work, the activity provides strong evidence of independent artistic skill development. Therefore, the 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.
Evaluation for 4.3a
The materials provide opportunities for students to explore a variety of musical genres, styles, and performance experiences through singing, movement, improvisation, instrumental performance, and world music activities. In lesson 9 “Music from China,” screen 7 presents “Traditional Chinese Music,” and students explore traditional Chinese and American folk music. Students identify and describe similarities and differences in music, technique, and timbre between the two traditions. The lesson structures comparison as the primary mode of stylistic inquiry, developing students’ descriptive and analytical vocabulary. Therefore, the materials include opportunities for students to identify and describe musical styles and genres.
The materials provide lessons with activities that develop students’ ability to identify and describe musical styles and genres through listening, movement, and historical music experiences. In lesson 22 “The Impressionist Period,” screen 5 presents “Using What We Learned,” and students explore musical works from the following contrasting styles: Impressionist, pop, Baroque, and mariachi. Students identify and describe each style using genre-specific characteristics. The lesson develops students’ ability to distinguish and articulate differences across a wide range of musical styles. Therefore, the materials include opportunities for students to identify and describe musical styles and genres.
Evaluation for 4.3b
The materials embed creative composition tasks into the lessons, allowing students to create and perform original musical works. In lesson 12 “Improvising on a Major Scale,” students extend a familiar chosen song by creating expressive responses. Students may respond through dance, theatre, visual art, writing, improvising, and/or creating. This multimodal approach gives students flexibility in how they create and express musical ideas. Therefore, the materials include opportunities for students to create and perform musical works.
The materials provide opportunities for students to create, adapt, and extend artistic works by transforming musical understanding into original movement performances. In lesson 24 “Impressionist Period Composers,” students adapt a piece inspired by Ravel’s Boléro for performance. Students create ostinato accompaniments on instruments and reflect on their musical choices. This combination of composition, performance, and reflection reinforces creative ownership over the final musical product. Therefore, the materials include opportunities for students to create and perform musical works.
Evaluation for 4.3c
The materials include student agency activities in the lessons that guide educators in supporting students in making and reflecting on musical choices. In lesson 30 “Writing Our Backing Music,” screen 3 presents a “Rhythm Selectah!” section in which educators offer students options for creating and performing rhythm patterns. Students may use body percussion, instruments, or rhythm syllables. Educators model how to transfer spoken phrases into iconic notation, providing students with a pathway to record their creative work. This lesson gives students meaningful choices in both content and mode of expression. Therefore, the materials include opportunities for students to make musical choices and reflect on their selections.
The materials include student agency activities in lessons that give students opportunities to make and reflect on musical choices. In lesson 27 “Progressions Using I, IV, and V,” screen 7 presents a “Choose an I–IV–V Song - Chords and Lyrics (Review Randomizer)” section in which educators offer students options for selecting music for performance based on preference, knowledge, context, and skill. Educators also provide time for reflection and feedback after students perform. This structure requires students to articulate the reasoning behind their musical selections. Therefore, the materials include opportunities for students to make musical choices and reflect on their selections.
4.1 Artistic Literacy
4.1a
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic literacy in alignment with the course TEKS.
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic literacy in alignment with the course TEKS.
1 out of 1 points
Evaluation for 4.1a
Evaluation for 4.1a
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic literacy in alignment with the course TEKS.
1 out of 1 points
The materials include lesson guidance for educators to provide direct instruction on advanced scale concepts by comparing the whole tone scale with the major scale. For example, in lesson 23 “Impressionist Period Music” on screen 5 “The Whole Tone Scale,” educators describe how the whole tone scale is built entirely on whole steps, show the scale’s notation, and demonstrate the scale on a keyboard so that students can hear its distinctive sound. Educators encourage students to listen for and discuss how this scale creates a different mood from the familiar major scale. This approach builds vocabulary for talking about pitch collections and style. By linking clear explanation, notation, and performance, the lesson helps students deepen their understanding of how scales shape musical expression. Therefore, the materials include guidance for educators on providing explicit, direct instruction in discipline-specific artistic literacy aligned with the course TEKS.
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.
2 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.
2 out of 2 points
The materials connect new work on syncopation to earlier lessons on 16th-note combinations and rhythmic echoing in grade 5. In lesson 12 “Dotted Note Rhythms” on screen 2 “Identify Syncopation (Rhythm Patterns),” students review patterns they have already practiced in lessons 10 and 11 and then apply those familiar rhythmic building blocks to new syncopated examples. This sequence helps students understand syncopation as an extension of prior rhythmic learning rather than as a completely new skill. As the patterns become more complex, students continue building on knowledge developed earlier in the unit. Therefore the materials support explicit connections to prior learning across lessons and units within 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.
2 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.
2 out of 2 points
The materials reinforce artistic literacy vocabulary by labeling contrasting parts of a song with terms, such as chorus, descant, and ostinato. In lesson 8 “Descants, Parts, and Rounds” on screen 5 “Wade in the Water (Lyrics),” students read those terms on the screen and use the terms to identify and perform their assigned parts. This activity makes the vocabulary functional within the performance rather than separate from it. As students sing and respond to the labeled sections, they deepen their understanding of the terms through direct use. Therefore, the materials consistently support the development and use of discipline-specific artistic literacy vocabulary.
4.1d
Materials include activities and tasks that require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the course TEKS.
Materials include activities and tasks that require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the course TEKS.
1 out of 1 points
Evaluation for 4.1d
Evaluation for 4.1d
Materials include activities and tasks that require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the course TEKS.
1 out of 1 points
The materials also include summative assessment questions that check student understanding of melodic elements, such as scales, keys, and accidentals. For example, in lesson 12 “Improvising on a Major Scale” on screen 11 “5th - Module 4 - Melody Assessment (TX),” students respond to questions individually to demonstrate their ability to apply artistic literacy terms and concepts. The assessment helps educators determine how well students understand the vocabulary and ideas associated with melodic structure. Because the questions focus on key music concepts, the assessment provides direct evidence of student understanding. Therefore, the materials require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the TEKS 5.2.B.
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 materials also provide guidance for educators on showing students how to perform harmonic progressions with Boomwhackers. In lesson 27 “Progressions Using I, IV, and V” on screen 11 “Boomwhacker® Chord Bash,” the lesson reviews chord relationships and models how students should play each part to build the progression accurately. This direct instruction helps students connect their understanding of harmony to hands-on performance skills. By hearing, seeing, and playing the chords, students strengthen both technical control and musical understanding. Therefore, the materials include guidance for educators to provide explicit, direct instruction in discipline-specific artistic skills aligned with the course TEKS.
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.
2 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.
2 out of 2 points
The materials also connect new accompaniment-writing tasks to prior learning about ostinatos from earlier grades. In lesson 30 “Writing Our Backing Music” on screen 2 “Say It, Play It,” educators guide students to review what an ostinato is and how it functions before creating and performing their own rhythmic and melodic ostinatos in a live accompaniment setting. This structure helps students move from performing prewritten patterns to composing original ones based on a familiar concept. The lesson builds rigor by asking students to extend earlier knowledge into new creative work. Therefore, the materials support explicit connections between new artistic skills and prior learning across lessons and grades as applicable.
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
The materials also develop artistic skills through a performance task that combines reading, playing an instrument, and improvising. In lesson 12 “Improvising on a Major Scale” on screen 8 “G Major Scale Song,” students rehearse and perform a song while applying the specific skills taught in the lesson, which makes the task both musical and skill-based. This task gives students a structured opportunity to transfer new learning directly into performance. By combining several artistic processes into a single activity, the lesson supports fuller musical development. Therefore, the materials provide opportunities for students to develop discipline-specific artistic skills through performing at developmentally appropriate levels and in alignment with the course TEKS.
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 materials also strengthen improvisation skills through increasingly difficult scaffolded tasks. In lesson 12 “Improvising on a Major Scale” on screen 7 “G Major Improvisation,” students begin with guided call-and-response work and then move into more independent improvisation using a growing number of pitches from the G major scale. This sequence allows students to practice more complex choices in successive steps while still building on familiar material from earlier lessons in the module. The progression supports refinement by combining repetition, support, and increased musical freedom. Therefore, the 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.
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 materials also require students to demonstrate mastery by performing and presenting original compositions in groups. In lesson 33 “The Performance” on screen 4 “Commercial Performance,” students sing, play, and create as part of the performance, demonstrating that they can combine several artistic skills into a single finished product. This type of presentation measures mastery through authentic musical application rather than isolated practice. Because students must prepare and present original work, the activity provides strong evidence of independent artistic skill development. Therefore, the 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.
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).
1 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).
1 out of 1 points
The materials provide lessons with activities that develop students’ ability to identify and describe musical styles and genres through listening, movement, and historical music experiences. In lesson 22 “The Impressionist Period,” screen 5 presents “Using What We Learned,” and students explore musical works from the following contrasting styles: Impressionist, pop, Baroque, and mariachi. Students identify and describe each style using genre-specific characteristics. The lesson develops students’ ability to distinguish and articulate differences across a wide range of musical styles. Therefore, the materials include opportunities for students to identify and describe musical styles and genres.
4.3b
Materials provide opportunities for students to create, adapt, or extend discipline-specific artistic works for performance, exhibition, or presentation (in line with appropriate fair use and copyright).
Materials provide opportunities for students to create, adapt, or extend discipline-specific artistic works for performance, exhibition, or presentation (in line with appropriate fair use and copyright).
1 out of 1 points
Evaluation for 4.3b
Evaluation for 4.3b
Materials provide opportunities for students to create, adapt, or extend discipline-specific artistic works for performance, exhibition, or presentation (in line with appropriate fair use and copyright).
1 out of 1 points
The materials provide opportunities for students to create, adapt, and extend artistic works by transforming musical understanding into original movement performances. In lesson 24 “Impressionist Period Composers,” students adapt a piece inspired by Ravel’s Boléro for performance. Students create ostinato accompaniments on instruments and reflect on their musical choices. This combination of composition, performance, and reflection reinforces creative ownership over the final musical product. Therefore, the materials include opportunities for students to create and perform musical works.
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.
1 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.
1 out of 1 points
The materials include student agency activities in lessons that give students opportunities to make and reflect on musical choices. In lesson 27 “Progressions Using I, IV, and V,” screen 7 presents a “Choose an I–IV–V Song - Chords and Lyrics (Review Randomizer)” section in which educators offer students options for selecting music for performance based on preference, knowledge, context, and skill. Educators also provide time for reflection and feedback after students perform. This structure requires students to articulate the reasoning behind their musical selections. Therefore, the materials include opportunities for students to make musical choices and reflect on their selections.
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
100% (11 out of 11 points)
Evaluation for 5.1a
The materials provide educator guidance to support students in interpreting, evaluating, and responding to artistic works. In lesson 22 “The Impressionist Period,” screen 9 presents a “Classical Connections - The Impressionist Period” section in which educators explain key musical concepts from each piece. Educators then guide students in interpreting, evaluating, and responding to those concepts. This lesson integrates content instruction with educator-led critical response to support students as they engage with discipline-specific artistic works. Therefore, the materials include educator guidance for supporting students in interpreting, evaluating, and responding to artistic works.
The materials provide educator guidance to support students in interpreting, evaluating, and responding to artistic works. In lesson 16 “Performance Evaluations,” screen 5 presents a “Santa’s Secret Helpers” section in which educators guide students in evaluating and responding to a performance. Educators use the criteria established on screen 4 as the basis for this evaluation. Educators also model how to provide feedback, giving students a clear structure for critical response. Therefore, the materials include educator guidance for supporting students in interpreting, evaluating, and responding to artistic works.
Evaluation for 5.1b
The materials provide lessons with structured opportunities for students to use discipline-specific vocabulary to evaluate and respond to musical works. For example, in lesson 27 “Progressions Using I, IV, and V,” screen 13 presents “Progressions Using I, IV, and V (My Song Selection and Explanation).” In this activity, the educator guides students to respond to music by analyzing and writing an explanation for a chosen song. Students’ explanations must include music vocabulary, a description of the song’s chord progression, and stylistic characteristics. The lesson plan notes guide the educator in displaying and reviewing the on-screen rubric and model examples in accordance with the provided guidelines. Students receive clear scaffolding for using discipline-specific language in their written responses. Therefore, the materials include opportunities for students to use discipline-specific vocabulary to evaluate and respond to musical works.
The materials provide structured lessons that emphasize discipline-specific vocabulary, guiding students to use musical terms as they interpret, evaluate, and respond to a musical work. For example, iIn lesson 13 “D.C. al Fine and D.S. al Fine,” screen 4 presents “Our Time Is Now (Explore Form Markings)” in which educators review and explain form markings. Educators guide students to use musical vocabulary when responding to the music and explaining their selections. Educators model examples using sentence stems, providing students with structured support for discipline-specific expression. This progression ensures that instruction consistently integrates discipline-specific vocabulary, strengthening students’ ability to communicate and analyze musical ideas using appropriate artistic language.
Evaluation for 5.1c
The materials sequence listening activities to build students’ skills in interpreting and responding to musical works using music vocabulary. For example, in lesson 10 “Steps in Major Scales,” screen 13 presents “Steps in Major Scales (Audio Playlist)” in which students respond to each piece of music by identifying and discussing its musical elements. This activity increases in rigor in lesson 10 “Steps in Major Scales” which assesses students on their use of musical terms to explain the music they hear. The progression across lessons deepens students’ listening and interpretive skills through increasing accountability. Therefore, the materials include opportunities for students to listen to, interpret, and respond to musical works using musical vocabulary in activities and tasks that progressively increase in rigor and complexity over lessons.
The materials sequence listening activities to build students’ skills in interpreting and responding to musical works using music vocabulary. In lesson 15 “Use of Dynamics,” screen 9 presents “Dynamic Dynamic Activities (Review Randomizer)” in which students practice increasingly complex activities involving listening, interpreting, and responding to music. All activities review dynamic concepts learned earlier in the lesson. This structure reinforces students’ ability to apply music vocabulary in context as complexity grows. Therefore, the materials include opportunities for students to listen to, interpret, and respond to musical works using musical vocabulary in activities and tasks that progressively increase in rigor and complexity over lessons.
Evaluation for 5.2a
The materials provide lessons with guidance for educators to deliver explicit feedback. In lesson 33 “The Performance” on screen 5 “Evaluation Time,” students evaluate and give feedback on peers’ musical work. Students use rubric criteria, educator guidance, and modeling to structure their feedback. Educators provide prompts to support this direct instruction. Therefore, the materials include guidance for educators on providing explicit, direct instruction in giving and receiving feedback on discipline-specific artistic works to self and other students.
The materials provide lessons with guidance for educators to explicitly instruct students in giving peer feedback. In lesson 10 “Steps in Major Scales” on screen 9 “Create a C Major Melody,” the “Feedback Strategy” box addresses this instruction. Students share their compositions with others in a structured exchange. The “Effective Feedback” dialogue box models specific feedback language for students. Students give feedback on their peers’ work using these provided strategies. Therefore, the materials include guidance for educators on providing explicit, direct instruction in giving and receiving feedback on discipline-specific artistic works to self and other students.
Evaluation for 5.2b
The materials provide lessons that offer students opportunities to give feedback on their classmates’ artistic work. In lesson 33 “The Performance” on screen 5 “Evaluation Time,” students evaluate and provide feedback on their peers’ musical work. Students apply rubric criteria alongside educator guidance and modeling. Provided prompts help students structure specific, actionable feedback. Therefore, the materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students.
The lessons incorporate peer feedback into the composition process to strengthen students’ musical decision-making. In lesson 10 “Steps in Major Scales” on screen 9 “Create a C Major Melody,” students share their compositions with others. The “Feedback Strategy” box and “Effective Feedback” dialogue box support this exchange. Students give feedback on their peers’ work using the provided feedback strategies. Students practice naming specific musical strengths in a classmate’s composition. By providing structured peer feedback opportunities centered on targeted musical concepts, the materials develop students’ ability to thoughtfully evaluate and respond to artistic works created by others.
Evaluation for 5.2c
The materials provide opportunities for students to receive feedback from educators and peers. For example, in lesson 18 “Identifying Music Styles” on screen 9 “Quaver’s Evaluation Station,” the “Feedback Strategy” box addresses this exchange. Students receive targeted verbal feedback. Students receive this feedback from both their peers and their educators. Students use this feedback to refine future performances. Therefore, the materials provide opportunities for students to receive feedback on their discipline-specific artistic works from educators and peers.
The materials provide opportunities for students to incorporate structured feedback opportunities that support artistic refinement. In lesson 32 “Putting It All Together” on screen 4 “Commercial Project,” the “Feedback Strategy” box addresses this exchange. Students receive constructive, targeted verbal feedback. Students receive this feedback from both their peers and their educators. Students use this feedback to refine their performance. Regular, consistent opportunities to receive and apply discipline-specific feedback reinforce students’ artistic growth and encourage thoughtful performance modifications throughout the creative process.
Evaluation for 5.2d
The materials provide guidance for educators to give feedback that helps students refine their work. For example, in lesson 23 “Impressionist Period Music” on screen 4 “Exploring Boundaries of Timbre and Dynamics,” the “Feedback Strategy” box addresses this guidance. Educators provide actionable feedback using specific examples. This feedback helps students refine their performances and instrument-playing techniques. Students apply this specific guidance to improve their playing. Therefore, the materials include guidance for educators to provide feedback to students to refine their discipline-specific artistic works.
The materials provide educators with scaffolded strategies for refining student performance through targeted feedback. For example, in lesson 2 “Meter Review” on screen 12 “Around the Green Gravel (Full Score),” the “Feedback Strategy” box addresses this guidance. Educators give targeted feedback. This feedback helps students refine their performances. Students also refine their application of musical concepts using this feedback. These scaffolded instructional supports enable educators to guide students in improving and refining their musical accuracy and expressive performance.
Evaluation for 5.2e
The materials provide opportunities for students to self-evaluate their performances. In lesson 2 “Meter Review” on screen 13 “Rocky Mountain / Walking Home (Choral Score),” the “Feedback Strategy” box guides this self-evaluation. Students engage in self-reflection of their performances. Students evaluate their accuracy, expressiveness, and interpretation of the music. Students use this self-reflection to refine future performances. Therefore, the materials provide opportunities for students to engage in self-reflection or self-evaluation to refine their discipline-specific artistic works.
The lessons embed self-reflection throughout instruction to help students monitor their musical growth. In lesson 14 “Use of Accidentals” on screen 5 “Our Time Is Now (Play-Along),” the “Feedback Strategy” box guides this self-evaluation. Students self-evaluate their progress and engage in self-reflection to refine their performances using provided prompts. Students also draw on the educator guidance in the “Effective Feedback” dialogue box. This ongoing self-evaluation process promotes student ownership and supports continuous improvement in musical performance and understanding.
5.1 Evaluating and Responding to Artistic Works
5.1a
Materials include guidance for teachers to provide explicit (direct) instruction in interpreting, evaluating, and responding to discipline-specific artistic works of other artists at the level of depth and complexity required by the course TEKS.
Materials include guidance for teachers to provide explicit (direct) instruction in interpreting, evaluating, and responding to discipline-specific artistic works of other artists at the level of depth and complexity required by the course TEKS.
1 out of 1 points
Evaluation for 5.1a
Evaluation for 5.1a
Materials include guidance for teachers to provide explicit (direct) instruction in interpreting, evaluating, and responding to discipline-specific artistic works of other artists at the level of depth and complexity required by the course TEKS.
1 out of 1 points
The materials provide educator guidance to support students in interpreting, evaluating, and responding to artistic works. In lesson 16 “Performance Evaluations,” screen 5 presents a “Santa’s Secret Helpers” section in which educators guide students in evaluating and responding to a performance. Educators use the criteria established on screen 4 as the basis for this evaluation. Educators also model how to provide feedback, giving students a clear structure for critical response. Therefore, the materials include educator guidance for supporting students in interpreting, evaluating, and responding to artistic works.
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.
1 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.
1 out of 1 points
The materials provide structured lessons that emphasize discipline-specific vocabulary, guiding students to use musical terms as they interpret, evaluate, and respond to a musical work. For example, iIn lesson 13 “D.C. al Fine and D.S. al Fine,” screen 4 presents “Our Time Is Now (Explore Form Markings)” in which educators review and explain form markings. Educators guide students to use musical vocabulary when responding to the music and explaining their selections. Educators model examples using sentence stems, providing students with structured support for discipline-specific expression. This progression ensures that instruction consistently integrates discipline-specific vocabulary, strengthening students’ ability to communicate and analyze musical ideas using appropriate artistic language.
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.
2 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.
2 out of 2 points
The materials sequence listening activities to build students’ skills in interpreting and responding to musical works using music vocabulary. In lesson 15 “Use of Dynamics,” screen 9 presents “Dynamic Dynamic Activities (Review Randomizer)” in which students practice increasingly complex activities involving listening, interpreting, and responding to music. All activities review dynamic concepts learned earlier in the lesson. This structure reinforces students’ ability to apply music vocabulary in context as complexity grows. Therefore, the materials include opportunities for students to listen to, interpret, and respond to musical works using musical vocabulary in activities and tasks that progressively increase in rigor and complexity over lessons.
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.
2 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.
2 out of 2 points
The materials provide lessons with guidance for educators to explicitly instruct students in giving peer feedback. In lesson 10 “Steps in Major Scales” on screen 9 “Create a C Major Melody,” the “Feedback Strategy” box addresses this instruction. Students share their compositions with others in a structured exchange. The “Effective Feedback” dialogue box models specific feedback language for students. Students give feedback on their peers’ work using these provided strategies. Therefore, the materials include guidance for educators on providing explicit, direct instruction in giving and receiving feedback on discipline-specific artistic works to self and other students.
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 lessons incorporate peer feedback into the composition process to strengthen students’ musical decision-making. In lesson 10 “Steps in Major Scales” on screen 9 “Create a C Major Melody,” students share their compositions with others. The “Feedback Strategy” box and “Effective Feedback” dialogue box support this exchange. Students give feedback on their peers’ work using the provided feedback strategies. Students practice naming specific musical strengths in a classmate’s composition. By providing structured peer feedback opportunities centered on targeted musical concepts, the materials develop students’ ability to thoughtfully evaluate and respond to artistic works created by others.
5.2c
Materials provide opportunities for students to receive feedback on their discipline-specific artistic works from teachers and other students.
Materials provide opportunities for students to receive feedback on their discipline-specific artistic works from teachers and other students.
2 out of 2 points
Evaluation for 5.2c
Evaluation for 5.2c
Materials provide opportunities for students to receive feedback on their discipline-specific artistic works from teachers and other students.
2 out of 2 points
The materials provide opportunities for students to incorporate structured feedback opportunities that support artistic refinement. In lesson 32 “Putting It All Together” on screen 4 “Commercial Project,” the “Feedback Strategy” box addresses this exchange. Students receive constructive, targeted verbal feedback. Students receive this feedback from both their peers and their educators. Students use this feedback to refine their performance. Regular, consistent opportunities to receive and apply discipline-specific feedback reinforce students’ artistic growth and encourage thoughtful performance modifications throughout the creative process.
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
The materials provide educators with scaffolded strategies for refining student performance through targeted feedback. For example, in lesson 2 “Meter Review” on screen 12 “Around the Green Gravel (Full Score),” the “Feedback Strategy” box addresses this guidance. Educators give targeted feedback. This feedback helps students refine their performances. Students also refine their application of musical concepts using this feedback. These scaffolded instructional supports enable educators to guide students in improving and refining their musical accuracy and expressive performance.
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
The lessons embed self-reflection throughout instruction to help students monitor their musical growth. In lesson 14 “Use of Accidentals” on screen 5 “Our Time Is Now (Play-Along),” the “Feedback Strategy” box guides this self-evaluation. Students self-evaluate their progress and engage in self-reflection to refine their performances using provided prompts. Students also draw on the educator guidance in the “Effective Feedback” dialogue box. This ongoing self-evaluation process promotes student ownership and supports continuous improvement in musical performance and understanding.
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
100% (5 out of 5 points)
Evaluation for 6.1a
The materials provide guidance for educators to deliver direct instruction on cross-curricular connections. In lesson 24 “Impressionist Period Composers” on screen 4 “Talk to Debussy,” the “Cross-Curricular Connection” box addresses this instruction. Educators deliver direct instruction on interdisciplinary connections. Educators link and compare Impressionist paintings with the music of the same period. Students see the direct parallel between visual art and musical style. Therefore, the materials 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.
The materials include resources that equip educators with grade-specific guidance for integrating music instruction with core academic subjects. In lesson 24 “Impressionist Period Composers” on screen 2 “Which Period Is It?” the “Cross-Curricular Connection” box addresses this instruction. Educators guide students to connect music from diverse periods to historical events and inventions. The “Workbook Connection” box also provides a PDF connecting music and math. Students fill in blanks with notation to make each equation mathematically true. These integrated learning experiences help students apply musical concepts while making meaningful connections to science, history, geography, culture, and movement.
Evaluation for 6.1b
The materials provide opportunities for students to explore cross-curricular connections. In lesson 2 “Meter Review” on screen 8 “Song Detectives: You’re a Grand Old Flag,” the “Cross-Curricular Connection” box addresses this exploration. Students explore connections between music and social studies. Students study the patriotic song’s origin, purpose, and composer. Students also examine the song’s historical and cultural context. Therefore, the materials provide opportunities for students to explore cross-curricular connections within and across the fine arts disciplines and between the fine arts and core academic subjects.
The lessons provide opportunities for students to explore meaningful connections among music, science, mathematics, and social studies through the study of Chinese culture. In lesson 9 “Music from China” on screen 9 “Connect with Music,” students explore connections among a traditional Chinese song, China’s geography, and its people. Students also examine the song’s culture and purpose. Students connect this music to other academic subjects. These integrated experiences help students recognize how music relates to culture and artistic expression.
Evaluation for 6.2a
The materials include guidance for educators to deliver direct instruction on historical and cultural context. In lesson 7 “SATB Music and Bass Clef,” screen 12 “Texas, Our Texas” addresses this instruction. Educators deliver direct instruction on historical and cultural context. Educators use explanation, checks for understanding, and discussion. This instruction aligns with the TEKS 5.5.D. Therefore, the materials include guidance for educators to provide explicit, direct instruction on relevant, discipline-specific historical and cultural context aligned with the course TEKS.
The materials include explicit guidance to help educators connect music to its historical and cultural significance. In lesson 8 “Descants, Parts, and Rounds,” screen 6 “Wade in the Water (Connections)” addresses this instruction. Educators deliver direct instruction on an African American spiritual. Educators use explanation and discussion to convey historical and cultural context. This instruction aligns with the TEKS 5.5.C. These embedded instructional supports help educators situate musical works in authentic historical contexts and deepen students’ understanding of their cultural significance.
Evaluation for 6.2b
The materials offer students opportunities to explore artistic works and traditions from diverse cultures. In lesson 21 “Strings and Music Styles,” screen 11 “Cielito Lindo (Video Performance)” addresses this exploration. Students explore string instruments in diverse styles. Students engage with a performance of a traditional mariachi song. Students listen, analyze, and discuss this performance together. Therefore, the materials provide opportunities for students to explore a variety of discipline-specific artistic works and traditions.
The materials offer students opportunities to explore how music is created by diverse communities. In lesson 11 “Major Scales and Key Signatures,” screen 12 “Piano Sonata in C minor - 1. Allegro moderato (About the Piece)” addresses this exploration. Students explore a Romantic-period sonata. The sonata was written by Fanny Mendelssohn Hensel, a female composer. Students listen, analyze, and respond verbally to the piece. These learning experiences broaden the students’ appreciation of how music reflects the identity of the communities that create the music.
Evaluation for 6.2c
The materials include lessons with activities that require students to demonstrate their understanding of historical and cultural context. In lesson 28 “Creating a Commercial Project” on screen 9 “QuaverBook - Showtunes,” students complete an assessment activity. The activity formatively assesses students’ understanding of showtune music. Students demonstrate knowledge of the historical and cultural connections within this genre. This activity aligns with the TEKS 5.5.D. Therefore, the materials include activities and tasks that require students to demonstrate an understanding of relevant discipline-specific historical and cultural context aligned with the course TEKS.
The materials include lessons with activities that engage students in demonstrating their understanding of music within its cultural context. In lesson 4 “Rhythm and Dynamics Review” on screen 9 “Reggae Book—Advanced,” students complete an assessment activity. The materials evaluate students’ understanding of reggae music through formative assessment. Students demonstrate knowledge of the historical and cultural connections within this genre. This activity aligns with the TEKS 5.5.C. These assessment tasks encourage students to demonstrate how cultural traditions and historical influences shape musical expression through thoughtful listening, discussion, and performance.
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.
1 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.
1 out of 1 points
The materials include resources that equip educators with grade-specific guidance for integrating music instruction with core academic subjects. In lesson 24 “Impressionist Period Composers” on screen 2 “Which Period Is It?” the “Cross-Curricular Connection” box addresses this instruction. Educators guide students to connect music from diverse periods to historical events and inventions. The “Workbook Connection” box also provides a PDF connecting music and math. Students fill in blanks with notation to make each equation mathematically true. These integrated learning experiences help students apply musical concepts while making meaningful connections to science, history, geography, culture, and movement.
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 lessons provide opportunities for students to explore meaningful connections among music, science, mathematics, and social studies through the study of Chinese culture. In lesson 9 “Music from China” on screen 9 “Connect with Music,” students explore connections among a traditional Chinese song, China’s geography, and its people. Students also examine the song’s culture and purpose. Students connect this music to other academic subjects. These integrated experiences help students recognize how music relates to culture and artistic expression.
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.
1 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.
1 out of 1 points
The materials include explicit guidance to help educators connect music to its historical and cultural significance. In lesson 8 “Descants, Parts, and Rounds,” screen 6 “Wade in the Water (Connections)” addresses this instruction. Educators deliver direct instruction on an African American spiritual. Educators use explanation and discussion to convey historical and cultural context. This instruction aligns with the TEKS 5.5.C. These embedded instructional supports help educators situate musical works in authentic historical contexts and deepen students’ understanding of their cultural significance.
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
The materials offer students opportunities to explore how music is created by diverse communities. In lesson 11 “Major Scales and Key Signatures,” screen 12 “Piano Sonata in C minor - 1. Allegro moderato (About the Piece)” addresses this exploration. Students explore a Romantic-period sonata. The sonata was written by Fanny Mendelssohn Hensel, a female composer. Students listen, analyze, and respond verbally to the piece. These learning experiences broaden the students’ appreciation of how music reflects the identity of the communities that create the music.
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 lessons with activities that engage students in demonstrating their understanding of music within its cultural context. In lesson 4 “Rhythm and Dynamics Review” on screen 9 “Reggae Book—Advanced,” students complete an assessment activity. The materials evaluate students’ understanding of reggae music through formative assessment. Students demonstrate knowledge of the historical and cultural connections within this genre. This activity aligns with the TEKS 5.5.C. These assessment tasks encourage students to demonstrate how cultural traditions and historical influences shape musical expression through thoughtful listening, discussion, and performance.