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AERO Music
Philosophy
AERO
Music Opportunity to Learn Statement
Music
Standards in linear format
Music
Standards in chart format
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The arts fulfill a human need
to express and respond to life experience. This universal
need has led to
the development of artistic expression in all societies,
past and present. The arts reflect the deepest values and
beliefs of a culture. Arts education develops students’ understanding
of diverse peoples and cultures and is necessary to ensure
that their experiences with the arts enrich and illuminate
their lives.
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Music is basic to the human
experience – it
is a fundamental source of communication, expression and understanding.
Music education prepares students for lifetime involvement
with music not only as audience members, but as active participants
in performing and creating, thereby enabling them to contribute
to the richness and progress of their own culture.
A quality music education benefits students,
schools, and society in many important ways. Music is a
key component
for the development of the total child. Students who receive
a quality music education can develop self-discipline, task
focus, creativity, the ability to work effectively as members
of a team, and a positive attitude toward school. When integrated
into the broader educational program of the school, music
can improve learning in other subjects by addressing individual
students’ varied interests and learning styles. Music
also develops a sense of community, bringing performers and
audience together in an active and participatory context.
In a quality, standards-based music program,
students are actively engaged in performing, creating,
and responding
to music. Instruction facilitates student-to-teacher and
student-to-student communication through music, words, and
notation. Over time students develop a broader perspective
by studying music from a variety of cultures and historical
periods, including – in international schools – the
music of the host country. The curriculum, although sequential,
is flexible to accommodate students entering with a variety
of backgrounds and abilities. Through collaboration with
colleagues and integration of community resources, the instructor
encourages students to connect music learning with other
disciplines.
Music
classes meet frequently throughout students’ K-8
schooling. Music classrooms provide appropriate
space and equipment for performing, listening to and evaluating
music, enabling students to compare their own work with peers’ and
exemplars. Diagnostic, formative and summative assessments
are integrated into instruction to ensure musical understanding,
to reveal successes, and to build a progressive program.
Performance venues encourage aesthetic appreciation from
both performer and audience.
The instructor exhibits a passionate enjoyment of music
that has the potential to inspire students to engage in lifelong
musical experiences. The individual student, performing ensembles
and school community as a whole value music and the place
that it has in their lives.
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AERO
Music Opportunity to Learn Statement (Click
here for printer friendly version)
The quality music education envisioned in the AERO standards
is possible only when schools provide students with essential
resources that collectively offer the opportunity to learn.
Substantial and frequent instruction by knowledgeable teachers
is the most essential condition for student learning in any
art form. Many of the other key resources for quality arts
programs, such as facilities and equipment, differ from those
required for any other program in the school, and also vary
considerably from one arts discipline to another. This section
of the AERO Music Standards document presents some of the
key resources essential for a music program to deliver on
the vision outlined in the standards.
A detailed and considerably more comprehensive description
of the staffing, facilities, equipment, materials, leadership,
and other resources necessary for quality instruction in
each art form can be found in the national document, Opportunity-to-Learn
Standards for Arts Education. More detailed guidelines for
facilities and other helpful information are available from
the professional arts education organizations.
Essential Resources for International Music Program Teachers
Personal Expertise
Musical
expertise (applied musicianship coupled with knowledge
of music of varied cultures, including
Western)
Knowledge and skill in educational Best Practices
- Knowledge
of established general music pedagogies (e.g., Kodaly,
Orff, Suzuki, Music Learning Theory, Dalcroze Eurythmics)
and experience in delivering at
least one pedagogy relevant
to the teaching assignment
- Knowledge
of and experience with contemporary models and theories
of curriculum and assessment
(e.g., Understanding by Design, rubrics, portfolio assessment,
updated Bloom’s
Taxonomy )
Access
to and support for continued professional development,
including
musicianship and
music pedagogy
Curriculum
Clear,
standards-based curriculum outlined for each grade level
and course
Room (Instructional Facility)
- Adequate
seating
- Space
for movement
- White
board visible throughout
- Free
of outside noise
Technology & Equipment
- High
quality sound reproduction and recording equipment
- Level-appropriate
musical instruments
- Piano
or quality electronic keyboard
- Compositional
software and hardware (especially in grades 5-12),
with technical
support
Program of Study
Elementary Music (Grades 1-5)
- At
least twice per week with a music specialist, no
less than sixty minutes of specialized instruction
- Grades
3-5 have additional opportunities for chorus and
beginning band or orchestra
Middle school
Required General Music courses that last throughout the academic
year.
- Study
on harmonizing instrument such as piano or guitar
- Compositional
studies on electronic instruments
- Opportunities
for additional or specialized studies in chorus and
band
or orchestra
High School
- Specialization
in choir, band, or orchestra through electives for
varying levels of expertise
- (Where
population supports qualified faculty) Elective opportunities
to specialize
in composition, a harmonizing instrument,
theory, or musicology (music history)
Continuity of program
- Students
are required to study music on a regular basis through
grades K-8
Respect for host country and student population
- Differentiated
instruction to accommodate varied levels
- Induction
support from administration for new students
- Curriculum
teaches Western music while also affirming the traditions
of the host country and significant
student populations in school
Atmosphere/Climate
Movement,
Energy, Creativity, Expression, and Excitement
Note: Significant portions of this AERO document have been
adapted from A Guide to K-12 Program Development in the Arts.
Hartford, CT: Connecticut State Department of Education,
2001.
i
Consortium of National Arts Education Associations.¬ Opportunity-to-Learn
Standards for Arts Education. Reston, VA: NAEA, 1995.
ii Geerdes, Harold P. Music Facilities: Building, Equipping, and Renovating.
Reston,
VA: MENC, 1987.
NAEA. Design Standards for School Art Facilities. Reston, VA: NAEA, 1993.
Additional publications in dance are available from the National Dance Association
at (703) 476-3436.
Theatre materials are available from the American Alliance for Theatre and Education
at (602) 965-6064.
iii Anderson, Lorin and Krathwohl, David (ed.) (2001). A Taxonomy for Learning,
Teaching,
and Assessing. New York: Addison Wesley Longman, Inc. (www.ablongman.com)
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PERFORM
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1.
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Sing
and play a varied repertoire of music |
By the end of grade 2:
a.
Echo a variety of short rhythmic and melodic patterns
b. Demonstrate a steady beat and accuracy on age appropriate
rhythm patterns when singing, speaking, and playing classroom
instruments
c. Sing and play simple songs from various cultures in tune,
accurately, and expressively (by imitation) with appropriate
posture
d. Maintain melodic and rhythmic accuracy when singing ostinati,
partner songs, or simple canons in a group
e. Accompany simple harmonic songs on classroom instruments
with appropriate dynamics
f. Demonstrate proper performance skills:
- Respond to cues of a conductor (tempo, start and stop)
- Use correct performance etiquette
By
the end of grade 5:
a.
Sing or play ostinati, partner songs, canons, and simple
two-part harmony
b. Demonstrate a steady beat and accuracy on age appropriate
rhythm patterns when singing, speaking, and playing instruments
in both small and large ensembles
c. Sing and play simple songs from the host country and large
subgroups of the school population accurately and expressively
(by imitation) with appropriate posture
d. Sing and play songs from a variety of historical periods
and world cultures expressively with appropriate dynamics,
phrasing, tone, diction, and posture
e. Perform simple harmonic accompaniments with appropriate
phrasing, dynamics, and chordal sequence/structure
f. Demonstrate proper performance skills:
- Respond to cues of a conductor (phrasing, dynamics, and
style)
- Use performance etiquette appropriate to a variety of styles
of performance
By the end of grade 8:
a.
Perform a moderately difficult repertoire of music representing
various genres, styles, and cultures, including that of the host
country and large subgroups of the school population, with expression
and technical accuracy
b. Independently select repertoire, prepare, and perform alone
and with others in an expressive and accurate manner (considering:
length of program, intended audience, rehearsal preparation,
stylistic considerations, and individual interpretation)
By the end of grade 12:
a.
Follow a systematic investigation of formal and conceptual issues
when creating art and building a portfolio.
PERFORM
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2.
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Read
music from traditional and nontraditional notation |
By
the end of grade 2:
a.
Read simple rhythmic and melodic patterns (e.g. using eighth,
quarter, half notes, rests, and the do-pentatonic scale)
b. Use a system (e.g. solfege syllables, numbers, letters) to read
simple pitch notation in the treble clef
c. Sightread simple rhythmic and melodic patterns
By
the end of grade 5:
a.
Read rhythmic and melodic patterns (e.g. sixteenth notes, dotted
rhythms, diatonic scale, and letter names)
b. Identify, interpret, and use standard notation symbols for
meter, pitch, rhythm, dynamics, tempo, articulation, and expression
c. Sightread simple rhythms and melodies
By
the end of grade 8:
a.
Recognize and interpret symbols and terms referring to the elements
of music (including but not limited to: pitch, rhythm, articulation,
tempo, meter, dynamics, melody, harmony)
b. Sightread accurately at a developmentally appropriate level
By
the end of grade 12:
a.
Read a musical score with enough fluency to lead a small ensemble
b. Sightread music of a medium level of difficulty accurately and
expressively
PERFORM
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3.
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Analyze
and evaluate own performances |
By
the end of grade 2:
a.
Describe and reflect on musical performances using age-appropriate
criteria (e.g. clarity of words, pitch accuracy, speed, steady
beat)
b. Describe and reflect on performance etiquette (e.g.
stage behavior)
By
the end of grade 5:
a.
Describe and critique musical performances using appropriate
music terminology (e.g. intonation, balance, phrasing, dynamics)
and criteria
b. Describe and reflect on performance etiquette (e.g. solo and ensemble
stage presence)
By
the end of grade 8:
a.
Identify and apply stylistically appropriate criteria for evaluating
the effectiveness of a variety of performances, using music
vocabulary,
b. Critique performance etiquette using appropriate criteria
By
the end of grade 12:
a.
Analyze the effectiveness of musical choices, including interpretation,
in performances
PERFORM
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4.
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Improvise
melodies, variations, and accompaniments |
By
the end of grade 2:
a.
Improvise matching “answers” to given simple
rhythmic and melodic phrases
By
the end of grade 5:
a.
Improvise phrases that include both rhythm and melody
b. Improvise a simple variation on a familiar melody
(e.g. melodic embellishment, rhythmic alteration)
By
the end of grade 8:
a.
Improvise short melodies, unaccompanied and with given rhythmic
accompaniments, each in a consistent style, meter, and tonality
b. Improvise variations on a simple melody that involve both
rhythm and pitch
By
the end of grade 12:
a.
Improvise extended melodies, unaccompanied and with
given rhythmic accompaniments, each in a consistent style,
meter, and tonality
b. Improvise variations in different styles based on
a melody
c. Improvise simple harmonizations (e.g. vocalize harmony
line, guitar or keyboard chords)
Create
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5.
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Compose
and arrange music using notation |
By the end of grade 2:
a.
Create and notate simple rhythmic and melodic patterns
b. Create simple arrangements and accompaniments of known songs
using classroom instruments
By
the end of grade 5:
a.
Compose and notate melodies using traditional notation
b. Arrange accompaniments to familiar songs (e.g. bass lines, chords)
c. Create and arrange short songs/ accompaniments to stories, poems,
dramatizations and/or instrumental pieces using pitched and unpitched
instruments
d. Read and play standard chord sy
By the end of grade 8:
a. Compose
and notate a medium-length song for two to four voices using
teacher-specified guidelines
b. Arrange a given piece of music for different instrumentation
c. Compose a short piece for non-traditional sounds or electronic
media
d. Explain why various forms of notation evolved (i.e., chant,
guitar tablature, lead sheets, percussion notation, 20th century)
e. Create and notate a harmonic accompaniment for a simple melody
(e.g. I, IV, V)
By the end of grade 12:
a.
Create and notate a four-voice composition using appropriate
conventions suitable to the style chosen
b. Arrange a given piece of music for different instrumentation
using at least one transposing instrument
c. Compose and notate a piece for non-traditional sounds or
electronic media
d. Create a composition demonstrating functional harmony that
incorporates modulations and secondary dominants
Create
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6.
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Analyze
and evaluate own creations |
By
the end of grade 2:
a.
Describe and reflect on own musical creations using age-appropriate
language
By
the end of grade 5:
a. Describe
and critique own musical creations using appropriate music terminology
and criteria
b. Compare own creations with the creations of other students
using appropriate terminology and criteria
By
the end of grade 8:
a.
Explain own compositional choices using appropriate music terminology
and criteria
b. Compare own compositions with those of established composers
using appropriate terminology and style-appropriate criteria
c. Compare own improvisations with those of established improvisers
using appropriate terminology and style-appropriate criteria
By
the end of grade 12:
a.
Justify own compositional choices using appropriate music terminology
and criteria
b. Compare the effectiveness of own compositions to those of other
students and masters based on stylistic conventions
c. Compare the effectiveness of own improvisations to those of
other students and masters based on stylistic conventions
Respond
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7.
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Understand
the historical contributions and cultural dimensions of music |
By the end of grade 2:
a.
Identify connections between music of various time periods, cultures,
and composers
b. Sing, listen to and describe music representative of different
activities and celebrations in a variety of world cultures
By
the end of grade 5:
a.
Compare and contrast characteristics of music from various time
periods, cultures, and composers (e.g. Baroque style, programmatic
music, instrumentation, folk songs)
b. Explain or demonstrate how music is used in various world cultures
(including host country and subgroups of the student population)
c. Analyze the contributions and life histories of a variety of
composers and musicians from different cultures and places
By the end of grade 8:
a. Identify
and explain the stylistic characteristics of various periods of
Western classical music
b. Explain the roles of musicians and composers (e.g., orchestra
conductor, folk singer, church organist) in various musical settings
and cultures
c. Explain how political, historical and cultural norms and expectations
influence the creation of music and vice versa
By the end of grade 12:
a.Research
and explain the cultural and historical influences of individual
and societal music preferences
b. Analyze music from various cultures on the basis of its functions,
giving examples and describing its uses
Respond
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8.
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Understand
relationships among the arts and disciplines outside the arts |
By
the end of grade 2:
a.
Identify similar themes in stories, songs and art forms
b. Relate musical concepts to disciplines outside of the arts (e.g.
form to mathematical pattern)
By
the end of grade 5:
a.
Compare how the elements of two or more art forms can be used
to reflect similar events, scenes, emotions, or ideas (e.g.,
visual components of classical landscape painting and sound elements
in Beethoven’s Sixth Symphony).
b. Relate music elements and concepts to disciplines outside
of the arts (e.g. science of sound, notes and division)
c. Reflect on personal musical involvement and possible lifetime
paths in music
By
the end of grade 8:
a.
Describe similarities and differences among the characteristics
of music, theatre, visual arts, and dance within a particular
historical period or culture
b. Identify and describe the cultural, political, and historical
influences on works of all art forms from various time periods
(e.g., the influence of Napoleon on Beethoven’s Third
Symphony and …)
c. Describe how music is interpreted through science, math,
and physiology
d. Describe how personal musical taste has evolved over time
By
the end of grade 12:
a.
Explain the elements and techniques characteristic of music, theatre,
visual arts, and dance of various styles in a non-Western culture.
b. Analyze how the characteristics of music within a particular
historical period or style were influenced by ideas, humanities,
or sciences
c. Describe the role of music in various careers (e.g., multi-media
entertainment, acoustic sciences, prenatal research etc.) and reflect
on personal lifetime involvement with music
Respond/Listen
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9.
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Analyze,
evaluate, and respond to varied musical repertoire and performances |
By
the end of grade 2
a. Identify age-appropriate music concepts (e.g. fast/slow, loud/soft,
and rhythms) and forms (e.g. verse/refrain, AB, ABA) in musical
selections
b. Classify common instruments by method of sound production
c. Describe and reflect on others’ musical
performances and repertoire using age-appropriate language and
criteria
d. Demonstrate appropriate audience behavior for in-school performances
By the end of grade 5
a. Identify and analyze, using music terminology, the use of forms
(e.g. rondo, theme and variations) and musical elements (tonality,
tempo, dynamics, timbre) in a variety of music
b. Visually and aurally identify major instruments of the orchestra
and their sections
c. Aurally identify adult voices as soprano, alto, tenor and bass
d. Describe and critique others’ musical
performances and creations using appropriate music terminology
(e.g. intonation,
balance, phrasing, dynamics) and criteria
e. Demonstrate appropriate audience behavior for a variety of
musical styles
By the end of grade 8
a. Identify and analyze, using music terminology, the use of complex
forms (e.g. sonata allegro, fugue) and musical elements in a
variety of music
b. Identify/classify world music (non-Western, including host country
and subgroups of the student population) by style, using musical
terminology
c. Visually and aurally identify common instruments from a variety
of cultures
d. Identify and apply stylistically appropriate criteria, using
music vocabulary, for evaluating the effectiveness of a variety
of others’ musical performances and creations
e. Use appropriate musical terminology and criteria to compare
different performances of the same work
f. Demonstrate appropriate audience behavior for a variety of musical
styles and settings
By the end of grade 12
a. Classify unfamiliar works of art by genre, style, culture, and
historical period, supporting the classification using musical
terminology
b. Identify the characteristics of quality music criticism through
the analysis of critiques from professional publications
c. Apply criteria of professional criticism to create own critique
of live performance
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