Music In History & Cultures: Music Interpretations

Music In History & Cultures: Music Interpretations

During the course, Music In History & Cultures: Music Interpretations, a college level course, group activities and creative projects are assinged to broaden and strengthen the students understandings of different types of music, different cultures of music, the historical elements of the music and its components, and students will be able to identify and interpret different genres of music from around the world in connections with the composers and time periods which they originated. The students will learn to recognize pitch and tonality of music and match different musical methods to the parts of the world they come from. From understanding musical regions, then they will be able to identify the significance of the music from the time and culture it fits into. The students will expand their knowledge of the originations of music, and gain cultural and historical foundations of the music and its many elements. In additions to all of the above, students will gain appreciation and comprehensions of the culture, the time periods, and composers they learn about, and once the mastery of recognizing different musical styles is comfortably met, the students will be able to form their own theories of music and original compositions branching from strategies of what they learned about the musical structures. From what moved them musically, and they will be able to back their music theory and composition with essays explaining where their influence came from culturally and what time period affected them and background of composers that have influenced them mostly.

After several weeks of working together as a class, with listening to musical pieces as a group, thoroughly discussing elements of the time periods, the cultures, and the composers, then the assessments that will define the grades for the course will begin. The course grade will be given from five different assessments, each worth up to 4 points each, making a total of 20 points possible. The first and second assessments will be the auditory exams, wherein, together the students will be played short samples of the musical pieces we have covered through the course, these will of course be at random and be a total of five different musical scores, the students will identify the time period, composer, and culture associated with the pieces. The next auditory exam, a sample of a musical scores will be played, and the students will be expected to recognize the style of the piece and the styles connection to culture and time period and how it was significant. These two assessments will be given auditory, and will require brief written explanations from the students for up to four pieces of music.

The next three assessments will all be included as components of the final written essays, but then each student will also give a verbal and musical presentation of their own original composition, explaining verbally the connections to the lessons and the components of the essay that back their choice for creating an original composition. First part of the essay will include research of the several dominant elements of music associated with a particular time period or culture and describe the correlation and relation of the parts of music to other elements in that time or culture. They will analyze and defend their connections with historical facts and comparisons they find through research. The next part of the essay written, will revolve about the time period or culture, and composers that impacted the student most, or moved them most, and the students must presents several accurate facts explaining why certain elements inspired them. From here, once the original composition of music is created by the students, the last part of the essay, the student explains the piece they will perform as their original composition, describing in their essays, details of the time periods, the cultures, and the composers that were found to be the most inspirational, to them, and with clarifications, and precisions to help define and explain the dimensions of their own created musical structures, and where the creations have stemmed from. After the essays are handed in, the final musically composition will be played to the class, using newly imprinted knowledge the students will follow their musical composition with a short speech regarding the elements of the essay, such as why the choose a certain style, and what time period and culture would it come from, and which ones inspired them the most to create original composition.

The essay requirements are 10-12 pages, and required three alternative sources. The essays will be due the Monday, two weeks before courses are finished, before the auditory tests and oral presentations begin. The auditory test will begin the following Wednesday and will go through Friday. Each sample played, the students will have ten minutes to complete their responses. The final week of classes, the oral presentations will be given, and there will be a list by which students may decide what order they want to perform in, and the oral presentation must be at least ten minutes long, and original composition must be at least five minutes long, making the presentation a total of at least 15 minutes. These are the only thing due throughout the course, so use your time to research wisely and practice composing pieces, so you can stay ahead of the game.

The rubric below is the breakdown of the point system, and grades range 20-18 points A, 17-16 points B, and 15-14 points C.

Music In History & Cultures : Music Interpretations Teacher Name: Megan Smith Student Name: ________________________________________

　

CATEGORY	4 - Above Standard	3 - Meets Standard	2 - Approaching Standard	1 - Below Standard
Identifies music as being associated with a time or culture or composer	After auditory sample student can identify the time/culture/ composer associated with 5 or more pieces of music without assistance.	After auditory sample, student can identify the time/culture/ composer associated with 3-4 pieces of music with little or no assistance.	After auditory sample, student can identify the time/culture/ composer associated with 1-2 pieces of music with little or no assistance.	Cannot identify music by time/culture/ composer without significant assistance.
Analyzes how music fits time/culture	Accurately describes verbally and within an essay several dominant elements of music associated with a particular time period or culture and can relate them to other elements in that time or culture..	Accurately describes verbally and within an essay a couple of dominant elements of music associated with a particular time period or culture and can relate them to other elements in that time or culture.	Accurately describes verbally and in an essay, 1-2 dominant elements of music associated with a particular time period or culture.	Has difficulty describing verbally and through an essay any dominant elements of music associated with a particular time period or culture.
Recognizes different musical styles	When given samples of a piece in the style of a time or culture, the student chooses accurately on at least 4 of 5 attempts.	When given samples of a piece in the style of a time or culture, the student chooses accurately on 3 of 5 attempts.	When given samples of a piece in the style of a time or culture, the student chooses accurately on 2 of 5 attempts.	The student chooses accurately 1 time or less out of 5 attempts.
Facts - Time Period/Culture/ Composers	Essay written about the time period or culture, and composers that impacted them most, the student presents several accurate facts, with no inaccurate or questionable facts.	Essay written about the time period or culture, and composers that impacted them most, the student presents 1-2 accurate facts, with no inaccurate or questionable facts.	Essay written about the time period or culture, and composers, the student presents 1-2 accurate facts, but also includes 1 or more inaccurate or questionable fact.	Student cannot talk or write accurately about the time period or culture.
Original Compositions	Student performs original composition, describing in their essays, details of the time periods, the cultures, and the composers that were found to be the most inspirational, with depth, clarifications, and precisions to help define their musical structures	Student performs original composition, describing in their essays, details of the time periods, the cultures, and the composers that were found to be the most inspirational, but briefly describes where their musical structures had influence from.	Student performs original composition, describing in their essays details of the time periods, the cultures, and the composers that were found to be the most inspirational, but shallow explanation of the inspiration and structure.	The student is unable to create original composition and has no associations to particular time periods, cultures, or composers.

　

　

　

　

　

　

　

　

　

References:

Kubiszyn, Tom & Borich, Gary (2010). Educational Testing & Measurement: Classroom Application and Practice (9^th ed.). John Wiley & Sons, Inc, 111 River Street, Hoboken, NJ. (Kubiszyn & Borich, 2010).

Website: http://rubistar.4teachers.org

Final Performanc Assessment for Music In History & Cultures: Music Interpretations

Music In History & Cultures: Music Interpretations

Megan Smith

EDU 645 Learning & Assessment for the 21st Century

Professor Griggs

                                                                      May 2012

　My performance assessment plan is designed for a course called ‘Music In History & Cultures: Music Interpretations, developed to help the students to gain an appreciation and deep understanding overall, of the elements and structures of music through series of musical studies of the history; the times, the cultures, the division, the originations, the incredibly vast arrays, and all the different forms that music has taken on from so many different regions from around the world. The student can take from these lessons, and learn through the history studies, as to what type of music moves them in particular ways, and try to understand why this is, through revelations of relics of cultural and historical music evolution from the past . With an understanding of their inspirational sources, and the song structures and designs that have influenced them, the student learns to compose there own original works, with a greater level of understanding of the history and elements the music is composed of. This makes for a better experience with music and is more mentally rewarding and genuine; when music is pure and free of undiluted thought forms, that the element of music takes over the performer in ways that had not realized the capacities of their mind.

This type of mental processing promotes development of more complex thought patterns while finding the way that variously and symmetrically aligned patterns of music and can applied to patterns of the mind. It accesses what the text calls, cognitive domain, and it states, “The level of an objective refers to the cognitive, mental, or thought complexity called for by the objective,”(p.117) And further down the paragraph the authors continue, “It requires ability to analyze an eyewitness account and to apply some criteria in determining whether statements are observable and objective or subjective and based on inference. Such an objective would be considered higher level,”(p. 117). When the students integrate the history, the cultures, and the originations of music into there memory and into the roots of their inspiration, it promotes growth, intelligence, and patience skills for the mind. It can be arduous, but through it we grow to develop traits we need to learn to utilize come adulthood, and finding a place in this diverse world where, as an individual we can feel safe and successful.

The incorporations and interpretations of historical music elements also adheres to what the textbook calls affective domain of the performance assessment. Since the students are accessing their internal growth stimulating patterns, when music is related to their personal feelings and preferences, the lessons connect to them on various cognitive levels. In the textbook discusses the affective domain, “This taxonomy describes a process by which another person’s, group’s, or society’s ideas beliefs, customs, philosophies, attitudes, and so on, are gradually accepted and internalized by a different person, group, or society. This process usually begins with a minimal, partial, or incomplete acceptance of an alternative point of view and culminates with the complete integration of this point of view into an individual’s personal belief system,”(p.120-121). Therefore, this class also promotes all sorts of cognitive and affective domain assessment elements, and challenges for growing students, and through musical interpretation and studies of past native music from around the whole globe, the students able to evolve their own individual methods of creating music and accessing higher levels of thinking and higher levels of consciousness.

For me, the performance assessment rubric represents a sort of blueprint, by which dimensions of a complex structured course, is necessary and crucial, for the students understanding and organization of the expectations and requirements for the course. The rubric gives precise expectations and keeps the students inline without distracting them into unnecessary overachievement, the rubrics clarifies the point expectations without over stating and understating any requirements. The rubrics also for a complex variety of testing methods to be gagged and enjoyed, without being overwhelming. In the textbook it states, “By giving careful consideration to rubrics, you can develop a scoring system that minimizes the arbitrariness of your judgments while holding learners to high standards of achievement,”(p. 207). This is also why the rubrics are crucial for higher level courses with complexities such as a music course. With my performance assessment rubric, the assessment context is divided into five separate grading criteria’s; the first two assessment being auditory written exams, where samples of music are played, and from students recognition of the samples, they are to understand the culture of the music, the time period, and the composer in order to gain all the points. This sort of exercise is different then reproducing music, this exercise focuses on recollecting pitch and tones in association with the cultures and the times from which the music was written. Here, with listening disciple, any sharp musical ear, can recognize the origin of a type of music or harmony, and is important to develop this sharpness and awareness of the distinctness of sounds when becoming a composer.



The other three assessments are also integrated complexly, but with the rubric is makes it much clearer the necessary requirements for this course and for the students success. The authors in the textbook state, “The best way to measure achievement is to ask your students to demonstrate mastery of a skill under the conditions you specify in your instructional objectives,”(p.117). Although these assessments may not be ever students favorite, it is important for the developing musicians mind to wrap their minds around what they are intimately engaging with. The require that the music be analyzed and evaluated, but by unraveling the compounds of music, we can makes things much easier for musical compositions for the long run for artistic students. The auditory exams are listed clear in the two columns of the rubric, so that the expectations are clearly stated and so the student knows what they need to know to earn the points for the course.

In my performance assessment holistic rubric, I develop and layout the overall performance based assessment plans precisely. The next other three assessments differ from the first two greatly, the all include performing, speaking, and writing parts or pieces of a long essay regarding interpretations of musical genres and histories and how it impacts and inspires them as a musician both in the past and present, and how the network of musical origins and the history of music ties things together. In addition to the essays, the learn to analyze the musical structures and to understand them, and how they related to their time period and cultural background and region, and learn to have greater compassion for different cultures. Here students can develop personal and social skills by understanding their passions and inspirations better and deeper.

Next, the students use the essay they have written to form a presentation of what they have learned with an original song choreographed, and performed before or after the ten minute verbal presentation. This allows for the mind the take what it has constructed in the written form, to be expressed outwardly, and performed as a musical piece that the student has been inspired to write, after learning more about the origins and the ancient humans behind the music. These separate activities develop the performance assessment layers. These variations of activities allow accesses to exercising what the textbook calls ‘habits of mind’ as it states, “Performance objectives in the affective and social domain performance assessments not only require curriculum to teach thinking skills but to also develop positive dispositions and habits of mind. Habits of mind include such behavior s as constructive criticism, tolerance of ambiguity, respect for reason, and apprehension for the significance of the past,”(p.192). So this course access the growth tools needed for working efficiently in an adult world. It deals with social issues of the past and our social development as humans through the course of time. With knowledge and better understanding of the ancestry and the live blood of music, the student can go further into their study of music, and have the wisdom parts of the mind develop and flourish.



Although the performance assessment is complex, as I mentioned before, the holistic scoring in the rubric clarify the requirements, and it is holistic because it rates several different criteria into the score total, and reflects on all different sets of skills, and manages to include all these skills set into a precise blueprint that they student can follow. The textbook states, “Holistic scoring is used when the rater is more interested in estimating the overall quality of a performance and assigning a numerical value to that quality than assigning points for the addition or omission of a specific aspect of performance,”(p.198). Since it clearly defines the necessary elements for the points in the rubric, the student knows from day one what is expected. The point system is divided in a fair manner and allows all skills to be used, while my instructional objectives are laid out and plain and simple terms. Therefore, if I am clear and can provide a holistic rubric for this performance assessment, they the likelihood the students will learn more and gain more from the lesson, and hopefully enjoy them more. As it states in the textbook, regarding measuring learning outcomes, “In summary, ensuring content validity is as simple as making sure that both the learning outcomes and conditions called for by your test items match the learning outcomes and conditions called for by your instructional objectives,”(p.117). Also, scoring will be easier for the educator in this sense that the students on guided on a direct and specific path, and it is easier to avoid errors in scoring when the criterion is presently in the beginning clearly. The rubric below is the breakdown of the point system, and grades range 20-18 points A, 17-16 points B, and 15-14 points C.

The rubric and syllabus will be handed out first day of class, and student will have plenty of time to decide if this is something that they wish to endeavor. Determining the correct testing constraints are tougher with performance assessments because it is much more active and varied. In the textbook it states, “But performance tests confront the designer with the following dilemma: If performance tests are designed to confront learners with real-world challenges, why shouldn’t they be allow to tackle these challenges as real-world people do?”(p.201). Due to the elusiveness of time contraints, the only one that I will have will be the five assessments at the end of the courses. This gives the student the whole course period to determine when or how they would like to put forth their effects. The essay requirements are 10-12 pages, and required three alternative sources. The student must become disciplined to allot the necessary time it would take, and since all the time constraints are in the last two weeks of class, it is up to the student to decide how to handle that time. The essays will be due the Monday, two weeks before courses are finished, before the auditory tests and oral presentations begin. The auditory test will begin the following Wednesday and will go through Friday. Each sample played, the students will have ten minutes to complete their responses. The final week of classes, the oral presentations will be given, and there will be a list by which students may decide what order they want to perform in, and the oral presentation must be at least ten minutes long, and original composition must be at least five minutes long, making the presentation a total of at least 15 minutes. This way each student becomes the own master of their ship, and it up to them how rough the want the ride to be. In all fairness, having everything at the end means the student has all that time to correlate information, compose, practice, and prepare for what they clearly know is ahead of them. This gives times for changes, revisions, switches, so that an art form can be work for obtaining in the end.

My performance assessment plan for course ‘Music In History & Cultures: Music Interpretations‘, was developed to help the students access an appreciation and mastery to the elements and structures of music through series of musical studies of the history; the times, the cultures, the division, the originations, the incredibly vast arrays, and all the different forms that music has taken on from so many different regions from around the world. The performance assessments calls for skills in all sets of the study, and our outlined and rubric, which are handed out on the first day of the course, are the guideline, and it is up to the student to have the will to want to manage their time scholastically, to want to be an active member, to bring a positive to the group of studiers. I always felt like the teachers that showed me how to love what I was learning, to find passion in what answers I was seeking, where the real and pure treasures of my upbringing. I want to hand the tools of knowledge to the next generation so that they can live in a higher thinking world.

　

　

References:

Kubiszyn, Tom & Borich, Gary (2010). Educational Testing & Measurement: Classroom Application and Practice (9^th ed.). John Wiley & Sons, Inc, 111 River Street, Hoboken, NJ. (Kubiszyn & Borich, 2010).

Website: http://rubistar.4teachers.org

Music In History & Cultures: Music Interpretations

　

Music In History & Cultures: Music Interpretations

　

During the course, Music In History & Cultures: Music Interpretations, a college level course, group activities and creative projects are assinged to broaden and strengthen the students understandings of different types of music, different cultures of music, the historical elements of the music and its components, and students will be able to identify and interpret different genres of music from around the world in connections with the composers and time periods which they originated. The students will learn to recognize pitch and tonality of music and match different musical methods to the parts of the world they come from. From understanding musical regions, then they will be able to identify the significance of the music from the time and culture it fits into. The students will expand their knowledge of the originations of music, and gain cultural and historical foundations of the music and its many elements. In additions to all of the above, students will gain appreciation and comprehensions of the culture, the time periods, and composers they learn about, and once the mastery of recognizing different musical styles is comfortably met, the students will be able to form their own theories of music and original compositions branching from strategies of what they learned about the musical structures. From what moved them musically, and they will be able to back their music theory and composition with essays explaining where their influence came from culturally and what time period affected them and background of composers that have influenced them mostly.
After several weeks of working together as a class, with listening to musical pieces as a group, thoroughly discussing elements of the time periods, the cultures, and the composers, then the assessments that will define the grades for the course will begin. The course grade will be given from five different assessments, each worth up to 4 points each, making a total of 20 points possible. The first and second assessments will be the auditory exams, wherein, together the students will be played short samples of the musical pieces we have covered through the course, these will of course be at random and be a total of five different musical scores, the students will identify the time period, composer, and culture associated with the pieces. The next auditory exam, a sample of a musical scores will be played, and the students will be expected to recognize the style of the piece and the styles connection to culture and time period and how it was significant. These two assessments will be given auditory, and will require brief written explanations from the students for up to four pieces of music.
The next three assessments will all be included as components of the final written essays, but then each student will also give a verbal and musical presentation of their own original composition, explaining verbally the connections to the lessons and the components of the essay that back their choice for creating an original composition. First part of the essay will include research of the several dominant elements of music associated with a particular time period or culture and describe the correlation and relation of the parts of music to other elements in that time or culture. They will analyze and defend their connections with historical facts and comparisons they find through research. The next part of the essay written, will revolve about the time period or culture, and composers that impacted the student most, or moved them most, and the students must presents several accurate facts explaining why certain elements inspired them. From here, once the original composition of music is created by the students, the last part of the essay, the student explains the piece they will perform as their original composition, describing in their essays, details of the time periods, the cultures, and the composers that were found to be the most inspirational, to them, and with clarifications, and precisions to help define and explain the dimensions of their own created musical structures, and where the creations have stemmed from. After the essays are handed in, the final musically composition will be played to the class, using newly imprinted knowledge the students will follow their musical composition with a short speech regarding the elements of the essay, such as why the choose a certain style, and what time period and culture would it come from, and which ones inspired them the most to create original composition.
The essay requirements are 10-12 pages, and required three alternative sources. The essays will be due the Monday, two weeks before courses are finished, before the auditory tests and oral presentations begin. The auditory test will begin the following Wednesday and will go through Friday. Each sample played, the students will have ten minutes to complete their responses. The final week of classes, the oral presentations will be given, and there will be a list by which students may decide what order they want to perform in, and the oral presentation must be at least ten minutes long, and original composition must be at least five minutes long, making the presentation a total of at least 15 minutes. These are the only thing due throughout the course, so use your time to research wisely and practice composing pieces, so you can stay ahead of the game.
The rubric below is the breakdown of the point system, and grades range 20-18 points A, 17-16 points B, and 15-14 points C.

Music In History & Cultures : Music Interpretations Teacher Name: Megan Smith Student Name: ________________________________________

　

CATEGORY	4 - Above Standard	3 - Meets Standard	2 - Approaching Standard	1 - Below Standard
Identifies music as being associated with a time or culture or composer	After auditory sample student can identify the time/culture/ composer associated with 5 or more pieces of music without assistance.	After auditory sample, student can identify the time/culture/ composer associated with 3-4 pieces of music with little or no assistance.	After auditory sample, student can identify the time/culture/ composer associated with 1-2 pieces of music with little or no assistance.	Cannot identify music by time/culture/ composer without significant assistance.
Analyzes how music fits time/culture	Accurately describes verbally and within an essay several dominant elements of music associated with a particular time period or culture and can relate them to other elements in that time or culture..	Accurately describes verbally and within an essay a couple of dominant elements of music associated with a particular time period or culture and can relate them to other elements in that time or culture.	Accurately describes verbally and in an essay, 1-2 dominant elements of music associated with a particular time period or culture.	Has difficulty describing verbally and through an essay any dominant elements of music associated with a particular time period or culture.
Recognizes different musical styles	When given samples of a piece in the style of a time or culture, the student chooses accurately on at least 4 of 5 attempts.	When given samples of a piece in the style of a time or culture, the student chooses accurately on 3 of 5 attempts.	When given samples of a piece in the style of a time or culture, the student chooses accurately on 2 of 5 attempts.	The student chooses accurately 1 time or less out of 5 attempts.
Facts - Time Period/Culture/ Composers	Essay written about the time period or culture, and composers that impacted them most, the student presents several accurate facts, with no inaccurate or questionable facts.	Essay written about the time period or culture, and composers that impacted them most, the student presents 1-2 accurate facts, with no inaccurate or questionable facts.	Essay written about the time period or culture, and composers, the student presents 1-2 accurate facts, but also includes 1 or more inaccurate or questionable fact.	Student cannot talk or write accurately about the time period or culture.
Original Compositions	Student performs original composition, describing in their essays, details of the time periods, the cultures, and the composers that were found to be the most inspirational, with depth, clarifications, and precisions to help define their musical structures	Student performs original composition, describing in their essays, details of the time periods, the cultures, and the composers that were found to be the most inspirational, but briefly describes where their musical structures had influence from.	Student performs original composition, describing in their essays details of the time periods, the cultures, and the composers that were found to be the most inspirational, but shallow explanation of the inspiration and structure.	The student is unable to create original composition and has no associations to particular time periods, cultures, or composers.

　
　
　
　
　
　
　
　
　
References:
Kubiszyn, Tom & Borich, Gary (2010). Educational Testing & Measurement: Classroom Application and Practice (9^th ed.). John Wiley & Sons, Inc, 111 River Street, Hoboken, NJ. (Kubiszyn & Borich, 2010).
Website: http://rubistar.4teachers.org

Performance Testing,Essays Methods, Web Structure Assessments

　

　

　

　

　

　

　

　

Performance Testing Outcomes and Essays

Megan Smith

EDU 645 Learning & Assessment for the 21st Century

Professor Griggs

May 2012
　
　
　
　
　
　
　
　
　
　

Link to My Blog: Intellectual Evolution Education:

http://intellectualevolutioneducation.blogspot.com/

　
　
For my first college courses assessment practices, I will employ three different layers of performance analysis and essay tests. I will be using an essay assessment for the first class, Pre-1800 Literature William Blake and Williams Wordsworth, and be using an essay assessment, or Essay Final. For the next course, Non-Fiction Writing College Course, I will have students work with webbing structures, or a Web Structure Assessment. For the third class, Drama Performance Techniques/ Play Production Billy Elliot, the students will use research and understandings to create a portfolio, assessment theatrical tryouts, and create model stage structures, as the Final Performance Assessment.
For the first college course assessment, Pre-1800 Literature William Blake and Williams Wordsworth, the students will work at accessing the higher cognitive essay final exam. Since the students will be required to compare and evaluate specific passages from the works of William Blake and William Wordsworth with other religious texts from around the globe, (examples of these different religious texts include the Holy Bible, The Koran, The Bhagavad-Gita, The I-Ch’ing, The Egyptian Book of the Dead, The Mayan Prophecies, or any other you may have in mind), the essay assessments will be the most effective for this process. Reading and researching the historical texts and time periods of the poets and the religious texts, they will incorporate what connections can be make through the groups, particularly in regards to nature, the divine, and the one. This will require very critical observations, especially in finding specific passages to support the arguments, and will require open book testing without time limits or constraints. The completion of this type of test assessment will call on the intellect and ingenuity of the students. In our textbook, the authors state, “An essay item is one for which the student supplies, rather than selects, the correct answer. The student must compose a response, often extensive, to a question for which no single response or pattern of responses can be cited as correct to the exclusion of all other answers. The accuracy and quality of such a response can often be judge only by a person skilled and informed in the subject area being tested,”(p 158). For this type of course, where the students will read and evaluate and require use of their own original thinking and creating skills. Each essay will be an element of its own, and exist as a separate interpretation from the other essays.
This essay will also be a extended response style essay and will require much depth and breadth. It will require use of all the higher thinking skills such as evaluation, synthesis, analysis, and organization, which are all elements of extended response essays. The students will have to consciously choose passages that fit what they have learned to their own logic, and thread it all to the logic of the essay assignment. This is only accomplished by accessing higher level thinking skills, and become skilled at linking and layering arguments with what they have learned, in addition to quoting specific passage requirements from all different sources to evolve the breadth and depth of the essay questions to earn validity. The power of the assignment is in the hands of the students, and as an educator, I can only evaluate their different arguments, and grade scores on legitimacy of arguments and accuracy of quotations. Another passage in the textbook states, “The potential of the essay item as an evaluation device depends not only on writing appropriate questions that elicit complex cognitive skills, but on also being to structure the students response so that other factors do not obscure your ability to evaluate whether the student is applying the complex cognitive skills you are trying to measure,”(p.158). As the educator, along with the students, will be required to keep and opened and clear mind, and be flexible in others considerations of the essay topics. There can be no opinions or judgments used in evaluating and grading this type of technique, rather it will be dependant on the assignment being matched to the requirements and expectations listed through essay question.

For the second college course assessment, the Non-Fiction Writing Course, the students will be required to complete a Web Structure Assessment. The students will be required to read three non-fiction literature books that have been published, and recognize the different types of structures, methods, and styles of each of the different texts. Once they recognize the most admirable and effective books for a frame to develop their intended original non-fiction writing pieces. They will mirror the three different books and write three different texts of their own, each a minimum of 10 pages total, and will demonstrate effectiveness of non-fiction literature writing styles through their own stories with similar structures, methods, and organizations. They testing assessment will be represented by the students creating six different webbing strategies, and really just three, but the other three web structures can be similar to the original but will reflect the different plots and the different methods to reach the lessons or meanings of the plots. The webbing technique will be used for the students to illustrate how the methods proved to be effective, and how their stories retained originality, while still mimicking the published stories. They will illustrate their understanding of different concepts, and draw the out in the web design the mental processing steps to make stories effectual and successful in making different points. The web strategies use different illustrations to draw blueprints or frameworks to show connections and relationships of methods and concepts. In the textbook, the authors state, “Dansereau (1988) urges teachers to model alternate strategies to help learners when they listen to presentations or read from books, which, in turn, can be used to assess the depth of understanding and organization of their knowledge base. He advocates that you assess your learners’ understanding and organization of their knowledge with graphic outlines displayed as webs, much like the visual interdisciplinary thematic unit plans, but this time prepared by your students. Webbing is a free-form outline techniques learners can use to display their level of understanding of class discussions or textbook content,”(p.174). The webbing structures help to exemplify connections of story lines, and indicated how the causes and results are reached through different structural methods. This will allow the students to draw out in more concrete methods what they found effective about the styles they have mirrored. As the educator, I will be able to dive into their original minds, as well as understand their inspirations and creations for developing pieces of non-fiction literature. The web structure assessment reminds me very much of the workings of our brains on the scientific and microscopic levels, where were have abundances of neurons firing and communicating within a definite space. When our neurons connect we employ our thoughts and actions, and the art of the methods of their connections is very much miraculous and artistic and original. Webbing Structure assessments seem for many reasons to be the most effective assessment for this course to help define the intentions of the creative writing and their styles in achieving their thought forms effectively.
For the third college course, Drama Performance Techniques/ Production of Billy Elliot, the students exam will be in the form of a multi leveled Performance Assessment Exam. The students will begin by designing a portfolio where they include researched information and background details of the times and circumstances, and they will connect and apply research of the history of these times whether they can develop empathy and understandings to the different characters of the story, their positions and their passionate roles will be developed throughout these short portfolios. They will evaluate the prime ministry, the state workers, the union workers, the children, the wives, and combine the different elements together. In the textbook, the author states, “Classroom portfolios serve a similar purpose. They show off a learner’s best writing, artwork, science projects, historical thinking, or mathematical achievement. They also show the steps the learner took to get there. They compile the learner’s best work, but they also include the words in progress: the early drafts, test runs, pilot studies, or preliminary trials. Thus, they are an ideal way to assess final mastery, effort, reflection, and growth in learning that tell the learner’s “story” of achievement.”(p.205). From the developed portfolios, they will then audition for different roles for at least three different characters form three different scenes where they can put into action what they have gained particular empathy for, knowledge of, and understandings through all the various circumstances for the production.
In addition, all the students will pick three different scenes and three different characters from Billy Elliot, and create a short theatric presentation of their interpretations of the various roles. Theatrically, the must express and demonstrate an understanding and apply their developed empathy by acting through the understanding and empathy for the characters. Theatrically, the will be incorporating appropriate emotions with their best abilities, applying both sincerity and authenticity to what they feel about what they have researched, into the stage and create a live interpretation. In our textbook, it states, “Performance assessments not only require curriculum to teach thinking skills but also to develop positive dispositions and habits of mind. Habits of mind include such behaviors as constructive criticism, tolerance of ambiguity, respect for reason, and appreciation for the significance of the past. Performance tests are ideal vehicles for assessing habits of mind and social skills,”(p.192). The will act out three different characters from the three different scenes of choice and be given two chances for each interpretation. The different interpretations will be acted out in real time as expressed as if it where a real life experience as an evaluation of the social and political aspects of the times.
Prior to the theatrical tryouts/test, each student will combine new information they have learned and new perceptions of the conditions of the times to create small scale scene settings, with original visions and designs, that would effectively represent the time period and the characters involved in the story of Billy Elliot. This will be done using portfolio components off all elements of the characters and the production. They will collaborate and connect the different scene settings for all characters and elements of the story: this will include the union workers, the state workers, the police state workers, and reflect the prime ministries control over incomes and profits, and through the miniature creations of two different scene settings of there choice, they will show their own artistic interpretations of the times and settings that exited during these times of great travesties and impressionable perseverance.. They will re-create in a medium cardboard box, and materials of their choices, the different settings, features, and structures of the various stage setting visions . The textbook states, “The tasks should be complex enough to allow for multimodal assessment. Most assessments tend to depend on the written word. Performance tests, however, are designed to allow learners to demonstrate learning through a variety of modalities,”(p.194). Therefore, the final assessment for this drama performance course will consist of many different types of exercises that will combine and integrate into a final grade as we start to prepare for the upcoming live production. Performance based assessment apply elegantly and necessarily with this type of project, and lends the students opportunities to express and incorporate different skills and passions through timely research and innovated imaginations. As an educator, the layers of grading may be tedious as time consuming, but it will also be that way for the students, and will give us all as a team of performers to changes to explore and compose theatrically elements into a real life production, and ultimately the joy of the outcome will be worth the efforts and strains involved.

　
　
　
Reference at the end. Continue to next page for assessment descriptions:
Pre-1800 Literature William Blake and Williams Wordsworth Essay Final:
Compose an essay where you evaluate, analyze, compare, and contrast the different themes of nature and divinity and the connections between the two authors works in regards to pre-1800’s political, religious, and social aspects. Then using passages of your choice from both William Wordsworth and William Blake, compare and contrast them with different religious text passages, from religious texts from around the world of your choice (Examples of these different religious texts include the Holy Bible, The Koran, The Bhagavad-Gita, The I-Ch’ing, The Egyptian Book of the Dead, The Mayan Prophecies, or any other you may have in mind). Find the connects of the different texts to the descriptions of nature and the divine, or in a manner of describing the divine. Again consider religious or political elements of all texts included, including the historical elements of the different religious texts, use at least one historical source for each author and text, and implement these facts into how the different authors described the divine and the connections to nature and the one, and to how the different writers incorporated different prophetic themes during the different time periods of their religious or political structures. Finally, examine which methods of define is most effective in your own opinions, and applies to you in your daily lives, even if you are not religious or spiritually assigned to a certain religious. (Essay at least 15 pages, worth 25 points).
　
　
　
Non-Fiction Writing Course Web Structure Assessment:
Develop three webbing strategies that explain and explore the mirroring effects of the published non-fiction novels of your choice to the non-fiction stories that you have created, and show the replicating effects of their structures and strategies, that you have examined applied from published stories, and show how that work effectively with the stories that you have created. You will create a total six webbing strategies and/or structures and explains the methods used in telling the stories of your choice and the stories effectiveness in the framework of your own creations. Much include at least six webs, and a short paragraph for each summarizing the elements. (Total 36 points. Six webs 6 points for each web strategies (4) and paragraph (2) total).
Drama Performance Techniques/ Billy Elliot Performance Assessment:
Students will choose three different scenes and three different characters from Billy Elliot in tryouts for the roles, by showing an understanding and empathy for the characters, incorporating appropriate emotions with their best abilities applying both sincerity and authenticity. The will act out three different characters from the three different scenes of choice and be given two changes for each interpretation.
Prior to this students will create portfolio of research and background details of the times, and they will connect and apply research of the history of these times whether they can develop empathy and understandings to the different characters of the story, their positions and their passionate roles through these short portfolios. They will evolve the elements of the coals miners, and understand the statistics, and as said before, use facts that how in 1984, there were more than 300,000 men working in the industry, and how today they are less than 1000 workers in England. They will show with their expressions emotional and in stage dramatics and demonstrate what they have learned about moral an ethical positions of the culture and politics, considering the fact that currently more than 98% of coal used for British Energy is now imported from abroad. They will interpret through stage dramatics the intimidations of the characters and the alternative side of judgments that may have against the young aspiring dancer through theatrics.
In addition to the theatrical tryouts/test, the students will use research and understanding of the conditions of the times to design small scale scene settings and designs, that would effectively represent the time periods and the characters involved in the story of Billy Elliot. The will use information about union workers, state workers, police states, and the prime ministries control over incomes and profits, and implicate the devastations and hopes through the miniature creations of two different scene settings of there choice. The will create settings, features, and structures of the conditions that would exist in real time for the stories. Any materials can be used and sizes of stage settings can be fit into a medium size cardboard box.
(Each element 25 points, making a total of 75 points total for performance assessment.)

References:
Kubiszyn, Tom & Borich, Gary (2010). Educational Testing & Measurement: Classroom Application and Practice (9^th ed.). John Wiley & Sons, Inc, 111 River Street, Hoboken, NJ. (Kubiszyn & Borich, 2010).

Drama Performance Techniques/ Billy Elliot Performance Assessment

Drama Performance Techniques/ Billy Elliot Performance Assessment:

Students will choose three different scenes and three different characters from Billy Elliot in tryouts for the roles, by showing an understanding and empathy for the characters, incorporating appropriate emotions with their best abilities applying both sincerity and authenticity. The will act out three different characters from the three different scenes of choice and be given two changes for each interpretation.

Prior to this students will create portfolio of research and background details of the times, and they will connect and apply research of the history of these times whether they can develop empathy and understandings to the different characters of the story, their positions and their passionate roles through these short portfolios. They will evolve the elements of the coals miners, and understand the statistics, and as said before, use facts that how in 1984, there were more than 300,000 men working in the industry, and how today they are less than 1000 workers in England. They will show with their expressions emotional and in stage dramatics and demonstrate what they have learned about moral an ethical positions of the culture and politics, considering the fact that currently more than 98% of coal used for British Energy is now imported from abroad. They will interpret through stage dramatics the intimidations of the characters and the alternative side of judgments that may have against the young aspiring dancer through theatrics.

In addition to the theatrical tryouts/test, the students will use research and understanding of the conditions of the times to design small scale scene settings and designs, that would effectively represent the time periods and the characters involved in the story of Billy Elliot. The will use information about union workers, state workers, police states, and the prime ministries control over incomes and profits, and implicate the devastations and hopes through the miniature creations of two different scene settings of there choice. The will create settings, features, and structures of the conditions that would exist in real time for the stories. Any materials can be used and sizes of stage settings can be fit into a medium size cardboard box.

(Each elements is worth 25 points, making a total of 75 points total for performance assessment.)



　

Pre-1800 Literature William Blake and Williams Wordsworth Essay Final

Pre-1800 Literature William Blake and Williams Wordsworth Essay Final:

Compose an essay where you evaluate, analyze, compare, and contrast the different themes of nature and divinity and the connections between the two authors works in regards to pre-1800’s political, religious, and social aspects. Then using passages of your choice from both William Wordsworth and William Blake, compare and contrast them with different religious text passages, from religious texts from around the world of your choice (Examples of these different religious texts include the Holy Bible, The Koran, The Bhagavad-Gita, The I-Ch’ing, The Egyptian Book of the Dead, The Mayan Prophecies, or any other you may have in mind. Find the connects of the different texts to the descriptions of nature and the divine, or in a manner of describing the divine. Again consider religious or political elements of all texts included, including the historical elements of the different religious texts, use at least one historical source for each author and text, and implement these facts into how the different authors described the divine and the connections to nature and the one, and to how the different writers incorporated different prophetic themes during the different time periods of their religious or political structures. Finally, examine which methods of define is most effective in your own opinions, and applies to you in your daily lives, even if you are not religious or spiritually assigned to a certain religious. (Essay worth 25 points and must be at least 15 pages in length.)

　


　

Non-Fiction Writing Course Mid-Term Test Assessment

Non-Fiction Writing Course

Develop three webbing strategies that explain and explore the mirroring effects of the published non-fiction novels of your choice to the non-fiction stories that you have created, and show the replicating effects of their structures and strategies, that you have examined applied from published stories, and show how that work effectively with the stories that you have created. You will create a total six webbing strategies and/or structures and explains the methods used in telling the stories of your choice and the stories effectiveness in the framework of your own creations. Much include at least six webs, and a short paragraph for each summarizing the elements. (Total 36 points. Six webs 6 points for each web strategies (4) and paragraph (2) total).

Drama Performance Techniques/ College Level/ Learning Outcomes

Learning Outcome Three:

Students, college levels drama, will be preparing for a production of the musical “Billy Elliot” for a music drama course.

Since “Billy Elliot” is based on true story, the students will research historical facts of the boy dancer and his existence through the times of the coal miner strikes during the year of 1984. They will research the British National Union of Mineworkers and the strike they underwent to save the coal mining industries. They will research Prime Minister Margaret Thatcher and her oppositions to the state-owned industries and unions.

The students will learn through research of the history of these times whether they can develop empathy and understandings to the different characters of the story, their positions and their passionate roles. They will continue research of the current circumstances of the coals miners, and understand the statistics being performed, and how in 1984, there were more than 300,000 men working in the industry, and how today they are less than 1000 workers in England. They will explain the moral an ethical positions of the culture and politics, considering the fact that currently more than 98% of coal used for British Energy is now imported from abroad. They will interpret the intimidations it took for this young boy to pursue ballet dancing, and they will develop an understanding of the severity of the times and the judgments that may have up against the young aspiring dancer.

This research and the reflections will give students the opportunity to better understand the social and political discretions and use it towards characters they choose for the try outs.

In addition, students will collaborate in designing different stages for the story/play, and incorporate their research about the times and circumstances, giving positions, to both union workers and police state workers.

Students will combine their understanding to produce adjustments in scene scripts and scene settings to better the authenticity and accuracy of this true story as it will be composed into a play. Students will combine their increased compassions and understandings into bettering the stage and scripts of the productions to come.

Pre-1800 Literature: William Blake and William Wordsworth Learning Outcomes

Learning Outcome Two:

Students, first or second year of undergraduate, will compare and contrast the poetry and writing styles of William Wordsworth and William Blake and their connections to prophecies and the pre 1800 era of literature, and also to one another.

Students will compare the authors considerations of nature as the one and as the divine (considering all texts equal, just for this course, as consideration, if students are uncomfortable doing this they are allowed to withdrawal from course initially). Examples of these different religious texts include the Holy Bible, The Koran, The Bhagavad-Gita, The I-Ch’ing, The Egyptian Book of the Dead, The Mayan Prophecies, or any other a student may have in mind. Although this may be controversial, this is only a literature exercise and must be treated as such, otherwise students do have options initially to withdrawal from course. These comparisons and interpretations are in order to understand the political and religious conditions of the past and through the different revolutions through pre 1800’s, the time periods of which both writers were creating different prose, poetry, and stories. Once These simplistic connections are drawn to these sacred and religious texts, the students are to find specific passages from the works of both William Blake and William Wordsworth, and similarities in prophecies intended through the two writers great works. This is only intended as an exercise and is not intended to challenge religious or divine texts of the past.

The students will then draw comparisons to the great old religious texts and the proposed prophecies of two poets various works, and they will explain the connections of Wordsworth and Blake to the great texts that have carried through history to be considered prophecies and students will find the connections and depictions of nature the grandeur throughout all texts considered in order to understand religious literature and to interpret texts considered as prophecies.

Non-Fiction Writing College Course Learning Outcome

Learning Outcome One:

Students, first or second year of undergraduate, will read three non-fiction post modern literature books of their choice. They will then write three non-fiction stories of their choice in which they mirror the styles of the three books they have read, understanding methods and styles used to interpret intended meanings.

Students will demonstrate an understanding of the writing styles while mimicking these styles to make effective stories of their own using the same writing styles. They will identify methods of writing and structures of writing. This activity will be less about creativity and more about understanding writing styles and methods and structures of published books from the post-modern era. They will interpret these writing styles into their own stories and understand the different effectiveness and components of non-fiction writing, in order to gain an understanding of what it takes to turn personal issues into readable formats and effective methods of non-fiction writings.

Measurable Learning Outcomes

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

Learning Outcome One:

Students, first or second year of undergraduate, will read three non-fiction post modern literature books of their choice. They will then write three non-fiction stories of their choice in which they mirror the styles of the three books they have read, understanding methods and styles used to interpret intended meanings.

Students will demonstrate an understanding of the writing styles while mimicking these styles to make effective stories of their own using the same writing styles. They will identify methods of writing and structures of writing. This activity will be less about creativity and more about understanding writing styles and methods and structures of published books from the post-modern era. They will interpret these writing styles into their own stories and understand the different effectiveness and components of non-fiction writing, in order to gain an understanding of what it takes to turn personal issues into readable formats and effective methods of non-fiction writings.

　

Learning Outcome Two:

Students, first or second year of undergraduate, will compare and contrast the poetry and writing styles of William Wordsworth and William Blake and their connections to prophecies and the pre 1800 era of literature, and also to one another.

Students will compare the authors considerations of nature as the one and as the divine (considering all texts equal, just for this course, as consideration, if students are uncomfortable doing this they are allowed to withdrawal from course initially). Examples of these different religious texts include the Holy Bible, The Koran, The Bhagavad-Gita, The I-Ch’ing, The Egyptian Book of the Dead, The Mayan Prophecies, or any other a student may have in mind. Although this may be controversial, this is only a literature exercise and must be treated as such, otherwise students do have options initially to withdrawal from course. These comparisons and interpretations are in order to understand the political and religious conditions of the past and through the different revolutions through pre 1800’s, the time periods of which both writers were creating different prose, poetry, and stories. Once These simplistic connections are drawn to these sacred and religious texts, the students are to find specific passages from the works of both William Blake and William Wordsworth, and similarities in prophecies intended through the two writers great works. This is only intended as an exercise and is not intended to challenge religious or divine texts of the past.

The students will then draw comparisons to the great old religious texts and the proposed prophecies of two poets various works, and they will explain the connections of Wordsworth and Blake to the great texts that have carried through history to be considered prophecies and students will find the connections and depictions of nature the grandeur throughout all texts considered in order to understand religious literature and to interpret texts considered as prophecies.

　

Learning Outcome Three:

Students, college levels drama, will be preparing for a production of the musical “Billy Elliot” for a music drama course.

Since “Billy Elliot” is based on true story, the students will research historical facts of the boy dancer and his existence through the times of the coal miner strikes during the year of 1984. They will research the British National Union of Mineworkers and the strike they underwent to save the coal mining industries. They will research Prime Minister Margaret Thatcher and her oppositions to the state-owned industries and unions.

The students will learn through research of the history of these times whether they can develop empathy and understandings to the different characters of the story, their positions and their passionate roles. They will continue research of the current circumstances of the coals miners, and understand the statistics being performed, and how in 1984, there were more than 300,000 men working in the industry, and how today they are less than 1000 workers in England. They will explain the moral an ethical positions of the culture and politics, considering the fact that currently more than 98% of coal used for British Energy is now imported from abroad. They will interpret the intimidations it took for this young boy to pursue ballet dancing, and they will develop an understanding of the severity of the times and the judgments that may have up against the young aspiring dancer.

This research and the reflections will give students the opportunity to better understand the social and political discretions and use it towards characters they choose for the try outs.

In addition, students will collaborate in designing different stages for the story/play, and incorporate their research about the times and circumstances, giving positions, to both union workers and police state workers.

Students will combine their understanding to produce adjustments in scene scripts and scene settings to better the authenticity and accuracy of this true story as it will be composed into a play. Students will combine their increased compassions and understandings into bettering the stage and scripts of the productions to come.

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

　

Learning Outcome One:

Students, first or second year of undergraduate, will read three non-fiction post modern literature books of their choice. They will then write three non-fiction stories of their choice in which they mirror the styles of the three books they have read, understanding methods and styles used to interpret intended meanings.

Students will demonstrate an understanding of the writing styles while mimicking these styles to make effective stories of their own using the same writing styles. They will identify methods of writing and structures of writing. This activity will be less about creativity and more about understanding writing styles and methods and structures of published books from the post-modern era. They will interpret these writing styles into their own stories and understand the different effectiveness and components of non-fiction writing, in order to gain an understanding of what it takes to turn personal issues into readable formats and effective methods of non-fiction writings.

　

Learning Outcome Two:

Students, first or second year of undergraduate, will compare and contrast the poetry and writing styles of William Wordsworth and William Blake and their connections to prophecies and the pre 1800 era of literature, and also to one another.

Students will compare the authors considerations of nature as the one and as the divine (considering all texts equal, just for this course, as consideration, if students are uncomfortable doing this they are allowed to withdrawal from course initially). Examples of these different religious texts include the Holy Bible, The Koran, The Bhagavad-Gita, The I-Ch’ing, The Egyptian Book of the Dead, The Mayan Prophecies, or any other a student may have in mind. Although this may be controversial, this is only a literature exercise and must be treated as such, otherwise students do have options initially to withdrawal from course. These comparisons and interpretations are in order to understand the political and religious conditions of the past and through the different revolutions through pre 1800’s, the time periods of which both writers were creating different prose, poetry, and stories. Once These simplistic connections are drawn to these sacred and religious texts, the students are to find specific passages from the works of both William Blake and William Wordsworth, and similarities in prophecies intended through the two writers great works. This is only intended as an exercise and is not intended to challenge religious or divine texts of the past.

The students will then draw comparisons to the great old religious texts and the proposed prophecies of two poets various works, and they will explain the connections of Wordsworth and Blake to the great texts that have carried through history to be considered prophecies and students will find the connections and depictions of nature the grandeur throughout all texts considered in order to understand religious literature and to interpret texts considered as prophecies.

　

Learning Outcome Three:

Students, college levels drama, will be preparing for a production of the musical “Billy Elliot” for a music drama course.

Since “Billy Elliot” is based on true story, the students will research historical facts of the boy dancer and his existence through the times of the coal miner strikes during the year of 1984. They will research the British National Union of Mineworkers and the strike they underwent to save the coal mining industries. They will research Prime Minister Margaret Thatcher and her oppositions to the state-owned industries and unions.

The students will learn through research of the history of these times whether they can develop empathy and understandings to the different characters of the story, their positions and their passionate roles. They will continue research of the current circumstances of the coals miners, and understand the statistics being performed, and how in 1984, there were more than 300,000 men working in the industry, and how today they are less than 1000 workers in England. They will explain the moral an ethical positions of the culture and politics, considering the fact that currently more than 98% of coal used for British Energy is now imported from abroad. They will interpret the intimidations it took for this young boy to pursue ballet dancing, and they will develop an understanding of the severity of the times and the judgments that may have up against the young aspiring dancer.

This research and the reflections will give students the opportunity to better understand the social and political discretions and use it towards characters they choose for the try outs.

In addition, students will collaborate in designing different stages for the story/play, and incorporate their research about the times and circumstances, giving positions, to both union workers and police state workers.

Students will combine their understanding to produce adjustments in scene scripts and scene settings to better the authenticity and accuracy of this true story as it will be composed into a play. Students will combine their increased compassions and understandings into bettering the stage and scripts of the productions to come.