Presentation on theme: "Calcomte Training Sessions: Instrumental Assessment March 15, 2002 Dr. Daniel R. Zanutto California State University, Long Beach Title Page."— Presentation transcript:
Calcomte Training Sessions: Instrumental Assessment March 15, 2002 Dr. Daniel R. Zanutto California State University, Long Beach Title Page
Adapted from… Curriculum, Instruction and Assessment: There is a Link (Richard Wells, Spotlight on Assessment, MENC) CurriculumInstruction Assessment National Standards What are best approaches? Regular part of State Content Standards Literature!instruction District Curriculum Is my instruction linked High frequency - Performance to the curriculum?Low magnitude Knowledge Authentic - based Creativityon what real musicians do! Give students a role in the process!
Rubrics Identify exactly what is to be scored Define the scale (point range) of the rubric Develop descriptors for each performance level that: Assure that the rubric: Describes unique characteristicsDefines a continuum of quality Uses unbiased languageFocuses on the same criteria Validly discriminates performance levels Can be reliably rated from Edward P. Asmus, 1999
Labels Score Excellent20 Good15 Fair10 Poor5 Old LabelsNew Labels ExcellentProfessionalAbove Grade Level GoodDevelopingAt Grade Level FairBeginningAt Start of this Grade Level PoorImmatureBelow Grade Level LabelsUnweightedWeightedUnweightedWeighted Excellent Good Fair Poor
Sample: Part 1- Flute Specific (from Zanutto Portfolio Assessment) Assembly Start with the middle joint, grasp at the engraved nameplate Take out the head joint, assemble flute in a twisting motion Align embouchure hole with the large keys Align foot joint with center of large keys on the middle joint Hand Position Fingers must rest properly on the keys Support the flute with the left forefinger and the right thumb The right little finger adds balance The right thumb should not extend beyond the flute, and wrist should not bend Imagine you are holding a glass of water with your right hand, then pour out When the glass is empty, your hand is in the correct position
Sample: Part 1- Flute Specific (from Zanutto Portfolio Assessment) Embouchure Relax the lips, say dim – keep teeth apart and lips together Keep head joint parallel with and centered on lips Keep corners of the mouth firm Release air with a pooh syllable Articulation Use dee/doo and tee/too syllables, depending on the attack needed Tongue at the roof of the mouth, not on the teeth or lips Intonation Flutes are usually flat in the low range, and sharp in the upper range Flutes sound flat when cold Blow warm air though the instrument with keys closed Correct intonation by: raising/lowering head, directing air at ceiling/floor
Sample: Part 1- Flute Specific (from Zanutto Portfolio Assessment) Vibrato Diaphram vibrato is most preferred Start slowly Work for even sound Transposition The flute is a C instrument, and is non-transposing Alternate Fingerings Study alternate fingerings for use in rapid sections Study alternate fingerings to correct intonation problems Care and Maintenance Swab and dry frequently Pivot screws must be oiled and tightened occassionally
Sample: Part 2 - Generic Grade 7-8 Breathing Empty lungs – breathe in for 4 counts Expand at the waist line Take in 3 more sips of air At a moderate tempo, hiss out air Posture Sit at front edge of chair Place feet flat on the floor, do not cross legs or ankles Bring instrument up to you, you do not move to the instrument *NOTE – Flute player classic right elbow on back of chair disease Tone Production Playing with good sound is most important, start with proper air support Inhale properly, avoiding tension in throat muscles Avoid playing with teeth together, or blocking air passage with tongue
Sample: Part 2 - Generic Grade 7-8 Blend/Balance (Balance is between sections, Blend is within sections) Blend is difficult unless parts are asymmetrical, i. e. 2 first, 3 second, etc… Strong players should be assigned to all parts Balance is nearly impossible when # of brass = # of woodwinds Balance is achieved when all sections of the band are heard Fingerings Knowledge of ALL fingerings is essential Fingering is done with the pads of the fingers, not the knuckles Fingers should be slightly curved, not flat Tonguing Effects Double = Tu – Ku Tu – Ku, or Doo - Goo Doo – Goo, etc Triple = Tu – Tu - Ku Tu – Tu - Ku, or, Tu – Ku - Tu Tu – Ku – Tu, etc. Flutter Tongue As if rolling an R
Sample: Part 3 – Generic Grade 7-8 Rhythm/Meter Diagram the Note Value Tree Complete Rhythm Counting Exercises Dictation Rhythm Dictation Key Signatures Diagram the Circle of Fourths Harmony Major – Scales/Arpeggios (play and identify) Minor – Scales/Arpeggios (play and identify) Modal – Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian (From C) Progression – Identify : V 7 – I; IV - V 7 – I; etc.
Sample: Part 3 – Generic Grade 7-8 Form Monophony/Polyphony/Homophony Theme/Variation Rondo Sonata Form Articulation/Dynamics/Tempi Slurs & Ties, Accents, Attacks and releases Full dynamic range Tempo – Mood indicators Historical Information Complete Music Terminology exercise Music Poster Essay (single page, typed, single spaced) Music and Composers of the Periods
Sample: Part 4 – Generic Grade 7-8 Scales Perform all 12 Major Scales with arpeggios ( = 90 ) Perform the Chromatic Scale, one octave from Bb ( = 90 ) Solo Medium-easy to Medium-difficult, or County Honor Band Audition sheet, OR YOU MAY COMPOSE…. Composition Minimum of 24 measures Melody, 2-part Harmony, Bass Line You may use the sequencing software to complete this assignment
Ensemble Performance & Listening Skills (MENC – Melody/Harmony) Skill/KnowledgeConceptsLevel of IntroPortfolio Section Melody N. S. # 1,2,3,4,5,6,7Notation/TermsI 3 IntervalsI/II 3 Key SignaturesI/II (b maj, m)3 & 4 ScalesI/II (maj, m/c)3 & 4 PhrasesI/II 3 Harmony N. S. # 1,2,3,4,5,6,7Scale SystemsI/II (maj/syn)3 & 4 Tonal SystemsI/II (maj/ser)3 ChordsI/II (maj/clus)3 Other ConceptsI/II (mod/dis)3
Ensemble Performance & Listening Skills (MENC – Form/Timbre/Expression) Skill/KnowledgeConceptsLevel of IntroPortfolio Section Form N. S. # 1,2,3,4,5,6,7Comp DevicesI/II Rep/Inv Comp StructureI/II Bi/Cncrto3 Timbre/Texture N. S. # 2EffectsII mute/trill/or2 Expression N. S. # 1,2, 5,6,7DynamicsI 3 PhrasingII 3 ArticulationI 2 InterpretiveI 3 StylisticII 3
Ensemble Performance & Listening Skills (MENC – Historical/Creative/Valuing) Skill/KnowledgeConceptsLevel of IntroPortfolio Section Historical N. S. # 8, 9Music PeriodsII 3 Ethnic MusicII 3 Music TechnologyIII4 ComposersIII3 ConductorsIII InstrumentalistsIII4 StylesI/II 3 Performance PracticeI/II 3 Creativity/Valuing N. S. # 1,2,3,4,5,6,7Creating/ImprovisingII 4 Phrasing LineII 2 & 3 Expression/ValuingI 2 & 3
Portfolio Rubric Part 1 – Instrument Specific Inst. Specific *Novice 1 pt Emerging 2 pts Proficient 3 pts Expert 4 pts Assembly Inst. Position Embouchure Articulation Intonation Cross Break * Reeds * Vibrato * Transposition * Alt. Fingerings Care/Maint. Totals
Portfolio Rubric Part 2 - Skill SkillNoviceEmergingProficientExpert Breathing Posture Tone Production Balance/Blend Fingerings Double/Triple* Flutter Totals
Portfolio Rubric Part 3 - Knowledge KnowledgeNoviceEmergingProficientExpert Rhythm/Meter Dictation Key Signatures Harmony Form Articulation Dynamics Tempi Totals
Portfolio Rubric Part 4 - Performance PerformanceNoviceEmergingProficientExpert C F Bb Eb Ab Db/C# Gb/F# Cb/B E A D G Chrom Solo or Comp Totals
Portfolio Grading Scale NoviceEmerging* ProficientExpert Max Totals * Proficient Scale = A 98 – 109 = B 86 – 97 = C 73 – 85 = D Below 72 = F
References Asmus, E. (1999) Music Assessment Rubrics from MENC (1991) Teaching Wind & Percussion Instruments: A Course of Study. Music Educators National Conference. MENC (2001) Spotlight on Assessment in Music Education. Music Educators National Conference. Zanutto, D. (2001) Portfolio Assessment. Unpublished.