In Part 1, author Steve Johnson explained the intentions of the National Core Arts Standards and how general music educators can align their instruction to help students’ deepen their understanding of music and musical processes.
by Steve Johnson Jr.
No matter how you structure your school-year, it’s important for your curriculum to cover all of the artistic processes outlined in the National Core Arts Standards (NCAS). These processes include Performing (Pr), Responding (Re), Creating (Cr) and Connecting (Cn). A majority of activities lie in the performing realm. Throughout the year though, there should be some creating and responding sprinkled in. Many times, they can naturally fit in Performing, whether it be through scripted movement (Re), folk dance (Cn) or improvisation breaks (Cr) in your performance repertoire.
My own curriculum is structured to allow flexibility in programming, as long as it’s working towards the larger unit goal. When planning, I like to look at all the standards across grade levels to see the nuanced progression. (I prefer this view of the NCAS)
In grades K-4, our first quarter is dedicated to reviewing the nuts and bolts of music. Activities around steady beat and notation, singing games and learning repertoire are common. Many lessons incorporate the performing (Pr) components of analyzing and rehearsing. There is also room for responding to music we are not performing. The younger grades do a lot of this as they demonstrate understanding of steady beat through movement and sharing their opinions of listening examples.
Second quarter topics focus on specific skills. Younger grades work on solfege singing while older students refine recorder skills. Most of the action still takes place in the performing process, possibly including an actual performance. As skills are honed, opportunities to explore creating (Cr), possibly improvisation, may pop up as well.
The third quarter deepens understanding of specific skills. We may focus on a particular instrument (xylophone, recorder, ukulele). Extended studies provide opportunities to incorporate the creating process, perhaps with a composition. Students can evaluate each other’s compositions and identify musical elements they hear. This can seamlessly incorporate the responding process (Re).
In the final quarter, students are preparing for a school-wide concert. This preparation shifts the focus back into the performing process (Pr). Every aspect is covered in depth as students work toward a performance. Listening back to concert audio provides another opportunity to respond and evaluate their performance.
I try to include a balance of all the artistic processes. I make the standards work for me, helping my students progress naturally on my vision of a comprehensive music education. I enjoy this freedom, especially when I go to a music workshop on Saturday and bring back a great new piece for my recorder players to analyze on Monday!
Teaching music is an intense expression of your own personality. We focus on our own strengths and tend to choose activities that both teacher and students will enjoy. No matter the activity, it probably aligns to one or more processes in the NCAS. If you can identify what you want the students to learn, chances are, it’s already written in the standards. I hope this article helps you develop a new perspective on working with the NCAS!
State Education Agency Directors of Arts Education. (2014). National Core Arts Standards. Dover, DE: State Education Agency Directors of Arts Education.
Contributor
Steve Johnson Jr. is a music educator, composer and performer. He holds a B.S in Music Education from Rhode Island College, a Master’s of Music Education from the University of Rhode Island and Orff level I certification. He has been teaching…
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kkeast
July 8, 2021
I’m looking for the Connecting standard files, and this series has Create, Perform, and Respond standards.