Making the NCAS Work For You – Cracking the NCAS Code (Part 1)

• Steve Johnson, Jr.
• Posted 8/23/20
• 0 comments

First, let’s review the basic framework of the NCAS, build around 3 artistic processes: Creating(Cr), Performing(Pr) and Responding(Re); or CPR (hopefully after reading this you won’t need CPR to begin working on your own!)  There is also Connecting (Cn), which ties multiple processes together. 

Every artistic process is accompanied by an anchor statement, enduring understandings and essential questions.  These statements encompass the entire arts family (music, visual arts, theater and dance), so they are very broad.  Curriculum tip – the essential questions are copy and pastable for formal curriculum documents. 

There is similarity between the processes and many share keywords.  You can get a sense of this (and the coding system) in the table below:   

Create	Perform	Respond
Cr1.1 – Imagine	Pr4.1 – Select Pr4.2 – Analyze  Pr4.3 – Interpret	Pr7.1 – Select  Pr7.2 – Analyze
Cr2.1 – Plan and make	Pr5.1 – Rehearse, Evaluate and Refine	Pr8.1 – Interpret
Cr3.1 – Evaluate and Refine Cr3.2 – Present	Pr6.1 – Present	Pr9.1 – Evaluate
Connecting – Cn10.0, Cn11.0

Each of the process components is expanded into performance standards for each grade level,   indicated by the last number in the code.  For example, analyzing performance material in grade 3 would be performance standard Pr4.2.3 

“I Can Statements” In Action 

With an understanding of the numbering system, a bigger problem still remains: How do you make sense of the vague and broad language?  First and foremost, recognize they are process standards, guiding you in the “how” and not that “what.”  The time and scope of reading sixteenth note rhythms won’t be found with the NCAS, but instead, you’ll explore how reading notation is an integral step toward performing music. 

One way to get to the meat of the language is to think of the performance standards in “kid friendly” terms.  Helping your students to understand their own learning outcome will be useful in navigating the standards yourself. 

To demonstrate this, let’s walk through a potential scenario:  Your 4th graders are to perform a winter themed assembly.  The keyword here is “perform,” which puts us in the performing process (Pr).  For clarity, let’s start at the top. 

You need to first decide what to perform at the assembly.  Pr4.1 – “select” 

Pr4.1.4 – a. Demonstrate and explain how the selection of music to perform is influenced by personal interest, knowledge, context, and technical skill .      

Reframe this into a student friendly, affirmative statement of that standard such as I can select appropriate music for a performance. 

Now, this is a straightforward summary!  As you announce the upcoming performance to your class, discuss what material would be interesting for a winter-themed assembly.  You can help guide students towards an appropriate selection, pointing to something they already know or a piece within their skill level.  In our imaginary scenario, you give the choice of “Frosty Weather” or “Frosty the Snowman.”  After a brief discussion and a vote, “Frosty the Snowman” gets the nod. 

Once the song is selected, the teaching process commences.  Likely, this includes analysis of the music, bringing us to Pr4.2 – “analyze.” Think about what each component is guiding students to do. 

Pr4.2.4 – a. Demonstrate understanding of the structure and the elements of music (such as rhythm, pitch, and form ) in music selected for performance. 

A student friendly summary could be: I can talk about and identify musical elements in the music. 

Pr4.2.4 – b. When analyzing selected music, read and perform using iconic and/or standard notation → I can read and play (sing) the notation 

Pr4.2.4 – c. Explain how context (such as social and cultural) informs a performance  →  I can talk about the meaning of the song. 

You could even combine these into one comprehensive statement:  I can read and perform rhythmic and melodic patterns and talk about the music (musical concepts, structure, context). 

As you work with the student-chosen selection “Frosty the Snowman,” you will no doubt cover all of these topics.  Activities such as tracing the melodic contour in the air, movement to the steady beat, sit/stand to show verse and refrain, singing in solfege with hand signs, clapping the rhythm to specific measures, and dissecting lyrics would all be in line with Pr4.2.4. 

Pr4.2.4c (context) is probably the trickiest to conceptualize for a simple song like Jingle Bells.  Really, we are identifying the meaning of the song and figuring out how that affects our performance.  In the case of Jingle Bells, it’s a humorous song that can be performed at informal social gatherings, not a ceremonial piece.  That’s it – simple. Not all standards need a full procession of activities to adequately cover them. 

The idea of context flows logically into the next component, 4.3 (interpret).  Now that we have analyzed the musical and contextual elements, how do we make it musical?   

Pr4.3.4 – a. Demonstrate and explain how intent is conveyed through interpretive decisions and expressive qualities (such as dynamics, tempo, and timbre) → I can explain how the music expresses intent. 

How can we sing and play “Jingle Bells” so others know the intent or meaning of the song?   Students can contribute to decisions regarding dynamics, tempo and arrangement.  In the early stages of learning the song, they may not be ready for this.  That’s okay!  Each artistic process is cyclical and you will likely cover each component multiple times.  

After one class, students can identify the form, pitches and rhythms.  Now we get into what music teachers are really good at, rehearsing. Bring in Pr5.1 – Rehearse, evaluate and refine. 

Pr5.1.4 – a. Apply teacher provided and collaboratively developed criteria and feedback to evaluate accuracy and expressiveness of ensemble and personal performances 

Pr5.1.4 – b. Rehearse to refine technical accuracy and expressive qualities, and address performance challenges.  

Combined, the student friendly statement might be: I can evaluate and revise my performance.   

Students are familiar with this terminology and do it all the time in writing.  Many music teachers naturally gravitate to this step because this is what we know.  Every college performing ensemble covered this ground, ad nauseam.  Kids know what sounds good and what doesn’t.  With demonstration and discussion of what you’re looking for, the students can play an active role in refining performance material.   

At this point, we have selected the song, analyzed and interpreted the music, and gone through the rehearsal process.  It’s now time for the performance!   

Pr6.1.4 – a. Perform music, alone or with others, with expression and technical accuracy, and appropriate interpretation. 

Pr6.1.4 – b. Demonstrate performance decorum and audience etiquette appropriate for the context, venue, and genre .    

Combined, I can perform in front of an audience with proper behavior.   

Taking into account all of the previous steps, the performance completes the cycle.  The proper behavior part is an especially relevant reminder for elementary students.  They need to be reminded of what to do and not do while in front of an audience. 

As you may have observed, you’re not doing anything different from what you have always done: you pick the song, then teach, rehearse and perform the song.  The standards just break the process down into smaller, more technical components.   

Getting the students in on the behind the scenes action deepens their understanding.  If the  kids know the path of their learning, they will buy into the process with increased engagement.  Remember, the steps don’t always go in order and you will likely repeat various aspects of analysis, rehearsal and evaluation.     

Simplify the Rest  

After looking at the performing process, let’s translate the other artistic processes (Creating, Responding and Connecting) into “I can” statements.  Here are some ideas, continuing with the 4th grade strand. 

Cr1.1.4 (a/b) – I can improvise rhythms and melodies on classroom instruments 

Cr2.1.4 (a/b) – I can play my musical ideas and remember them (notation or recording) 

Cr3.1.4 – I can evaluate and revise my musical ideas to show improvement 

Cr3.2.4 – I can perform and discuss my musical ideas 

Re7.1.4 – I can explain why I chose specific music for listening 

Re7.2.4 – I can explain the musical elements and context of music for listening  

Re8.1.4 – I can explain how expressive qualities (dynamic, tempo, etc) show the music’s intent. 

Re9.1.4 – I can evaluate and talk about music when listening  

Cn10.0.4 – I can use what I’ve learned to create, perform and respond to music 

Cn11.0.4 – I can talk about how music relates to other subjects and my daily life. 

These statements will look slightly different across grade levels, generally indicating greater teacher guidance and support for younger students.  Getting to the core of the learning intentions is what it’s all about.  Once you do, your plans become more comprehensive and effective, resulting in deeper understanding. To be continued…. 

References

State Education Agency Directors of Arts Education. (2014). National Core Arts Standards. Dover, DE: State Education Agency Directors of Arts Education. 

You can read Part 2 of this article, Creating a Personal Curriculum, here.