Edtpa Pfa Planning Commentary

K-12 Performing Arts
Task 1: Planning Commentary
TASK 1: PLANNING COMMENTARY

Respond to the prompts below (no more than 9 single-spaced pages, including prompts) by typing your responses within the
brackets. Do not delete or alter the prompts. Pages exceeding the maximum will not be scored.
1. Central Focus
a. Describe the central focus and purpose of the content you will teach in the learning
segment.
[ The central focus and purpose of the content I will teach in this learning segment is students
will examine musicality in performance through balance, blend, dynamics, phrasing, and
articulation by demonstrating a syntheses of the terms as they refer to wind band ensemble
sound through the use of visual aid, descriptive language, reflection and performance. I started
my planning for this lesson sequence through a series of pre-assessment lessons and a selfassessment by the students. I wanted to get an idea of what the students strengths and
weaknesses were in order to determine the lesson sequence through which they would benefit
most. I began with the basics for novice musicians: notes, fingerings, and rhythms. I found that
students were fairly proficient at music reading for their grade level. However, the students
lacked a sense of overall sound. They were able to play their notes and rhythms correctly, yet
nuances like dynamics, phrasing, style and general musicality were unknown, or unemployed,
amongst the majority of the students. Additionally, I asked the students to self-assess. The
findings of this self-assessment aligned with my findings during the pre-assessment lessons.
Students were confident in their note and rhythmic identification, but felt that they struggled with
the next level, such as dynamics, tone, and articulation. Alexis stated that she felt that she
needed to get better at tonguing. There were 20 out of 42 students that also identified
articulation as a point of weakness. 15 out of 42 students desired a better sound, or tone. 29 out
of 42 students said that they felt that they could work more on dynamic contrast. Throughout the
self-assessments, there were similar trends among students strengths and weaknesses. In
order to introduce the students to a deeper sense of musicality, I decided to focus on ensemble
sound and equipping students with the knowledge and skill of musical terms that would enhance
their musicianship. Before I solidified my central focus, I consulted the National Association for
Music Education Standards for Ensembles and the Illinois State Board of Education Standards
for Music. Standards that support my central focus include, 25.A.3c Music: Identify and
describe changes in elements and expressive qualities (e.g. crescendo, ritardando, fermata,
meter, sforzando)., 26.B.3c Music: Sing or play with expression and accuracy a variety of
music representing diverse cultures and styles, and MU: Pr4.3.E.8a: Demonstrate
understanding and application of expressive qualities in a varied repertoire of music. Aligning
my planning with these curricular standards helps to ensure more focused and directed
objectives that are clear and measurable. The standards equip students with knowledge/skill
based outcomes as well as encourage interpretations and creativity.
Using Howard Gardners theory of Multiple Intelligences, I chose several mediums through
which students would expand their knowledge of musicality. Gardners theory emerges from
cognitive research and states that all of us are able to come to know the world around us
through many different means whether it is language, logical-mathematics, or spatial
representation. However, the difference between intelligences is that everyone differs in
strengths of these intelligences. This is apparent among my students, even as collective
musicians their learning types differ greatly. The central focus of this learning segment
addresses student weaknesses, reinforces their strengths and uses several methods of
teaching to reach students of different intelligences.]
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b. Given the central focus, describe how the standards and learning objectives within your
learning segment address creating, performing, and/or responding to
music/dance/theater by applying
knowledge/skills (e.g., tools/instruments, technical proficiencies, processes,

elements, organizational principles)
contextual understandings (e.g., social, cultural, historical, global, personal reflection)

artistic expression (e.g., interpretation, creativity, exploration/improvisation, individual
choices)
[ Throughout the lesson sequence students are encouraged to apply their knowledge through
performance. I anchored my lessons around the State and National standards: 25.A.3c Music:
Identify and describe changes in elements and expressive qualities (e.g. crescendo, ritardando,
fermata, meter, sforzando)., 26.B.3c Music: Sing or play with expression and accuracy a variety
of music representing diverse cultures and styles, and MU: Pr4.3.E.8a: Demonstrate
understanding and application of expressive qualities in a varied repertoire of music. These
standards encourage a sequence of attaining knowledge/skills and contextual understandings,
then applying the new knowledge or understanding in performance. As I created learning targets
for each lesson, I aimed to bring students through a process of instructional scaffolding, which is
used to promote a deeper level of learning through teacher support (Sawyer, 2006). Each
lesson introduces the knowledge or skill to students, asks them to respond through inquiry or
practice, then culminates in performance. Through instructional scaffolding, students build on
prior knowledge from preview lessons, prior experiences, and lessons within the sequence.
Learning targets within each lesson are designed to encourage student exploration and artistic
expression through the attaining of knowledge and skills. The knowledge or skills acquired in
the lesson are examined through inquiry and support/practice activities. During these
support/practice activities, students create a contextual understanding of the knowledge or skill,
and in the last part of the lesson, students are asked to respond to the lesson through artistic
expression, performance, or reflection. For example, the learning targets for Lesson 1 are as
follows: (1) Students will identify their instrument part within the Balance Pyramid, (2) students
will explain the visual of the balance pyramid in terms of dynamics and voicing (i.e. High,
middle, low), and (3) students will demonstrate an understanding of the Balance Pyramid by
contrasting balanced and unbalanced dynamics as an ensemble. The purpose of learning target
one is for students to attain the new knowledge or skill, which is to identify their instrument part
within the Balance Pyramid. The second learning target is for students to develop a contextual
understanding of the knowledge/skill through the explanation of the visual of the Balance
Pyramid. The final learning target in Lesson 1 applies the new knowledge or skill through the
medium of performance. Each lesson within the sequence has a similar structure to ensure
students are creating, performing, and responding.
c. Explain how your plans build on each other to help students to create, perform, and/or
respond to music/dance/theater and in making connections to knowledge/skills,
contextual understandings, and artistic expression.
[ According to Vygotskys theory of cognitive development, instructional scaffolding occurs when
students are working in the Zone of Proximal Development. This zone is between the area of
cognition of what students can do and what they cannot yet do. Scaffolding is the support that
occurs when the teacher helps students make the connection from their prior knowledge to new
knowledge or skills. Making connections to prior understanding gives meaning, purpose, and
context. Throughout each lesson within the sequence there is a cycle of Instruction and Inquiry,
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Practice/Support Activity, Informal and Formal Assessments, and Application/Closure. Each

segment of discourse ranges from 5-10 Minutes, which recent studies have shown is the
optimal time span for retaining student attention and engagement (Richardson 2010). Each
lesson works in the Zone of Proximal Development, working with what students already know to
teach them what they do not know. Furthermore, each lesson builds upon each other. The
central focus is Musicality in Performance. The lesson sequence equips students with the
knowledge and tools to apply expressive qualities to a variety of music.
Lesson 1 begins with an inquiry: What is Balance? What is Blend? The inquiry asks students to
draw upon their prior knowledge to help define the terms in the band ensemble setting. Using
the prior knowledge and information gathered, the teacher supplements formal definitions with
students prior knowledge to assist students with making a connection. To assess and further
reinforce the terms, students are asked to define the terms in their own words on an Exit Slip.
The Practice/Support Activity follows the Inquiry. Students are actively engaged in a support
activity to help them further develop a contextual understanding of the Balance Pyramid.
Students use their knowledge of pitch and instruments to determine where their instruments
belong on the pyramid. The activity is based on visual aid, teacher inquiry, and student
response. The teacher then engages students in an application of the new information through
playing and self-assessing. Students are asked to contrast between unbalanced and balanced
sounds. Teacher then helps students extend the exercise into repertoire that the students are
playing.
Lesson 2 is an extension of Lesson 1. Where Lesson 1 addressed dynamic levels as loud and
soft, Lesson 2 applies musical notation and terms to dynamic markings. In Lesson 2, students
are taken through teacher inquiry and student response. Again, working within the Zone of
Proximal Development. Teacher supports student through an activity of dynamic identification
and definition, then leads students through a practice/support activity in which students apply
dynamic markings in practice with their instruments. The lesson deepens as student are asked
to interpret a whole note exercise on the board that includes dynamic changes. Lesson 2 ends
with application within concert repertoire. Students use what they have learned about dynamic
markings to add musicality and expression to piece they are preparing for a concert.
As we continue on to Lesson 3, student are equipped with another form of expression, breathing
and phrasing. Lesson 3 ties together the previous lessons and the idea of musical expression is
introduced to students. Phrasing is introduced to the students through a concept that they
already understand, language and sentence structure. Like sentences within a paragraph,
music tells a story through phrases as well. In this lessons, students connect sentence structure
to musical phrases through punctuation and breath marks. The concept is practiced through
language first, then applied to musical excerpts. Extension of previous lessons occur when
students use balance and dynamics within the Application, Closure, and Extension Activity. In
this exercise students are challenged to use the skills acquired within Lesson 1 and 2 to
demonstrate an understanding of phrasing and expression.
In the concluding lesson of this sequence, the teacher equips students with an understanding of
staccato and legato articulations, getting students to use prior knowledge to demonstrate the
different articulations. Like previous lessons, students are engaged in discussion with the
teacher regarding articulations and note lengths. In the latter half of the lesson, students are
called to respond to a recording using all knowledge and skills learned within the lesson
sequence to respond.

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The formal assessment of the entire lesson sequence assesses students in definition, reflection,
and performance. Students are to synthesize information from all lessons and apply it in ways
that demonstrate an understanding of terms learned throughout the lessons sequence, skills
that apply the terms in performance, and a synthesis of musicality in performance with a focus
on dynamics, articulation, balance, and blend. ]
2. Knowledge of Students to Inform Teaching
For each of the prompts below (2ab), describe what you know about your students with
respect to the central focus of the learning segment.
Consider the variety of learners in your class who may require different strategies/support
(e.g., students with IEPs or 504 plans, English language learners, struggling readers,
underperforming students or those with gaps in academic knowledge, and/or gifted
students).
a. Prior academic learning and prerequisite skills related to the central focusCite
evidence of what students know, what they can do, and what they are still learning
to do.
[ Being able to draw upon students prior knowledge throughout a lesson sequence is a rich
asset and resource for instructional scaffolding. Furthermore, it helps students create a context
for their learning which leave them more apt to retain the information and skills attained through
the lesson. Before creating a central focus for this lesson sequence, I taught a series of preassessment lessons to get an understanding of what students know, what they can do, and
what they are still learning to do. In these lessons, students were challenged with different levels
of music and assessed based on their age group and standards given by the state and national
level. Through these lessons, I found that students were technically strong with their
instruments, meaning notes/fingerings and basic rhythmic knowledge were skills the students
were highly proficient in. To further develop my understanding of students prior academic
learning and skills, I asked them to participate in a self-assessment of their knowledge and
abilities so far. Students showed a confidence in playing their instruments and showed an
unfamiliarity with expressive notation. In group lessons, students received individual feedback
on their goals, technical strengths and weaknesses. This revealed that students not only lacked
conceptual knowledge of musicality in performance, but were in the beginning stages of
developing the skills for extending their musicality. Students had the skill and ability to extend
their musicality in performance. In order to do so, students needed an understanding of
expressive notation, practice and application of the terms. After consulting the state and national
standards for music, these goals and learning targets were confirmed as appropriate and on par
with the grade level. ]
b. Personal, cultural, and community assets related to the central focusWhat do you
know about your students everyday experiences, cultural and language
backgrounds and practices, and interests?
[ My students are all in the 7th grade. They come from a variety of socio-economic backgrounds
and are ethnically diverse. About half of the students own or rent their own instrument, while the
other half borrows school-owned instruments for use during the school year. Most students have
parents who both work, which does not allow time for much parental guidance/support within the
subject area. About a quarter of the students have older siblings who also went through the
band program at the junior high. In terms of their musical experience, 36 out of 42 students
began learning an instrument starting in the 5th grade. 20 out of 42 students switched from their
primary instrument at the beginning of the school year. 3 out of 42 students have piano
experience prior to the age of 10. Additionally, 5 out of 42 students have private lessons outside
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the school day. The class in an elective for students, therefore, students choose to be in band. It
is not mandatory or required. Student interest and involvement outside the classroom is limited
to their resources from the classroom and at home. Ryan C supplements his musical repertoire
with sheet music of popular songs. Alexis sings in a childrens choir on weeknights. Additionally,
many of the students are involved in other activities provided at the school, such as athletics,
media club, and dance. ]
3. Supporting Students Performing Arts Learning
Respond to prompts below (3ac). To support your justifications, refer to the instructional
materials and lesson plans you have included as part of Planning
Task 1. In addition, use principles from research and/or theory to support your
justifications.
a. Justify how your understanding of your students prior academic learning and personal,
cultural, and community assets (from prompts 2ab above) guided your choice or
adaptation of learning tasks and materials. Be explicit about the connections between
the learning tasks and students prior academic learning, their assets, and
research/theory.
[ The theory of scaffolding was first introduced by cognitive psychologist, Jerome Bruner. Bruner
suggested that children often build on the information they have already mastered (Bourgoin
1997). In Bruners research, he discovered that there are three models of representation that
children use when learning something new: Enactive representation, which is action based,
iconic representation, which is image-based, and symbolic representation, which is languagebased. In the lesson sequence, I plan to use all types of representations to support students
through acquiring new knowledge. In the first lesson of the sequence, titled Balance and Blend
students are mainly working with iconic representation. Students are introduced to a visual
representation of a balanced ensemble sound. With students knowledge of basic geometry and
shapes, the Balance Pyramid uses shapes to show students a visual concept of sound. In the
second lesson of the sequence, the activities utilize all three representations, enactive, iconic,
and symbolic. Students chart expressive terms and their meanings, provide real-life context
using prior knowledge through descriptive language, and performance of the expressive
qualities. In the third lesson of the sequence, students mainly use symbolic representation to
build conceptual understanding of phrasing. In the context of sentence structure and
punctuation, students develop an understanding of musical phrases. I use reading aloud to
connect to playing music. Just as there are natural pauses in reading, there are natural phrases
and pauses in music. As we speak with expression, we also play with expression. This
connection is natural to students because of their prior knowledge and experience with reading,
grammar, and punctuation. In the final lesson of the sequence, symbolic and enactive
representation are used to create a sense of note length in articulation. Teacher uses vocal
syllables to attach a language to staccato and legato notation. Students then use the vocal
syllables (doo and dit) to analyze articulations within music. Students speak the articulations,
then demonstrate them on their instrument. With teacher support and guidance students are
working with Vygotskys Zone of Proximal Development. Lev Vygotsky was also a cognitive
psychologist who studied social development. He coined the term Zone of Proximal
Development to explain scaffolding. The Zone of Proximal development is the area of
instruction where students are using their prior knowledge with the support of teacher instruction
to obtain new information, concepts, and skills. Vygotsky argued that childrens cognitive
development depends upon full social interaction; that knowledge and skills are developed with
adult guidance, or peer collaboration, better than when attained alone.

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Instructor scaffolding happens in several different ways, feedback, hints, instructing, explaining,
modeling and questioning (van de Pol et al, 2010), all of which are incorporated into the lesson
sequence. In the Instruction and Inquiry part of the lessons, the teacher is employing instructing,
explaining, modeling, and questioning to facilitate in scaffolding. Teacher asks students a variety
of questions that are to trigger students to draw upon prior knowledge to answer. Additionally,
questioning is used for informal assessment. Informal assessments are then used to provide
feedback to the students. For example, in Lesson 1, the students are asked to draw upon
previous context to define balance and blend. The teacher then engages in explanation to
connect student definitions with the music definition of balance and blend. In Lesson 2, teacher
uses hints to prompt students into discovery of definitions of dynamics in music. In Lesson 4,
teacher employs modeling as a scaffolding technique. Providing examples of using the vocal
syllables to define articulations and note length, teacher offers a behavior for imitation,
demonstrating the skill of articulation. In the application portion of the lesson plans, teacher
provides feedback to students helps guide their development. As students are learning to selfassess, teacher feedback is vital to student growth. It is through feedback that students gain
confidence in new skills and concepts. ]
b. Describe and justify why your instructional strategies and planned supports are
appropriate for the whole class, individuals, and/or groups of students with specific
learning needs.
Consider the variety of learners in your class who may require different
strategies/support (e.g., students with IEPs or 504 plans, English language learners,
struggling readers, underperforming students or those with gaps in academic
knowledge, and/or gifted students).
[ The instructional strategies and planned supports with the lesson sequence caters to all
individuals within the classroom including students with 504s and learning needs. According to
learning theory, there are different learning styles, which refers to the preferential way in which
the student absorbs, processes, comprehends, and retains information. According to Neil
Fleming, students have four different learning types: visual, aural, read/write, and kinesthetic.
Visual learning types learn best through seeing, such as visual aids, graphic organizers, charts,
diagrams, and symbols. Auditory learning types learn best through hearing, such as lectures,
tapes, and discussions. Kinesthetic learners rely on physical experiences such as moving,
touching, or doing through an active exploration of the world (Leite 2010). Read/write learning
types maximize their learning through reading and writing. In my instruction and planning,
students are exposed to material for all learning types. Instructions are read aloud for students
with auditory learning types, as well as the student with a learning need as a struggling reader.
Visual aids and charts are provided for students who are visual learners (i.e. balance pyramid,
dynamic chart, music notation). Discussion and lecture are supplemented with notes and exit
slips for read/write learning types. Kinesthetic learners benefit from trying the new concept. In
each lesson students are given the opportunity to demonstrate their knowledge and skill in
application to music. Students play their instruments and demonstrate an acquisition of the
concepts of balance, dynamics, phrasing, and articulation. For the student with a 504 plan, the
appropriate supports and accommodations are given when appropriate. For instance, student
will be given extra time to complete the final formal assessment. ]
c. Describe common student errors, weaknesses, or misunderstandings within your
content focus and how you will address them.
[ Common student weaknesses are with listening through the ensemble for balance, blend, and
dynamics. At this level, students are still trying to develop a concept of the sound of their
instrument. Students often focus solely on their sound and neglect to listen to their part within
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the ensemble. This is addressed in the first lesson. Throughout the lessons sequence, the
teacher will remind students to listen to each other. The balance and unbalance exercise can be
used with any note, chord, or dynamic level to achieve ensemble awareness and balance.
Common student misunderstandings with dynamics occurs with the Italian terms. Organizing
the terms in order of loudness helps students develop an understanding of the dynamic terms
and definitions, as well as how they fit together in a spectrum. Other student errors will be
detected through informal and formal assessments and addressed at the beginning of class
through review and inquiry. ]
4. Supporting Performing Arts Development Through Language
As you respond to prompts 4ad, consider the range of students language assets and
needswhat do students already know, what are they struggling with, and/or what is new to
them?
a. Language Function. Using information about your students language assets and
needs, identify one language function essential for students to learn the performing arts
knowledge within your central focus. Listed below are some sample language functions.
You may choose one of these or another more appropriate for your learning segment.
Analyze
Compare/contrast
Create
Describe
Evaluate
Explain
Identify
Improvise
Perform
Respond
Summarize
[ The language function I chose for this learning segment was examine. Blooms Taxonomy
refers to a sequence of deeper cognition. Examine is a key word for analysis, which is in the
upper levels of learning and cognition and includes comparing, contrasting, differentiating, and
identifying. ]
b. Identify a key learning task from your plans that provides students with opportunities to
practice using the language function. Identify the lesson in which the learning task
occurs. (Give lesson/day number.)
[ In lesson 2, students classify dynamics and demonstrate contrast between each dynamic
marking, pianissimo, piano, mezzo piano, mezzo forte, forte, fortissimo, crescendo,
decrescendo. They examine each dynamic marking and demonstrate an application through
performance of each dynamic marking through a whole note exercise that takes students
through a variety of dynamic contrasts. Additionally, there is a moment for students to think, pair
up, and share their contextual application of dynamics, giving examples of real-life sounds that
differ in loudness. Students examine dynamics in their everyday lives with everyday objects
and sounds.]
c. Additional Language Demands. Given the language function and learning task
identified above, describe the following associated language demands (written or oral)
students need to understand and/or use:
Vocabulary and/or symbols

Plus at least one of the following:
Syntax
Discourse
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[ In order to achieve content-specific goals, students must be literate and fluent in content
related vocabulary. Providing students with opportunity to use academic language supports their
literacy and fluency. Through pre-assessments, I realized that my students already had a
foundation in basic music notation and vocabulary. For this lesson sequence, students must
have a basic music vocabulary of notes and rhythms. Dynamics and other musical vocabulary
beyond student knowledge will be taught through discourse and reinforced through key
instructional activities. Students must also have the ability to read standard musical notation.
Through teacher instruction and inquiry, students will be given both the opportunity to hear
academic language be used and the opportunity to use academic language. Students will
speak, write, and reflect to reinforce academic language and conceptual understanding. ]
d. Language Supports. Refer to your lesson plans and instructional materials as needed
in your response to the prompt below.
Identify and describe the instructional supports (during and/or prior to the learning
task) to help students understand, develop, and use the identified language
demands (vocabulary/symbols, function, syntax, discourse).
[ In each lesson, students are introduced to new vocabulary through discourse, inquiry, and
connection to prior knowledge. Students are given the opportunity to create their own definition,
classify terms, demonstrate a synthesis of the terms, and reflect on their skill and application of
the terms. Students hear syntax through teacher instruction, utilize syntax through responses in
discussion and written assessments, such as the exit slips and reflections. Students are
encouraged to use vocabulary and symbols in their assessments, like the one for lesson 3
where students are asked to add expression symbols to a familiar song Happy Birthday and
discuss their reasoning behind their musical decisions. Furthermore, students connect musical
phrases to literary procedures. Sentence structure and punctuation are cross-curricular
connections made to create context for musical phrases and how they function in music as a
whole. ]
5. Monitoring Student Learning
In response to the prompts below, refer to the assessments you will submit as part of the
materials for Planning Task 1.
a. Describe how your planned formal and informal assessments will provide direct
evidence of students creating, performing, and/or responding to music/dance/theater by
applying knowledge/skills, contextual understandings, and artistic expression
throughout the learning segment.
[ In each learning segment, the class begins with a time of inquiry. This time allows for moments
of informal assessment based on student response and participation. During review and inquiry,
teacher is given a time to address misconception from previous lessons and address any
weaknesses or gaps within student knowledge. Exit slips allow for another form of assessment.
Exit slips give students the chance to respond to the efficacy of each lesson as exit slips align
with material being taught that day. Exit Slips mainly address knowledge/skills and contextual
understandings throughout the learning segment. Based on responses on Exit Slips, teacher will
use the information provided to monitor student learning. Every lesson includes a chance for
students to perform as an application of knowledge/skills, contextual understandings, and
artistic expression. Through performance, the teacher can assess how well students were able
to grasp new concepts through a comparative assessment of performance before the learning
segment and performance after the assessment. Each performance application builds upon the
lesson prior creating a concept of musicality through expression. Students are challenged to
add expression to their performance with the acquisition of each expressive quality. Teacher
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feedback plays a vital role in performance and assessment. Like inquiry and discussion,
performance and feedback gives the teacher time to assess and direct student learning in the
moment.]
b. Explain how the design or adaptation of your planned assessments allows students with
specific needs to demonstrate their learning.
Consider the variety of learners in your class who may require different
strategies/support (e.g., students with IEPs or 504 plans, English language learners,
struggling readers, underperforming students or those with gaps in academic
knowledge, and/or gifted students).
[ I have a student with a 504 plan, his accommodations include a copy of class notes, computer
for writing assignments, visuals and examples to follow, individual testing, extra time for tests,
and giving time and opportunity for student to read out loud. For this student, class notes will be
provided via note-taker. Student will be given extra time to complete assignments (one extra
day). All students will be tested individually for specific feedback. I also have a student with a
learning need. He is a struggling reader. His supports and accommodations include oral
directions to all written materials and additional definitions for subject vocabulary. In my plans,
students will be talked through directions for assessment, and all directions will be read out loud
for students. Engaging in both written and spoken discourse, students will be provided simplified
and additional definitions for subject vocabulary. Since modeling is appropriate for all students, it
will also be used as a supplement/adaptation for students with specific needs. Assessments are
constructed for all students to demonstrate their learning. Assessments of students with specific
learning needs will be taken into special consideration. However, with proper instructional
support, students should be able to complete assessments on par with other students in the
class. ]

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K-12 Performing Arts

Task 1: Planning Commentary

TASK 1: PLANNING COMMENTARY

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

K-12 Performing Arts

knowledge/skills (e.g., tools/instruments, technical proficiencies, processes,

contextual understandings (e.g., social, cultural, historical, global, personal reflection)

K-12 Performing Arts

Practice/Support Activity, Informal and Formal Assessments, and Application/Closure. Each

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

K-12 Performing Arts

K-12 Performing Arts

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

K-12 Performing Arts

K-12 Performing Arts

Vocabulary and/or symbols

K-12 Performing Arts

K-12 Performing Arts

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

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