Visual Art Book California Standard 2019

California Arts
Standards for
Public Schools
Prekindergarten Through Grade Twelve
Dance | Media Arts | Music | Theatre | Visual Arts
Adopted by the California

State Board of Education
January 9, 2019
California Arts Standards
for Public Schools
Prekindergarten Through Grade Twelve
Dance | Media Arts | Music | Theatre | Visual Arts
Adopted by the California State Board of Education

January 9, 2019
Publishing Information
The California Department of Education (CDE), Instructional Quality This publication was edited by Tom Wyant and Alex Calinsky, CDE
Commission (IQC), and State Board of Education (SBE) commenced Press, working in cooperation with Letty Kraus, Curriculum Frameworks
the process for revising the visual and performing arts standards in and Instructional Resources Division. The document was prepared for
October 2016. Per Assembly Bill 2862 and Assembly Bill 37, Chapter publication by the staff of CDE Press; Aristotle Ramirez created the cover
647, Education Code Section 60605.13 requires the Superintendent, in and interior design. It was published by the Department of Education, 1430
consultation with the IQC, to recommend to the state board revisions to N Street, Sacramento, CA 95814, and was distributed under the provisions
the visual and performing arts content standards in the subjects of dance, of the Library Distribution Act and Government Code Section 11096.
music, theatre, and visual arts adopted by the state board pursuant to
Section 60605.3, and to recommend new standards for the subject of © 2019 by the California Department of Education
media arts. On January 9, 2019, the SBE adopted the California Arts All rights reserved
Standards for Public Schools, Prekindergarten Through Grade Twelve (Arts
Standards). ISBN 978-0-8011-1806-7
Portions of this work are based on the National Core Arts Standards. Additional Publications and Educational Resources
Copyright © 2015 National Coalition for Core Arts Standards/All Rights
For information about publications and educational resources available
Reserved. Rights Administered by SEADAE.
from the California Department of Education, please visit the CDE Press
When the SBE adopted the Arts Standards, the members of the IQC were Educational Resources web page at https://cdep.klas.com/ or call the CDE
Dean Reese, Chair; Soomin Chao, Vice Chair; Jocelyn Broemmelsiek; Press sales office at 1-800-995-4099.
Christine Chapman; Lizette Diaz; Shay Fairchild; Jose Flores; Jose Iniguez;
Reproduction of this document for resale, in whole or in part, is not
Risha Krishna; Jose Lara; Yolanda Muñoz; Melanie Murphy-Corwin; Nicole
authorized.
Naditz; Alma-Delia Renteria; Julie Tonkovich; Jennifer Woo; and Sharon
Quirk-Silva, Assemblywoman. The members of the SBE were Michael W.
Kirst, President; Ilene W. Straus, Vice President; Sue Burr; Bruce Holaday;
Feliza I. Ortiz-Licon; Patricia A. Rucker; Niki Sandoval; Ting L. Sun; Karen
Valdes; Trish Williams; and Gema Q. Cardenas, Student Member.
ii | Publishing Information California Department of Education

Special Acknowledgements Ordering Information
The State Board of Education extends its appreciation to the standards Copies of the California Arts Standards are available for purchase from the
writing team: Joan Calonico, Lincoln Unified School District; Liz Jameyson, California Department of Education. For prices and ordering information,
WestEd: Rachel Lagunoff, WestEd: and Pamela Spycher, WestEd. please visit the Department web page at http://www.cde.ca.gov/re/pn/rc or
call the CDE Press Sales Office at 1-800-995-4099.
The State Board of Education extends its appreciation to the following
members of the Visual and Performing Arts Standards Advisory Committee Notice
contributed to the development of the standards document: Stephen
The guidance in California Arts Standards is not binding on local
Burch, Matt Cauthron, M. Antonia de Jerez, Armalyn De La O, Eric Engdahl,
educational agencies or other entities. Except for the statutes, regulations,
Karen Hahne, Rachel Hallquist, Kyle Holmes, Carol Hovey, Tami McQueen,
and court decisions that are referenced herein, the document is exemplary,
Dale Merrill, Justin Moodie, Nancy Ng, Dain Olsen, Nadine Page Phillips,
and compliance with it is not mandatory. (See Education Code Section
Ladislao Prado, Nicole Robinson, Anna Sabalone, Maura Schapper, Laura
33308.5.)
Smith, and Amber Woodard.
Special appreciation is extended to Dr. Stephanie Gregson, Director,

Curriculum Frameworks and Instructional Resources Division; Constantino
Silva, Administrator, Curriculum Frameworks and Instructional Resources
Division; and Letty Kraus, Lead Consultant for the development of the
California Arts Standards, Curriculum Frameworks and Instructional
Resources Division.
Special recognition is awarded to the following additional CDE staff who

contributed to this document: Deborah Franklin, Education Programs
Consultant, Curriculum Frameworks and Instructional Resources Division;
Lisa Leiplein, Associate Governmental Program Analyst, Curriculum
Frameworks and Instructional Resources Division; Lindsay Weiss,
Education Research and Evaluation Consultant, Curriculum Frameworks
and Instructional Resources Division; Jack Mitchell, Education Programs
Consultant, Career and College Transition Division; and Mary Rice,
Education Programs Consultant, Educator Excellence and Equity Division.
California Department of Education Publishing Information | iii

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Contents
A Message from the State Superintendent of Public Instruction and the State Board of Education .................................................................................1
Introduction to the California Arts Standards Dance, Media Arts, Music, Theatre, Visual Arts ........................................................................................3
California Education Code and Arts Education ...............................................................................................................................................................3
Purposes and Development of the Standards ......................................................................................................................................................4
Philosophical Foundations and Lifelong Goals of the Standards .....................................................................................................................................6
Organization of the Standards ........................................................................................................................................................................................7
Elements of the California Arts Standards............................................................................................................................................................7
Artistic Processes and Anchor Standards.............................................................................................................................................................8
Process Components, Enduring Understandings, and Essential Questions ...........................................................................................................9
Performance Standards ..................................................................................................................................................................................... 11
Special Considerations for the Music Standards ................................................................................................................................................13
Five Artistic Disciplines ................................................................................................................................................................................................ 14
Coding of the Standards .............................................................................................................................................................................................. 14
Additional Codes for Music Standards ...............................................................................................................................................................15
How to Read the Standards .........................................................................................................................................................................................16
Standards-Based, Accessible, and Equitable Arts Education........................................................................................................................................16
Prioritizing a Standards-Based Arts Education ................................................................................................................................................... 16
Inclusive and Equitable Arts Education .............................................................................................................................................................. 17
Inclusive, Affirming, and Culturally Sustaining Arts Education .......................................................................................................................................18
Universal Design for Learning .............................................................................................................................................................................19
The Arts and Educating for Global Competency ..................................................................................................................................................20
Beyond the Standards .......................................................................................................................................................................................21
Endnotes .....................................................................................................................................................................................................................22
Contents | v
California Arts Standards for Dance ............................................................................................................................................................................23
What Is Literacy in Dance? ...........................................................................................................................................................................................23
Creating—Anchor Standard 1: Generate and Conceptualize Artistic Ideas and Work ...........................................................................................24
Creating—Anchor Standard 2: Organize and Develop Artistic Ideas and Work .....................................................................................................26
Creating—Anchor Standard 3: Refine and Complete Artistic Work ......................................................................................................................28
Performing—Anchor Standard 4: Select, Analyze, and Interpret Artistic Work for Presentation ............................................................................30
Performing—Anchor Standard 5: Develop and Refine Artistic Techniques and Work for Presentation ..................................................................34
Performing—Anchor Standard 6: Convey Meaning Through the Presentation of Artistic Work ..............................................................................38
Responding—Anchor Standard 7: Perceive and Analyze Artistic Work ................................................................................................................. 41
Responding—Anchor Standard 8: Interpret Intent and Meaning in Artistic Work..................................................................................................43
Responding—Anchor Standard 9: Apply Criteria to Evaluate Artistic Work...........................................................................................................45
Connecting—Anchor Standard 10: Synthesize and Relate Knowledge and Personal Experiences to Make Art ..................................................... 47
Connecting—Anchor Standard 11: Relate Artistic Ideas and Works with Societal, Cultural, and Historical Context to Deepen Understanding ..... 51
Dance Glossary ............................................................................................................................................................................................................53
California Arts Standards for Media Arts .....................................................................................................................................................................57
What Is Literacy in Media Arts? ....................................................................................................................................................................................57
Producing—Anchor Standard 4: Select, Analyze, and Interpret Artistic Work for Presentation .............................................................................65
Producing—Anchor Standard 5: Develop and Refine Artistic Techniques and Work for Presentation....................................................................66
Producing—Anchor Standard 6: Convey Meaning Through the Presentation of Artistic Work ...............................................................................69
Responding—Anchor Standard 7: Perceive and Analyze Artistic Work .................................................................................................................70
Responding—Anchor Standard 8: Interpret Intent and Meaning in Artistic Work..................................................................................................72
Responding—Anchor Standard 9: Apply Criteria to Evaluate Artistic Work...........................................................................................................73
Connecting—Anchor Standard 10: Synthesize and Relate Knowledge and Personal Experiences to Make Art ..................................................... 74
vi | Contents California Department of Education

Connecting—Anchor Standard 11: Relate Artistic Ideas and Works with Societal, Cultural, and Historical Context to Deepen Understanding .....76
Media Arts Glossary .....................................................................................................................................................................................................79
California Arts Standards for Music ............................................................................................................................................................................ 83
What Is Literacy in Music? ...........................................................................................................................................................................................83
PK–8 ............................................................................................................................................................................................................................85
Performing—Anchor Standard 4: Select, Analyze, and Interpret Artistic Work for Presentation ............................................................................92
Performing—Anchor Standard 5: Develop and Refine Artistic Techniques and Work for Presentation ..................................................................96
Performing—Anchor Standard 6: Convey Meaning Through the Presentation of Artistic Work ..............................................................................98
Responding—Anchor Standard 7: Perceive and Analyze Artistic Work ...............................................................................................................100
Responding—Anchor Standard 8: Interpret Intent and Meaning in Artistic Work................................................................................................102
Responding—Anchor Standard 9: Apply Criteria to Evaluate Artistic Work.........................................................................................................103
Connecting—Anchor Standard 10: Synthesize and Relate Knowledge and Personal Experiences to Make Art ...................................................104
Connecting—Anchor Standard 11: Relate Artistic Ideas and Works with Societal, Cultural, and Historical Context to Deepen Understanding ...105
Harmonizing Instruments............................................................................................................................................................................................106
Creating—Anchor Standard 1: Generate and Conceptualize Artistic Ideas and Work .........................................................................................106
Creating—Anchor Standard 2: Organize and Develop Artistic Ideas and Work ...................................................................................................107
Creating—Anchor Standard 3: Refine and Complete Artistic Work ....................................................................................................................108
Performing—Anchor Standard 4: Select, Analyze, and Interpret Artistic Work for Presentation .......................................................................... 110
Performing—Anchor Standard 5: Develop and Refine Artistic Techniques and Work for Presentation ................................................................113
Performing—Anchor Standard 6: Convey Meaning Through the Presentation of Artistic Work ............................................................................ 114
Responding—Anchor Standard 7: Perceive and Analyze Artistic Work ............................................................................................................... 115
Responding—Anchor Standard 8: Interpret Intent and Meaning in Artistic Work................................................................................................ 117
California Department of Education Publishing Information | vii

Connecting—Anchor Standard 10: Synthesize and Relate Knowledge and Personal Experiences to Make Art ................................................... 119
Ensembles .................................................................................................................................................................................................................121
Performing—Anchor Standard 4: Select, Analyze, and Interpret Artistic Work for Presentation ..........................................................................125
Performing—Anchor Standard 6: Convey Meaning Through the Presentation of Artistic Work ............................................................................129
Composition and Theory ............................................................................................................................................................................................136
viii | Publishing Information California Department of Education

Technology ................................................................................................................................................................................................................. 151
Creating—Anchor Standard 1: Generate and Conceptualize Artistic Ideas and Work ......................................................................................... 151
Music Glossary ..........................................................................................................................................................................................................165
California Arts Standards for Theatre ........................................................................................................................................................................171
What Is Literacy in Theatre? ....................................................................................................................................................................................... 171
Creating—Anchor Standard 1: Generate and Conceptualize Artistic Ideas and Work ......................................................................................... 173
Creating—Anchor Standard 2: Organize and Develop Artistic Ideas and Work ................................................................................................... 176
Creating—Anchor Standard 3: Refine and Complete Artistic Work .................................................................................................................... 178
California Department of Education Publishing Information | ix

Theatre Glossary ........................................................................................................................................................................................................196
California Arts Standards for Visual Arts ...................................................................................................................................................................199
What Is Literacy in Visual Arts? ..................................................................................................................................................................................199
Presenting—Anchor Standard 4: Select, Analyze, and Interpret Artistic Work for Presentation ..........................................................................209
Presenting—Anchor Standard 5: Develop and Refine Artistic Techniques and Work for Presentation................................................................. 210
Presenting—Anchor Standard 6: Convey Meaning Through the Presentation of Artistic Work ............................................................................212
Responding—Anchor Standard 7: Perceive and Analyze Artistic Work ............................................................................................................... 214
Visual Arts Glossary ...................................................................................................................................................................................................222
References ...............................................................................................................................................................................................................227
x | Publishing Information California Department of Education

A Message from the State
Superintendent of Public Instruction
and the State Board of Education
Creativity and appreciation for the arts are important for all students to have a well-rounded education that exposes
them to new ideas and perspectives. Arts education boosts school attendance, academic achievement, and college
attendance rates; improves school climate; and promotes higher self-esteem and social-emotional development.
The 2019 California Arts Standards update the four arts disciplines—dance, music, theatre, and visual arts—and
include new standards for media arts as a discrete discipline. Media arts includes diverse categories such as
digital imaging, animation, sound production, web design, virtual reality, and interactive design, along with new
and emerging forms.
The California Arts Standards are based on the National Core Arts Standards created by the National Coalition
for Core Arts Standards in 2015, which provide a foundation for the development of artistic competencies
and cultivation of a lifelong appreciation and understanding of the arts. As students develop artistic literacy—
the ultimate goal of arts learning for California’s students—they develop transferable skills that enhance their
personal, academic, and professional endeavors.
Every child should have equitable access to high-quality, standards-based arts education to thrive and participate
in modern society. The California Arts Standards reflect that fundamental belief. The standards are conceptual and
support inclusive arts learning experiences to meet the needs of students with a wide range of abilities.
We encourage educators to utilize the arts standards to update curriculum, instruction, and assessment, which
are the foundation of quality arts learning in schools, and local education agencies are urged to ensure access to
arts learning for each and every student in California.
TONY THURMOND DR. LINDA DARLING-HAMMOND

State Superintendent of Public Instruction President, California State Board of Education
California Department of Education
A Message | 1
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Introduction to the
Dance, Media Arts, Music, Theatre, Visual Arts
The California Arts Standards provide guidance toward achieving a common goal: for all California students to “A bird doesn’t
fully participate in a rich and well-rounded arts education. An arts education helps children and youth make
sense of the world, communicate their unique ideas across boundaries, and discover who they are as individuals sing because it
and as members of various groups. Students who experience a quality arts education, one that seeks to honor has an answer, it
the aesthetic and enduring over the efficient, have an opportunity to engage in complex and nuanced thinking
around meaningful work (Eisner 2002). sings because it
Because a sequential arts education, provided as core subject matter, is essential for every California student
has a song.”
from the earliest years through high school graduation and beyond, the California Education Code requires —Maya Angelou (1928–2014),
courses of study in the arts to be offered to all California students. American author, poet, singer,
civil rights advocate, and
California Education Code and Arts Education recipient of the Presidential
Medal of Freedom
Education Code Section 51210
(a) The adopted course of study for grades 1 to 6, inclusive, shall include instruction, beginning in grade 1
and continuing through grade 6, in the following areas of study … (e) Visual and performing arts, including
instruction in the subjects of dance, music, theatre, and visual arts, aimed at the development of aesthetic
appreciation and the skills of creative expression.
Education Code Section 51220

The adopted course of study for grades 7 to 12, inclusive, shall offer courses in the following areas of
study: …
(g) Visual and performing arts, including dance, music, theatre, and visual arts, with emphasis upon
development of aesthetic appreciation and the skills of creative expression.
California Department of Education Introduction | 3

Creating and experiencing art is central to the human experience—art allows people to feel and express the
range of human emotions and connects people to one another and to their local and global communities. For
many, an arts education is only the beginning of a lifelong appreciation of the arts and an enduring sensitivity to
the way the arts enrich lives.
In addition to acknowledging arts education as crucial in and of itself, many researchers and educators extol the
virtues of arts education as extending beyond creativity and artistic literacy to have a beneficial effect in other
areas. Arts education boosts school attendance, academic achievement, and college enrollment rates; improves
school climate; and promotes higher self-esteem, connectedness to school, and social–emotional development
(Catterall 2009; Peppler et al. 2014; Park et al. 2015; Robinson 2013).
The benefits of an arts education extend well beyond school into every post-secondary endeavor: vocational,
avocational, and personal. The arts also have a robust economic grounding in California. With over $400 billion
in economic output, the impacts of the creative economy are substantial (Otis College of Arts and Design
2018). Quality arts programs are built on arts standards, which guide the design of curriculum, instruction, and
assessment. This guidance promotes student development of the creative capacities necessary for college,
careers, and life in the twenty-first century. Quality, standards-based arts programs in California’s public schools
are essential for ensuring that all students have opportunities to fulfill their potential, including as successful
artists and creative leaders in the creative economy at the local, national, and international levels.
Purposes and Development of the Standards

The central purposes of the California Arts Standards are to foster students’ artistic competencies; cultivate their
appreciation and understanding of the arts in ways that are enjoyable, fulfilling, and transferable to personal,
academic, and professional endeavors; and support them to fully engage in lifelong arts learning. The standards
are:
§ Process-oriented, grade-appropriate indicators of what students need to know and be able to do
§ Student-centered and rooted in backward design, the process of defining intended outcomes prior to
designing educational experiences to ensure students attain those outcomes
§ Outcomes-based, communicating high and achievable goals
4 | Introduction California Department of Education

The standards are based on the National Core Arts Standards (NCAS) (National Coalition of Core Arts
Standards [NCCAS] 2014) and were tailored for California through a collaborative and public statewide
process.1 The California Arts Standards Advisory Committee, comprised of arts education teachers and
experts from across the state, reviewed the NCAS using guidelines established by the California State Board
of Education and came to consensus on recommended revisions or additions.2 During this process, ensuring
inclusivity, accessibility, and cultural relevance for the diverse learners of California was prioritized. Drafts
of the standards were posted publicly, and input from individuals and representatives from arts education
organizations and the general public was collected through the process of public comment and review and
used to inform the crafting of the final standards.
While the new standards inform teaching and learning in the artistic disciplines of dance, music, theatre, and
visual arts, they also reflect the significance of new standards for media arts. Media arts standards are intended
to address the diverse forms and categories of media arts as a distinct, stand-alone discipline, including
photography, digital imaging, video, animation, sound production, web design, graphic design, virtual design,
interactive design, multimedia, virtual reality, and emerging forms. Media arts standards are also intended to be
used in other disciplines.
The California Arts Standards are comprehensive for all students in prekindergarten through grade level twelve.
The standards build from grade to grade and embody grade- and age-appropriate key concepts, processes,
and traditions of study in each of the five artistic disciplines: dance, media arts, music, theatre, and visual
arts. They provide important guidance for schools to design and organize teaching and learning; understand
and evaluate student learning; and prepare, adopt, or adapt instructional resources. The standards identify the
learning outcomes for all students, and guide teachers in providing a unified quality arts education so that these
outcomes are achieved.
The standards also provide administrators and district decision-makers with critical information for developing
and expanding standards-based arts programs. A commitment to a comprehensive education, equitable
opportunities, and high expectations are embedded within the standards.

Philosophical Foundations and Lifelong Goals of the Standards
The standards are grounded in the NCAS vision of artistic literacy—the knowledge and understanding required
to participate authentically in the arts—which is further articulated in the philosophical foundations and lifelong
goals in Table 1. Fluency in the language(s) of the arts is the ability to create, perform/produce/present, respond,
and connect through symbolic and metaphoric forms that are unique to the arts. An artistically literate person is
able to transfer arts knowledge, skills, and capacities to other subjects, settings, and contexts (NCCAS 2014, 17).
TABLE 1: Philosophical Foundations and Lifelong Goals (NCCAS 2014, 10)
Components of Artistic Literacy Philosophical Foundations Lifelong Goals
The Arts as Communication In today’s multimedia society, the arts are the media, Artistically literate citizens use a variety of artistic media,
and therefore provide powerful and essential means of symbols, and metaphors to independently create and
communication. The arts provide unique symbol systems perform work that expresses and communicates their
and metaphors that convey and inform life experience (i.e., own ideas and are able to respond by analyzing and
the arts are ways of knowing). interpreting the artistic communications of others.
The Arts as Creative Personal Participation in each of the arts as creators, performers, Artistically literate citizens find at least one arts discipline
Realization and audience members (responders) enables individuals in which they develop sufficient competence to continue
to discover and develop their own creative capacity, active involvement in creating, performing, and responding
thereby providing a source of lifelong satisfaction. to art as an adult.
The Arts as Culture, History, and Throughout history the arts have provided essential means Artistically literate citizens know and understand
Connectors for individuals and communities to express their ideas, artwork from varied historical periods and cultures, and
experiences, feelings, and deepest beliefs. Each discipline actively seek and appreciate diverse forms and genres
shares common goals but approaches them through of artwork of enduring quality/significance. They also
distinct media and techniques. Understanding artwork seek to understand relationships among the arts, and
provides insights into individuals’ own and others’ cultures cultivate habits of searching for and identifying patterns,
and societies, while also providing opportunities to access, relationships between the arts and other knowledge.
express, and integrate meaning across a variety of content
areas.

Components of Artistic Literacy Philosophical Foundations Lifelong Goals
The Arts as Means to Well-Being Participation in the arts as creators, performers, and Artistically literate citizens find joy, inspiration, peace,
audience members (responders) enhances mental, intellectual stimulation, meaning, and other life-enhancing
physical, and emotional well-being. qualities through participation in all of the arts.
The Arts as Community The arts provide means for individuals to collaborate and Artistically literate citizens seek artistic experiences and
Engagement connect with others in an enjoyable inclusive environment support the arts in their local, state, national, and global
as they create, prepare, and share artwork that bring communities.
communities together.
The Arts as Profession Professional artists weave the cultural and aesthetic Artistically literate citizens appreciate the value of
fabric of communities and cultivate beauty, enjoyment, supporting the arts as a profession by engaging with the
curiosity, awareness, activism, and personal, social, and arts and by supporting the funding of the arts. Some
cultural connection and reflection. This fabric strengthens artistically literate individuals will pursue a career in the
communities as a whole, enhances the lives of individuals, arts, thereby enriching local, state, national, and global
and inspires the global community. communities and economies.
Organization of the Standards

The California Arts Standards are organized by the five artistic disciplines of dance, media arts, music, theatre,
and visual arts. For each of the five disciplines, there are four artistic processes, eleven anchor standards with
aligned enduring understandings and essential questions, and individual PK–12 student performance standards
that are articulated as measurable and attainable learning targets.
Elements of the California Arts Standards

Table 2 provides a unified view of the California Arts Standards for the five artistic disciplines. It shows the
relationship among the elements of the standards. These elements, considered together, will assist local
education agencies and individual schools in writing, adapting, or adopting curriculum and in addressing
comprehensive assessment in arts education.

TABLE 2: Elements of the California Arts Standards (NCCAS 2014, 9)
Enduring Understandings Discipline-Specific

Four Artistic Processes Eleven Anchor Standards
and Process Components Performance Standards
§ Creating The anchor standards: § Enduring understandings with § PK–Grade 8

§ Performing (for Dance, Music, § Describe expectations for general related essential questions to § High School
and Theatre), Presenting (for behaviors, artistic skills, and habits guide student inquiry Proficient
Visual Arts), or Producing (for of mind § Process components that Accomplished
Media Arts) § Parallel across the artistic operationalize the standards Advanced
§ Responding disciplines
§ Connecting
Implementation of the standards is driven by the philosophical foundations and lifelong goals that together
demonstrate artistic literacy. They are made actionable through the artistic processes that are common across
disciplines. Anchor and performance standards in each artistic discipline are driven by enduring understandings
and essential questions. A description of each of these elements and how they connect to one another is
detailed in the following section.
Artistic Processes and Anchor Standards

The standards are based on the artistic processes of creating, performing/producing/presenting, responding,
and connecting (NCCAS 2014, 11–12). These artistic processes are the cognitive and physical actions by which
arts learning and arts making are realized. Each of the arts disciplines incorporates the artistic processes that
define and organize the link between the art and the learner.
Each artistic process branches into either two or three anchor standards. Anchor standards describe the general
behaviors, artistic skills, and habits of mind that teachers expect students to demonstrate throughout their arts
education. These anchor standards are parallel across arts disciplines and grade levels and serve as the tangible
educational expression of artistic literacy. The performance standards, which describe student learning outcomes
in each of the specific arts disciplines, align with anchor standards.

Collectively, the design reflects a cohesive system that allows for commonality across the disciplines and specificity
within each discipline, therefore establishing the appropriate level of breadth and depth required for state
standards.3 The relationship between the artistic processes and anchor standards is shown in the following table.
TABLE 3: California Arts Standards Artistic Processes and Anchor Standards (NCCAS 2014, 13)
Artistic Processes Anchor Standards: Students will …
Creating 1. Generate and conceptualize artistic ideas and work.

Conceiving and developing new artistic ideas and work. 2. Organize and develop artistic ideas and work.
3. Refine and complete artistic work.
Performing (dance, music, theatre) 4. Analyze, interpret, and select artistic work for presentation.
Realizing artistic ideas and work through interpretation and presentation. 5. Develop and refine artistic work for presentation.
Presenting (visual arts) 6. Convey meaning through the presentation of artistic work.
Interpreting and sharing artistic work.
Producing (media arts)
Realizing and presenting artistic ideas and work.
Responding 7. Perceive and analyze artistic work.

Understanding and evaluating how the arts convey meaning. 8. Interpret intent and meaning in artistic work.
9. Apply criteria to evaluate artistic work.
Connecting 10. Synthesize and relate knowledge and personal experiences to make art.
Relating artistic ideas and work with personal meaning and external context. 11. Relate artistic ideas and works with societal, cultural, and historical
context to deepen understanding.
Process Components, Enduring Understandings, and Essential Questions

Process components are the actions (expressed through verbs such as imagine, plan and make, evaluate, refine,
present) that artists carry out as they complete each artistic process. These process components accompany
clusters of performance standards. Students’ ability to carry out these actions empowers them to engage in the
artistic process independently (NCCAS 2014, 16).

Enduring understandings and essential questions focus on the big ideas and important understandings in arts
education (Wiggins and McTighe 2005). Essential questions and enduring understandings work together to
support an inquiry-based approach to arts education, an approach emphasized in college- and career-ready
standards across all the content areas.
Enduring understandings are statements summarizing important ideas and core processes that are central to a
discipline and have lasting value beyond the classroom. They synthesize what students should come to understand
as a result of studying a particular content area. Moreover, they articulate what students should value about the
content area over the course of their lifetimes. Enduring understandings also enable students to make connections
to other disciplines beyond the arts. A true grasp of an enduring understanding is demonstrated by the student’s
ability to explain, interpret, analyze, apply, and evaluate its core elements. Examples of enduring understandings
across the arts disciplines for one artistic process and one anchor standard are shown in Table 4.
Essential questions guide students’ inquiry into these enduring understandings. Reflecting differences in
traditions and instructional practices between the arts, the specific enduring understandings and essential
questions addressed by their standards also vary somewhat.4
TABLE 4: Enduring Understanding Across One Artistic Process and Anchor Standard
Creating—Anchor Standard 1: Generate and conceptualize artistic ideas and work.
Dance Media Arts Music Theatre Visual Arts
Choreographers use a variety Media arts ideas, works, The creative ideas, concepts, Theatre artists rely on Creativity and innovative
of sources as inspiration and processes are shaped and feelings that influence intuition, curiosity, and thinking are essential life
and transform concepts and by the imagination, musicians’ work emerge from critical inquiry. skills that can be developed.
ideas into movement for creative processes, and by a variety of sources.
artistic expression. experiences, both within and
outside of the arts.

Enduring understandings and essential questions work together to communicate a fundamental
understanding and path of inquiry of an anchor standard. Students’ inquiry into grade-appropriate essential
questions and grasp of enduring understandings will, however, necessarily deepen and broaden over the
course of their arts education.
Performance Standards
Performance standards are the substantive portion of the California Arts Standards. They are discipline-specific
(dance, media arts, music, theatre, visual arts), grade-by-grade articulations of student achievement in the arts
PK–8 and at three proficiency levels in high school (Proficient, Accomplished, and Advanced, as described in
Table 5). The performance standards translate the anchor standards, enduring understandings, and essential
questions into measurable learning goals by describing more specifically what students should know and be able
to do in each arts discipline by the end of a school year or course.
The three high school proficiency levels are flexible enough to accommodate varying degrees of achievement by
students during high school, including those who explore a wide range of artistic pursuits and experiences, as
well as those who build on their PK–8 foundation by pursuing deeper engagement in one arts discipline (NCCAS
2014, 13). Descriptions of the three high school proficiency levels and what students who achieve those levels
are able to do are shown in Table 5.

TABLE 5: High School Performance Standards Proficiency Levels (NCCAS 2014, 26)
High School High School High School

Proficient Accomplished Advanced
A level of achievement attainable by most students A level of achievement attainable by most A level and scope of achievement that significantly
who complete a high-school level course in the students who complete a rigorous sequence of exceeds the Accomplished level. Achievement
arts (or equivalent) beyond the foundation of high-school level courses (or equivalent) beyond at this level is indisputably rigorous and
quality PK–8 instruction. the Proficient level. substantially expands students’ knowledge, skills,
and understandings beyond the expectations
articulated for Accomplished achievement.
Students at the Proficient level are able to: Students at the Accomplished level are, with Students at the Advanced level are able to:
§ use foundational technical and expressive minimal assistance, able to: § identify challenging arts problems
skills and understandings in an art form § identify or solve arts problems based on their independently based on their interests or for
necessary to solve assigned problems or interests or for a particular purpose; specific purposes and bring creativity and
prepare assigned repertoire for presentation; § conduct research to inform artistic decisions; insight to finding artistic solutions;
§ make appropriate choices with some support; § create and refine arts products, performances, § use at least one art form as an effective
§ be prepared for active engagement in their or presentations that demonstrate technical avenue for personal communication,
community; proficiency, personal communication, and demonstrating a higher level of technical and
expression; expressive proficiency characteristic of honors
§ understand the art form to be an important
or college-level work;
form of personal realization and well-being; § use the art form for personal realization and
and well-being; and § exploit their personal strengths and apply
strategies to overcome personal challenges as
§ make connections between the art form, § participate in arts activities beyond the school
arts learners; and
history, culture, and other learning. environment.
§ take a leadership role in arts activity within
and beyond the school environment.

Special Considerations for the Music Standards
Unlike the other four artistic disciplines, which provide performance standards for grades PK–12, music provides
standards for grades PK–8 plus four distinct “strands” of standards, reflecting the increasing variety of music
courses offered in schools:
§ Ensembles
§ Harmonizing Instruments
§ Composition and Theory
§ Technology
Two of these strands, Composition and Theory and Technology, have three proficiency levels (Proficient,
Accomplished, Advanced) and are designed for use in high schools.
The other two strands, Ensembles and Harmonizing Instruments, encompass five proficiency levels and are
used by elementary, middle, and high schools. In acknowledgment of the practical reality of music students’
involvement in Ensemble and Harmonizing Instrument classes before they enter high school, performance
standards are provided for two preparatory levels in these strands, Novice and Intermediate. These are attached
for convenience to grade levels, but are potentially useful for earlier grade-level experiences:
1. Novice: This proficiency level is nominally assigned to the fifth-grade level. Students at the Novice level
have started specialization in an art form of their choice. They are beginning to develop the basic artistic
understanding and technique necessary to advance their skill level. Their expressive skills may be identified
and exploratory work begins. They may participate in presentation and performance opportunities as they
are able. Their curiosity in the art form begins their journey toward personal realization and well-being.
2. Intermediate: This proficiency level is nominally assigned to the eighth-grade level. Students at the
Intermediate level are continuing study in a chosen specialized art form. Their development continues in
artistic understanding and technical and expressive skills enabling the student to begin to independently
and collaboratively create, perform, and respond at their given skill level. Their presentation and
performance opportunities in ensembles at school and in the community increase and students actively
participate in rehearsals. Through continued study of their art form they continue their journey toward
personal realization and well-being.

Five Artistic Disciplines
Each of the artistic disciplines—dance, media arts, music, theatre, and visual arts—is a core subject in its own
right. Subject-centered arts instruction focuses on developing discipline-specific skills in each arts discipline. In
addition, interdisciplinary approaches connecting the arts disciplines are facilitated by the way these connections
are already built into the standards for the five artistic disciplines. Study and practice in two or more of the
artistic disciplines is mutually reinforcing and demonstrates the underlying unity of the arts. Interdisciplinary
approaches connecting the arts and other content areas enhance learning for students and support integrated
and deeper learning. A comprehensive arts education program has three components:
1. Subject-centered arts instruction in dance, media arts, music, theatre, and visual arts
2. Interdisciplinary approaches connecting the arts disciplines
3. Interdisciplinary approaches connecting the arts and other content areas
To enact a robust and comprehensive approach to arts education, an understanding of each artistic discipline
is essential. Brief introductions preceding each set of standards provide an overview that grounds the reading of
the standards for each artistic discipline.
FIGURE 1: Coding of the California Arts Standards
Coding of the Standards
An agreed-upon system for coding allows educators to reference the
performance standards more efficiently when planning lessons and
units of study. The coding system of the performance standards is
illustrated in Figure 1 and described below. The full code is located
at the top of each column of the performance standards.
The order of coding for the standards is provided below with the
codes indicated in parentheses:
(1) The grade level appears first and is divided into these
categories: Pre–K (PK); Kindergarten (K); grade levels 1–8 (1,
2, 3, 4, 5, 6, 7, 8); and the three proficiency levels for high
school, which are Proficient (Prof), Accomplished (Acc), and
Advanced (Adv).

(2) The artistic disciplines appear second: Dance (DA), Media Arts (MA), Music (MU), Theatre (TH) and Visual
Arts (VA)
(3) The artistic processes appear third: Creating (Cr); Performing/ Producing/Presenting (Pr); Responding (Re);
and Connecting (Cn). Each of the arts disciplines incorporates these processes in some manner. These
processes, the cognitive and physical actions by which arts learning and making are realized, define and
organize the link between the art and the learner.
(4) The anchor standards appear fourth. The 11 anchor standards, which describe the general knowledge and
skills that teachers expect students to demonstrate throughout their arts education, are parallel across arts
disciplines and grade levels. They serve as the tangible educational expression of artistic literacy. When
an anchor standard has more than one set of enduring understandings, essential questions, and process
components, numbers directly after the anchor standard indicate which set is provided (e.g., 1, 2, 3).
(5) The sub-part of the performance standard appears last. These sub-parts describe different aspects of the
same standard.
Additional Codes for Music Standards

An example of the coding system for Music—Harmonizing FIGURE 2: Music Standards Coding Example
Instruments is provided here.
Unlike the other arts disciplines, there are five sets of performance
standards for music. A one-letter code is added after the artistic
discipline code for all but one set of the performance standards
(PK–8) as follows: Harmonizing Instruments (H), Ensembles (E);
Composition and Theory (C), Technology (T).
There are also two additional levels for the Harmonizing

Instruments performance standards, with the codes indicated in
the parentheses:
§ Novice (Nov), nominally assigned to the fifth-grade level
§ Intermediate (Int), nominally assigned to the eighth-grade
level

How to Read the Standards
The performance standards are designed to be approached in holistic ways to design robust lessons within units
of study. They are presented as grade-level progressions by individual standard so that teachers can see not
only their own grade level, but also the standards for previous and upcoming grade levels. They can be read in a
variety of ways, two of which are suggested here: grade-to-grade and within-grade.
§ Grade-to-grade reading. The standards can be read across grade levels as a progression. Since students
have different levels of experience with a given discipline, the standards are organized across grade levels
so that teachers can both attend to grade-level standards and also meet the individual needs of students
who may be performing at levels above or below grade level.
§ Within-grade reading. The standards may also be read to understand the learning outcomes for a subset
of standards in a specific grade level or all of the standards for a particular grade level. This reading
allows teachers to see what all of the outcomes for their grade level are so they can integrate standards
as appropriate for lesson and unit learning goals.
Standards-Based, Accessible, and Equitable Arts Education
“I raise up my voice— The California Arts Standards are designed to support all California students to develop and achieve the lifelong
not so I can shout goals of artistic literacy and to promote access and equity in the arts. However, this can only happen in a context
in which arts education is prioritized and standards-based and equitable practices are the norm. Individual
but so that those schools and districts will need to strategically implement the standards within current allocations of time and
without a voice resources even as they strive toward a fully inclusive and equitable arts education for all students.
can be heard ... we Prioritizing a Standards-Based Arts Education

The arts are structural building blocks that support, inspire, and empower students to grow continuously. Focusing
cannot succeed on the systems that ensure all students have opportunities to learn in the arts is essential for ensuring equal access
when half of us are to the arts. For students to experience the potential benefits of standards-based quality arts learning, opportunity-
to-learn conditions that create a rigorous and supportive learning environment must be established. These
held back.” opportunities include systemic and structural resources, such as access to certified arts educators, expanded
—Malala Yousafzai (b. 1997), course offerings in the five arts disciplines, and adequate time, spaces, and materials for arts learning.
Pakistani activist for girls’
Opportunities also include the daily encounters students have in school, when teachers approach the arts standards
education and Nobel Prize
in a holistic way, in consideration of their students as whole artists, capable of achieving high expectations, and
Laureate

deserving of everything a quality arts education has to offer. Teachers and students must participate fully and
jointly in activities in which they can exercise the creative practices of imagining, investigating, constructing, and
reflecting as unique beings committed to giving meaning to their experiences. The California Arts Standards
offer multiple entry points for these types of learning experiences, and additional guidance can be found in the
NCAS “Opportunity-to-Learn Standards” documents (available at https://www.nationalartsstandards.org/content/
resources), as well as the California Arts Education Framework.
Inclusive and Equitable Arts Education

California maintains a strong commitment to ensuring safe, welcoming, enriching, intellectually stimulating, and
asset-oriented educational experiences for each student in all disciplines, including the arts. The California Arts
Standards reflect the diversity of California’s children and youth, including students who are culturally, ethnically,
and linguistically diverse; identify as LGBTQ+; have different talents, skills, and interests; have a variety of
abilities and disabilities; and come from a range of personal backgrounds, socio-economic circumstances, and
types of homes and communities.5 This diversity provides opportunities for teachers to enrich the arts education
experience for all students. Students’ ethnic, cultural, linguistic, and other assets are to be acknowledged,
validated, and valued in the arts classroom as rich foundations for arts learning. Students in California schools
should encounter, discuss, and create art representing a vast array of cultures, languages, and identities as a
means to better understand a wide range of experiences and perspectives and to develop global competence.
The next section offers a vision of culturally and linguistically sustaining arts education—one that aims to see all
California students thrive in their artistic education.

Inclusive, Affirming, and Culturally Sustaining Arts Education
An inclusive, affirming, and culturally sustaining arts education is based on a group’s assets, rather than
on perceptions of deficiencies, prioritizing the following tangible actions:
§ Promote the arts to teach and learn about self-knowledge, respect, self-respect, and empathy, as
well as multicultural ways of knowing.
§ Include instruction on diversity grounded in the arts and use cultural knowledge to support young
people’s critical thinking and creative innovation, particularly those students who do not find the
curriculum engaging.
§ Promote student voice as a primary focus of quality arts education. Adopt culturally and
linguistically responsive arts education and arts-integrated curricula that focus on positive identity
development and ownership of learning as instructional goals. Support the cultural assets students
bring to the classroom.
§ Build collaboration among classroom teachers, arts specialists, teaching artists (practicing
professional artists with the complementary teaching skills), families, and community members. By
incorporating local cultural expertise and leadership, the schools become an integral part of the
community, which generates more resources for students in and out of school.
§ Strengthen communication between home and school cultures and increase family involvement
by creating a welcoming school environment. Empower families, regardless of primary language,
socioeconomic status, race, ethnicity, or educational background.
Source: A Blueprint for Creative Schools (CREATE CA 2015, 8–9).
Diversity in the arts classroom is an asset, and the more diverse the classroom, the more complex the
teacher’s role becomes in providing quality learning experiences that are sensitive to the needs of individual
students, that leverage their particular strengths, and that ensure equitable opportunity to participate
in a quality arts education. Many students experience particular challenges that can affect their arts
education. Some students are living in poverty, experiencing homelessness, or changing schools or missing
school often. Some students are learning English as an additional language while simultaneously learning
rigorous academic content.6 Others face the mental and physical health trauma of racism, homophobia,

or religious discrimination. Still others experience the daily challenges that come with mild, moderate, or
severe disabilities or mental health issues. These populations are not mutually exclusive; many students’
identities intersect with multiple identity groups. Therefore, it is important that arts education teachers inform
themselves about aspects of their students’ backgrounds and keep in mind that their identities may overlap,
intersect, and interact. In such multifaceted settings, the notion of shared responsibility is critical. Teachers,
administrators, specialists, expanded learning leaders, parents, guardians, caretakers, families, and the
broader community need the support of one another to best serve all students and ensure that no student is
deprived of a quality arts education due to individual circumstances.
Universal Design for Learning

To succeed at enacting an inclusive, affirming, and culturally sustaining arts program, educators must
deliberately design accessible learning experiences. Universal Design for Learning (UDL) is a research-based
framework for improving student learning experiences and outcomes through careful instructional planning
focused on the varied needs of all students, including students with disabilities, advanced and gifted learners,
and English learners. The principles of UDL emphasize providing multiple means of representation, action and
expression, and engagement and options for various cognitive, communicative, physical, meta-cognitive, and
other means of participating in learning and assessment tasks. Through the UDL framework, and “teaching to
the edges” of the arts classroom’s student population, the needs of all learners are identified and planned for
at the point of first teaching. This evidence-based planning supports students’ full inclusion in arts learning,
prevents the need for follow-up instruction, and reduces the need for alternative instruction. Table 6 provides
an outline of UDL Principles and Guidelines that arts education teachers can use to inform their curriculum,
instruction, and assessment planning.7

TABLE 6: Universal Design for Learning (California Department of Education 2019)7
UDL Principles UDL Guidelines

Instructional Examples
Provide multiple means of ... Provide options for ...
Representation 1. Perception § Provide transcripts, written descriptions, or braille texts, or use American Sign Language to
Represent information in 2. Language, mathematical describe artworks, productions, compositions, or song lyrics.
multiple formats and media. expressions, and symbols § Use music sign language, interpretation, or vibrations to facilitate broad experience of music.
3. Comprehension § Provide illustrations, photos, simulations, or interactive graphics to illustrate artistic concepts.
§ Provide options for students to access information in their primary languages.
§ Guide information processing, visualization, and manipulation. For example, provide explicit
prompts for each step in a sequential process, such as completing a video editing project.
Action and Expression 1. Physical action § Integrate assistive technologies. For example, have touch screens and alternative
Provide multiple pathways 2. Expression and keyboards accessible for projects.
for students’ actions and communication § Provide concept-mapping tools to support problem solving around arts education topics.
expressions. 3. Executive functions § Provide success criteria for assignments, prompt learners to identify the type of feedback
they seek, and provide them with protocols to provide peer feedback.
Engagement 1. Recruiting interest § Optimize individual choice and autonomy by providing learners a choice in topics or the
Provide multiple ways to 2. Effort and persistence order in which they accomplish tasks.
engage students’ interests and 3. Self-regulation § Vary demands and resources to optimize challenge levels. For example, provide a range
motivation. of culturally relevant resources, as well as resources that are of high interest to a range of
learners.
§ Support students to develop self-awareness, assess their progress toward personal goals,
and to reflect on growth or how to improve.
The Arts and Educating for Global Competency

According to the Asia Society and the Council of Chief State School Officers, and later officially adopted by the
US Department of Education, global competence is “the capacity and disposition to understand and act on
issues of global significance—under this definition, the four pillars of global competence include investigating the

world, weighing perspectives, communicating ideas, and taking action (Monthey et al. 2016, xiii; Mansilla and
Jackson 2011; United States Department of Education 2012, 5). The pillars of global competence closely align
with the four fundamental creative practices of imagination, investigation, construction, and reflection that are a
foundation for arts education in all of the disciplines, and foster finding innovative, unexpected approaches, and
solutions (NCCAS 2014, 19). In developing artistic literacy through a standards-based arts program, students
also develop global competence, an outcome that embodies twenty-first century skills. These skills and other
byproducts of arts education including social and emotional skills, and a healthy sense of self and others, are
highly valued in today’s creative and team-based workforce and necessary for engagement in the twenty-first
century world (College Board 2012; Hanna 2011; Israel 2009).
Beyond the Standards

Standards are measurable outcomes of aspirational teaching and learning experiences. To address the standards
effectively and provide world-class arts education to all students, teachers and administrators are encouraged to
access additional resources, including the following:
§ The glossary sections of the California Arts Standards provide definitions that explain the context or point
of view regarding the terms used within the standards.
§ The California Arts Education Framework provides guidance for how to implement the standards for
teachers and administrators.
§ Instructional materials and curricular models provide tools and resources for implementing a standards-
based arts education.
All California students deserve a world-class arts education provided by well-prepared, caring, and creative
teachers working in supportive contexts. The California Arts Standards are a critical component of this vision.
Teachers, school and district leaders, families, community members, policymakers, and students themselves are
encouraged to embrace the promise these standards hold for California and for a creative and fulfilling future
for all. Today, the world needs artists and creative leaders more than ever—those individuals who possess the
powers of inquiry and exploration, communication and collaboration, creativity and innovation, and openness
and reflection. These standards play a pivotal role in ensuring that all students have an equitable opportunity to
enrich the world with their creative capacities.

Endnotes
1 The NCAS were developed by national experts, including those from California who also participated in
the California adaptation of the national standards. To learn more about the national effort and NCAS
development process, see the National Core Arts Standards: A Conceptual Framework for Arts Education,
at http://www.nationalartsstandards.org/sites/default/files/Conceptual%20Framework%2007-21-16.pdf
on which this introduction to the California Arts Standards is based.
2 These guidelines were derived from public testimony from three statewide focus groups.
3 Because anchor standards are broad and not discipline- or grade-level/grade-band specific, performance
standards should be used for detailed instructional design.
4 Note that because enduring understanding statements are specific to each artistic discipline, the
language in the statements is not always parallel across the disciplines.
5 The California Arts Standards uses LGBTQ+ as an inclusive acronym, as described in the draft 2018
California Health Education Framework: “The usage of LGBTQ+ throughout this document is intended
to represent an inclusive and ever-changing spectrum and understanding of identities. Historically, the
acronym included lesbian, gay, and bisexual, but has continued to expand to include queer, questioning,
intersex, asexual, allies, and alternative identities (LGBTQQIAA), as well as expanding concepts that may
fall under this umbrella term in the future.”
6 For classrooms that include students identified as English learners, the California English Language
Development (ELD) Standards (2012) should be used in tandem with the California Arts Standards.
7 UDL principles and guidelines, as well as practical suggestions for classroom teaching and learning, can
be found at the National Center for UDL (http://www.udlcenter.org/) and in the California Arts Education
Framework (https://www.cde.ca.gov/ci/vp/cf/).

for Dance
The dance standards are designed to enable students to achieve dance literacy. To be literate in the artistic
discipline of dance, students need to develop specific knowledge, skills, and values that allow for fluency and
“Dance is for
deep understanding. This means discovering the expressive elements of dance; knowing the dance-based theory, everybody. I
terminology, and symbolic language that is used to comprehend dance; having a clear sense of embodying
dance; and being able to reflect, critique, and connect personal experience to dance and the dance community.
believe that the
dance came
What Is Literacy in Dance?
from the people
The California Arts Standards are rooted in a creative approach to teaching and learning. The dance standards
describe expectations for learning in dance regardless of style, genre, or culture. The dance standards require and that it
both the teacher and student to focus on big ideas and key concepts inherent to all dance forms. As the should always be
teaching and learning of dance continues, these ideas and concepts will continue to evolve with increasing
rigor in instruction and will deepen understanding. The dance standards are the impetus for dance educators to delivered back to
inspire their students to explore and discover their personal connection to the deep human tradition of dance the people.”
and prepare them for a lifelong immersion in the socio-cultural and political meanings and experiences of dance
as well as the embodied learning and enjoyment that performing, studying, and viewing dance can bring. —Alvin Ailey (1931–1989),
African American dancer,
choreographer, and visionary
California Department of Education California Arts Standards for Dance | 23

Creating—Anchor Standard 1: Generate and Conceptualize Artistic Ideas and Work
PROCESS COMPONENT
Explore
ENDURING UNDERSTANDING
Choreographers use a variety of sources as inspiration and transform concepts and ideas into movement for
artistic expression.
ESSENTIAL QUESTION
Where do choreographers get ideas for dances?
PK.DA.Cr1 K.DA.Cr1 1.DA.Cr1 2.DA.Cr1 3.DA.Cr1 4.DA.Cr1 5.DA.Cr1

a. Respond in a. Respond in a. Explore a. Explore movement a. Experiment with a. Identify ideas a. Build content
movement to a movement to a movement inspired inspired by a variety a variety of self- for choreography for choreography
variety of sensory variety of stimuli by a variety of of stimuli (e.g., identified stimuli generated from a using several stimuli
stimuli (e.g., music/ (e.g., music/sound, stimuli (e.g., music/ music/sound, text, (e.g., music/sound, variety of stimuli (e.g., music/sound,
sound, visual, text, objects, images, sound, text, objects, objects, images, text, objects, images, (e.g., music/sound, text, objects, images,
tactile). symbols, observed images, symbols, symbols, observed notation, observed text, objects, images, notation, observed
dance). observed dance, dance, experiences) dance, experiences) notation, observed dance, experiences,
experiences) and and suggest for movement. dance, experiences). literary forms, natural
identify the source. additional sources phenomena, current
for movement ideas. news, social events).
b. Find a different b. Explore different b. Explore a variety b. Combine a variety b. Explore a b. Develop a b. Construct and
way to do several ways to do basic of locomotor and of movements while given movement movement problem solve multiple
basic locomotor locomotor and nonlocomotor manipulating the problem. Select and manipulate the movement problems
and nonlocomotor nonlocomotor movements by elements of dance. and demonstrate a elements of dance to develop
movements. movements by experimenting with solution. as tools to find a choreographic
changing at least and changing the solution. content.
one of the elements elements of dance.
of dance.
24 | California Arts Standards for Dance California Department of Education

6.DA.Cr1 7.DA.Cr1 8.DA.Cr1 Prof.DA.Cr1 Acc.DA.Cr1 Adv.DA.Cr1
a. Relate similar or a. Compare a variety a. Implement movement a. Explore a variety of a. Synthesize content a. Synthesize content
contrasting ideas to of stimuli (e.g., music, from a variety of stimuli stimuli for sourcing generated from generated from stimulus
develop choreography observed dance, literary (e.g., music, observed movement to develop stimulus materials to material. Experiment
using a variety of stimuli forms, notation, natural dance, literary forms, an improvisational choreograph dance and take risks to
(e.g., music, observed phenomena, personal notation, natural or choreographed studies or dances using discover a personal
dance, literary forms, experience/recall, phenomena, personal dance study. Analyze original or codified voice to communicate
notation, natural current news or social experience/recall, the process and the movement. artistic intent.
phenomena, personal events) and make current news or social relationship between
experience/recall, selections to expand events) to develop the stimuli and the
current news or social movement vocabulary dance content for an movement.
events). and artistic expression. original dance study or
dance.
b. Explore various b. Explore various b. Identify and select b. Experiment with the b. Apply personal b. Expand personal
movement vocabularies movement vocabularies personal preferences elements of dance movement preferences movement preferences
to transfer ideas into to express an artistic to create an original to explore personal and strengths with the and strengths to
choreography. intent in choreography. dance study or dance. movement preferences movement vocabulary discover unexpected
Explain and discuss Use genre-specific and strengths, and of several dance solutions that
the choices made using dance terminology to select movements that styles or genres to communicate the
genre-specific dance articulate and justify challenge skills and choreograph an original artistic intent of an
terminology. choices made in build on strengths in an dance study or dance original dance. Analyze
movement development original dance study or that communicates an the unexpected
to communicate intent. dance. artistic intent. Compare solutions and explain
personal choices to why they were effective
those made by well- in expanding artistic
known choreographers. intent.

Creating—Anchor Standard 2: Organize and Develop Artistic Ideas and Work
PROCESS COMPONENT
Plan
The elements of dance, dance structures, and choreographic devices serve as both a foundation and a
departure point for choreographers.
ESSENTIAL QUESTION
What influences choice-making in creating choreography?
PK.DA:Cr2 K.DA:Cr2 1.DA:Cr2 2.DA:Cr2 3.DA:Cr2 4.DA:Cr2 5.DA:Cr2

a. Improvise dance a. Improvise a. Improvise a series a. Improvise a a. Identify and a. Manipulate or a. Manipulate or
that starts and dance that has a of movements that dance phrase with a experiment with modify choreographic modify a variety
stops on cue. beginning, middle, have a beginning, beginning, a middle choreographic devices to expand of choreographic
and end. middle, and end, that has a main devices to create movement devices to expand
and describe idea, and a clear simple movement possibilities and choreographic
movement choices. end. patterns and dance create a variety of possibilities and
structures. movement patterns develop a main idea.
and structures. Explain reasons for
Discuss movement movement choices.
choices.
b. Engage in dance b. Express an idea, b. Choose b. Choose b. Develop a b. Develop a dance b. Develop a dance
experiences moving feeling, or image, movements that movements that dance phrase that study that expresses study by selecting a
alone or with a through improvised express an idea or express a main idea expresses and and communicates specific movement
partner. movement moving emotion, or follow a or emotion, or follow communicates an a main idea. vocabulary to
alone or with a musical phrase. a musical phrase. idea or feeling. Discuss the reasons communicate a
partner. Explain reasons for Discuss the effect and effectiveness main idea. Discuss
movement choices. of the movement of the movement how the dance
choices. choices. communicates
nonverbally.

6.DA:Cr2 7.DA:Cr2 8.DA:Cr2 Prof.DA:Cr2 Acc.DA:Cr2 Adv.DA:Cr2
a. Explore a. Use a variety of a. Collaborate to select a. Collaborate to a. Work individually a. Demonstrate
choreographic devices choreographic devices and apply a variety of design a dance using and collaboratively to fluency and personal
and dance structures to and dance structures choreographic devices choreographic devices design and implement a voice in designing
develop a dance study to develop a dance and dance structures and dance structures variety of choreographic and choreographing
that supports an artistic study with a clear to choreograph an to support an artistic devices and dance original dances. Justify
intent. Explain the goal artistic intent. Articulate original dance study intent. Explain how the structures to develop choreographic choices
or purpose of the dance. reasons for movement or dance with a clear dance structures clarify original dances. Analyze and explain how they
and structural choices. artistic intent. Articulate the artistic intent. how the structure are used to intensify
the group process for and final composition artistic intent.
making movement and informs the artistic
structural choices. intent.
b. Determine artistic b. Determine artistic b. Define and apply b. Develop an artistic b. Develop an artistic b. Craft an artistic
criteria to choreograph criteria to choreograph artistic criteria to statement for an statement that reflects statement that
a dance study that a dance study that choreograph a dance original dance study a personal aesthetic communicates a
communicates personal communicates personal that communicates or dance. Discuss for an original dance personal, aesthetic,
or cultural meaning. or cultural meaning. personal or cultural how the use of study or dance. Select cultural, and artistic
Based on the criteria, Articulate how the meaning. Discuss how movement elements, and demonstrate perspective in a
evaluate why some artistic criteria serve the criteria clarify or choreographic devices movements that collection of original
movements are more to communicate the intensify the meaning of and dance structures support the artistic work.
or less effective than meaning of the dance. the dance. serve to communicate statement.
others. the artistic statement.

Creating—Anchor Standard 3: Refine and Complete Artistic Work
PROCESS COMPONENT
Revise
Choreographers analyze, evaluate, refine, and document their work to communicate meaning.
ESSENTIAL QUESTION
How do choreographers use self-reflection, feedback from others, and documentation to improve the quality of
their work?
PK.DA:Cr3 K.DA:Cr3 1.DA:Cr3 2.DA:Cr3 3.DA:Cr3 4.DA:Cr3 5.DA:Cr3

Respond to Apply suggestions Explore suggestions Explore Revise movement Revise movement Explore through
suggestions for for changing to change suggestions and choices in response based on peer movement the
changing movement movement movement make choices to to feedback to feedback and self- feedback from
through guided through guided from guided change movement improve a short reflection to improve others to expand
improvisational improvisational improvisation from guided dance study. communication choreographic
experiences. experiences. and/or short improvisation Describe and of artistic intent possibilities for a
remembered and/or short document the in a short dance short dance study
sequences. remembered differences the study. Explain and that communicates
sequences. changes made in document choices artistic intent.
the movements. made in the process. Explain and
document the
movement choices
and refinements.

6.DA:Cr3 7.DA:Cr3 8.DA:Cr3 Prof.DA:Cr3 Acc.DA:Cr3 Adv.DA:Cr3
a. Revise dance a. Evaluate possible a. Revise choreography a. Clarify the artistic a. Clarify the a. Clarify the artistic
compositions using revisions of dance collaboratively or intent of a dance artistic intent of a intent of a dance by
collaboratively compositions and, if independently based by manipulating dance by refining manipulating and
developed artistic necessary, consider on artistic criteria, choreographic devices choreographic devices refining choreographic
criteria. Document revisions of artistic self-reflection, and the and dance structures and dance structures, devices, dance
the revisions. Explain criteria based on self- feedback of others. based on established collaboratively or structures, and artistic
reasons for revisions reflection and feedback Articulate the reasons artistic criteria and independently using criteria using self-
and how choices made of others. Explain for choices and feedback from others. established artistic reflection and feedback
relate to artistic criteria. reasons for choices and revisions and explain Analyze and evaluate criteria, self-reflection from others. Document
how they clarify artistic how they clarify and impact of choices made and the feedback of choices made in
intent. enhance the artistic in the revision process. others. Analyze and the revision process
intent. evaluate impact of and justify how the
choices made in the refinements support
revision process. artistic intent.
n/a b. Investigate and use b. Experiment with b. Compare and use b. Develop a strategy to b. Document a dance
a recognized system aspects of a recognized recognized systems to record a dance using using recognized
to document dance system and use the document a section of recognized systems of systems of dance
sequences (e.g., writing, system to document a dance (e.g., writing, dance documentation documentation (e.g.,
a form of notation one or more sections a form of notation (e.g., writing, a form writing, a form of
symbols, or using media of a dance (e.g., writing, symbols, or using media of notation symbols, notation symbols,
technologies). a form of notation technologies). or using media or using media
symbols, or using media technologies). technologies).
technologies).

Performing—Anchor Standard 4: Select, Analyze, and Interpret Artistic Work for Presentation
PROCESS COMPONENT
Express
Space, time, and energy are basic elements of dance.
ESSENTIAL QUESTION
How do dancers work with space, time, and energy to communicate artistic expression?
PK.DA:Pr4 K.DA:Pr4 1.DA:Pr4 2.DA:Pr4 3.DA:Pr4 4.DA:Pr4 5.DA:Pr4

a. Identify and a. Make still and a. Demonstrate a. Demonstrate a. Judge spaces as a. Make static and a. Integrate static
demonstrate moving body shapes locomotor and clear directionality distance traveled dynamic shapes and dynamic
directions for that show lines (e.g., nonlocomotor and intent when and use space with positive shapes as well
moving the body in straight, bent, and movements that performing three-dimensionally. and negative as floor and air
general space (e.g., curved), change change body shapes, locomotor and Demonstrate space. Perform pathways into
forward, backwards, levels, and vary in levels, and facings. nonlocomotor shapes with positive three-dimensional dance sequences.
sideways, up, size (large/small). Move in straight, movements that and negative space. movement Establish
down, and turning) Join with others to curved, and zig- change body Perform movement sequences alone relationships with
and finding and make a formation zagged pathways shapes, facings, and sequences in and and with others, other dancers with
returning to a place and work with individually and pathways in space. through space with establishing intentionality and
in space. others to change its with others. Find Identify symmetrical intentionality and relationships with focus. Convert
dimension. Find and and return to place and asymmetrical focus. intentionality and inward focus to
return to a place in in space. body shapes focus. outward focus.
space. and examine
relationships
between body parts.

b. Identify speed of b. Demonstrate b. Relate quick, b. Identify the length b. Fulfill specified b. Respond in b. Dance to a
movement as fast or tempo contrasts moderate and of time a movement duration of time movement to even variety of rhythms
slow. Move to varied with movements slow movements or phrase takes with improvised and uneven rhythm generated from
rhythmic sounds at that match the to duration in time. (e.g., whether it locomotor and in both metric internal and
different tempi. tempo of the stimuli. Recognize steady is long or short). nonlocomotor and kinesthetic external sources.
beat and move to Identify and move movements. phrasings. Perform movement
varying tempi of on the downbeat Differentiate between Recognize and phrases that show
steady beat. in duple and triple “in time” and “out respond to tempo the ability to
meter. Correlate of time” to music. changes as they respond to changes
metric phrasing with Perform movements occur in dance and in time.
movement phrasing. that are the same music.
or of a different
time orientation to
accompaniment.
Use metric and
kinesthetic phrasing.
c. Move with c. Identify and apply c. Demonstrate c. Select and c. Change c. Analyze and c. Contrast bound
opposing dynamics. different dynamics movement apply appropriate use of energy refine phrases by and free flowing
to movements. characteristics along characteristics to and dynamics incorporating a movements. Initiate
with descriptive movements (e.g., by modifying greater range of movements from a
vocabulary (e.g., selecting specific movements and energy and dynamic variety of points of
use adverbs and adverbs and applying specific changes to heighten the body. Analyze
adjectives that adjectives and apply characteristics to the effect of their the relationship
apply to movement). them to movements). heighten the effect intent. between initiation
Demonstrate of their intent. and energy.
kinesthetic
awareness
while dancing
the movement
characteristics.

6.DA:Pr4 7.DA:Pr4 8.DA:Pr4 Prof.DA:Pr4 Acc.DA:Pr4 Adv.DA:Pr4
a. Refine partner and a. Expand movement a. Sculpt the body in a. Develop partner a. Dance alone and a. Modulate and use
ensemble skills in the vocabulary of floor and space and design body and ensemble skills with others with spatial the broadest range of
ability to determine air pattern designs. shapes in relation to that enable contrast intention. Expand movement in space for
distance and spatial Incorporate and modify other dancers, objects, while maintaining a partner and ensemble artistic and expressive
design. Establish differently designed and environment. Use sense of spatial design skills to greater ranges clarity. Use inward and
diverse pathways, levels, shapes and movements focus during complex and relationship (e.g., and skill level. Execute outward focus to clarify
and patterns in space. from a variety of dance floor and air patterns through lifts, balance, complex floor and air movement and intent.
Maintain focus with genres and styles and/or pathways. or other means). Use sequences with others Establish and break
partner or group in near for the purpose of space intentionally while maintaining and relationships with other
and far space. expanding movement during phrases and breaking relationships dancers and audience
vocabulary. through transitions through focus and as appropriate to the
between phrases. intentionality. dance.
Establish and break
relationships with
others as appropriate to
the choreography.

b. Use combinations of b. Vary durational b. Analyze and select b. Use syncopation b. Perform dance b. Modulate time factors
sudden and sustained approach in dance metric, kinetic, and and accent studies and for artistic interest
timing as it relates to phrasing by using timing breath phrasing and movements related compositions that use and expressive acuity.
both the time and the accents and variations apply appropriately to to different tempi. time and tempo in Demonstrate time
dynamics of a phrase or within a phrase to add dance phrases. Perform Take rhythmic cues unpredictable ways. Use complexity in phrasing
dance work. Accurately interest kinesthetically, dance phrases of from different aspects internal rhythms and with and without
use accented and rhythmically, and visually. different lengths that of accompaniment. kinetics as phrasing musical accompaniment.
unaccented beats in a use various timings Integrate breath tools. Use multiple and
variety of meters. within the same section. phrasing with metric complex rhythms (e.g.,
Use different tempi in and kinesthetic contrapuntal and/or
different body parts at phrasing. polyrhythmic) at the
the same time. same time. Work with
and against rhythm
of accompaniment or
sound environments.
c. Use the internal c. Compare and c. Direct energy and c. Connect energy and c. Initiate movement c. Modulate dynamics
body force created by contrast movement dynamics in such a dynamics to movements phrases by applying to clearly express
varying tension within characteristics from way that movement is by applying them in energy and dynamics. intent while performing
one’s musculature for a variety of dance textured. Incorporate and through all parts Vary energy and dance phrases and
movement initiation genres or styles. energy and dynamics of the body. Develop dynamics over the choreography. Perform
and dynamic expression. Discuss specific to technique exercises total body awareness so length of a phrase and movement sequences
Distinguish between characteristics using and dance performance. that movement phrases transition smoothly out expressively using a
bound and free flowing dance terminology Use energy and demonstrate variances of one phrase and into broad dynamic range
movements and and descriptive dynamics to enhance of energy and dynamics. the next phrase, paying and employ dynamic
appropriately apply language to describe and project movements. close attention to its skills to establish and
them to dance phrases. them. Determine and movement initiation and maintain relationships
demonstrate what energy. with other dancers and
dancers must do to project to the audience.
perform them clearly.

Performing—Anchor Standard 5: Develop and Refine Artistic Techniques and Work for Presentation
PROCESS COMPONENT
Embody
Dancers use the mind–body connection and develop the body as an instrument for artistry and artistic expression.
ESSENTIAL QUESTION
What must a dancer do to prepare the mind and body for artistic expression?

a. Demonstrate a. Demonstrate a. Demonstrate a a. Demonstrate a a. Replicate body a. Demonstrate a. Recall and
basic full body same side and range of locomotor range of locomotor shapes, movement technical execute a series
locomotor, cross-body and nonlocomotor and nonlocomotor characteristics, dance skills of dance phrases
nonlocomotor locomotor and movements, body movements, body and movement (e.g., alignment, using technical
movement, and nonlocomotor patterning, body patterning, and patterns in a dance coordination, dance skills
body patterning with movements, shapes, and dance sequences sequence with balance, core (e.g., alignment,
spatial relationships. body patterning directionality. that require moving awareness of body support) and coordination,
movements, and through space alignment and core movement balance, core
body shapes. using a variety of support. characteristics when support, clarity of
pathways. replicating and movement).
recalling patterns
and sequences
of locomotor and
nonlocomotor
movements.

b. Move in general b. Move safely b. Move safely b. Move safely in b. Adjust body-use b. Execute b. Demonstrate
space and start in general space in general space a variety of spatial to coordinate with techniques that safe body-use
and stop on cue and start and stop through a range of relationships and a partner or other extend movement practices during
while maintaining on cue during activities and group formations with dancers to safely range, build strength, technical exercises
personal space. activities, group formations while other dancers, change levels, and develop and movement
formations, and maintaining and sharing and directions, and endurance. Explain combinations.
creative explorations changing personal maintaining pathway designs. the relationship Discuss how these
while maintaining space. personal space. between execution practices, along
personal space. of technique, safe with healthful eating
body-use, and habits, promote
healthful nutrition. strength, flexibility,
endurance, and
injury prevention.
c. Identify and move c. Move body parts c. Modify c. Repeat c. Recall movement c. Coordinate c. Collaborate with
body parts and in relation to other movements movements, with an sequences with a phrases and peer ensemble
repeat movements body parts and and spatial awareness of self partner or in group timing with other members to
upon request. repeat and recall arrangements upon and others in space. dance activities. dancers by cueing repeat sequences,
movements upon request. Self-adjust and Apply constructive off each other synchronize actions,
request. modify movements feedback from and responding and refine spatial
or placement upon teacher and self- to stimuli cues relationships
request. check to improve (e.g., music, text, or to improve
dance skills. lighting). Reflect performance quality.
on feedback from Apply feedback
others to inform from others to
personal dance establish personal
performance goals. performance goals.

a. Embody technical a. Apply body- a. Embody technical a. Embody technical a. Refine technical a. Apply mind-body
dance skills (e.g., use strategies to dance skills (e.g., dance skills (e.g., dance skills to improve principles to technical
alignment, coordination, accommodate functional alignment, functional alignment, performance. Dance dance skills in complex
balance, core support, physical maturational coordination, balance, coordination, balance, with sensibility toward choreography when
clarity of movement) development to core support, clarity core support, clarity and with other dancers performing solo,
to accurately execute technical dance of movement, weight of movement, weight while executing complex partnering, or dancing
changes of direction, skills (e.g., functional shifts, flexibility/range shifts, flexibility/range spatial, rhythmic and in ensemble works in a
levels, facings, pathways, alignment, coordination, of motion) to replicate, of motion) to retain dynamic sequences to variety of dance genres
elevations and landings, balance, core support, recall, and execute and execute dance meet performance goals. and styles. Self-evaluate
extensions of limbs, and kinesthetic awareness, spatial designs and choreography. performances and
movement transitions. clarity of movement, musical or rhythmical discuss and analyze
weight shifts, and dance phrases. performance ability with
flexibility/range of others.
motion).
b. Apply basic b. Utilize healthful b. Evaluate personal b. Develop a plan for b. Apply anatomical b. Research healthful
anatomical knowledge, practices and sound healthful practices in healthful practices in principles and healthful and safe practices for
proprioceptive feedback, nutrition in dance dance activities and dance activities and practices to a range of dancers and modify
spatial awareness, activities and everyday everyday life including everyday life, including technical dance skills personal practice based
and nutrition to life. Discuss benefits nutrition and injury nutrition and injury for achieving fluency on findings. Discuss
promote safe and of practices and how prevention. Discuss prevention. Discuss of movement. Follow a how research informs
healthful strategies choices enhance choices made, the implementation of personal nutrition plan practice.
when warming up and performance. effects experienced, the plan and how it that supports health for
dancing. and methods for supports personal everyday life.
improvement. performance goals.

c. Collaborate as an c. Collaborate with c. Collaborate with c. Collaborate with c. Plan and execute c. Initiate, plan, and
ensemble to refine peers to practice and peers to discover peers to establish collaborative and direct rehearsals with
dances by identifying refine dances. Develop strategies for and implement a independent practice attention to technical
what works and does group performance achieving performance rehearsal plan to meet and rehearsal processes details and fulfilling
not work in executing expectations through accuracy, clarity, performance goals. Use with attention to artistic expression. Use
complex patterns, observation and and expressiveness. a variety of strategies technique and artistry a range of rehearsal
sequences, and analyses (e.g., view live Articulate personal to analyze and evaluate informed by personal strategies to achieve
formations. Solve or recorded professional performance goals and performances of self performance goals. performance excellence.
movement problems dancers and practice to reach goals. and others (e.g., use Reflect on personal
to dances by testing collaboratively develop Document personal video recordings of achievements.
options and finding group performance improvement over practice to analyze the
good results. Document expectations based on time (e.g., journaling, difference between the
self-improvements over information gained from portfolio, or timeline). way movements look
time. observations). and how they feel to
match performance with
visual affect). Articulate
performance goals
and justify reasons for
selecting particular
practice strategies.

Performing—Anchor Standard 6: Convey Meaning Through the Presentation of Artistic Work
PROCESS COMPONENT
Present
Dance performance is an interaction between performer, production elements, and audience that heightens and
amplifies artistic expression.
ESSENTIAL QUESTION
How does a dancer heighten artistry in a public performance?

a. Dance for others a. Dance for and a. Dance for others a. Dance for and a. Identify the a. Consider how a. Demonstrate
in a designated with others in a in a space where with others in main areas of a to establish a the ability to adapt
area or space. designated space. audience and a space where performance space formal performance dance to alternative
performers occupy audience and using production space from an performance venues
different areas. performers occupy terminology (e.g., informal setting by modifying
different areas. stage right, stage (e.g., gymnasium or spacing and
left, center stage, grassy area). movements to the
upstage, and performance space.
downstage).
b. Use a prop as b. Select a prop b. Explore the use b. Use limited b. Explore b. Identify, explore, b. Identify, explore,
part of a dance. to use as part of a of props to enhance production elements. production and experiment and select
dance. performance. elements for a with a variety of production elements
dance performed production elements that heighten and
for an audience in a to heighten the intensify the artistic
designated specific artistic intent and intent of a dance
performance space. audience experience. and are adaptable
for various
performance spaces.

a. Recognize needs and a. Recommend a. Demonstrate a. Demonstrate a. Demonstrate a. Demonstrate
adapt movements to changes to and leadership qualities leadership qualities leadership qualities leadership qualities
performance area. Use adapt movements to (e.g., commitment, (e.g., commitment, (e.g., commitment, (e.g., commitment,
performance etiquette performance area. Use dependability, dependability, dependability, dependability,
and performance performance etiquette responsibility, and responsibility, and responsibility, and responsibility, and
practices during and performance cooperation) when cooperation) cooperation) when cooperation) when
class, rehearsal, and practices during preparing for when preparing preparing for preparing for
performance. After class, rehearsal, and performances. Use for performances. performances. Model performances. Model
the performance, performance. Maintain performance etiquette Demonstrate performance etiquette performance etiquette
accept notes from journal documenting and performance performance etiquette and performance and performance
choreographer and these efforts. After practices during and performance practices during practices during
make corrections as the performance, class, rehearsal, and practices during class, rehearsal class, rehearsal, and
needed and apply to accept notes from performance. After class, rehearsal, and and performance. performance. Enhance
future performances. choreographer and the performance, performance. After Implement performance performance using a
apply corrections to accept notes from the performance, practices to enhance broad repertoire of
future performances. choreographer and accept notes from projection. After strategies for dynamic
apply corrections to choreographer and the performance, projection. Develop a
future performances. apply corrections to accept notes from professional portfolio
Document efforts future performances. choreographer and that documents
and create a plan for Document the apply corrections to the rehearsal and
ongoing improvements. rehearsal and future performances. performance process
performance process Document the with fluency in
and evaluate methods rehearsal and professional dance
and strategies using performance process terminology and
dance terminology and and evaluate methods production terminology.
production terminology. and strategies using
dance terminology and
production terminology.

b. Compare and b. Produce dance in b. Collaborate to design b. Evaluate possible b. Work collaboratively b. Work collaboratively
contrast a variety of a variety of venues or and execute production designs for the to produce a dance to produce dance
possible production for different audiences elements that would production elements concert on a stage concerts in a variety of
elements that would and, using production intensify and heighten of a performance and or in an alternative venues and design and
intensify and heighten terminology, explain the artistic intent of a select and execute performance venue and organize the production
the artistic intent of the how the production dance performed on the ideas that would plan the production elements that would
work. Select choices elements are handled in a stage, in a different intensify and heighten elements that would be necessary to fulfill
and explain reasons different situations. venue, or for different the artistic intent of the be necessary to fulfill the artistic intent of the
for the decisions made audiences. Explain dances. the artistic intent of the dance works in each of
using production reasons for choices dance works. the venues.
terminology. using production
terminology.

Responding—Anchor Standard 7: Perceive and Analyze Artistic Work
PROCESS COMPONENT
Analyze
Dance is perceived and analyzed to comprehend its meaning.
ESSENTIAL QUESTION
How is a dance understood?
PK.DA:Re7 K.DA:Re7 1.DA:Re7 2.DA:Re7 3.DA:Re7 4.DA:Re7 5.DA:Re7

a. Identify a a. Find a movement a. Find a movement a. Find movements a. Find a movement a. Find patterns of a. Find meaning
movement in a that repeats in a that repeats in a in a dance that pattern that creates movement in dance or artistic intent
dance by repeating dance. dance to make a develop a pattern. a movement phrase works that create a from the patterns
it. pattern. in a dance work. style or theme. of movement in a
dance work.
b. Demonstrate b. Demonstrate or b. Demonstrate and b. Demonstrate and b. Demonstrate b. Demonstrate and b. Describe, using
an observed or describe observed describe observed describe movements and explain how explain how dance basic dance
performed dance or performed dance or performed dance in dances from a one dance genre styles differ within terminology, the
movement. movements. movements from variety of genres or is similar to and a genre or within a qualities and
a specific genre or cultures. different from cultural movement characteristics of
culture. another, or how one practice. style used in a dance
cultural movement from one’s own
practice is similar to cultural movement
and different from practice. Compare
another. them to the qualities
and characteristics
of style found in a
different dance genre,
style, or cultural
movement practice.

6.DA:Re7 7.DA:Re7 8.DA:Re7 Prof.DA:Re7 Acc.DA:Re7 Adv.DA:Re7
a. Describe or a. Compare, contrast, a. Describe, a. Analyze recurring a. Analyze dance works a. Analyze dance works
demonstrate recurring and discuss patterns demonstrate, and patterns of movement and provide examples from a variety of dance
patterns of movement of movement and their discuss patterns of and their relationships of recurring patterns genres and styles and
and their relationships relationships in a dance. movement and their in dance in context of of movement and their explain how recurring
in a dance. relationships in dance artistic intent. relationships that create patterns of movement
in context of artistic structure and meaning and their relationships
intent. in dance. create well-structured
and meaningful
choreography.
b. Explain how the b. Compare and b. Explain how b. Explain how dance b. Analyze how b. Analyze and compare
elements of dance are contrast how the the elements of communicates aesthetic the elements of the movement patterns
used in a variety of elements of dance dance are used in and cultural values in a dance are used in and their relationships
dance genres, styles, are used in a variety a variety of genres, variety of genres, styles, a variety of genres, in a variety of genres,
or cultural movement of genres, styles, or styles, or cultural or cultural movement styles, or cultural styles, or cultural
practices. Use cultural movement movement practices practices. Use movement practices movement practices
genre-specific dance practices. Use to communicate intent. genre-specific dance to communicate intent and explain how their
terminology. genre-specific dance Use genre-specific terminology. within a cultural context. differences impact
terminology. dance terminology. Use genre-specific communication
dance terminology. and intent within a
cultural context. Use
genre-specific dance
terminology.

Responding—Anchor Standard 8: Interpret Intent and Meaning in Artistic Work
PROCESS COMPONENT
Interpret
Dance is interpreted by considering intent, meaning, and artistic expression as communicated through the use of
the body, elements of dance, dance technique, dance structure, and context.
ESSENTIAL QUESTION
How is dance interpreted?

Observe a Observe movement Select movements Use context cues Select specific Relate movements, Interpret meaning
movement and and describe it from a dance that from movement to context cues from ideas, and context in a dance based
share impressions. using simple dance suggest ideas identify meaning movement. Explain to decipher on its movements.
terminology. and explain how and intent in a how they relate to meaning in a dance Explain how
the movement dance using simple the main idea of the using basic dance the movements
captures the idea dance terminology. dance using basic terminology. communicate the
using simple dance dance terminology. main idea of the
terminology. dance using basic
dance terminology.

Explain how the artistic Compare the meaning Select a dance and Select and compare Analyze and discuss Analyze and interpret
expression of a dance of different dances. explain how artistic different dances and how the elements of how the elements of
is achieved through Explain how the artistic expression is achieved discuss their intent dance, dance structure, dance, dance structure,
the elements of dance, expression of each through relationships and artistic expression. execution of dance execution of dance
use of body, dance dance is achieved among the elements Explain how the movement principles, movement principles,
technique, dance through the elements of dance, use of body, relationships among and context contribute and context contribute
structure, and context. of dance, use of body, dance technique, dance the elements of dance, to artistic expression. to artistic expression
Explain how these dance technique, dance structure, and context. use of body, dance Use genre-specific across different genres,
communicate the intent structure, and context. Cite evidence in the technique, dance dance terminology. styles, or cultural
of the dance using Use genre-specific dance to support your structure, and context movement practices.
genre-specific dance dance terminology. interpretation using enhance meaning and Use genre-specific
terminology. genre-specific dance support intent using dance terminology.
terminology. genre-specific dance
terminology.

Responding—Anchor Standard 9: Apply Criteria to Evaluate Artistic Work
PROCESS COMPONENT
Critique
Criteria for evaluating dance vary across genres, styles, and cultures.
ESSENTIAL QUESTION
What criteria are used to evaluate dance?

Find a movement Find a movement Identify and Observe or Select dance Define and discuss Demonstrate
in a dance that that was noticed demonstrate several demonstrate dances movements the characteristics and discuss the
was fun to watch. in a dance. movements in a from a genre or from specific that make a characteristics of
Repeat it and Demonstrate the dance that attracted culture. Discuss genres, styles, or dance artistic dance that make
explain why it is fun movement that was attention. Describe movements and cultures. Identify and apply those a dance artistic
to watch and do. noticed and explain the characteristics other aspects of the characteristic characteristics to and meaningful.
why it attracted that make the dances that make movements from dances observed Relate them to the
attention. movements the dances work these dances and or performed in elements of dance
interesting and talk well and explain describe in basic a specific genre, in genres, styles, or
about why they were why they work. dance terminology style, or cultural cultural movement
chosen. Use simple dance ways in which they movement practice. practices. Use basic
terminology. are similar and Use basic dance dance terminology
different. terminology. to describe
characteristics of
the dance.

Discuss the Compare artistic intent, Use artistic criteria Analyze the artistic Compare and contrast Define personal artistic
characteristics and content, and context to determine what expression of a dance. two or more dances preferences to critique
artistic intent of a from dances to examine makes an effective Discuss insights using using evaluative criteria dance. Consider
dance from a genre, the characteristics performance. Consider evaluative criteria and to critique artistic societal and personal
style, or cultural of genre, style, or content, context, genre, genre-specific dance expression. Consider values, and a range
movement practice and cultural movement style, or cultural terminology. societal values and a of artistic expression.
develop artistic criteria practice. Based on movement practice to range of perspectives. Discuss perspectives
to critique the dance the comparison, refine comprehend artistic Use genre-specific with peers and justify
using genre-specific artistic criteria using expression. Use dance terminology. views.
dance terminology. genre-specific dance genre-specific dance
terminology. terminology.

Connecting—Anchor Standard 10:
Synthesize and Relate Knowledge and Personal Experiences to Make Art
PROCESS COMPONENT
Synthesize
As dance is experienced, all personal experiences, knowledge, and contexts are integrated and synthesized to
interpret meaning.
ESSENTIAL QUESTION
How does dance deepen our understanding of ourselves, other knowledge, and events around us?
PK.DA:Cn10 K.DA:Cn10 1.DA:Cn10 2.DA:Cn10 3.DA:Cn10 4.DA:Cn10 5.DA:Cn10

a. Recognize an a. Recognize and a. Find an a. Describe, create, a. Compare the a. Relate the main a. Compare two
emotion expressed name an emotion experience and/or perform relationships idea or content in dances with
in dance movement that is experienced expressed or a dance that expressed in a dance to other contrasting themes.
that is watched or when watching, portrayed in a expresses personal a dance to experiences. Explain Discuss feelings
performed. improvising, or dance that relates meaning and relationships with how the main and ideas evoked by
performing dance to a familiar explain how certain others. Explain how idea of a dance each. Describe how
and relate it to a experience. Identify movements express they are the same is similar to or the themes and
personal experience. the movements that this personal or different. different from one’s movements relate to
communicate this meaning. own experiences, points of view and
experience. relationships, ideas, experiences.
or perspectives.

b. Observe a dance b. Observe a work b. Discuss b. Respond to a b. Ask and research b. Develop and b. Choose a topic,
work. Identify and of art. Describe observations from dance work using a question about research a concept, or content
imitate a movement and then express a story. Identify an inquiry-based a key aspect of question relating from another
from the dance, through movement ideas for dance set of questions. a dance that to a topic of study discipline of study
and ask a question something of movement and Create movement communicates a in school using and research how
about the dance. interest about demonstrate the big using ideas from perspective about multiple sources other art forms have
the artwork, and ideas of the story. responses and an issue or event. of references. expressed the topic.
ask questions explain how certain Explore the key Select key aspects Create a dance
for discussion movements express aspect through about the topic study that expresses
concerning the a specific idea. movement. Share and choreograph the idea. Explain
artwork. movements and movements that how the dance
describe how the communicate the study expressed the
movements help information. Discuss idea and discuss
to remember what was learned how this learning
or discover new from creating the process is similar
qualities in these dance and describe to, or different
key aspects. how the topic might from, other learning
be communicated situations.
using another form
of expression.

6.DA:Cn10 7.DA:Cn10 8.DA:Cn10 Prof.DA:Cn10 Acc.DA:Cn10 Adv.DA:Cn10
a. Observe a. Compare and a. Relate connections a. Analyze a dance to a. Analyze a dance that a. Review original
the movement contrast the movement found between different determine the ideas is related to content choreography
characteristics or characteristics or dances and discuss expressed by the learned in other developed over time
qualities observed in qualities found in the relevance of the choreographer. Explain subjects and research with respect to its
a specific dance genre. a variety of dance connections to the how the perspectives its context. Synthesize content and context
Describe differences genres. Discuss development of one’s expressed by the information learned and and its relationship to
and similarities about how the movement personal perspectives. choreographer may share new ideas about personal perspectives.
what was observed characteristics or impact one’s own its impact on one’s Reflect on and analyze
to one’s attitudes and qualities differ from interpretation. Provide perspective. the variables that
movement preferences. one’s own movement evidence to support contributed to changes
characteristics or one’s analysis. in one’s personal growth.
qualities and how
different perspectives
are communicated.

b. Conduct research b. Research the b. Investigate two b. Collaboratively b. Use established b. Investigate various
using a variety of historical development contrasting topics using identify a dance research methods dance-related careers
resources to find of a dance genre or a variety of research related question or and techniques to through a variety of
information about a style. Use knowledge methods. Identify problem. Conduct investigate a topic. research methods and
social issue of great gained from the and organize ideas to research through Collaborate with others techniques. Select
interest. Use the research to create a create representative interview, research to identify questions those careers of most
information to create dance study that evokes movement phrases. database, text, media, and solve movement interest. Develop and
a dance study that the essence of the Create a dance or movement. Analyze problems that pertain implement a Capstone
expresses a specific style or genre. Share study exploring the and apply information to the topic. Create Project that reflects a
point of view on the the study with peers contrasting ideas. gathered by creating and perform a piece of possible career choice.
topic. Discuss whether as part of a lecture Discuss how the a group dance that choreography on this
the experience of demonstration that research informed answers the question topic. Discuss orally or
creating and sharing tells the story of the the choreographic posed. Discuss how the in writing the insights
the dance reinforces historical journey of process and deepens dance communicates relating to knowledge
personal views or offers the chosen genre or understanding of the new perspectives or gained through the
new knowledge and style. Document the topics. realizations. Compare research process, the
perspectives. process of research and orally and in writing synergy of collaboration,
application. the process used in and the transfer of
choreography to that of learning from this
other creative, academic, project to other learning
or scientific procedures. situations.

Relate Artistic Ideas and Works with Societal, Cultural, and Historical Context to Deepen Understanding
PROCESS COMPONENT
Relate
Dance literacy includes deep knowledge and perspectives about societal, cultural, historical, and community
contexts.
ESSENTIAL QUESTION
How does knowing about societal, cultural, historical, and community experiences expand dance literacy?

Show a dance Describe or Watch and/or Observe a dance Find a relationship Select and describe Describe how
movement demonstrate perform a dance and relate the between movement movements in a the movement
experienced at the movements from a different movement to in a dance from a specific genre or characteristics
home or elsewhere. in a dance that culture and discuss the people or culture, society, or style and explain and qualities
was watched or or demonstrate the environment in community and the how the movements of a dance in a
performed. types of movement which the dance culture from which relate to the specific genre or
danced. was created and the dance is derived. culture, society, style communicate
performed. Explain what historical period, or the ideas and
the movements community from perspectives
communicate about which the dance of the culture,
key aspects of the originated. historical period, or
culture, society, or community from
community. which the genre or
style originated.

Interpret and show Compare, contrast, Analyze and discuss Analyze and discuss Analyze dances from Analyze dances from
how the movement and discuss dances how dances from a dances from selected several genres or several genres or
and qualities of a performed by people variety of cultures, genres or styles and/or styles, historical time styles, historical time
dance communicate its in various localities or societies, historical historical time periods periods, and/or world periods, and/or world
cultural, historical, and/ communities. Formulate periods, or communities and formulate reasons dance forms. Discuss dance forms. Discuss
or community purpose possible reasons reveal the ideas and for the similarities and how dance movement how dance movement
or meaning. why similarities and perspectives of the differences between characteristics, characteristics,
differences developed people. them in relation to the techniques, and artistic techniques, and artistic
in relation to the ideas ideas and perspectives criteria relate to the criteria relate to the
and perspectives of the peoples from ideas and perspectives ideas and perspectives
important to each. which the dances of the peoples from of the peoples from
originate. which the dances which the dances
originate. originate, and how the
analysis has expanded
one’s dance literacy.

Dance Glossary
The dance terms defined in this section include only those terms that are body patterning: Neuromuscular patterns (for example, core-distal, head-tail,
blue text in the standards. The meaning of the terms is specific to their use homologous [upper-lower], homo-lateral [same-side], cross-lateral [crossing
in the standards and the artistic discipline. The definitions included here are the body midline]).
not meant to be an exhaustive list or used as curriculum.
body-use: The ways in which movement patterns and body parts are used in
The following defined terms are commonly accepted definitions, most of movement and dance practice; descriptive method of identifying patterns.
which are provided by the National Coalition for Core Arts at https://www.
nationalartsstandards.org/content/glossary. bound flow movement: An “effort element” from Laban Movement Analysis
in which energy flow is constricted.
aesthetic: A set of principles concerned with the nature and appreciation of
beauty. Capstone Project: A culminating performance-based assessment that
determines what twelfth graders should know and be able to do in various
alignment: The process of positioning the skeletal and muscular system to educational disciplines; usually based on research and the development of a
support effective functionality. major product or project that is an extension of the research.
alternative performance venue: A performance site other than a standard choreographic devices: Manipulation of dance movement, sequences, or
Western-style theater (for example, classroom, site-specific venue, or natural phrases (e.g., repetition, inversion, accumulation, cannon, etc.).
environment).
codified movement: Common motion or motions set in a particular style that
anatomical principles: The way the human body’s skeletal, muscular, and often have specific names and expectations associated with it.
vascular systems work separately and in coordination.
context cues: Information obtained from the dance that helps one
artistic criteria: Aspects of craft and skill used to fulfill artistic intent. understand or comprehend meaning and intent from a movement, group of
movements, or a dance as a whole; requires seeing relationships between
artistic expression: The manifestations of artistic intent though dance, drama, movements and making inferences about the meaning or intent often
music, poetry, fiction, painting, sculpture, or other artistic media. In dance, gleaned from visual, auditory, or sensory stimuli.
this involves the dance and the dancers within a context.
contrapuntal: An adjective that describes the noun counterpoint; music that
artistic intent: The purpose, main idea, and expressive or communicative has at least two melodic lines (voices) played simultaneously against each
goals(s) of a dance composition, study, work, or performance. other; in dance, at least two movement patterns, sequences, or phrases
artistic statement: An artist’s verbal or written introduction of their work from danced simultaneously using different body parts or performed by different
their own perspective to convey the deeper meaning or purpose. dancers.

cultural movement practice: Physical movements of a dance that are experiences that are widely shared in the field of dance (for example,
associated with a particular country, community, or people. stage terminology, compositional vocabulary, language-defining dance
structures and devices, anatomical references, etc.).
dance literacy: The total experience of dance learning that includes the
§ genre-specific dance terminology (Tier 3/grades 6 and up): words
doing and knowing about dance: dance skills and techniques, dance
used to describe movement within specific dance forms such as
making, knowledge and understanding of dance vocabulary, dance history,
ballet, contemporary, culturally-specific dance, hip-hop, jazz, modern,
dance from different cultures, dance genres, repertory, performers and
tap, and others.
choreographers, dance companies, and dance notation and preservation.
dance work: A complete dance that has a beginning, middle (development),
dance movement principles: Fundamentals related to the craft and skill
and end.
with which dance movement is performed (for example, the use of dynamic
alignment, breath support, core support, rotation, initiation and sequencing, dynamics: The qualities or characteristics of movement which lend
weight shift, etc.). expression and style; also called “efforts,” or “energy” (for example, lyrical,
sustained, quick, light, or strong).
dance phrase: A brief sequence of related movements that have a sense of
continuity and artistic or rhythmic completion. elements of dance: The key components of movement; movement of the body
using space, time, and energy; often referred to as the elements of movement.
dance structures: The organization of choreography and movement to fulfill
the artistic intent of a dance or dance study (for example, AB, ABA or theme embody: To physicalize a movement, concept, or idea through the body.
and variation); often referred to as choreographic form.
energy: The dynamic quality, force, attack, weight, and flow of movement.
dance study: A short dance that is comprised of several dance phrases
based on an artistic idea. evaluative criteria: The definition of values and characteristics with which
dance can be assessed; factors to be considered to attain an aesthetically
dance techniques: The tools and skills needed to produce a particular style satisfying dance composition or performance.
of movement.
explore: Investigate multiple movement possibilities to learn more about an
dance terminology: Vocabulary used to describe dance and dance experiences. idea.
§ simple dance terminology (Tier 1/PreK–2): basic pedestrian language
(for example, locomotor words such as walk, run, march, slither; and free flowing movement: An “effort element” from Laban Movement Analysis
nonlocomotor words such as bend, twist, turn, etc.). in which energy is continuous.
§ basic dance terminology (Tier 2/grades 3–5): vocabulary used functional alignment: The organization of the skeleton and musculature in a
to describe dance movement techniques, structures, works, and relationship to gravity that supports safe and efficient movement while dancing.

general space: Spatial orientation that is not focused towards one area of a nonlocomotor: Movement that remains in place; movement that does
studio or stage. not travel from one location to another or in a pathway through space for
example, in PreK, bend, twist, turn, open, or close; in Kindergarten, swing,
genre: A category of dance characterized by similarities in form, style, sway, spin, reach, or pull).
purpose, or subject matter (for example, African, ballet, ballroom, hip hop,
modern, Polynesian, etc.). performance etiquette: Performance values and expected behaviors when
rehearsing or performing (for instance, no talking while the dance is in
kinesthetic awareness: Pertaining to sensations and understanding of bodily progress, no chewing gum, neat and appropriate appearance, and dancers
movement. do not call out to audience members who are friends).
locomotor: Movement that travels from one location to another or in a performance practices: Commonly accepted behaviors and practices
pathway through space (for example, in PreK, walk, run, tip-toe, slither, roll, when rehearsing and performing on stage (for example, production order is
crawl, jump, march, or gallop; in Kindergarten, the addition of prance, hop, technical rehearsal, dress rehearsal, then performance; dancers warm up on
skip, slide, or leap). stage and must leave when the stage manager tells them; or when “places”
mind–body principles: Concepts explored and/or employed to support are called, dancers must be ready to enter the performing space).
body–mind connections (for example, breath, awareness of the environment, personal space: The area of space directly surrounding one’s body extending
grounding, movement initiation, use of imagery, intention, inner–outer, as far as a person can reach; also called the kinesphere.
stability–mobility).
polyrhythmic: In music, several rhythms layered on top of one another and
movement characteristics: The qualities, elements, or dynamics that played simultaneously; in dance, embodying several rhythms simultaneously
describe or define a movement. in different body parts.
movement phrase: A brief sequence of related movements that have a sense production elements: Aspects of performance that produce theatrical effects
of continuity and artistic or rhythmic completion. (for example, costumes, makeup, sound, lighting, media, props, and scenery).
movement problem: A specific focus that requires one find a solution and production terminology: Words commonly used to refer to the stage,
complete a task; gives direction and exploration in composition. performance setting, or theatrical aspects of dance presentation.
movement vocabulary: Codified or personal movement characteristics that project: A confident presentation of one’s body and energy to communicate
define a movement style. movement and meaning vividly to an audience.
negative space: The area (space) around and between the dancer(s) or rhythm: The patterning or structuring of time through movement or sound.
dance images(s) in a dance.

sound environment: Sound accompaniment for dancing other than music (for technical dance skills: The degree of physical proficiency a dancer achieves
example, street noise, ocean surf, bird calls, or spoken word). within a dance style or technique (for example, coordination, form, strength,
speed, and range).
space: Components of dance involving direction, pathways, facings, levels,
shapes, and design; the location where a dance takes place; or the element tempi: Different paces or speeds of music, or underlying beats or pulses,
of dance referring to the cubic area of a room, on a stage, or in other used in a dance work or composition (singular: tempo).
environments.
tempo: The pace or speed of a pulse or beat underlying music or movement
spatial design: Pre-determined use of directions, levels, pathways, (plural: tempi or tempos).
formations, and body shapes.
theme: A dance idea that is stated choreographically.
stimuli: A thing or event that inspires action, feeling, or thought.
style: Dance that has specific movement characteristics, qualities, or

principles that give it distinctive identity (for example, Graham technique
is a style of Modern Dance; rhythm tap is a style of Percussive Dance;
Macedonian folk dance is a style of International Folk dance; and Congolese
dance is a style of African Dance).

for Media Arts
The media arts standards are designed to enable students to achieve media arts literacy. Media arts standards “Media art
assume the diverse forms and categories of media arts as a distinct, stand-alone arts discipline, whose basic
categories include the following areas: photography, imaging, sound, animation, video, web design, graphic can make the
design, virtual design, interactive design, as well as their combinations and emerging forms, such as multimedia
and virtual design.
viewer an active
participant. It
What Is Literacy in Media Arts?
can upend the
The standards for media arts do not address the use of specific media, rather they provide benchmarks that
educators can adapt to specific media. Technology is embedded, integrated, or used as a tool in the media arts, roles of artist
but the emphasis is on process, so that the standards will remain relevant even as technology evolves. and spectator.”
Literacy in media arts is broad, diverse, and addresses creative, conceptual, and technical competencies —Rudolf Frieling, Curator of
that exist globally. Media arts are the emerging basis for communications, design, and social interaction in Media Arts, San Francisco
our increasingly digitally centered world, and California’s creative economy. Therefore, students should gain Museum of Modern Art
experience in production and design that has real-world relevance and applications that can include the
following:
§ Multimedia Communication: The ability to communicate and express in a variety of media forms or
combined media, using various tools and processes, for specific purposes, intentions, and audiences.
§ Interdisciplinary Integration: Media arts projects can incorporate multiple content areas and artistic
disciplines, such as a video broadcast of student-produced documentaries, dramatic stories, and
informational bulletins for the school campus.
§ Design Thinking: A problem-based approach of producing iterations, prototypes, and models, which are
repeatedly tested and revised and lead to a successful result.
§ Media and Digital Literacies: Media arts students practice critical autonomy in discerning the quality
and veracity of media. They are empowered in producing their own messages and products and in
conscientious, civic-minded engagement in virtual environments.
California Department of Education California Arts Standards for Media Arts | 57

Media arts classrooms come in many forms. They can be very active and dynamic, as well as quiet and focused.
They will often use technology including a variety of emerging technologies, but in many classrooms, such as
video production, animation, and game design, students will also be collaboratively engaged in brainstorming,
writing, storyboarding or prototyping, and organizing their projects.
The enactment of standards can vary as well, depending on the specific form and the way projects are organized.
The standards are presented in a linear, sequential format, but teachers should understand that they can access
them in any order specific to their instructional approach. For example, lessons and units can easily begin by
considering a given context (connecting), move next to analyzing examples of media arts (responding), then
proceed to generating and refining (creating) a media artwork for presentation (producing). Also, the standards
represent portions of the holistic creative process, and may be addressed in rapid-fire succession as one is
creating work. Therefore, a brainstorming session that begins with creating the standard may also incorporate
responding and even connecting standards. One well-structured project can address many, if not all, standards
in a holistic, simultaneous manner.
58 | California Arts Standards for Media Arts California Department of Education

PROCESS COMPONENT
Conceive
Media arts ideas, works, and processes are shaped by the imagination, creative processes, and by experiences,
both within and outside of the arts.
ESSENTIAL QUESTIONS
§ How do media artists generate ideas?
§ How can ideas for media arts productions be formed and developed to be effective and original?
PK.MA:Cr1 K.MA:Cr1 1.MA:Cr1 2.MA:Cr1 3.MA:Cr1 4.MA:Cr1 5.MA:Cr1

Share ideas for Discover and Express and share Explore multiple Develop multiple Conceive of original Envision original
media artworks share ideas for ideas for media ideas for media ideas for media artistic goals for ideas and
through guided media artworks artworks through artworks through artworks using a media artworks using innovations for
exploration of tools, using play and/or sketching and brainstorming and variety of tools, a variety of generative media artworks
methods, and experimentation. modeling. improvising. methods, and/or methods, such as using personal
imagining. materials. brainstorming and experiences and the
modeling. work of others.
6.MA:Cr1 7.MA:Cr1 8.MA:Cr1 Prof.MA:Cr1 Acc.MA:Cr1 Adv.MA:Cr1

Envision original ideas Produce a variety of Generate ideas, goals, Use identified Strategically utilize Integrate aesthetic
and innovations for ideas and solutions and solutions for generative methods generative methods principles with a variety
media artworks using for media artworks original media artworks to formulate multiple to formulate multiple of generative methods
personal experiences through application through application ideas, develop artistic ideas, and refine artistic to fluently form original
and/or the work of of chosen generative of focused creative goals, and problem goals to increase ideas, solutions, and
others. methods such as processes, such as solve in media arts originality in media arts innovations in media
concept modeling and divergent thinking and creation processes. creation processes. arts creation processes.
prototyping. experimenting.

PROCESS COMPONENT
Develop
Media artists plan, organize, and develop creative ideas and models into process structures that can effectively
realize the artistic idea.
ESSENTIAL QUESTION
How do media artists organize and develop ideas and models into process structures to achieve the desired end
product?

With guidance, form With guidance, use With guidance, Choose ideas to Form, share, and Discuss, test, and Develop, present,
ideas into plans or ideas to form plans identify and use create plans and/ test ideas, plans, assemble ideas, and test ideas,
models for media or models for media ideas to form plans or models for media and/or models to plans, and/or plans, models,
arts productions. arts productions. and/or models arts productions. prepare for media models for media and/or proposals
for media arts arts productions. arts productions, for media arts
productions. considering the productions,
artistic goals and considering the
the presentation. artistic goals and
audience.

Organize, propose, Design, propose, and Structure and critique Apply aesthetic criteria Apply a personal Integrate a
and evaluate artistic evaluate artistic ideas, ideas, plans, prototypes, in developing, and aesthetic in designing, sophisticated
ideas, plans, prototypes, plans, prototypes, and production refining artistic ideas, testing, and refining personal aesthetic
and/or production and production processes for media plans, prototypes, original artistic ideas, and knowledge of
processes for media processes for media arts productions, and production prototypes, and systems processes in
arts productions, arts productions, considering intent, processes for media production strategies for proposing, forming, and
considering purposeful considering expressive resources, and the arts productions, media arts productions, testing original artistic
intent. intent and resources. presentation context. considering original considering artistic ideas, prototypes, and
inspirations, goals, and intentions, constraints production frameworks,
presentation context. of resources, and considering complex
presentation context. constraints of goals,
time, resources, and
personal limitations.

PROCESS COMPONENT
Construct
The forming, integration, and refinement of aesthetic components, principles, and processes creates purpose,
meaning, and artistic quality in media artworks.
ESSENTIAL QUESTIONS
§ What is required to produce a media artwork that conveys purpose, meaning, and artistic quality?
§ How do media artists refine their work?

a. Make and capture a. Form and capture a. Create, capture, a. Construct and a. Construct and a. Structure and a. Create content
media arts content, media arts content and assemble assemble content order various arrange various and combine
freely and in guided for expression and media arts content for unified media content into unified, content and components to
practice, in media meaning in media for media arts arts productions, purposeful media components to convey expression,
arts productions. arts productions. productions, identifying and arts productions, convey purpose purpose, and
identifying basic applying basic describing and and meaning in meaning in a variety
aesthetic principles, aesthetic principles, applying a defined different media of media arts
such as pattern and such as positioning set of aesthetic arts productions, productions, utilizing
repetition. and attention. principles, such as applying sets of sets of associated
movement and force. associated aesthetic aesthetic principles,
principles, such such as emphasis
as balance and and exaggeration.
contrast.
b. Attempt and b. Make changes to b. Practice and b. Test and describe b. Practice and b. Demonstrate b. Determine how
share expressive the content, form, identify the effects expressive effects analyze how intentional elements and
effects, freely and or presentation of of making changes in altering, refining, the emphasis of effect in refining components can
in guided practice, media artworks and to the content, form, and completing elements alters media artworks, be altered for clear
in creating media share results. or presentation, in media artworks. effect and purpose emphasizing communication and
artworks. order to refine and in refining and elements for a intentional effects,
complete media completing media purpose. and refine media
artworks. artworks. artworks to improve
clarity and purpose.

a. Experiment with a. Coordinate a. Implement a. Implement a. Effectively implement a. Synthesize content,
multiple approaches production processes production processes to production processes, production processes, processes, and
to produce content to integrate content integrate content and making artistically artistically crafting and components to express
and components for and components for stylistic conventions for deliberate choices integrating content, compelling purpose,
determined purpose determined purpose determined purpose in content, technique, technique, and stylistic story, emotion, or
and meaning in media and meaning in media and meaning in media and style in media conventions in media ideas in complex
arts productions, arts productions, arts productions, arts productions, arts productions, media arts productions,
utilizing a range of demonstrating demonstrating demonstrating demonstrating demonstrating mastery
associated aesthetic understanding of understanding of understanding of understanding of of associated aesthetic
principles, such as point associated aesthetic associated aesthetic associated aesthetic associated aesthetic principles, such as
of view and perspective. principles, such as principles, such as principles, such as principles, such as hybridization.
narrative structures and theme and unity. emphasis and tone. consistency and
composition. juxtaposition.
b. Appraise how b. Refine media b. Refine media b. Refine media b. Refine and elaborate b. Intentionally and
elements and artworks by intentionally artworks, improving artworks, honing aesthetic elements and consistently refine and
components can be emphasizing particular technical quality aesthetic quality and technical components elaborate elements and
altered for intentional expressive elements to and intentionally stylistic elements to intentionally form components to form
effects and audience, reflect an understanding accentuating stylistic towards intentional impactful expressions impactful expressions
and refine media of purpose, audience, or elements, to reflect expression and purpose. in media artworks in media artworks,
artworks to reflect place. an understanding of for specific purposes, directed at specific
purpose and audience. purpose, audience, and audiences, and contexts. purposes, audiences,
place. and contexts.

Producing—Anchor Standard 4: Select, Analyze, and Interpret Artistic Work for Presentation
PROCESS COMPONENT
Integrate
Media artists integrate various forms and contents to develop complex, unified artworks.
ESSENTIAL QUESTION
How are complex media arts experiences constructed?
PK.MA:Pr4 K.MA:Pr4 1.MA:Pr4 2.MA:Pr4 3.MA:Pr4 4.MA:Pr4 5.MA:Pr4

With guidance, With guidance, Combine varied Practice combining Practice combining Demonstrate how a Create media
combine different combine arts forms academic, arts, and varied academic, varied academic, variety of academic, artworks through
forms and content, and media content, media content in arts, and media arts, and media arts, and media the integration of
such as image and such as dance media artworks, content into unified forms and content, forms and content multiple contents
sound, to form and video, to form such as an media artworks, such as animation, may be mixed and and forms.
media artworks. media artworks. illustrated story. such as a narrated music, and dance, coordinated into
science animation. into unified media media artworks.
artworks.
6.MA:Pr4 7.MA:Pr4 8.MA:Pr4 Prof.MA:Pr4 Acc.MA:Pr4 Adv.MA:Pr4

Demonstrate and Integrate multiple Integrate multiple Integrate various arts, Integrate various arts, Synthesize various
rationalize how contents and forms contents and forms media arts forms, and media arts forms, and arts, media arts forms,
integrating multiple into unified media arts into unified media content into unified academic content into and academic content
contents and forms, productions, such as an arts productions, such media arts productions, unified media arts into unified media
such as media, interactive video game, as interdisciplinary considering the reaction productions, such as arts productions, such
narratives and that convey consistent projects or multimedia and interaction of transmedia productions, as transdisciplinary
performance, can perspectives and theatre, that convey the audience and that retain thematic productions, that retain
support a central idea narratives. specific themes or ideas. experiential design. integrity and stylistic artistic fidelity across
in a media artwork. consistency. platforms.

Producing—Anchor Standard 5: Develop and Refine Artistic Techniques and Work for Presentation
PROCESS COMPONENT
Practice
Media artists require a range of skills and abilities to creatively solve problems within and through media arts
productions.
ESSENTIAL QUESTIONS
§ What skills are required for creating effective media artworks and how are they improved?
§ How are creativity and innovation developed within and through media arts productions?
§ How do media artists use various tools and techniques?

a. Use identified a. Identify and a. Describe and a. Enact roles to a. Exhibit developing a. Enact identified a. Enact various
skills, such as demonstrate basic demonstrate various demonstrate basic ability in a variety roles to practice roles to practice
manipulating tools, skills, such as artistic skills and ability in various of artistic, design, foundational artistic, fundamental ability
making choices, handling tools, roles, such as identified artistic, technical, and design, technical, in artistic, design,
and sharing, in making choices, technical steps, design, technical, organizational roles, and soft skills, such technical, and
creating media and cooperating, tool use, planning, and soft skills, such as making as formal technique, soft skills, such as
artworks. in creating media and collaborating, such as tool use compositional equipment usage, formal technique
artworks. in media arts and collaboration, decisions, and collaboration, and collaboration,
productions. in media arts manipulating tools, in media arts in media arts
productions. and group planning, productions. productions.
in media arts
productions.
b. Use identified b. Identify and b. Describe and b. Demonstrate use b. Exhibit basic b. Practice b. Practice
creative skills, demonstrate demonstrate of experimentation creative skills, such foundational fundamental
such as imagining, creative skills, such basic creative skills, such as as standard use innovative abilities, creative and
freely and in as performing, skills, such as playful practice of tools, to invent such as design innovative abilities,
guided practice, within media arts varying techniques, and trial and new content and thinking and such as expanding
within media arts productions. within media arts error, within and solutions within and novel use of tools, conventions and
productions. productions. through media arts through media arts in addressing experimental use of
productions. productions. problems within and tools, in addressing
through media arts problems within and
productions. through media arts
productions.

a. Develop a variety a. Exhibit an increasing a. Demonstrate a a. Demonstrate a. Demonstrate effective a. Employ mastered
of artistic, design, set of artistic, design, defined range of artistic, progression in artistic, command of artistic, artistic, design,
technical, and technical, and soft design, technical, design, technical, and design, technical, and technical, and soft
soft skills, such as skills, such as creative and soft skills, such soft skills, as a result of soft skills in managing skills in managing
invention, formal problem solving and as strategizing selecting and fulfilling and producing media and producing media
technique, production, organizing, through and collaborative specified roles in the artworks. artworks.
self-initiative, and performing various roles communication, through production of a variety
problem-solving, in producing media performing specified of media artworks.
through performing artworks. roles in producing
various assigned roles media artworks.
in producing media
artworks.
b. Develop a variety of b. Exhibit an increasing b. Demonstrate a b. Develop and refine b. Demonstrate b. Fluently employ
creative and innovative set of creative and defined range of a determined range of creative and innovative creativity and innovation
abilities, such as testing innovative abilities, creative and innovative creative and innovative abilities, such as in formulating lines of
constraints in tool usage, such as adaptive abilities, such as abilities, such as resisting closure and inquiry and solutions
in developing solutions tool usage and divergent solutions and applications of tools, responsive use of to address complex
within and through exploratory processes, bending conventions, risk taking, and design failure, to effectively challenges within and
media arts productions. in developing solutions in developing new thinking, in addressing address sophisticated through media arts
within and through solutions for identified identified challenges challenges within and productions.
media arts productions. problems within and and constraints within through media arts
through media arts and through media arts productions.
productions. productions.

Producing—Anchor Standard 6: Convey Meaning Through the Presentation of Artistic Work
PROCESS COMPONENT
Present
Media artists purposefully present, share, and distribute media artworks for various contexts.
ESSENTIAL QUESTION
How does time, place, audience, and context affect presenting or performing choices for media artworks?

With guidance, With guidance, With guidance, Identify and Identify and Explain the Compare qualities
discuss the situation discuss the discuss presentation describe describe the presentation and purposes
and participate in audience and share conditions and presentation presentation conditions, of presentation
presenting media roles in presenting audience, and conditions and conditions, audience response, formats, associated
artworks to an media artworks. perform a task in audience and audience, and and improvements processes, results,
audience. presenting media perform task(s) in results of presenting for presenting. and improvements
artworks. presenting media media artworks. for presentation of
artworks. media artworks.

Analyze various Evaluate various Design the presentation Design the presentation Design the effective Curate, design,
presentation formats, presentation formats and distribution of of media artworks, presentation and and promote the
defined processes, and and results to improve media artworks through considering the promotion of media presentation of media
results to improve the the presentation of multiple formats and/ relationships of formats artworks for a variety of artworks for intentional
presentation of media media artworks for or contexts considering and contexts, and formats and contexts, impacts, through a
artworks. personal growth. previous results on desired outcomes. such as local exhibits, variety of contexts, such
personal growth and mass markets and as markets and venues.
external effects. virtual channels.

PROCESS COMPONENT
Perceive
Identifying the qualities and characteristics of media artworks improves one’s artistic appreciation and production.
ESSENTIAL QUESTIONS
§ How do we ‘read’ media artworks and discern their relational components?
§ How do media artworks function to convey meaning and manage audience experience?
PK.MA:Re7 K.MA:Re7 1.MA:Re7 2.MA:Re7 3.MA:Re7 4.MA:Re7 5.MA:Re7

a. With guidance, a. Recognize and a. Identify a. Identify and a. Identify and a. Identify, describe, a. Identify, describe,
explore and discuss share components components and describe the describe how and explain and differentiate
components and and messages in messages in media components and messages are how messages how messages
messages in a media artworks. artworks. messages in media created by are created by and meaning
variety of media artworks. components in components in are created by
artworks. media artworks. media artworks. components in
media artworks.
b. With guidance, b. Recognize and b. With guidance, b. Identify and b. Identify and b. Identify, describe, b. Identify, describe,
explore media share how a variety identify how describe how describe how and explain how and differentiate
artworks and of media artworks a variety of a variety of various forms, various forms, how various forms,
discuss experiences. create different media artworks media artworks methods, and styles methods, and styles methods, and styles
experiences. create different create different in media artworks in media artworks in media artworks
experiences. experiences. manage audience manage audience manage audience
experience. experience. experience.

6.MA:Re7 7.MA:Re7 8.MA:Re7 Prof.MA:Re7 Acc.MA:Re7 Adv.MA:Re7
a. Identify, describe, and a. Describe, compare, a. Compare, contrast, a. Analyze and describe a. Analyze and explain a. Analyze and
analyze how message and analyze the and analyze the the qualities of and the qualities of and synthesize the qualities
and meaning are qualities of and qualities of and relationships between relationships between and relationships of
created by components relationships between relationships between the components, the components, form the components and
in media artworks. the components and the components, content, and intentions and content, aesthetics, the audience impact
content in media content, and intentions of various media intentions, and contexts in a variety of media
artworks. in media artworks. artworks. of a variety of media artworks.
artworks.
b. Identify, describe, and b. Describe, compare, b. Compare, contrast, b. Analyze how a variety b. Analyze and explain b. Examine diverse
analyze how various and analyze how and analyze how various of media artworks how diverse media media artworks,
forms, methods, and various forms, methods, forms, methods, and manage audience artworks manage analyzing methods for
styles in media artworks and styles in media styles in media artworks experience and create audience experience managing audience
manage audience artworks interact with manage audience intention through and create intention experience, creating
experience. personal preferences experience and create multimodal perception. and persuasion through intention and
in influencing audience intention. multimodal perception. persuasion through
experience. multimodal perception,
and systemic
communications.

PROCESS COMPONENT
Interpret
Interpretation and appreciation require consideration of the intent, form, and context of the media and artwork.
ESSENTIAL QUESTION
How do people relate to and interpret media artworks?

With guidance, With guidance, With guidance, Determine the Determine the Determine and Determine and
share reactions to share observations identify the purposes and purposes and explain reactions compare personal
media artworks. regarding a variety meanings of a meanings of meanings of media and interpretations and group
of media artworks. variety of media media artworks, artworks while to a variety of interpretations
artworks and their considering their describing their media artworks, of a variety of
context. context. context. considering their media artworks,
purpose and context. considering their
intention and
context.

Analyze the intent of Analyze the intent and Analyze the intent and Analyze the intent, Analyze the intent, Analyze the intent,
a variety of media meaning of a variety of meanings of a variety meanings, and meanings, and meanings and impacts
artworks, using given media artworks, using of media artworks, reception of a variety influence of a variety of of diverse media
criteria. self-developed criteria. focusing on intentions, of media artworks, media artworks, based artworks, considering
forms, and various focusing on personal on personal, societal, complex factors of
contexts. and cultural contexts. historical, and cultural context and bias.
contexts.

PROCESS COMPONENT
Evaluate
Skillful evaluation and critique are critical components of experiencing, appreciating, and producing media artworks.
ESSENTIAL QUESTIONS
§ How and why do media artists value and judge media artworks?
§ When and how should we evaluate and critique media artworks to improve them?

With guidance, Share appealing Identify the effective Discuss the Identify basic Identify and apply Determine and apply
examine and share qualities and components and effectiveness criteria for and basic criteria criteria for evaluating
appealing qualities possible changes in possible changes of components evaluate media for evaluating media artworks
in media artworks. media artworks. to media artworks, and possible artworks and and improving and production
considering viewers. improvements for production media artworks processes,
media artworks, processes, and production considering context,
considering their considering possible processes, and practicing
context. improvements and considering context. constructive
their context. feedback.

Determine and apply Develop and apply Evaluate media Evaluate media Form and apply Independently develop
specific criteria to criteria to evaluate artworks and production artworks and production defensible evaluations rigorous evaluations of,
evaluate various media various media artworks processes with processes at decisive in the constructive and and strategically seek
artworks and production and production developed criteria, stages, using identified systematic critique of feedback for media
processes, considering processes, considering considering context and criteria, and considering media artworks and artworks and production
context, and practicing context, and practicing artistic goals. context and artistic production processes. processes, considering
constructive feedback. constructive feedback. goals. complex goals and
factors.

PROCESS COMPONENT
Synthesize
Media artworks synthesize meaning and form cultural experience.
ESSENTIAL QUESTIONS
§ How do we relate knowledge and experiences to understanding and making media artworks?
§ How do we learn about and create meaning through producing media artworks?
PK.MA:Cn10 K.MA:Cn10 1.MA:Cn10 2.MA:Cn10 3.MA:Cn10 4.MA:Cn10 5.MA:Cn10

a. Use personal a. Use personal a. Use personal a. Use personal a. Use personal and a. Examine and a. Access and
experiences in experiences and experiences, experiences, external resources, use personal use internal and
making media interests in making interests, and interests, such as interests, and external external resources,
artworks. media artworks. models in making information, and information, and resources, such as such as interests,
media artworks. models in creating models, to create interests, research, knowledge, and
media artworks. media artworks. and cultural experiences, to
understanding, create media
to create media artworks.
artworks.
b. With guidance, b. Share memorable b. Share meaningful b. Discuss b. Identify and show b. Examine and b. Examine and
share experiences experiences of experiences of experiences of how media artworks show how media show how media
of media artworks. media artworks. media artworks. media artworks, form meanings, artworks form artworks form
describing their situations, and/ meanings, situations, meanings, situations,
meaning and or culture, such as and/or cultural and cultural
purpose. popular media. experiences, such experiences, such
as online spaces. as news and events.

6.MA:Cn10 7.MA:Cn10 8.MA:Cn10 Prof.MA:Cn10 Acc.MA:Cn10 Adv.MA:Cn10
a. Access, evaluate, a. Access, evaluate, a. Access, evaluate, a. Access, evaluate, and a. Synthesize a. Independently and
and use internal and and use internal and and use internal and integrate personal and internal and external proactively access
external resources, such external resources, such external resources, such external resources, such resources, such as relevant and qualitative
as knowledge, interests, as experiences, research, as cultural and societal as interests, research, cultural connections, resources to inform
and research, to create and exemplary works, to knowledge, research, and cultural experiences, introspection, the creation of cogent
media artworks. inform the creation of and exemplary works, to to inform the creation of independent research, media artworks.
media artworks. inform the creation of original media artworks. and exemplary works, to
media artworks. enhance the creation
of compelling media
artworks.
b. Explain and show b. Explain and show b. Explain and b. Explain and b. Explain and b. Demonstrate and
how media artworks how media artworks demonstrate how demonstrate the use demonstrate the use expound on the use
form new meanings, form new meanings media artworks expand of media artworks to of media artworks to of media artworks
situations, and cultural and knowledge, meaning and knowledge, expand meaning and synthesize new meaning to consummate new
experiences, such as situations, and cultural and create cultural knowledge, and create and knowledge in meaning, knowledge,
historical events. experiences, such as experiences, such as cultural experiences, addition to reflecting and impactful cultural
learning through online local and global events. such as learning and and forming cultural experiences.
environments. sharing through local experiences, such
and global networks. as new connections
between themes and
ideas and personal
influence.

Connecting—Anchor Standard 11: Relate Artistic Ideas and Works with Societal, Cultural, and Historical
Context to Deepen Understanding
PROCESS COMPONENT
Relate
Media artworks and ideas are better understood and produced by relating them to their purposes, values, and
various contexts.
ESSENTIAL QUESTIONS
§ How does media arts relate to its various contexts, purposes, and values?
§ How does investigating these relationships inform and deepen the media artist’s understanding and work?

PK.MA:Cn11 K.MA:Cn11 1.MA:Cn11 2.MA:Cn11 3.MA:Cn11 4.MA:Cn11 5.MA:Cn11
a. With guidance, a. With guidance, a. Discuss and a. Discuss how a. Identify how a. Explain, verbally a. Research and show
relate media share ideas in describe media media artworks media artworks and/or in media how media artworks
artworks and relating media artworks in and ideas, such as and ideas relate artworks how media and ideas relate to
everyday life. artworks and everyday life, such media messages to everyday life artworks and ideas, personal, social, and
everyday life, such as popular media and media and culture and such as fantasy community life, such as
as daily activities. and connections environments, can influence and reality and exploring commercial and
with family and relate to everyday values and online technology use, information purposes,
friends. life and culture. behavior. relate to everyday history, and ethics.
life and culture.
b. With guidance, b. With guidance, b. Interact safely b. Interact b. Examine b. Examine b. Examine, discuss, and
interact safely interact safely and appropriately appropriately with and interact and interact interact appropriately
and appropriately and appropriately with media media arts tools appropriately with appropriately with with media arts tools and
with media with media arts tools and and environments, media arts tools media arts tools environments, considering
arts tools and arts tools, environments, considering safety, and environments, and environments, ethics, rules, and media
environments. environments, considering rules rules, and fairness. considering safety, considering ethics, literacy.
and rules. and fairness. rules, and fairness. rules, and fairness.

6.MA:Cn11 7.MA:Cn11 8.MA:Cn11 Prof.MA:Cn11 Acc.MA:Cn11 Adv.MA:Cn11
a. Research and show a. Research and a. Demonstrate and a. Demonstrate and a. Examine in depth a. Demonstrate the
how media artworks demonstrate how explain how media explain how media and demonstrate the relationships of media
and ideas relate to media artworks and artworks and ideas artworks and ideas relationships of media arts ideas and works
personal life, and social, ideas relate to various relate to various relate to various arts ideas and works to personal and global
community, and cultural situations, purposes, contexts, purposes, contexts, purposes, and to various contexts, contexts, purposes, and
situations, such as and values, such as and values, such as values, such as social purposes, and values, values, through relevant
personal identity, history, community, vocations, democracy, environment, trends, power, equality, such as markets, and impactful media
and entertainment. and social media. and connecting people and personal/cultural systems, propaganda, artworks.
and places. identity. and truth.
b. Analyze and interact b. Analyze and b. Analyze and b. Critically evaluate b. Critically investigate b. Critically investigate
appropriately with responsibly interact responsibly interact and effectively interact and proactively interact and strategically
media arts tools with media arts tools with media arts tools, with legal, technological, with legal, technological, interact with legal,
and environments, and environments, environments, and systemic, and systemic, and technological, systemic,
considering copyright, considering fair use and legal and technological vocational contexts of vocational contexts of cultural, and vocational
ethics, media literacy copyright, ethics, media contexts, considering media arts, considering media arts, considering contexts of media arts
and social media. literacy, and social ethics, media literacy, civic values, media civic values, media considering the impacts
media. social media, and literacy, social media, literacy, digital identity, upon individuals and
virtual worlds. virtual environments, and artist/audience the community.
and digital identity. interactivity.

Media Arts Glossary
The media arts terms defined in this section include only those terms that concept modeling: Creating a digital or physical representation or sketch of
are blue text in the standards. The meaning of the terms is specific to their an idea, usually for testing; prototyping.
use in the standards and the artistic discipline. The definitions included here
are not meant to be an exhaustive list or used as curriculum. constraints: Limitations on what is possible, both real and perceived.
The following defined terms are commonly accepted definitions, most of context: The situation surrounding the creation or experience of media
which are provided by the National Coalition for Core Arts at https://www. artworks that influences the work, artist, or audience. This can include how,
nationalartsstandards.org/content/glossary. where, and when media experiences take place, as well as additional internal
and external factors (personal, societal, cultural, historical, physical, virtual,
aesthetic principles: Fundamental sensory qualities or organizational rules economic, systemic, etc.).
within the diversity of media arts production and appreciation.
contrast: Principle of using the difference between items, such as elements,
attention: Principle of directing perception through sensory and conceptual qualities, and components, to mutually complement them.
impact.
convention: An established, common, or predictable rule, method, or practice
balance: Principle of the equitable and/or dynamic distribution of items in within media arts production, such as the notion of a ‘hero’ in storytelling.
a media arts composition or structure for aesthetic meaning, as in a visual
frame, or within game architecture. copyright: The exclusive right to make copies, license, and otherwise exploit a
produced work.
civic values: Valuing the rights and well-being of individuals, collectives
and community through tolerance, appreciation, open-mindedness; having design thinking: A cognitive methodology that promotes innovative problem
a sense of duty at local to global levels, and awareness of power and solving through the prototyping and testing process commonly used in
predisposal to take action to change things for the better. design.
components: The discrete portions and aspects of media artworks, including: digital identity: How one is presented, perceived, and recorded online,
elements, principles, processes, parts, assemblies, etc. (such as: light, including personal and collective information and sites, e-communications,
sound, space, time, shot, clip, scene, sequence, movie, narrative, lighting, commercial tracking, etc.
cinematography, interactivity, etc.). divergent thinking: Unique, original, uncommon, idiosyncratic ideas; thinking
composition: Principle of arrangement and balancing of components of a “outside of the box.”
work for meaning and message. emphasis: Principle of giving greater compositional strength to a particular
element or component in a media artwork.

ethics: Moral guidelines and philosophical principles for determining juxtaposition: Placing greatly contrasting items together for effect.
appropriate behavior within media arts environments.
legal: The legislated parameters and protocols of media arts systems,
exaggeration: Principle of pushing a media arts element or component into including user agreements, publicity releases, copyright, etc.
an extreme for provocation, attention, contrast, as seen in character, voice,
mood, message, etc. manage audience experience: The act of designing and forming user sensory
episodes through multi-sensory captivation, such as using sequences of
experiential design: Area of media arts wherein interactive, immersive spaces moving image and sound to maintain and carry the viewer’s attention, or
and activities are created for the user; associated with entertainment design. constructing thematic spaces in virtual or experiential design.
fairness: Complying with appropriate, ethical, and equitable rules and markets: The various commercial and informational channels and forums
guidelines. for media artworks, such as television, radio, internet, fine arts, nonprofit,
communications, etc.
fair use: Permits limited use of copyrighted material without acquiring
permission from the rights holders, including commentary, search engines, meaning: The formulation of significance and purposefulness in media
criticism, etc. artworks.
force: Principle of energy or amplitude within an element, such as the speed media environments: Spaces, contexts, and situations where media artworks
and impact of a character’s motion. are produced and experienced, such as in theaters, production studios, and
online.
generative methods: Various inventive techniques for creating new ideas
and models, such as brainstorming, play, open exploration, prototyping, media literacy: A series of communication competencies, including the ability
experimentation, inverting assumptions, rule-bending, etc. to access, analyze, evaluate, and communicate information in a variety of
forms, including print and nonprint messages (National Association for Media
hybridization: Principle of combining two existing media forms to create new Literacy Education n.d.).
and original forms, such as merging theatre and multimedia.
media messages: The various artistic, emotional, expressive, prosaic,
interactivity: A diverse range of articulating capabilities between media arts commercial, utilitarian, and informational communications of media artworks.
components, such as user, audience, sensory elements, etc., that allow
for inputs and outputs of responsive connectivity via sensors, triggers, movement: Principle of motion of diverse items within media artworks.
interfaces, etc., and may be used to obtain data, commands, or information
and may relay immediate feedback, or other communications; contains multimodal perception: The coordinated and synchronized integration of
unique sets of aesthetic principles. multiple sensory systems (vision, touch, auditory, etc.) in media artworks.

multimedia theatre: The combination of live theatre elements and digital responsive use of failure: Incorporating errors towards persistent
media (sound, projections, video, etc.) into a unified production for a live improvement of an idea, technique, process, or product.
audience.
rules: The laws or guidelines for appropriate behavior; protocols.
narrative structure: The framework for a story, usually consisting of an arc of
beginning, conflict, and resolution. safety: Maintaining proper behavior for the welfare of self and others in
handling equipment and interacting with media arts environments and
personal aesthetic: An individually formed, idiosyncratic style or manner of groups.
expressing oneself; an artist’s “voice.”
soft skills: Diverse organizational and management skills useful to
perspective: Principle pertaining to the method of three-dimensional employment, such as collaboration, planning, adaptability, communication,
rendering, point-of-view, and angle of composition. etc.
point of view: The position from which something or someone is observed; stylistic convention: A common, familiar, or even “formulaic” presentation
the position of the narrator in relation to the story, as indicated by the form, style, technique, or construct, such as the use of tension-building
narrator’s outlook from which the events are depicted and by the attitude techniques in a suspense film, for example.
toward the characters.
systemic communications: Socially or technologically organized and higher-
positioning: The principle of placement or arrangement. order media arts communications such as networked multimedia, television
formats and broadcasts, “viral” videos, social multimedia (e.g., “vine” videos),
presentation: A diverse range of activities of exhibiting media artworks, which remixes, transmedia, etc.
can include sharing, distributing, installing, publishing, broadcasting, posting,
showing, performing, etc. systems: The complex and diverse technological structures and contexts for
media arts production, funding, distribution, viewing, and archiving.
production processes: The diverse processes, procedures, or steps used
to carry out the construction of a media artwork, such as prototyping, technological: The mechanical aspects and contexts of media arts
playtesting, and architecture construction in game design. production, including hardware, software, networks, code, etc.
prototyping: Creating a testable version, sketch, or model of a media artwork, tone: Principle of “color” “texture” or “feel” of a media arts element or
such as a game, character, website, application, etc. component, as for sound, lighting, mood, sequence, etc.
resisting closure: Delaying completion of an idea, process, or production, or transdisciplinary production: Accessing multiple disciplines during the
persistently extending the process of refinement, towards greater creative conception and production processes of media creation, and using new
solutions or technical perfection. connections or ideas that emerge to inform the work.

transmedia production: Communicating a narrative and/or theme over virtual worlds: Online, digital, or synthetic environments (e.g., Minecraft,
multiple media platforms, while adapting the style and structure of each story Second Life).
component to the unique qualities of the platforms.
vocational: The workforce aspects and contexts of media arts.
virtual channels: Network-based presentation platforms such as YouTube,
Vimeo, DeviantArt, etc.

for Music
The music standards are designed to enable students to achieve music literacy. Unlike the other arts disciplines, “The fact that
there are five sets of performance standards for music:
§ PK–8
children can
§ Harmonizing Instruments make beautiful
§ Ensembles music is less
§ Composition and Theory significant than
§ Technology the fact that
What Is Literacy in Music? music can make
Developing music literacy means discovering the expressive elements of music, understanding the basic beautiful children.”
concepts of music, knowing the terminology that is used to comprehend music, developing the skills necessary
to produce music, and being able to reflect, critique, and connect personal experience to music. —Cheryl Lavender, composer
and music educator
The standards describe expectations for learning in music regardless of style or genre. The standards impart the
breadth and depth of the music experience through art-making processes. The standards can and should be the
impetus for music educators to inspire their students to explore the many facets of music and prepare them for a
lifelong relationship with music.
California Department of Education California Arts Standards for Music | 83

As in the other artistic disciplines, the four artistic processes are addressed linearly in the written music
standards but are envisioned to occur simultaneously in the actual practice of music. From the first day, the
music student gives voice to an instrument and makes music come alive, often from a written score, by singing,
listening, playing, moving, reading, and/or composing music individually or together with peers (creating).
The music lesson works toward a synthesis—when everything they have been working on is brought together
(performing). The students analyze and evaluate what they have done (responding), and finally attach meaning
not only to a musical concept, but to the experience as it relates to other contexts (connecting). As a result,
aspects of multiple standards can be combined within a learning activity: students can learn a skill, apply it
to a piece of music, make musical decisions, try and think critically about their ideas, and relate them to other
experiences, contexts, and meanings.
84 | California Arts Standards for Music California Department of Education

PK–8
PROCESS COMPONENT
Imagine
The creative ideas, concepts, and feelings that influence musicians’ work emerge from a variety of sources.
ESSENTIAL QUESTION
How do musicians generate creative ideas?
PK.MU:Cr1 K.MU:Cr1 1.MU:Cr1 2.MU:Cr1 3.MU:Cr1 4.MU:Cr1 5.MU:Cr1

a. With substantial a. With guidance, a. With limited a. Improvise a. Improvise a. Improvise a. Improvise
guidance, explore explore and guidance, create rhythmic and rhythmic and rhythmic, melodic, rhythmic, melodic,
and experience a experience music musical ideas (such melodic patterns melodic ideas and and harmonic and harmonic
variety of music. concepts (such as as answering a and musical ideas describe connection ideas, and explain ideas, and explain
beat and melodic musical question) for a specific to specific purpose connection to connection to
contour). for a specific purpose. and context (such specific purpose specific purpose
purpose. as personal and and context (such and context (such
social). as social and as social, cultural,
cultural). and historical).
n/a b. With guidance, b. With limited b. Generate musical b. Generate musical b. Generate musical b. Generate musical
generate musical guidance, generate patterns and ideas ideas (such as ideas (such as ideas (such as
ideas (such as musical ideas in within the context rhythms and rhythms, melodies, rhythms, melodies,
movements or multiple tonalities of a given tonality melodies) within a and simple and accompaniment
motives). (such as major and (such as major and given tonality and/ accompaniment patterns) within
minor) and meters minor) and meter or meter. patterns) within specific related
(such as duple and (such as duple and related tonalities tonalities, meters,
triple). triple). (such as major and and simple chord
minor) and meters. changes.

6.MU:Cr1 7.MU:Cr1 8.MU:Cr1
Generate simple rhythmic, melodic, and harmonic Generate rhythmic, melodic, and harmonic phrases Generate rhythmic, melodic, and harmonic phrases
phrases within AB and ABA forms that convey and variations over harmonic accompaniments and harmonic accompaniments within expanded
expressive intent. within AB, ABA, or theme and variation forms that forms (including introductions, transitions, and
convey expressive intent. codas) that convey expressive intent.

PROCESS COMPONENT
Plan and Make
Musicians’ creative choices are influenced by their expertise, context, and expressive intent.
ESSENTIAL QUESTION
How do musicians make creative decisions?
PK.MU:Cr2 K.MU:Cr2 1.MU:Cr2 2.MU:Cr2 3.MU:Cr2 4.MU:Cr2 5.MU:Cr2

a. With substantial a. With guidance, a. With limited a. Demonstrate and a. Demonstrate a. Demonstrate a. Demonstrate
guidance, explore demonstrate and guidance, explain personal selected musical selected and selected and
favorite musical choose favorite demonstrate and reasons for ideas for a simple organized musical developed
ideas (such musical ideas. discuss personal selecting patterns improvisation or ideas for an musical ideas for
as movements, reasons for and ideas for music composition to improvisation, improvisations,
vocalizations, or selecting musical that represent express intent and arrangement, or arrangements, or
instrumental ideas that represent expressive intent. describe connection composition to compositions to
accompaniments). expressive intent. to a specific express intent, and express intent, and
purpose and context. explain connection to explain connection to
purpose and context. purpose and context.
b. With substantial b. With guidance, b. With limited b. Use iconic or b. Use standard b. Use standard b. Use standard
guidance, select organize personal guidance, use iconic standard notation and/or iconic and/or iconic and/or iconic
and keep track musical ideas using or standard notation and/or recording notation and/ notation and/ notation and/
of the order for iconic notation and/or recording technology to or recording or recording or recording
performing original and/or recording technology to combine, sequence, technology to technology to technology to
musical ideas, using technology. document and and document document personal document personal document personal
iconic notation organize personal personal musical rhythmic and rhythmic, melodic, rhythmic, melodic,
and/or recording musical ideas. ideas. melodic musical and simple and two-chord
technology. ideas. harmonic musical harmonic musical
ideas. ideas.

6.MU:Cr2 7.MU:Cr2 8.MU:Cr2
a. Select, organize, construct, and document a. Select, organize, develop, and document a. Select, organize, and document personal
personal musical ideas for arrangements personal musical ideas for arrangements, songs, musical ideas for arrangements, songs, and
and compositions within AB or ABA form that and compositions within AB, ABA, or theme and compositions within expanded forms that
demonstrate an effective beginning, middle, and variation forms that demonstrate unity and variety demonstrate tension and release, unity and variety,
ending, and convey expressive intent. and convey expressive intent. balance, and convey expressive intent.
b. Use standard and/or iconic notation and/ b. Use standard and/or iconic notation and/ b. Use standard and/or iconic notation and/
or audio/video recording to document personal or audio/video recording to document personal or audio/video recording to document personal
simple rhythmic phrases, melodic phrases, and simple rhythmic phrases, melodic phrases, and rhythmic phrases, melodic phrases, and harmonic
two-chord harmonic musical ideas. harmonic sequences. sequences.

PROCESS COMPONENT
Evaluate and Refine
3.1 ENDURING UNDERSTANDING

Musicians evaluate and refine their work through openness to new ideas, persistence, and the application of
appropriate criteria.
ESSENTIAL QUESTION
How do musicians improve the quality of their creative work?
PK.MU:Cr3.1 K.MU:Cr3.1 1.MU:Cr3.1 2.MU:Cr3.1 3.MU:Cr3.1 4.MU:Cr3.1 5.MU:Cr3.1

With substantial With guidance, With limited Interpret and apply Evaluate, refine, and Evaluate, refine, and Evaluate, refine, and
guidance, consider apply personal, guidance, discuss personal, peer, and document revisions document revisions document revisions
personal, peer, and peer, and teacher and apply personal, teacher feedback to personal musical to personal music, to personal music,
teacher feedback feedback in refining peer, and teacher to revise personal ideas, applying applying teacher- applying teacher-
when demonstrating personal musical feedback to refine musical ideas. teacher-provided provided and provided and
and refining ideas. personal musical and collaboratively collaboratively collaboratively
personal musical ideas. developed criteria developed criteria developed criteria
ideas. and feedback. and feedback to and feedback, and
show improvement explain rationale for
over time. changes.

6.MU:Cr3.1 7.MU:Cr3.1 8.MU:Cr3.1
a. Evaluate personal work, applying teacher- a. Evaluate personal work, applying selected a. Evaluate personal work by selecting and
provided criteria, such as application of selected criteria, such as appropriate application of applying criteria including appropriate application
elements of music and use of sound sources. elements of music, including style, form, and use of compositional techniques, style, form, and use
of sound sources. of sound sources.
b. Describe the rationale for making revisions b. Describe the rationale for making revisions b. Describe the rationale for refining works by
to the music based on evaluation criteria and to the music based on evaluation criteria and explaining the choices, based on evaluation criteria.
feedback from their teacher. feedback from others (teacher and peers).

PROCESS COMPONENT
Present

Musicians’ presentation of creative work is the culmination of a process of creation and communication.
ESSENTIAL QUESTION
When is creative work ready to share?
PK.MU:Cr3.2 K.MU:Cr3.2 1.MU:Cr3.2 2.MU:Cr3.2 3.MU:Cr3.2 4.MU:Cr3.2 5.MU:Cr3.2

With substantial With guidance, With limited Convey expressive Present the final Present the final Present the final
guidance, share demonstrate a final guidance, convey intent for a specific version of personal version of personal version of personal
revised personal version of personal expressive intent for purpose by created music to created music to created music
musical ideas with musical ideas to a specific purpose presenting a final others and describe others and explain to others that
peers. peers. by presenting a final version of personal connection to connection to demonstrates
version of personal musical ideas to expressive intent. expressive intent. craftsmanship and
musical ideas to peers or informal explain connection
peers or informal audience. to expressive intent.
audience.
6.MU:Cr3.2 7.MU:Cr3.2 8.MU:Cr3.2

Present the final version of documented personal Present the final version of documented personal Present the final version of documented personal
composition or arrangement, using craftsmanship composition, song, or arrangement, using composition, song, or arrangement, using
and originality to demonstrate an effective craftsmanship and originality to demonstrate unity craftsmanship and originality to demonstrate
beginning, middle, and ending, and convey and variety, and convey expressive intent. the application of compositional techniques for
expressive intent. creating unity and variety, tension and release, and
balance to convey expressive intent.

PROCESS COMPONENT
Select

Performers’ interest in and knowledge of musical works, understanding of their own technical skill, and the
context for a performance influence the selection of repertoire.
ESSENTIAL QUESTION
How do performers select repertoire?
PK.MU:Pr4.1 K.MU:Pr4.1 1.MU:Pr4.1 2.MU:Pr4.1 3.MU:Pr4.1 4.MU:Pr4.1 5.MU:Pr4.1

With substantial With guidance, With limited Demonstrate Demonstrate Demonstrate Demonstrate
guidance, demonstrate and guidance, and explain and explain how and explain how and explain how
demonstrate and state personal demonstrate personal interest the selection of the selection of the selection of
state personal interest in varied and discuss in, knowledge music to perform music to perform music to perform
interest in varied musical selections. personal interest about, and purpose is influenced by is influenced by is influenced by
musical selections. in, knowledge of varied musical personal interest, personal interest, personal interest,
about, and purpose selections. knowledge, purpose, knowledge, context, knowledge, and
of varied musical and context. and technical skill. context, as well as
selections. their personal and
others’ technical
skill.
6.MU:Pr4.1 7.MU:Pr4.1 8.MU:Pr4.1

Apply teacher-provided criteria for selecting music Apply collaboratively developed criteria for Apply personally developed criteria for selecting
to perform for a specific purpose and/or context selecting music of contrasting styles for a program music of contrasting styles for a program with
and explain why each was chosen. with a specific purpose and/or context and, after a specific purpose and/or context, and explain
discussion, identify expressive qualities, technical expressive qualities, technical challenges, and
challenges, and reasons for choices. reasons for choices.

PROCESS COMPONENT
Analyze

Analyzing creators’ context and how they manipulate elements of music provides insight into their intent and
informs performance.
ESSENTIAL QUESTION
How does understanding the structure and context of musical works inform performance?

a. With substantial a. With guidance, a. With limited a. Demonstrate a. Demonstrate a. Demonstrate a. Demonstrate
guidance, explore explore and guidance, knowledge of music understanding of understanding of understanding of
and demonstrate demonstrate demonstrate concepts (such the structure in the structure and the structure and
awareness of awareness of music knowledge of music as tonality and music selected from the elements of the elements of
musical contrasts contrasts such as concepts (such as meter) in music a variety of cultures music (such as music (such as
such as high/low, high/low, loud/soft, beat and melodic from a variety of for performance. rhythm, pitch, and rhythm, pitch, form,
loud/soft, fast/slow. and same/different contour) in music cultures selected for form) in music and harmony) in
in a variety of from a variety of performance. selected for music selected for
music selected for cultures selected for performance. performance.
performance. performance.
n/a n/a b. When analyzing b. When analyzing b. When analyzing b. When analyzing b. When analyzing
selected music, selected music, selected music, selected music, selected music,
read and perform read and perform read and perform read and perform read and perform
rhythmic patterns rhythmic and rhythmic patterns using iconic and/or using standard
using iconic or melodic patterns and melodic standard notation. notation.
standard notation. using iconic or phrases using
standard notation. iconic and standard
notation.

n/a n/a n/a n/a c. Describe how c. Explain how c. Explain how
context (such context (such as context (such as
as personal and personal, social, personal, social,
social) can inform a and cultural) cultural, and
performance. informs a historical) informs
performance. performances.
6.MU:Pr4.2 7.MU:Pr4.2 8.MU:Pr4.2

a. Explain how understanding the structure and the a. Explain and demonstrate the structure a. Compare the structure of contrasting pieces of
elements of music are used in music selected for of contrasting pieces of music selected for music selected for performance, explaining how
performance. performance and how elements of music are used. the elements of music are used in each.
b. When analyzing selected music, read and b. When analyzing selected music, read and b. When analyzing selected music, sight-read in
identify by name or function standard symbols for identify by name or function standard symbols for treble, alto, or bass clef simple rhythmic, melodic,
rhythm, pitch, articulation, and dynamics. rhythm, pitch articulation, dynamics, tempo, and and/or harmonic notation.
form.
c. Identify how personal, social, cultural, and c. Identify how personal, social, cultural, and c. Identity how personal, social, cultural, and
historical context inform performances. historical context inform performances and result historical context inform performances and result
in different musical effects. in different music interpretations.

PROCESS COMPONENT
Interpret

Performers make interpretive decisions based on their understanding of context and expressive intent.
ESSENTIAL QUESTION
How do performers interpret musical works?

With substantial With guidance, With limited Demonstrate Demonstrate and Demonstrate Demonstrate
guidance, explore demonstrate guidance, understanding of describe how intent and explain how and explain how
music’s expressive awareness of demonstrate and expressive qualities is conveyed through intent is conveyed intent is conveyed
qualities (such expressive qualities describe music’s (such as voice expressive qualities through interpretive through interpretive
as voice quality, (such as voice expressive qualities quality, dynamics, (such as voice decisions and decisions and
dynamics, and quality, dynamics, (such as voice and tempo) and quality, dynamics, expressive qualities expressive qualities
tempo). and tempo) that quality, dynamics, how creators use and tempo). (such as dynamics, (such as dynamics,
support the creators’ and tempo) that them to convey tempo, and timbre). tempo, timbre, and
expressive intent. support the creators’ expressive intent. articulation/style).
expressive intent.
6.MU:Pr4.3 7.MU:Pr4.3 8.MU:Pr4.3

Perform a selected piece of music demonstrating Perform contrasting pieces of music demonstrating Perform contrasting pieces of music,
how interpretations of the elements of music and interpretations of the elements of music and demonstrating and explaining how the music’s
the expressive qualities (such as articulation/style expressive qualities (such as articulation/style and intent is conveyed by interpretations of the
and phrasing) convey intent. phrasing) convey intent. elements of music and expressive qualities (such
as articulation/style and phrasing).

PROCESS COMPONENT
Rehearse, Evaluate, and Refine
To express their musical ideas, musicians analyze, evaluate, and refine their performance over time through
openness to new ideas, persistence, and the application of appropriate criteria.
ESSENTIAL QUESTION
How do musicians improve the quality of their performance?

PK.MU:Pr5 K.MU:Pr5 1.MU:Pr5 2.MU:Pr5 3.MU:Pr5 4.MU:Pr5 5.MU:Pr5
a. With substantial a. With guidance, a. With limited a. Apply established a. Apply teacher- a. Apply teacher- a. Apply teacher-
guidance, practice apply personal, guidance, apply criteria to judge provided and provided and provided and
and demonstrate teacher, and peer personal, teacher, the accuracy, collaboratively collaboratively established criteria
what they like feedback to refine and peer expressiveness, and developed criteria developed criteria and feedback
about their own performances. feedback to refine effectiveness of and feedback to and feedback to to evaluate the
performances. performances. performances. evaluate accuracy evaluate accuracy accuracy and
of ensemble and expressiveness expressiveness
performances. of ensemble of ensemble
and personal and personal
performances. performances.
b. With substantial b. With guidance, b. With limited b. Apply rehearsal b. Rehearse to b. Rehearse to b. Rehearse to
guidance, apply use suggested guidance, use strategies to refine technical refine technical refine technical
personal, peer, and strategies in suggested strategies address identified accuracy, expressive accuracy and accuracy and
teacher feedback to rehearsal to improve in rehearsal to interpretive, qualities, and expressive qualities, expressive qualities
refine performances. the expressive address interpretive performance, and identified and address to address
qualities of music. challenges of music. technical challenges performance performance challenges and
of music. challenges. challenges. show improvement
over time.
6.MU:Pr5 7.MU:Pr5 8.MU:Pr5

Identify and apply teacher-provided criteria (such Identify and apply collaboratively developed Identify and apply personally developed criteria
as correct interpretation of notation, technical criteria (such as demonstrating correct (such as demonstrating correct interpretation of
accuracy, originality, and interest) to rehearse, interpretation of notation, technical skill of notation, technical skill of performer, originality,
refine, and determine when a piece is ready to performer, originality, emotional impact, and emotional impact, variety, and interest) to rehearse,
perform. interest) to rehearse, refine, and determine when refine, and determine when the music is ready to
the music is ready to perform. perform.

PROCESS COMPONENT
Present
Musicians judge performance based on criteria that vary across time, place, and cultures. The context and how a
work is presented influence audience response.
ESSENTIAL QUESTIONS
§ When is a performance judged ready to present?
§ How do context and the manner in which musical work is presented influence audience response?

PK.MU:Pr6 K.MU:Pr6 1.MU:Pr6 2.MU:Pr6 3.MU:Pr6 4.MU:Pr6 5.MU:Pr6
a. With substantial a. With guidance, a. With limited a. Perform music for a. Perform music for a. Perform music a. Perform music,
guidance, perform perform music with guidance, perform a specific purpose a specific purpose with expression, alone or with others,
music with expression. music for a specific with expression. with expression and technical accuracy, with expression,
expression. purpose with technical accuracy. and appropriate technical accuracy,
expression. interpretation. and appropriate
interpretation.
b. With substantial b. With guidance, b. With limited b. Demonstrate b. Demonstrate b. Demonstrate b. Demonstrate
guidance, demonstrate guidance, performance performance performance performance
demonstrate performance demonstrate decorum and decorum and decorum and decorum and
performance decorum performance audience etiquette audience etiquette audience etiquette audience etiquette
decorum appropriate for the decorum and appropriate for the appropriate for the appropriate for the appropriate for
appropriate for the audience. audience etiquette purpose. context and venue. context, venue, and the context, venue,
audience. appropriate for the genre. genre, and style.
purpose.
6.MU:Pr6 7.MU:Pr6 8.MU:Pr6

a. Perform the music, alone or with others, with a. Perform the music, alone or with others, with a. Perform the music, alone or with others, with
technical accuracy to convey the creator’s intent. technical accuracy and stylistic expression to technical accuracy, stylistic expression, and
convey the creator’s intent. culturally authentic practices in music to convey
the creator’s intent.
b. Demonstrate performance decorum and b. Demonstrate performance decorum and b. Demonstrate performance decorum and
audience etiquette appropriate for venue and audience etiquette appropriate for venue, purpose, audience etiquette appropriate for venue, purpose,
purpose. and context. context, and style.

PROCESS COMPONENT
Select

Individuals’ selection of musical works is influenced by their interests, experiences, understandings, and purposes.
ESSENTIAL QUESTION
How do individuals choose music to experience?
PK.MU:Re7.1 K.MU:Re7.1 1.MU:Re7.1 2.MU:Re7.1 3.MU:Re7.1 4.MU:Re7.1 5.MU:Re7.1

With substantial With guidance, list With limited Explain and Demonstrate and Demonstrate Demonstrate and
guidance, state personal interests guidance, identify demonstrate how describe how and explain how explain, citing
personal interests and experiences and demonstrate personal interests selected music selected music evidence, how
and demonstrate and demonstrate how personal and experiences connects to and connects to and selected music
why they prefer why they prefer interests and influence musical is influenced by is influenced by connects to and
some music some music experiences selection for specific specific interests, specific interests, is influenced by
selections over selections over influence musical purposes. experiences, or experiences, specific interests,
others. others. selection for specific purposes. purposes, or experiences,
purposes. contexts. purposes, or
contexts.
6.MU:Re7.1 7.MU:Re7.1 8.MU:Re7.1

Select music to listen to and explain the Select contrasting music to listen to and Select programs of music and demonstrate the
connections to specific interests or experiences for compare the connections to specific interests or connections to an interest or experience for a
a specific purpose. experiences for a specific purpose. specific purpose.

PROCESS COMPONENT
Analyze

Response to music is informed by analyzing context (social, cultural, and historical) and how creators and
performers manipulate the elements of music.
ESSENTIAL QUESTION
PK.MU:Re7.2 K.MU:Re7.2 1.MU:Re7.2 2.MU:Re7.2 3.MU:Re7.2 4.MU:Re7.2 5.MU:Re7.2

With substantial With guidance, With limited Describe how Demonstrate and Demonstrate Demonstrate and
guidance, explore demonstrate how guidance, specific music describe how a and explain how explain, citing
musical contrasts in a specific music demonstrate and concepts are response to music responses to music evidence, how
music. concept (such as identify how specific used to support a can be informed by are informed by the responses to music
beat or melodic music concepts specific purpose in the structure, the structure, the use are informed by the
direction) is used in (such as beat or music. use of the elements of the elements of structure, the use
music. pitch) are used in of music, and music, and context of the elements of
various styles of context (such as (such as personal, music, and context
music for a purpose. personal and social). social, and cultural). (such as personal,
social, cultural, and
historical).
6.MU:Re7.2 7.MU:Re7.2 8.MU:Re7.2

a. Describe how the elements of music and a. Classify and explain how the elements of music a. Compare how the elements of music and
expressive qualities relate to the structure of the and expressive qualities relate to the structure of expressive qualities relate to the structure within
pieces. contrasting pieces. programs of music.
b. Identify the context of music from a variety of b. Identify and compare the context of music from b. Identify and compare the context of programs
genres, cultures, and historical periods. a variety of genres, cultures, and historical periods. of music from a variety of genres, cultures, and
historical periods.

PROCESS COMPONENT
Interpret
Through their use of elements and structures of music, creators and performers provide clues to their expressive
intent.
ESSENTIAL QUESTION
How do we discern the musical creators’ and performers’ expressive intent?
PK.MU:Re8 K.MU:Re8 1.MU:Re8 2.MU:Re8 3.MU:Re8 4.MU:Re8 5.MU:Re8

With substantial With guidance, With limited Demonstrate Demonstrate Demonstrate Demonstrate
guidance, explore demonstrate guidance, knowledge of and describe and explain and explain how
music’s expressive awareness demonstrate expressive qualities how expressive how expressive expressive qualities
qualities (such as of expressive and identify and how they qualities (such as qualities (such as (such as dynamics,
dynamics and tempo). qualities that expressive support creators’ dynamics, tempo, dynamics, tempo, tempo, timbre, and
reflect creators’ qualities that and performers’ and timbre) are and timbre) are articulation) are used
and performers’ reflect creators’ expressive intent. used in performers’ used in performers’ in performers’ personal
expressive intent. and performers’ personal personal interpretations to
expressive intent. interpretations to interpretations to reflect creators’
reflect creators’ reflect creators’ expressive intent.
expressive intent. expressive intent.
6.MU:Re8 7.MU:Re8 8.MU:Re8

Describe a personal interpretation of how creators’ Describe a personal interpretation of contrasting Support personal interpretations of contrasting
and performers’ application of the elements of works and explain how creators’ and performers’ programs of music and explain how creators’ and
music and expressive qualities, within genres and application of the elements of music and performers’ apply the elements of music and
cultural and historical context, convey expressive expressive qualities, within genres, cultures, and expressive qualities, within genres, cultures, and
intent. historical periods, convey expressive intent. historical periods, to convey expressive intent.

PROCESS COMPONENT
Evaluate
The personal evaluation of musical work(s) and performance(s) is informed by analysis, interpretation, and
established criteria.
ESSENTIAL QUESTION
How do we judge the quality of musical work(s) and performance(s)?
PK.MU:Re9 K.MU:Re9 1.MU:Re9 2.MU:Re9 3.MU:Re9 4.MU:Re9 5.MU:Re9

With substantial With guidance, With limited Apply personal Evaluate musical Evaluate musical Evaluate musical
guidance, talk apply personal guidance, apply and expressive works and works and works and
about personal and expressive personal and preferences in performances, performances, performances,
and expressive preferences in the expressive the evaluation of applying applying established applying established
preferences in evaluation of music. preferences in the music for specific established criteria, criteria, and explain criteria, and explain
music. evaluation of music purposes. and describe appropriateness to appropriateness to
for specific purposes. appropriateness to the context. the context, citing
the context. evidence from the
elements of music.
6.MU:Re9 7.MU:Re9 8.MU:Re9

Select from teacher-provided criteria to evaluate Apply collaboratively developed criteria to evaluate Apply appropriate personally developed criteria to
musical works or performances. musical works or performances. evaluate musical works or performances.

PROCESS COMPONENT
Synthesize
Musicians connect their personal interests, experiences, ideas, and knowledge to creating, performing, and
responding.
ESSENTIAL QUESTION
How do musicians make meaningful connections to creating, performing, and responding?
PK.MU:Cn10 K.MU:Cn10 1.MU:Cn10 2.MU:Cn10 3.MU:Cn10 4.MU:Cn10 5.MU:Cn10

With substantial With guidance, With limited Describe how Identify and Describe and Explain and
guidance, explore share how personal guidance, discuss personal interests demonstrate how demonstrate how demonstrate how
how personal interests connect to how personal and experiences personal interests, personal interests, personal interests,
interests connect to creating, performing, interests connect to connect to creating, experiences, and experiences, ideas, experiences, ideas,
creating, performing, and responding to creating, performing, performing, and ideas relate to and knowledge and knowledge
and responding to music. and responding to responding to music. creating, performing, relate to creating, relate to creating,
music. music. and responding to performing, and performing, and
music. responding to music. responding to music.
6.MU:Cn10 7.MU:Cn10 8.MU:Cn10

Explain and demonstrate how personal interests, Relate and demonstrate how personal interests, Examine and demonstrate how personal interests,
knowledge, and ideas relate to choices and intent knowledge, and ideas connect to choices and knowledge, and ideas relate to choices and intent
when creating, performing, and responding to intent when creating, performing, and responding when creating, performing, and responding to
music. to music. music.

PROCESS COMPONENT
Relate
Musicians connect societal, cultural, and historical contexts when creating, performing, and responding.
ESSENTIAL QUESTION
How do musicians make meaningful connections to societal, cultural, and historical contexts when creating,
performing, and responding?
PK.MU:Cn11 K.MU:Cn11 1.MU:Cn11 2.MU:Cn11 3.MU:Cn11 4.MU:Cn11 5.MU:Cn11

With substantial With guidance, With limited Describe Identify and Describe and Explain and
guidance, explore share connections guidance, discuss connections demonstrate demonstrate demonstrate
connections between music and connections between music, connections connections connections
between music and culture. between music and society, and culture. between music and between music and between music and
culture. culture. societal, cultural, societal, cultural, societal, cultural,
and historical and historical and historical
contexts. contexts. contexts.
6.MU:Cn11 7.MU:Cn11 8.MU:Cn11

Explain and demonstrate connections between Relate and demonstrate connections between Examine and demonstrate connections between
music and societal, cultural, and historical music and societal, cultural, and historical music and societal, cultural, and historical
contexts when creating, performing, and contexts when creating, performing, and contexts when creating, performing, and
responding. responding. responding.

Harmonizing Instruments
PROCESS COMPONENT
Imagine
ESSENTIAL QUESTION
Nov.MU:H.Cr1 Int.MU:H.Cr1 Prof.MU:H.Cr1 Acc.MU:H.Cr1 Adv.MU:H.Cr1

Generate melodic, rhythmic, Generate melodic, rhythmic, Generate melodic, rhythmic, Generate melodic, rhythmic, Generate melodic,
and harmonic ideas for and harmonic ideas for and harmonic ideas for and harmonic ideas for rhythmic, and harmonic
simple melodies and chordal melodies created over improvisations, compositions, compositions, improvisations, ideas for a collection of
accompaniments for given specified chord progressions and three-or-more chord accompaniment patterns compositions representing
melodies. or AB/ABA forms and two- to accompaniments in a variety in a variety of styles, and a variety of forms and
three-chord accompaniments of patterns. harmonizations for given styles, improvisations in
for given melodies. melodies. several different styles, and
stylistically appropriate
harmonizations for given
melodies.

PROCESS COMPONENT
Plan and Make
ESSENTIAL QUESTION
Nov.MU:H.Cr2 Int.MU:H.Cr2 Prof.MU:H.Cr2 Acc.MU:H.Cr2 Adv.MU:H.Cr2

Select, develop, and use Select, develop, and use Select, develop, and use Select, develop, and use Select, develop, and use
standard notation or audio/ standard notation and/or standard notation and audio/ standard notation and audio/ standard notation and audio/
video recording to document audio/video recording to video recording to document video recording to document video recording to document
melodic, rhythmic, and document melodic, rhythmic, melodic, rhythmic, and melodic, rhythmic, and melodic, rhythmic, and
harmonic ideas for drafts of and harmonic ideas for drafts harmonic ideas for drafts of harmonic ideas for drafts of harmonic ideas for drafts of
simple melodies and chordal of melodies created over improvisations, compositions, compositions, improvisations, compositions representing
accompaniments for given specified chord progressions and three-or-more chord and accompaniment patterns a variety of forms and
melodies. or AB/ABA forms and two- to- accompaniments in a variety in a variety of styles, and styles, improvisations in
three-chord accompaniments of patterns. harmonizations for given several different styles, and
for given melodies. melodies. stylistically appropriate
harmonizations for given
melodies.

PROCESS COMPONENT
Evaluate and Refine

ESSENTIAL QUESTION
Nov.MU:H.Cr3.1 Int.MU:H.Cr3.1 Prof.MU:H.Cr3.1 Acc.MU:H.Cr3.1 Adv.MU:H.Cr3.1

Apply teacher-provided Apply teacher-provided Develop and apply criteria Develop and apply criteria Develop and apply criteria
criteria to critique, improve, criteria to critique, improve, to critique, improve, and to critique, improve, and to critique, improve,
and refine drafts of simple and refine drafts of melodies refine drafts of improvisations, refine drafts of compositions, and refine drafts of
melodies and chordal created over specified chord compositions and three-or- improvisations, and compositions representing
accompaniments for given progressions or AB/ABA more chord accompaniments accompaniment patterns a variety of forms and styles,
melodies. forms and two- to three in a variety of patterns. in a variety of styles, and improvisations in a variety
chord accompaniments for harmonizations for given of styles, and stylistically
given melodies. melodies. appropriate harmonizations
for given melodies.

PROCESS COMPONENT
Present

ESSENTIAL QUESTION
Nov.MU:H.Cr3.2 Int.MU:H.Cr3.2 Prof.MU:H.Cr3.2 Acc.MU:H.Cr3.2 Adv.MU:H.Cr3.2

Share final versions of Share final versions of Perform final versions of Perform final versions of Perform final versions
simple melodies and chordal melodies created over improvisations, compositions, compositions, improvisations, of a collection of
accompaniments for given specified chord progressions and three-or-more accompaniment patterns compositions representing
melodies, demonstrating or AB/ABA forms and chord accompaniments in a variety of styles, a variety of forms and
an understanding of how two- to three- chord in a variety of patterns, and harmonizations styles, improvisations
to develop and organize accompaniments for given demonstrating technical for given melodies, in several different
personal musical ideas. melodies, demonstrating skill in applying principles of demonstrating technical styles, and stylistically
an understanding of how composition/improvisation skill in applying principles of appropriate harmonizations
to develop and organize and originality in developing composition/improvisation for given melodies,
personal musical ideas. and organizing musical ideas. and originality in developing demonstrating technical
and organizing musical ideas. skill in applying principles of
composition/improvisation
and originality in developing
and organizing musical ideas.

PROCESS COMPONENT
Select

ESSENTIAL QUESTION
Nov.MU:H.Pr4.1 Int.MU:H.Pr4.1 Prof.MU:H.Pr4.1 Acc.MU:H.Pr4.1 Adv.MU:H.Pr4.1

Describe and demonstrate Describe and demonstrate Explain the criteria used Develop and apply criteria for Develop and apply criteria for
how a varied repertoire how a varied repertoire when selecting a varied selecting a varied repertoire selecting a varied repertoire
of music that includes of music that includes repertoire of music for of music for individual and for a program of music for
melodies and chordal melodies and chordal individual or small group small group performances individual and small group
accompaniments is selected, accompaniments is performances that include that include melodies, performances that include
based on personal interest, selected, based on personal melodies, improvisations, and improvisations, and chordal melodies, stylistically
music-reading skills, and interest, music-reading skills, chordal accompaniments in accompaniments in a variety appropriate accompaniments,
technical skill, as well as the technical skills and related a variety of patterns. of styles. and improvisations in a
context of the performances. challenges, and the context variety of contrasting styles.
of the performances.

PROCESS COMPONENT
Analyze

ESSENTIAL QUESTION

Identify prominent melodic Identify prominent melodic, Identify and describe Identify and describe Identify and describe
and harmonic characteristics harmonic, and structural important theoretical and important theoretical and important theoretical and
in a varied repertoire characteristics and context structural characteristics structural characteristics structural characteristics
of music that includes (social, cultural, or historical) and context (social, and context (social, and context (social, cultural,
melodies and chordal in a varied repertoire cultural, or historical) in a cultural, and historical) in a and historical) in a varied
accompaniments selected for of music that includes varied repertoire of music varied repertoire of music repertoire of music selected
performance, using standard melodies and chordal that includes melodies, that includes melodies, for performance programs
notation. accompaniments selected for improvisations, and chordal improvisations, and chordal that includes melodies,
performance, using standard accompaniments in a variety accompaniments in a variety stylistically appropriate
notation. of patterns. of styles. accompaniments, and
improvisations in a variety of
contrasting styles.

PROCESS COMPONENT
Interpret

ESSENTIAL QUESTION

Demonstrate and describe Demonstrate and describe Describe in interpretations Explain in interpretations the Explain and present
in interpretations an in interpretations an the context (social, cultural, context (social, cultural, and interpretations that
understanding of the context understanding of the context or historical) and expressive historical) and expressive demonstrate and describe
and expressive intent in a (social, cultural, or historical) intent in a varied repertoire intent in a varied repertoire the social, cultural, or
varied repertoire of music and expressive intent in a of music selected for of music selected for historical contexts, and an
selected for performance varied repertoire of music performance that includes performance that includes understanding of the creators’
that includes melodies and selected for performance melodies, improvisations, and melodies, improvisations, and intent in repertoire for varied
chordal accompaniments. that includes melodies and chordal accompaniments in chordal accompaniments in programs of music that
chordal accompaniments. a variety of patterns. a variety of styles. include melodies, stylistically
appropriate accompaniments,
and improvisations in a
variety of contrasting styles.

PROCESS COMPONENT
ESSENTIAL QUESTION
Nov.MU:H.Pr5 Int.MU:H.Pr5 Prof.MU:H.Pr5 Acc.MU:H.Pr5 Adv.MU:H.Pr5

Apply teacher-provided Apply teacher-provided Develop and apply criteria Develop and apply criteria Develop and apply criteria,
criteria to critique individual criteria to critique individual to critique individual and to critique individual and including feedback from
performances of a varied performances of a varied small group performances small group performances multiple sources, to
repertoire of music that repertoire of music that of a varied repertoire of of a varied repertoire of critique varied programs of
includes melodies and includes melodies and music that includes melodies, music that includes melodies, music repertoire selected
chordal accompaniments chordal accompaniments improvisations, and improvisations, and for individual and small
selected for performance, selected for performance, chordal accompaniments chordal accompaniments group performance, and
and apply practice strategies and identify practice in a variety of patterns, and in a variety of styles, and create rehearsal strategies
to address performance strategies to address create rehearsal strategies create rehearsal strategies to address performance
challenges and refine the performance challenges and to address performance to address performance challenges and refine the
performances. refine the performances. challenges and refine the challenges and refine the performances.

PROCESS COMPONENT
Present
ESSENTIAL QUESTIONS
Nov.MU:H.Pr6 Int.MU:H.Pr6 Prof.MU:H.Pr6 Acc.MU:H.Pr6 Adv.MU:H.Pr6

Perform with expression Perform with expression Perform with expression Perform with expression Perform with expression
and technical accuracy and technical accuracy and technical accuracy, and technical accuracy, and technical accuracy, in
individual performances of individual performances of in individual and small in individual and small individual and small group
a varied repertoire of music a varied repertoire of music group performances, a group performances, a performances, a varied
that includes melodies and that includes melodies and varied repertoire of music varied repertoire of music repertoire for programs
chordal accompaniments, chordal accompaniments, that includes melodies, that includes melodies, of music that includes
demonstrating understanding demonstrating sensitivity improvisations, and chordal improvisations, and chordal melodies, stylistically
of the audience and the to the audience and an accompaniments in a variety accompaniments in a variety appropriate accompaniments,
context. understanding of the context of patterns, demonstrating of styles, demonstrating and improvisations in a
(such as social, cultural, or sensitivity to the audience sensitivity to the audience variety of contrasting styles,
historical). and an understanding of the and an understanding of the demonstrating sensitivity
context (social, cultural, or context (social, cultural, and to the audience and an
historical). historical). understanding of the
context (social, cultural, and
historical).

PROCESS COMPONENT
Select

ESSENTIAL QUESTION
Nov.MU:H.Re7.1 Int.MU:H.Re7.1 Prof.MU:H.Re7.1 Acc.MU:H.Re7.1 Adv.MU:H.Re7.1

Identify reasons for Explain reasons for selecting Apply criteria to select Apply criteria to select music Select, describe, and
selecting music based on music citing characteristics music for specified purposes, for a variety of purposes, compare a variety of
characteristics found in the found in the music and supporting choices by citing justifying choices citing individual and small group
music and connections to connections to interest, characteristics found in knowledge of music and musical programs from
interest, purpose, or personal purpose, and context (social, the music and connections specified purpose and varied cultures, genres, and
experience. cultural, or historical). to interest, purpose, and context (social, cultural, and historical periods.
context (social, cultural, and historical).
historical).

PROCESS COMPONENT
Analyze

ESSENTIAL QUESTION
Nov.MU:H.Re7.2 Int.MU:H.Re7.2 Prof.MU:H.Re7.2 Acc.MU:H.Re7.2 Adv.MU:H.Re7.2

Identify, citing evidence, the Describe how elements of Compare passages in Explain how the analysis of Demonstrate and justify how
use of repetition, similarities, music are manipulated and musical selections and the structures and context the structural characteristics
and contrasts in musical knowledge of the context explain how the elements of (social, cultural, and function within a variety
selections, and how these (social and cultural) informs music and context (social, historical) of contrasting of musical selections, and
and knowledge of the context the response. cultural, or historical) inform music inform the response. distinguish how context and
(social or cultural) informs the response. creative decisions inform the
the response. response.

PROCESS COMPONENT
Interpret
intent.
ESSENTIAL QUESTION
Nov.MU:H.Re8 Int.MU:H.Re8 Prof.MU:H.Re8 Acc.MU:H.Re8 Adv.MU:H.Re8

Identify possible Identify and support Explain and support Explain and support Establish and justify
interpretations of the possible interpretations possible interpretations possible interpretations possible interpretations
expressive intent and of the expressive intent of the expressive intent of the expressive intent of the expressive intent
meaning of musical and meaning of musical and meaning of musical and meaning of musical and meaning of musical
selections, referring to the selections, citing as evidence selections, citing as evidence selections, citing as evidence selections by comparing
elements of music, context the treatment of the the treatment of the the treatment of the and synthesizing varied
(personal or social), and elements of music, context, elements of music, context elements of music, context researched sources, including
(when applicable) the setting and (when applicable) the (personal, social, and (personal, social, and references to examples from
of the text. setting of the text. cultural), (when applicable) cultural), (when applicable) other art forms.
the setting of the text, and the setting of the text, and
outside sources. varied researched sources.

PROCESS COMPONENT
Evaluate
ESSENTIAL QUESTION
Nov.MU:H.Re9 Int.MU:H.Re9 Prof.MU:H.Re9 Acc.MU:H.Re9 Adv.MU:H.Re9

Identify and describe how Explain the influence of Develop and apply teacher- Apply personally developed Develop and justify
interest, experiences, and experiences and contexts provided and established and established criteria evaluations of a variety
contexts (personal or social) (personal, social, or criteria based on personal based on research, personal of individual and small
affect the evaluation of music. cultural) on interest in and preference, analysis, and preference, analysis, group musical selections
the evaluation of a varied context (personal, social, interpretation, expressive based on personally
repertoire of music. and cultural) to evaluate intent, and musical qualities developed and established
individual and small group to evaluate contrasting criteria, personal decision
musical selections. individual and small group making, and knowledge and
musical selections. understanding of context.

PROCESS COMPONENT
Synthesize
responding.
ESSENTIAL QUESTION
Nov.MU:H.Cn10 Int.MU:H.Cn10 Prof.MU:H.Cn10 Acc.MU:H.Cn10 Adv.MU:H.Cn10

Describe and demonstrate Explain and demonstrate Connect and demonstrate Synthesize personal interests, Integrate and interrelate how
how personal interests relate how personal interests and how personal interests, knowledge, skills, and personal interests, knowledge,
to choices and intent when knowledge relate to choices knowledge, and skills relate contexts and how they relate skills, contexts, and audience
creating, performing, and and intent when creating, to choices and intent when to choices and intent when expectations connect to
responding to music. performing, and responding creating, performing, and creating, performing, and choices and intent when
to music. responding to music. responding to music. creating, performing, and
responding to music.

PROCESS COMPONENT
Relate
responding.
ESSENTIAL QUESTION
Nov.MU:H.Cn11 Int.MU:H.Cn11 Prof.MU:H.Cn11 Acc.MU:H.Cn11 Adv.MU:H.Cn11

Relate music to societal, Explain the influence of Connect and demonstrate Synthesize the connections Integrate and interrelate the
cultural, and historical societal, cultural, and the relationships between between music and societal, connections between music
contexts when creating, historical contexts when music and societal, cultural, cultural, and historical and societal, cultural, and
performing, and responding. creating, performing, and and historical contexts when contexts when creating, historical contexts when
responding. creating, performing, and performing, and responding. creating, performing, and
responding. responding.

Ensembles
PROCESS COMPONENT
Imagine
ESSENTIAL QUESTION
Nov.MU:E.Cr1 Int.MU:E.Cr1 Prof.MU:E.Cr1 Acc.MU:E.Cr1 Adv.MU:E.Cr1

Compose and improvise Compose and improvise Compose and improvise Compose and improvise Compose and improvise
melodic and rhythmic ideas ideas for melodies and ideas for melodies, rhythmic ideas for arrangements, musical ideas for a variety of
or motives that reflect rhythmic passages based on passages, and arrangements sections, and short purposes and contexts.
characteristic(s) of music or characteristic(s) of music or for specific purposes that compositions for specific
text(s) studied in rehearsal. text(s) studied in rehearsal. reflect characteristic(s) of purposes that reflect
music from a variety of characteristic(s) of music
historical periods studied in from a variety of cultures
rehearsal. studied in rehearsal.

PROCESS COMPONENT
Plan and Make
ESSENTIAL QUESTION
Nov.MU:E.Cr2 Int.MU:E.Cr2 Prof.MU:E.Cr2 Acc.MU:E.Cr2 Adv.MU:E.Cr2

a. Select and develop draft a. Select and develop draft a. Select and develop a. Select and develop a. Select and develop
melodic and rhythmic melodies and rhythmic draft melodies, rhythmic arrangements, sections, composed and improvised
ideas or motives that passages that demonstrate passages, and arrangements and short compositions ideas into draft musical
demonstrate understanding understanding of for specific purposes that for specific purposes that works organized for a variety
of characteristic(s) of music characteristic(s) of music or demonstrate understanding demonstrate understanding of purposes and contexts.
or text(s) studied in rehearsal. text(s) studied in rehearsal. of characteristic(s) of music of characteristic(s) of music
from a variety of historical from a variety of cultures
periods studied in rehearsal. studied in rehearsal.
b. Preserve draft b. Preserve draft b. Preserve draft b. Preserve draft b. Preserve draft musical
compositions and compositions and compositions through compositions through works through standard
improvisations through improvisations through standard notation and standard notation, and notation and audio or video
standard notation and audio standard notation and audio improvisations through audio improvisations through audio recording.
recording. recording. recording. or video recording.

PROCESS COMPONENT
Evaluate and Refine

ESSENTIAL QUESTION
Nov.MU:E.Cr3.1 Int.MU:E.Cr3.1 Prof.MU:E.Cr3.1 Acc.MU:E.Cr3.1 Adv.MU:E.Cr3.1

Evaluate and refine Evaluate and refine Evaluate and refine Evaluate and refine draft Evaluate and refine varied
draft compositions and draft compositions and draft melodies, rhythmic arrangements, sections, draft musical works based on
improvisations based on improvisations based passages, arrangements, and short compositions, and appropriate criteria, including
knowledge, skill, and teacher- on knowledge, skill, and improvisations based on improvisations based on the extent to which they
provided criteria. collaboratively developed established criteria, including personally developed criteria, address identified purposes
criteria. the extent to which they including the extent to which and contexts.
address identified purposes. they address identified
purposes.

PROCESS COMPONENT
Present

ESSENTIAL QUESTION
Nov.MU:E.Cr3.2 Int.MU:E.Cr3.2 Prof.MU:E.Cr3.2 Acc.MU:E.Cr3.2 Adv.MU:E.Cr3.2

Share personally developed Share personally developed Share personally developed Share personally developed Share varied, personally
melodic and rhythmic ideas melodies and rhythmic melodies, rhythmic passages, arrangements, sections, developed musical works—
or motives—individually passages—individually and arrangements— and short compositions— individually or as an
or as an ensemble—that or as an ensemble—that individually or as an individually or as an ensemble—that address
demonstrate understanding demonstrate understanding ensemble—that address ensemble—that address identified purposes and
of characteristics of music or of characteristics of music or identified purposes. identified purposes. contexts.
texts studied in rehearsal. texts studied in rehearsal.

PROCESS COMPONENT
Select

ESSENTIAL QUESTION
Nov.MU:E.Pr4.1 Int.MU:E.Pr4.1 Prof.MU:E.Pr4.1 Acc.MU:E.Pr4.1 Adv.MU:E.Pr4.1

Select varied repertoire to Select a varied repertoire Explain the criteria used to Develop and apply criteria Develop and apply criteria
study based on interest, to study based on select a varied repertoire to select a varied repertoire to select varied programs
music-reading skills music-reading skills to study based on an to study and perform based to study and perform based
(where appropriate), an (where appropriate), an understanding of theoretical on an understanding of on an understanding of
understanding of the understanding of formal and structural characteristics theoretical and structural theoretical and structural
structure of the music, design in the music, context, of the music, the technical characteristics and characteristics and
context, and the technical and the technical skill of the skill of the individual or expressive challenges in the expressive challenges in the
skill of the individual or individual and ensemble. ensemble, and the purpose music, the technical skill of music, the technical skill of
ensemble. or context of the performance. the individual or ensemble, the individual or ensemble,
and the purpose and context and the purpose and context
of the performance. of the performance.

PROCESS COMPONENT
Analyze

ESSENTIAL QUESTION

Demonstrate, using Demonstrate, using Demonstrate, using Document and demonstrate, Examine, evaluate, and
music-reading skills where music-reading skills where music-reading skills using music-reading skills critique, using music-reading
appropriate, how knowledge appropriate, how the setting where appropriate, how where appropriate, how skills where appropriate, how
of formal aspects in musical and formal characteristics of compositional devices compositional devices the structure and context
works inform prepared or musical works contribute to employed and theoretical employed and theoretical impact and inform prepared
improvised performances. understanding the context and structural aspects and structural aspects of and improvised performances.
of the music in prepared or of musical works impact musical works may impact
improvised performances. and inform prepared or and inform prepared and
improvised performances. improvised performances.

PROCESS COMPONENT
Interpret

ESSENTIAL QUESTION

Identify expressive qualities Demonstrate understanding Demonstrate an Demonstrate how Demonstrate how
in a varied repertoire and application of expressive understanding of context understanding the style, understanding the style,
of music that can be qualities in a varied in a varied repertoire of genre, and context of a varied genre, and context of a varied
demonstrated through repertoire of music through music through prepared and repertoire of music influences repertoire of music informs
prepared and improvised prepared and improvised improvised performances. prepared and improvised prepared and improvised
performances. performances. performances as well as performances as well as
performers’ technical skill to performers’ technical skill to
connect with the audience. connect with the audience.

PROCESS COMPONENT
ESSENTIAL QUESTION
Nov.MU:E.Pr5 Int.MU:E.Pr5 Prof.MU:E.Pr5 Acc.MU:E.Pr5 Adv.MU:E.Pr5

Use self-reflection and peer Develop strategies to Develop strategies to address Develop and apply Develop, apply, and refine
feedback to refine individual address technical challenges expressive challenges appropriate rehearsal appropriate rehearsal
and ensemble performances in a varied repertoire of in a varied repertoire of strategies to address strategies to address
of a varied repertoire of music and evaluate their music, and evaluate their individual and ensemble individual and ensemble
music. success using feedback success using feedback challenges in a varied challenges in a varied
from ensemble peers and from ensemble peers and repertoire of music, and repertoire of music.
other sources to refine other sources to refine evaluate their success.

PROCESS COMPONENT
Present
ESSENTIAL QUESTIONS
Nov.MU:E.Pr6 Int.MU:E.Pr6 Prof.MU:E.Pr6 Acc.MU:E.Pr6 Adv.MU:E.Pr6

a. Demonstrate attention a. Demonstrate attention a. Demonstrate attention a. Demonstrate mastery a. Demonstrate an
to technical accuracy and to technical accuracy and to technical accuracy and of the technical demands understanding and mastery of
expressive qualities in expressive qualities in expressive qualities in and an understanding of the technical demands and
prepared and improvised prepared and improvised prepared and improvised expressive qualities of the expressive qualities of the
performances of a varied performances of a varied performances of a varied music in prepared and music through prepared and
repertoire of music. repertoire of music repertoire of music improvised performances improvised performances of a
representing diverse cultures representing diverse cultures, of a varied repertoire varied repertoire representing
and styles. styles, and genres. representing diverse cultures, diverse cultures, styles, genres,
styles, genres, and historical and historical periods in
periods. multiple types of ensembles.
b. Demonstrate an b. Demonstrate an b. Demonstrate an b. Demonstrate an b. Demonstrate an ability
awareness of the context of understanding of the understanding of expressive understanding of intent as a to connect with audience
the music through prepared context of the music through intent by connecting with an means for connecting with an members before and during
and improvised performances. prepared and improvised audience through prepared audience through prepared the process of engaging
performances. and improvised performances. and improvised performances. with and responding to
them through prepared and
improvised performances.

PROCESS COMPONENT
Select

ESSENTIAL QUESTION
Nov.MU:E.Re7.1 Int.MU:E.Re7.1 Prof.MU:E.Re7.1 Acc.MU:E.Re7.1 Adv.MU:E.Re7.1

Identify reasons for Explain reasons for selecting Apply criteria to select Apply criteria to select music Use research and personally
selecting music based on music citing characteristics music for specified purposes, for a variety of purposes, developed criteria to justify
characteristics found in the found in the music and supporting choices by citing justifying choices citing choices made when selecting
music, connection to interest, connections to interest, characteristics found in the knowledge of the music and music, citing knowledge of
and purpose or context. purpose, and context. music and connections to the specified purpose and the music, and individual
interest, purpose, and context. context. and ensemble purpose and
context.

PROCESS COMPONENT
Analyze

ESSENTIAL QUESTION
Nov.MU:E.Re7.2 Int.MU:E.Re7.2 Prof.MU:E.Re7.2 Acc.MU:E.Re7.2 Adv.MU:E.Re7.2

Identify how knowledge Describe how understanding Explain how the analysis of Explain how the analysis Demonstrate and justify how
of context and the use context and the way the passages and understanding of structures and contexts the analysis of structures,
of repetition, similarities, elements of music are the way the elements of inform the response to music. contexts, and performance
and contrasts inform the manipulated inform the music are manipulated decisions inform the
response to music. response to music. inform the response to music. response to music.

PROCESS COMPONENT
Interpret
intent.
ESSENTIAL QUESTION
Nov.MU:E.Re8 Int.MU:E.Re8 Prof.MU:E.Re8 Acc.MU:E.Re8 Adv.MU:E.Re8

Identify interpretations of Identify and support Explain and support Support interpretations of Justify interpretations of
the expressive intent and interpretations of the interpretations of the the expressive intent and the expressive intent and
meaning of musical works, expressive intent and expressive intent and meaning of musical works meaning of musical works by
referring to the elements of meaning of musical works, meaning of musical works, citing as evidence the comparing and synthesizing
music, contexts, and (when citing as evidence, the citing as evidence the treatment of the elements varied researched sources,
appropriate) the setting of treatment of the elements of treatment of the elements of music, contexts, (when including reference to other
the text. music, contexts, and (when of music, contexts, (when appropriate) the setting art forms.
appropriate) the setting of appropriate) the setting of the text, and varied
the text. of the text, and personal researched sources.
research.

PROCESS COMPONENT
Evaluate
ESSENTIAL QUESTION
Nov.MU:E.Re9 Int.MU:E.Re9 Prof.MU:E.Re9 Acc.MU:E.Re9 Adv.MU:E.Re9

Identify and describe the Explain the influence of Evaluate works and Evaluate works and Develop and justify
effect of interest, experience, experiences, analysis, and performances based on performances based evaluations of music,
analysis, and context on the context on interest in and personally or collaboratively on research as well as programs of music, and
evaluation of music. evaluation of music. developed criteria, including personally and collaboratively performances based on
analysis of the structure and developed criteria, including criteria, personal decision-
context. analysis and interpretation of making, research, and
the structure and context. understanding of contexts.

PROCESS COMPONENT
Synthesize
responding.
ESSENTIAL QUESTION
Nov.MU:E.Cn10 Int.MU:E.Cn10 Prof.MU:E.Cn10 Acc.MU:E.Cn10 Adv.MU:E.Cn10

Describe and demonstrate Explain and demonstrate Connect and demonstrate Synthesize personal interests, Integrate and interrelate how
how personal interests relate how personal interests and how personal interests, knowledge, skills, and personal interests, knowledge,
to choices and intent when knowledge relate to choices knowledge, and skills relate contexts and how they relate skills, contexts, and audience
creating, performing, and and intent when creating, to choices and intent when to choices and intent when expectations connect to
responding to music. performing, and responding creating, performing, and creating, performing, and choices and intent when
to music. responding to music. responding to music. creating, performing, and
responding to music.

PROCESS COMPONENT
Relate
ESSENTIAL QUESTION
Nov.MU:E.Cn11 Int.MU:E.Cn11 Prof.MU:E.Cn11 Acc.MU:E.Cn11 Adv.MU:E.Cn11

Relate music to societal, Explain the influence of Connect and demonstrate Synthesize the connections Integrate and interrelate the
cultural, and historical societal, cultural, and the relationships between between music and societal, connections between music
contexts when creating, historical contexts when music and societal, cultural, cultural, and historical and societal, cultural, and
performing, and responding. creating, performing, and and historical contexts when contexts when creating, historical contexts when
responding to music. creating, performing, and performing, and responding. creating, performing, and
responding. responding.

Composition and Theory
PROCESS COMPONENT
Imagine
ESSENTIAL QUESTION
Prof.MU:C.Cr1 Acc.MU:C.Cr1 Adv.MU:C.Cr1

Describe how sounds and short musical ideas can Describe and demonstrate how sounds and Describe and demonstrate multiple ways in
be used to represent personal experiences, moods, musical ideas can be used to represent sonic which sounds and musical ideas can be used to
visual images, and/or storylines. events, memories, visual images, concepts, texts, represent extended sonic experiences or abstract
or storylines. ideas.

PROCESS COMPONENT
Plan and Make
ESSENTIAL QUESTION
Prof.MU:C.Cr2 Acc.MU:C.Cr2 Adv.MU:C.Cr2

a. Assemble and organize sounds or short musical a. Assemble and organize multiple sounds a. Assemble and organize multiple sounds or
ideas to create initial expressions of selected or musical ideas to create initial expressive extended musical ideas to create initial expressive
experiences, moods, images, or storylines. statements of selected sonic events, memories, statements of selected extended sonic experiences
images, concepts, texts, or storylines. or abstract ideas.
b. Identify and describe the development of b. Describe and explain the development of b. Analyze and demonstrate the development of
sounds or short musical ideas in drafts of music sounds and musical ideas in drafts of music within sounds and extended musical ideas in drafts of
within simple forms (such as one-part, cyclical, or a variety of simple or moderately complex forms music within a variety of moderately complex or
binary). (such as binary, ternary, or rondo). complex forms.

PROCESS COMPONENT
Evaluate and Refine

ESSENTIAL QUESTION
Prof.MU:C.Cr3.1 Acc.MU:C.Cr3.1 Adv.MU:C.Cr3.1

Identify, describe, and apply teacher-provided Identify, describe, and apply selected teacher- Research, identify, explain, and apply personally
criteria to assess and refine the technical and provided or personally developed criteria to assess developed criteria to assess and refine the
expressive aspects of evolving drafts leading to and refine the technical and expressive aspects of technical and expressive aspects of evolving drafts
final versions. evolving drafts leading to final versions. leading to final versions.

PROCESS COMPONENT
Present

ESSENTIAL QUESTION
Prof.MU:C.Cr3.2 Acc.MU:C.Cr3.2 Adv.MU:C.Cr3.2

a. Share music through the use of notation, a. Share music through the use of notation, a. Share music through the use of notation,
performance, or technology, and demonstrate how solo or group performance, or technology, and solo or group performance, or technology, and
the elements of music have been employed to demonstrate and describe how the elements of demonstrate and explain how the elements of
realize expressive intent. music and compositional techniques have been music, compositional techniques and processes
employed to realize expressive intent. have been employed to realize expressive intent.
b. Describe the given context and performance b. Describe the selected contexts and performance b. Describe a variety of possible contexts and
medium for presenting personal works, and mediums for presenting personal works, and performance mediums for presenting personal
how they impact the final composition and explain why they successfully impact the final works, and explain and compare how each could
presentation. composition and presentation. impact the success of the final composition and
presentation.

PROCESS COMPONENT
Select

ESSENTIAL QUESTION
Prof.MU:C.Pr4.1 Acc.MU:C.Pr4.1 Adv.MU:C.Pr4.1

Identify and select specific excerpts, passages, or Identify and select specific passages, sections, or Identify and select specific creators’ intent,
sections in musical works that express a personal movements in musical works that express personal movements, or entire works that express personal
experience, mood, visual image, or storyline in experiences and interests, moods, visual images, experiences and interests, moods, visual images,
simple forms (such as one-part, cyclical, or binary). concepts, texts, or storylines in simple forms (such concepts, texts, or storylines in moderately
as binary, ternary, or rondo) or moderately complex complex or complex forms.
forms.

PROCESS COMPONENT
Analyze

ESSENTIAL QUESTION

Analyze how the elements of music (including Analyze how the elements of music (including Analyze how the elements of music (including
form) of selected works relate to style and mood form) of selected works relate to the style, function, form) and compositional techniques of selected
and explain the implications for rehearsal or and context, and explain the implications for works relate to the style, function, and context,
performance. rehearsal and performance. and explain and support the analysis and its
implications for rehearsal and performance.

PROCESS COMPONENT
Interpret

ESSENTIAL QUESTION

Develop interpretations of works based on an Develop interpretations of works based on an Develop interpretations of works based on an
understanding of the use of elements of music, understanding of the use of elements of music, understanding of the use of elements of music
style, and mood, explaining how the interpretive style, mood, function, and context, explaining and (including form), compositional techniques, style,
choices reflect the creators’ intent. supporting how the interpretive choices reflect the function, and context, explaining and justifying how
creators’ intent. the interpretive choices reflect the creators’ intent.

PROCESS COMPONENT
ESSENTIAL QUESTION
Prof.MU:C.Pr5 Acc.MU:C.Pr5 Adv.MU:C.Pr5

a. Create rehearsal plans for works, identifying a. Create rehearsal plans for works, identifying the a. Create rehearsal plans for works, identifying
repetition and variation within the form. form, the repetition and variation within the form, the form, the repetition and variation within the
and the style and historical or cultural context of form, compositional techniques, and the style and
the work. historical or cultural context of the work.
b. Using established criteria and feedback, identify b. Using established criteria and feedback, identify b. Using established criteria and feedback, identify
the way(s) in which performances convey the the ways in which performances convey the formal the ways in which performances use compositional
elements of music, style, and mood. design, style, and historical/cultural context of the techniques and convey the formal design, style,
works. and historical/cultural context of the works.
c. Identify and implement strategies for improving c. Identify and implement strategies for improving c. Identify, compare, and implement strategies for
the technical and expressive aspects of multiple the technical and expressive aspects of varied improving the technical and expressive aspects of
works. works. multiple contrasting works.

PROCESS COMPONENT
Present
ESSENTIAL QUESTIONS
Prof.MU:C.Pr6 Acc.MU:C.Pr6 Adv.MU:C.Pr6

a. Share live or recorded performances of works a. Share live or recorded performances of works a. Share live or recorded performances of works
(both personal and others’) and explain how the (both personal and others’), and explain how the (both personal and others’), and explain and/or
elements of music are used to convey intent. elements of music and compositional techniques demonstrate understanding of how the expressive
are used to convey intent. intent of the music is conveyed.
b. Identify how compositions are appropriate for b. Explain how compositions are appropriate for b. Explain how compositions are appropriate for
an audience or context, and how this will shape both audience and context, and how this will a variety of audiences and contexts, and how this
future compositions. shape future compositions. will shape future compositions.

PROCESS COMPONENT
Select

ESSENTIAL QUESTION
Prof.MU:C.Re7.1 Acc.MU:C.Re7.1 Adv.MU:C.Re7.1

Apply teacher-provided criteria to select music that Apply teacher-provided or personally developed Apply researched or personally developed
expresses a personal experience, mood, visual criteria to select music that expresses personal criteria to select music that expresses personal
image, or storyline in simple forms (such as one- experiences and interests, moods, visual experiences and interests, visual images, concepts,
part, cyclical, binary), and describe the choices as images, concepts, texts, or storylines in simple texts, or storylines in moderately complex or
models for composition. or moderately complex forms, and describe and complex forms, and describe and justify the choice
defend the choices as models for composition. as models for composition.

PROCESS COMPONENT
Analyze

ESSENTIAL QUESTION
Prof.MU:C.Re7.2 Acc.MU:C.Re7.2 Adv.MU:C.Re7.2

Analyze aurally the elements of music (including Analyze aurally and/or by reading the scores of Analyze aurally and/or by reading the scores of
form) of musical works, relating them to style, musical works the elements of music (including musical works the elements of music (including
mood, and context, and describe how the analysis form), compositional techniques, and procedures, form), compositional techniques, and procedures,
provides models for personal growth as composer, relating them to style, mood, and context; and relating them to aesthetic effectiveness, style,
performer, and listener. explain how the analysis provides models for mood, and context; and explain how the analysis
personal growth as composer, performer, and provides models for personal growth as composer,
listener. performer, and listener.

PROCESS COMPONENT
Interpret
intent.
ESSENTIAL QUESTION
Prof.MU:C.Re8 Acc.MU:C.Re8 Adv.MU:C.Re8

Develop and explain interpretations of varied works, Develop and support interpretations of varied Develop, justify and defend interpretations of
demonstrating an understanding of the composers’ works, demonstrating an understanding of the varied works, demonstrating an understanding
intent by citing technical and expressive aspects composers’ intent by citing the use of elements of of the composers’ intent by citing the use of
as well as the style/genre of each work. music (including form), compositional techniques, elements of music (including form), compositional
and the style/genre and context of each work. techniques, and the style/genre and context of
each work.

PROCESS COMPONENT
Evaluate
ESSENTIAL QUESTION
Prof.MU:C.Re9 Acc.MU:C.Re9 Adv.MU:C.Re9

a. Describe the effectiveness of the technical a. Explain the effectiveness of the technical a. Evaluate the effectiveness of the technical
and expressive aspects of selected music and and expressive aspects of selected music and and expressive aspects of selected music and
performances, demonstrating understanding of performances, demonstrating understanding of performances, demonstrating understanding of
fundamentals of music theory. music theory as well as compositional techniques theoretical concepts and complex compositional
and procedures. techniques and procedures.
b. Describe the way(s) in which critiquing others’ b. Describe ways in which critiquing others’ work b. Describe and evaluate ways in which critiquing
work and receiving feedback from others can be and receiving feedback from others have been others’ work and receiving feedback from others
applied in the personal creative process. specifically applied in the personal creative have been specifically applied in the personal
process. creative process.

PROCESS COMPONENT
Synthesize
responding.
ESSENTIAL QUESTION
Prof.MU:C.Cn10 Acc.MU:C.Cn10 Adv.MU:C.Cn10

Connect and demonstrate how personal interests, Synthesize personal interests, knowledge, skills, Integrate and interrelate how personal interests,
knowledge, and skills relate to choices and intent and contexts and how they relate to choices and knowledge, skills, contexts, and audience
when creating, performing, and responding to intent when creating, performing, and responding expectations connect to choices and intent when
music. to music. creating, performing, and responding to music.

PROCESS COMPONENT
Relate
ESSENTIAL QUESTION
Prof.MU:C.Cn11 Acc.MU:C.Cn11 Adv.MU:C.Cn11

Connect and demonstrate the relationships between Synthesize the connections between music and Integrate and interrelate the connections
music and societal, cultural, and historical contexts societal, cultural, and historical contexts when between music and societal, cultural, and
when creating, performing, and responding. creating, performing, and responding. historical contexts when creating, performing, and
responding.

Technology
PROCESS COMPONENT
Imagine
ESSENTIAL QUESTION
Prof.MU:T.Cr1 Acc.MU:T.Cr1 Adv.MU:T.Cr1

Generate melodic, rhythmic, and harmonic ideas Generate melodic, rhythmic, and harmonic ideas Generate melodic, rhythmic, and harmonic
for compositions or improvisations using digital for compositions and improvisations using digital ideas for compositions and improvisations that
tools. tools and digital resources. incorporate digital tools, digital resources, and
digital systems.

PROCESS COMPONENT
Plan and Make
ESSENTIAL QUESTION
Prof.MU:T.Cr2 Acc.MU:T.Cr2 Adv.MU:T.Cr2

Select melodic, rhythmic, and harmonic ideas to Select melodic, rhythmic, and harmonic ideas to Select, develop, and organize multiple melodic,
develop into a larger work using digital tools and develop into a larger work that exhibits unity and rhythmic, and harmonic ideas to develop into a
digital resources. variety using digital and analog tools. larger work that exhibits unity, variety, complexity,
and coherence using digital and analog tools,
resources, and systems.

PROCESS COMPONENT
Evaluate and Refine

Musicians evaluate, and refine their work through openness to new ideas, persistence, and the application of
ESSENTIAL QUESTION
Prof.MU:T.Cr3.1 Acc.MU:T.Cr3.1 Adv.MU:T.Cr3.1

Drawing on feedback from teachers and peers, Develop and implement varied strategies to Develop and implement varied strategies and
develop and implement strategies to improve and improve and refine the technical and expressive apply appropriate criteria to improve and refine
refine the technical and expressive aspects of draft aspects of draft compositions and improvisations. the technical and expressive aspects of draft
compositions and improvisations. compositions and improvisations.

PROCESS COMPONENT
Present

ESSENTIAL QUESTION
Prof.MU:T.Cr3.2 Acc.MU:T.Cr3.2 Adv.MU:T.Cr3.2

Share compositions or improvisations that Share compositions and improvisations Share a portfolio of musical creations representing
demonstrate musical and technological that demonstrate musical and technological varied styles and genres that demonstrates
craftsmanship, using teacher-provided digital craftsmanship, using teacher-provided or musical and technological craftsmanship, using
tools and resources in developing and organizing personally selected digital and analog tools and personally selected digital and analog tools,
musical ideas. resources in developing and organizing musical resources, and systems in developing and
ideas. organizing musical ideas.

PROCESS COMPONENT
Select

ESSENTIAL QUESTION
Prof.MU:T.Pr4.1 Acc.MU:T.Pr4.1 Adv.MU:T.Pr4.1

Develop and explain the criteria used for selecting Develop and apply criteria to select a varied Develop and apply criteria to select varied
a varied repertoire of music based on interest, repertoire to study and perform based on interest, programs to study and perform based on interest,
music reading skills, and an understanding of the an understanding of theoretical and structural an understanding of the theoretical and structural
performer’s technical and technological skill. characteristics of the music, and the performer’s characteristics, as well as expressive challenges in
technical skill using digital tools and resources. the music, and the performer’s technical skill using
digital tools, resources, and systems.

PROCESS COMPONENT
Analyze

ESSENTIAL QUESTION

Describe how context, structural aspects of the Explain and demonstrate how context, theoretical Examine, evaluate, and critique how context,
music, and digital media/tools inform prepared and structural aspects of the music, and digital theoretical and structural aspects of the music,
and improvised performances. media/tools inform and influence prepared and and digital media/tools inform and influence
improvised performances. prepared and improvised performances.
PROCESS COMPONENT
Interpret

ESSENTIAL QUESTION

Demonstrate how understanding the context, Demonstrate how understanding the style, genre, Demonstrate how understanding the style, genre,
expressive challenges, and use of digital tools in context, and use of digital tools and resources in a context, and integration of digital technologies in a
a varied repertoire of music influence prepared or varied repertoire of music influences prepared or varied repertoire of music informs and influences
improvised performances. improvised performances and performers’ ability prepared and improvised performances and their
to connect with audiences. ability to connect with audiences.

PROCESS COMPONENT
ESSENTIAL QUESTION
Prof.MU:T.Pr5 Acc.MU:T.Pr5 Adv.MU:T.Pr5

Identify and implement rehearsal strategies to Develop and implement rehearsal strategies to Apply appropriate criteria as well as feedback
improve the technical and expressive aspects of improve and refine the technical and expressive from multiple sources and develop and implement
prepared and improvised performances in a varied aspects of prepared and improvised performances varied strategies to improve and refine the
repertoire of music. in a varied repertoire of music. technical and expressive aspects of prepared and
improvised performances in varied programs of
music.

PROCESS COMPONENT
Present
ESSENTIAL QUESTIONS
Prof.MU:T.Pr6 Acc.MU:T.Pr6 Adv.MU:T.Pr6

a. Using digital tools, demonstrate attention to a. Using digital tools and resources, demonstrate a. Integrating digital and analog tools and
technical accuracy and expressive qualities in technical accuracy and expressive qualities in resources, demonstrate an understanding and
prepared and improvised performances of a varied prepared and improvised performances of a varied attention to technical accuracy and expressive
repertoire of music. repertoire of music representing diverse cultures, qualities of the music in prepared and improvised
styles, and genres. performances of a varied repertoire of music
representing diverse cultures, styles, genres, and
historical periods.
b. Demonstrate an understanding of the context b. Demonstrate an understanding of the expressive b. Demonstrate an ability to connect with audience
of music through prepared and improvised intent when connecting with an audience through members before performances, and engaging
performances. prepared and improvised performances. with and responding to them during prepared and
improvised performances.

PROCESS COMPONENT
Select

ESSENTIAL QUESTION
Prof.MU:T.Re7.1 Acc.MU:T.Re7.1 Adv.MU:T.Re7.1

Cite reasons for choosing music based on the use Select and critique contrasting musical works, Select, evaluate, and compare a variety of musical
of the elements of music, digital and electronic defending opinions based on manipulations of the selections based on characteristics and knowledge
aspects, and connections to interest or purpose. elements of music, digital and electronic aspects, of the music, understanding of digital and
and the purpose and context of the works. electronic aspects, and the purpose and context of
the works.

PROCESS COMPONENT
Analyze

ESSENTIAL QUESTION
Prof.MU:T.Re7.2 Acc.MU:T.Re7.2 Adv.MU:T.Re7.2

Explain how knowledge of the structure (repetition, Explain how an analysis of the structure, context, Demonstrate and justify how an analysis of
similarities, contrasts), technological aspects, and and technological aspects of the music informs the structural characteristics, context, and
purpose of the music informs the response. the response. technological and creative decisions informs
interest in and response to the music.

PROCESS COMPONENT
Interpret
intent.
ESSENTIAL QUESTION
Prof.MU:T.Re8 Acc.MU:T.Re8 Adv.MU:T.Re8

Explain and support an interpretation of the Connect the influence of the treatment of the Examine and cite research and multiple sources
expressive intent of musical selections based on elements of music, digital and electronic features, to connect the influence of the treatment of the
treatment of the elements of music, digital and context, purpose, and other art forms to the elements of music, digital and electronic features,
electronic features, and purpose. expressive intent of musical works. context, purpose, and other art forms to the
expressive intent of musical works.

PROCESS COMPONENT
Evaluate
ESSENTIAL QUESTION
Prof.MU:T.Re9 Acc.MU:T.Re9 Adv.MU:T.Re9

Evaluate music using teacher-provided criteria Apply teacher-provided or personally developed Develop and justify the evaluation of a variety
based on analysis, interpretation, digital and criteria to evaluate music based on analysis, of music based on established and personally
electronic features, and personal interests. interpretation, artistic intent, digital, electronic, and developed criteria, digital, electronic and analog
analog features, and musical qualities. features, and understanding of purpose and
context.

PROCESS COMPONENT
Synthesize
responding.
ESSENTIAL QUESTION
Prof.MU:T.Cn10 Acc.MU:T.Cn10 Adv.MU:T.Cn10

Connect and demonstrate how personal interests, Synthesize personal interests, knowledge, skills, Integrate and interrelate how personal interests,
knowledge, and skills relate to choices and intent and contexts and how they relate to choices and knowledge, skills, contexts, and audience
when creating, performing, and responding to intent when creating, performing, and responding expectations connect to choices and intent when
music. to music. creating, performing, and responding to music.

PROCESS COMPONENT
Relate
ESSENTIAL QUESTION
Prof.MU:T.Cn11 Acc.MU:T.Cn11 Adv.MU:T.Cn11

Connect and demonstrate the relationships between Synthesize the connections between music and Integrate and interrelate the connections
music and societal, cultural, and historical contexts societal, cultural, and historical contexts when between music and societal, cultural, and
when creating, performing, and responding. creating, performing, and responding. historical contexts when creating, performing, and
responding.

Music Glossary
The music terms defined in this section include only those terms that are beat: Underlying steady pulse present in most music.
blue text in the standards. The definitions explain the context or point of view,
from the perspective of the artistic discipline, regarding the use of terms chord progression: Series of chords sounding in succession; certain
within the standards. The definitions included here are not meant to be an progressions are typical in particular styles/genres of music.
exhaustive list or used as curriculum. collaboratively: Working together on a common (musical) task or goal.
The following defined terms are commonly accepted definitions provided by collaboratively developed criteria: Qualities or traits for assessing achievement
the National Coalition for Core Arts: https://www.nationalartsstandards.org/ level that have been through a process of collective decision making.
content/glossary.
complex formal structure: Musical form in which rhythmic, melodic, harmonic,
AB: Musical form consisting of two sections, A and B, which contrast with and/or other musical materials undergo significant expansion and development,
each other (binary form). and may be more distantly related across sections while remaining coherent in
ABA: Musical form consisting of three sections, A, B, and A; two are the some way, such as sonata or other novel design with three or more sections.
same, and the middle one is different (ternary form). composer: One who creates music compositions.
analog tools: Category of musical instruments and tools that are non-digital composition: Original piece of music that can be repeated, typically
(i.e., do not transfer sound in or convert sound into binary code), such as developed over time, and preserved either in notation or in a sound recording.
acoustic instruments, microphones, monitors, and speakers.
compositional devices: Tools used by a composer or arranger to create or
analysis: (See analyze) organize a composition or arrangement, such as tonality, sequence, repetition,
analyze: Examine in detail the structure and context of the music. instrumentation, orchestration, harmonic/melodic structure, style, and form.
arrangement: Setting or adaptation of an existing musical composition. compositional procedures: Techniques that a composer initiates and
continues in pieces to develop musical ideas, such as fragmentation,
articulation: Characteristic way in which musical tones are connected, imitation, sequencing, variation, aggregate completion, registral saturation,
separated, or accented; types of articulation include legato (smooth, contour inversion of gestures, and rhythmic phrasing.
connected tones) and staccato (short, detached tones).
compositional techniques: Approaches a composer uses to manipulate and
audience etiquette: Social behavior observed by those attending musical refine the elements to convey meaning and intent in a composition, such as
performances and which can vary depending upon the type of music tension-release, augmentation-diminution, sound-silence, motion-stasis, in
performed. addition to compositional devices.

connection: Relationship among artistic ideas, personal meaning, and/or cyclical structure: Musical form characterized by the return or “cycling around”
external context. of significantly recognizable themes, motives, and/or patterns across
movements.
context: Environment that surrounds music, influences understanding,
provides meaning, and connects to an event or occurrence. demonstrate: Show musical understanding through observable behavior such
§ context, cultural: Values, beliefs, and traditions of a group of people as moving, chanting, singing, or playing instruments.
that influence musical meaning and inform culturally authentic
digital resources: Anything published in a format capable of being read by a
musical practice.
computer, a web-enabled device, a digital tablet, or smartphone.
§ context, historical: Conditions of the time and place in which music
was created or performed that provide meaning and influence the digital systems: Platforms that allow interaction and the conversion between
musical experience. and through the audio and digital domains.
§ context, personal: Unique experiences and relationships that digital tools: Category of musical instruments and tools that manipulate
surround a single person and are influenced by personal life, family, sound using binary code, such as electronic keyboards, digital audio
habits, interest, and preferences. interfaces, MIDI, and computer software.
§ context, societal: Surrounding something or someone’s creation or
dynamics: Level or range of loudness of a sound or sounds.
intended audience that reflects and influences how people use and
interpret the musical experience. elements of music: Basic characteristics of sound (pitch, rhythm, harmony,
dynamics, timbre, texture, form, and style/articulation) that are manipulated
craftsmanship: Degree of skill and ability exhibited by a creator or performer
to create music.
to manipulate the elements of music in a composition or performance.
ensemble: Group of individuals organized to perform artistic work: traditional,
creator: One who originates a music composition, arrangement, or improvisation.
large groups such as bands, orchestras, and choirs; chamber, smaller groups,
criteria: Guidelines used to judge the quality of a student’s performance (See such as duets, trios, and quartets; emerging, such as guitar, iPad, mariachi,
rubric). steel drum or pan, and Taiko drumming.
culturally authentic performance: Presentation that reflects practices and established criteria: Traits or dimensions for making quality judgments in
interpretation representative of the style and traditions of a culture. music of a particular style, genre, cultural context, or historical period that
have gained general acceptance and application over time.
culture: Values and beliefs of a particular group of people, from a specific
place or time, expressed through characteristics such as tradition, social expanded form: Basic form (such as AB, ABA, rondo, or theme and variation)
structure, religion, art, and food. expanded by the addition of an introduction, transition, and/or coda.

explore: Discover, investigate, and create musical ideas through singing, guidance: Assistance provided temporarily to enable a student to perform a
chanting, playing instruments, or moving to music. musical task that would be difficult to perform unaided, best implemented
in a manner that helps develop that student’s capacity to eventually perform
expression: Feeling conveyed through music. the task independently.
expressive aspects: Characteristics that convey feeling in the presentation of harmonic sequences: Series of two or more chords commonly used to
musical ideas. support melody(ies).
expressive intent: The emotions, thoughts, and ideas that a performer or harmonization: Process of applying stylistically appropriate harmony, such as
composer seeks to convey by manipulating the elements of music. chords, countermelodies, and ostinato, to melodic material.
expressive qualities: Qualities such as dynamics, tempo, articulation which— harmonizing instruments: Musical instruments, such as guitars, ukuleles,
when combined with other elements of music—give a composition its musical and keyboards, capable of producing harmonies as well as melodies, often
identity. used to provide chordal accompaniments for melodies and songs.
form: Element of music describing the overall organization of a piece of harmony: Chordal structure of a music composition in which the
music, such as AB, ABA, rondo, theme and variations, and strophic form. simultaneous sounding of pitches produces chords and their successive use
formal design: Large-scale framework for a piece of music in which the produces chord progressions.
constituent parts cohere into a meaningful whole; encompasses both historical periods: Period of years during which music that was created and/
structural and tonal aspects of the piece. or performed shared common characteristics; historians of Western art music
function: Use for which music is created, performed, or experienced, such as typically refer to the following: Medieval (ca. 500–ca. 1420), Renaissance (ca.
dance, social, recreation, music therapy, video games, and advertising. 1420–ca. 1600), Baroque (ca. 1600–ca. 1750), Classic (ca. 1750–ca. 1820),
Romantic (ca. 1820–ca. 1900), and Contemporary (ca. 1900–to present).
fundamentals of music theory: Basic elements of music, their subsets, and
how they interact: rhythm and meter; pitch and clefs; intervals; scales, keys iconic notation: Representation of sound and its treatment using lines,
and key signatures; triads, and seventh chords. drawings, and pictures.
genre: Category of music characterized by a distinctive style, form, and/or improvisation: Music created and performed spontaneously or “in-the-
content, such as jazz, march, and country. moment,” often within a framework determined by the musical style.
independently: Working with virtually no assistance, initiating appropriate

requests for consultation, performing in a self-directed ensemble offering ideas/
solutions that make such consulting collaborative rather than teacher-directed.

intent: Meaning or feeling of the music planned and conveyed by a creator or musical idea: Idea expressed in music, which can range in length from
performer. the smallest meaningful level (motive or short pattern) through a phrase, a
section, or an entire piece.
interpretation: Intent and meaning that a performer realizes in studying and
performing a piece of music. musical work: Piece of music preserved as a notated copy or sound
recording or passed through oral tradition.
melodic contour: Shape of a melody created by the way its pitches repeat
and move up and down in steps and skips. notation: Visual representation of musical sounds.
melodic pattern: Grouping, generally brief, of tones or pitches. perform: Process of realizing artistic ideas and work through interpretation
and presentation.
melody: Linear succession of sounds (pitches) and silences moving through
time; the horizontal structure of music. performance decorum: Aspects of contextually appropriate propriety and
proper behavior, conduct, and appearance for a musical performance, such
meter: Grouping of beats and divisions of beats in music, often in sets of as stage presence, etiquette, and appropriate attire.
twos (duple meter) or threes (triple meter).
personally developed criteria: Qualities or traits for assessing achievement
mood: Overall feeling that a section or piece of music conveys. level developed by students individually.
motive (motif): Brief rhythmic/melodic figure or pattern that recurs phrase: Musical segment with a clear beginning and ending, comparable to a
throughout a composition as a unifying element. simple sentence or clause in written text.
movement: Act of moving in non-locomotor (such as clapping and finger phrasing: Performance of a musical phrase that uses expressive qualities
snapping) and locomotor (such as walking and running) patterns to represent such as dynamics, tempo, articulation, and timbre to convey a thought,
and interpret musical sounds. mood, or feeling.
music concepts: Understandings or generalized ideas about music that are piece: General, non-technical term referring to a composition or musical work.
formed after learners make connections and determine relationships among
ideas. pitch: Identification of a tone or note with respect to highness or lowness
(i.e., frequency).
music theory: Study of how music is composed and performed; analysis of
the elements of music and the framework for understanding musical works. present: Share artistic work (e.g., a composition) with others.
program: Presentation of a sequence of musical works that can be performed

by individual musicians or groups in a concert, recital, or other setting.

purpose: Reason for which music is created, such as ceremonial, setting: Specified or implied instrumentation, voicing, or orchestration of a
recreational/social, commercial, or generalized artistic expression. musical work.
refine: Make changes in musical works or performances to more effectively setting of the text: Musical treatment of text as presented in the music.
realize intent through technical quality or expression.
share: Present artistic work (e.g., a composition) to others.
repertoire: Body or set of musical works that can be performed.
sonic events: Individual sounds (or sound masses) and silences whose
respond: Understand and evaluate how the arts convey meaning. succession forms patterns and contrasting units that are perceived as musical.
rhythm: Duration or length of sounds and silences that occur in music; sonic experience: Perception and understanding of the sounds and silences
organization of sounds and silences in time. of a musical work and their interrelationship.
rhythmic passage: Short section or series of notes within a larger work that standard notation: System for visually representing musical sound that is
constitutes a single coherent rhythmic idea. in widespread use; such systems include traditional music staff notation,
tablature notation (primarily for fretted stringed instruments), and lead-sheet
rhythmic pattern: Grouping, generally brief, of long and short sounds and notation.
silences.
storyline: Extra-musical narrative that inspires or explains the structure of a
rondo: Musical form consisting of three or more contrasting sections in which piece of music.
one section recurs, such as ABACA.
structural: (See structure).
rubric: Established, ordered set of criteria for judging student performance;
includes descriptors of student work at various levels of achievement. structure: Totality of a musical work.
score: Written notation of an entire music composition. style: Label for a type of music possessing distinguishing characteristics and
often performance practices associated with its historical period, cultural
section: One of a number of distinct segments that together comprise a context, and/or genre.
composition; a section consists of several phrases.
stylistic expression: Interpretation of expressive qualities in a manner that is
select: Choose music for performing, rehearsing, or responding based on authentic and appropriate to the genre, historical period, and cultural context
interest, knowledge, ability, and context. of origin.
sensitivity: Skill of a creator, performer, or listener in responding to and teacher-provided criteria: Qualities or traits for assessing achievement level
conveying the nuances of sound or expression. that are provided to students by the teacher.

technical accuracy, technical skill: Ability to perform with appropriate timbre, timbre: Tone color or tone quality that distinguishes one sound source,
intonation, and diction as well as to play or sing the correct pitches and instrument, or voice from another.
rhythms at a tempo appropriate to the musical work.
tonality: Tonic or key tone around which a piece of music is centered, such
technical challenges: Requirements of a particular piece of music that as major or minor.
stretch or exceed a performer’s current level of proficiency in technical areas
such as timbre, intonation, diction, range, or speed of execution. unity: Presence of structural coherence within a work, generally achieved
through the repetition of various elements of music (See variety).
tempo: Rate or speed of the beat in a musical work or performance.
variety: Presence of structural contrast within a work for the purpose
tension and release: Musical device (musical stress, instability, or intensity, of creating and sustaining interest, generally achieved through utilizing
followed by musical relaxation, stability, or resolution) used to create a flow variations in the treatment of the elements of music (See unity).
of feeling.
venue: Physical setting in which a musical event takes place.
ternary form: (See ABA).
theoretical: (See fundamentals of music theory).

for Theatre
The theatre standards are designed to enable students to achieve literacy in theatre. These grade-by-grade “I regard the theatre
standards articulate the most fundamental elements of theatre, delineating a path by which every student can
and will achieve proficiency or beyond in this ancient and honorable craft. as the greatest of
What Is Literacy in Theatre?
all art forms, the
Developing literacy in theatre means discovering the expressive elements of theatre, knowing the terminology most immediate
that is used to comprehend theatre, having a clear sense of what theatre embodies, and being able to reflect, way in which a
critique, and connect personal experience to theatre.
human being
The theatre standards are written with both drama processes and theatre production in mind. While many
secondary theatre programs focus on performance and design in staged productions as evidence of a
can share with
student’s understanding and achievement in the art, ongoing student engagement in theatre without an end another the sense
product is a valid expression of theatre understanding. These standards address those drama processes as
well as traditional theatre. Drama processes encompass envisioned worlds and unscripted activities designed
of what it is to be
to engage students in a wide range of real and imagined issues; theatre includes the broader and more a human being.”
traditional conventions of the craft developed over the centuries—scripted plays, acting, public performance,
and technical theatre elements. —Thornton Wilder (1897–1975),
Pulitzer Prize winning American
To address both process and product in theatre, the third grade through high school standards of Proficient, playwright and novelist
Advanced, and Accomplished often include the term “drama/theatre” to clarify the distinct yet companion parts
of theatre education. The pre-K through second grade standards, acknowledging the early childhood need for
supervision and unfettered play, use the phrases “dramatic play” or a “guided drama experience.”
California Department of Education California Arts Standards for Theatre | 171

The four artistic processes addressed separately in the theatre standards (creating, performing, responding,
and connecting) are envisioned to occur simultaneously in the actual practice of theatre. The theatre student
makes a character, scene, or story—real or imagined—come alive (creating), shares it with others (performing),
analyzes and evaluates the product (responding), and connects the experience to all other contexts of meaning
or knowledge (connecting). As a result, aspects of multiple standards can be combined within a learning activity:
students can learn a skill, apply it to a scene, make creative decisions while in rehearsal, think critically about
their ideas, and relate their ideas to other experiences, contexts, and meanings.
172 | California Arts Standards for Theatre California Department of Education

PROCESS COMPONENT
Envision/Conceptualize
Theatre artists rely on intuition, curiosity, culture, and critical inquiry.
ESSENTIAL QUESTION
What happens when theatre artists use their culture, imaginations, and/or learned theatre skills while engaging
in creative exploration and inquiry?
PK.TH:Cr1 K.TH:Cr1 1.TH:Cr1 2.TH:Cr1 3.TH:Cr1 4.TH:Cr1 5.TH:Cr1

a. With prompting a. With prompting a. Propose potential a. Propose potential a. Create roles, a. Articulate the a. Identify physical
and supports, and supports, invent choices characters new details to imagined worlds, visual details of qualities that might
transition between and inhabit an could make in plot and story in and improvised imagined worlds reveal a character’s
imagination and imaginary elsewhere a guided drama a guided drama stories in a drama/ and improvised inner traits in the
reality in dramatic in dramatic play experience. experience. theatre work. stories that imagined world of a
play or a guided or a guided drama support the given drama/theatre work.
drama experience. experience. circumstances in a
drama/theatre work.
b. n/a b. n/a b. Identify ways in b. Identify ways b. Collaborate to b. Imagine how a b. Imagine how a
which gestures and in which voice determine how character might character’s inner
movement may and sounds may characters might move and speak thoughts impact
be used to create be used to create move and speak to support the the story and given
or retell a story or retell a story to support the story and given circumstances in a
in guided drama in guided drama story and given circumstances in a drama/theatre work.
experiences. experiences. circumstances in drama/theatre work.
drama/theatre work.

c. With prompting c. With prompting c. Collaborate c. Collaborate c. Imagine and c. Visualize and c. Propose design
and supports, and supports, with peers to with peers to articulate ideas for design technical ideas that support
use non- use non- conceptualize conceptualize costumes, props theatre elements the story and given
representational representational costumes and props scenery in a guided and sets for the that support the circumstances in a
materials to create materials to create in a guided drama drama experience. environment and story and given drama/theatre work.
props, puppets, and props, puppets, and experience. characters in a circumstances in a
costume pieces costume pieces drama/theatre work. drama/theatre work.
for dramatic play for dramatic play
or a guided drama or a guided drama
experience. experience.

6.TH:Cr1 7.TH:Cr1 8.TH:Cr1 Prof.TH:Cr1 Acc.TH:Cr1 Adv.TH:Cr1
a. Identify possible a. Investigate multiple a. Imagine and explore a. Apply basic research a. Investigate historical a. Synthesize knowledge
solutions to staging perspectives and multiple perspectives to construct ideas and cultural conventions from a variety of
challenges in a drama/ solutions to staging and solutions to staging about the visual and their impact on the dramatic forms,
theatre work. challenges in a drama/ problems in a drama/ composition of a visual composition of a theatrical conventions,
theatre work. theatre work. drama/theatre work. drama/theatre work. and technical theatre
elements to create the
visual composition of a
drama/theatre work.
b. Explore a scripted or b. Envision and b. Develop a scripted b. Use script analysis b. Use personal b. Integrate cultural and
improvised character describe a scripted or or improvised character to generate ideas experiences and historical contexts with
by imagining the given improvised character’s by articulating the about a character knowledge to develop personal experiences
circumstances in a inner thoughts and character’s inner that is believable and a character that to create a character
drama/theatre work. objectives in a drama/ thoughts, objectives, authentic in a drama/ is believable and that is believable and
theatre work. and motivations in a theatre work. authentic in a drama/ authentic in a drama/
drama/theatre work. theatre work. theatre work.
c. Identify solutions to c. Explain and present c. Imagine and explore c. Explore the impact c. Understand and c. Create a complete
design challenges in a solutions to design solutions to design of technical theatre apply technical theatre design for a drama/
drama/theatre work. challenges in a drama/ challenges of a elements on design elements to design theatre work that
theatre work. performance space in a choices in a drama/ solutions for a drama/ incorporates all
drama/theatre work. theatre work. theatre work. technical theatre
elements.

PROCESS COMPONENT
Develop
Theatre artists work to discover different ways of communicating meaning.
ESSENTIAL QUESTION
How, when, and why do theatre artists’ choices change?

a. With prompting a. With prompting a. Contribute to the a. Collaborate with a. Participate a. Collaborate to a. Devise original
and supports, and supports, development of a peers to devise in methods of devise original ideas ideas for a drama/
contribute through interact with peers sequential plot in meaningful dialogue investigation to for a drama/theatre theatre work that
gestures and words and contribute to a guided drama in a guided drama devise original ideas work by asking reflect collective
to dramatic play dramatic play or experience. experience. for a drama/theatre questions about inquiry about
or a guided drama a guided drama work. characters and plots. characters and their
experience. experience. given circumstances.
b. With prompting b. With prompting b. With prompting b. Contribute ideas b. Compare ideas b. Make and discuss b. Participate
and supports, and supports, and supports, and make decisions with peers and group decisions in defined
express original express original participate in group as a group to make revisions and identify responsibilities
ideas in dramatic ideas in dramatic decision making advance a story that will enhance responsibilities required to present
play or a guided play or a guided in a guided drama in a guided drama and deepen group required to present a drama/theatre
drama experience. drama experience. experience. experience. drama/theatre work. a drama/theatre work informally to
work to peers. an audience.

a. Use critical analysis a. Examine and justify a. Articulate and a. Explore the function a. Refine a dramatic a. Develop and
to improve, refine, and original ideas and apply critical analysis, of history and culture concept to demonstrate synthesize original ideas
evolve original ideas artistic choices in a personal experience, in the development a critical understanding in a drama/theatre
and artistic choices in drama/theatre work research, and historical of a dramatic concept of historical and work utilizing critical
a devised or scripted based on critical and cultural context through a critical cultural influences of analysis, historical
drama/theatre work. analysis, personal to the development analysis of original original ideas applied and cultural context,
experience, and of original ideas for a ideas in drama/theatre to a drama/theatre in research, and western
historical and cultural drama/theatre work. works from western or western or non-western or non-western theatre
context. non-western theatre theatre traditions. traditions.
traditions.
b. Contribute ideas and b. Demonstrate mutual b. Share leadership b. Investigate the b. Cooperate as a b. Collaborate as
accept and incorporate respect for self and and responsibilities to collaborative nature creative team to make a creative team
the ideas of others in others and their roles develop collaborative of the actor, director, interpretive choices for to discover artistic
preparing or devising in preparing or devising goals when preparing or playwright, and a drama/theatre work. solutions and make
drama/theatre work. drama/theatre work. devising drama/theatre designers and their interpretive choices in
work. interdependent roles in a devised or scripted
a drama/theatre work. drama/theatre work.

PROCESS COMPONENT
Rehearse
Theatre artists refine their work and practice their craft through rehearsal.
ESSENTIAL QUESTION
How do theatre artists transform and edit their initial ideas?

a. With prompting a. With prompting a. Contribute to the a. Contribute to a. Collaborate with a. Revise and refine a. Revise and refine
and supports, and supports, adaptation of the the adaptation of peers to revise, an improvised or an improvised or
answer questions ask and answer plot in a guided dialogue in a guided refine, and adapt scripted drama/ scripted drama/
during dramatic play questions during drama experience. drama experience. ideas to fit the given theatre work theatre work
or a guided drama dramatic play or parameters of a through rehearsal through rehearsal,
experience. a guided drama drama/theatre work. and collaborative collaborative review,
experience. review. and reflection.
n/a n/a b. Identify similarities b. Use and adapt b. Participate and b. Develop physical b. Use physical and
and differences sounds and contribute to physical and vocal exercise vocal exploration
in sounds and movements in a and vocal exploration techniques for for character
movements in a guided drama in an improvised an improvised or development in a
guided drama experience. or scripted drama/ scripted drama/ devised or scripted
experience. theatre work. theatre work. drama/theatre work.
n/a n/a c. Collaborate to c. Independently c. Refine design c. Collaborate on c. Create innovative
imagine multiple generate multiple choices and solutions to design solutions to design
representations of representations of technical theatre and technical and technical
a single object in a single object in elements to theatre element theatre element
a guided drama a guided drama support a devised problems that arise problems that arise
experience. experience. or scripted drama/ in rehearsal for a in rehearsal for a
theatre work. drama/theatre work. drama/theatre work.

a. Receive and a. Demonstrate focus a. Practice collaboration, a. Rehearse and a. Use the rehearsal a. Refine, transform,
incorporate feedback and concentration in analysis, and reflection revise a devised or process to analyze the and re-imagine a
to refine a devised or the rehearsal process to refine a devised or scripted drama/theatre dramatic concept and devised or scripted
scripted drama/theatre to analyze and refine scripted drama/theatre work using theatrical design elements of drama/theatre work
work. choices in a devised or work. conventions. a devised or scripted using the rehearsal
scripted drama/theatre drama/theatre work. process to invent or
work. re-imagine style, genre,
form, and theatrical
conventions.
b. Identify effective b. Develop effective b. Refine effective b. Explore physical, b. Use research and b. Synthesize ideas
physical and vocal physical and vocal traits physical, vocal, and vocal, and physiological script analysis to from research, script
traits of characters in a of characters in an physiological traits choices to develop a revise physical, vocal, analysis, and context to
drama/theatre work. improvised or scripted of characters in an performance that is and physiological create a performance
drama/theatre work. improvised or scripted believable, authentic, choices impacting that is believable,
drama/theatre work. and relevant to a the believability and authentic, and relevant
drama/theatre work. relevance of a drama/ in a drama/theatre
theatre work. work.
c. Explore planned c. Consider multiple c. Implement and c. Refine design choices c. Re-imagine and c. Apply a high level of
designs during the planned technical refine a planned design using technical theatre revise design choices proficiency in design
rehearsal process for theatre elements and using technical theatre elements to support the using technical theatre using technical theatre
a devised or scripted designs during the elements during the story and emotional elements during the elements to the
drama/theatre work. rehearsal process for rehearsal process for impact of a devised or course of a rehearsal rehearsal process to
a devised or scripted devised or scripted scripted drama/theatre process to enhance the support the story and
drama/theatre work. drama/theatre work. work. story and emotional emotional impact of
impact of a devised or a devised or scripted
scripted drama/theatre drama/theatre work.
work.

PROCESS COMPONENT
Select
Theatre artists make strong choices to effectively convey meaning.
ESSENTIAL QUESTION
Why are strong choices essential to interpreting a drama or theatre piece?
PK.TH:Pr4 K.TH:Pr4 1.TH:Pr4 2.TH:Pr4 3.TH:Pr4 4.TH:Pr4 5.TH:Pr4

a. With prompting a. With prompting a. Describe a a. Interpret story a. Apply the a. Adapt the a. Describe the
and supports, and supports, story’s character elements in a elements of dialogue and action underlying thoughts
identify characters identify characters actions and guided drama dramatic structure to change the story and emotions that
in dramatic play and setting in dialogue in a experience. to a story and in a drama/theatre create dialogue and
or a guided drama dramatic play or guided drama create a drama/ work. action in a drama/
experience. a guided drama experience. theatre work. theatre work.
experience.
n/a n/a b. Use body, face, b. Alter voice and b. Explore how b. Make physical b. Use physical
gestures, and voice body to expand and movement choices to develop choices to create
to communicate articulate nuances and voice are a character in a meaning in a
character traits of a character in incorporated into drama/theatre work. drama/theatre work.
and emotions in a guided drama drama/theatre work.
a guided drama experience.
experience.

6.TH:Pr4 7.TH:Pr4 8.TH:Pr4 Prof.TH:Pr4 Acc.TH:Pr4 Adv.TH:Pr4
a. Identify the essential a. Consider various a. Explore different a. Examine how a. Discover how a. Apply reliable
events in a story or staging choices to pacing to better character relationships unique choices research to form unique
script that make up the enhance the story in a communicate the story assist in telling the story shape believable and choices for a directorial
dramatic structure in a drama/theatre work. in a drama/theatre of a drama/theatre work. sustainable drama/ or designer concept in a
drama/theatre work. work. theatre work. drama/theatre work.
b. Experiment with b. Use various character b. Use various character b. Shape character b. Identify essential text b. Apply a variety of
various physical choices objectives in a drama/ objectives and tactics choices using given information, research researched acting
to communicate theatre work. in a drama/theatre circumstances in a from various sources, techniques as an
character in a drama/ work to overcome an drama/theatre work. and the director’s approach to character
theatre work. obstacle. concept that influence choices in a drama/
character choices in a theatre work.
drama/theatre work.

PROCESS COMPONENT
Prepare
Theatre artists develop personal processes and skills for a performance or design.
ESSENTIAL QUESTION
What can I do to fully prepare a performance or technical design?

a. With prompting a. With prompting a. With prompting a. Demonstrate a. Participate in a a. Practice selected a. Choose acting
and supports, and supports, and supports, the relationship variety of physical, exercises that can exercises that can
understand that understand that identify and between and among vocal, and cognitive be used in a group be applied to a
imagination is voice and sound understand that body, voice, and exercises that can setting for drama/ drama/theatre work.
fundamental to are fundamental physical movement mind in a guided be used in a group theatre work.
dramatic play and to dramatic play is fundamental drama experience. setting for drama/
guided drama and guided drama to guided drama theatre work.
experiences. experiences. experiences.
b. With prompting b. With prompting b. With prompting b. Explore technical b. Identify the basic b. Propose the use b. Demonstrate the
and supports, and supports, and supports, theatre elements technical theatre of technical theatre use of technical
explore and explore and identify technical in a guided drama elements that can elements in a theatre elements
experiment with experiment with theatre elements experience. be used in drama/ drama/theatre work. in a drama/theatre
various technical various technical that can be used theatre work. work.
theatre elements theatre elements in a guided drama
in dramatic play in dramatic play experience.
or a guided drama or a guided drama

a. Recognize how a. Participate in a a. Use a variety of a. Practice various a. Refine a range of a. Use and justify a
acting exercises and variety of acting acting techniques to acting techniques acting skills to build collection of acting
techniques can be exercises and increase skills in a to expand skills in a a believable and exercises from
applied to a drama/ techniques that can be rehearsal or drama/ rehearsal or drama/ sustainable drama/ reliable resources to
theatre work. applied in a rehearsal theatre performance. theatre performance. theatre performance. prepare a believable
or drama/theatre and sustainable
performance. performance.
b. Articulate how b. Choose a variety b. Use a variety of b. Use researched b. Apply technical b. Explain and justify
technical theatre of technical theatre technical theatre technical theatre theatre elements the selection of
elements are integrated elements that can be elements to create a elements to increase and research to technical theatre
into a drama/theatre applied to a design in a design for a rehearsal the impact of design create a design that elements used to
work. drama/theatre work. or drama/theatre for a drama/theatre communicates the build a design that
production. production. concept of a drama/ communicates the
theatre production. concept of a drama/
theatre production.

PROCESS COMPONENT
Share, Present
Theatre artists share and present stories, ideas, and envisioned worlds to explore the human experience in
diverse cultures.
ESSENTIAL QUESTION
What happens when theatre artists and audiences share a creative experience?

With prompting and With prompting With prompting Contribute to group Share small-group Present a drama/ Present drama/
supports, engage and supports, use and supports, guided drama drama/theatre theatre work to theatre work to an
in dramatic play voice and sound use movement experiences and work, with peers as peers as audience audience.
or a guided drama in dramatic play and gestures to informally share audience. and reflect on
experience and or a guided drama communicate with peers. performance.
share with others. experience and emotions in a guided
share with others. drama experience
and share with others.

Adapt a piece of Create through Perform a rehearsed, Perform a rehearsed, Present a drama/ Present a drama/
literature and present it improvisation a drama/ scripted scene from a scripted short drama/ theatre work using theatre production for a
for an audience. theatre work that will drama/theatre work for theatre work for a creative processes that specific audience that
be shared with an an audience. specific audience. shape the production employs research and
audience. for a specific audience. analysis grounded in
creative perspectives of
the playwright, director,
designer, and dramaturgy.

PROCESS COMPONENT
Reflect
Theatre artists reflect to understand the impact of drama processes and theatre experiences.
ESSENTIAL QUESTION
How do theatre artists comprehend the essence of drama processes and theatre experiences?
PK.TH:Re7 K.TH:Re7 1.TH:Re7 2.TH:Re7 3.TH:Re7 4.TH:Re7 5.TH:Re7

With prompting and With prompting and Recall choices Recognize when Understand and Identify artistic Explain personal
supports, recall an supports, express an made in a guided artistic choices are discuss why artistic choices made in reactions to artistic
emotional response emotional response drama experience. made in a guided choices are made a drama/theatre choices made in
in dramatic play to characters in drama experience. in a drama/theatre work through a drama/theatre
or a guided drama dramatic play or work. participation and work through
experience. a guided drama observation. participation and
experience. observation.
6.TH:Re7 7.TH:Re7 8.TH:Re7 Prof.TH:Re7 Acc.TH:Re7 Adv.TH:Re7

Describe and record Compare recorded Apply appropriate Respond to what is Demonstrate an Use historical and
personal reactions to personal and peer criteria to the evaluation seen, felt, and heard in understanding of cultural context to
artistic choices in a reactions to artistic of artistic choices in a a drama/theatre work multiple interpretations structure and justify
drama/theatre work. choices in a drama/ drama/theatre work. to develop criteria for of artistic criteria and personal responses to a
theatre work. artistic choices. how each might be drama/theatre work.
used to influence future
artistic choices of a
drama/theatre work.

PROCESS COMPONENT
Interpret
Theatre artists’ interpretations of drama/theatre work are influenced by personal experiences, culture, and
aesthetics.
ESSENTIAL QUESTION
How can the same work of art communicate different messages to different people?

a. With prompting a. With prompting a. Explain a. Explain how a. Consider a. Compare a. Justify responses
and supports, and supports, preferences and personal preferences multiple personal and contrast based on personal
explore preferences identify preferences emotions in a and emotions experiences when multiple personal experiences when
in dramatic play, in dramatic play, guided drama affect an observer’s participating in or experiences when participating in or
guided drama a guided drama experience or age- response in a guided observing a drama/ participating in or observing a drama/
experience, or age- experience, or age- appropriate theatre drama experience theatre work. observing a drama/ theatre work.
appropriate theatre appropriate theatre performance. or age-appropriate theatre work.
performance. performance. theatre performance.
b. With prompting b. With prompting b. Identify causes b. Identify causes b. Consider b. Compare and b. Explain responses
and supports, and supports, of character actions and consequences multiple ways to contrast the qualities to characters based
name and describe name and describe in a guided drama of character actions develop a character of characters in a on cultural contexts
characters in settings in dramatic experience. in a guided drama using physical drama/theatre work when participating
dramatic play or play or a guided experience. characteristics and through physical in or observing
a guided drama drama experience. prop or costume characteristics and drama/theatre work.
experience. design choices prop or costume
that reflect cultural design choices
contexts in drama/ that reflect cultural
theatre work. contexts.

c. With prompting c. With prompting c. Explain or use c. Explain or use c. Examine how c. Identify c. Investigate the
and supports, and supports, text and pictures text and pictures connections are and discuss effects of emotions
describe how describe how to describe to describe how made between physiological on posture, gesture,
personal emotions personal emotions how personal others’ emotions oneself and changes connected breathing, and
and choices and choices emotions and and choices a character’s to emotions in vocal intonation in a
compare to compare to choices compare may compare emotions in drama/ drama/theatre work. drama/theatre work.
the emotions the emotions to the emotions to the emotions theatre work.
and choices of and choices of and choices of and choices of
characters in characters in characters in a characters in a
dramatic play or dramatic play or guided drama guided drama
a guided drama a guided drama experience. experience.

a. Explain how artists a. Identify the artistic a. Recognize and a. Analyze and compare a. Develop detailed a. Use detailed
make choices based on choices made based on share artistic choices artistic choices supporting evidence supporting evidence
personal experience in personal experience in when participating in developed from and criteria to reinforce and appropriate criteria
a drama/theatre work. a drama/theatre work. or observing a drama/ personal experiences in artistic choices when to revise personal work
theatre work. multiple drama/theatre participating in or and interpret the work of
works. observing a drama/ others when participating
theatre work. in or observing a drama/
theatre work.
b. Identify cultural b. Describe how cultural b. Analyze how cultural b. Identify and compare b. Apply concepts from b. Use new
contexts that may contexts can influence contexts influence the cultural contexts and a drama/theatre work understandings of
influence the evaluation the evaluation of evaluation of a drama/ contexts that may for personal realization cultures and contexts
of a drama/theatre work. drama/theatre work. theatre work. influence the evaluation about cultural contexts to shape personal
of a drama/theatre work. and understanding. responses to drama/
theatre work.

c. Identify personal c. Interpret how the use c. Apply personal c. Understand how c. Debate and c. Support and explain
aesthetics, preferences, of personal aesthetics, aesthetics, preferences, multiple aesthetics, distinguish multiple aesthetics, preferences,
and beliefs through preferences, and beliefs and beliefs to evaluate preferences, and beliefs aesthetics, preferences, and beliefs to create
participation in or can be used to discuss a drama/theatre work. shape participation in and beliefs through a context for critical
observation of drama/ drama/theatre work. and observation of a participation in and research that informs
theatre work. drama/theatre work. observation of drama/ artistic decisions in a
theatre work. drama/theatre work.

PROCESS COMPONENT
Evaluate
Theatre artists apply criteria to understand, explore, and assess drama and theatre work.
ESSENTIAL QUESTION
How do analysis and synthesis impact the theatre artist’s process and audience’s perspectives?

a. With prompting a. With prompting a. Build on others’ a. Collaborate on a a. Understand how a. Develop and a. Develop multiple
and supports, and supports, ideas in a guided scene in a guided and why groups implement a plan criteria to evaluate
discuss and make discuss and make drama experience. drama experience. evaluate drama/ to evaluate drama/ drama/theatre work.
decisions about decisions with theatre work. theatre work.
dramatic play or others in dramatic
a guided drama play or a guided
experience. drama experience.
n/a n/a b. Compare and b. Describe how b. Evaluate and b. Analyze and b. Analyze and
contrast the characters respond analyze problems evaluate a evaluate a character’s
experiences of to challenges in and situations in a character’s choice circumstances in a
characters in a a guided drama drama/theatre work in a drama/theatre drama/theatre work
guided drama experience. from an audience work from an from an audience
experience. perspective. audience perspective. perspective.
n/a n/a c. Identify props and c. Use a prop or c. Consider and c. Explore how c. Assess how
costumes that might costume in a guided analyze technical technical theatre technical theatre
be used in a guided drama experience to theatre elements elements may elements represent
drama experience. describe characters, from multiple support a theme or the theme of a
settings, or events. drama/theatre idea in a drama/ drama/theatre work.
works. theatre work.

a. Use supporting a. Explain preferences, a. Respond to a drama/ a. Examine a drama/ a. Analyze and assess a. Research and
evidence and criteria to using supporting theatre work using theatre work using a drama/theatre work synthesize cultural and
evaluate drama/theatre evidence and criteria, supporting evidence, supporting evidence by connecting it to art historical information
work. to develop a personal personal aesthetics, and criteria, while forms, history, culture, related to a drama/
aesthetic to evaluate and artistic criteria. considering art forms, and other disciplines theatre work to support
drama/theatre work. history, culture, and using supporting or evaluate artistic
other disciplines. evidence and criteria. choices.
b. Identify a specific b. Identify how the b. Assess the impact of b. Formulate a deeper b. Justify how a b. Compare and debate
audience or purpose for intended purpose of a drama/theatre work understanding and drama/theatre work the connection between
a drama/theatre work. a drama/theatre work on a specific audience. appreciation of a communicates for a a drama/theatre work
appeals to a specific drama/theatre work by specific purpose and and contemporary
audience. considering its specific audience. issues that may impact
purpose or intended audiences.
audience.
c. Identify the technical c. Analyze and evaluate c. Differentiate the c. Analyze and evaluate c. Construct meaning c. Analyze and evaluate
theatre elements used the aesthetics of the effect of technical the aesthetics and in a drama/theatre varied aesthetic
in a drama/theatre technical theatre theatre elements effect of the technical work, considering interpretations of
work to justify aesthetic elements in a drama/ used in a drama/ theatre elements in a personal aesthetics and technical theatre
choices. theatre work. theatre work to assess drama/theatre work. knowledge of technical elements for the same
aesthetic choices. theatre elements, while drama/theatre work.
respecting others’
interpretations.

PROCESS COMPONENT
Empathize
Theatre artists allow awareness of interrelationships between self and others to influence and inform their work.
ESSENTIAL QUESTION
What happens when theatre artists foster understanding between self and others through critical awareness,
social responsibility, and the exploration of empathy?
PK.TH:Cn10 K.TH:Cn10 1.TH:Cn10 2.TH:Cn10 3.TH:Cn10 4.TH:Cn10 5.TH:Cn10

With prompting With prompting and Identify character Relate character Use personal Imagine and identify Explain how
and supports, supports, identify emotions in a experiences experiences and the ways drama/ drama/theatre
identify similarities similarities between guided drama to personal knowledge to make theatre work reflects connects oneself
between a story and characters and experience and experiences in connections to the perspectives to a community or
personal experience oneself in dramatic relate it to personal a guided drama community and of a community or culture.
in dramatic play play or a guided experience. experience. culture in a drama/ culture.
or a guided drama drama experience. theatre work.
experience.
6.TH:Cn10 7.TH:Cn10 8.TH:Cn10 Prof.TH:Cn10 Acc.TH:Cn10 Adv.TH:Cn10

Explain how the actions Incorporate multiple Examine a community Investigate how cultural Choose and interpret Collaborate on a
and motivations of perspectives and issue through multiple contexts, community a drama/theatre work drama/theatre work
characters in a drama/ diverse community perspectives in a ideas, and personal to reflect or question that examines a critical
theatre work impact ideas in a drama/ drama/theatre work. beliefs impact a drama/ personal beliefs. global issue using
perspectives of a theatre work. theatre work. multiple personal,
community or culture. community, and cultural
contexts.

PROCESS COMPONENT
Interrelate

Theatre artists understand and can communicate through their creative process as they analyze the way the
world may be understood.
ESSENTIAL QUESTION
What happens when theatre artists allow an understanding of themselves and the world to inform perceptions
about theatre and the purpose of their work?
PK.TH:Cn11.1 K.TH:Cn11.1 1.TH:Cn11.1 2.TH:Cn11.1 3.TH:Cn11.1 4.TH:Cn11.1 5.TH:Cn11.1

a. With prompting a. With prompting a. Apply skills and a. Determine a. Identify a. Respond to a. Investigate
and supports, and supports, knowledge from appropriate skills connections to community and historical, global,
use skills and identify skills and different art forms and knowledge from community, social social issues and and social issues
knowledge from knowledge from and content areas different art forms issues, and other incorporate other expressed in drama/
other areas in other areas in in a guided drama and content areas content areas in content areas in theatre work.
dramatic play or dramatic play or experience. to apply in a guided drama/theatre work. drama/theatre work.
a guided drama a guided drama drama experience.
b. With prompting b. With prompting b. Use active b. Use appropriate b. Identify b. Use responsible b. Explore
and supports, use and supports, use listening skills to responses to react responsible practices for the ethical
listening skills to listening skills to participate in and to a guided drama practices for creating and responsibilities to
participate in and participate in and observe a guided experience. creating and adapting drama/ oneself and others
observe a guided observe a guided drama experience. adapting drama/ theatre works. when observing and
drama experience. drama experience. theatre works. performing.

6.TH:Cn11.1 7.TH:Cn11.1 8.TH:Cn11.1 Prof.TH:Cn11.1 Acc.TH:Cn11.1 Adv.TH:Cn11.1
a. Identify universal a. Incorporate music, a. Use different forms, a. Explore how cultural, a. Integrate conventions a. Develop a drama/
themes or common dance, art, and/ styles, and genres of global, and historic and knowledge from theatre work that
social issues and or media arts to drama/theatre work to belief systems affect different art forms and identifies and questions
express them through a strengthen the meaning examine contemporary creative choices in a other disciplines to cultural, global, and
drama/theatre work. and conflict in a drama/ social, cultural, or drama/theatre work. develop a cross-cultural historic belief systems.
theatre work with a global issues. drama/theatre work.
particular cultural,
global, or historic
context.
b. Explore the ethical b. Demonstrate ethical b. Examine the b. Practice ethical b. Demonstrate the b. Create a drama/
responsibilities to responsibility to oneself practices, issues, and responsibility to oneself practices, issues, and theatre work that
oneself and others and others during the ethics of appropriation, and others during the ethics of appropriation, appropriately observes
when recording, posting, production process, fair use, copyright, open production process fair use, copyright, open ethical responsibility to
and sharing through and when recording, source, and creative and when recording, source, and creative oneself and others and
the internet, social posting, and sharing commons as they apply posting, and sharing commons as they apply ethics of appropriation,
media, and other through the internet, to creating works of art through the internet, to creating works of art fair use, copyright, open
communication formats. social media, and other and design. social media, and other and design. source, and creative
communication formats. communication formats. commons as they apply
to creating works of art
and design.

PROCESS COMPONENT
Research

Theatre artists critically inquire into the ways others have thought about and created drama processes and
productions to inform their own work.
ESSENTIAL QUESTION
In what ways can research into theatre histories, theories, literature, and performances alter the way a drama
process or production is understood?
PK.TH:Cn11.2 K.TH:Cn11.2 1.TH:Cn11.2 2.TH:Cn11.2 3.TH:Cn11.2 4.TH:Cn11.2 5.TH:Cn11.2

a. With prompting a. With prompting a. Identify a. Identify a. Explore how a. Investigate cross- a. Analyze
and supports, and supports, similarities and similarities and stories are adapted cultural approaches commonalities
identify stories that identify stories differences in differences in from literature to to storytelling in and differences
are similar to one that are different stories from one’s stories from multiple drama/theatre work. drama/theatre work. between stories set
another in dramatic from one another own community in cultures in a guided in different cultures
play or a guided in dramatic play a guided drama drama experience. in preparation for a
drama experience. or a guided drama experience. drama/theatre work.
experience.
b. With prompting b. With prompting b. Collaborate on b. Collaborate on b. Examine how b. Compare the b. Identify historical
and supports, tell and supports, tell the creation of a the creation of a artists have drama/theatre sources that explain
a story in dramatic a story in dramatic short scene based short scene based historically conventions of a drama/theatre
play or a guided play or a guided on a fictional literary on a nonfiction presented the given time period terminology and
drama experience. drama experience. source in a guided literary source in same stories using with those of the conventions.
drama experience. a guided drama different art forms, present.
experience. genres, or drama/
theatre conventions.

6.TH:Cn11.2 7.TH:Cn11.2 8.TH:Cn11.2 Prof.TH:Cn11.2 Acc.TH:Cn11.2 Adv.TH:Cn11.2
a. Research and a. Research and discuss a. Research the story a. Research how other a. Formulate creative a. Justify the creative
analyze two different how a playwright might elements of a staged theatre artists apply choices for a devised or choices made in a
versions of the same have intended a drama/ drama/theatre work creative processes to scripted drama/theatre devised or scripted
drama/theatre story to theatre work to be and compare them to tell stories in a devised work based on research drama/theatre work,
determine differences produced. another production of or scripted drama/ about the selected topic. based on a critical
and similarities in the the same work. theatre work, using interpretation of
visual and aural world research methods. specific data from
of each story. research.
b. Investigate the time b. Examine artifacts b. Identify and use b. Use basic research b. Investigate how b. Present and
period and place of a from a time period and artifacts from a time methods to better personal beliefs and support an opinion
drama/theatre work geographic location period and place to understand the social biases can affect about the social,
to better understand to better understand develop performance and cultural background the interpretation of cultural, and historical
performance and performance and and design choices in a of a drama/theatre work. research data applied understandings of a
design choices. design choices in a drama/theatre work. in drama/theatre work. drama/theatre work,
drama/theatre work. based on critical
research.

Theatre Glossary
The theatre terms defined in this section include only those terms that are genre: Relating to a specific kind or type of drama and theatre such as a
blue text in the standards. The meaning of the terms is specific to their use tragedy, drama, melodrama, comedy, or farce.
in the standards and the artistic discipline. The definitions included here are
not meant to be an exhaustive list or used as curriculum. gesture: An expressive and planned movement of the body or limbs.
The following defined terms are commonly accepted definitions, most of given circumstances: The total set of environmental and situational
which are provided by the National Coalition for Core Arts at https://www. conditions which influence the actions that a character undertakes.
nationalartsstandards.org/content/glossary. guided drama experience: A leader guides participants during a process
acting techniques: Specific skills, pedagogies, theories, or methods of drama, story drama, or creative drama experience (see the definitions)
investigation used by an actor to prepare for a theatre performance. through side-coaching, narration, and prompting; the action of the drama
does not stop in order for the leader to support the students; facilitator may
character traits: Observable embodied actions that illustrate a character’s guide participants in or out of role.
personality, physicality, values, beliefs, and history.
improvise: The spontaneous, intuitive, and immediate response of movement
conflict: The problem, confrontation, or struggle in a scene or play; conflict and speech; a distinction can be made between spontaneous improvisation,
may include a character against him or herself, a character in opposition to which is immediate and unrehearsed, and prepared improvisation, which is
another character, a character against nature, a character against society, or shaped and rehearsed.
a character against the supernatural.
motivation: Reasons why a character behaves or reacts in a particular way in
creative processes: The application of performance, production, and a scene or play.
technical theatre elements (see the definition) to a theatrical production.
non-representational materials: Objects which can be transformed into
cultural context: The characteristics of everyday existence shared by people specific props through the imagination.
in a place or time, including: behaviors, ideas and beliefs, race, religion,
social group, geography, identity, sexual orientation, ability, socio-economic objective: A goal or particular need or want that a character has within a
status, and language. scene or play.
devised drama: Creation of an original performance piece by an ensemble. plot: A narrative as revealed through the action and/or dialogue; traditionally,
a plot has the elements of exposition, inciting incident, conflict, rising action,
dramatic play: Play where children assign and accept roles, then act them out. climax, and resolution or falling action.

script analysis: The study of a script to understand the underlying structure and technical theatre elements: The elements of spectacle used to create a
themes of the play’s story, and the motives and objectives of its characters. unified and meaningful design for a theatrical production, such as sets,
sound, costumes/make-up, lighting, music, props, and multimedia, as well
scripted drama: A piece of writing for the theatre that includes a description as elements specific to the production, e.g., puppets, masks, special effects,
of the setting, a list of the characters, the dialogue, and the action of the or other story-telling devices/concepts.
characters.
theatrical conventions: Practices and/or devices that the audience and
staging: The arrangement of actors and scenery on a stage for a theatrical actors accept in the world of the play even when it is not realistic, such as a
production, sometimes known as mise-en-scène. narrator, flashback, or an aside.
story elements: Characters, setting, dialogue, and plot that create a story. theme: The aspect of the human condition under investigation in the drama;
style: The use of a specific set of characteristics or distinctive techniques it can be drawn from unifying topics or questions across content areas.
such as realism, expressionism, epic theatre, documentary theatre, or
classical drama; style may also refer to the unique artistic choices of a
particular playwright, director, or actor.
tactic: The means by which a character seeks to achieve their objective;

the selection of tactics is based on the obstacle presented. In acting and
directing, a tactic refers to a specific action verb.

for Visual Arts
The visual arts standards are designed to enable students to achieve visual arts literacy and develop technical “Every child is
artistic skills. Visual arts include the traditional fine arts such as drawing, painting, ceramics, metals,
printmaking, fiber arts, photography, sculpture, works in wood, and mixed media; architectural, environmental, an artist. The
and industrial arts, such as urban interior, product, and landscape design; and folk art, which was historically problem is how to
defined by “originating from, or traditional to the common people of a country” (Collins English Dictionary 2019).
Today both formally and nonformally trained artists work in folk art media celebrating rich cultural traditions. remain an artist
What Is Literacy in Visual Arts?
once we grow up.”
In the visual arts, developing literacy occurs as a result of engaging in an authentic creative process through the —Pablo Picasso (1881–1973),
use of traditional and nontraditional materials and applying the formal elements of art and principles of design; Spanish painter, sculptor,
knowing an arts language to describe art; and discovering the expressive qualities of art to be able to reflect, printmaker, ceramicist, stage
critique, and connect personal experience to art. designer, and playwright
The visual arts standards describe expectations for learning in the visual arts regardless of style or genre.
The standards impart the breadth and depth of the visual art experience through the art-making process. The
standards serve as an impetus for arts educators and administrators to inspire, support, and develop their
students in the many facets of visual arts so they are prepared for a lifelong appreciation, understanding,
engagement and, if pursued, additional study towards a career in visual arts.
California Department of Education California Arts Standards for Visual Arts | 199
Like the other disciplines, the four artistic processes of visual arts (creating, presenting, responding, and
connecting) are addressed linearly in written standards, but are envisioned to occur simultaneously for students
in the actual practice of visual art. The concepts embedded in the standards reflect the scope of learning—the
knowledge, skills, and understandings—taught through study of the visual arts. An artist imagines, executes,
reflects, and refines work before finally completing a piece of work (creating), shares or displays the work
(presenting), reflects on the completed work (responding), and connects the experience to other contexts
of meaning or knowledge (connecting). Students engaging in the artistic process learn by solving problems,
exhibiting their work, and thinking critically about it; then, they continue the process by relating other ideas,
contexts, and meanings to their own as they refine their future work to a more sophisticated level.
200 | California Arts Standards for Visual Arts California Department of Education
PROCESS COMPONENT
Imagine, Plan, Make

Creativity and innovative thinking are essential life skills that can be developed.
ESSENTIAL QUESTIONS
§ What conditions, attitudes, and behaviors support creativity and innovative thinking?
§ What factors prevent or encourage people to take creative risks?
§ How does collaboration expand the creative process?
PK.VA:Cr1.1 K.VA:Cr1.1 1.VA:Cr1.1 2.VA:Cr1.1 3.VA:Cr1.1 4.VA:Cr1.1 5.VA:Cr1.1

Engage in self- Engage in Engage Brainstorm to Elaborate on an Brainstorm Combine ideas
directed or exploration and collaboratively in generate multiple imaginative idea. individual and to generate an
collaborative imaginative play exploration and approaches to collaborative innovative idea for
exploration with with various arts imaginative play an art or design approaches to art-making.
a variety of arts materials. with various arts problem. a creative art or
materials. materials. design problem.
6.VA:Cr1.1 7.VA:Cr1.1 8.VA:Cr1.1 Prof.VA:Cr1.1 Acc.VA:Cr1.1 Adv.VA:Cr1.1

Combine concepts Apply methods to Document early Use multiple Individually or Visualize and
collaboratively to overcome creative stages of the creative approaches to begin collaboratively hypothesize to generate
generate innovative blocks. process visually and/or creative endeavors. formulate new creative plans for ideas and
ideas for creating art. verbally in traditional or problems based on directions for creating
contemporary media. students’ existing art and design that can
artwork. affect social change.
PROCESS COMPONENT
Imagine, Plan, Make

Artists and designers shape artistic investigations, following or breaking with traditions in pursuit of creative
artmaking goals.
ESSENTIAL QUESTIONS
§ How does knowing the contexts, histories, and traditions of art forms help us create works of art and design?
§ Why do artists follow or break from established traditions?
§ How do artists determine what resources and criteria are needed to formulate artistic investigations?

Engage in self- Engage Use observation Make art or design Apply knowledge Collaboratively set Identify and
directed, creative collaboratively in and investigation with various art of available goals and create demonstrate diverse
art-making. creative art-making in preparation for materials and tools resources, tools, artwork that is methods of artistic
in response to an making a work of art. to explore personal and technologies to meaningful and investigation to
artistic problem. interests, questions, investigate personal has purpose to the choose an approach
and curiosity. ideas through the makers. for beginning a work
art-making process. of art.
Formulate an artistic Develop criteria to Collaboratively shape Shape an artistic Choose from a range of Choose from a range of
investigation of guide making a work of an artistic investigation investigation of an materials and methods materials and methods
personally relevant art or design to meet an of an aspect of aspect of present- of traditional and of traditional and
content for creating art. identified goal. present-day life using a day life using a contemporary artistic contemporary artistic
contemporary practice contemporary practice practices to plan works practices, following or
of art and design. of art or design. of art and design. breaking established
conventions, to plan
the making of multiple
works of art and design
based on a theme, idea,
or concept.
PROCESS COMPONENT
Investigate

Artists and designers experiment with forms, structures, materials, concepts, media, and art-making approaches.
ESSENTIAL QUESTIONS
§ How do artists work?
§ How do artists and designers determine whether a particular direction in their work is effective?
§ How do artists and designers learn from trial and error?

Use a variety of art- Through Explore uses of Experiment with Create personally Explore and Experiment and
making tools. experimentation, materials and tools various materials satisfying artwork invent art-making develop skills in
build skills in to create works of and tools to explore using a variety of techniques and multiple art-making
various media and art or design. personal interests artistic processes approaches. techniques and
approaches to in a work of art or and materials. approaches through
artmaking. design. practice.

Demonstrate openness Demonstrate Demonstrate willingness Engage in making a Through Experiment, plan, and
in trying new ideas, persistence in to experiment, innovate, work of art or design experimentation, make multiple works
materials, methods, and developing skills with and take risks to pursue without having a practice, and of art and design that
approaches in making various materials, ideas, forms, and preconceived plan. persistence, explore a personally
works of art and design. methods, and meanings that emerge demonstrate acquisition meaningful theme, idea,
approaches in creating in the process of of skills and knowledge or concept.
works of art or design. artmaking or designing. in a chosen art form.
PROCESS COMPONENT
Investigate

Artists and designers balance experimentation and safety, freedom, and responsibility while developing and
creating artworks.
ESSENTIAL QUESTIONS
§ How do artists and designers care for and maintain materials, tools, and equipment?
§ Why is it important for safety and health to understand and follow correct procedures in handling materials,
tools, and equipment?
§ What responsibilities come with the freedom to create?

Share art materials Identify safe Demonstrate Demonstrate safe Demonstrate an When making Demonstrate quality
with others. and nontoxic art safe and proper procedures for using understanding works of art, utilize craftsmanship
materials, tools, and procedures for using and cleaning art of the safe and and care for through care
equipment. materials, tools, and tools, equipment, proficient use of materials, tools, for and use of
equipment while and studio spaces. materials, tools, and equipment materials, tools, and
making art. and equipment for in a manner that equipment.
a variety of artistic prevents danger to
processes. oneself and others.
Explain environmental Demonstrate awareness Demonstrate awareness Explain how traditional Demonstrate awareness Demonstrate
implications of of ethical responsibility of practices, issues, and and nontraditional of ethical implications understanding of
conservation, care, to oneself and others ethics of appropriation, materials may impact of making and the importance of
and clean-up of arts when posting and fair use, copyright, open human health and distributing creative balancing freedom and
materials, tools, and sharing images and source, and Creative the environment and work. responsibility in the use
equipment. other materials through Commons as they apply demonstrate safe of images, materials,
the internet, social to creating works of art handling of materials, tools, and equipment
media, and other and design. tools, and equipment. in the creation and
communication formats. circulation of creative
work.
PROCESS COMPONENT
Investigate

People create and interact with objects, places, and design, and this defines, shapes, enhances, and empowers
their lives.
ESSENTIAL QUESTIONS
§ How do objects, places, and design shape lives and communities?
§ How do artists and designers determine goals for designing or redesigning objects, places, or systems?
§ How do artists and designers create works of art or design that communicate effectively?

Create and tell Create art that Identify and classify Repurpose found Individually or Document, describe, Identify, describe,
about art that represents natural uses of everyday objects to make collaboratively and represent and visually
communicates and constructed objects through a new artwork or construct regional constructed document places
a story about a environments. drawings, diagrams, design. representations, environments. and/or objects
familiar place or sculptures, or other diagrams, or maps of personal
object. visual means. of places that are significance.
part of everyday life.

Design or redesign Apply visual Select, organize, and Collaboratively Redesign an object, Demonstrate in works
objects, places, or organizational strategies design images and develop a proposal system, place, or of art or design how
systems that meet the to design and produce words to make visually for an installation, design in response to visual and material
identified needs of a work of art, design, clear and compelling artwork, or space contemporary issues. culture defines, shapes,
diverse users. or media that clearly presentations. design that transforms enhances, inhibits, and/
communicates the perception and or empowers people’s
information or ideas. experience of a lives.
particular place.
PROCESS COMPONENT
Reflect, Refine, Revise
Artists and designers develop excellence through practice and constructive critique to reflect on, revise, and
refine work over time.
ESSENTIAL QUESTIONS
§ What role does persistence play in revising, refining, and developing work?
§ How do artists grow and become accomplished in art forms?
§ How does collaboratively reflecting on a work help us experience it more completely?
PK.VA:Cr3 K.VA:Cr3 1.VA:Cr3 2.VA:Cr3 3.VA:Cr3 4.VA:Cr3 5.VA:Cr3

Share and talk Explain the process Use art vocabulary Discuss and reflect Discuss, reflect, Revise artwork in Use art vocabulary
about personal of making art while to describe choices with peers about and add details progress on the to describe
artwork. creating. while creating art. choices made in to enhance an basis of insights personal choices
creating artwork. artwork’s emerging gained through peer in artmaking and
meaning. discussion. in creating artist
statements.
6.VA:Cr3 7.VA:Cr3 8.VA:Cr3 Prof.VA:Cr3 Acc.VA:Cr3 Adv.VA:Cr3

Reflect on whether Reflect on and explain Apply relevant criteria Apply relevant criteria Engage in constructive Reflect on, re-engage,
personal artwork important information to examine, reflect on, from traditional and critique with peers, then revise, and refine
conveys the intended about personal artwork and plan revisions for a contemporary cultural reflect on, reengage, works of art or design
meaning and revise in an artist statement or work of art or design in contexts to examine, revise, and refine works considering relevant
accordingly. another format. progress. reflect on, and plan of art and design in traditional and
revisions for works of art response to personal contemporary criteria as
and design in progress. artistic vision. well as personal artistic
vision.
Presenting—Anchor Standard 4: Select, Analyze, and Interpret Artistic Work for Presentation
PROCESS COMPONENT
Select, Analyze
Artists and other presenters consider various techniques, methods, venues, and criteria when analyzing,
selecting, and curating objects, artifacts, and artworks for preservation and presentation.
ESSENTIAL QUESTIONS
§ How are artworks cared for and by whom?
§ What criteria, methods, and processes are used to select work for preservation or presentation?
§ Why do people value objects, artifacts, and artworks, and select them for presentation?
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Identify reasons Select art objects Explain why some Categorize artwork Investigate and Explore how Define the roles and
for saving and for personal objects, artifacts, based on a theme discuss possibilities past, present, responsibilities of a
displaying objects, portfolio and display, and artworks are or concept for an and limitations of and emerging curator, explaining
artifacts, and explaining why they valued over others. exhibit. spaces, including technologies have the skills and
artwork. were chosen. electronic, for impacted the knowledge needed
exhibiting artwork. preservation and in preserving,
presentation of maintaining, and
artwork. presenting objects,
artifacts, and artwork.
6.VA:Pr4 7.VA:Pr4 8.VA:Pr4 Prof.VA:Pr4 Acc.VA:Pr4 Adv.VA:Pr4

Analyze similarities and Compare and contrast Develop and apply Analyze, select, and Analyze, select, and Critique, justify, and
differences associated with how technologies criteria for evaluating curate artifacts critique personal present choices in the
preserving and presenting have changed the way a collection of artwork and/or artworks for artwork for a collection process of analyzing,
two-dimensional, three- artwork is preserved, for presentation. presentation and or portfolio presentation. selecting, curating, and
dimensional, and digital presented, and preservation. presenting artwork for a
artwork. experienced. specific exhibit or event.
Presenting—Anchor Standard 5: Develop and Refine Artistic Techniques and Work for Presentation
PROCESS COMPONENT
Prepare
Artists, curators, and others consider a variety of factors and methods including evolving technologies when
preparing and refining artwork for display, and when deciding if and how to preserve and protect it.
ESSENTIAL QUESTIONS
§ What methods, processes, and criteria are considered when preparing artwork for presentation, preservation,
portfolio, or collection?
§ How does assessing choices for presentation affect its meaning to the viewer?

Identify places Explain the purpose Ask and answer Distinguish Identify exhibit Analyze the various Develop a logical
where art may be of a portfolio or questions such as between different space and prepare considerations argument for safe
displayed or saved. collection. where, when, why, materials or artistic works of art, for presenting and effective use
and how artwork techniques for including artists’ and protecting of materials and
should be prepared preparing artwork statements, for art in various techniques for
for presentation or for presentation. presentation. locations, indoor preparing and
preservation. or outdoor settings, presenting artwork.
in temporary or
permanent forms,
and in physical or
digital formats.
Individually or Based on criteria, Collaboratively prepare Analyze and evaluate Evaluate, select, and Investigate, compare,
collaboratively, develop analyze and evaluate and present selected the reasons and apply methods or and contrast methods
a visual plan for methods for preparing, theme-based artwork ways an exhibition is processes appropriate and processes for
displaying works of art, preserving, and for display, and presented. to display artwork in a preserving, presenting,
analyzing exhibit space, presenting art. formulate exhibition specific place. and protecting a variety
the needs of the viewer, narratives for the viewer. of art works.
and the layout of the
exhibit.
Presenting—Anchor Standard 6: Convey Meaning Through the Presentation of Artistic Work
PROCESS COMPONENT
Present
Objects, artifacts, and artworks collected, preserved, or presented either by artists, museums, or other venues
communicate meaning and a record of social, cultural, and political experiences resulting in the cultivating of
appreciation and understanding.
ESSENTIAL QUESTIONS
§ What is an art museum?
§ How does the presenting and sharing of objects, artifacts, and artworks influence and shape ideas, beliefs,
and experiences?
§ How do objects, artifacts, and artworks that are collected, preserved, or presented, cultivate appreciation and
understanding?

Identify where art Explain what an Identify the roles Analyze how art Investigate and Compare and Cite evidence about
is displayed, both art museum is and and responsibilities exhibited inside explain how and contrast purposes how an exhibition in
inside and outside distinguish how of people who and outside of where different of art museums, a museum or other
of school. an art museum is work in and visit schools (such as in cultures record and art galleries, and venue presents
different from other museums and other museums, galleries, illustrate stories other venues, ideas and provides
buildings. art venues. virtual spaces, and history of life as well as the information about a
and other venues) through art. types of personal specific concept or
contributes to experiences they topic.
communities. provide.
Assess, explain, and Compare and Analyze why and how an Analyze and describe Make, explain, and Curate a collection of
provide evidence of contrast viewing and exhibition or collection the impact that justify connections objects, artifacts, or
how museums or experiencing collections may influence ideas, an exhibition or between artists or artwork to impact the
other venues reflect and exhibitions in beliefs, and experiences. collection has on artwork and social, viewer’s understanding
history and values of different venues personal awareness cultural, and political of social, cultural, and/
a community and/or (physical and/or virtual). of social, cultural, or history. or political experiences.
culture. political beliefs and
understandings.
PROCESS COMPONENT
Perceive

Individual aesthetic and empathetic awareness developed through engagement with art can lead to
understanding and appreciation of self, others, the natural world, and constructed environments.
ESSENTIAL QUESTIONS
§ How do life experiences influence the way you relate to art?
§ How does learning about art impact how we perceive the world?
§ What can we learn from our responses to art?
PK.VA:Re7.1 K.VA:Re7.1 1.VA:Re7.1 2.VA:Re7.1 3.VA:Re7.1 4.VA:Re7.1 5.VA:Re7.1

Recognize art in Identify uses Select and describe Perceive and Speculate about Compare responses Compare one’s own
one’s environment. of art within works of art that describe aesthetic processes an artist to a work of art interpretation of a
one’s personal illustrate daily life characteristics of uses to create a before and after work of art with the
environment. experiences of one’s one’s natural world work of art. working in similar interpretation of
self and others. and constructed media. others.
environments.
6.VA:Re7.1 7.VA:Re7.1 8.VA:Re7.1 Prof.VA:Re7.1 Acc.VA:Re7.1 Adv.VA:Re7.1

Identify and interpret Explain how the method Explain how a person’s Hypothesize ways in Recognize and describe Analyze how responses
works of art or design of display, the location, aesthetic choices are which art influences personal aesthetic and to art develop over time
that reveal how people and the experience of influenced by culture, perception and empathetic responses based on knowledge of
live around the world an artwork influence environment, and understanding of to the natural world and experience with art
and what they value. how it is perceived and personal experiences human experiences. and constructed and life.
valued. that impacts the environments.
message it conveys to
others.
PROCESS COMPONENT
Perceive, Analyze

Visual imagery influences understanding of and responses to the world.
ESSENTIAL QUESTIONS
§ What is an image?
§ Where and how do we encounter images in our world?
§ How do images influence our views of the world?
PK.VA:Re7.2 K.VA:Re7.2 1.VA:Re7.2 2.VA:Re7.2 3.VA:Re7.2 4.VA:Re7.2 5.VA:Re7.2

Distinguish between Describe what an Compare images Categorize images Determine Analyze Identify and analyze
images and real image represents. that represent the based on expressive messages components in cultural associations
objects. same subject. properties. communicated by visual imagery that suggested by visual
an image. convey messages. imagery.
6.VA:Re7.2 7.VA:Re7.2 8.VA:Re7.2 Prof.VA:Re7.2 Acc.VA:Re7.2 Adv.VA:Re7.2

Analyze ways that Analyze multiple ways Compare and contrast Analyze how one’s Evaluate the Determine the
visual components and that images influence contexts and media in understanding of the effectiveness of an commonalities within a
cultural associations specific audiences. which viewers encounter world is affected by image or images to group of artists or visual
suggested by images images that influence experiencing visual influence ideas, feelings, images attributed to a
influence ideas, ideas, emotions, and imagery. and behaviors of particular type of art,
emotions, and actions. actions. specific audiences. timeframe, or culture.
PROCESS COMPONENT
Interpret
People gain insights into meanings of artworks by engaging in the process of art criticism.
ESSENTIAL QUESTIONS
§ What is the value of engaging in the process of art criticism?
§ How can the viewer “read” a work of art as text?
§ How does knowing and using visual arts vocabularies help us understand and interpret works of art?
PK.VA:Re8 K.VA:Re8 1.VA:Re8 2.VA:Re8 3.VA:Re8 4.VA:Re8 5.VA:Re8

Interpret art by Interpret art by Interpret art Interpret art by Interpret art by Interpret art Interpret art
identifying and identifying subject by categorizing identifying the analyzing use of by referring by analyzing
describing subject matter and subject matter mood suggested by media to create to contextual characteristics
matter. describing relevant and identifying a work of art and subject matter, information and of form and
details. the mood and describing relevant characteristics of analyzing relevant structure, contextual
characteristics of subject matter and form, and mood. subject matter, information, subject
form. characteristics of characteristics of matter, visual
form. form, and use of elements, and use
media. of media to identify
ideas and mood
conveyed.
6.VA:Re8 7.VA:Re8 8.VA:Re8 Prof.VA:Re8 Acc.VA:Re8 Adv.VA:Re8
Interpret art by Interpret art by Interpret art by Interpret an artwork Identify types of Analyze differing
distinguishing between analyzing art-making analyzing how the or collection of works, contextual information interpretations of an
relevant and irrelevant approaches, the interaction of subject supported by relevant useful in the process artwork or collection of
contextual information characteristics of form matter, characteristics and sufficient evidence of constructing works in order to select
and analyzing subject and structure, relevant of form and structure, found in the work and interpretations of an and defend a plausible
matter, characteristics contextual information, use of media, art- its various contexts. artwork or collection of critical analysis.
of form and structure, subject matter, and use making approaches, works.
and use of media to of media to identify and relevant contextual
identify ideas and ideas and mood information contributes
mood conveyed. conveyed. to understanding
messages or ideas and
mood conveyed.
PROCESS COMPONENT
Evaluate
People evaluate art based on various criteria.
ESSENTIAL QUESTIONS
§ How does one determine criteria to evaluate a work of art?
§ How and why might criteria vary?
§ How is a personal preference different from an evaluation?
PK.VA:Re9 K.VA:Re9 1.VA:Re9 2.VA:Re9 3.VA:Re9 4.VA:Re9 5.VA:Re9

Select a preferred Explain reasons for Classify artwork Use learned art Evaluate an artwork Apply one set of Recognize
artwork and share. selecting a preferred based on vocabulary to based on given criteria to evaluate differences in
artwork. different reasons express preferences criteria. more than one work criteria used to
for preferences about artwork. of art. evaluate works of
using learned art art depending on
vocabulary. styles, genres, and
media as well as
historical and
cultural contexts.
6.VA:Re9 7.VA:Re9 8.VA:Re9 Prof.VA:Re9 Acc.VA:Re9 Adv.VA:Re9

Develop and apply Compare and explain the Create a convincing Establish relevant Determine the Construct evaluations
relevant criteria to difference between an and logical argument to criteria in order to relevance of criteria of a work of art or
evaluate a work of art. evaluation of an artwork support an evaluation evaluate a work of art or used by others to collection of works
based on personal of art. collection of works. evaluate a work of art or based on differing sets
criteria and an evaluation collection of works. of criteria.
of an artwork based on a
set of established criteria.
PROCESS COMPONENT
Synthesize
Through artmaking, people make meaning by investigating and developing awareness of perceptions, knowledge,
and experiences.
ESSENTIAL QUESTIONS
§ How does engaging in creating art enrich people’s lives?
§ How does making art attune people to their surroundings?
§ How do people contribute to awareness and understanding of their lives and the lives of their communities
through artmaking?
PK.VA:Cn10 K.VA:Cn10 1.VA:Cn10 2.VA:Cn10 3.VA:Cn10 4.VA:Cn10 5.VA:Cn10

Explore the world Create art that tells Identify times, Create works of Develop a work Create works of Apply formal
using descriptive a story about a life places, and reasons art about events in of art based on art that reflect and conceptual
and expressive experience. for which students home, school, or observations of community cultural vocabularies of art
words and make art outside of community life. surroundings. traditions. and design to view
artmaking. school. surroundings in
new ways through
artmaking.
6.VA:Cn10 7.VA:Cn10 8.VA:Cn10 Prof.VA:Cn10 Acc.VA:Cn10 Adv.VA:Cn10
Generate a collection Individually or Make art collaboratively Document the process Utilize inquiry methods Synthesize knowledge
of ideas reflecting collaboratively create to reflect on and of idea development, of observation, research, of social, cultural,
current interests and visual documentation reinforce positive form early-stage ideas and experimentation historical, and personal
concerns that could of places and times in aspects of group identity. to fully elaborated ideas. to explore unfamiliar life with art-making
be investigated in which people gather to subjects through approaches to create
artmaking. make and experience artmaking. meaningful works of art
art or design in the or design.
community.
PROCESS COMPONENT
Relate
People develop ideas and understandings of society, culture, and history through their interactions with and
analysis of art.
ESSENTIAL QUESTIONS
§ How does art help us understand the lives of people of different times, places, and cultures?
§ How is art used to impact the views of a society?
§ How does art preserve aspects of life?
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Recognize that Identify a purpose Understand that Compare and Recognize that Through observation, Identify how art
people make art. of an artwork. people from contrast cultural responses to art infer information is used to inform
different places and uses of artwork from change depending about time, place, or change beliefs,
times have made different times and on knowledge of the and culture in which values, or behaviors
art for a variety of places. time and place in a work of art was of an individual or
reasons. which it was made. created. society.
6.VA:Cn11 7.VA:Cn11 8.VA:Cn11 Prof.VA:Cn11 Acc.VA:Cn11 Adv.VA:Cn11

Analyze how art Analyze how response Distinguish different Describe how Compare uses of art Assess the impact of
reflects changing times, to art is influenced by ways art is used to knowledge of culture, in a variety of societal, an artist or a group of
traditions, resources, understanding the time represent, establish, traditions, and history cultural, and historical artists on the beliefs,
and cultural uses. and place in which reinforce, and reflect may influence personal contexts and make values, and behaviors of
it was created, the group identity. responses to art. connections to uses of a society.
available resources, and art in contemporary, local,
cultural uses. and global contexts.
Visual Arts Glossary
The visual arts terms defined in this section include only those terms that are artistic investigations: In making art, forms of inquiry and exploration;
blue text in the standards. The meaning of the terms is specific to their use in through artistic investigation artists go beyond illustrating pre-existing ideas
the standards and the artistic discipline. The definitions included here are not or following directions, and students generate fresh insights—new ways of
meant to be an exhaustive list or used as curriculum. seeing and knowing.
The following defined terms are commonly accepted definitions, most of art-making approaches: Diverse strategies and procedures by which artists
which are provided by the National Coalition for Core Arts at https://www. initiate and pursue making a work.
nationalartsstandards.org/content/glossary.
artwork: Artifact or action that has been put forward by an artist or other
appropriation: Intentional borrowing, copying, and alteration of preexisting person as something to be experienced, interpreted, and appreciated.
images and objects.
brainstorm: Technique for the initial production of ideas or ways of solving
art: In everyday discussions and in the history of aesthetics, multiple (and a problem by an individual or group in which ideas are spontaneously
sometimes contradictory) definitions of art have been proposed. In a classic contributed without critical comment or judgment.
article, “The Role of Theory in Aesthetics,” Morris Weitz (1956) recommended
differentiating between classificatory (classifying) and honorific (honoring) characteristic(s): Attribute, feature, property, or essential quality.
definitions of art. characteristics of form (and structure): Terms drawn from traditional,
In the California Arts Standards, the word art is used in the classificatory modern, and contemporary sources that identify the range of attributes
sense to mean “an artifact or action that has been put forward by an artist or that can be used to describe works of art and design to aid students in
other person as something to be experienced, interpreted, and appreciated.” experiencing and perceiving the qualities of artworks, enabling them to create
An important component of a quality visual arts education is for students to their own work and to appreciate and interpret the work of others.
engage in discussions about honorific definitions of art—identifying the wide
collaboratively: Joining with others in attentive participation in an activity of
range of significant features in art-making approaches, analyzing why artists
imagining, exploring, and/or making.
follow or break with traditions and discussing their own understandings of the
characteristics of “good art.” concepts: Ideas, thoughts, schemata; art arising out of conceptual
experimentation that emphasizes making meaning through ideas rather than
artist statement: Information about context, explanations of process,
through materiality or form.
descriptions of learning, related stories, reflections, or other details in
a written or spoken format shared by the artist to extend and deepen
understanding of his or her artwork; an artist statement can be didactic,
descriptive, or reflective in nature.
constructed environment: Human-made or modified spaces and places; art critique: Individual or collective reflective process by which artists or
and design-related disciplines such as architecture, urban planning, interior designers experience, analyze, and evaluate a work of art or design.
design, game design, virtual environment, and landscape design shape the
places in which people live, work, and play. cultural contexts: Ideas, beliefs, values, norms, customs, traits, practices,
and characteristics shared by individuals within a group that form the
contemporary artistic practice: Processes, techniques, media, procedures, circumstances surrounding the creation, presentation, preservation, and
behaviors, actions, and conceptual approaches by which an artist or designer response to art.
makes work using methods that, though they may be based on traditional
practices, reflect changing contextual, conceptual, aesthetic, material, and cultural traditions: Pattern of practices and beliefs within a societal group.
technical possibilities; examples include artwork made with appropriated curate: Collect, sort, and organize objects, artworks, and artifacts; preserve
images or materials, social practice artworks that involve the audience, and maintain historical records and catalogue exhibits.
performance art, new media works, installations, and artistic interventions in
public spaces. curator: Person responsible for acquiring, caring for, and exhibiting objects,
artworks, and artifacts.
contemporary criteria: Principles by which a work of art or design is
understood and evaluated in contemporary contexts which, for example, design: Application of creativity to planning the optimal solution to a given
include judging not necessarily on originality, but rather on how the work is problem and communication of that plan to others.
re-contextualized to create new meanings.
digital format: Anything in electronic form including photos, images, video,
context: Interrelated conditions surrounding the creation and experiencing of audio files, or artwork created or presented through electronic means; a
an artwork, including the artist, viewer/audiences, time, culture, presentation, gallery of artwork viewed electronically through any device.
and location of the artwork’s creation and reception.
established criteria: Identified principles that direct attention to significant
copyright: Form of protection grounded in the US Constitution and granted by aspects of various types of artwork in order to provide guidelines for
law for original works of authorship fixed in a tangible medium of expression, evaluating the work; these may be commonly accepted principles that have
covering both published and unpublished works. been developed by artists, curators, historians, critics, educators, and others
or principles developed by an individual or group to pertain to a specific work
Creative Commons: Copyright license templates that provide a simple, of art or design.
standardized way to give the public permission to share and use creative
work on conditions of the maker’s choice (http://creativecommons.org/). exhibition narrative: Written description of an exhibition intended to educate
viewers about its purpose.
criteria: In art and design, principles that direct attention to significant
aspects of a work and provide guidelines for evaluating its success.
expressive properties: Moods, feelings, or ideas evoked or suggested through material culture: Human-constructed or human-mediated objects, forms, or
the attributes, features, or qualities of an image or work of art. expressions, that extend to other senses and study beyond the traditional art
historical focus on the exemplary to the study of common objects, ordinary
fair use: Limitation in copyright law which sets out factors to be considered in spaces, and everyday rituals.
determining whether or not a particular use of one’s work is “fair,” such as the
purpose and character of the use, the amount of the work used, and whether materials: Substances out of which art is made or composed, ranging from
the use will affect the market for the work. the traditional to “nonart” material and virtual, cybernetic, and simulated
materials.
formal and conceptual vocabularies: Terms, methods, concepts, or strategies
used to experience, describe, analyze, plan, and make works of art and media: Mode(s) of artistic expression or communication; material or other
design drawn from traditional, modern, contemporary, and continually resources used for creating art.
emerging sources in diverse cultures.
open source: Computer software for which the copyright holder freely
found object: The use of man-made or natural objects not normally provides the right to use, study, change, and distribute the software to
considered traditional art materials. Found objects are transformed by anyone for any purpose (https://opensource.org/).
changing meaning from their original context. The objects can be used singly
or in combination (e.g., assemblage or installation). personal criteria: Principles for evaluating art and design based on individual
preferences.
genre: Category of art or design identified by similarities in form, subject
matter, content, or technique. portfolio: Actual or virtual collection of artworks and documentation
demonstrating art and design knowledge and skills organized to reflect an
image: Visual representation of a person, animal, thing, idea, or concept. individual’s creative growth and artistic literacy.
imaginative play: Experimentation by children in defining identities and preservation: Activity of protecting, saving, and caring for objects, artifacts,
points of view by developing skills in conceiving, planning, making art, and and artworks through a variety of means.
communicating.
preserve: Protect, save, and care for (curate) objects, artifacts, and artworks.
installation art: Art designed to exist in a site-specific location whether inside
or outside, public or private. Contemporary art installation materials can relevant criteria: Principles that apply to making, revising, understanding, and
range from everyday objects and natural materials to new and alternative evaluating a particular work of art or design that are generated by identifying
media. Often the viewer walks into the installation space and is surrounded the significant characteristics of a work.
by the art.
style: Recognizable characteristics of art or design that are found consistently visual imagery: Group of images; images in general.
in historical periods, cultural traditions, schools of art, or works of an
individual artist. visual organizational strategies: Graphic design strategies such as hierarchy,
consistency, grids, spacing, scale, weight, proximity, alignment, and
technologies: Tools, techniques, crafts, systems, and methods to shape, typography choice used to create focus and clarity in a work.
adapt, and preserve artworks, artifacts, objects, and natural and human-
made environments. visual plan: Drawing, picture, diagram, or model of the layout of an art
exhibit where individual works of art and artifacts are presented along with
venue: Place or setting for an art exhibition, either a physical space or a interpretive materials within a given space or venue.
virtual environment.
visual components: Properties of an image that can be perceived.
References
California Department of Education. 2019. Draft 2019 California Health Education Framework. Sacramento,
CA: California Department of Education.
Catterall, James S. 2009. Doing Well and Doing Good by Doing Art: A 12-year National Study of Education in
the Visual and Performing Arts: Effects on the Achievements and Values of Young Adults. Los Angeles, CA:
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College Board. January 2012. Child Development and Arts Education: A Review of Recent Research and Best
Practices. New York, NY: College Board.
CREATE CA. 2015. A Blueprint for Creative Schools. Sacramento, CA: California Department of Education.
https://www.cde.ca.gov/eo/in/documents/bfcsreport.pdf.
Eisner, Elliot. 2002. The Arts and the Creation of Mind. New Haven, CT: Yale University Press.
Hanna, Gay. 2011. The Arts and Human Development: Framing a National Research Agenda for the Arts,
Lifelong Learning, and Individual Well-Being. Washington, DC: National Endowment for the Arts. https://
www.arts.gov/sites/default/files/TheArtsAndHumanDev.pdf.
Israel, Douglas. 2009. Staying in School: Arts Education and New York City High School Graduation
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attachments/1029/staying_in_school.pdf?1410234540.
Mansilla, Veronica Boix, and Anthony Jackson. 2011. Educating for Global Competence: Preparing Our Youth
to Engage the World. New York: Asia Society; Washington, DC: Council of Chief State School Officers.
http://asiasociety.org/files/book-globalcompetence.pdf.
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Monthey, Wanda, Heather Singmaster, Jennifer Manise, and Kate Blosveren Kreamer. 2016. Preparing a
Globally Competent Workforce Through High-Quality Career and Technical Education. New York, NY: Asia
Society; and Washington, DC: Longview Foundation. https://asiasociety.org/sites/default/files/preparing-
a-globally-competent-workforce-june-2016.pdf.
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publications/media-literacy-definitions.
National Coalition for Core Arts Standards (NCCAS). 2014. National Core Arts Standards. Dover, DE: State
Education Agency Directors of Arts Education. http://www.nationalartsstandards.org/sites/default/files/
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Otis College of Arts and Design. 2018. 2018 Otis Report on the Creative Economy. Los Angeles, CA: Otis
College of Arts and Design. https://www.otis.edu/creative-economy.
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Bung-Nyun Kim. 2015. “A Preliminary Study of the Effects of an Arts Education Program on Executive
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California Arts

Dance | Media Arts | Music | Theatre | Visual Arts

Adopted by the California

Dance | Media Arts | Music | Theatre | Visual Arts

Adopted by the California State Board of Education

ii | Publishing Information California Department of Education

Special appreciation is extended to Dr. Stephanie Gregson, Director,

Special recognition is awarded to the following additional CDE staff who

California Department of Education Publishing Information | iii

vi | Contents California Department of Education

California Department of Education Publishing Information | vii

viii | Publishing Information California Department of Education

California Department of Education Publishing Information | ix

x | Publishing Information California Department of Education

TONY THURMOND DR. LINDA DARLING-HAMMOND

Education Code Section 51220

California Department of Education Introduction | 3

Purposes and Development of the Standards

4 | Introduction California Department of Education

California Department of Education Introduction | 5

TABLE 1: Philosophical Foundations and Lifelong Goals (NCCAS 2014, 10)

Components of Artistic Literacy Philosophical Foundations Lifelong Goals

6 | Introduction California Department of Education

Organization of the Standards

Elements of the California Arts Standards

California Department of Education Introduction | 7

Enduring Understandings Discipline-Specific

§ Creating The anchor standards: § Enduring understandings with § PK–Grade 8

Visual Arts), or Producing (for of mind § Process components that  Accomplished

Artistic Processes and Anchor Standards

8 | Introduction California Department of Education

Artistic Processes Anchor Standards: Students will …

Creating 1. Generate and conceptualize artistic ideas and work.

Responding 7. Perceive and analyze artistic work.

Process Components, Enduring Understandings, and Essential Questions

California Department of Education Introduction | 9

Dance Media Arts Music Theatre Visual Arts

10 | Introduction California Department of Education

California Department of Education Introduction | 11

High School High School High School

12 | Introduction California Department of Education

California Department of Education Introduction | 13

14 | Introduction California Department of Education

Additional Codes for Music Standards

There are also two additional levels for the Harmonizing

California Department of Education Introduction | 15

can be heard ... we Prioritizing a Standards-Based Arts Education

16 | Introduction California Department of Education

Inclusive and Equitable Arts Education

California Department of Education Introduction | 17

18 | Introduction California Department of Education

Universal Design for Learning

California Department of Education Introduction | 19

UDL Principles UDL Guidelines

The Arts and Educating for Global Competency

20 | Introduction California Department of Education

Beyond the Standards

California Department of Education Introduction | 21

22 | Introduction California Department of Education

California Department of Education California Arts Standards for Dance | 23

PK.DA.Cr1 K.DA.Cr1 1.DA.Cr1 2.DA.Cr1 3.DA.Cr1 4.DA.Cr1 5.DA.Cr1

24 | California Arts Standards for Dance California Department of Education

California Department of Education California Arts Standards for Dance | 25

Visual Arts), or Producing (for of mind § Process components that Accomplished