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AZ Standards Met:

 Performing Ensembles - Strand 3: Evaluate - Concept 1: Listening to, analyzing, and describing
music. (PO 106, 206, 306) (PO 107, 207, 307) (PO 109, 209, 309) (PO 111, 211, 311) (PO 112,
212, 312)
 Performing Ensembles - Strand 3: Evaluate - Concept 2: Evaluating music and music
performances. (PO 102, 202, 302, 402) (PO 103, 203, 303) (PO 105, 205, 305, 405)

National Standards Met:

 NA.9-12.6
 NA.9-12.7
Post Concert Project:

One of the most important things we, as musicians, can do is not just to perform selected works,
but to critically evaluate our performances of those works. Critical evaluations force us to look
at what actually happened rather than rely on vague impressions made during a performance, and
are essential if any performing group ever wants to excel.

The assignment:
First, listen to the recording of the concert and evaluate our bands performance using the
attached music performance criteria reference rubric deciding which box you feel the band
achieved as a whole and circling the statements you feel best describe our performance.

Second, write a five to six paragraph essay evaluating the band’s concert performance using the
music performance criteria reference rubric as a guide. Include an explanation of why you
feel the band fit into a particular box, and how the band could have performed differently to have
achieved a higher box. Remember, be specific. The goal of this assignment is for you to listen
critically, evaluate, and provide constructive ways to improve the group as a whole.

The essay must be typed, double spaced, and using a standard 12 pt font. Proper grammar and
essay forms are mandatory.

Finally, turn in your essay and your music performance criteria reference rubric.

Helpful Hints:

 You can find recordings of our performance at http://www.bashahighschoolband.com/.

 You may want to familiarize yourself with all of the statements in the music performance
criteria reference rubric before you listen to the recordings.

Due: December 15

.
MUSIC PERFORMANCE CRITERIA REFERENCE
BOX 1 BOX 2 BOX 3 BOX 4 BOX 5
Tone Quality and Intonation

-Performers display an excellent control of most aspects of proper


-There is an average approach to proper tone production, tone production. Lapses are infrequent and minor.
-Performers seldom exhibit training or control, and a although performers are often taxed beyond their ability to -Performers consistently demonstrate mature control and a most
-Performers never exhibit evidence of training or proper concept of tonal center and focus is occasionally control quality of sound in range and volume extremes. - Breath support and control is generally proper. Characteristic timbre highly developed concept of tone production.
control. Tonal focus is nonexistent. present. is generally good but may be adversely affected in extremes of range
-Breath support is rarely present causing timbres to be -Breath support is lacking at times, and the resulting timbres and volume. -Breath support and control is proper and maintained, and there is
-Breath support is not evident. harsh or pinched. can be harsh and pinched. maximum control of air flow.
-The majority of wind instruments are in tune; tonal focus and blend
-No evidence of tuning exists. -Little evidence of instrument tuning exists. -Although attempts at tuning exist, many individual and are complimentary to the sound of the ensemble. Characteristic -The wind instruments are in tune and any pitch inconsistencies are
sectional problems still exist. percussion timbre and quality of sound are frequently present with-in quickly corrected. Tonal focus and timbre are uniform throughout
-Ensemble balance and blend is completely distorted -There is occasional evidence of an attempt to achieve all segments and throughout the ensemble. and characteristic of mature wind and percussion sounds.
due to a total lack of fundamental skills. ensemble balance and blend. -An average attempt at balance has been made, however lapses
do occur due to field placement, individual carelessness, or -A conscious effort has been made to achieve proper balance -Superlative achievement of proper balance exists, both within
-Evaluation of demand is impossible due to difficulty in -Pitch and quality of sound demands are occasionally timbre differences caused by flawed tone production. throughout the ensemble. Lapses are in-frequent and minor. sections and in the overall ensemble.
determining what is being performed. present.
-Performers are generally successful in meeting quality of sound -Excellent demands in production of tone quality and pitch accuracy -Exceptional demands are placed on the performers throughout
and tuning demands of an average nature. are frequently placed on the performers. most of the program.

-Performers exhibit no understanding of basic -Performers seldom exhibit an understanding of basic -Performers exhibit an average approach to basic technique. -Performers exhibit an above average approach to basic technique. -Performers exhibit a highly developed approach to basic technique.
Ensemble Execution\

technique. technique.
-Rhythmic interpretation is acceptable until performers are -Rhythmic interpretation is frequently unified throughout the -Rhythmic interpretation is unified throughout the ensemble.
-Rhythmic interpretation is totally lacking. There is -Rhythmic interpretation is inadequate. Recovery from challenged by difficult passages. ensemble.
never a sense of recovery. errors occasionally exists and concentration is poor. -Attacks and releases are unified and musically satisfying.
Technique

-Attacks and releases are sometimes good, but still become -Attacks and releases are unified much of the time, however some
-Attacks and releases are completely undefined and are -Attacks and releases are inconsistent. problematic in extremes of register and volume. Phrase endings differences do occur. -Ensemble cohesiveness is usually superb through various
utterly unreadable. are not always released together. subdivisions and tempos. Extreme depth or width of formations
-Ensemble cohesiveness is out of synchronization most of -Ensemble cohesiveness is above average with quick recovery during seems to have little or no affect on pulse. Players are confident of
-There is a total lack of rhythmic ensemble the time and is magnified when the ensemble is spread out -Ensemble cohesiveness is acceptable at times, but lacks minor periods of fluctuation. There is excellent control of overall tempo and subdivisions and sound arrives at the focal point with
cohesiveness. The ability to play together as an on the field. Recovery from loss of pulse often takes much consistency especially in fast, highly articulated passages and pulse with rare moments of pulse distortion. Spread formations can solidity and control.
ensemble has not been demonstrated. time and is rarely complete at phrase endings. when the ensemble is spread on the field. Performers exhibit an cause pulse distortion, but recovery is noted.
average awareness of pulse and tempo though recovery from
lapses seems difficult.

-Performers never exhibit the ability to communicate -Performers seldom exhibit the ability to communicate any -Performers are usually able to achieve a meaningful musical -Performers most often project a meaningful musical style with many -Performers achieve clear, meaningful and expressive shaping of
any musical idea or style. musical idea or style. communication of style, although a rigid approach to subtleties in dynamics and expression. musical passages. A natural, well-defined sense of style is evident
interpretation sometimes exists with some subtleties in with superb subtleties in dynamics and expression.
-Phrasing and communication on the part of the -Phrasing and communication on the part of the performer dynamics and expression. -There is an above average attempt at phrasing, dynamic shading and
Musicianship

performer is totally unreadable. is totally unreadable. contouring. Musicianship skills of an above average nature are often -Phrasing, combined with all other aspects of tempo, rhythm, and
-There is an attempt at phrasing, dynamic shading, and present. dynamics combine to produce an expressive and musical
-Ensemble balance and blend is completely distorted. -Ensemble balance and blend is completely distorted. contouring. Some moments of musical understanding are experience.
present throughout the performance. -A conscious effort has been made to achieve proper balance and
-Musical content is inadequate. -Musical content is inadequate. blend throughout the ensemble. Lapses are infrequent and minor. -There is achievement of proper balance and blend, both within the
-An average attempt at balance and blend has been made, woodwind, brass, and percussion sections and in the overall
however lapses do occur. -Above average musical content is frequently present. ensemble.

-Musical content is of an average level. -Maximum musical content is present throughout the performance.

- All voices are audible.


Essay Scoring Rubric:

Name: Date: Concert Band: □ Symphonic Band: □

1 2 3 4 5 Format: Meets the minimum required length, uses a 12 point


standard font.

1 2 3 4 5 Focus: Your essay establishes its central idea clearly and


effectively in the opening paragraph and maintains this
focus throughout the essay. Each paragraph is logically
linked to the main idea and all sentences within the paragraphs
serve to further develop and maintain this focus.

1 2 3 4 5 Conventions: Your essay's prose is written in grammatically


correct English; it has no spelling or grammatical
errors; it shows a sound understanding of the structure of a
good sentence and paragraph.

1 2 3 4 5 Organization: Your ideas follow and relate to each other


in a logical and effective way. Information is organized
within the sentence and paragraph, as well as the paper
itself, for maximum rhetorical effectiveness. Also means
ideas and topics within the essay are balanced.

1 2 3 4 5 Insight: The degree to which your shows insight into your


theme. Your essay explores your subject in all its complexity
and reveals and examines the nature of that complexity
in your essay. Such insights should not be implied but
revealed and developed through good examples from the
texts.

1 2 3 4 5 Development: Your essay uses specific, concrete examples


from the text to illustrate the ideas your essay develops.

1 2 3 4 5 Process: Refers to evidence of revision, planning (e.g.,


brainstorms or clusters, outlines or notes) and careful work
(e.g., does it look like it was written or created at the last
minute?). Also relates to your ability to work in writing
response groups throughout the different stages of the
writing process.

1 2 3 4 5 Benchmark: quality of this work in relation to what I


expect you to be able to do in this class at this time on
such an assignment.

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