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This is to certify that the
thesis entitled
COMPARISON OF THE NAEP MUSIC ASSESSMENTS
CONDUCTED INJ911-1972, 1978-79 AND 1997

presented by

HUI-LAN TSAI

has been accepted towards fulfillment
of the requirements for

MUSIC

 

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6/01 c/CIRCJDmDuopss-ots

 

COMPARISON OF THE NAEP MUSIC ASSESSMENTS
CONDUCTED IN 1971-72, 1978-79 AND 1997

By

Hui-Lan Tsai

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements

for the degree of

MASTER OF MUSIC

School of Music

2001

ABSTRACT

COMPARISON OF THE NAEP MUSIC ASSESSMENTS
CONDUCTED IN 1971-72, 1978-79 AND 1997

By

Hui-Lan Tsai

The purpose of this research was to gather information about the three NAEP
music assessments. Specially, the document examines including the question content
and format, the types of musical examples, the relationship between the NAEP music
assessments and the National Standards for music education, and assessment results
and implications for music education.

Detailed examination revealed that the 1971-72 and 1978-79 assessments were
much more similar in content and format than either of them to the 1997 assessment.
The multiple-choice questions and Western art music examples were used most
frequently in the three assessments. The National Standards for music and the NAEP
music assessments were strongly related particularly in 1997. Assessment results
revealed that many students do not receive systematic instruction in music. Music
educators and teachers should use the assessment results to improve instruction and as a

tool in curricular development.

ACKNOWLEDGEMENT

I would like to sincerely express my appreciation to Dr. Cynthia Taggart, my
advisor, who dedicated many hours guiding me through the thesis process. I would also
think my committee members, Dr. John Kratus and Dr. Jonathan Reed for their insights,
suggestions, and availability to refine this study. Special thanks to other faculty of the
music education department, who assisted me in academic study, and my good friends,
Tao-Bin Yang and Chia-Yu Lin, who encouraged and helped me through the beginning

of the pursuit of the master degree.

TABLE OF CONTENTS

LIST OF TABLES ................................................................................ vii
CHAPTER 1
INTRODUCATION ................................................................................ 1
Assessment in Music Education ......................................................... 3
What is NAEP .............................................................................. 4
NAEP in Music ............................................................................ 6
Student Samples of NAEP Music Assessments ............................... 6
The Importance of NAEP Music Assessments ................................ 8
The Focus of the Study .................................................................... 9
PURPOSE .......................................................................................... 10
PROBLEMS ....................................................................................... 10
DESIGN STATEMENT AND PROCEDURE ................................................ 10
CHAPTER 2
TEST QUESTION CONTENT AND FORMAT IN NAEP MUSIC ASSESSMENT
...................................................................................................... 12
1971-72 NAEP Music Assessment .................................................... 14
Test Question Themes and Subthemes ....................................... 15
Test Question Examples and Cross-reference Tables ....................... 16
Summary .......................................................................... 43
1978-79 NAEP Music Assessment .................................................... 43
Background Questions, Affective Questions, and Cognitive Questions
..................................................................................... 47
Test Question Examples and Cross-reference Tables ....................... 48
Summary .......................................................................... 68
1997 NAEP Music Assessment ......................................................... 69
Music Assessment Framework: Content and Progresses ................... 70
Test Question Examples and Cross-reference Tables ....................... 75
Summary .......................................................................... 88

CHAPTER 3

MUSICAL EXAMPLES IN THE NAEP MUSIC ASSESSMENTS ...................... 90
1971-72 NAEP Music Assessment .................................................... 90
Musical Examples in Test Questions ........................................ 91
Cross-reference Table for Musical Examples ............................... 94
Summary ......................................................................... 94
1978-79 NAEP Music Assessment .................................................... 95
Musical Examples in Test Questions ........................................ 95
Cross-reference Table for Musical Examples ............................. 101
Summary ....................................................................... 101
1997 NAEP Music Assessment ...................................................... 102
Musical Examples in Test Questions ....................................... 102
Cross-reference Table for Musical Examples ............................. 105
Summary ....................................................................... 106
CHAPTER 4
THE RELATIONSHIP BETWEEN NATIONAL STANDARDS FOR MUSIC
EDUCATION AND NAEP MUSIC ASSESSMENTS .................................... 107
1997 NAEP Music Assessment ...................................................... 109
Cross-reference Table of National Standards and NAEP Framework
................................................................................... 110
1971-72 NAEP Music Assessment .................................................. 112
Cross-reference Table of National Standards and Music Objectives....112
1978-79 NAEP Music Assessment ................................................... 114
Cross-reference Table of National Standards and Music Objectives... 114
Summary ................................................................................. 116
CHAPTER 5
ASSESSMENT RESULTS OF TEST ADMINISTRATIONS AND THE
IMPLICATIONS OF ASSESSMENT RESULTS FOR MUSIC EDUCATION ....... 118
1971-72 NAEP Music Assessment ................................................... 118
Musical Performance .......................................................... 1 19
Musical Notation and Terminology ......................................... 120
Instrumental and Vocal Media ............................................... 121

Music History and Literature ................................................ 123

Attitudes Toward Music ...................................................... 125
Summary ........................................................................ 125
1978-79 NAEP Music Assessment ................................................... 126
Achievement Results by Music Objectives ................................ 127
Music Results by Music Objectives and Subobjectives .................. 128
Changes in Achievement in the 1971-72 and 1978-79 Assessments...131
Summary ........................................................................ 132
1997 NAEP Music Assessment ....................................................... 133
Responding Scores and Students’ Music Experiences .................... 133
Performing and Creating Scores and In-and Out-of-School Music
Activities .................................................................. 13 5
Relationship Among Responding, Performing, and Creating
Results ..................................................................... 139
Differences in Achievement by Gender, Race/Ethnicity, and Type of
School ..................................................................... 140
Summary ........................................................................ 143
CHAPTER 6
CONCLUSIONS
Summary of the Study ................................................................. 144
Purpose and Problems ........................................................ 144
Conclusions .................................................................... 145
Implications for Music Education .................................................... 151
Recommendations for Future Research ............................................. 154
APPENDICES
APPENDIX A: 1971-72 and 1978-79 Music Objectives and Subobjectives. ...157
APPENDIX B: NAEP Arts Education Assessment Framework ................... 160
APPENDIX C: K-12 National Standards ............................................. 161
BIBLIOGRAPHY ................................................................................ 1 79

vi

LIST OF TABLES

Table 1. Number and Ratio of Test Questions in 1971-72 Assessment ................... 17
Table 2. Test Questions Related to the Subtheme of Singing Familiar Songs ............ 18

Table 3. Test Questions Related to the Subtheme of Repeating Unfamiliar Musical

Material ................................................................................... 19
Table 4. Test Questions Related to the Subtheme of Improvisation ........................ 20
Table 5. Test Questions Related to the Subtheme of Reading Notation .................... 21
Table 6. Test Questions Related to the Subtheme of Vocabulary ........................... 23
Table 7. Test Questions Related to the Subtheme of Basic Notation ....................... 25
Table 8. Test Questions Related to the Subtheme of Score-Reading ....................... 26
Table 9. Test Questions Related to the Subtheme of Aural Recognition ................... 28
Table 10. Test Questions Related to the Subtheme of Visual Recognition ................. 31
Table 11. Test Questions Related to the Subtheme of Performance Practices. . . . . . . ......34

Table 12. Test Questions Related to the Subtheme of Periods in Music History... ......36

Table 13. Test Questions Related to the Subtheme of Musical Genres and Styles ....... 38

Table 14. Test Questions Related to the Subtheme of Musical Literature ................. 40
Table 15. Test Questions Related to the Subtheme of Attitudes Toward Music. . . . ......42
Table 16. Number and Ratio of Test Questions in 1978-79 Assessment .................. 50
Table 17. Background Questions Related to Exposure to Music .......................... 52

Table 18. Test Questions of the Subobjective Related to being Affectively responsive to

Music .................................................................................. 53

vii

Table 19.

Table 20.

Table 21.

Table 22.

Table 23.

Table 24.

Table 25.

Table 26.

Table 27.

Test Questions of the Subobjective Related to being Acquainted with Music
from Different Nations, Cultures, Periods, genres, and Ethnic Groups ...... 55
Test Questions of the Subobjective Related to Valuing Music in the Life of
Individual, Family and Community ............................................... 57
Test Questions of the Subobjective Related to Making and Supporting
Aesthetic Judgments about Music ................................................. 59
Test Questions of the Subobjective Related to Identifying the Elements of
Music .................................................................................. 60
Test Questions of the Subobjective Related to Identifying the Relationship of
Elements in a Given Composition ................................................ 62
Test Questions of the Subobjective Related to Demonstrating an
Understanding of a Variety of Musical Terms, Expression Markings and
Conducting gestures in a Musical

context ................................................................................... 63
Test Questions of the Subobjective Related to Identifying and Describing the
Features That Characterize a Variety of Folk, Ethnic, Popular and Art Music
........................................................................................... 65
Test Questions of the Subobjective Related to Identifying and Describing the
Music and Musical Style of the Various in Western

Civilization ............................................................................ 67
Test Questions of the Subobjective Related to Citing Examples of the Ways in
Which man Utilizes Music in His social and Central

Life ..................................................................................... 68

viii

Table 28. Number and Ratio of Test Questions in 1997 Assessment ....................... 76

Table 29.
Table 30.
Table 31.
Table 32.

Table 33.

Table 34.

Table 35.

Table 36.

Table 37.

Table 38.

Table 39.

Table 40.

Table 41.

Table 42.

Table 43.

Table 44.

Table 45.

Test Questions Related to the Shalom, My Friend Block ........................ 78
Test Questions Related to the Musical Texture Block ............................ 79
Test Questions Related to the Michael Row the Boat Ashore Block ........... 81
Test Questions Related to the Minute in G Block ................................. 83

Test Questions Related to the Lion Sleep Tonight/Twinkle, Twinkle, Little

Star Block ............................................................................... 84
Test Questions Related to the Ode to Joy/Sing America Block ................. 85
Test Questions Related to the Rock Improvisation and Evaluation Block. . . .86

Test Questions Related to the Jazz Improvisation and Melodic Sight-Reading

Block .................................................................................... 87
Test Questions Related to the Large Ensemble Block ............................ 88
Musical Examples Used in 1971-72 Assessment ................................. 91
Ratios of Examples for Music Tasks in 1971-72 Assessment ................... 94
Musical Examples Used in 1978-79 Assessment ................................. 96
Ratios of Examples for Music Tasks in 1978-79 Assessment ................. 101
Musical examples Used in Question Block ...................................... 103
Ratios of Examples for Music Tasks in 1997 Assessment ..................... 106

The Relationship Between National Standards and NAEP Framework in 1997
NAEP Music Assessment ........................................................... 110
The Relationship Between National Standards and Music Objectives in

1971-71 NAEP Music Assessment ................................................ 113

Table 46. The Relationship Between National Standards and Music Objectives in

Table 47.

Table 48.

Table 49.

Table 50.

1978-79 NAEP Music Assessment ................................................ 115
The Percentage of Correct Items for the Test Themes and Positive Attitudes
Toward Music in the 1971 -72 NAEP Music Assessment ....................... 119
Percentages of success for Question R4P 402008 .............................. 124
Achievement by objectives: Mean percentages of acceptable responses for
ages 9, 13 and 17 on three music objectives ...................................... 128

Music results by objectives and subobjectives .................................. 129

Table 51. National mean percentages and changes incorrect responses for 9-, 13-, and

Table 52.

Table 53.

Table 54.

Table 55.

Table 56.

Table 57.

Table 58.

17-year-olds in two music assessments ........................................... 132
Student participation levels in music activities by level of performance in the
music responding scale .............................................................. 134
Students’ music performing and creating scores by involvement in in-school
music activities ....................................................................... 136
Students’ music performing and cresting scores and their involvement in
in-school and out-of-school music activities ..................................... 138

Average student on performing and creating by level of performance on the

music responding scale .............................................................. 140
Eight—grade students’ music achievement scores by gender .................... 141
Eight-grade students’ music achievement scores by race/ethnicity ........... 142

Eighth-grade students’ music achievement scores by type of school... ......143

CHAPTER 1

INTRODUCTION

Whether they teach in elementary school, high school, or college, all music
educators must assess their students to gather information about what students have
learned and to estimate the effectiveness of their own instruction. Therefore,
appropriate assessment instruments for music programs are important and necessary for
music teachers at every level. Abeles, Hoffer and Klotrnan (1994) wrote that the
assessment and evaluation of students’ success in accomplishing the objectives of the
music curriculum are prerequisites for any effective music program. Following are

some of their more observations:

There is a need to determine students’ achievement and to gather feedback about
the effectiveness of the teaching and instructional materials, as well as to identify
areas in which students may need additional instruction. To be effective, teachers
must assess to determine what their students have learned. Without this
information, teachers do not have ways of improving their own teaching or
identifying and helping students who need additional assistance (p. 303).

In fact, there are many books in music education offering music teachers
information about assessment, measurement, and evaluation (Abeles et al., 1994; Boyle
& Radocy, 1987; Brophy, 1999; Colwell, 1970; Lehman, 1968; Whybrew, 1971).

Assessments can be useful on large-scale basis as well. Often, large-scale
assessments are broader in scope; a broader range of question content and format is

possible and they allow performance assessment on more exercises than is possible in

the usual testing situation. Moreover, broader student participation in tests allows
comparison to be made across ages, schools, states, and countries for years (Mark,
1996). Three national music assessments, which took place in 1971-72, 1978-79, and
1997 under the guidance of the National Assessment of Educational Progress (NAEP)
program, have been completed (Abeles et al., 1994, p. 326; Colwell, 1999, p. 33).
These three national assessments play an important role in American music education.
They are the only nationally representative and continuing assessments of what
America’s students know and can do in music. Students’ participation in NAEP allows
National Center for Education Statistics (N CES) to provide accurate information for the
nation as a whole on how our students are performing in music. “NCES uses NAEP
data to compare the performance of students in individual states against the national
average, and against students in other states. No other assessment can do this” (National
Center for Education Statistic, 2000, p. 1).

To develop and administer each NAEP music assessment required many
experienced educators’ time and lots of money. However, most people are not aware of
these three expensive and time-consuming national assessments. Music teachers know
little about the content, construct, and process validity of the NAEP music assessments.
Therefore, they do not benefit from the three national assessments, which could be used
for improving music instruction.

Why do music teachers know so little about the three NAEP music assessments?
On one hand, books and research enabling teachers to gain insight into the NAEP music
assessments are rare. On the other hand, the existing materials concerning the NAEP

music assessments primarily focus on the assessment results instead of the assessment

instrument and process. Whether or not the three NAEP music assessments are good,
they are the only three national music assessments in America so far, and they are
worthy of study. Only through the understanding of the assessment instrument and
process can the NAEP assessment results really be valuable to the profession. Moreover,
only by having a thorough understanding of NAEP assessments can teachers judge the
NAEP results and compare their opinions with others. Eventually, through
understanding, teachers should be able to use assessment results to improve their
instruction and school districts and states Should be able to apply the results to develop

appropriate curricula.

Assessment in Music Education

 

What is effective music assessment? What are the characteristics of an
appropriate music assessment tool? Rather than focusing only on the superficial and
easily measured behaviors (e. g., key signature identification, identification of names of
composers), music performance skills, musical interpretation, attitudes, and critical
thinking should be measured (Abeles et al., 1994, p.304). The 1997 NAEP music
assessment framework indicates that the music assessment should cover both content
and process. “Content includes (1) knowledge and understanding of music and (2)
perceptual, technique, and intellectual/reflective skills. Processes include (1) creating,
(2) performing, and (3) responding” (National Center for Education Statistics, 1998,
p.2). In short, assessment should focus on what students do during music class and what
they might be expected to do with their abilities in the future (Stauffer, 1999, p. 25).

For a long time, teacher-made achievement tests have been the predominant tool

DJ

used in assessing students” academic achievement. “Such tests are used by teachers to
assess in a systematic way the process of individuals in a class and to help determine
the effectiveness of various modes of instruction” (Abeles, at al., 1994, p. 309). More
recently, standardized tests have been devised, although these came later in music than
in other subjects (Whybrew, 1971, p.16). For example, one such test battery is the Iowa
tests that were devised by Gordon (1971) to test music literary and music achievement.
Currently, the large-scale standardized tests of student academic achievement are
receiving increasing attention in America. Because an appropriate assessment is needed
to diagnose students’ learning and to determine curricular effectiveness and curriculum
implementation, many professional educators use standardized tests to assess student
learning and to estimate the effectiveness of teachers’ instruction, by association or
extension, and to ascertain the quality of schools. Therefore, in many subject areas,
standardized testing iS prevalent at the state, national, and international levels (Day,
1998, p. 16). Standardized tests can be also used to compare students from different
regions and countries. Although standardized tests have been available for decades and
have been used to gather information about children’s learning at a national level in
music education, the 1971-72 NAEP music assessment was the first national large-scale

standardized test.

What is NAEP?

 

The National Assessment of Educational Progress (N AEP) is a congressionally
mandated education research project of the National Center for Education Statistic

(N CBS) in the US. Department of Education under the supervision of the National

Assessment Governing Board (NAGB). NAEP is concerned with achievement, not
aptitude. It is designed to provide baseline data on the achievement of students in
different subject areas, Specifically “to provide helpful information about the progress
of education that can be understood and accepted by layman as well as professional
educators” (National Assessment of Educational Progress, 1970, p.2).

Since 1969, NAEP has gathered objective, census-like data concerning skills,
knowledge, and educational achievement in the basic disciplines of the curriculum
across the country and reported its findings to the nation (National Assessment of
Educational Progress, 1981, p.vii). Lehman says that “its mission is to collect, analyze,
and disseminate valid information concerning the educational accomplishments of
fourth, eighth, and twelfth grade students in various academic subjects” (p. 12).
Moreover, NAEP also gathers contextual data concerning student, teacher, and school
characteristics, instructional practices, and curricula (Music Educators National
Conference, 1998).

The National Assessment Governing Board (1994) reports that the National
Assessment of Education Progress (NAEP) is “the only nationally representative and
continuing assessment of what students in the United States know and can do in various
subjects” Q). i). The NAEP assessment in music represents the first comprehensive
attempt on a national level to measure student performance in the arts. What was the
purpose of National Assessment of Education Progress (NAEP)? According to the 1994

NAEP Report No-MU-40:

The primary goal of the National Assessment of Educational Progress (NAEP)

is to report on the current educational status of young Americans and to monitor

any changes in achievement over time. For each learning area to be assessed,

NAEP asks consultants to develop objectives that define the subject area (p. 1).

NAEP in Music
NAEP has completed three music assessments so far. Music was first assessed

in 1971-72, and the results were reported in 1974. The second assessment was given
during the 1978-79 school year, and the results were reported in 1981. The 1997 NAEP
music assessment was the third (Abeles et al., 1994, p.326; Colwell, 1999, p. 33;
National Assessment of Educational Progress, 1981, xi). According to the projected
assessment schedule for the State and NAEP as approved by the National Assessment
Governing Board, the a full-scale fourth music assessment will be conducted grades
four, eight, and twelve in 2007, establishing a pattern of a ten-year cycle for NAEP arts
education (Day, 1998, p. 19; National Assessment of Educational Progress, 1998).
Cassidy (2000) reports, “considering the huge investment made to develop, administer,
and interpret assessment in the artS (well over S 10 million), the federal government is
likely to have high expectations with regard to the arts community using the 1997
NAEP test results before committing to these future costly assessments” (p. 7).
Student Samples of NAEP Music Assessments

The sample characteristics of the 1971-72, 1978-79, and 1997 music assessments
are not the same. Both the 1971-72 and 1978-79 assessments were conducted by the
Research Triangle Institute, Raleigh, North Carolina and were monitored by the
National Assessment staff (National Assessment of Educational Progress, 1981, p. 9).

Detailed information about those two samples is as follows:

The target populations for each of the assessments included 9-, 13- and
l7-year—olds enrolled in either public or private schools at the time of the
assessments. Seventeen-year-olds who either left school before graduating or
graduated early and adults 26-35 years old were also included in the 1971-72
assessment. However, assessment of out-of-school 17 year-olds and adults is
quite expensive, and in 1978-79 fimds to assess these populations were not

available (National Assessment of Educational Progress, p. 9).

Also, the sample Size in three NAEP music assessments were different: in
1971-72, NAEP assessed music, there were approximately 80,000 to 90,000 students
aged 9, 13, and 17, and young adults from 26 to 35; In 1978-79, the music assessment
was administered to 67,000 aged 9, 13, and 17 (Music Educators National Conference,
1998, p. 35). In 1997, only 2,275 eight-grade students were tested, a sample size
roughly one-tenth that of earlier assessments, and only ninety-eight schools were
involved (Colwell, 1999, p. 36). The small sample Size and age limitations in 1997
NAEP music assessment created doubts in the minds of many music educators

regarding the results of the assessment. Lehman (1999) states:

The small size of the student population sampled in the NAEP arts assessment
resulted in a number of lost opportunities. First, it was more difficult with a small
sample to detect statistically significant differences that may exist. Second, it was
impossible to report the results for Performing and Creating using the “map” that
was used to report the Responding results and that NAEP uses in other
disciplines. Third, it was impossible to report the percentages of students who
met the basic, proficient, and advanced levels, as has been done recently in other
disciplines. Fourth, it was impossible to report results state-by-state, as has been

done in disciplines outside the arts (pp. 36-37).

Also, Colwell (1999) criticizes, “music instruction differs from school to school

more than does mathematics or English instruction, raising serious doubts about the
adequacy or the representative nature of the sample” (p. 37). He believes that students
in the sample were not randomly selected in 1997. Moreover, the sample size used for
the creating and performing blocks was 565 in 1997 compared with 25,000 in 1971-72.
That is a significant change in sampling (Colwell, 1999, p. 37, p. 38).
The Importance of NAEP Music Assessments

The existence of NAEP music assessments is important to music education today.
“The inclusion of the arts within NAEP reinforces the opinion that arts belong among
the basic disciples of the curriculum” (Lehman, 1999, p.12). At present, not all
American schools offer significant instruction in music. For example, in many school
systems, music is a marginal experience for students at the elementary and middle
school level and an elective subject in high school (National Center for Educational
Statistics, 1998, p.2). In addition, because the national standards are voluntary, there is
no uniformity in state assessments, and in fact, most states have no assessed arts
instruction. It is possible that new legislation will withhold monies and decline support
services from elementary and secondary education to states that do not develop
acceptable music assessment programs (Mark, 1996). Fortunately, with NAEP
assistance, states, which could not take on state assessment expense with their own
funds, can resolve their problems.

In addition, the NAEP music assessment demonstrates that large-scale

assessment in music is possible. Lehman ( 1999) says:

It confirms that there are specific, measurable arts skills and knowledge that can
be taught, earned, and assessed. It refutes that view that learning in arts is too

subjective to be assessed. Indeed, the assessment of high-order skills is difficult
in every disciple, but once criteria and scoring rubrics are established, assessment

is just as feasible in the arts as in other field of learning (P.12).

The NAEP music assessments can remind the schools once again that music is
essential for every child’s complete development and education; music education is for
all students, not just for the talented. Therefore, every child should have access to
appropriate instruction in music, and school districts and states should develop the best

possible music curriculum for meeting its students’ educational needs.

The Focus of the Study

 

Although the most recent of the three NAEP music assessments has been
completed for a couple years, most people still do not understand exactly what the
assessments are and why they are useful. Also, they know nothing about the test
content, and the process of administration. Even though a few educators are discussing
the assessments and their results, discourse comparing the three assessments and their
contents is rare. Therefore, what people know about the assessments are the results as
reported in a few articles. Some also know what a few educators think about the results.

A comprehensive study of the all details regarding the NAEP music assessment
is not possible within the scope of the present study. In order to help music teachers to
understand the NAEP music assessment, this initial exploration focuses on what the

three NAEP music assessments are and how the students were assessed.

Purpose
With the intent of improving music assessment and instruction, the purpose of
this research is to gather information about the NAEP music assessment from 1970 to

the present.

Problems
The specific problems of the study are as follow:

1) to compare the test question content and format of the 1971-72, 1978-79, and 1997
NAEP music assessments.

2) to discover the extent to which test content focused on music from the western
classical traditional as opposed to pop, jazz, and music of other cultures in the
1971-72, 1978-79, and 1997 NAEP music assessments.

3) to examine how the 1997 NAEP music assessment adhered to the National
Standards for music and whether the 1971-72 and 1978-79 assessments relate to
National Standards.

4) to compare the assessment results of the three test administrations and discuss the

implications of the assessment results for music education today.

Design Statement and Procedure
In light of the problems of this study, comparisons of assessments question types,
question design, and question content are the main tasks in “this study. The primary
activity in this study is the collection of data. Materials and data about the NAEP music

assessments were collected. Sources of evidence were classified into two categories:

10

primary sources and secondary sources. This study will first sought out primary sources
of evidence. If the primary sources were not available, secondary sources were
employed.

For this study, the primary sources are from cassette tapes for the 1971-72 and
1978-79 music assessment or 1997 NAEP Report Card as well as test questions and
released exercises

The secondary sources used in this study included the following: 1) National
Assessment Education Progress Reports, 2) related research studies, 3) articles from
books, periodicals, newspaper, and journals. and 4) on-line sources. After collecting
those materials, the researcher compared them to other evidence in order to establish
their validity and veracity.

Finally, the researcher examined all data and sources in order and categorize

them in order to analyze and compare the three NAEP music assessments.

ll

CHAPTER 2

TEST QUESTION CONTENT AND FORMAT OF THE NAEP MUSIC
ASSESSMENTS

The content of the three NAEP music assessments measured achievement on
most of the important aspects of music as identified by panels of music education
professionals (National Assessment of Educational Progress, 1975, 1980, and 1998).
The tests included both questions requiring work in the cognitive and affective domains
as well as attitude questions. The 1971-72 assessment test questions were based on six
broad objectives in music education that were identified in 1965 by the test
development panel, which consisted of many people involved in music education at the
university, secondary, and elementary levels. This panel met with lay people and NAEP
staff. The test questions in 1978-79 assessment were based on five music objectives,
incorporating changes in emphasis that had taken place within the profession since
1965. Appendix A contains a list of the objectives and subobjectives that guided the
two music assessments.

Subsequently, the 1997 assessment test content was designed according to the
specifications described in the NAEP Arts Education Assessment Framework.
Development of the NAEP Arts Education Assessment Framework coincided with that
of National Standards for Arts Education, providing an unprecedented opportunity to
align standards and assessment in a model for arts education” (Music Educators
National Conference, 1998, p. 35). Appendix B lists the NAEP Arts Education

Assessment Framework and Appendix C represents the K-12 National Standards for

Music Education.

Test questions for the assessments included paper—pencil items and a variety of
performance items. Most paper-pencil items were multiple-choice questions, although
the tests included some matching questions and open-ended questions that required
responses varying in length from a short statement to a long essay. Some questions
employed pictures, tapes, films, or practical, everyday items as stimuli (Mark, 1996).
Performance exercises were included in both 1971-72 and 1997 assessments but not in
the 1978-79 assessment. For the performance test items, subjects were tested
individually.

For the purpose of determining whether the performance level of Americans has
improved or declined, some items from the 1971-72 assessment were readministrated in
1978-79. In this chapter, all of the test questions from the three NAEP music
assessments that have been released in the NAEP reports and the NAEP Arts Report
Card are examined. In order to coordinate this study with the NAEP reports, the
original NAEP numbers for each test question are reported as a part of this document.
Detailed question-by-question documentation of 1971-72 assessment is provided in the
Music technical report: Exercise volume, report 03-MU-20, information concerning the
1978-79 assessment information is listed in The second assessment of music: Released
exercise set, report 10-MU-25, and 1997 assessment information is available in the

NAEP 1997 Arts Report Card.

1971-72 NAEP Music Assessment

“The Music assessment began in the Fall of 1965. when a panel of professionals
convened to identify the objectives of music education” (National Assessment
Educational Progress, 1974, p. l ). Based upon the objectives, NAEP developed the first
National Assessment in an attempt to measure students’ behaviors that are assumed to
correlate with sensitivity to music. Also, the Assessment attempted to measure three
sets of analytic skills typically taught in the music classroom: 1) the ability to use
traditional notation and other graphic representations of music, 2) the ability to
discriminate and label the instruments and voices used in the performance of music,
and 3) the ability to recognize important aspects of music history and literature
(National Assessment Educational Progress. 1974).

One hundred and forty one test questions were developed, and test question
packages were administered to 9-, l3- and 17-year-olds, and young adults from 26 to
35 years of age. However. no Single age level was asked to respond to all 141 questions.
Questions in the packages varied in content and number across age levels. Also, certain
subobjectives were determined to be inappropriate for one or more age levels.
Therefore, as shown in Tables 1 to 15, many questions were designed for individuals at
two or more age levels, which were called overlap questions, and in some cases a
question was administered at only one age level.

Test questions were designed for two kinds of administration modes, group and
individual. The group questions in the assessment included two question types:
multiple-choice and short answer. Test questions designated as “individual” were

administered on a one-to-one basis in an interview setting; test questions for “group”

were administered using a paced tape recording to present the questions to groups of 12

respondents.

Test Question Themes and Subthemes
Each of the 141 questions in the 1971-72 assessment was written to measure one
of the specific music objectives and their subobjectives, which were developed in 1965.
However, when reporting the released questions and test results in the 1975 NAEP
Report No O3-MU-20, NAEP categorized test questions into the following five content
themes, and each question was also classified into a more Specific objective or skill
within the content theme.
I. Musical performance
A. Singing familiar songs
B. Repeating unfamiliar musical material
C. Improvising
D. Reading notation
11. Musical notation and terminology
A. Vocabulary
B. Basic notation
C. Score-reading
III. Instrumental and vocal media
A. Aural recognition
B. Visual recognition

C. Performance practices

IV. Musical history and literature
A. Periods in music history
B. Musical genres and styles
C. Music literature

V. Attitudes toward music

Although question themes and the 1965 objectives were similar, their purposes
were different. Overall, music objectives and subobjectives were designed for
determining test content and design; however, question themes and subthemes were

used for organizing test questions and content in the Report.

Test Question Examples and Cross-reference Tables

Not all questions have been released to the public. One hundred and twenty four
questions were released for the 1971-72 assessment. Therefore, there are 17 questions
that are not discussed in the context of this study, because they were readministered in
the 1978-79 assessment to determine whether the performance level of Americans had
improved or declined (National Assessment of Educational Progress, 1975). Eighteen
items, 14.5% of the 124 released items, were used to measure musical performance
skills; 40 items, 32.3% of the 124, were designed to measure knowledge of notation and
terminology; 30 items, 24.1% of the 124. were designed to measure knowledge of
instrumental and vocal media; 26 items, 20.9% of the 124, were designed to measure
knowledge of music history and literature; 10 items, 8%, were designed to measure

attitude toward music (see Table 1).

l6

Table 1. Number and ratio of test questions in 1971-72 assessment.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Theme Subtheme Number of Ratio of
questions questions

Musical performance Singing familiar songs 5 4%

18/ 1 24 Repeating unfamiliar musical 3 2.4%

material
14.5% Improvising 4 3 .2%
Reading notation 6 4.8%

Musical notation Vocabulary 14 l 1.2%
and terminology

40/124 Basic notation 12 9.7%

32.3% Score-reading 14 1 1.2%
Instrumental and media Aural recognition 22 17.7%

30/124 Visual recognition 4 3 .2%

24.1% Performance practices 4 3.2%
Musical history Periods in music history 5 4%
and literature

26/124 Musical genres and styles 14 11.3%

20.9% Music literature 7 5.6%
Attitudes toward music No subtheme 10 8%

10/124

8 %

 

 

Musical Performance

In the musical performance content area, “all of the questions were administered

to one respondent at one time. An administrator read the instructions for the task and

recorded the individual’s musical response according to various criteria set forth in

scoring guides developed by music consultants” (National Assessment of Educational

Progress, 1975. p.11).

 

Singing familiar song: Discussion and example

The 1971-72 measure includes three released questions focused on the
respondent’s ability to sing familiar songs (see Table 2). In this category of questions,
each respondent was tested individually, and time was not limited by a paced tape. The
administrator read the instructions to each individual respondent, played the stimuli on
one tape recorder and then recorded the response on another tape recorder. For example,
for question RIB 101002, individuals performed the song “America” twice (National
Assessment of Educational Progress, 1975. p.29). Following are the directions for the
item:

Here are the words to the song, “America.” You are to sing it two times. Join in

singing with the voices at the beginning. The voices will stop at the beginning of

the second time. Keep singing when the voices stop.

Table 2. Test questions related to the subtheme of singing familiar songs

 

 

 

 

 

 

 

NAEP # 9-year l3—year 17-year Adult
R1A101001a * * * *
U1a101001b * * * *
RIB 101002 * * * *
R1C 101004 *

UlC 101005 * * *

 

 

 

 

 

 

Note. "‘ means that the question was administered to subjects tested in this age level. R
at the beginning of each NAEP # means that it is a released question; U means that it is

an unreleased question.

 

Repeatingunfamiliar musical materiarl: Discussion and example

The 1971-72 measure included three released questions focused on repeating
unfamiliar musical material (see Table 3). These were items requiring the repetition of
rhythm, one requiring the repetition of a melody, and the third requiring harmonic
repetition. For example, for question RID 301016, all four age levels were asked to
repeat a rhythm pattern that was performed for them orally. Respondents did not see the
notation (National Assessment of Educational Progress, 1975, p. 98). Following are the
exact directions for the item:

Listen carefully to the rhythm. You will hear it two times. Try to remember it so

that you can tap out the same rhythm with this drum. You may play the drum

with one or both hands.

The rhythm pattern to be repeated was the following:
4
4 JJJD IJJJIII

Table 3. Test questions related to the subtheme of repeating unfamiliar musical material

 

 

 

 

NAEP # 9-year 13-year 17-year Adult
RID 301016 * * * *
RlE 301022 * * * "‘
R1 F 101006 * * *

 

 

 

 

 

 

Note. * means that the question was administered to subjects tested in this age level. R
at the beginning of each NAEP # means that it is a released question; U means that it is
an unreleased question.

19

 

Improvising: Discussion and exanpgle

Three questions were released that focused on measuring subjects’ abilities to
improvise (see Table 4). For example, in question RIG 103001, individuals were given
a pair of bongos to improvise a rhythmic accompaniment to a relaxed, syncopated jazz
selection of moderate tempo. The selection was “Break the Silence with a Song,”
scored by William D. Hall (National Assessment of Educational Progress, 1975, p.135).
The exact directions are as follows:

The first time, listen carefully to the tune and make up a drum part that you

would like to hear with the tune. The second time, play your drum part with the

tune. Play whatever sounds best to you. You may play the drum with one or both

hands.

Table 4. Test questions related to the subtheme of improvising

 

 

 

 

 

NAEP # 9-year 13-year l7-year Adult
RlG 103001 * * * *
RlH 103003 * * * *
Ulh 103003 * * *
R11 103006 * * *

 

 

 

 

 

 

Note. * means that the question was administered to subjects tested in this age level. R
at the beginning of each NAEP # means that it is a released question; U means that it is

an unreleased question.

Reading notation: Discussion and example
Four released questions were designed to measure music reading (see Table 5).

Questions in this category range from the simple to the difficult. For example, in

20

question RlJ 204001, individuals were asked to sing lines of music notation.
Individuals could use any system they wished, including singing numbers, letters,
solfege, or a neutral syllable. Because of the different vocal registers of boy and girls,
boys were asked to read in bass clef and girls were asked to read in treble clef (National
Assessment of Educational Progress, 1975, p.160). Following are the exact directions
for the item:

B. Now sing this second line of music. (Point to line B.)

Supplement package: page 4

 

 

 

 

 

 

 

Table 5. Test questions related to the subtheme of reading notation

 

 

 

 

 

 

 

NAEP # 9-year 13—year 17-year Adult
RlJ 204001 * * * *
U1 j 204001 * * * *
RlK 204002 * * * "'
Ulk 204002 * * * *
RlL 102001 * *

RlL 102002 * *

 

 

 

 

 

 

 

Note. * means that the question was administered to subjects tested in this age level. R
at the beginning of each NAEP # means that it is a released question; U means that it is

21

an unreleased question.

Musical Notation and Tenninology

Three closely related sets of exercises were developed to measure knowledge of
music notation and terminology. Notation in this section meant recognizing and
understanding the elements of notation, such as clefs, letter names of notes, duration
symbols, key signatures, and dynamic markings. as opposed to performing from
notation for Sight-reading, as in the musical performance section of the assessment. The
first set of questions measured knowledge of dynamics and interpretive characteristics.
The second set measured knowledge of music notation. In the third set of questions,
individuals were asked to follow notation while listening to a piece of music (National
Assessment of Educational Progress, 1975).

Vocabulary: Discussion and exarmjle

Eight questions were released that focused on knowledge of vocabulary (see
Table 6). In those questions, understanding of music terms was assessed. Respondents
were asked to identify loud, soft, phrase, rhythm, harmony, and melody or to describe
an actual piece of music in these terms. For example, the question R2C 302001
presented a piece of music, the second half of which was markedly louder than the first
half. Individuals were asked to determine which musical element had changed during
the performance (National Assessment of Educational Progress, 1975, p.291 ).
Following are the exact directions for the item:

Listen carefully to the music. It has two parts. How does the second part compare

to the first part?

0 It is louder.

22

 

Q It is softer.
Q It is slower.
Q It is exactly the same.

O I don’t know.

Table 6. Test questions related to the subtheme of vocabulary

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

NAEP # 9-year l3-year 17-year Adult
R2A 301027 *

R28 301029 *

U2b 301030 * * * *
R2C 302001 * * * *
U2c 302002 * * * *
R2D 302006 * * * *
U2d 302008 * * *

R2E 301046 * *

U2e 301048 * * *
R2F 201015 * * *
U2f401011 * * *
R2G 401012 * *
U2g 401014 * *
R2H 401010 * * *

 

 

 

 

 

 

Note. * means that the question was administered to subjects tested in this age level. R
at the beginning of each NAEP # means that it is a released question; U means that it is

an unreleased question.

Basic notation: Discussion and exarnple
Five released questions measured knowledge of basic notation (see Table 7). In

this section, knowledge of notation was limited to recognition rather than performance,

k)
b)

which was measured in an earlier section. Many of these questions were administered
only to the older groups. Items to be identified included key signatures, clef signs,
sharps and flats, note names and note values. For example, question R2K 201006
required that one know that two eighth notes and one quarter note represent the same
duration (National Assessment of Educational Progress, 1975, p.368). The exact
directions of this item are as follows:

Look at the line of music.

 

U r \\j/
Which one pair of notes shown below will correctly complete the rhythm of the

measure the arrows are pointing to?

044
OJ-J
of?
OJJr

O I don’t know

24

Table 7. Test questions related to the subtheme of basic notation

 

 

 

 

 

 

 

 

 

 

 

 

 

 

NAEP # 9-year 13-year 17-year Adult
U2i 201001 *

R2J 201002 * * * *
U2j 201008 * * * "‘
R2K 201006 * * *
U2k 201004 "‘ * * *
R2L 201016 * * *
U21 201005 * * * *
R2M 201007 * * * *
U2m 201010 * * * *
R2N 201014 * * *
U2n 201011 * * *
U20 201012 * * *

 

 

 

 

 

 

Note. * means that the question was administered to subjects tested in this age level. R
at the beginning of each NAEP # means that it is 3 released question; U means that it is

an unreleased question.

Score-reading: Discussion and example

Nine question were released that focused on ability to read a musical score (see
Table 8). Questions in this section measured two abilities: the ability to follow the
general contour of a score and the ability to detect specific deviations in what they are
hearing from what they are seeing. For example, question R28 203014 asked
respondents to identify a discrepancy between the heard melody and the printed score
(National Assessment of Educational Progress, 1975, p.407). Following are the exact
directions for the item:

A recording of a line of music will be played two times. Follow the printed music

below as you listen to the recording. One note is played different from the printed

music. Circle that note.

 

 

 

 

 

 

 

Table 8. Test questions related to the subtheme of score-reading

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

NAEP # 9-year 13-year 17-year Adult
R2P 202001 *

U2p 202002 *

R2Q 202003 *

U2q 202004 *

R2R 202006 * ..

U2r 202007 * *
R28 203014 * * * *
U2t 203016 * * * *
R2U 203003 * * * *
U2u 203001 * * * *
R2V 203004 * * 7' * *
R2W 203010 * * "‘
R2X 203011 * *

R2Y 203012 * * *

 

 

 

 

 

 

 

Note. * means that the question was administered to subjects tested in this age level. R
at the beginning of each NAEP # means that it is a released question; U means that it is
an unreleased question.

Instrumental and Vocal Media
Three groups of questions were used to measure the ability to discriminate

among instrumental and vocal media. The first group involved presenting a taped

26

recording of a short performance, sometimes by one instrument or voice, and
sometimes by several. Respondents were asked which instruments or voice types were
performing. Questions in the second group required respondents to identify the picture
of a certain instrument or instrument family. No recorded stimuli were used in this
section. The third group of exercises, which did not use musical recorded stimuli,
measured knowledge about how certain instruments are played (National Assessment
of Educational Progress, 1975).

Aural recognition: Discussion and example

Eleven questions were released that focused on measuring aural recognition (see
Table 9). Questions involved presenting a taped recording of a short performance.
Individuals were asked to identify which instruments or voice types were performing.
Several questions also required respondents to identify both instruments in a duet. For
example, in question R3L 301039, violin and cello performed Bach Invention No. 4 in
D Minor (National Assessment of Educational Progress, 1975, p.485). Following are
the exact directions for the item:

Listen carefully to the music. What instruments are playing?

Mark only one answer.

Q Two violins

Q Violin and viola

O Violin and cello

0 Two double basses

O I don’t know

Table 9. Test questions related to the subtheme of aural recognition

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

NAEP # 9-year 13-year l7-year Adult
R3A 301001 * *

U3a 301003 * *

R3B 301005 * * * *
U3b 301009 * * * *
R3C 301007 * * * *
U3e 301014 * *

U3d 301015 * * * *
U3e 301032 * *
U3f 301010 * * *

R3G 301012 * * * *
R3H 301013 * * *

U3h 301011 * * *

R31301042 * * *
U3i 301040 * * *
U3j 301041 * * *
R3K 301038 * * *
R3L 301039 * * *
R3M 301035 * * *
U3m 301034 * * *
R3N 301036 * *

U3n 301037 * * *
R30 301033 * * *

 

 

 

 

 

 

 

Note. * means that the question was administered to subjects tested in this age level. R
at the beginning of each NAEP # means that it is a released question; U means that it is

an unreleased question.

Viial recggition: Discu_ssion and exa_mp£

Only one question was released that focused on measuring the ability to visually
recognize pictures of instruments (see Table 10). Questions in this group involved
asking respondents to identify the picture of a certain instrument or instrument family.
For example, in question R3P 401002, there was a picture on the question sheet, and
individuals were asked to draw a line around some instruments (National Assessment
of Educational Progress, 1975, p. 505). Following are the exact directions for the item:

On each of the following four pages is a picture of the instruments found in a

symphony orchestra. Follow the directions on EACH page.

(Continued)

A. Draw a line around ALL of the cellos.

®d§ (“CHI ;Wffl £33?
I”;

\ .

\x \11 fi/fi’ g

'1:\\\\\\\\\ \\\\ ”I” log" g
:‘t‘:\\ I?

:::::.:’ f”? {it W

   

F ormer Seating Plan, Philadelphia Orchestra, Eugene Ormandy Music Director
Source: National Assessment of Educational Progress Report No. O3-MU-20

29

(Continued)

B. Draw a line around ALL of the bassoons.

 

F ormer Seating Plan, Philadelphia Orchestra, Eugene Ormandy Music Director
Source: National Assessment of Educational Progress Report No. O3-MU-20

(Continued)
C. Draw a line around ALL of the bass drums.

 

F ormer Seating Plan, Philadelphia Orchestra, Eugene Ormandy Music Director
Source: National Assessment of Educational Progress Report No. O3-MU-20

30

(Continued)

D. Draw a line around ALL of the trumpets.

 

F ormer Seating Plan, Philadelphia Orchestra, Eugene Ormandy Music Director
Source: National Assessment of Educational Progress Report No. 03-MU-20

Table 10. Test questions related to the subtheme of visual recognition

 

 

 

 

 

NAEP # 9-year 13-year l7-year Adult
R3P 401002 * * * *
U3p 401001 * * * *
U3q 401003 * * * *
U3r 401008 * *

 

 

 

 

 

 

 

Note. " means that the question was administered to subjects tested in this age level. R
at the beginning of each NAEP # means that it is a released question; U means that it is
an unreleased question.

Performance practices: Discu_ssionand example
Two questions were released that focused on understanding performance

practices (see Table 11). This group of questions measured knowledge about how

31

certain instruments are played: by blowing, by striking, by plucking or by drawing a
bow across them. For example, question R38 401004 presented eleven sub-questions
for 11 instruments. Individuals were asked to answer whether those instruments were
played by blowing air into them (National Assessment of Educational Progress, 1975,
p.529-532). Following are the exact directions for the item:
Some of the instruments listed below are played by blowing air into them. F ill in
the oval beside “Yes” if the instrument is played by blowing air into it. Fill in the
oval beside “No” if the instrument is NOT played by blowing air into it. If you do
not know the answer, fill the oval beside I don’t know.”
A. Is the CLARINET played by blowing air into it?
Q Yes
O No
Q I don’t know

B. IS the CYMBALS played by blowing air into it?

Q Yes
O No
Q I don't know
C. Is the GUITAR played by blowing air into it?
0 Yes
O No
Q I don’t know
D. Is the HARP played by blowing air into it?

Q Yes

b)
L.)

I.

O No

Q I don’t know

Is the OBOE played by blowing air into it?

Q Yes

O No

Q I don’t know

Is the SAXOPHONE played by blowing air into it?
Q Yes

O No

Q I don’t know

Is the TROMBONE played by blowing air into it?
0 Yes

O No

Q I don’t know

Is the TRUMPET played by blowing air into it?
0 Yes

O No

Q I don’t know

Is the TUBA played by blowing air into it?

D Yes

O No

Q I don’t know

DJ
DJ

J. Is the VIOLIN played by blowing air into it?

0 Yes

ONO

O I don’t know

K. IS the XYLOPHONE played by blowing air into it?

0 Yes

ONO

O I don’t know

Table 11. Test questions related to the subtheme of performance practices

 

NAEP #

9-year

l3-year

1 7-year

Adult

 

R38 401004

*

*

*

 

U3s 401005

a:

31‘

*

 

R3T 401006

*

2|:

*

 

 

U3t 401007

 

5|:

 

a:

 

a:

 

III

 

Note. * means that the question was administered to subjects tested in this age level. R

at the beginning of each NAEP # means that it is a released question; U means that it is

an unreleased question.

Musical History and Literature

Three groups of questions were used to measure knowledge about the periods of

music history, musical genres and styles, and music literature. In measuring knowledge

of history and literature, questions included not only the traditional European art music

of the eighteenth and nineteenth centuries, but also popular music, folk music, music of

earlier periods, and contemporary music. In the first group of questions, respondents

34

 

were asked to indicate the chronological order of five broad style periods, to identify
representative composers from each period, and to match period names with short
descriptions of their characteristics. Other questions required classifying different
recorded performances into one of the periods. Questions in the second group required
respondents to discriminate between the styles of several recorded selections. Other
questions asked for the names of various genres and jazz styles. The third group asked
for the composer or title of several recorded selections. Some music selections in this
group of questions were traditional American songs, and others were familiar classical
selections. Most questions pertaining to musical history and literature were not
administrated to 9-year-olds (see Tables 12, 13 and 14).

Periods in music history: Discussion and example

Two released questions measured knowledge of music history (see Table 12).
Most of the questions about the periods of music history were of the traditional
pencil-and-paper variety (National Assessment of Educational Progress, 1974). For
some questions, individuals were asked to indicate the chronological order of five broad
style periods, to identify representative composers from each period, and to match
period names with short descriptions of their characteristics. Other questions required
individuals to classify unidentified recorded performances into one of the periods. For
example, question R4A 404001 was the most elementary question about style periods.
It asked only that five period labels be put in chronological order (National Assessment
of Educational Progress, 1975, p.593). Following are the exact directions for the item:

Five periods of music history are listed in four different orders below. Fill in the

oval beside the listing which is in the correct chronological order from the earlier

period to the most recent period.

 

 

 

 

 

 

 

 

 

 

O Classical 0 Baroque
Baroque Classical
Romantic Renaissance
Renaissance Romantic
Modern Modern

O Romance 0 Renaissance
Classical Baroque
Modern Classical
Renaissance Romance
Baroque Modern

 

 

 

 

 

 

O I don’t know

Table 12. Test questions related to the subtheme of periods in music history

 

 

 

 

 

 

 

NAEP # 9-year 13-year 17-year Adult
R4A 404001 * * *
U4a 404002 * * *
R4B 304007 * *
U4b 404003 * * *
U4c 404004 * *

 

 

 

 

 

Note. * means that the question was administered to subjects tested in this age level. R
at the beginning of each NAEP # means that it is a released question; U means that it is

an unreleased question.

36

 

Musical genres and styles: discussion and example

Six questions were released that measured knowledge of musical genres and
styles (see Table 13). These questions required the ability to discriminate between the
styles of several recorded selections. There were two different groups of genre/style
questions. The first presented selections from European art music and asked individuals
to recognize style similarities. The second group presented selections and asked for
genre labels (like round, concert, blues. and rock) and for the names of various jazz
styles. For example, question R4G 304001was one of the questions in the first group.
The works in this item consisted of excerpts from the Chopin Etude, op. 10, No. 7; the
Bartok Allegro Barbaro; and the Chopin Etude, op.25, No.7 (National Assessment of
Educational Progress, 1975, p.660). Following are the exact directions for the item:

Musical works by the same composer often sound similar. Listen carefully to

three musical examples. Which examples were probably composed by the same

person?

The works probably composed by the same person are

O l and 2 only

C) l and 3 only

C) 2 and 3 only

G all3

O I don’t know.

37

 

Table 13. Test questions related to the subtheme of musical genres and styles

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

NAEP # 9-year l3-year 17-year Ault
R4D 303001 *

U4d 303004 *

U4e 303005 *

R4F 303010 * * "‘
U4f 303011 * * *
R4G 304001 * * *
U4g 304002 * * *
R4H 304003 * * *
U4h 304004 * * *
U4i 304005 * * *
R4J 303009 * * *
U4j 303006 * * *
R4K 304006 * *
U41 403001 * * *

 

 

 

 

 

 

Note. * means that the question was administered to subjects tested in this age level. R
at the beginning of each NAEP # means that it is a released question; U means that it is

an unreleased question.

Music literature: Discussion and example

Four questions were released that focused on knowledge of music literature (see
Table 14). Questions in this section required respondents to match composers and
works or to name the titles and write short evaluation statements of several recorded
selections. Some pieces of music were traditional American songs. and others were
familiar classical selections. Most of the questions were not administered to 9-year-old
subjects. “America the Beautiful,” "This Land is Your Land,” and “When the Saints Go

Marching in” were the three traditional songs that were presented to individuals for four

38

age levels. For example, question R4P 402008 contained 13 sub-questions about
matching composers and works (National Assessment of Educational Progress, 1975,
p.778). Following are the exact directions of the item:
Below are two lists. In the blank space beside the name of each musical work in
List B, write the number of its composer from the List A. the name of each

composer may be used once, more than once, or not at all.

List—A

(l) Georges Bizet

(2) Antonin Dvorak

(3) Edvard Grieg

(4) Ferde Grofe

(5) George Frederick Handel
(6) Sergei Prokofiev

(7) Gioacchino Rossini

(8) Igor Stravinsky

(9) Franz Schubert

(10) John Philip Sousa

(11) Johann Strauss

(12) Peter Ilich Tchaikovsky
( l3) Giuseppe Verdi

List};

_Aida (Grand March)
_The Blue Danube
_Carmen (Toreador’s Song)

Grand Canyon Suite
Messiah (Hallelujah

Chorus)

_New World Symphony

_Nutcracker Suite (Waltz of
the Flowers)

_Peer Gynt Suite (In the Hall
of the Mountain King)

_Peter and Wolf

___Rite Of Spring

_Starts and Strips Forever

__ “Unfinished” Symphony

_William Tell Overture

 

Table 14. Test questions related to the subtheme of musical literature

 

 

 

 

 

 

 

 

NAEP # 9-year 13-year l7-year Ault
R4M 402001 *

U4m 402001 *

R4N 402006 * * *
U4n 402006 * * *
R4O 402002 * * *
U40 402002 * * *
R4P 402008 * * *

 

 

 

 

 

 

Note. * means that the question was administered to subjects tested in this age level. R
at the beginning of each NAEP # means that it is a released question; U means that it is

an unreleased question.

Attitudes Toward Music

Questions concerning this theme were designed to measure whether people had
positive attitudes toward music as expressed by a reported willingness to listen and
involve themselves in musical experiences. All questions were self-report, and most of
them were multi—part questions. Individuals were asked whether they played
instruments and whether they belonged to vocal groups. In addition, individuals were
asked whether they liked music and how often they listened to music and attended live
musical programs.

Discussions and example

Eight questions were released that focused on attitudes toward music (see Table
15). Questions in the section measuring individuals’ interest in and attitudes toward
music had several parts. The first part asked whether people liked to listen to music,

what types of music they liked to listen to. and what communications media they turn

40

to. The second part focused on respondents’ attitudes toward Singing. The third part
was to investigate respondents’ attitudes toward playing an instrument. For example,
question RSH 502012 asked individuals’ about their experience singing and performing
(National Assessment of Educational Progress, 1975, p.975-976). Following are the
exact directions for the item:

For each of the four statements below fill in one oval which BEST describes how

you feel about the statement.

A. Singing with a small group is enjoyable.

O Strong agree

0 Somewhat agree

0 Undecided

0 Somewhat disagree

0 Strongly disagree

B. Singing with a large group is enjoyable.

O Strong agree

0 Somewhat agree

0 Undecided

0 Somewhat disagree

O Strongly disagree

C. Playing an instrument in a small group is enjoyable.

O Strong agree

0 Somewhat agree

O Undecided

41

0 Somewhat disagree

0 Strongly disagree

D. Playing an instrument in a large group is enjoyable.
0 Strong agree

0 Somewhat agree

O Undecided

O Somewhat disagree

0 Strongly disagree

Table 15. Test questions related to the theme of attitudes toward music

 

 

 

 

 

 

 

 

 

 

 

 

NAEP # 9-year 13-year l7-year Adult

RSA 600010 * * * *
U5a 600010 * * *
U5b 600018 * * *
RSC 600018 * * *
R5D 600001 * * *
R5E 600008 * * * *
R5F 502004 * * * *
RSG 502007 * * * *
R5H 502012 * * *
R51 502003 * * * *

 

 

 

 

 

Note. * means that the question was administered to subjects tested in this age level. R
at the beginning of each NAEP # means that it is a released question; U means that it is

an unreleased question.

 

S_ua1_m_a_rx
The 1971-72 NAEP music assessment was designed based on the 1965 music
objectives. One hundred and forty one test questions were developed to measure four
age levels respondents’ knowledge of, skills and attitudes toward music. Some
questions were designed for one certain age level and some were for two or more age
levels. When measuring performing, individuals were tested individually. After the
assessment, some test questions were not released because they were going to be

readministered in the 1978-79 assessment.

1978-79 NAEP Music Assessment
The 1978-79 assessment was originally designed based upon five broad
objectives for music education as follows:

I. VALUE MUSIC AS AN IMPORTANT REALM OF HUMAN EXPERIENCE

A. Be affectively responsive to music

B. Be acquainted with music from different nations, cultures, periods,
genres

and ethnic groups

C. Value music in the life of individual, family and community

D. Make and support aesthetic judgments about music
11. PERFORM MUSIC

A. Sing (without score)

B. Play (without score)

C. Sing or play a written score

43

D. Play or sing a previously prepared piece
111. CREATE MUSIC
A. Improvise
B. Represent music symbolically
IV. IDENTIFY THE ELEMENTS AND EXPRESSIVE CONTROLS OF
MUSIC
A. Identify the elements of music
B. Identify the relationships of elements in a given composition
C. Demonstrate an understanding of a variety of musical terms, expression
markings and conducting gestures in a musical context
V. IDENTIFY AND CLASSIFY MUSIC HISTORICALLY AND
CULTURALLY
A. Identify and describe the features that characterize a variety of folk,
ethnic, popular and art music
B. Identify and describe the music and musical style of the various
stylistic periods in Western civilization (e.g., Medieval, Renaissance,
Baroque, Classical, Romantic, and Modern). Identify representative
composers of each period
C. Cite examples of ways in which man utilizes music in his social and
cultural life (National Assessment of Educational Progress, 1981, pp.

63-64).

Development of the objectives for the second music assessment occurred during

44

1972-73. It began with the first assessment objectives being critically reviewed, and
then specifications and requirements were established for the new set of objectives to
be developed (National Assessment of Educational Progress, 1980). When formulating
the objectives for the second assessment, the development panel broadened the
objectives to apply to all students, regardless of their exposure to music education or
formal music training (National Assessment of Educational Progress, 1981). Although
the objectives for the 1978-79 assessment are conceptually similar to those of the first
music assessment, the second assessment objectives tended to emphasize the affective
domain—valuing music as an important realm of human experience—to a greater
degree (National Assessment of Educational Progress, 1981).

Also, the 1978-79 assessment questions were administered to 9-year-olds,
l3-year-olds, and 17-year-olds, but no adults were included in the testing sample. Test
questions were assigned to assessment packages for each of the three age levels, with
an effort to include a balance of difficult and easy items. Each package was
accompanied by a paced audiotape containing the text and response choices for each
question and also instructions telling the respondents when to proceed to the next
questions. (National Assessment of Educational Progress, 1980).

Some questions in the second assessment were extracted from the first
assessment in order to determine changes in knowledge of these areas over time.
However, due to funding limitations, the 1978-79 assessment team was not able to
readminster any individually administered questions. Therefore, it was impossible to
assess students’ abilities to sing and play musical instruments, and the measure of

change in music achievement over time was limited to a set and type of questions that

45

did not include the “making” of music.

Overall, questions in the 1978-79 music assessment were divided into two
categories, affective and cognitive. Also, because of budgetary constraints only three of
the five new objectives that were developed to guide the content of this assessment
were actually included in the assessment. Both the performing and the creating content
areas were omitted. Following is a list of those objectives:

1. Value music as an important realm of human experience

11. Perform music (not assessed in 1978-79)

111. Create music (not assessed in 1978-79)

VI. Identify the elements and expressive controls of music

V. Identify and classify music historically and culturally.

Compared with the four question types used in 1971-72 assessment, which were
multiple-choice, matching, short answer, and individual performance, most of the
questions in 1978-79 assessment were multiple-choice and the few other were matching
items or drawn response. There were no Short answer questions. All questions in the
1978-79 music assessment were administered to groups of students rather one-on-one.
Moreover, the type of stimulus used for a question ranged from aural stimuli only to
visual stimuli, or a combination of both (National Assessment of Educational Progress,

1980, p.8).

46

Background Opestions, Affective Questions and Cognitive Questions
Question development took place from February 1977 to January 1978. Because
of reduced funding, which prevented the inclusion of music performance, the original
weightings were redistributed to the remaining three objectives: Value music as an
important realm of human experience, Identify the elements and expressive controls of
music, and Identify and classify music historically and culturally. Moreover, when
developing questions, NAEP classified questions relating to valuing music as affective,
and classified items related to the other objectives as cognitive. Besides affective and
cognitive questions, NAEP also designed background questions to gather information
regarding respondents’ exposure to music in school and outside of school (National
Assessment of Educational Progress, 1980).
Following are the three kinds of questions and objectives and subobjectives used in the
those questions:
* Background questions:
Exposure to music
* Affective questions:
1. Value music as an important realm ofhuman experience
A. Be affectively responsive to music
B. Be acquainted with music from different nations, cultures,
periods, genres and ethnic groups
C. Value music in the life of individual, family and community
D. Make and support aesthetic judgments about music

* Cognitive questions:

47

IV. Identify the elements and expressive control of music

A.

B.

C.

Identify the elements of music
Identify the relationships of elements in a given composition
Demonstrate an understanding of a variety of musical terms,

expression markings and conducting gestures in a musical context

V. Identify and classify music historically and culturally

A.

Identify and describe the features that characterize a variety of
folk, ethnic, popular and art music

Identify and describe the music and musical style of the various
stylistic periods in Western civilization (e. g., Medieval,
Renaissance, Baroque, Classical, Romantic, and Modern). Identify
representative composers of each period

Cite examples of ways in which man utilizes music in his social

and cultural life

Test Question Examples and Cross-reference Tables
After the assessment, 84 of questions were released in the I978-79 NAEP
assessment report (National Assessment of Educational Progress, 1980). The
unreleased questions were kept confidential for use in subsequent assessments. Among
the 84 released questions, 27 items, 32.1%, related to the objective of valuing music as
an important realm of human experience included; 35 items, 41.7%, related to
identifying the elements and expressive controls of music; the other 22 items, 26.2%,

related to the identifying and classing music culturally and historically. Numbers and

48

ratios of test questions for each subobjective are reported in Table 17. Moreover, 34
items, 40.4%, are questions that were originally used in the 1971-71 assessment and
were readministered in 1978-79 to determine any change over time in performance.

Such questions were included in each objective (see table 16 to 25).

49

Table 16. Number and ratio of test questions in 1978-79 assessment

 

 

 

 

 

 

 

 

 

 

 

Objective Subobjective Number of Ratio of
questions questions
Value music as an Be affectively responsive to music 3 3.6%
important realm of
human experience
Be acquainted with music from different 5 6%
27/84 nations, cultures. periods, genres and
32.1% ethnic groups
Value music in the life of individual. 16 19%
family and community
Make and support aesthetic judgments 3 3.6%
about music
Identify the elements Identify the elements of music 21 25%
and expressive
controls of music
Identify the relationships of elements in a 5 6%
35/ 84 given composition
41.7% Demonstrate an understanding of a variety 9 10.7%
of musical terms. expression markings and
conducting gestures in a musical context
Identify and classify Identify and describe the features that 6 7.1%
music historically characterize a variety of folk, ethnic,
and culturally popular and art music
Identify and describe the music and 11 13.1%
22/ 84 musical style of the various stylistic
26.2% periods in Western civilization (e.g.,
Medieval, Renaissance, Baroque.
Classical, Romantic). Identify
representative composers of each period
Cite examples of ways in which man 5 6%

 

 

utilizes music in his social and cultural life

 

 

 

50

 

Background Questions of Exposure to Music: Discussion and Example

Three questions were released that focused on exploring respondents’ music
backgrounds (see Table 17). All respondents participating in the 1978-79 music
assessment were asked the same questions about their exposure to music activities
outside of school. In addition. 9-year-olds were asked series of questions to ascertain
their exposure to musical activities in school. Thirteen-year-olds and 17-year-olds were
asked a series of common questions to explore their participation in school musical
activities (National Assessment of Educational Progress, 1981). For example, question
R6-00013l-A1A asked all respondents what kinds of activities they participated in
outside of school. Following are the exact directions for the item:

Which of the following activities do you do outside of school? Fill in one oval in

 

each box.

Outside of school. do you

 

 

 

 

 

 

 

 

 

Yes No I don’t know

A. listen to music? 0 O O
B. sing just for fun? 0 O O
c. sing with friends just for fim? O O O
D. sing in a church or community music group? O O O
E. play a musical instrument by yourself just for O O 0
fun?

F. play a musical instrument with friends just for Q O 0
fun?

G. play a musical instrument in a church or O O 0
community music group?

H. take music lessons? 0 O O
I. make up your own music? 0 O Q

 

 

 

51

Table 17. Background questions related to exposure to music

 

 

 

 

 

NAEP # 9-year l3-year 17-year
R6-000091-A1A *

R6-000131-AIA * * *
R6-000132-A1A * *

 

 

 

 

Note. * means that the question was administered to subjects at this age level.

Value Music as An Important Realm of Human Experience
Questions designed to measure valuing music as an important realm of human
experience elicited affective responses from students and explored student awareness of
and sensitivity to music and musical experiences. Respondents were assessed on how
they value and respond to music when listening to various types of music. Questions for
valuing music as an important realm of human experience had no correct answers. The
purpose of this section was to gather information about students’ affective responses.
(National Assessment of Educational Progress. 1981).
Be affectively responsive to music: Discussion and exanpale
The 1978-79 measure included three released questions that focused on affective
responsive to music (see Table 18). When answering these questions, respondents did
not need any music knowledge. Rather, they were asked to choose the ovals that
represented their feelings about the music or answer the degree to which they liked the
music excerpts. For example, R-101051-A1A is one of the questions administered to
all three age levels. Music excerpts included classical music, a folk song, and popular
music. The four excerpts were from Foster’s Old Folks Quadrilles, Perkins’s Daddy

Sang Bass, Dvorak’s Slavonic Dance in A Flat. Op. 46. No.3 and Beatles’ Come

 

Together. Following are the exact directions for the item:

You will now hear four different pieces of music. After each one is played, fill in

one oval to indicate how much you like the music.

 

A. How much do you like this music?

 

 

 

Very much Some Not very much Not at all
0 O O O
B. How much do you like this music?
Very much Some Not very much Not at all
0 O O O
C. How much do you like this music?
Very much Some Not very much Not at all
0 O O O
D. How much do you like this music?
Very much Some Not very much Not at all
0 O O O

 

When scoring these items. there was no correct answer. NAEP measured

 

respondents’ affect through the mean percentages of positive responses. However, no

information was released about the value of responses for each specific type of music.

Table 18. Test questions related to the subobjective of being affectively responsive to

music

 

NAEP #

9-year

1 3-year

1 7-year

Readministered question

 

R6-101050-A1A

ll:

4:

al:

 

R6-101051-A1A

a:

a:

*

 

R6-101052-A1A

 

2|:

 

a:

 

*

 

 

Note. * means that the question was administered to subjects at this age level.

53

 

Be acquainted with music from different nations, cultures, periods, genres and

ethnic groups: Discussion and example

Five released questions focused on gathering information about knowledge of
music from different nations, cultures, periods, genres and ethnic groups (see Table 19).
In this section, some questions were designed to obtain information about respondents’
preference for types of music or musical groups, some were designed to investigate V
respondents’ desire to learn about music of different cultures, and still others were
designed to understand their experiences with different national and ethnic musics. For
example, question R102054-A1A is one of the questions to measure respondents’
preferences concerning attendance at performances of several kinds of music. The exact
directions of this item are as follows:

Do you like to see live performance of each of the following kinds of music?

Fill in one oval in each box.

 

 

 

 

 

 

 

 

 

 

 

A. Rock Yes No I don’t know
O O O

B. Jazz Yes No I don’t know
O O O

C. Symphonic Yes No I don’t know
O O O

D. Opera Yes No I don’t know
0 O O

E. Ballet Yes No I don’t know
0 O O

F. Folk Yes No I don’t know
C O O

G. Country and Western Yes No I don’t know
O O O

 

 

54

 

 

 

 

 

 

 

H. Soul Yes No I don’t know
0 O O

1. Religious music Yes No I don’t know
C C O

 

Table 19. Test questions related to the subobjective of being acquainted with music

from different nations. cultures, periods, genres. and ethnic groups

 

NAEP #

9-year

13-year

l 7-year

Readministered question

 

R6-102050-A1 A

:1:

1|:

*

 

R6-102051-A1A

*

 

R6-102052-A1A

*

 

R6-102053-A1A

’1‘

 

R6-102054-A1A

 

*

 

:1:

 

 

 

Note. * means that the question was administered to subjects at this age level.

Value music in the life of individual, family and community: Discussion and

exam le

Sixteen questions, almost one fifth of the questions that were released, focused

on gathering information about the value music in the life of individual, family and

community (see Table 20). In this section, respondents had to respond concerning the

music activities in which they would prefer to participate in school and outside of

school, how important music is in society and in their lives. if they would choose music

as their career, and how their parents feel about music. For example, question

R-103060-A1A was designed to gather information about the opinions of respondents’

parents and friends. Following are the exact directions for the item:

55

 

 

For each of the following questions. fill in one oval in each box.

 

A. How much have your parents affected the way you feel about music?
Very Much Somewhat Not very much Not at all

O O O O

 

B. Do you tend to like the same kind of music your parents like?
Very Much Somewhat Not very much Not at all

O O O O

 

C. How important do your parents feel music is?

Very Much Somewhat Not very much Not at all
O O O O

 

D. How much do your friends affected the way you feel about music?
Very Much Somewhat Not very much Not at all

O O O O

 

E. Do you tend to like the same kind of music your friends like?
Very Much Somewhat Not very much Not at all

O O O O

 

 

F. How important do your friends feel music is?
Very Much Somewhat Not very much Not at all

O O O O

 

56

 

Table 20. Test questions related to the subobjective of valuing music in the life of

individual, family and community

 

NAEP #

9-year

l3-year

1 7-year

Readministered

question

 

R6-103051-A1A

 

R6-103052-A1A

 

R6-lO3053-A1A

 

R6-103056-A1A

 

R6-103057-A1A

 

R6-103058-A1A

 

R6-103059-A1A

 

R6-103060-A1 A

 

R6-103061-A1A

 

R6-103062-A1A

 

R6-103063-A1A

 

R6-103064-A1A

 

R6-103065-A1A

 

R6—60001 3-A32

*

 

R6—60001 8-A32

IIK

 

R6-600019-A32

 

 

 

2|:

 

*

 

'1‘

 

Note. * means that the question was administered to subjects at this age level.

Make and support aesthetic judgments about music: Discussion and example

Three questions were released from the I978-79 music assessment that had been

used to gather information about how respondents make and support aesthetic

judgments about music (see table 21). NAEP designed several statements for this part

of the exam, and each age level was asked to respond to different statements designed

for their age level. For example, question R6-104050-A1A was administered for

17-year-olds only. Following are the exact directions for the item:

57

 

How much do you agree or disagree with each of the following statements?

 

A. I like some kinds of music better than others?

 

 

Strongly No Strongly
Agree Agree Opinion Disagree Disagree
O O O O O
B. I would rather hear any kind of music than none at all.
Strongly No Strongly
Agree Agree Opinion Disagree Disagree
O O O O O
C. Sometimes when I hear a new recording, I want to hear it again.
Strongly No Strongly
Agree Agree Opinion Disagree Disagree
O O O O O

 

D. When I hear a recording. sometimes it makes me want to hear other

recordings by the same artist.

 

Strongly No Strongly
Agree Agree Opinion Disagree Disagree
O O O O O
E. Most of the music I like today is different than the music I liked 5 years ago.
Strongly No Strongly
Agree Agree Opinion Disagree Disagree
O O O O O

 

 

 

Again, when scoring responses, there were no correct answer for these questions.
NAEP measured respondents’ affect through the mean percentages of positive

responses.

58

Table 21. Test questions related to the subobj ective of making and supporting aesthetic

judgments about music

 

 

 

 

NAEP # 9-year 13-year 17-year Readministered question
R-104050-A1A *

R-104051-A1A *

R-104052-A1A *

 

 

 

 

 

 

 

Note. * means that the question was administered to subjects at this age level.

Identify the Elements and Exgessive Controls of Music

Questions designed to measure identification of the elements and expressive
controls of music elicited cognitive responses from students and required them to
demonstrate knowledge and understanding of aspects of music such as rhythm, pitch
and tone quality as they relate to a specific hearing of a musical selection (National
Assessment of Educational Progress, 1981).

Identify the elements of music: Discussion and example

Twenty-one questions were released that focused on measuring the ability to
identify the elements of music (see Table 22). This section included more released
items than any other section of the 1978-79 assessment. Recorded performances of
music were used frequently in these questions. Each question had a music excerpt or
printed line of music or both. For example, question R6-203015-32A, a readministered
question, used both printed music and a recorded music excerpt. The original music for

this item was a live flute recording. Following are the exact directions for the item:

59

 

A recording of this line of music will be played two times. Follow the printed

notes as you listen to the recording. One note is played differently from the

printed music. Circle that note.

 

Table 22. Test questions related to the subobjective of identifying the elements of music

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

NAEP # 9-year 13-year 17-year Readministered
question
R6-202004-3 2A * *
R6-202007-3 2A * *
R6-203001-32A * * * *
R6-20301 5-3 2A * * * *
R6-301003-3 2A * * “
R6-301009-32A * * * "‘
R6-301010—32A * * * *
R6-3OIOll-32A * "‘ * *
R6-301028-32A * *
R6-30 1 03 0-3 2A * * * j *
R6-301037-32A * * *
R6-301040-32A * * "'
R6-401001-32A * * * *
R6-401003-32A * * * *
R640 1 005-3 2A * * * *
R6-401057-A1A * * *
R6-401058-A1A * *
R6-401060-A1 A *
R6-401062-A1A * *
R6-401063-A1 A * * *
R6-401065-A1A *

 

 

 

 

 

 

Note. * means that the question was administered to subjects at this age level.

60

Identify the relationships of elements in a given composition: Discussion and
exam le
Five questions were released that focused on measuring the ability to identify the
relationships of the elements of music in a given composition (see Table 23). Those
questions included asking respondents to distinguish change and difference in the
music excerpts and to identify the periods and forms of the music excerpts. Moreover,
a few questions gave respondents an example of a similar question before the “real”
questions were administered. For example, question R6-301048-32A, a readministered
question, required the ability to distinguish changes of harmony, melody and rhythm
in a music selection. Following are the exact directions for the item:
Listen carefully to this musical selection. It will be performed two times. In the
second performance of the selection, there may be a:
change in harmony
change in melody
change in rhythm
A. Fill in the oval beside the phrase that tells about the type of change in the
second performance. The two performances of this selection will be repeated.
O Change in harmony
0 Change in melody
0 Change in rhythm
O I don’t know
B. Now listen carefully to another musical selection. It will be performed two

times. Fill in the oval beside the phase that tells about the type of change in

61

the second performance. The two performances of this selection will be

repeated.
O Change in harmony
O Change in melody

O Change in rhythm

O I don’t know

Table 23. Test questions related to the subobjective of identifying the relationships of

elements in a given composition

 

NAEP #

9-year

l3-year

l7-year

Readministered

question

 

R6-301048-32A

at:

 

R6-302008-32A

*

 

R6—401014-32A

a:

 

R6-402050-A1A

 

 

R6-40205 1 -A1A

 

 

alt

 

*

 

 

Note. * means that the question was administered to subjects at this age level.

Demonstrate an understanding of a variety of musical terms, expression markings

and conducting gestures in a musical context: Discussion and example

Nine released questions focused on measuring the ability to demonstrate an

understanding of a variety of musical terms. expression markings, and conducting

gestures in a musical context (see Table 24). Questions in this group measured

knowledge about several musical categories such as note values, pitches, clefs, meters,

tempo, dynamics, musical symbols. and key signatures. For example, question

 

 

R6-201008-AIA was designed to measure all respondents’ understanding of clefs.

Following are the exact directions for the item:

Look at the line of music.

 
   

l

The arrow is pointing to what musical Sign?
O Alto clef

0 Bass clef

O Tenor clef

O Treble clef

O I don’t know

Table 24. Test questions related to the subobjective of demonstrating an understanding
of a variety of musical terms, expression markings and conducting gestures in a musical

 

 

 

 

 

 

 

 

 

 

context

NAEP # 9-year I3-year l7-year Readministered
question

R6-201004-32A * * * *

R6-201005-32A * * * *

R6-201008-32A * * * "‘

R6—201010-32A * * * *

R6-201011-32A * * *

R6-201012-32A * * *

R6-403054-A1A *

R6-403057-A1A * *

R6-403061-A1A * *

 

 

 

 

 

 

Note. "' means that the question was administered to subjects at this age level.

63

Identify and Classify Music Historically and Culturally

Questions designed to measure identification and classification of music, both
historically and culturally. elicited cognitive responses from respondents and required
them to demonstrate a broad knowledge and understanding of music in the context of
the world around them (National Assessment of Educational Progress, 1981).

Identify and describe the features that characterize a variety of folk, ethnic,

popular and art music: Discussion and exampfile

Six questions were released that focused on measuring the ability to identify and
describe the features that characterize a variety of folk, ethnic, popular and art music
(see Table 25). In order to choose the right answer. respondents had to have an
understanding of American folk and pop songs, different culture songs, and common
music features in several nations. For example, question R6-501050-A1A used an
excerpt from the Beatles’ “Hey Jude” and respondents had to know what style it was.
Following are the directions for the item:

Listen carefully to the music. What kind of music is this?

O Jazz

O Folk

O Gospel

O Rock

O I don’t know

64

 

Table 25. Test questions related to the subobjective of identifying and describing the

features that characterize a variety of folk, ethnic, popular and art music

 

 

 

 

 

 

 

NAEP # 9-year 13-year l7-year Readministered
question _

R6-303006-3 2A * * *

R6-501050-A1 A * *

R6-501052-A1A * * *

R6-501054-A1A * *

R6-501057-A1A * * *

R6-501059-A1A * "‘

 

 

 

 

 

 

Note. * means that the question was administered to subjects at this age level.

Identifi and describe the music and musical style of the various stylistic periods

in Western civilization (e.g., Medieval, Renaissance, Baroque, Classical,

Romantic). Identify representative composers of each period: Discussion and

exam le

Eleven questions were released that focused on measuring ability to identify and
describe the music and musical style of various stylistic periods in Western civilization,
through recognition of representative composers of each period (see Table 26). As in
1971-72, most of the questions from this content area were not administered to
9-year-olds.

All of the questions were related to Western music history and literature, so
respondents had to have a related background for those questions. For example,
question R6-403001-32A. a readministered question, measured respondents’

understandings of Western musicians. Following are the exact directions for this item:

65

Below are two lists. In the blank space beside each name in List B, write the

number of the MOST appropriate description given in List A.

List A

1. Known primarily as a jazz musician

2. Known primary as a conductor of
“serious” music

3. Known primarily as a singer of
“serious” music

4. Known primarily as a player of
“serious" music

5. Known primarily as a composer of

“serious” music

66

Qst_B

_Louis Armstrong
_Johann Sebastian Bach
_Enrico Caruso
_Frederic Chopin
_Van Clibum

_Duke Ellington
_Robert Merrill
_Wolfgang Amadeus Mozart
_Leontyne Price
_____Sergei Prokofiev
_Isaac Stern
_Leopold Stokowski
_Peter Ilyich Tchaikovsky

Arturo Toscanini

Table 26. Test questions related to the subobjective of identifying and describing the
music and musical style of the various stylistic periods in Western civilization (e. g.,

Medieval, Renaissance, Baroque, Classical, Romantic).

 

 

 

 

 

 

 

 

 

 

 

 

 

NAEP # 9-year l3-year l7-year Readministered question
R6-304004-32A * * *
R6-304005-32A * * *
R6-40300 l -3 2A * * *
R6-404003-3 2A * * *
R6-404004-32A * *
R6-502050-A1A * *

R6-502052-A1 A *

R6-502054-A1 A *

R6-502057-A1A * * *

R6-502060-A1A * *

R6-502069-A1 A *

 

 

 

 

 

Note. * means that the question was administered to subjects at this age level.

Cite examples of ways in which man utilizes music in his social and cultural life:

Discussion and example

 

Five questions were released that focused on measuring ability to cite examples
of ways in which man utilizes music in his social and cultural life (see Table 27).
Questions in this group tried to make a connection between music and the respondents’
lives. They might relate to American history and people’s general habits in everyday
life. For example, question R6-503053 was one of the questions related to life today.
Following are the directions for this item:

Why is music often played in shopping centers. restaurants, or doctors’ offices?

C) To cover up noises in these places

O To teach the customers new songs

67

 

 

0 To keep people awake
C) To make these places more pleasant

O I don’t know

Table 27. Test questions related to the subobjective of citing examples of the ways in

which man utilizes music in his social and cultural life

 

 

 

 

 

 

NAEP # 9-year 13-year 17-year Readministered
question

R6-303004-32A * *

R6-503050-A1A * *

R6-503051-A1A *

R6-503052-A1A *

R6-503053-A1 A * *

 

 

 

 

 

 

Note. * means that the question was administered to subjects at this age level.

Saw

The l978-79 NAEP music assessment was based on three of five music
objectives; the other two were not included in the assessment due to funding limitations.
To measure changes in performance between 1971-72 and I978-79, approximately half
of the questions in the first assessment were readministered in the second under almost
identical conditions (National Assessment of Educational Progress, 1981). Due to
budgetary constraints. there were no questions included to measure performing and
creating music. Therefore, the content of the 1978-79 assessment was not as complete
as that of the 1971-72 assessment. Moreover, when compared with 1971-72 assessment,
the student sample in l978-79 was smaller, and no adults participated in the second

assessment.

68

1997 NAEP Music Assessment

Unlike the previous two NAEP music assessments, the 1997 NAEP music
assessment was not designed based on general music objectives and subobjectives but
was developed based upon the NAEP Arts Education Assessment Framework. Between
1992 and 1994, the Council of Chief State School Office (CCSSO) developed the
NAEP Arts Education Framework and Specifications. “The central principles
underlying the arts framework are that a complete and rich arts education is a crucial
part of the curriculum, and that such an education must emphasize creating and
performing as much as studying and analyzing works of art” (National Assessment of
Educational Progress. 1998, p. 3). According to the framework, the arts had a unique
capacity to integrate intellect, emotions, and physical skills in the creating of meaning.
Overall, the framework provided the theoretical basis for the assessment and directions
for what kinds of questions should be included in the assessment, how those questions
should be designed, and how responses should be scored (National Assessment of
Educational Progress on-line resource, 2000).

The Framework is not meant to be a national curriculum. However, it was
developed in tandem with the National Standards for Education in Arts to create a
unified vision of what arts ought to be taught in American schools and how they ought
to be assessed. “Because the skills and knowledge assessed in the 1997 arts assessment
are essentially the same skills and knowledge called for in National Standards for Arts
Education, the assessment can provide useful baseline data for measuring progress

toward implementing the standards at the state or district level” (Lehman, 1999).

69

Although the questions for the 1997 assessment were field tested in grades four,
eight, and twelve, the NAEP 1997 Arts Assessment in Music ultimately included
eight-grade students only because of budgetary restrictions. Compared with the 80,000
or 90,000 students who participated in 1971-72 and the 67,000 students in the l978-79
assessments, the 1997 assessment was administered to only 2,275 eighth-grade students.
Because the sample size was so small, Colwell (1999) believes that students selected in
1997 may not be representative of the population at large.

NAEP used two types of assessment tasks in 1997: paper-and-pencil tasks and
performance tasks. Paper—and-pencil tasks, including multiple-choice, short
constructed-response, and extended constructed-response, required students to respond
to recordings, musical notation, and other stimuli. The performance tasks were used to
assess creating and performing. Some tasks involved either creating or performing, and

some involved both.

Music Assessment Framework: Content and Progresses

 

Questions in the 1997 music assessment were built around the music assessment
framework, and the assessment included both content and processes. For content,
students were required to have knowledge and understanding of music; the processes
included creating, performing and responding. Following is the music assessment

framework in brief:

70

 

 

Processes

 

Creating

Performing

Responding

 

When improvising, composing, or

arranging music, students:

apply historical, cultural, and
aesthetic understanding by
creating stylistically
appropriate alterations,
variations, and
improvisations;

use standard and/or
non-standards notation to
express original ideas;
evaluate, refine, and revise
successive versions of original
work;

demonstrate Skill and
expressiveness in the choice
and use of musical elements;
and

present the created work for

others.

 

When singing or

playing music with

musical instruments,

students:

0 select
appropriate
repertoire;

0 apply skill by

performing with

technical

accuracy;

0 evaluate, refine,

and revise the

performance;

0 develop an

appropriate and

expressive

interpretation by

applying

understanding of

structure and
cultural and
historical
contexts of
music; and

0 present the

performance for

others.

 

When singing or

playing music with

musical instruments,
students:

select repertoire
for listening;
analyze the
elements and
structure of
music;

compare and
contrast various
musical styles;
identify formal
and expressive
qualities that
distinguish a
particular style
of music;

place music
within its
cultural and
historical
context;

make critical
judgments about
technical and
expressive
qualities of
musical
performance and
compositions;

and

 

71

 

 

0 use movement or
words to
interpret and
describe
personal
responses to

 

 

 

 

 

music.
Content
Knowledge Skills
Applying knowledge of: Applying cognitive, affective, and
Context motor skills, including:
personal Perceptual
social Intellectual/Reflective
cultural Expressive
historical Technical
Aesthetics
Form and structure
Processes

 

 

SOURCE: NAEP 1997 Arts Education Assessment Framework, National

Assessment Governing Board

 

 

 

In order to ensure measurement of all aspects of musical knowledge and to
lighten the burden on respondent, NAEP developed a number of different task “blocks.”
Blocks are groups of questions administered as separate units to be completed in a set
time frame (National Assessment of Educational Progress, 1998). An overview of an

assessment blocks is as follows:

The Content Description of the NAEP Music Assessment

 

Block Name

Description

 

"Shalom, My Friends"
(Responding Block)

 

Students discussed features of an example of Japanese
koto music. Students analyzed features of a choral
arrangement of the song "Shalom, My Friends" and Scott
J oplin's "Pine Apple Rag." Students contrasted stylistic
elements present in excerpts of music from Brahms' First
Symphony with two pieces by composer Ellen Taaffe
Zwilich.

 

"Musical Texture"

(Responding Block)

Students analyzed textural elements of excerpts of music
from a flute solo by Chaminade, a fugue by J .S. Bach,
and a Native American flute solo. Students analyzed and
compared two different versions of "Why Do the Nations
80 F uriously Rage?" (One version of the music was by
GE. Handel and the other was a jazz performance by Al
Jarreau.) Students analyzed form and other features of an

African dance song and a Japanese folk song.

 

"Michael Row the
Boat Ashore"
(Responding Block)

 

Students demonstrated understanding of phrase structure,
instrumentation, and melodic contour of a performance of
the folk song "Au Clair de la Lune." Students answered
questions dealing with standard melodic and rhythmic
music notation. Students provided a critique of a vocal
performance of "Michael Row the Boat Ashore."

Students analyzed functional uses and stylistic features of
excerpts from Sousa's "The Washington Post March,"
Brahms' "Lullaby," and the spiritual "Wade in the Water."

 

"Minuet in G"
(Responding Block)

 

 

 

Students provided a critique of a violin performance of
"Minuet in G" by J .S. Bach, described features and
answered questions about excerpts of string quartet music
by George Crumb, "Rhapsody in Blue" by George
Gershwin, and the W. Schuman arrangement of Charles

73

 

 

lves' "Variations on America."

 

"'The Lion Sleeps
Tonight'/'Twinkle,
Twinkle, Little Star'"
(Creating and
Performing Block)

 

Students improvised a rhythmic accompaniment and a
harmonic accompaniment for an instrumental
arrangement of the popular tune "The Lion Sleeps
Tonight." Students performed the melody "Twinkle,
Twinkle. Little Star" by ear on the MIDI keyboard.

 

" 'Ode to Joy' / Sing
'America' "
(Creating and
Performing Block)

tr

Students performed the first two phrases of the melody
"Ode to Joy" by ear on the MIDI keyboard. Students
created a rhythmic embellishment based on the first two
phrases of the tune "Ode to Joy." Students sang the
melody to the song "America" ("My Country 'Tis of
Thee") along with a full chorus accompaniment on

audiotape.

 

"Rock Improvisation
and Evaluation"
(Creating Block)

1.”

Students performed improvisations to a rock music

background and created an original melody. Students

' sang a vocal improvisation with the rock background

music. Students answered self-evaluation questions about

their performances.

 

 

"Jazz Improvisation
and Melodic
Sight-Reading"
(Creating and
Performing Block)

 

Students performed a solo of their choice. Students
performed two brief jazz improvisations on their
instrument or voice. Students sight-read an eight-measure

melody on their instrument or voice.

 

74

 

 

"Large Ensemble" Students performed a solo of their choice. Students
(Performing Block) performed an excerpt from a large ensemble piece along
with a full ensemble accompaniment recorded on
audiotape. Students listened to their performance and then

 

answered self-evaluation questions about their singing or

playing.

 

 

 

 

SOURCE: National Center for Education Statistics, National Assessment of
Educational Progress (NAEP), 1997 Arts Assessment.

Test Question Examples and Cross-reference Tables

Because the 1997 NAEP music assessment did not follow any of the objectives
of previous two NAEP music assessments, and the music assessment framework was
very different from those objectives, the content and format of the 1997 assessment are
not related to 1971-72 and 1978—79 assessments . No test questions in 1978-79 NAEP
music assessment were readministered in the 1997 assessment. When reporting the
1997 assessment, NAEP did not assign any NAEP report numbers to test questions, like
they did with the first and second assessments. All released questions were classified
according to the nine music blocks. Among the nine blocks, four were responding
blocks, three were the combination of creating and performing, and one was creating
only or performing only.

Respondents were not asked to finish questions in all nine blocks but were
assigned at random to several paper-and-pencil blocks and one performance block. The
total number of questions in each responding block ranged from eight to 16.
Thirty-eight questions and tasks were reported for the 1997 assessment (National

Assessment of Educational Progress, 1998). Twenty-two tasks, 57.9 % of the 38, were

75

designed to measure responding to music; 9 tasks, 23.7 % of the 38, were designed to

measure creating and performing together; 4 tasks, 10.5% of 38, were designed to

measure creating only in the rock improvisation and evaluation block; 3 tasks, 7.9 % of

38, were designed to measure performing only in the large ensemble block (see Table

28).

Table 28. Number and ratio of test questions in 1997 assessment.

 

 

 

 

 

 

 

 

 

 

 

Framework Block name Number of Ratio of
questions/tasks questions
Responding Shalom, my friends 4 10.5 %
22/38 Musical texture 2 5.2 %
57.9% Michael row the boat ashore 15 39.5 %
Minuet in G l 2.6 %
Creating/Performing The lion sleeps tonight/T Winkle, 3 7.9 %
9/38 twinkle, little star
23.7% Ode to Joy/Sing America 3 7.9 %
Jazz improvisation and melodic 3 7.9 %
sight-reading
Creating Rock improvisation and 4 10.5 %
4/38 evaluation
10.5%
Performing Large ensemble 3 7.9 %
3/38
7.9 %

 

 

 

 

Music Responding Blocks

There are four blocks in this part of the examination. All of these blocks were

administered to groups of students. and each respondent was asked to complete two of

76

 

the four responding blocks. During the test administration, trained test administrators
played paced audiotapes that provided standardized directions and musical examples
for the test questions. The tapes allowed respondents appropriate time to answer the
questions after hearing the music.

Shalom, My Friends: Discussion and example

Four questions were released in the block of Shalom, My Friends (see Table 29).
In this block of questions, respondents analyzed aspects of vocal arrangements of songs
“Shalom, My Friends” and “Pine Apple Rag.” Moreover, they also had to contrast
Brahms’ First Symphony with two pieces by Zwilich. For questions 2 to 13,
respondents were told to follow the printed notation of “Shalom, My Friends.” As a
specific example, question 8, a short, constructed-response question, measured
respondents’ ability to analyze features of a score. Following are the exact directions of
this item:

Look at the two vocal parts in measures 15. 16, and 17. Which of the following

statements describe the music in this section? Fill in either “Yes” or “No” on each

line below. (Music is not included because of copyright considerations.)

 

 

Part 2 sings the melody.

 

Part 2 imitates Part 1.

 

Part 2 sings an ostinato.

 

Part 2 is marked at the same dynamic level as Part 1.

 

Part 2 sings longer notes than Part 1 in measure 16.

 

Part 2 sings lower notes than Part 1 in measures 16 and 17.

 

OOOOOOO§
ooooooog

 

 

 

Part 2 moves down a half step in measure 17.

 

 

77

 

Table 29. Test questions in the Shalom, My Friends Block

 

 

 

Sample Analyzing music Evaluation Listening with Demonstrating
questions and music and understanding knowledge of
performances performances music in relation

to other arts and
to history and
culture

Question 4 *

Question 8 * *

 

Question 10

*

a:

 

Question 14

 

*

 

 

*

 

 

Note. * = Question is related to this standard from the National Standards for Arts

Education.

Musical texture: Discussion and example

Two questions were released that focused on measuring knowledge of musical

texture (see Table 30). In this block, respondents were asked to analyze and make

comparisons between different pieces or different versions of the same work. Music

materials included EurOpean art music, jazz, and a Japanese folk song. For example,

question 1, a multiple-choice question, used C. Chaminade’s Concerto to measure

respondents’ perception of musical texture. Following are the exact directions for this

item:

Questions 1 to 4 are about musical texture. Musical texture refers to the blend of

various sounds and the ways in which the lines of music in a piece are related.

The diagrams below contain drawings showing different ways that various lines

of music could be combined to create musical texture.

78

 

 

The first piece of music you will hear will be used for question 1.

The music will be played one time. Before you hear the music, read question 1.

Which diagram best illustrates the texture of the music?

O

 

 

M

 

 

 

 

 

 

O

 

 

 

 

 

 

ll IlllflllflllllIIL

 

Table 30. Test questions related to Musical Texture Block

 

 

 

 

Sample Analyzing music Evaluation Listening with Demonstrating
questions and music and understanding knowledge of
performances performances " music in relation

to other arts and
to history and
culture

Question I * *

Question 2 * *

 

 

 

 

 

Note. * = Question is related to this standard from the National Standards for Arts

Education.

Michael Row the Boat Ashore: Discussion and example

Fifteen questions were released in this block that were designed to measure

respondents’ abilities to listen with understanding, work with melodic and rhythmic

79

 

notation, and analyze functional uses and stylistic features of music (see Table 31).
Four musical works were used in this block: 1) “Au Clair de la Lune,” 2) “Michael
Row the Boat Ashore,” 3) “The Washington Post March,” and 4) “Wade in the Water.”
For example, question 9, a constructed—response question, asked respondents to critique
a vocal performance of “Michael Row the Boat Ashore.” Following are the exact
directions for the item:
The music for question 9 iS performed by a person who is learning to sing a song.
The music for the song is printed on page 8 of your test booklet. Each measure of
the music has been numbered in its upper left-hand comer.
In the performance you will hear, the first two verses of the song will be sung
correctly. However, starting at measure 17, which is the third verse, you will hear
several mistakes in the performance.
As you listen, you may write on the music or circle places in the music where
you hear mistakes, but be sure to write your answer on the lines on this page. The
music will be played two times. After you hear the music, read question 9.
Identify three specific places in the music where the singer made mistakes. Tell

what the mistake was in each place you name.

 

 

 

 

 

 

 

80

Table 31. Test questions in Michael Row the Boat Ashore Block

 

 

 

 

 

 

 

 

 

 

 

Sample Analyzing music Evaluation Listening with Demonstrating
questions and music and understanding knowledge of
performances performances music in relation

to other arts and
to history and
culture

Question 1 * *

Question 2 *

Question 3 *

Question 4 *

Question 5 *

Question 6 *

Question 7 *

Question 8 *

Question 9 *

 

Question 10

 

Question 1 l

 

Question 12

 

Question 14

 

Question 15

a:

 

Question 16

 

 

 

a:

 

 

Note. * = Question is related to this standard from the National Standards for Arts

Education.

Minuet in G: Discussion and example

One question was released in this block to measure respondents’ abilities to

critically evaluate (see Table 32). Respondents began by critically evaluating a violin

performance of J .S. Bach, “Minuet in G.” Question 1, a constructed-response question,

had two parts. Part A asked respondents to critically evaluate measures one through 16

81

 

of “Minuet in G,” and part B asked them to evaluate measures 17 through 32 of the
same piece. Following are the exact directions for the part A of the item:
Questions 1, Part A: Measure 1-16
Evaluate the performance of measures 1-16 for each category below.
DYNAMIC (loudness and softness)
Is there a problem or mistake? O Yes O No

If yes, describe it and tell in which measure(s) it occurred.

 

 

TONALITY (sound)

Is there a problem or mistake? O Yes O No
If yes, describe it and tell in which measure(s) it occurred.
RHYTHM

IS there a problem or mistake? O Yes O No
If yes, describe it and tell in which measure(s) it occurred.
PITCHES (notes)

Is there a problem or mistake? Q Yes 0 No
If yes, describe it and tell in which measure(s) it occurred.
TEMPO (speed)

IS there a problem or mistake? O Yes O No

If yes, describe it and tell in which measure(s) it occurred.

 

Table 32. Test questions in the Minuet in G Block

 

Sample Analyzing music Evaluation Listening with Demonstrating
questions and music and understanding knowledge of
performances performances music in relation

to other arts and
to history and
culture

 

 

 

 

 

Question 1 *

 

 

Note. * = Question is related to this standard from the National Standards for Arts

Education.

General Creating and Performing Blocks

Questions in this part of the exam were grouped into general creating and
performing blocks. They were intended for all respondents, regardless of whether they
were or were not currently involved in music activities. Three blocks in this part were:
1) The Lion Sleeps Tonight/Twinkle, Twinkle, Little Star, 2) Ode to Joy/Sing America,
and 3) Rock Improvisation and Evaluation. Each respondent completed one of the three
general creating and performing blocks of questions. For each of the creating and
performing blocks, the respondents completed the tasks individually by appointment
following the class administration of the music of responding blocks.

The Lion Sleeps Tonight/Twinkle, Twinkle, Little Star: Discussion and example

In this block, NAEP did not require written responses. The performance sessions
were recorded in entirety on audiotape to collect respondents’ responses. Three tasks
were included in the block of the Lion Sleeps Tonight/Twinkle, Twinkle, Little Star: 1)

improvising a rhythmic accompaniment to the popular tune “The Lion Sleeps Tonight,”

83

 

2) selecting appropriate chords to accompany the melody “The Lion Sleeps Tonight,”
and 3) performing the tune “Twinkle. Twinkle, Little Star” on the MIDI keyboard by

ear (see Table 33).

Table 33. Test questions in the Lion Sleeps Tonight/Twinkle, Twinkle, Little Star Block

 

Question tasks Creating Performing

 

Composing Improvising Arranging Singing Playing

 

 

instruments
Improvising a rhythmic * *
accompaniment to the
popular tune “The Lion
Sleeps Tonight.”
* Ill

Selecting appropriate
chords to accompany the
melody “The Lion Sleeps
Tonight.”

Performing the tune
“Twinkle, Twinkle, Little
Star” on the MIDI
keyboard by ear.

N_ot_e_. * = Task is related to this standard from the National Standards for Arts

 

 

 

 

 

 

 

 

Education.

Ode to Joy/Sing America: Discussion and example

In the block of Ode to Joy/Sing America, three tasks were included: 1)
performing the first part of the melody “Ode to Joy” on a MIDI keyboard, 2) creating
an original rhythmic embellishment of a melody based on “Ode to Joy,” and 3) singing

the melody of the song “America” along with a full chorus on audiotape (see Table 34).

84

Table 34. Test questions in the Ode to Joy/Sing America Block

 

Question tasks

Creating

Performing

 

Composing

Improvising

Arranging

Singing

Playing

instruments

 

Performing the first
part of the melody
“Ode to Joy” on a
MIDI keyboard.

a:

 

 

Creating an original
rhythmic
embellishment of a
melody based on “Ode
to Joy.”

 

Singing the melody of
the song “America”
along with a full
chorus on audiotape.

 

 

 

 

 

 

Note. * = Task is related to this standard from the National Standards for Arts

Education.

Rocl_( improvisation and evaluation: Discussion and example

The block of Rock Improvisation and Evaluation explored improvisation,

creation and evaluation activities in music using rock-style background music as the

stimulus. Four tasks were included: 1) improvising at the keyboard with a background

tape to create an original melody, 2) performing the original melody on the keyboard

unaccompanied, 3) singing a vocal improvisation with the background tape, and 4)

completing written self-evaluation questions about the performance (see Table 35).

85

 

Table 35. Test questions in the Rock Improvisation and Evaluation Block

 

Question tasks

Creating Performing

 

Composing Improvising Arranging Singing Playing

instruments

 

Improvising at the
keyboard with a
background tape to
create an original

melody.

 

Performing the
original melody on
the keyboard

unaccompanied.

 

 

Singing a vocal
improvisation with
the background
tape.

 

 

 

 

 

Completing written
self-evaluation
questions about the

performance.

 

Not a creating or performing task
At the end of the previous three tasks, students were asked to
answer two written self-evaluation questions about their

performance

 

Note. * = Task is related to this standard from the National Standards for Arts

Education.

Supplemental Creating and Performance Blocks

In addition to the three general creating and performing blocks for the general

student population, NAEP designed two additional blocks for students currently

involved in musical activities. These two blocks were 1) jazz improvisation and

melodic sight-reading. and 2) large ensemble blocks. Respondents who took part in

86

 

some type of in-school or out-of-school music activities were eligible for the jazz
improvisation and melodic Sight-reading and large ensemble blocks. Each eligible
respondent was asked to complete one of the two additional blocks directly after
finishing one of the three general creating and performing blocks.

Jazz improvisation and melodic sight-reading: Discussion and example

There were three tasks included in the block of Jazz Improvisation and Melodic
Sight-Reading: 1) students performed a solo of their choice, 2) students performed two
brief improvisations in jazz style, and 3) students Sight-read a Short melody for their

instrument or voice (see Table 36).

Table 36. Test questions in the Jazz Improvisation and Melodic Sight-Reading Block

 

Sample questions Creating Performing

 

Composing Improvising Arranging Singing Playing
instruments

 

 

Students performed a *
solo of their choice.
Students performed *

two brief

 

improvisations in jazz
style.

Students sight-read a * *
short melody for their

 

instrument or voice.
Note. * = Task is related to this standard from the National Standards for Arts

 

 

 

 

 

 

 

Education.

87

 

Large ensemble: Discussion and example

There were three tasks included in the block of large ensemble: 1) students
performed a solo of their choice, 2) students performed an excerpt from a large
ensemble piece containing their instrument or voice, and 3) students listen to a

recording of their performance and evaluated it (see Table 37).

Table 37. Test questions in the Large Ensemble Block

 

Sample questions Performing

 

Singing Playing

 

 

instruments
Students performed a solo of their choice. *
Students performed an excerpt from a large ensemble piece *

containing their instrument or voice.

 

Students listen to a recording of their performance and

 

 

 

evaluated it.
Note. * = Task is related to this standard from the National Standards for Arts

 

Education.

Summary

The 1997 NAEP music assessment was designed to measure the content of the
NAEP Arts Education Assessment Framework for music. Because the Framework was
not related to the music objectives of previous two assessments in 1971-72 and 1978-79,
the contents and formats in 1997 assessment were not similar to the 1971-72 and
l978-79 assessments. Further, no questions in the 1978-79 assessment were
readministered in the 1997 assessment. Because of funding limitations, when compared

to the previous two assessments, the 1997 assessment had the smallest student sample

88

and used eighth-grade students only.

89

CHAPTER 3

MUSICAL EXAMPLES IN THE NAEP MUSIC ASSESSMENTS

Most test questions in the 1971-72, 1978-79, and 1997 NAEP music assessments
included the use of aural music materials. Some questions used only one musical source
for each question, and the other questions had two or more. Overall, the musical
sources consisted of brief excerpts taken from a previous recording or that were
recorded specifically for use in the assessment. Each assessment included a variety of
musical examples. With the exception of a few American folk songs and some of the
popular music examples, most musical materials between the three assessments did not
overlap.

The types of musical examples, which were applied in NAEP music assessments,
can be classified into four categories: 1) western music, 2) American folk and popular
music, 3) western folk music, and 4) music outside of the western tradition. Because of
the different emphasis in each of the three assessments, they had different ratios of
these four types of musical sources. Overall, musical examples from western music

tradition were most common in the three assessments.

1971-72 NAEP Music Assessment
Musical examples for the 1971-72 NAEP music assessment included
compositions by western art music composers like Handel and Mozart and more recent
composers like Ferde Grofe. NAEP also used many American folk and traditional

songs, such as cowboy songs and Negro spirituals, as well as a few songs from the jazz

90

repertoire.

Musical Examples in Test Questions

Thirty-three musical examples were used in the released questions of the

1971-72 NAEP music assessment. With the exception of question Rlc 101004, a

French folk song, thirty-two musical examples roughly were half from western art

music and half from American folk music. No music examples outside of the western

tradition were included in the 1971-72 assessment (see Table 38).

Table 38. Musical examples used in 1971-72 assessment

 

 

 

 

 

 

 

 

 

 

 

 

 

NAEP # Music material Music category
RlA IOIOOIa The song “America” American folk and
RIB 101002 popular music:

traditional music
RIC 101004 The song “Are You Sleeping” Western folk music:
French folk song
R2C 302001 Wolfgang A. Mozart, “Minuetto,” Divertimento Western arts music:
No. 2 in D Major, K. 131 for flute, oboe, bassoon, Classical period *
four horns and strings
R2D 302006 The song “Good-Bye 01’ Paint” American folk and
popular music:
cowboy song
R2G 401012 Bernhard Apfelbaum, Symphony No. 31 in F Western art music:
mail Modern period
R2W 203010 Thomas Morley, “The Fields Abroad” Western art music:
Renaissance
R2X 203011 Franz Joseph Haydn, String Quartet No. 48 in Western art music:

 

 

F -sharp Minor

 

91

 

Classical period

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

R2Y 203012 Ludwig van Beethoven, “Allegretto.” Symphony Western art music:
No. 7 in A Major, op. 92 Classical period
R3A 301001 Ludwig van Beethoven, “Andante,” Symphony Western art music:
No. 6 in F Major, op. 68 Classical period
R3B 301005 Modest Moussorgsky. “Promenade” Western art music:
Romantic period
R3C 301007 John Philip Sousa, “Starts and Stripes Forever,” Western art music:
Mar—ch Modern period
R4G 304001 Frederic Chopin, Etude, op. 10. No. 7 Western art music:
Romantic period
Bela Bartok, Allegro Barbaro, SZ. 49 Western art music:
Modern period
Frederic Chopin, Etude, op. 25, No. 7 Western art music:
Romantic period
R4H 304003 Wolfgang A. Mozart, “lst Movement,” Symphony Western art music:
No. 17 in G Major. k. 129 Classical period
Wolfgang A. Mozart, “1 st Movement,” Symphony Western art music:
No. 15 in G Major, K. 124 Classical period
Johannes Brahms, Academic Festival Overture, op. Western art music:
89 Romantic period
R4J 303009 Sonny Terry and J. C. Burris “Blues All Around American folk and
My Bed,” Best of Sonny Terry and Brownie popular music: jazz
McGhee
R4K 304006 Julian Adderly, “You Got It,” American folk and

popular music: jazz

 

Earl Hines, composer and performer, "My Monday
Date”

American folk and

popular music: jazz

 

 

 

 

A improvised boogie-woogie, J. Dapogny, pianist American folk and
popular music: jazz
Scott Joplin, “Maple Leaf Rag,” J. Dapogny, American folk and
pianist popular music: jazz
Dave Brubeck, “Unisphere,” performed by the American folk and

Dave Brubeck quartet

 

popular music: jazz

 

 

R4M 402001

Samuel A. Ward. “America the Beautiful”

American folk and
popular music:

traditional music

 

 

 

 

 

 

 

 

 

 

Woody Guthrie, “This Land is Your Land,” American folk and
Ludlow music company popular music: folk
The song “When the Saints Go Marching In” American folk and
popular music: folk
R4N 402006 Samuel A. Ward, “America the Beautiful” American folk and
popular music:
traditional music
Woody Guthrie, “This Land is Your Land,” American folk and
Ludlow music company popular music: folk
The Negro Spiritual song “Nobody Knows the American folk and
Trouble I’ve Seen” popular music:
Negro spiritual
The song “When the Saints Go Marching ln” American folk and
popular music: folk
H. J. Fuller, “My Bonnie Lies over the Ocean” American folk and
popular music: folk
The song “Blue-tail Fly” American folk and
popular music: folk
R4O 402002 Ludwig van Beethoven, Symphony No. 5 in C Western art music:

 

Minor, op. 67

 

Classical period

 

Ferde Grofe, “On the trail,” taken from The Grand

Canyon Suite, (g). 91

Western art music:

Modern period

 

George Frederick Handel, “Hallelujah Chorus,”

Messiah

Western art music:
Baroque period

 

 

Peter I. Tschaikovsky, “March,” Nutcracker Suite,
op. 71

 

Western art music:

Romantic period

 

Note. * The periods were designed according to the date of composition as follows

rather than according to compositional style.
Renaissance period: 1400-1600

Baroque period: 1600-1 750

Classical period: 1750-1820

93

 

Romantic period: 1 820-1900
Modern period: after 1900

C ross-reference Table for Musical Examples

Of the thirty-three musical examples, 18 examples or 54.5 % were western music,
14 or 42.4 % were American folk and popular music. and one example or 3 % was
western folk music. No musical example was outside the western tradition (see table

39).

Table 39. Ratios of examples for music tasks in 1971-78 assessment

 

 

 

 

 

 

 

 

Western art music American folk and Western folk music Music outside of the
popular music western tradition
18/33 14/33 1/33 0/33
54.5 % 42.4 % 3.0% O %
O Renaissance 0 Traditional 0 French folk
0 Baroque songs song
0 Classical 0 Instrumental
0 Romantic music,
0 Modern including
dance music,
ragtime and
jazz
0 Cowboy song
0 Negro spiritual
Summag

Generally, the musical examples used in 1971-72 NAEP assessment were

focused on western art music. Most of the western art musical examples were from the

94

Classical, Romantic, and Modern periods. Western art music examples used least were
from Renaissance and Baroque periods. Moreover, many American jazz and traditional
musical examples were used in the test questions, and only one non-American western
folk song was included. However, in the first assessment, NAEP used no American
contemporary popular musical examples, and no musical example was outside of the

western tradition.

1978-79 NAEP Music Assessment

The musical examples for the 1978-79 NAEP music assessment included
compositions by western art music composers like F. J. Haydn and Beethoven, and
many 19th and 20’" composers. As mentioned before, the 1971-72 assessment focused
more western art music of the Classical period. However, in the l978-79 assessment,
western art music of the nineteenth and twentieth centuries was used most frequently.
Also, in l978-79, NAEP used popular musical examples, such as Beatles’ songs, in
addition to jazz and American folk music. Moreover, western folk music, like
Czechoslovakian and French folk, songs were included in the second assessment.
NAEP also used a Javanese song and a Native American Indian song. both of which are
outside of the western tradition.
Musical Examples in Test Questions

Sixty-six music examples were used for the released questions of 1978-79 NAEP
music assessment. Excluding the eleven music examples, for which sources could not
be located (see Table 40), music examples included four types of music: 1) western art

music, 2) American folk and popular music. 3) western folk music, and 4) music

95

 

outside of the western tradition.

Table 40. Musical examples used in l978-79 assessment

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

NAEP # Music material Music category
R6-101051 Stephen C. Foster. “Old Folks Quadrilles,” American folk and
Stephen Foster’s Social Orchestra: A Collection popular music: dance
of Popular Melodies, The Columbia Social song
Orchestra
C. Perkins, “Daddy Sang Bass,” The Johnny American folk and
Clash collection: His Greatest Hits, Volume 11 popular music: dance
song
Antonin Dvorak, Slavonic Dance in A Flat, 0L Western art music:
46 No. 3 Romantic period *
Beatles. “Come Together.” The Beatles/1967-70 American folk and
popular music: pop
music
R6-101052 Ludwig van Beethoven, Mp (excerpt from Western art music:
Overture) Classical period
Ramsey Lewis, 'Wade in the Water” (excerpt), American folk and
Solid Ivogy popular music:
spiritual song
Peter I. Tchaikovsky, “Wakt of the Flowers” Western art music:
(excerpt), Nutcracker Suite Romantic period
Gustav Theodore Holst, “Mercury” (excerpt), Western art music:
The Planets Romantic period
R6-202004 Franz Joseph Haydn, “Twinkle, Twinkle, Western art music:
Theme” (excerpt from “surprise”), Symphony Classical period
No. 94 in G Major
R6-202007 John Stafford Smith, music, Francis Scott Key, American folk and

 

lyrics. “The Star-spangle Banner” (excerpt), live

trumpet recording

96

 

popular music:
national

anthem-tradition

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

R6-203001 A live flute recording (unclear)

R6-203015 A live flute recording (unclear)

R6-301003 Camille Saint Saens, Danse Macabre, op. 40 Western art music:
(xylophone excerpt), Vox Producations, Vox DL Romantic period
180

R6-301009 Wolfgang A. Mozart, Piano Sonata No. 16 in B Western art music:
Flat Major, k. 570 Classical period

R6-301010 Sergei Prokofiev, Violin Concerto No. I in D Western art music:
Minor, op. 19 (excerpt) Modern period

R6-301011 Wolfgang A. Mozart, Piano Concerto No. 17 in Western art music:
G Major, k. 453 (excerpt from the First Classical period
Movement)

R6-301028 A live piano recording (unclear)

R6-301030 George Philip Telemann, “No. 11 Les Plaisirs” Western art music:
(excerpt), Suite in A Minor for Flute, live flute Baroque period
recording
Igor Stravinsky, Petrouchka (excerpt), livee flute Western art music:
recording Modern period
Ernesto Kohler, Etude in D Minor (excerpt), live Western art music:
flute recording Modern period
Johnannes Brahms, Symphony No. 4 in E Minor, Western art music:
(pp—98, (excerpt from first movement), live flute Romantic period
recording

R6-301037 Modest Mussorgsky, “I Have Attained The Western art music:
Highest Power” (excerpt) Romantic period

R6-301040 Giuseppe Verdi, The Manzoni Requiem (brass Western art music:
quartet excerpt), live brass quartet recording Romantic period

R6-301048 Old Hymn (excerpt), live piano recording American folk and

popular music:
traditional song
R6-302008 A song of “Good-Bye 01' Paint” (excerpt). live American folk and

 

piano recording

 

popular music: folk

 

97

 

 

Old Czechoslovakian F olk Song (excerpt), live

Western folk song:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

piano recording Czechoslovakian
folk song
R6-303004 Frederic Chopin, Etude No. 5 in D Major Western art music:
(excerpt) Romantic period
R6-303006 William C. Handy. “Yellow Dog Blues” American folk and
(excerpt) popular music: jazz
R6-304004 Ludwig van Beethoven, Egmont Overture Western art music:
(excerpt) Classical period
Aaron Copland. Fanfare for the Common Man Western art music:
(excerpt) Modern period
Ludwig van Beethoven, _Fid_eli_p (excerpt from Western art music:
Overture) Classical period
R6-304005 Wolfgang A. Mozart, Sonata in F Major Western art music:
(excerpt) Classical period
Claude Achille Debussy, “Les Sons et les Western art music:
Parfums Toument dans l’Air du Soir” (excerpt) Romantic period
Claude Achille Debussy, “Reflects dans l’Eau” Western art music:
(excerpt) Modern period
R6-401062 A live trumpet recording (unclear)
A live flute recording (unclear)
A live clarinet recording (unclear)
A live flute recording (unclear)
R6-401063 “Are you Sleeping,” French round (excerpt), live Western folk song:
electric piano recording French song
“Savez-Vous planter Les Choux,” French folk Western folk song:
song (excerpt), live flute recording French folk song
“Upidee,” camp song (excerpt), live trumpet American folk and
recording popular music: camp
song
“Streets of Laredo,” cowboy song (excerpt), live American folk and
trumpet recording popular music:
cowboy song
R6-401065 Drum excerpt from Instruments of the Orchestra (unclear)

 

 

98

 

 

Flute excerpt from Instruments of the Orchestra

(unclear)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Violin excerpt from Instruments of the Orchestra (unclear)
Trombone excerpt from Instruments of the (unclear) -
Orchestra
R6-402050 “Hot Cross Buns,” nursery song, live clarinet American folk and
recording popular music:
nursery song
“Twinkle, Twinkle Little Star,” nursery song American folk and
popular music:
nursery song
“The More We Get Together,” camp song, live American folk and
trumpet recording popular music: camp
song
R6-402051 Aaron Copland, The Red Pony (excerpt) Western art music:
Modern period
R6-501050 Beatles, “Hey Jude” (excerpt), 113 American folk and
Beatles/1967-70 popular music:
popular song
R6-501052 Scott Joplin, “Maple Leaf Rag” (excerpt), American folk and
Original Ragtime popular music: jazz
Wolfgang A. Mozart, “Minuet Allegretto and Western art music:
Trio” (excerpt), Symphony No. 40 in G Minor K. Classical period
fl
Excerpt from “Tabuh Pisan” from Gamelan Music outside of the
Semar Pegrlirpigan: Gamelan of the love god western tradition:
Javanese song
R6-501054 Bob Dylan, “The Times They Are A-Changin’” American folk and

(excerpt), Bob Dylan’s Greatest Hits

popular music:
popular song

 

 

“Baby, I Don’t Cry Over You” (excerpt),
performed by Billie Holiday

 

American folk and
popular music:

popular song

 

99

 

 

Steve Goodman, “The City of New Orleans”
(excerpt), Hobo’s Lullaby

American folk and
popular music:

popular song

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

R6-501059 “Ending Ceremonial Dance” (excerpt), Song of Music outside of the
LoveLLuck, Animals and Magic: Music of the western tradition:
Yurok and Tolsua Indians Indian song
R6-502050 Scott JOplin, “Maple Leaf Rag” (excerpt), American folk and
Original Ragtime popular music: jazz
Claude Achillie Debussy, “Golliwog’s Western art music:
Cakewalk” (excerpt), The Children’s Comer Romantic period
R6-502052 Aaron Copland, “Hoedown” (excerpt), Ih_e_ Western art music:
Cop_land Album Modern period
R6-502054 Johnannes Brahms, “Allegro non troppo” Western art music:
(excerpt), (Symphony No. 4 in E Minor, op. 98 Romantic period
R6-502057 Johann Strauss, “Blue Danube Waltz” (excerpt), Western art music:
The Blue Danube-A Johann Strauss Festival Romantic period
Leo Amaud. “Olympic Fanfare” (excerpt), Western art music:
“Bugler’s Dream” Modern period
John Phillip Sousa, “Semper F idelis” (excerpt) Western art music:
Modern period
Bedrich Smetana, “The Moldau” (excerpt) Western art music:
Romantic period
R6-502060 Johann Strauss, “Vienna Blood” (excerpt), _Th_e_ Western art music:

 

Blue Danube-A Johann Strauss Festival

 

Romantic period

 

Note. * The periods were designed according to the date of composition as follows

rather than according to compositional style.

Renaissance period: 1400-1600
Baroque period: 1600-1 750
Classical period: 1750-1820
Romantic period: 1820-1900
Modern period: after 1900

100

 

C ross-reference Table for Music Examples

The eleven music examples in questions R6-203001, R6-203015, R6-301028,
R6-401062, and R6-401065 could not be located. Of the fifty-five musical examples,
32 examples or 58.2 % were western art music; 18 examples or 32.7 % were American
folk and popular music; 3 examples or 5.5 % were western folk music; and 2 examples

or 3.6 % were music outside the western tradition (see Table 41).

Table 41. Ratios of examples for music tasks in l978-79 assessment

 

 

 

Western art music American folk and Western folk song Music outside of the
popular music western tradition
32/55 18/55 3/55 2/55
58.2 % 32.7 % 5.5 % 3.6 %
O Baroque 0 Traditional songs 0 Czechoslovakian O Javanese song
0 Classical 0 Instrumental folk song 0 Native
0 Romantic music, including 0 French folk song American
0 Modern dance music, Indian song

ragtime and jazz
0 Contemporary

Pop
0 Cowboy song

Camp song

 

 

 

0 Nursery song

 

Summa_ry

The 1978-79 NAEP still mainly focused music on western art music. However,
when compared with the 1971-72 assessment, more musical types were represented in

the 1978-79 assessment. Musical examples in the second assessment included westem

101

 

art music, American folk and popular music, western folk music, and music outside of
the western tradition. When examining the western art musical examples, Classical,
Romantic, and Modern music were used most frequently in the 1971-72 assessment;
similarly, the l978-79 NAEP used musical examples from those three periods most
frequently as well. Also, there were more genres of American folk music in the

l978-79 assessment than in the 1971-72 assessment.

1997 NAEP Music Assessment

The musical examples for 1997 NAEP music assessment included compositions
by famous western composers like Bach and Mozart and contemporary composers
working in the classical tradition like Aaron Copland. Besides, students also responded
to folk music from both western and non-western sources, as well as American jazz and
contemporary popular music (National Center for Education Statistics, 1998).
Musical Examples in Test Questions

Twenty-four musical examples were used in 1997 NAEP music assessment.
Some musical examples were used with released questions and the others were used
with unreleased ones (see Table 42). Most of the musical examples were western art
music, others were American folk and popular music, and still others musical examples
were outside the western tradition. No non-American western folk musical example

was used in the 1997 assessment.

102

 

Table 42. Musical examples used in question blocks

 

 

 

 

 

 

 

Block name Test question #/ Music material Music category
Musical task
Shalom, My Question 4 The choral arrangement of the Music outside
Friends Question 8 song “Shalom, My Friends” of the western
Question 10 by Douglas Wagner tradition: Israeli
folk song
Question 14 Joshua Rifldn’s performance American folk
of “Pine Apple Rag” by Scott and popular
Joplin music: jazz
(unreleased question) Brahm’s First Symphony Western art
music:
Romantic
period *
(unreleased question) Two pieces by Ellen Taaffe Western art
Zwilich music: Modern
period
Musical Question 1 The flute solo piece Western art
texture “Concertino” by C. music:
Chaminade Romantic
period
Question 2 The Fugue “Contrapunctus 4, Western art

Allegro moderato” by J. S.
Bach

music: Baroque
period

 

(unreleased question)

The native American flute

Music outside

 

 

solo of the western
tradition: native
American
Indian song
(unreleased question) “Why Do the Nations 80 Western art

 

F uriously Rage?” by G. F.
Handel

 

music: Baroque

period

 

 

 

 

(unreleased question)

One jazz performance version
of “Why Do the Nations 80
F uriously Rage?” by Al

J arreau

American folk
and popular
music: jazz

 

(unreleased question)

The African dance song

Music outside
of the western
tradition

 

(unreleased question)

The Japanese folk song

Music outside

of the western

 

 

tradition
Michael Row Question 2 The performance of melodic American folk
the Boat Question 3 contour of the song “Au Clair and popular
Ashore de la Lune” music:
traditional song
Question 9 The vocal performance of the American folk

song “Michael Row the Boat

Ashore”

and popular
music:

traditional song

 

Question 1 l

“The Washington Post
March” by John Philip Sousa

Western art
music: Modern
period

 

Question 12

The instrument arrangement
of “Lullaby” by Brahms

Western art
music:
Romantic

period

 

Question 14

“Wade in the Water”

American folk
and popular
music: spiritual

song

 

Minuet in G

Question I

The violin performance of
“Minuet in G” by J. S. Bach

Western art
music: Baroque

period

 

 

(unreleased question)

 

The string quartet music by
George Crumb

 

Western art
music: Modern

period

 

104

 

 

(unreleased question)

“Rhapsody in Blue” by
George Gershwin

Western art
music: Modern

period

 

(unreleased question)

Charles Ives’ “Variations on

Western art

 

 

 

 

 

America” arranged by W. music: Modern
Schuman period
The Lion Two of three musical “The Lion Sleep Tonight” by Music outside
Sleep Tonight/ tasks Solomon Linda and Paul of the western
Twinkle, Campbell tradition:
Twinkle, Little African song
Star One of three musical “Twinkle, Twinkle, Little American folk
(three musical task Star” and popular
tasks totally) music:
traditional song
Ode to Two of three musical “Ode to Joy’” by Ludwig van Western art
J oy’/Sing tasks Beethoven music:
America Classical period
(three musical One of three musical “America” American folk
tasks totally) task and popular
music:

 

 

 

traditional song

 

Note. * The periods were designed according to the date of composition as follows

rather than according to compositional style.

Renaissance period: 1400-1 600
Baroque period: 1600-1 750
Classical period: 1750-1820
Romantic period: 1 820-1900
Modern period: after 1900

Cross-reference Table for Music Examples

Twenty-four musical examples were used in 1997 assessment; 12 examples or

50% were western art music; 7 examples or 29.2 % were American folk and popular

105

 

music; 5 examples or 20.8 % were music outside the western tradition. No musical

example was non—American westem folk music (see Table 43).

Table 43. Ratios of examples for music tasks in 1997 Assessment

 

 

 

 

 

 

 

Western art music American folk and Western folk Music outside the
popular music song western tradition
12/24 7/24 0/24 5/24
50 % 29.2 % 0 % 20.8 %
O Baroque 0 Traditional songs Native American
0 Classical 0 Instrumental Indian song
0 Romantic music, including Sub-Sahara African
0 Modern dance music, song
ragtime and jazz Asian song
0 Contemporary pop
0 Spiritual song
Summagy

In 1997 NAEP music assessment. the greatest proportion of musical examples

were still western art music, like the assessments in 1971-72 and 1978-79. All of the

western art musical examples in the three assessments were drawn from five periods:

Baroque, Renaissance, Classical, Romantic, and Modern. In the third assessment, the

proportion of American folk and popular music and music outside the western tradition

was greater than in the other assessments.

106

 

CHAPTER 4

THE RELATIONSHIP BETWEEN NATIONAL STANDARDS FOR MUSIC
EDUCATION

AND NAEP MUSIC ASSESSMENTS

The National Standards for Music Education was a document that outlined basic
music learning outcomes integral to the comprehensive K-12 education of every
American student. It was developed by Consortium of National Arts Education
Associations under the guidance of the National Committee for Standards in the Arts
(see Appendix C). The Consortium published the National Standards in 1994 through a
grant administered by Music Educators National Conference. Following are the nine
content Standards of music education for kindergarten to grade 12:

* Singing, alone and with others, a varied repertoire of music

* Performing on instruments, alone and with others, a varied repertoire of music

* Improvising melodies, variations, and accompaniments

* Composing and arranging music within specified guidelines

* Reading and notating music

* Listening to, analyzing, and describing music

* Evaluating music and music performances

* Understanding relationships between music, the other arts, and disciplines

outside the arts

* Understanding music in relation to history and culture

107

These nine Standards identify what American children must know and be able to
do in music. The vision embedded in these Standards is that a mere nodding
acquaintance with music is not enough to sustain children's interest or involvement in it.
The Standards were designed to usher each new generation onto the pathway of
engagement, which opens in turn onto a lifetime of learning and growth through music.
(http://www.education-world.com/Standards/national/arts/music/9 12.shtml)

The NEAP Assessment and the National Standards projects were developed in
parallel, and A. Graham Down, chair of the National Committee for Standards in the
Arts, also co-chaired the steering committee for the Assessment Project (Music
Educators National Conference, 1998). This provided an unprecedented opportunity to
align Standards and assessment in a model for arts education, with the result that the
arts were the first curricular discipline to be submitted to national assessment on the
basis of the National Standards. Consequently, the National Standards and the 1997
NAEP assessment reflected a common vision of arts education. Following is a flow
chart representing processes of developing the National Standards and the 1997 NAEP

Arts Assessment:

108

 

 

Standards NAEP
Consortium of national Arts ‘ } Council of Chief State
Education Association Schodl Officers

 

 

 

 

 

 

 

Communication and Development in:
0 Scheduling
0 Personnel
0 Draft documents

0 Comments/Hearings

 

 

 

Common Vision
> For Arts Education

 

 

 

 

 

 

 

 

 

 

 

’ Future Developments ‘

 

0 Voluntary standards to states 0 Assessment for framework
0 Changes in curriculum available to states
0 Staff development 0 Development and implementation

of state assessment
0 1996 National Assessment of the
Arts (pending funding)
Note: Sources were from Arts in Education: From National Policy to Local
Community Action, a publication of the National Assembly of Local Arts
Agencies, produced in cooperation with the National Endowment for the Arts.

1997 NAEP Music Assessment
The NAEP 1997 music assessment was designed in conjunction with the
National Standards for music education. In fact, Mark (1996) stated that two of the
major components of the National Standards for Arts Education were an assessment
framework and specifications for a national assessment of knowledge and ability in

grades 4, 8. and 12. The nine content Standards for music articulated in the Standards

109

 

document were grouped into three general themes in the NAEP Framework:

* Creating music such as composing, improvising, and arranging activities

* Responding to music such as analyzing and evaluating music and performances,

listening with understanding, and demonstrating knowledge of music in

relation to the other arts and to history and culture

* Performing such as singing or playing instruments

Cross-reference Table of National Standards and NAEP Framework

All nine National Standards were related to the Framework of the 1997 NAEP

music assessment (see Table 44).

Table 44. The relationship between National Standards and NAEP Framework in 1997

NAEP music assessment

 

National Standards

NAEP assessment Framework for music

 

Sing, alone and
with others, a
varied repertoire of

music

 

Performing on
instruments, alone
and with others, a
varied repertoire of

music

 

 

Reading and

notating music

 

Performing:

When singing or
playing music
with musical
instruments,

students:

 

select appropriate repertoire;

apply skill by performing with technical
accuracy;

evaluate, refine, and revise the
performance;

develop an appropriate and expressive
interpretation by applying understanding of
structure and cultural and historical
contexts of music; and

present the performance for others.

 

110

 

 

Improvising
melodies,
variations, and

accompaniments

 

Composing and
arranging music

Creating:

When
improvising,
composing, or

arranging music,

apply historical, cultural, and aesthetic
understanding by creating stylistically
appropriate alterations, variations, and
improvisations;

use standard and/or non-standards notation
to express original ideas;

 

within specified students: evaluate, refine, and revise successive
guidelines versions of original work;
demonstrate skill and expressiveness in the
choice and use of musical elements; and
present the created work for others.
Listening to, Responding: select repertoire for listening;

analyzing, and
describing music

 

Evaluating music
and music

performances

 

Understanding
relationships
between music, the
other arts, and
disciplines outside
the arts

 

 

Understanding
music in relation
to history and

culture

 

When singing or
playing music
with musical
instruments,

students:

 

analyze the elements and structure of
music;

compare and contrast various musical
styles;

identify formal and expressive qualities that
distinguish a particular style of music;
place music within its cultural and
historical context;

make critical judgments about technical and
expressive qualities of musical performance
and compositions; and

use movement or words to interpret and
describe personal responses to music.

 

lll

 

1971-72 NAEP Music Assessment

Before the publication of National Standards in 1994, there were no music
standards at the national level. However, when comparing the National Standards and
music objectives of the 1971-72 NAEP assessment, they were related in many aspects.
For example, performing on instruments and Singing, improvising, reading and notating,
and music history were included in the both Standards and NAEP objectives. However,
the National Standards required more depth in these areas than did the 1971-72
assessment.
Cross-reference Table of National Standards and Music Objectives

Of the nine National Standards, six of the nine Standards or 66.7 % National
Standards (see Table 45) were related to the music objectives upon which the 1971-72
NAEP music assessment were based:

* Singing, alone and with others, a varied repertoire of music

* Performing on instruments, alone and with others, a varied repertoire of music

* Improvising melodies, variations, and accompaniments

"‘ Composing and arranging music within specified guidelines (not measured in

the 1971-72 assessment)

* Reading and notating music

* Listening to, analyzing, and describing music

* Evaluating music and music performances (not measured in the 1971-72

assessment)

* Understanding relationships between music, the other arts, and disciplines

outside the arts (not measured in the 1971-72 assessment)

* Understanding music in relation to history and culture

Table 45. The relationship between National Standards and music objectives in 1971-72

NAEP assessment

 

National Standards

Music objectives

 

Sing, alone and with
others, a varied

repertoire of music

1. Musical

performance

A. Singing familiar songs

 

Performing on
instruments, alone and
with others, a varied

repertoire of music

111. Instrument and

vocal media

C. Performance practices

 

Improvising melodies.
variations, and

accompaniments

1. Musical

performance

C. Improvising

 

Composing and
arranging music within

specified guidelines

 

Reading and notating

music

II. Musical
notation and

terminology

B. Basic notation

C. Score-reading

 

Listening to, analyzing,

and describing music

III. Instrument and

vocal media

A. Aural recognition

 

 

Evaluating music and

music performances

 

Understanding
relationships between
music, the other arts,
and disciplines outside
the arts

 

 

 

ll3

 

 

 

Understanding music in IV. Musical A. Periods in music history

relation to history and literature

culture C. Musrc literature

 

 

 

l978-79 NAEP Music Assessment

Because of funding limitations, the music objectives related to performing and
creating music were not included in the 1978-79 NAEP music assessment, with the
result that music objectives in 1978-79 were less related than those of the 1971-72 or
1997 assessments to National Standards of 1994. Only the listening to music,
evaluating music, and understanding music knowledge were included in both.
Cross-referenced Table of National Standards and Music Objectives

Of the nine National Standards, three of the nine Standards or 33.3 % were
related to the music objectives of the l978-79 NAEP music assessment:

* Singing, alone and with others, a varied repertoire of music (not measured in

the 1971—72 assessment)

* Performing on instruments, alone and with others, a varied repertoire of music

(not measured in the 1971-72 assessment)

* Improvising melodies, variations, and accompaniments (not measured in the

1971-72 assessment)

* Composing and arranging music within specified guidelines (not measured in

the 1971-72 assessment)

* Reading and notating music (not measured in the 1971-72 assessment)

* Listening to, analyzing, and describing music

114

 

* Evaluating music and music performances
* Understanding relationships between music, the other arts, and disciplines
outside the arts (not measured in the 1971-72 assessment)

* Understanding music in relation to history and culture

Table 46 is a cross-reference of National Standards and music objectives of the

1978—79 assessment.

Table 46. The relationship between National Standards and music objectives in l978-79

NAEP music assessment

 

National Standards The standard Music objectives
was related to
the music

objective

 

Sing, alone and with
others, a varied repertoire
of music

 

Performing on
instruments, alone and
with others, a varied

repertoire of music

 

Improvising melodies,
variations, and

accompaniments

 

 

Composing and arranging
music within specified

guidelines

 

Reading and notating

music

 

 

 

 

 

115

 

 

 

 

 

 

 

 

 

Listening to, analyzing, * V. Identify and A. Identify and describe
and describing music classify music the features that
historically characterize a variety of
and culturally folk, ethic, popular, and
art music
Evaluating music and * 1. Value music as D. Make and support
music performances an important aesthetic judgments
realm of about music
human
experience
Understanding
relationships between
music, the other arts, and
disciplines outside the arts
Understanding music in "‘ 1. Value music as B. Be acquainted with
relation to history and an important music from different
culture realm of nations, cultures, periods,
human genres, and ethic groups
experience
Summary

Because the 1997 NAEP music assessment was based upon the NAEP
Assessment Framework, and the Framework and 1994 National Standards for Arts
Education reflected a common vision of music education, the 1997 NAEP assessment
exactly adhered to the Standards. Although the 1971-72 NAEP music assessment was
not based upon the National Standards, many of the music objectives of the 1971-72
assessment were still related to the 1994 National Standards. Performing and singing,
improvising, reading and notating. listening to music, and understanding music in

relation to history and culture were included in both objectives and Standards. However,

116

 

the assessment in 1978-79 was related to the National Standards the least because of the

lack of performing and creating music objectives.

Overall, the three NAEP music assessments were related to the National
Standards in different ways: the 1997 assessment exactly adhered to the nine content
Standards; the 1971-72 assessment related to the Standards at a high level; the 1978-79
assessment was related to the Standards to a much lesser extent. Not surprisingly, of the
three NAEP music assessments, the assessment in 1997 was the only one, which totally

related in a meaningful way to the National Standards.

117

CHAPTER 5

ASSESSMENT RESULTS OF TEST ADMINISTRATIONS
AND THE IMPLICATIONS OF ASSESSMENT RESULTS FOR MUSIC
EDUCATION

The results of the 1971-72 assessment were released in the 1974 NAEP Report
No.03-MU-OO; the results of the l978-79 assessment were released in the 1981 NAEP
Report No. IO-MU—Ol; and the results of the 1997 assessment were released in the
NAEP 1997 Arts Report Card in 1998. Since the purposes of the three NAEP music
assessments were not the same, the results of these three assessments were different
conceptually. Overall, the first assessment discussed the results of questions that
involved elementary musical abilities and performance. The results of the second
assessment focused on attitudes toward music, knowledge about music, and changes in
achievement in the population between 1971-72 and 1978-79. The results of the third
assessment focused on the relationships between student achievement and in-school

and out-of-school music activities.

1971-72 NAEP Music Assessment
The results of student achievement in 1971-72 were reported according to the
five themes and their subthemes. The results in each subtheme only related to certain
released questions rather than all questions. Following are the percentages of correct

items and positive attitudes toward music for each age level:

118

 

Table 47. The percentages of correct items for the four test themes and positive

attitudes toward music in the 1971-72 NAEP music assessment

 

 

 

 

 

 

Theme 9-year-old 1 3-year-old 1 7-year-old Adult
Musical performance 31 48 NA 54
Musical notation and terminology NA 43 47 30
Instrumental and vocal media NA 84 89 82
Music history and literature NA 20 24 30
Attitudes toward music NA 62 62 56

 

 

 

 

 

NA means comparative data was not available for this age level from NAEP reports.

 

 

Musical Performance

The first music assessment contained 15 performance questions. The results were
divided into the following five groups: singing familiar songs, repeating unfamiliar
musical material, improvising, and performing from notation.

Smgipgfamiliar soggg

For theses questions, responses were classified as acceptable in pitch if the
respondent maintained the correct pitch in all but three notes and acceptable in rhythm
if the respondent made less than three errors. When singing “America” with the
accompaniment (question RIB 101002), about 90 % of the individuals at each age level
performed with acceptable rhythm; however, many individuals had trouble performing
with accurate pitch. When singing “America” without accompaniment, only about 40 %
of the 9-year-olds, 50 % of the 13-year-olds, 55 % of the 17-year-olds, and 60 % of the
adults were able to sing alone as defined by performing the correct pitch for all but

three notes.

119

Repeating unfamiliar musical material

In this section, only the result of question RID 301016, in which respondents
were asked to repeat a rhythm pattern, was reported in the NAEP Report. When
repeating a rhythm pattern, about 55 % of l3-year-old and adults, and 65 % of
17-year-olds performed accurately, but only about 30 % of the 9-year-olds were able to
do so.

Improvising

When asked to improvise a rhythm accompaniment (question RIG 103001),
about 90 % of the adults and l7-year-olds maintained some rhythmic accompaniment,
where as about 80 % of the l3-year-olds and 70 % of the 9-year—olds were able to do
so.

Reading notation

When asking respondents to perform from notation (question RIJ 204001), few
individuals were able to complete the exercise successfully. No group attained a

percentage of success greater than 12 %.

Musical Notation and Terminology

The results of knowledge about musical notation and terminology were divided
into three groups: vocabulary, basic notation, and score-reading.

Vocabulary

When responding to the “Loud-Soft”(question R2C 302001), between 90 and 95
% of the respondents from each age level were able to determine that the dynamic level

had increased. For question R2D 302006, which dealt with knowledge of the word

phrase and standard phrase lettering, approximately 60 % of the 17-year-olds, 50 % of
the l3-year-olds and adults. and 25 % of the 9-year-olds were able to choose the correct
phrase structure.

Basic notation

For question R2L 201016, in which respondents were asked to identify the note
D from a list of five choices, about 60 % of the 13- and l7-year-olds correctly
identified the note. For adults, the percentage was only 40 %. For the question R2K
201006, respondents were asked to choose one pair of notes that equaled to the rhythm
of two quarter notes. This question required only the most minimal knowledge of
function, but less than 30 % of any group accurately chose this answer.

Score-reading

 

When asked to indicate the point at which the recorded music stopped by
drawing a vertical line through the score (question R2U 203003), less than 20 % of the
9-year-olds were able to correctly identify the break-off point, about half of the
l3-year-olds, and almost 70 % of the 17-year-olds were able to do so. However, when
asked to identify a discrepancy between the heard melody and the printed score
(question R28 203014), most people failed. Only about 8 % of 9-year-olds, 20 % of
l3-year-olds, 30 of 17-year-olds, and 20 % of adults succeeded. They could not

determine which note was played differently from the printed music.

Instrumental and Vocal Media

Results in instrumental and vocal media were divided into three groups: aural

recognition. visual recognition, and performance practices.

121

Aural recognition

For both question R3B 301005, “Trumpet Sols” and question R3C 301007,
“Piccolo Solo,” respondents heard a short selection characteristic of the particular
instrument. At the upper three age levels, more than 95 % were able to identify the
trumpet and almost 90 % were able to identify the piccolo. For the 9-year-olds, 88 %
were able to identify the trumpet, and 58 %, the piccolo. For question R3G 301012,
“Saxophone Lead,” individuals were asked to listen and determine whether the flute,
trombone, saxophone or trumpet performed the lead part. Only about 35 % of the
9-year-olds were able to correctly identify the saxophone, but about three quarters of
those in the upper age levels were able to do so. In question R3L 301039, “Violin and
Cello,” 60 % of l3-and 17-year-olds, and adults (9-year-olds were not tested in this
question) were able to correctly identify the violin and cello as the instruments used in
the performance.

Visual recognition

For question R3P 401002, individuals from all age groups were asked to circle
pictures of instruments in the orchestra. Trumpets were identified most readily, by more
than 80 % of the upper three age levels: cellos and bassoons were circled least readily,
by about 40 % of the upper groups.

Performance practices

Questions R38 401004 presented a list of 11 instruments and asked if each was
played by blowing air into it. The upper three age groups correctly responded above the
90 % level for all instruments except the oboe and xylophone; percentages for these

two instruments were in the upper 70s and 803 (no exact figures were offered here).

Nine-year-olds generally attained scores about 10 percentage points lower than the

other three age levels.

Music History and Literature

Results in music history and literature were divided into three groups as follows:
music history, musical genres and styles, and musical literature.

Periods in music history

Question R4A 404001 presented four lists of historical periods in different orders
from which to choose. About 60 % of the 13-, and l7-year-olds and adults (9-year-olds
were not tested in this question) selected the correct order—Renaissance, Baroque,
Classical, Romantic, and Modern.

Musical genres and styles

Questions R4G 304001 and R4H 304003 presented selections by Chopin and
Mozart, and respondents were asked to recognize stylistic similarities. For both
questions, about 60 % of the three upper age respondents (9-year-olds were not
administered in this question) were able to identify the similarities of style.

Musical literature

 

In questions R4M 402001 and R4N 402006, all respondents were asked to write
down the names of songs after listening them. “America the Beautiful,” “This Land is
Your Land,” and “When the Saints Go Marching In” were used in both questions.
Approximately 40 to 50 % of all age groups successfully recognized “America the
Beautiful” in both questions; over 70 %. of each age groups recognized “This Land is

Your Land” in both questions. Only 50 % 9-year-olds success in “When the Saints Go

Marching In,” where as about 90 % of the remaining respondents recognized this
familiar song. For question R40 402002, less than 25 % of the three upper age levels
successfully identified the titles of four Classical music examples. Although the
13-year-old, 17-year-old, and adult respondents were unsuccessful in recognizing
several familiar classical selections (see Table 48), they were able to match composers

with their most famous compositions (question R4P 402008).

Table 48. Percentages of success for Question R4P 402008

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Composition/Composer Age Level

13 17 Adult
Aida, Verdi 4.8 % 6.4 % 14.7 %
The Blue Danube, Strauss 8.6 18.8 30.1
“Toreador’s Song,” Bizet 9.9 6.0 9.6
Grand Canyon Suit, Grofe 8.9 5.3 8.6
Messiah, Handel 12.0 23.3 34.9
New World Symphony, Dvorak 5.6 4.5 8.7
Nutcracker Suit, Tschaikovsky 20.7 33.7 29.0
Peer Gynt Suit, Grieg 6.5 6.4 9.2
Peter and the Wolf: Prokofiev 3.6 3.9 6.3
The Rite of Spring, Stravinsky 4.4 4.7 7.9
“Starts and Stripes Forever, Sousa 26.3 44.7 52.5
Unfinished Symphony, Schubert 9.7 13.1 13.9
William Tell Overture, Rossini 5.5 3.8 4.6

 

 

Source: National Assessment of Educational Progress Report 03-MU-00, 1974

 

 

124

Attitudes Toward Music

When asked what types of music individuals most like to listen to, most
respondents at all four age levels chose “Rock and Soul (question RSE 600008).” Over
90 % of the individuals from the three older age levels reported actively seeking out
and listening to music programs on the radio at least once a week, while about 80 % of
the 9-year-olds reported doing so (question R5A 600010). Over 65 % of all respondents
reported that they listen to records or tapes at least once a week, but less than 30 % of
the upper three age levels reported attending a live musical program outside of school
at least once a month (question RSD 600001).

Of the three older age levels, about 25 % of the individuals reported that they
enjoyed singing very much, and another 50 % of those reported that they enjoyed
singing at least somewhat (question R5F 502004). Forty percent of the 9-year-olds
reported that they like singing very much. About 20 to 25 % of the 9-, 13- and
l7-year-olds reported actually belonging to a singing group, and 5 % of the adults
reported belonging to a singing group (question R51 502003). About 45 % of the
9-year—olds, 55 % of the 13-year-olds, 40 % of the 17-year-olds, and 30 % of the adults

reported playing an instrument of some type (question RSG 502007).

Summag

The results of the 1971—72 NAEP music assessment were divided into five
themes: musical performance, musical notation and terminology, instrumental and
vocal media, music history and literature, and attitudes toward music. NAEP did not

offer exact numbers for the percentages of success for each question but approximate

125

datum. Looking back on the performance items, a high percentage of individuals
showed some proficiency in this area, and proficiency increased with age. For the
musical notation and terminology items, many individuals were able to follow the
general contour of a score, but few were able to detect specific deviations in what they
were hearing from they were seeing. The results revealed that four age level
respondents lacked for skill in notation. For the instrumental and vocal media items,
although few respondents were able to discriminate instruments and voice types, on
most other questions, the percentages of success were quite high. Percentages of
success with the history and literature questions tended to be lower than those in other
themes. All in all, many individuals expressed a strong interest in music. It appeared

that many people viewed music as an important aspect of their lives.

l978-79 NAEP Music Assessment
In 1978-79, 67,000 respondents of three age levels—9-, l3-, and
17-year-olds—participated in the NAEP music assessment. Test questions included
background questions, affective, and cognitive questions. On the average, 57 % of the
9-year-olds, 52 % of the l3-year-olds, and 50 % of the 17-year-olds responded
correctly to their respective questions. Reporting groups who varied significantly from
the national level were as follows:
* Students in the Northeast and West performed near the national average, while
students in the Southeast performed below the nation at all three ages.
Nine-year-olds in the Central region performed near the national average, but

13- and l7-year-olds in this region performed above the national average.

* Males performed below the national average. while females performed above,
at all ages.

* White students performed above the national average, and black and Hispanic
students performed below the nation at all ages.

* Students who reported that neither parent had graduated from high school
performed below the national average, and those who reported that at least one
parent had had some post high school education performed above at all age
levels. At age 9, students who reported that at least one parent had completed
high school performed near the national average, but at ages 13 and 17, this
group of students performed below the national average.

* Students who attended schools in rural and in disadvantaged-urban
communities performed below the national average, while those who attended

school in advantaged-urban communities performed above at each age.

Achievement Results by Music Objectives

NAEP reported that nearly three-fourths of the students at each age level
responded positively to the affective questions used to measure objective I, values
music as an important realm of human experience. Seventy-two % of 9-year-olds, and
74.9 % of l3-year-olds, and 71.2 % of l7-year-olds gave positive responses. These
results were indicative of a fairly high degree of awareness of and sensitivity to music
and musical experiences by American youth.

For objective IV, identifying the elements and expressive controls of music, 52 %

of 9-year-olds. 60.9 % of l3-year-olds, and 57.1 % of l7-year-olds responded correctly

127

to the cognitive questions used to measure knowledge and understanding of music. For

objective V, identifying and classifying music historically and culturally, more than

one-half of the 9-year-olds responded correctly to their questions, while more than

one-third of the 13- and 17-year-olds responded correctly to their respective questions.

The following table Shows the number of questions within each major objective for

each age group, as well as the mean percentage of positive responses for objective I and

the mean percentage of correct responses for objectives IV and V:

Table 49. Achievement by objectives: Mean percentages of acceptable responses for

ages 9, l3 and 17 on three music objectives

 

 

 

 

 

 

 

 

 

 

Objective I Objective IV Objective V
Value Music as an Identify the Elements Identify and Classify
Important Realm of and Expressive Controls Music Historically and
Human Experience of Music Culturally
No. of Mean % No. of Mean % No. of Mean %
Exercises Positive Exercises Correct Exercises Correct
Responses
Age 9 15 72.0 45 52.0 18 58.2
Age 13 20 74.9 50 60.9 55 36.3
Age 17 16 71.2 49 57.1 61 38.7

 

 

 

Source: National Assessment of Educational Progress, Report No. 10-MU-01, 1981.

 

Music Results by Music Objectives and Subobjectives

Following table shows results for the three age populations by the subobjectives

of each major objective:

 

Table 50. Music results by objectives and subobjectives

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Objective 1* Objective IV Objective V
Value Music... Identify elements... Identify and Classify
No. of Mean % No. of Mean % No. of Mean %
Exercises Positive Exercises Correct Exercises Correct
Responses Responses Responses
Age 9
Mean for Objective Mean for Objective Mean for Objective
I 15 72.0 IV 45 52.0 V 18 58.2
IA 4 73.4 IVA 31 55.5 VA 53.3
IB 4 72.9 IVB 3 39.0 VB 7 51.1
1C 4 70.0 IVC 11 45.5 VC 74.1
ID 3 71.7
Age 13
Mean for Objective Mean for Objective Mean for Objective
1 20 74.9 IV 50 60.9 V 55 36.3
IA 3 87.9 IVA 30 67.6 VA 10 62.9
IB 5 84.6 IVB 5 36.8 VB 43 29.2
IC 9 62.8 IVC 15 55.5 VC 2 55.8
ID 3 82.3
Age 17
Mean for Objective Mean for Objective Mean for Objective
I 16 71.2 IV 49 57.1 V 61 38.7
IA 3 88.2 IVA 27 67.3 VA 8 71.5
IB 3 70.4 IVB 5 38.1 VB 52 33.8
IC 9 64.8 IVC 17 46.4 VC 1 33.3
ID 1 79.6

 

 

Source: National Assessment of Educational Progress, Report No. lO-MU-Ol, 1981

 

Note. * the objectives 1, IV, and V, and the subobjectives are as follows:
I. VALUE MUSIC AS AN IMPORTANT REALM OF HUMAN EXPERIENCE

A. Be affectively responsive to music

129

B. Be acquainted with music from different nations, cultures, periods,

 

genres and ethnic groups
C. Value music in the life of individual, family and community
D. Make and support aesthetic judgments about music
IV. IDENTF Y THE ELEMENTS AND EXPRESSIVE CONTROLS OF MUSIC
A. Identify the elements of music
B. Identify the relationships of elements in a given composition
C. Demonstrate an understanding of a variety of musical terms,
Expression markings and conducting gestures in a musical context
V. IDENTIFY AND CLASSIFY MUSICAL HISTORICALLY AND CULTURALLY
A. Identify and describe the features that characterize a variety of folk,
ethnic, popular and art music
B. Identify and describe the music and musical style of the various stylistic
periods in Western civilization (e.g., Medieval, Renaissance, Baroque,
Classical, Romantic). Identify representative composers of each period
C. Cite examples of ways in which man utilizes music in his social and
culture

At ages 13 and 17, fewer students responded positively to subobjective IC
(valuing music in the life of the individual, family and community) than to the other
three subobjectives measured in objective I. Also, fewer students at each age level
responded correctly to their respective questions used to measure subobjective IVB
(identifying the relationships of elements in a given composition) than to the exercises
used to measure subobjectives IVA (identifying the elements of music) and IVC
(demonstrating an understanding of a variety of musical terms, expression markings
and conducting gestures in a musical context).

More 9-year-olds responded correctly to subobjective VC (cite examples of ways
in which people utilize music in their social and cultural life) than to VA (identifying
and describing the features that characterize a variety of folk, ethnic, popular and art

music) or VB (Identifying and describing the music and musical style of the various

130

stylistic periods in Western civilization, and identifying representative composers of
each period). However, l3-year-olds responded much less correctly to subobjective VB
(identify and describe the music and musical style of the various stylistic periods in
Western civilization) than to VA (identifying and describing the features that
characterize a variety of folk, ethnic, popular and art music) and VC (citing examples
of ways in which man utilizes music in his social and cultural life). More l7-year-olds
responded correctly to VA (identify and describe the features that characterize a variety
of folk, ethnic, popular and art music) than to VB (identify and describe the music and
musical style of the various stylistic periods in Western civilization) and VC (citing
examples of ways in which man utilizes music in his social and cultural life). For the
subobjectives VB and VC, the percentages of l7-year-olds who were able to respond

correctly were quite similar.

Changes in Achievement in the 1971-72 and l978-79 Assessments

As mentioned previously, some questions used in the first assessment were
readministrated in the second music assessment to provide a means of examining
change that occurred in music achievement during the seven-year interval between the
two music assessments. The following table presents the national results for 9-, 13- and
17-year-old students on their respective sets of questions in the first and second music

assessments:

131

Table 51. National mean percentages and changes incorrect responses for 9-, I3-, and

l7-year-olds in two music assessments

 

 

 

 

Mean % Mean % Mean %
Correct Correct Correct
1971-72 1978-79 1971-72, 1978-79

Age 9, total questions-25 53.6 50.3 -3.3*

Age 13, total questions-69 41.8 41.3 -0.5

Age 17, total questions-80 45.7 43.2 -2.5*

 

 

 

 

 

* indicates percentages significantly different at the .05 level

Source: National Assessment of Educational Progress, Report No. 10-MU-01, 1981

 

Nine- and 17-year-olds declined significantly between the first and second

assessments, while 13-year-olds showed no Significant change in the percentage of

students able to respond correctly to the questions. “This decline was primarily due to

results in the area of knowledge of elements and expressive controls of music” (Abeles

etal,l995)

Summag

The results in l978-79, which were reported by objectives and subobjectives,

gave educators and teachers a more complete picture than the results of the 1971-72

assessment, which were reported by individual question. For the 1978-79 NAEP music

assessment, roughly half of the 9-, 13- and 17-year-olds responded correctly to their

respective questions.

Students at each age responded that they value music as an important realm of

human experience. Moreover, they responded better to objective IV (identifying the

elements and expressive controls of music) than objective V (identifying and

 

classifying music historically and culturally) in most subobjectives. Overall, students at
all three ages had a high value for music, and appeared to have a somewhat superficial
understanding of musical notation, terminology, and the history of music (National
Assessment of Educational progress, 1981). In addition music achievement among

American youth over the seven years since the first assessment had declined slightly.

1997 NAEP Music Assessment
The results of the 1997 NAEP music assessment were reported in The NAEP
Arts Report Card in 1998, which provided examples of results for specific items, as
well as overall summaries of responding results, creating results, and performing results.
The results Showed that some young people have reached a high level of achievement
in music, and also showed that others lacked the skills and knowledge necessary to
experience the satisfaction, fulfillment, and enrichment that music can to the life of

every American (Music Educators of National Conference, 1998).

Responding Scores and Students’ Music Experiences

Responding results were summarized on a scale ranging from 0 to 300. Scores
that fell in the bottom 25 percent of the scales were labeled “Lower Level” scores;
those in the middle 50 percent were labeled “Middle Level;” and those in the top 25
percent were labeled “Upper Level.”

Student involvement in many different music activities was positively related to
higher responding scores. Only one of the 13 activities identified in the survey, “Take

private singing lessons,” did not Show a positive relationship. For 8 of the 13 activities

133

considered, Middle Level students were more likely to be engaged in the select activity
than Lower Level students (see Table 52). Upper Level students were more likely to be
active than Middle Level students in 11 of the 13 activities

(http://nces.ed. gov/puszOOO/gtrlywinter/ 3 elem/ 3 -esq 1 4-b.htm/).

Table 52. Student participation levels in music activities by level of performance in the

music responding scale

 

Student activities Percentage of students

 

In the Lower In the Middle In the Upper
Level of the Level of the Level of the

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

scale scale scale
In-school student activities
Play in a band 6 10+ 44*+
Play in an orchestra 2 1 7*+
Sing in a chorus or choir 9 21* 35*+
Take private singing lessons 3+ 1 3
Take private lessons on an 3 5 25*+
instruments
Own a musical instrument 15 33* 77*+
Go with class to three or more 5 10* 25*+
concerts in the past
Out-of-school activities
Play a musical instrument 1 l 20* 58*+
Play with a group, band, or 7 7 15*+
orchestra
Sing in a group, chorus, or 10 16* 21 *+
choir
Take private lessons on a 4 5 29*+
musical instrument or in
singing

 

 

 

 

 

Listen to musical tapes, CDs, or 79 95* 97*

records
Talk with family or friends 30 38* 52*+

about music

 

 

 

 

 

* Significantly higher than Lower Level.

+ Significantly higher than Middle Level.

How to read this table: This table gives the percentages of students scoring at the
Lower (bottom 25 percent), Middle (middle 50 percent), and Upper (upper 25 percent)
Levels of the Music Responding Scale who answered affirmatively to a variety of
questions regarding their in-school and out-of-school activities. For example, 6 percent
of those scoring in the Lower Level said they played in a band, while 10 percent of
those scoring in the Middle Level, and 44 percent of those scoring in the Upper Level,
said they did so.

NOTE: All tests of statistical significance were made at the .05 level with appropriate
adjustments for multiple comparisons.

SOURCE: Us. Department of Education, National Center for Education Statistics,
National Assessment of Educational Progress (NAEP) 1997 Arts Assessment.

 

 

 

Performing and Creating Scores and In- and Out-of-School Music Activities

Creating and performing results were not summarized using a standard NAEP
scale but were presented as average percents of the maximum possible score on the
tasks. These average scores represent the overall mean percentage students earned of
the possible number of points for the components of creating and performing tasks
(National Center for Education Statistics, 1999).

Following is a table of students’ music performing and creating scores by
involvement in in-school music activities. Some 34 to 40 percent of eighth-grade
students reported that they were not currently enrolled in music class. Moreover,

students who were asked to played their instruments almost every day had higher scores

135

than all other students for both performing and creating. Also, students whose teachers

played music for them to listen to once or twice a week or once or twice a month had

higher scores than students whose teachers played music for them to listen to almost

every day for both performing and creating. However, where considering creating

scores only, students whose teachers played music for them to listen to once or twice a

week or once or twice a month outperformed students whose teachers never or hardly

ever played music for them to listen to

(http://nces.ed.gonJubSZ000/qtr1ywinter/3elem/3 -esql4-b.htm/).

 

Table 53. Students’ music performing and creating scores by involvement in in-school

music activities

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

136

 

 

When you take music class in school, how Percentage Average Average
often does your teacher do each of the of students at performance creating score
following things? three age score

levels ““00

(0-100 percent)
percent)

Play music for you to listen to
Almost every day 28 33 33
Once or twice a week 13 39* 42*‘lll
Once or twice a month 10 44*“ 42*‘l'll
Never or hardly ever 14 35 33
I don’t have music 34 29 30
Ask you to sing
Almost every day 13 40* 42*'l'§
Once or twice a week 11 36 35
Once or twice a month 6 32 37
Never or hardly ever 35 36* 35
I don’t have music 35 29 31

 

 

Ask you to play instruments

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Almost every day 16 53*1‘I§ 50*H;§
Once or twice a week 6 38* 41 *‘1‘
Once or twice a month 6 35 35
Never or hardly ever 32 31 31

I don’t have music 40 27 30
Ask you to write down music

Almost every day 5 # 39*
Once or twice a week 10 # 37*
Once or twice a month 1 1 # 39*
Never or hardly ever 36 # 37*
I don’t have music 38 # 30
Ask you to make up your own music

Almost every day 4 # 40
Once or twice a week # 35
Once or twice a month 8 # 34
Never or hardly ever 47 # 38*
I don’t have music 37 # 3O

 

 

 

 

# Apply to students assigned Creating tasks only. For this reason, no data appear in the
"Average Performing score" column.

* Significantly higher than "I don't have music."

‘1’ Significantly higher than "Never or hardly ever."

1; Significantly higher than "Once or twice a month."

§ Significantly higher than "Once or twice a week."

H Significantly higher than "Almost every day."

NOTE: All tests of statistical significance were made at the .05 level with appropriate
adjustments for multiple comparisons.

SOURCE: Us. Department of Education, National Center for Education Statistics,
National Assessment of Educational Progress (NAEP) 1997 Arts Assessment.

 

 

 

Besides participating in in-school music activities. some students also engaged in

various out-of-school music activities. Following is a table of students’ music

137

performing and creating scores as they relate to their involvement in in-school and

out-of-school music activities:

Table 54. Students’ music performing and cresting scores and their involvement in

in-school and out-of-school music activities

 

 

 

Percentage Average
of students performing
score
(0-100 percent)

 

Average
creating
score
(0-100 percent)

 

Which of the following activities do you do in school?

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Play in a band

Yes 18 52* 50*
No 82 30 31

Play in an orchestra

Yes 3 — 53*
No 97 33 34
Sing in a chorus or choir

Yes 22 43* 40*
No 78 31 33

 

in connection with schoolwork?

When you are NOT in school, do you ever do the following things on your own, NOT

 

Take private lessons on a musical

instrument or in singing?

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

138

 

Yes 1 1 59* 52*
No 89 31 32
Listen to a musical tape, CD, or record

Yes 92 35* 35*
No 8 21 29
Read a book about music

Yes 12 41* 42*
No 88 33 33

 

 

Listen to or attending musical performance:

 

In the last year, low many times did

your class go to a concert?

 

 

 

 

Three or more 13 43* 45*
Once or twice 26 37* 35
None 61 32 32

 

 

 

Have you ever listened to a musical

performance at school?

 

Yes 77 36 36

 

 

 

 

No 23 24 30

 

* Significantly higher than "No" or "None."
1‘ Significantly higher than "Once or twice."

—Sample size is insufficient to permit a reliable estimate.

NOTE: All tests of statistical significance were made at the .05 level with appropriate

adjustments for multiple comparisons.
SOURCE: US. Department of Education, National Center for Education Statistics,
National Assessment of Educational Progress (NAEP) 1997 Arts Assessment.

 

 

 

As the table indicates above, students who had engaged in the activity had higher
scores than those who had not. Therefore, it demonstrates a generally positive

relationship between involvement in music activities and student achievement in music.

Relationship Among Respondin , Performing, and Creating Results

Because the knowledge and skills students drawn upon to perform, create, and
respond in music overlap and inform one another, students who scored higher on the
responding portion of the music assessment were likely to score higher on both the

performing and creating portions of the assessment as well, although it is also plausible

139

that some students create and perform well but do not respond well, and vice versa.
Following is the table of average students scores on performing and creating by level of

performance on the music responding scale:

Table 55. Average student on performing and creating by level of performance on the

music responding scale

 

 

 

 

 

Level of performance on the Percent correct on the

music responding scale Performing scale Creating scale
Lower 18 24
Middle 29* 30*
Upper 56*‘f 52*‘1‘

 

 

 

* Significantly higher than Lower Level.

’t Significantly higher than Middle Level.

NOTE: All tests of statistical significance were made at the .05 level with appropriate
adjustments for multiple comparisons.

SOURCE: US. Department of Education, National Center for Education Statistics,
National Assessment of Educational Progress (NAEP) 1997 Arts Assessment.

 

 

 

Differences in Achievement by Gender, Race/Ethnicity, and Type of School

Besides the examples of results for specific items in 1997 NAEP music
assessment, NAEP and National Center for Education Statistics also reported
differences in achievement by gender, race/ethnicity, and type of school.

Elma

Overall, female students outperformed male students in every category in the

1997 music assessment (see Table 56).

140

Table 56. Eight-grade students’ music achievement scores by gender

 

 

 

 

 

 

 

Average Average Average
Creating Performing Responding
Score Score Scale Score
(0-100 %) (0-100 %) (0-300)
National Average 34 34 150
Males 32* 27* 140*
Females 37 40 160

 

 

adjustments for multiple comparisons.

* Scores significantly lower than those achieved by female students.

All tests of statistical significance were made at the .05 level with appropriate

SOURCE: National Center for Education Statistics, National Assessment of
Educational progress (NAEP), 1997 Arts Assessment.

 

Race/ Ethnicity

Whites outperformed Hispanics in every category in the assessment and

outperformed blacks in music performing and responding. Also. Asians outperformed

blacks and Hispanics in music responding (see Table 57).

141

 

Table 57. Eight-grade students’ music achievement scores by race/ethnicity

 

 

 

 

 

 

Average Average Average
Creating Performing Responding
Score Score Scale Score
(0-100 %) (0-100 %) (0-300)
All Student 34 34 150
White 36 36 158
Black 34 30* 130*+
Hispanic 29* 24* 127*+
Asian 31 — 152

 

 

 

 

* Scores significantly lower than those achieved by White students.

+ Scores significantly lower than those achieved by Asian students.

— Sample size is insufficient to permit a reliable estimate.

All tests of statistical significance were made at the .05 level with appropriate
adjustments for multiple comparisons. .

SOURCE: National Center for Education Statistics, National Assessment of
Educational progress (NAEP), 1997 Arts Assessment.

 

 

 

Type of School

Approximately ninety percent of the nation’s eight-grade students attend public
schools. In the past NAEP assessments, students attending nonpublic schools have
consistently outperformed students attending public schools. However, that pattern was
not maintained in the 1997 music assessment (National Center for Education Statistics,
1998). Following is the eighth-grade students’ music achievement scores by type of

school:

142

Table 58. Eighth-grade students’ music achievement scores by type of school

 

 

 

 

 

 

 

 

 

Average Average Average
Creating Performing Responding
Score Score Scale Score
(0-100 %) (0-1 00 %) (0-300)
National Average 34 34 150
Public School 34 34 149
Students
Nonpublic School 37 33 158
Students
No statistical significance was found at the .05 level with appropriate adjustments for
multiple comparisons.
SOURCE: National Center for Education Statistics, National Assessment of
Educational progress (N AEP), 1997 Arts Assessment.

 

 

Summm

Unlike the 1971-72 and l978-79 assessments, NAEP reported the test results in
an integrated way. The results of the third music assessment confirmed that student
involvement in music activities is positively related to student achievement in music.
The results also found a positive relationship between students responding to music and

students’ music creating and performing.

143

CHAPTER 6

CONCLUSIONS

Summary of the Study

Purpose and Problems

The purpose of this research was to gather information about the three NAEP
music assessments. It was implemented to enable educators and music teachers to gain
insight into the NAEP music assessments in order to improve instruction or identify and
help students who need additional assistance. With a thorough understanding of the
assessments and their results, educators, teachers, school districts, and states should
able to apply the information to develop the best possible music curriculum for use in
meeting their students’ educational needs.

Within the limited scope of the present study, a comprehensive consideration of
all details regarding the development of the NAEP music assessments was not possible.
Therefore, this study was focused on the following four specific problems:

1) to compare the test question content and format of the 1971-72, 1978-79, and 1997
NAEP music assessments.

2) to discover the extent to which test content focused on music from the western
classical traditional as opposed to pop, jazz, and music of other cultures in the
1971-72, l978-79, and 1997 NAEP music assessments.

3) to examine how the 1997 NAEP music assessment adhered to the National

Standards for music and whether the 1971-72 and 1978-79 assessments related to

144

National Standards.
4) to compare the assessment results of the three test administrations and discuss the

implications of the assessment results for music education today.

Conclusions

Overall, it is difficult to make comparisons of the three NAEP music assessments.
When comparing the problems of this study, NAEP reports did not offer complete test
questions for each assessment. Moreover, when discussing the assessment results,
NAEP did not speculate as to why students did not get high scores in some areas of
music achievement, and it did not link any school policies in music to specific samples
of students, who scored well or poorly. Also, the lack of consistent format of the results
for the three assessments made it difficult to identify the trends over time, and the
absence of readministered questions in the third assessment made it impossible to get
information about the changes of American youth over time.

Since the original test question sheets and test recording tapes were not available
for use in this study, the exact number of the items in the 1978-79 and the 1997 NAEP
music assessments, and the length of the measure were not represented. All the
comparisons were based upon the released questions in the NAEP music assessment
reports. The released questions from the 1971-72 assessment were reported in Mpsjg
technical remrt: Exercise volumeyreport 03-MU-20, questions from the 1978-79
assessment were listed in The second assessment of music: Released exercise set, report
lO-MU-25, and questions from the 1997 assessment were available in the NAEP 1997

Arts Report Card.

145

NAEP released most of the test questions and music examples in the three
music assessments. Some of the questions in the 1971-72 NAEP music assessment
were readinistered in the 1978-79 NAEP music assessment. Also, some questions in the
second music assessment were expected to readminister in the 1997 NAEP music
assessment. However, because the third music assessment was designed upon the newly
developed NAEP Arts Framework, and the unreleased questions in the 1978-79 NAEP
music assessment were not suitable for the Framework, the third music assessment did
not readminister questions. After the 1997 NAEP music assessment, many of the test
questions were unreleased as before in order to be readministered in the following
NAEP music assessment in 2007.

Funding was an important element in large-scale national assessments. In
1971-72, many federal dollars were used to develop curriculum projects; therefore the
assessment was designed to assist the curriculum developers to get information about
what American students at four age level—9-year-old, l3-year-old, l7-year-old, and
young adult—knew and could do. The music assessment in 1978-79 was based on a
similar purpose to that often 1971-72 assessment; moreover, it was also designed to
examine new music objectives. However, the limited funding for the second assessment
prevented the assessment of music performance, even though music performance
questions were developed during fall 1978. In addition to the elimination of
performance questions from the music assessment, the limited funding also caused a
decrease in sample Size in the second assessment. Compared with the 80,000 to 90,000
students at four age levels who participated in the first assessment, only about 67,000

students at three age levels—9-year-old, 13-year-old, and 17-year-old—took part in the

146

second one. The same funding problem occurred again for the 1997 NAEP music
assessment. The performance questions were included in this assessment according to
the NAEP Arts Framework. However, limited firnding made it impossible to measure
the three age levels of students for which the test was assigned—four-graders,
eight-graders, and twelve-graders. The student sample decreased to about 2,275, and
only eight-grade students were able to participate in this assessment. Because the
student sample of the third assessment was small, some educators argue that students in
this assessment are not be randomly chosen and do not represent the population as a
whole.

Regardless, when examining the contents of the assessments, it reveals that the
1971-72 and 1978-79 NAEP music assessments were much more similar than either of
them to the 1997 NAEP music assessment. Basically, the 1971-72 and 1978-79
assessments were designed upon the music objectives. The music objectives for the
second music assessment were developed from the objectives used for the first
assessment, and had more emphasis placed on affective responsiveness. Because those
music objectives were based on the important concepts that schools should be teaching
in 1970’s, the objectives indicated that singing, performing simple instruments, and
music knowledge were emphasized in schools at that time. Moreover, embedded in
theses objectives was expansion of aesthetic philosophy in music education.

The third NAEP music assessment was designed based upon the NAEP Arts
Framework. However, the Framework was different conceptually from the music
objectives of the previous two music assessments. Music education had been through

many reforms when the 1997 NAEP music assessment was developing. The revision of

147

aesthetic philosophy, authentic learning, authentic assessment, and the appearance of
National Standards in music affected the development of the music assessment
Framework in 1997.

NAEP used two major types of assessment tasks in the three music assessments:
paper-and-pencil tasks and performance tasks. Performance tasks were included in the
1971-72 and 1997 music assessments, where as paper-and-pencil tasks were included in
all three assessments. The paper-and-pencil tasks, including multiple-choice, short
constructed-response. and extended constructed-response, required students to respond
to recordings, musical notation, and other stimuli. Moreover, matching questions were
also included in the 1971-72 and 1978-79 assessments. Overall, multiple-choice
questions were dominant in the 1971-72 and 1978-79 music assessments, especially in
1978-79. In 1997, because of the emphasis of authentic assessment, multiple-choice
questions were not used as frequently as in the previous two assessments.

When examining the music examples used in the three NAEP music assessments,
Western art music was the most common musical source. At each age level, music
examples from western art music were selected from the Baroque to Modern periods.
Moreover, the proportion of American folk music declined and the proportion of music
outside of the Western tradition increased in each subsequent NAEP music assessment.
Music outside of Western art music was getting more and more attention.

The National Standards for music and the NAEP music assessments were
strongly related. In 1970’s, there were no National Standards, but music objectives were
clarified. Those music objectives in the 1971-72 and l978-79 assessments covered the

most important aspects in music education at that time. Until 1994, National Standards

148

were released and the NAEP assessment Framework was totally related to it. It revealed
that over twenty years since the first NAEP music assessment to the present, the most
important aspects about music knowledge and music skills, which students were asked
to learn in school, were very close. The differences were that the present music
education focuses more on encouraging creating and performing with others.

After each assessment, the results of the test administrations were released and
reported in the NAEP reports. The 1974 NAEP Report No. 03-MU-00 presented the
results of the 1971-72 NAEP music assessment; the 1981 NAEP Report No. IO-MU-Ol
kept the documents for the results in the l978-79 NAEP music assessment; the NAEP
1997 Arts Report Card, which was released in 1998, stated the results of the 1997
NAEP music assessment.

NAEP did not report the three assessment results in the same way. For the
1971-72 music assessment, the results were mainly reported by each reporting theme
and its subtheme. However, the results were only for certain questions and did not
include any unreleased questions, with the result that the reader was not able to get a
whole picture from the incomplete data. The results of the l978-79 NAEP music
assessment were presented in another way by NAEP. The Report for the second music
assessment stated the percentage of student at each age level who responded correctly
to their respective questions. Moreover, the student achievement results were by three
objectives, not by certain questions. The integrant results by objectives made people
gain insight into how much American students have learned. Furthermore, when
examining the results of changes in achievement in the 1971-72 and 1978-79

assessments, two age level students declined significantly. Overall, the results of

149

changes in music achievement among American youth over the seven years since the
first assessment indicated that students in l978—79 did not responded better than those
students in 1971-72 and implied that the music curricula and instruction had not
improved for the past seven years.

For the 1997 NAEP music assessment, the test results of creating, performing,
and responding parts were cross-referenced to the in- and out-of-school music activities.
In order to make the test results clearer, an understanding of the standard NAEP scale
was needed for reading the results. The standard NAEP scale was designed for the
responding results on a scale ranging from 0 to 300, and the creating and performing
results were reported by percentages as in the second NAEP music assessment. As
results demonstrated, students’ involvement in many different music activities had
significantly higher responding scores. Moreover, participating in music activities in- or
out-of-school positively affected students’ creating and performing as well. That
evidence implies that students at any age level should to be encouraged to take part in
music activities in schools or in communities. Because the 1997 NAEP music
assessment did not readministered any questions from the music assessment in 1978-79,
no results of the changes in music achievement among American youth over the ten
years since the second assessment were available.

The results of all three NAEP music assessments have been available for a couple
of years. Some educators argued about the assessments and the test results, but most
music teachers and people know very little about the NAEP music assessments.
However, in order to offer students the most appropriate music curriculum, educators

and music teachers need to know exactly what American students have learned and

150

what they can do according to large-scale assessments like the NAEP. Results of the
1997 NAEP music assessment revealed that many students do not receive systematic
instruction in music, that often too little time and many was devoted to music, and that
many schools placed too little emphasis on a balanced program of music instruction.

The assessment results clearly demonstrated a demand for improvement in music
education. Moreover, the assessments provided important information for music
teachers and administrators in the level of music understanding among the school
population, and on the effectiveness of school music instruction. Also, the NAEP music
assessments provided music educators and teachers with an unprecedented opportunity
to take action for improving the quality and quantity of music education across the

nation.

Implications for Music Education

The three NAEP music assessments provide important information for music
teachers and administrators about the level of music understanding among the school
population and on the effectiveness of school music instruction. They provided music
educators and teachers with an unprecedented opportunity to take action to improve the
quality and quantity of music education across the nation.

The results of the first and second assessments are important references of
students’ progress in the past twenty years. and the third is the portrait of today’s music
achievement. After the release of the 1997 NAEP music assessment, some educators
were concerned about their results and discussed the implications (Colwell, 1999;

Lehman, 1999; Mark, 1996).

151

After the results were released, Colwell (1999) stated that arts assessment and
arts education are not high-priority items in the United States and do not make headline
news. He believes that the 1971-72 and 1978-79 NAEP music assessments could be a
good model for individual teachers as well as for school districts and states. However,
he does not believe that the results of 1997 NAEP music assessment offers music

teachers and educators much useful information. He says:

The NAEP 1997 Arts Report Card, which documents in part the results of the
assessment, does not indicate the extent to which music is required and/or
elective in middle and junior high schools, how opportunities or requirements
might differ in K-8 configurations, what musical experiences fulfilled any
existing requirements, or what percent of schools were meeting the Music
Educators National Conference (MENC) opportunity-to-learn standards of
45-minute periods, every other day (p. 33)

In spite of the fact that some educators are disappointed in the results of NAEP
music assessments, they rarely deny the importance of NAEP music assessment. Mark
(1996) states that the 1997 assessment will affect practice because it can serve as a
baseline for future assessments. “Perhaps in involvement of the arts education
community in all phrase of the 1997 assessment will assure that the results are used
constructively to strengthen and improve arts education in the future” (Mark, 1996, p.
285)

Lehman (1999) says, “The NAEP results demonstrate that far too many young
Americans lack the Skills and knowledge necessary to experience the satisfaction,
fulfillment, and enrichment that the arts can bring to every citizen” (p. 13).

Riley (1998) says that as a nation people are falling far short in the opportunities

152

they provide to the students for quality arts instruction. Therefore, in using the NAEP
music assessment results to improve music education. MENC reported six steps to take

in responding it:

1. Seize the occasion of the release of the results of the NAEP arts assessment to
call attention to the importance of the arts in education in your community.
Call your own press conference. Provide data to school administrators,
parents, and the public describing your music program and its impact on the
lives of the young people of your community.

2. Call on arts organizations at the local and state levels to rededicate
themselves to working with you and your colleagues to ensure that every
student has access to a comprehensive, balanced, sequential, standards-based
program of music instruction in school taught by qualified teachers.

3. Seek the help of concerned individuals and organizations in working to
ensure that music is required of every student through grade 8, and that every
student is required to complete a course in music, art, theatre, or dance to
graduate from high school.

4. Work with colleagues in higher education to persuade every college and
university in the state to require a course in music, art, theatre, or dance for
admission.

5. Work for the adoption of the National Standards for Music Education at the
state or local level, or for the adoption of state or local standards based on the

National Standards. Work with local administrators to develop a phased plan

153

to achieve the level of support called for in Opportunity-to-Leam Standards
for Music Instruction (MENC, 1994).

6. When the NAEP arts assessment items are released in 1999, administer the
items to your own students and compare your local results with those of the
national sample. Use favorable results to generate favorable publicity. Use
unfavorable results as leverage to obtain the staff, resources, and instructional
time needed to strengthen your program (Reston, VA: MENC, 1994. Also

available at http://www.menc.org/publication/books/otl.htm).

 

The results form NAEP provide music teachers information with which to
improve their instruction, and give school districts and states references for developing
curricula for helping students learning music. If states, schools, educators and music
teachers use the assessment results for improving instruction and curricula, people may
look forward to the results of student achievement in the coming NAEP music

assessment in 2007.

Recommendations for Future Research
So far, the comprehensive body of test questions of the three NAEP music
assessments are unreleased, and books and researches about the NAEP music
assessments are still rare. Even though NAEP and MENC offer on-line sources of
information, they are only available for the 1997 NAEP music assessment, and no
information concerning the 1971-72 and 1978-79 NAEP music assessment are included.
In this context, more study of the assessments and their implications is warranted. In

addition, public policies for Arts education in the past three decades as they relate to the

154

assessment, and the preparation of the forth NAEP music assessment in 2007 are also
potential areas of study. With more information about the NAEP music assessments,
music educators and teachers could develop the appropriate music curriculum for

meeting students’ educational needs.

155

APPENDICES

156

APPENDIX A

1971-72 and l978-79 Music Objectives and Subobjectives

1971-72 Assessment

1. PERFORM A PIECE OF MUSIC
A. Sing (technical proficiency not required)
B. Play or sing (technical proficiency not required)

C. Invent and improvise (technical proficiency not required)

11. READ STNDARD MUSICAL NOTATION

A. Identify the elements of nation, such as clefs, letter names of notes, duration

symbols, key signatures and dynamic markings

95

Identify the correct notation for familiar pieces

.0

Follow notation while listening to music
D. Sight-sing

III. LISTEN TO MUSIC WITH UNDERSTANDING
A. Perceive the various elements of music, such as timbre, rhythm, melody and
harmony, and texture
B. Perceive structure in music
C. Distinguish some differing types and functions of music

D. Be aware of (and recognize) some features of historical styles in music

IV. BE KNOWLEDGEABLE ABOUT SOME MUSICAL INSTRUMENTS, SOME OF
THE TERMINOLOGY OF MUSIC, METHODS OF PERFORMANCE AND
FORMS, SOME OF THE STANDARD LITERATURE OF MUSIC AND SOME
ASPECTS OF THE HISTORY OF MUSIC

A. Know the meaning of common musical terms used in connection with the

performance of music, and identify musical instruments and performing ensembles
in illustrations

B. Know standard pieces of music by title, or composer, or brief descriptions of the

157

music, or literary-pictorial materials associated with the music from its inception
C. Know prominent composers and performers by name and chief accomplishment
D. Know something of the history of music

V. KNOW ABOUT THE MUSICAL RESOURCES OF THE COMMUNITY AND
SEEK MUSICAL EXPERIENCES BY PERFORMING MUSIC
A. Know whether or not there are music libraries and stores in the community, and
know where concerts are given
B. Seek to perform music by playing, singing, taking lessons, joining performing

groups, and so on

V1. MAKE JUDGEMENTS ABOUT MUSIC AND VALUE THE PERSONAL
WORTH OF MUSIC
A. Distinguish parodies from their models

B. Be able to describe an personal “music” experience

1978-79 Assessment

 

I. VALUE MUSIC AS AN IMPORTANT REALM OF HUMAN EXPERIENCE
A. Be affectively responsive to music
B. Be acquainted with music from different nations, cultures, periods, genres and
ethnic groups
C. Value music in the life of individual, family and community
D. Make and support aesthetic judgments about music
11. PREFORM MUSIC
Sing (without score)
Play (without score)

Sing or play in a written score

POP”?

Play or sing a previously prepared piece

111. CREAT MUSIC
A. Improvise

B. Represent music symbolically

IV. IDENTF Y THE ELEMENTS AND EXPRESSIVE CONTROLS OF MUSIC

A. Identify the elements of music

158

B. Identify the relationships of elements in a given composition
C. Demonstrate an understanding of a variety of musical terms, expression markings

and conducting gestures in a musical context

V. IDENTIFY SND CLASSIF Y MUSICAL HISTORICALLY AND CULTURALLY
A. Identify and describe the features that characterize a variety of folk, ethnic, popular
and art music
B. Identify and describe the music and musical style of the various stylistic periods in
Western civilization (e.g., Medieval, Renaissance, Baroque, Classical, Romantic).
Identify representative composers of each period

C. Cite examples of ways in which man utilizes music in his social and cultural life

159

APPENDIX B

NAEP Arts Education Assessment Framework

The arts assessment was designed to measure the content specifications
described in the arts framework for the National Assessment of Educational Progress.
The central principle underlying the arts framework is that dance, music, theatre, and
visual arts are crucial components of a complete education. The arts have a unique
capacity to integrate intellect, emotions, and physical skills in the creation of meaning.
Further, (according to the framework), at its best, the teaching of the arts will
emphasize Creating and Performing works of art as well as studying and analyzing
existing works. Thus, meaningful arts assessments should be built around three arts

processes: Creating, Performing, and Responding.

. Creating refers to expressing ideas and feelings in the form of an original work
of art, for example, a dance, a piece of music, a dramatic improvisation, or a
sculpture.

0 Performing refers to performing an existing work, a process that calls upon the
interpretive or re-creative skills of the student.

. Responding refers to observing, describing, analyzing, and evaluating works of
art.

160

APPENDIX C

The K-12 National Standards for Music Education

GRADES K-4

Performing, creating, and responding to music are the fundamental music processes in
which humans engage. Students, particularly in grades K-4, learn by doing. Singing,
playing instruments, moving to music, and creating music enable them to acquire
musical Skills and knowledge that can be developed in no other way. Learning to read
and notate music gives them a skill with which to explore music independently and
with others. Listening to, analyzing, and evaluating music are important building blocks
of musical learning. Further, to participate fully in a diverse, global society, students
must understand their own historical and cultural heritage and those of others within
their communities and beyond. Because music is a basic expression of human culture,
every student should have access to a balanced, comprehensive, and sequential program

of study in music.

Terms identified by an asterisk (*) are explained in the glossary. The standards in this
section describe the cumulative skills and knowledge expected of all students upon
exiting grade 4. Students in the earlier grades should engage in developmentally
appropriate learning experiences designed to prepare them to achieve these standards at
grade 4. Determining the curriculum and the specific instructional activities necessary
to achieve the standards is the responsibility of states, local school districts, and

individual teachers.

1. Content Standard: Singing, alone and with others, a varied repertoire of music
Achievement Standard:

Students

a. sing independently, on pitch and in rhythm, with appropriate timbre, diction, and

posture, and maintain a steady tempo

161

b. Sing *expressively, with appropriate dynamics, phrasing, and interpretation

c. sing from memory a varied repertoire of songs representing * genres and *styles from
diverse cultures

(I. sing ostinatos, partner songs, and rounds

e. sing in groups, blending vocal timbres, matching dynamic levels, and responding to

the cues of a conductor

2. Content Standard: Performing on instruments, alone and with others, a varied

repertoire of music

Achievement Standard:

Students

a. perform on pitch, in rhythm, with appropriate dynamics and timbre, and maintain a
steady tempo

b. perform easy rhythmic, melodic, and chordal patterns accurately and independently
on rhythmic, melodic, and harmonic *classroom instruments

c. perform expressively a varied repertoire of music representing diverse genres and
styles

d. echo short rhythms and melodic patterns

e. perform in groups, blending instrumental timbres, matching dynamic levels, and
responding to the cues of a conductor

f. perform independent instrumental parts 1 while other students sing or play

contrasting parts
3. Content Standard: Improvising melodies, variations, and accompaniments

Achievement Standard:

Students

a. improvise "answers" in the same style to given rhythmic and melodic phrases

b. improvise simple rhythmic and melodic ostinato accompaniments

c. improvise simple rhythmic variations and simple melodic embellishments on familiar
melodies

d. improvise short songs and instrumental pieces. using a variety of sound sources,
including traditional sounds, nontraditional sounds available in the classroom, body

sounds, and sounds produced by electronic means 2

. 4. Content Standard: Composing and arranging music within specified guidelines

Achievement Standard:

Students

a. create and arrange music to accompany readings or dramatizations

b. create and arrange short songs and instrumental pieces within specified guidelines 3

c. use a variety of sound sources when composing
5. Content Standard: Reading and notating music

Achievement Standard:

Students

a. read whole, half, dotted half, quarter, and eighth notes and rests in 24 , 34 , and 44
meter signatures

b. use a system (that is, syllables, numbers, or letters) to read Simple pitch notation in
the treble clef in major keys

0. identify symbols and traditional terms referring to dynamics, tempo, and articulation
and interpret them correctly when performing

(I. use standard symbols to notate meter, rhythm, pitch. and dynamics in simple patterns

presented by the teacher
6. Content Standard: Listening to, analyzing, and describing music

Achievement Standard:

Students

a. identify simple music *forrns when presented aurally

b. demonstrate perceptual skills by moving, by answering questions about, and by
describing aural examples of music of various styles representing diverse cultures

c. use appropriate terminology in explaining music, music notation, music instruments
and voices, and music performances

(I. identify the sounds of a variety of instruments, including many orchestra and band
instruments, and instruments from various cultures, as well as children's voices and
male and female adult voices

e. respond through purposeful movement 4 to selected prominent music characteristics

5 or to specific music events 6 while listening to music

7. Content Standard: Evaluating music and music performances

Achievement Standard:

Students

a. devise criteria for evaluating performances and compositions

b. explain, using appropriate music terminology, their personal preferences for specific

musical works and styles

8. Content Standard: Understanding relationships between music, the other arts, and

disciplines outside the arts

Achievement Standard:

Students

a. identify similarities and differences in the meanings of common terms 7 used in the
various arts

b. identify ways in which the principles and subject matter of other disciplines taught in

the school are interrelated with those of music8
9. Content Standard: Understanding music in relation to history and culture

Achievement Standard:

Students

a. identify by genre or style aural examples of music from various historical periods and
cultures

b. describe in simple terms how *elements of music are used in music examples from
various cultures of the world 9

c. identify various uses of music in their daily experiences 10 and describe
characteristics that make certain music suitable for each use

(I. identify and describe roles of musicians 11 in various music settings and cultures

e. demonstrate audience behavior appropriate for the context and style of music

performed
Notes:

1. E.g., simple rhythmic or melodic ostinatos, contrasting rhythmic lines, harmonic

progressions and chords.

164

2. E.g., traditional sounds: voices, instruments; nontraditional sounds: paper tearing,
pencil tapping; body sounds: hands clapping, fingers snapping; sounds produced by
electronic means: personal computers and basic *MIDI devices, including keyboards,
sequencers, synthesizers, and drum machines.

3. E. g., a particular style, form, instrumentation, compositional technique

4. E.g., swaying, skipping, dramatic play

5. E.g., meter, dynamics, tempo

6. E.g., meter changes, dynamic changes, same/different sections

7. E.g., form, line, contrast

8. E.g., foreign languages: singing songs in various languages; language arts: using the
expressive elements of music in interpretive readings; mathematics: mathematical basis
of values of notes, rests, and meter signatures; science: vibration of strings, drum heads,
or air columns generating sounds used in music; geography: songs associated with
various countries or regions

9. E.g., Navajo, Arabic, Latin American

10. E.g., celegration of special occasions, background music for television, worship

ll. E.g., orchestra conductor, folksinger, church organist

GRADES 5-8

The period represented by grades 5-8 is especially critical in students' musical
development. The music they perform or study often becomes an integral part of their
personal musical repertoire. Composing and improvising provide students with unique
insight into the form and structure of music and at the same time help them to develop
their creativity. Broad experience with a variety of music is necessary if students are to
make informed musical judgments. Similarly, this breadth of background enables them
to begin to understand the connections and relationships between music and other
disciplines. By understanding the cultural and historical forces that shape social
attitudes and behaviors, students are better prepared to live and work in communities
that are increasingly multicultural. The role that music will play in students' lives
depends in large measure on the level of Skills they achieve in creating, performing, and

listening to music.

165

Terms identified by an asterisk (*) are explained in the glossary. Except as noted, the
standards in this section describe the cumulative skills and knowledge expected of all
students upon exiting grade 8. Students in grades 5-7 should engage in developmentally
appropriate learning experiences to prepare them to achieve these standards at grade 8.
These standards presume that the students have achieved the standards specified for
grades K-4; they assume that the students will demonstrate higher levels of the
expected skills and knowledge, will deal with increasingly complex music, and will
provide more sophisticated responses to works of music. Every course in music,
including performance courses, should provide instruction in creating, performing,
listening to, and analyzing music, in addition to focusing on its Specific subject matter.
Determining the curriculum and the specific instructional activities necessary to
achieve the standards is the responsibility of states, local school districts, and individual

teachers.
1. Content Standard: Singing, alone and with others, a varied repertoire of music

Achievement Standard:

Students

a. sing accurately and with good breath control throughout their singing ranges, alone
and in small and large ensembles

b. sing with *expression and *technical accuracy a repertoire of vocal literature with a
*level of difficulty of 2, on a scale of 1 to 6. including some songs performed from
memory

c. sing music representing diverse * genres and cultures. with expression appropriate for
the work being performed

(I. sing music written in two and three parts Students who participate in a choral
ensemble

e. sing with expression and technical accuracy a varied repertoire of vocal literature
with a level of difficulty of 3, on a scale of 1 to 6, including some songs performed

from memory

2. Content Standard: Performing on instruments. alone and with others, a varied

repertoire of music

166

Achievement Standard:

Students

a. perform on at least one instrument 1 accurately and independently, alone and in small
and large ensembles, with good posture, good playing position, and good breath, bow,
or stick control

b. perform with expression and technical accuracy on at least one string, wind,
percussion, or *classroom instrument a repertoire of instrumental literature with a level
of difficulty of 2, on a scale of 1 to 6

c. perform music representing diverse genres and cultures, with expression appropriate
for the work being performed

(1. play by ear simple melodies on a melodic instrument and simple accompaniments on

a harmonic instrument

Students who participate in an instrumental ensemble or class
e. perform with expression and technical accuracy a varied repertoire of instrumental
literature with a level of difficulty of 3, on a scale of 1 to 6, including some solos

performed from memory
3. Content Standard: Improvising melodies, variations, and accompaniments

Achievement Standard:

Students

a. improvise simple harmonic accompaniments

b. improvise melodic embellishments and simple rhythmic and melodic variations on
given pentatonic melodies and melodies in major keys

c. improvise Short melodies, unaccompanied and over given rhythmic accompaniments,

each in a consistent *style, meter, and tonality
4. Content Standard: Composing and arranging music within specified guidelines

Achievement Standard:

Students

a. compose short pieces within specified guidelines, 2 demonstrating how the elements
of music are used to achieve unity and variety, tension and release, and balance

b. arrange simple pieces for voices or instruments other than those for which the pieces

167

were written
c. use a variety of traditional and nontraditional sound sources and electronic media

when composing and arranging

5. Content Standard: Reading and notating music

Achievement Standard:

Students

a. read whole, half, quarter, eighth, sixteenth, and dotted notes and rests in 2/4 , 3/4 ,
4/4 , 6/8 , 3/8 , and alla breve meter signatures

b. read at sight simple melodies in both the treble and bass clefs

c. identify and define standard notation symbols for pitch, rhythm, dynamics, tempo,
articulation, and expression

d. use standard notation to record their musical ideas and the musical ideas of others

Students who participate in a choral or instrumental ensemble or class
e. sightread, accurately and expressively, music with a level of difficulty of 2, on a

scale of 1 to 6

6. Content Standard: Listening to, analyzing, and describing music

Achievement Standard:

Students

a. describe specific music events 3 in a given aural example, using appropriate
terminology

b. analyze the uses of *elements of music in aural examples representing diverse genres
and cultures

c. demonstrate knowledge of the basic principles of meter, rhythm, tonality, intervals,

chords, and harmonic progressions in their analyses of music

7. Content Standard: Evaluating music and music performances

168

Achievement Standard:

Students

a. develop criteria for evaluating the quality and effectiveness of music performances
and compositions and apply the criteria in their personal listening and performing

b. evaluate the quality and effectiveness of their own and others' performances,
compositions, arrangements, and improvisations by applying specific criteria
appropriate for the style of the music and offer constructive suggestions for

improvement

8. Content Standard: Understanding relationships between music, the other arts, and

disciplines outside the arts

Achievement Standard:

Students

a. compare in two or more arts how the characteristic materials of each art 4 can be
used to transform similar events, scenes, emotions, or ideas into works of art

b. describe ways in which the principles and subject matter of other disciplines taught

in the school are interrelated with those of music 5

9. Content Standard: Understanding music in relation to history and culture

Achievement Standard:

Students

a. describe distinguishing characteristics of representative music genres and styles from
a variety of cultures 6

b. classify by genre and style (and, if applicable, by historical period, composer, and
title) a varied body of exemplary (that is, hi gh-quality and characteristic) musical works
and explain the characteristics that cause each work to be considered exemplary

c. compare, in several cultures of the world. functions music serves, roles of musicians,

7 and conditions under which music is typically performed

Notes:
1. E. g., band or orchestra instrument, keyboard instrument, fretted instrument,

electronic instrument

2. E.g., a particular style. form, instrumentation, compositional technique

169

3. E.g., entry of oboe, change of meter, return of refrain

4. Le, sound in music, visual stimuli in visual arts, movement in dance, human
interrelationships in theatre

5. E.g., language arts: issues to be considered in setting texts to music; mathematics:
frequency ratios of intervals, sciences: the human hearing process and hazards to
hearing; social studies: historical and social events and movements chronicled in or
influenced by musical works

6. E.g., jazz, mariachi, gamelan

7. E.g., lead guitarist in a rock band, composer of jingles for commercials, singer in

Peking opera

GRADES 9-12

The study of music contributes in important ways to the quality of every student's life.
Every musical work is a product of its time and place, although some works transcend
their original settings and continue to appeal to humans through their timeless and
universal attraction. Through singing, playing instruments, and composing, students can
express themselves creatively, while a knowledge of notation and performance
traditions enables them to learn new music independently throughout their lives. Skills
in analysis, evaluation, and synthesis are important because they enable students to
recognize and pursue excellence in their musical experiences and to understand and
enrich their environment. Because music is an integral part of human history, the ability
to listen with understanding is essential if students are to gain a broad cultural and
historical perspective. The adult life of every student is enriched by the skills,
knowledge, and habits acquired in the study of music.

Terms identified by an asterisk (*) are explained in the glossary. Two levels of
achievement, "proficient" and "advanced," have been established for grades 9-12. The
proficient level is intended for students who have completed courses involving relevant
skills and knowledge for one to two years beyond grade 8. The advanced level is
intended for students who have completed courses involving relevant skills and
knowledge for three to four years beyond grade 8. Students at the advanced level are

expected to achieve the standards established for the proficient as well as the advanced

170

levels. Every student is expected to achieve the proficient level in at least one arts
discipline (that is, music, dance, theatre, visual arts) by the time he or she graduates

from high school.

The standards in this section describe the cumulative skills and knowledge expected of
students exiting grade 12 who have enrolled in relevant music courses. They presume
that the students have achieved the standards specified for grades 5-8; they assume that
the students will demonstrate higher levels of the expected skills and knowledge, will
deal with increasingly complex music, and will provide more sophisticated responses to
works of music. Every course in music, including performance courses, should provide
instruction in creating, performing, listening to, and analyzing music, in addition to
focusing on its specific subject matter. Determining the curriculum and the specific
instructional activities necessary to achieve the standards is the responsibility of states,

local school districts, and individual teachers.
1. Content Standard: Singing, alone and with others, a varied repertoire of music

Achievement Standard, Proficient:

Students

a. sing with *expression and *technical accuracy a large and varied repertoire of vocal
literature with a * level of difficulty of 4, on a scale of l to 6, including some songs
performed from memory

b. sing music written in four parts, with and without accompaniment

c. demonstrate well-developed ensemble skills

Achievement Standard, Advanced:

Students

(I. Sing with expression and technical accuracy a large and varied repertoire of vocal
literature with a level of difficulty of 5, on a scale of 1 to 6

e. sing music written in more than four parts

f. sing in small ensembles with one student on a part

2. Content Standard: Performing on instruments. alone and with others, a varied

repertoire of music

171

Achievement Standard, Proficient:

Students

a. perform with expression and technical accuracy a large and varied repertoire of
instrumental literature with a level of difficulty of 4, on a scale of l to 6

b. perform an appropriate part in an ensemble, demonstrating well-developed ensemble
Skills

c. perform in small ensembles with one student on a part

Achievement Standard, Advanced:

Students

(I. perform with expression and technical accuracy a large and varied repertoire of
instrumental literature with a level of difficulty of 5, on a scale of 1 to 6

3. Content Standard: Improvising melodies, variations, and accompaniments

Achievement Standard, Proficient:

Students

a. improvise stylistically appropriate harmonizing parts

b. improvise rhythmic and melodic variations on given pentatonic melodies and
melodies in major and minor keys

c. improvise original melodies over given chord progressions, each in a consistent

*style, meter, and tonality

Achievement Standard, Advanced:

Students

(1. improvise stylistically appropriate harmonizing parts in a variety of styles

e. improvise original melodies in a variety of styles, over given chord progressions,

each in a consistent style, meter, and tonality
4. Content Standard: Composing and arranging music within specified guidelines

Achievement Standard, Proficient:
Students
3. compose music in several distinct styles, demonstrating creativity in using the

*elements of music for expressive effect

b. arrange pieces for voices or instruments other than those for which the pieces were
written in ways that preserve or enhance the expressive effect of the music

c. compose and arrange music for voices and various acoustic and electronic
instruments, demonstrating knowledge of the ranges and traditional usages of the sound

sources

Achievement Standard. Advanced:
Students
(1. compose music, demonstrating imagination and technical skill in applying the

principles of composition

5. Content Standard: Reading and notating music

Achievement Standard, Proficient:
Students
a. demonstrate the ability to read an instrumental or vocal score of up to four staves by

describing how the elements of music are used

Students who participate in a choral or instrumental ensemble or class
b. sightread, accurately and expressively, music with a level of difficulty of 3, on a

scale of 1 to 6

Achievement Standard, Advanced:

Students

c. demonstrate the ability to read a full instrumental or vocal score by describing how
the elements of music are used and explaining all transpositions and clefs

d. interpret nonstandard notation symbols used by some 20th- century composers
Students who participate in a choral or instrumental ensemble or class

e. sightread, accurately and expressively, music with a level of difficulty of 4, on a

scale of l to 6
6. Content Standard: Listening to, analyzing. and describing music

Achievement Standard, Proficient:
Students

173

a. analyze aural examples of a varied repertoire of music, representing diverse * genres
and cultures, by describing the uses of elements of music and expressive devices 1

b. demonstrate extensive knowledge of the technical vocabulary of music

c. identify and explain compositional devices and techniques used to provide unity and
variety and tension and release in a musical work and give examples of other works that

make similar uses of these devices and techniques

Achievement Standard, Advanced:

Students

(1. demonstrate the ability to perceive and remember music events by describing in
detail significant events 2 occurring in a given aural example

e. compare ways in which musical materials are used in a given example relative to
ways in which they are used in other works of the same genre or style

f. analyze and describe uses of the elements of music in a given work that make it

unique, interesting, and expressive
7. Content Standard: Evaluating music and music performances

Achievement Standard, Proficient:

Students

a. evolve specific criteria for making informed, critical evaluations of the quality and
effectiveness of performances, compositions, arrangements, and improvisations and
apply the criteria in their personal participation in music

b. evaluate a performance, composition, arrangement, or improvisation by comparing it

to similar or exemplary models

Achievement Standard, Advanced:

Students

c. evaluate a given musical work in terms of its aesthetic qualities and explain the

musical means it uses to evoke feelings and emotions

8. Content Standard: Understanding relationships between music, the other arts, and
disciplines outside the arts

Achievement Standard, Proficient:

174

Students

3. explain how elements, artistic processes 3, and organizational principles 4 are used in
similar and distinctive ways in the various arts and cite examples

b. compare characteristics of two or more arts within a particular historical period or
style and cite examples from various cultures 5

c. explain ways in which the principles and subject matter of various disciplines outside

the arts are interrelated with those of music 6

Achievement Standard, Advanced:

Students

d. compare the uses of characteristic elements, artistic processes, and organizational
principles among the arts in different historical periods and different cultures

e. explain how the roles of creators, performers, and others involved in the production
and presentation of the arts are similar to and different from one another in the various
arts 7

9. Content Standard: Understanding music in relation to history and culture

Achievement Standard, Proficient:

Students

a. classify by genre or style and by historical period or culture unfamiliar but
representative aural examples of music and explain the reasoning behind their
classifications

b. identify sources of American music genres, 8 trace the evolution of those genres, and
cite well-known musicians associated with them

c. identify various roles 9 that musicians perform, cite representative individuals who

have functioned in each role, and describe their activities and achievements

Achievement Standard, Advanced:

Students

d. identify and explain the stylistic features of a given musical work that serve to define
its aesthetic tradition and its historical or cultural context

e. identify and describe music genres or styles that Show the influence of two or more
cultural traditions, identify the cultural source of each influence, and trace the historical

conditions that produced the synthesis of influences

175

Notes:

1. E.g., rubato, dynamics

2. E.g., fugal entrances, chromatic modulations, developmental devices

3. E.g., imagination, craftsmanship

4. E. g., unity and variety, repetition and contrast

5. E.g., Baroque, sub-Saharan African, Korean

6. E. g., language arts: compare the ability of music and literature to convey images,
feelings, and meanings; physics: describe the physical basis of tone production in string,
wind, percussion, and electronic instruments and the human voice and of the
transmission and perception of sound

7. E.g., creators: painters, composers, choreographers, playwrights; performers:
instrumentalists, singers, dancers, actors; others: conductors, costumers, directors,
lighting designers

8. E.g., swing, Broadway musical, blues

9. E. g., entertainer, teacher, transmitter of cultural tradition

GLOSSARY

Classroom instruments. Instruments typically used in the general music classroom,
including, for example, recorder-type instruments, chorded zithers, mallet instruments,
simple percussion instruments, fretted instruments, keyboard instruments, and

electronic instruments.

Elements of music. Pitch, rhythm, harmony. dynamics, timbre, texture, *forrn.

Expression, expressive, expressively. With appropriate dynamics, phrasing, *style, and

interpretation and appropriate variations in dynamics and tempo.
Form. The overall structural organization of a music composition (e. g., AB, ABA, call
and response, rondo, theme and variations, sonata-allegro) and the interrelationships of

music events within the overall structure.

Genre. A type or category of music (e.g., sonata, opera, oratorio, art song, gospel, suite,

jazz, madrigal, march, work song, lullaby, barbershop, Dixieland).

176

Level of difficulty. For purposes of these standards, music is classified into six levels of
difficulty:

. Level l-Very easy. Easy keys, meters, and rhythms; limited ranges.

. Level 2-Easy. May include changes of tempo, key, and meter; modest ranges.

. Level 3-Moderately easy. Contains moderate technical demands, expanded
ranges, and varied interpretive requirements.

. Level 4-Moderately difficult. Requires well-developed *technical skills,
attention to phrasing and interpretation, and ability to perform various meters
and rhythms in a variety of keys.

. Level 5-Difficult. Requires advanced technical and interpretive skills; contains
key signatures with numerous sharps or flats, unusual meters, complex rhythms,
subtle dynamic requirements.

. Level 6-Very difficult. Suitable for musically mature students of exceptional
competence. (Adapted with permission from NYSSMA Manual, Edition XXIII,
published by the New York State School Music Association, 1991.)

MIDI (Musical Instrument Digital Interface). Standard specifications that enable
electronic instruments such as the synthesizer, sampler, sequencer, and drum machine

from any manufact-urer to communicate with one another and with computers.

Style. The distinctive or characteristic manner in which the * elements of music are
treated. In practice, the term may be applied to, for example, composers (the style of
Copland), periods (Baroque style), media (keyboard style), nations (French style),
*form or type of composition (fugal style, contrapuntal style), or * genre (operatic style,

bluegrass style).

Technical accuracy, technical skills. The ability to perform with appropriate timbre,

intonation, and diction and to play or sing the correct pitches and rhythms.

177

BIBLIOGRAPHY

178

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