Instructional strategies based on the revised music TEKS encourage students to strive for quality in every class. As you align your instruction with the revised middle school music TEKS, you will be providing support for students as they develop new skills and take on challenging tasks. At the middle school level, teacher‐, peer‐, and self-assessments help students identify what they have done well, what they can improve, and what strategies may help them make improvements. Thoughtful self-assessment stimulates personal achievement and encourages students to take responsibility for their learning. All of these factors will support student achievement in music and instill pride and confidence.

The revised TEKS provide a proper bridge between the elementary music TEKS and the high school music TEKS. The middle school music TEKS are scaffolded to increase difficulty as students advance through their chosen music discipline. Finally, the revised music TEKS reflect the nature of an entry-level music course for first year band, choir, and orchestra while acknowledging prior learning in elementary music.

Key Differences of the Revised TEKS from the Original TEKS

• More specificity within student expectations
• Greater vertical alignment (sequential and spiraling of concepts) from one grade level to another
• Increasing challenges as students progress from middle school Music 1 to 2 and middle school Music 2 to 3
• Inclusion of psychomotor and kinesthetic aspects of vocal and instrumental music
• Focus on the creative process, real world relevance, higher‐level thinking, problem solving, and concepts of active music‐making

• Articulate major changes in the middle school music TEKS from the original to the revised
• Compare and contrast the content of the four strands
• Make plans to revise curriculum, instruction, and learning experiences in order to align with the revised TEKS

Please take a moment to review the middle school music TEKS comparison that shows the original and revised music TEKS. You may wish to refer to this chart as you look at some of the changes in each strand. The side‐by‐side chart shows the changes in the middle school music TEKS from the original TEKS to the corresponding revised TEKS.

By the end of this module, you will have a more thorough understanding of the revised TEKS and be able to apply each strand to the unique needs of your students. Additionally, you are encouraged to review the middle school music TEKS alignment chart to help determine the best way to incorporate the TEKS into lesson plans. This document shows how skills are scaffolded from one grade level to another.

It is critical to understand the four strands as the organizing structure of the music TEKS. The tabs below show the transition of the four strands of the music TEKS, from the original standards to the revised standards that were adopted by the State Board of Education. Take a few moments to become familiar with the revised name for each strand. A brief explanation for these changes will be provided throughout this module.

The most significant change in the strands is that all of the Perception strand and part of the Creative expression/performance strand from the original TEKS were moved to the revised Foundations: music literacy strand.

The original strands of Creative expression, Historical/cultural heritage, and Response/evaluation strands still exist though they have been updated and are now called Creative expression, Historical and cultural relevance, and Critical evaluation and response.

Strand Changes

• All of Perception and part of Creative expression/performance moved to the Foundations: music literacy strand.
• Creative expression/performance is now called Creative expression.
• Historical/cultural heritage is now called Historical and cultural relevance.
• Response/evaluation is now called Critical evaluation and response.

Music Strands

Each of the strands serves distinct learning purposes.

Foundations: music literacy
The student describes and analyzes musical sound.

This strand fosters the reading, writing, reproducing, and creating of music, thus developing a student's intellect.

Creative expression
The student performs a varied repertoire of developmentally appropriate music in informal or formal settings.

In this strand, students apply their music literacy and critical thinking skills to sing, play, read, write, and move to music.

Historical and cultural relevance
The student examines music in relation to history and cultures.

This strand consists of standards for experiencing music periods and styles in order for students to understand the relevance of music to history, culture, and the world. This strand includes the relationship of music to other academic disciplines and the vocational possibilities music offers.

Critical evaluation and response
The student listens to, responds to, and evaluates music and musical performances.

This strand is concerned with the critical listening that aids students in analyzing, evaluating, and responding to music in order to develop criteria for making critical judgments and informed choices.

This module will focus on the Music, Middle School 1, 2, and 3 TEKS. Please review the course discovery middle school music to get an overview of the Music, Middle School 1, 2, and 3 courses and examples of what each course looks like in the classroom. Take a moment to review the three charts before looking at each strand. Keep the charts as a reference.

This example of the TEKS illustrates the increased specificity in student expectations from the previous Perception strand to the Foundations: music literacy strand. Note that the statement about demonstrating musical artistry has been removed from this strand. It will reappear in the Creative expression strand.

Perception Becomes Foundations: Music Literacy

Several items in the original Creative expression/performance strand have been moved to the Foundations: music literacy strand as the TEKS review committee determined that they are related more to the written skills necessary for music instruction than to actual performance. Here is one student expectation that was moved as well as an example of the increased specificity in student expectations from the original Perception strand to the revised Foundations: music literacy strand.

Creative Expression/Performance Moves to Foundations: Music Literacy

Proper technique is essential to the health and wellness of student musicians. Every level of the Foundations: Music Literacy strand includes student expectations related to health and wellness. Note also the increase in expectations as students progress from Middle School Music 1 to Music 2 and from Music 2 to Music 3. Review Music, Middle School 1, 2, and 3 in the course discovery middle school music to view how the Foundations: Music Literacy strand is taught at each level.

Addition to Foundations: Music Literacy—Health and Wellness

Music, Middle School 1 (c)(1)(E) explore health and wellness concepts related to musical practice such as body mechanics, hearing protection, vocal health, hydration, and appropriate hygienic practice.

Music, Middle School 2 (c)(1)(E) describe health and wellness concepts related to musical practice such as body mechanics, hearing protection, vocal health, hydration, and appropriate hygienic practice.

Music, Middle School 3 (c)(1)(E) demonstrate health and wellness concepts related to musical practice, such as hand positions, hearing protection, vocal health, hydration and appropriate hygienic practice.

One additional student expectation was created to address the psychomotor and kinesthetic aspects of music instruction. Most music educators probably already use them, and the revised TEKS give specific examples of appropriate cognitive and kinesthetic responses. This addition is to emphasize the importance of a kinesthetic connection to aid the student in transferring sound to symbol in music notation.

Addition to Foundations: Music Literacy—Cognitive and Kinesthetic Responses at All Levels

Music, Middle School 1 (c)(2)(D) read music notation using appropriate cognitive and kinesthetic responses such as inner hearing, silent fingering, shadow bowing, or Curwen hand signs.

Here is an example of increased specificity in student expectations in the new Creative expression strand. Note also the inclusion of psychomotor expectations for the entry‐level student musician. In middle school, the inclusion of unison, homophonic, and polyphonic repertoire gives a specific sequence for learning and reminds instructors to select skill appropriate repertoire for each individual learner.

Creative Expression/Performance Becomes Creative Expression

Review the course discovery Middle School 2 music to view how the Creative expression strand is taught in Music, Middle School 2. You may also wish to view the examples provided to see what teaching with the revised middle school music TEKS looks like in a Music, Middle School 2 classroom.

Creative Expression/Performance Becomes Creative Expression

Here is an example of increased specificity in student expectations from the original Historical/cultural heritage strand to the revised Historical and cultural relevance strand. Note the specific inclusion of the national anthem and Texas state song.

Historical/Cultural Heritage Becomes Historical and Cultural Relevance

Images:
Charles A. Spain, Jr., "TEXAS, OUR TEXAS," Handbook of Texas Online (http://www.tshaonline.org/handbook/online/articles/xet01). Uploaded on June 15, 2010. Modified on May 19, 2014. Published by the Texas State Historical Association.Cover of sheet music for "The Star-Spangled Banner" [words by Francis Scott Key], transcribed for piano by Ch. Voss, Philadelphia: G. Andre & Co., 1862.

Additionally, the revised TEKS for middle school show greater demand in student expectations as a student progresses through each strand in Music, Middle School 1, 2, and 3, reflecting the increased intellectual demand of the New Bloom's Taxonomy. Here is an example of such a change from the Music 3 TEKS. Note the replacement of "classify" with "compare and contrast" as well as increased specificity in student expectations from the original Historical/cultural heritage strand to the revised Historical and cultural relevance strand.

Review the course discovery Middle School 3 music to view how the Historical and cultural relevance strand is taught in Music, Middle School 3. You may also wish to view the examples provided to see what teaching with the revised middle school music TEKS looks like in a Music, Middle School 3 classroom.

Historical/Cultural Heritage Becomes Historical and Cultural Relevance

One important component in the revised Critical evaluation and response strand is the inclusion of student expectations for listening to music for the purpose of properly responding to and evaluating it. This emphasis in middle school is to promote taking instructional time to listen to and evaluate music in addition to using the many classroom hours that are dedicated to preparing the music for performance. In this example from Music, Middle School 1, note the inclusion of listening in both the knowledge statement and student expectation (5)(B).

Response/Evaluation Becomes Critical Evaluation and Response

Certainly concert etiquette is an important aspect of music instruction at all levels. The revised TEKS kept these student expectations from the original version and added student expectations for stage etiquette as well as proper etiquette for listening to recorded performances.

Review Music, Middle School 1—General Music 6 to view how the Creative expression strand is taught. You may also wish to view the examples provided to see what teaching with the revised middle school music TEKS looks like in a Music, Middle School 1 classroom.

Response/Evaluation Becomes Critical Evaluation and Response

Summary of the Revised TEKS

If a student expectation focuses on

• reading, writing, or studying music, or what one might refer to as the tools of the trade, it will be found in the Foundations: music literacy strand;
• the performance of music, either vocal or instrumental, it will be found in the Creative expression strand;
• historical, cultural, or societal aspects of music study, it will be found in the Historical and cultural relevance strand; and
• how students evaluate or respond to music to help them make well‐founded judgements, it will be found in the Critical evaluation and response strand.

• Which TEKS will you teach in this lesson? What activities will you use?
• How will you measure student engagement in the lesson?
• What guiding questions can you, their director, use to keep students focused on the lesson?
• Finally, in what ways will you assess whether or not the students succeed on the assignment you give them?

Download the interactive PDF to record your responses.

A key point to remember while starting to use the revised TEKS is not to reinvent the wheel. You can modify what you have already been doing to elevate your lesson plans to the revised TEKS. You do not have to start entirely over. This module will provide opportunities to practice modifying lessons to fit the revised music TEKS.

Let's complete a quick exercise to apply your new learning.

Scenario: It is the students' first day learning a new piece of music. Your students have never heard, read, rehearsed, or performed this piece.

Lesson with Original TEKS: You might have had the students listen to a recording of the work while following along on their parts, identifying the form of the work. Perhaps you would have had the students sight-read the work. You might have asked students to classify the music they heard according to the style or time period in which it was composed, or you might have had them complete a short written assignment describing the quality of the performance they heard to determine if they believe they are capable of achieving this level of performance.

Lesson with Revised TEKS: Now, look at the lesson in light of the revised TEKS. How will the lesson need to be modified to meet the rigor of the new standards? Note especially the greater specificity in the revised TEKS, as well as the increased rigor and challenge to the students.

Based on the revised TEKS, how would your teaching change? How would you introduce the piece of music to your students?

Possible Responses

• Relate the new work to previously performed or rehearsed music.
• Relate the new work to topics covered in other academic subjects, such as history.
• Analyze the overall form of the work, using musically appropriate descriptors such as overture or theme and variations.
• Sight-read the new work as an assessment of the students' sight-reading skills.
• Have the students listen attentively and critically to a recording of the new work to determine the skills necessary for them to rehearse and perform the piece.

Here are additional possibilities of revised TEKS to address in the lesson, including student expectations that were not present in the earlier version, such as appropriate concert etiquette while listening to a recorded performance and demonstrating appropriate cognitive and kinesthetic responses to music and musical performances.

Music, Middle School 1 (c)

(4) Historical and cultural relevance. The student relates music to history, culture, and the world. The student is expected to:

(B) describe written and aurally presented music representative of diverse styles, periods, and cultures;
(C) identify relationships of music concepts to other academic disciplines such as the relationship between music and mathematics, literature, history, and the sciences;

(5) Critical evaluation and response. The student listens to, responds to, and evaluates music and musical performance in both formal and informal settings. The student is expected to:

(A) demonstrate appropriate concert and stage etiquette as an informed, actively involved listener and performer during live and recorded performances in a variety of settings;
(B) identify criteria for listening to and evaluating musical performances;
(E) demonstrate appropriate cognitive and kinesthetic responses to music and musical performances.

Scenario: You and your students will be listening to a recording of their concert performance from the previous night. You have two weeks prior to the next performance, which will be an important competitive event. Create a detailed lesson plan for the day that will use the revised TEKS.

1. Review the possible student expectations in the Original TEKS tab.
2. Look at the middle school music TEKS comparison for grade 8 and identify the revised TEKS you might use to evaluate the performance.
3. Compare your responses to the possible student expectations provided in the Revised TEKS tab.
4. Download the interactive PDF and reflect on how using the revised TEKS would change your instruction.

What are some ways you could adapt your lesson to embrace the revised TEKS? How might you add more specificity to your lesson? What are some ways you could spiral the concepts outlined in the revised TEKS in your lesson sequences? How might you use the "action verbs" included in the TEKS to increase higher‐level thinking skills for your students? You do not have to start over or reinvent the wheel.

Use the sample lesson plan or an original to align lessons to the revised TEKS. With a well‐crafted lesson, it is easy to explore student expectations from each of the four strands, and it will set the stage for engaging music instruction.

This lesson plan template may be a helpful tool to convert previous lesson plans to align with the newly revised TEKS.

Becoming active participants on students’ teams for planning for Section 504 and individualized education programs (IEP) will help you know what is expected in terms of accommodations and why. It will also help to have the voice of a student’s music learning represented.

Some of the accommodations that might help students be successful in music classes include the following:

• Frequent reminders to stay on task
• Special seating
• Specialized technology
• Supplementary written instructions
• Sign language interpreters
• Extended time
• Alternative response modes

Some examples of opportunities for inclusion of special needs students may include the following:

• Having the student whose movement is confined to a wheelchair learn to play percussion in the band
• Helping the struggling math student understand fractions for the first time by understanding the division of sounds in a beat
• Helping the student who struggles emotionally find a creative outlet in music
• Helping the emotionally disturbed or socially awkward student become a part of a team by joining a music program

These and so many more examples are ways that the revised music TEKS can guide you to develop student skills by using kinesthetic, aural/oral, and visual techniques to address all learning styles and reach all learners.

Editorial Image Credit: a katz / Shutterstock.com

English language learners (ELLs) may also benefit from instruction that not only helps them learn and perform music, but also helps them learn English and other grade-level content. Music class provides a great opportunity for students to improve their English language skills. According to the English Language Proficiency Standards, the ELL student is expected to demonstrate the following skills:

• Distinguish sounds and intonation patterns of English with increasing ease
• Learn new language structures, expressions, and basic and academic vocabulary heard during classroom instruction and interactions
• Use visual, contextual, and linguistic support to enhance and confirm understanding of increasingly complex and elaborated spoken language
• Understand implicit ideas and information in increasingly complex spoken language commensurate with grade-level learning expectations

To help students connect learning, teachers can incorporate the four language domains in music curriculum.

The Four Language Domains

Listening is the ability to understand spoken language, comprehend and extract information, and follow social and instructional discourse through which information is provided.

Speaking is the ability to use spoken language appropriately and effectively in learning activities and social interactions.

Reading is the ability to comprehend and interpret written text at the grade-appropriate level.

Writing is the ability to produce written text with content and format to fulfill grade-appropriate classroom assignments.

Music classes, with their strong aural and oral emphasis, clearly benefit the English language learner. How can you incorporate the ELPS into your teaching?

Generally, students who choose to take music for the first time in middle school will enroll in Music, Middle School 1, which includes General Music 6, Middle School 1 Band, Middle School 1 Choir, Middle School 1 Orchestra, Middle School 1 Instrumental Ensemble, or Middle School 1 Vocal Ensemble.

To view how the strands are explicated for each music course and examples of what this looks like in the classroom, click on the course discovery middle school music link. This is a great resource to get familiarized with music course offerings.

Students in music courses can be arranged by demonstrated student proficiency rather than by grade level. Establishing criteria for determining proficiency is a helpful tool in scheduling and instruction. Music teachers in middle school choral programs face decisions about whether to arrange classes by voice classification, grade level, or demonstrated proficiency.

Each course addresses all areas of the TEKS and appropriately integrates the strands to make content relevant for students. Appropriate materials for middle school students help them apply the concepts and skills learned in music literature.

Music, Middle School 1 Courses

• General Music 6
• Middle School 1 Band
• Middle School 1 Choir
• Middle School 1 Orchestra
• Middle School 1 Instrumental Ensemble
• Middle School 1 Vocal Ensemble

Considerations in Selecting Musical Literature

• Range
• Technical difficulty
• Personal interest
• Variety of style, historical period, cultural influence, and genre
• Integration of digital learning skills and devices where appropriate

Take the time now to study all of the revised TEKS, in addition to those cited in this course. We believe you will draw the following conclusions: that there is much more specificity in the new student expectations, that the expectations increase in difficulty as students move from level to level, and that there is a much greater focus on what students need to do physically to become superior student musicians and be adequately prepared to take the next step for their high school music courses, Music I‐IV.

There are many resources and professional development to help you align your district’s curriculum and your instruction to the revised middle school music TEKS. A link to instructional strategies on the web site for the Center for Educator Development in Fine Arts, or CEDFA, is provided. This resource will be beneficial in creating and developing music and other fine arts programs. You may wish to bookmark this resource or some of the others used in this module, such as the middle school music TEKS alignment chart, the middle school music TEKS comparison, or the course discovery middle school music.

Tools and Resources

• Revised Middle School Fine Arts TEKS
  http://ritter.tea.state.tx.us/rules/tac/chapter117/index.html
• Instructional Strategies for Teaching Fine Arts
  http://www.cedfa.org/teach-fine-arts/instruction/instructional-strategies/

Professional Development Opportunities for Music Teachers

• Models of Professional Development http://www.cedfa.org/grow-professionally/models/
• Texas Music Educators Association http://www.tmea.org/
• Texas Bandmasters Association http://www.texasbandmasters.org/
• Texas Choral Directors Association http://www.tcda.net/
• Texas Orchestra Directors Association http://www.todaweb.org/