2 ColoradoReport-2016 FINAL PDF

Colorado Academic Standards Review:
Dance
Drama and Theatre Arts
Music
Visual Arts
Final Report
Prepared for the Colorado Department of Education by

State Education Agency Directors of Arts Education (SEADAE), September 2016
TABLE OF CONTENTS
I. SCOPE OF WORK ................................................................................................................. 3
Background ......................................................................................................................... 3
Timeline, Deliverables, and Reviewers .............................................................................. 3
Audience ............................................................................................................................. 3
Review Research Questions ................................................................................................ 3
Organization of the Report .................................................................................................. 4
II. EXPERT PANEL .................................................................................................................. 5
III. METHODOLOGY ............................................................................................................... 6
Research Approach ............................................................................................................. 6
Data Gathering Plan - How was the data collected and reviewed?..................................... 6
Internal Quality Review Criteria ......................................................................................... 7
External Quality Review Criteria ...................................................................................... 11
Ethics ................................................................................................................................. 12
Realities of the Study ........................................................................................................ 13
IV. GENERAL OBSERVATIONS and RECOMMENDATIONS: ........................................ 14
V. CONTENT-AREA FINDINGS and RECOMMENDATIONS .......................................... 16
A. DANCE ............................................................................................................................ 16
Standard 1. Movement, Technique, and Performance ...................................................... 16
Standard 2. Create, Compose and Choreograph ............................................................... 18
Standard 3. Historical and Cultural Context ..................................................................... 20
Standard 4. Reflect, Connect, and Respond ...................................................................... 21
B. DRAMA AND THEATRE ARTS ................................................................................... 31
Internal Quality Review .................................................................................................... 31
Methodology ..................................................................................................................... 32
External Review ................................................................................................................ 44
C. MUSIC ............................................................................................................................. 51
Methodology ..................................................................................................................... 52
Internal Review Summary ................................................................................................ 73
External Review ................................................................................................................ 73
Summary ........................................................................................................................... 77
D. VISUAL ARTS................................................................................................................ 78
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Methodology ..................................................................................................................... 79
External Review ................................................................................................................ 86
VI. EXTERNAL REFERENTS ............................................................................................... 94
A Framework Comparison between the State Standards of Arizona and Delaware ........ 94
Referent Exemplars’ Notable Elements ............................................................................ 94
Background of Arizona Academic Standards ................................................................... 97
Background of Delaware Content Standards for Visual and Performing Arts ................. 98
National Standards for Arts Education (1994) ................................................................ 100
National Core Arts Standards (2014) .............................................................................. 102
Summary ......................................................................................................................... 127
VII. REFERENCES ............................................................................................................... 128
VIII. APPENDICES ............................................................................................................... 129
APPENDIX A: REVIEWER BIOGRAPHIES .................................................................. 129
APPENDIX B: LINKS TO REFERENCE CHARTS ........................................................ 133
Cross-Index Comparison_ NCAS CAS: DANCE .......................................................... 133
Cross-Index Comparison_ NCAS CAS: DRAMA-THEATRE...................................... 133
Cross-Index Comparison_ NCAS CAS: MUSIC ........................................................... 133
Cross-Index Comparison_ NCAS CAS: VISUAL ARTS .............................................. 133
APPENDIX C: TABLES .................................................................................................... 134
SAMPLE Cross-Index Comparison Spreadsheets .......................................................... 134
Tables for Content Reviews: Dance ................................................................................ 134
Tables for Content Reviews: Drama and Theatre Arts ................................................... 134
Tables for Content Reviews: Music ................................................................................ 134
Tables for Content Reviews: Visual Arts ....................................................................... 135
Tables for External Reviews: Referent Exemplars ......................................................... 135
APPENDIX D: GLOSSARY ............................................................................................. 137
State Education Agency Directors of Arts Education

Review of Colorado Academic Standards in the Arts
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I. SCOPE OF WORK
Background
“Pursuant to 22-7-1005(6), the Colorado Department of Education (CDE) must review and
revise the Colorado Academic Standards every six years. According to the current cycle, the
next review and revision process must be completed on or before July 1, 2018. Moreover,
“states are required to submit evidence about their standards and assessment system to a peer
review process to ensure the standards and assessment system developed is both fully aligned
and technically sound. While the peer review process will not serve to approve the academic
content standards themselves, states are required to show how well the assessments are
aligned with the academic content standards (Senate Bill 08–212).” To assist with the
Department’s planning for the creation of the next iteration of Arts Standards, the CDE
engaged the services of the State Education Agency Director of Arts Education (SEADAE) to
conduct an external review; benchmarking the Colorado Academic Standards in Dance,
Drama and Theatre Arts, Music, and Visual Arts against the National Core Arts Standards
(NCAS) and the arts standards of other selected states and nations.
Timeline, Deliverables, and Reviewers

The timeline for the Review Team’s investigation of the Colorado Academic Standards (CAS)
in the Arts was designated for June 20, 2016 through September 6, 2016. Team members for
this work were identified by CDE staff specifically for their expertise in the area of arts
education standards. The Review Team members are listed in Section II and their background
and expertise appear in the Appendix of this Report.
The deliverable from the Team is this Summary Report comparing Colorado Academic
Standards in the Arts to the National Core Arts Standards, Arizona’s Academic Standards in
the Arts, the Delaware Content Standards for Visual and Performing Arts, and the K-12
Creative Arts Continuum, the syllabi developed by the Board of Studies, State of New South
Wales (Australia).
Audience
The identified audience for this Report is the Colorado Department of Education staff.
However, the Reviewers also understand that the potential for a more public audience exists
and have endeavored, therefore, to ensure that the language, visual tools, and construction of
the Report are user-friendly.
Review Research Questions

The two research questions driving the Review were:
1. To what extent do the Colorado Academic Standards for Dance, Drama and Theatre
Arts, Music, and Visual Arts provide sufficient rigor, depth, breadth, and coherence to
drive the creation and implementation of robust PK-12 arts curricula, in a manner
which is quantifiable and against which student growth can be measured?
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2. How do the Colorado Academic Standards for Dance, Drama and Theatre Arts,
Music, and Visual Arts compare to other state, national, and international arts
standards with respect to organizational and conceptual frameworks?
Ultimately, this Review sought to ascertain which aspects of the Colorado Academic
Standards for Dance, Drama and Theatre Arts, Music, and Visual Arts require further
refinement and which components, if any, should be retained to support quality opportunities
for learning in the Arts in Colorado. As stipulated previously, the Standards against which the
Colorado Academic Standards were benchmarked included the National Core Arts Standards,
Delaware Standards for Visual and Performing Arts, Arizona Academic Standards in the Arts,
and the K-12 Creative Arts Continuum, the syllabi developed by the Board of Studies, State of
New South Wales (Australia).
The Report encompasses the artistic disciplines of Dance, Drama and Theatre Arts, Music,
and Visual Arts; and includes the following key components:
 An overview of the benchmarking process, including a description of the research

methodology, data gathering plan, ethical matters, and rationale for the choice and use
of various resources;
 Use of standardized ratings, as well as individual Reviewer comments across arts
disciplines;
 Use of a consistent classification system, with ratings of Strong (3), Moderate (2),
Weak (1), or Not Found (0) with respect to Rigor, depth, breadth, and coherence;
 Findings, observations, and recommendations for future iterations of the CAS;
 References; and
 A list of source documents which informed the analysis.
Organization of the Report

The structure of the Report provides an in-depth look at each Arts content area, and highlights
the Review Team’s findings and observations. The Reviewers highlight areas of strength in
the current CAS and call attention to perceived areas needing improvement. A subsequent
Section of this Report includes a comparison of the Colorado Academic Standards to the
National Core Arts Standards in Dance, Music, Theatre, and Visual Arts. Comparisons to state
standards and international (defined as non-U.S.A.) syllabi are also included in the Report.
Narratives for each content area provide the reader with an overview of the Review Team's
findings and recommendations for revision to future iterations of the CAS-Arts. The
narratives are supported by tables to further illustrate the strengths and needs of the CAS-Arts.
Supporting documentation, appendices, a glossary, and references are provided in the latter
Sections of this Report.
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II. EXPERT PANEL
The Colorado Department of Education approached SEADAE for the Review of the Colorado
Academic Standards in the Arts because of its history of high-quality work involving arts
education standards, assessment, and instruction, as well as the deep content expertise of its
members. SEADAE members are those persons at state education agencies who are charged
with oversight of educational policy and practice in the arts (Dance, Media Arts, Music,
Drama/Theatre Arts, and Visual Arts). Within their respective home states, SEADAE
members are responsible for the oversight, periodic review, revision, and implementation of
arts standards. Additionally, they provide professional development and technical assistance
to school districts and other arts education stakeholders to promulgate model arts education
programs and support provision of fair and balanced systems of assessment for learning. The
mission of SEADAE is to support the professional effectiveness of its individual members and
provide a collective voice for leadership on issues affecting arts education. Additionally, the
purpose of SEADAE is to support equitable access to high-quality, comprehensive, and
sequential standards-based educational opportunities for learning in the arts for all PreK-20
students. SEADAE is well-known within the arts education field for its members’ collective
national impact.
The Reviewers who contributed to this Report are all state education agency arts education
consultants and members of SEADAE. They come from a variety of backgrounds in the arts
and arts education, including K-16 educators, independent artists, coaches, administrators,
professional development facilitators, and mentors. All of the content-area Reviewers serve or
have served in leadership positions within SEADAE, giving them an expanded perspective on
the state, national, and international arts education landscape.
The Team's diversity of experience served them well when evaluating the strengths and needs
of the CAS and while cross-indexing opportunities for learning between CAS and other sets
of state, national, and international arts standards. It is the hope of the Reviewers that their
observations and resultant recommendations will offer the client valuable insight into next
steps in the refining of the Colorado Academic Standards in the Arts.
Like the Reviewers, the Editors for this project were selected for their arts-content expertise
and extensive experience with arts education standards within and outside their state agencies.
They too, are SEADAE members. The Reviewers and Editors include:
Content Expert Reviewers

Project Lead and Theatre Review - Dale Schmid, Ed.D.
Dance Review - Marcia McCaffrey, M.A.
Music Review - Julie A. Palkowski, Ph.D.
Visual Arts Review - Deb Hansen, M.Ed.
Editors
Ray Lowther, Ed.D.
Joyce Huser, M.Ed.
Linda Lovins, Ph.D.
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III. METHODOLOGY
Research Approach
The Standards Review involves two components:
 A review of the internal quality of the Colorado Academic Standards in Dance, Drama
and Theatre Arts, Music, and Visual Arts with respect to the degree of rigor, depth,
breadth, and coherence of the Standards.
 A review and comparison of external referent standards to identify similarities and
differences in organization, structure and content of the standards to that of the
Colorado Academic Standards in Dance, Drama and Theatre Arts, Music, and Visual
Arts. Descriptions of very similar, similar, dissimilar, and very dissimilar were used to
convey the degree of alignment in the organizational structure and content
expectations for arts literacy and fluency between the Colorado Academic Standards in
the Arts and the external referent state, national, and international standards/syllabi.
The Review Panel structured the benchmarking process to respond to the two previously
identified research questions using common definitions, domain-specific feedback, and
frequently observed indicators as criteria for ranking the rigor, depth, breadth, and coherence
of the CAS. The resultant analysis, which was extrapolated from multiple data points is meant
to inform readers as to possible next steps in the reimagining of state arts education standards,
instruction, and systems of assessment. Tables are provided throughout the Report to enable
readers to visualize the implications of the CAS and the referent standards apropos to their
impact on curriculum, teaching and learning, and assessment.
Data Gathering Plan - How was the data collected and reviewed?
For the purposes of this research, a Cross-Index Comparison Spreadsheet was developed by
the Review Team to gather information consistently across the four arts disciplines under
review. The CAS Grade Level Expectations (GLEs) were ranked according to their degree of
rigor, depth, breadth, and coherence at individual grade levels and evaluated within a
continuum of grade-band clusters, including: Grades PK-2; Grades 3-5; Grades 6-8; Dance
High School Fundamental and Extended Pathways; Drama and Theatre Arts High School
Fundamental and Extended Pathways; Music High School Generalist and Performance
Pathways; and Visual Arts High School 9-12.
The relative degrees of rigor, depth, breadth, and coherence of the GLEs and grade-band
clusters were rated numerically; Strong (3), Moderate (2), Weak (1), or Not Found (0) with
respect to Rigor, depth, breadth, and coherence. These numeric values were supported by
comments drawn from a pull-down menu and, in some instances, additional comments were
added by the content Reviewer. Narratives and tables for each content area are embedded
within the Report to support readers’ understanding of the overall features of the Colorado
and referent standards. In the examination of the CAS, common definitions, parallel criteria
for ratings, and standardized statements were used to evaluate the Standards for each arts
discipline.
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Additionally, steps were taken to increase inter-rater reliability across arts disciplines. These
steps helped provide internal consistency within the Report. Ultimately, the intent of using
highly specific criteria for benchmarking is to inform and focus the efforts of future Colorado
writing teams charged with creating the next iteration of Colorado Standards in a manner that
ensures rigor, depth, breadth, and coherence of curriculum and instruction. Using an in-
common review process for evaluating the robustness of the Colorado Standards was a
conscious Review Team choice intended to create symmetry among the arts disciplines.
The operational definitions of rigor, depth, breadth, and coherence used benchmark the CAS
Standards are defined below. The related questions used by the Review Team to guide the
evaluation of the CAS are also listed, appearing below the definitions. This approach was
inspired by the College Board and other review exemplars to offer educators some
commonalities to aid their understanding of the Report.
Internal Quality Review Criteria

The same categories defined below were applied to the CAS for Dance, Drama and Theatre
Arts, Music, and Visual Arts. The four artistic disciplines also shared the guiding questions.
Rigor
For the purposes of this Review, the following definition for rigor applies to all arts forms:
“The term rigor is widely used by educators to describe instruction, schoolwork, learning
experiences, and educational expectations that are academically, intellectually, and personally
challenging. Rigorous learning experiences, for example, help students understand knowledge
and concepts that are complex, ambiguous, or contentious, and they help students acquire
skills that can be applied in a variety of educational, career, and civic contexts throughout
their lives.” (Ed Glossary)
The questions guiding the ratings for rigor include:

 Does the Standard clearly offer active language for learners to demonstrate
declarative and procedural knowledge and skills in the arts content area?
 Is the Standard developmentally appropriate to the grade level for which it is targeted?
 Does the Standard enable and encourage students to build upon prior knowledge and
transfer or adapt appropriate grade-level constructs to new situations, thereby fostering
creativity and adaptive innovation?
 Does the Standard promulgate arts literacy and fluency appropriate to the age of the
students?
Depth
For the purposes of this Review, the following definition for depth applies to all art forms:
“Depth is widely used by educators to describe robust, well-integrated understandings of

fundamental concepts essential to the attainment of literacy and fluency in [an arts] discipline.
Courses of sufficient 'depth’ include developmentally appropriate levels of investigation that
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reinforce and revisit core concepts and that provide a firm foundation for students to learn and
understand more advanced concepts and transfer their knowledge in other contexts.” (Adapted
from College Board Science Framework)
The questions guiding the ratings for depth include:

 Does the Standard drive deep learning by addressing core concepts from multiple
perspectives?
 Does the Standard support a deep investigation of developmentally appropriate
literacy and fluency in the arts content area explored?
 To what extent does the Standard reinforce and revisit core concepts and demand
transfer of prior knowledge in order to understand more advanced concepts?
 To what extent does the Standard promote inquiry-based learning?
 To what extent does the Standard target specific learning objectives, which can be
observed and assessed for levels of student mastery of content and learning goals?
Breadth
For the purposes of this Review, the following definition for breadth applies to all art forms:
Breadth is defined to mean a logically scaffolded and sequenced set of standards in which
essential content is explored through a wide array of interrelated ideas, facts, and
perspectives. (Review Team-constructed definition)
The questions guiding the ratings for breadth include:

 Does the Standard set provide a logical sequence to build learner knowledge and skills
through a variety of related experiences over time?
 Does the Standard set provide interrelated ideas, facts, and perspectives?
 To what extent does the Standard provide a continuum of knowledge and skills
necessary for progressively sophisticated levels of arts literacy and fluency? Are there
any gaps or redundancies?
Coherence
For the purposes of this Review, the following definition for coherence applies to all art
forms:
“Learning standards can promote greater academic and instructional coherence, or

‘alignment’ within a school or education system. Because standards are carefully mapped out
and sequenced, they can help schools and teachers avoid redundancy or unnecessary
repetition, while also creating a progression of instruction in which each lesson builds on
previous lessons, moving students from simpler concepts to more complex and challenging
concepts, from lower-level thinking to higher-level thinking, or from less-sophisticated skills
to more-sophisticated skills as they progress through their education.” (Ed Glossary)
The questions guiding the ratings for coherence include:

 Does the Standard create a systematic, intentional progression of learning that builds
on previous Standards, offering students a logical pathway for learning and enabling
them to master increasingly complex concepts?
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 Does the Standard exhibit construction parallel to that of other Standards, as well as
concurrent knowledge and skills required for mastery of the Standard?
 To what extent does the Standard necessitate higher-level thinking and ensure that
demand in cognitive ability increases for content mastery?
The perceived quality of each Standard was rated in accordance with the two guiding research
questions (see pages 3-4 of this Report) and the definitions and guiding questions of each
category (i.e., rigor, depth, breadth, coherence), then quantified using the following ratings:
Strong (3), Moderate (2), Weak (1), or Not Found (0). In general, ratings were derived for
each GLE within a given Standard and then averaged for a “composite rating” for that
Standard. Two sample tables, with composite ratings and comments, are shown below. The
Reviewers generally presented the ratings at a level of detail comparable to the level of detail
in the Standards and GLEs.
Components of the internal Review; including the numeric ratings for rigor, depth, breadth,
and coherence (3, 2, 1, or 0), the standardized comments, and additional comments provided
by Reviewers calling attention to unique or notable findings are embedded in the tables as part
of the narrative for each of the CAS arts disciplines examined for this Report. Additionally,
more detailed information can be found in the Appendices.
Table 1—SAMPLE Cross-Index Comparison Spreadsheet: CAS-Drama and Theatre Arts,

Standard 1
GRADE GLEs Rigor Depth Breadth Coherence Comments
6 1. Characterization 1.00 1.00 1.00 1.00 R- The Standard

throughout a does not offer
scripted or active language
improvised scene for
2. Creation of a demonstrating
scene or play from knowledge and
an original idea, skills.
story, or other R- Not challenging
form of literature enough for
3. Design and grade level.
technical elements D- The Standard is
of theatre in a statement of
improvised and fact rather than
scripted works a learning
objective that
drives teaching
and learning.
B- The Standard is
non-specific.
C - Doesn't flow
with adjacent
outcomes.
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7 1. Characterization 1.00 1.00 1.00 1.00 R- The Standard
in a scripted or does not offer
improvised scene active language
2. Contributions in for
improvisation and demonstrating
playbuilding knowledge and
3. Technical and skills.
design elements in R- Not challenging
improvised and enough for
scripted works grade level.
D- The Standard is
a statement of
fact rather than
a learning
objective that
drives teaching
and learning.
B- The Standard is
non-specific.
C - Doesn't flow
with adjacent
outcomes.
8 1. Creating and 1.00 1.00 1.00 1.00 R- The Standard
sustaining a does not offer
believable active language
character for
2. Participation in demonstrating
improvisation and knowledge and
playbuilding skills.
3. Construction of R- Not challenging
technical and enough for
design elements grade level.
D- The Standard is
a statement of
fact rather than
a learning
objective that
drives teaching
and learning.
B- The Standard is
non-specific.
C - Doesn't flow
with adjacent
outcomes.
Rating Scale: Strong (3), Moderate (2), Weak (1), or Not Found (0); *Rigor (R), Depth (D), Breadth (B),
Coherence (C)
Table 1: Findings and Observations
The preceding chart shows the way in which the Colorado Cross-Index Comparison
Spreadsheet was laid out for Drama and Theatre Arts. The column on the far right of the table
is a sampling of preselected options available to the Reviewer, drawn from a battery of
comments that were common to the Cross-Index Comparison Spreadsheets for Dance, Drama
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and Theatre Arts, Music, and Visual Arts, and accessible through a pull down menu. In
addition, to these predetermined responses, the Reviewers also had the option of writing an
individualized critique. In the preceding example pertaining to Drama and Theatre Arts
Standard 1, Create / Grades 6-8, several general observations can be gleaned from the
Reviewer comments that might inform future Colorado Standards.
Table 2—SAMPLE Cross-Index Comparison Spreadsheet: CAS-Visual Arts, Standard 3
GRADE GLEs Rigor Depth Breadth Coherence Comments*

PK 1. Create works of 2.00 1.00 1.00 2.00 D- Developmentally
art based on inappropriate for
personal literacy and
relevance fluency.
B- The Standard is
non-specific.
K 1. Create two- and 2.00 1.00 2.00 2.00
three-
D- Developmentally
dimensional
inappropriate for
works of art
literacy and
based on
fluency.
personal
relevance
1 1. Create art to 2.00 2.00 2.00 2.00
communicate
ideas, feelings,
or emotions
2 1. Use familiar 2.00 2.00 2.00 2.00
symbols to
identify and
demonstrate
characteristics
and expressive
features of art
and design
Coherence (C)
External Quality Review Criteria

Resources gathered for this Report beyond the foundational Colorado Arts Standards
documents include two state standard sets (Arizona, Delaware), one set of national standards
(the National Core Arts Standards), and one set of international standards (those of the K-12
Creative Arts Continuum, the syllabi developed by the Board of Studies, the State of New
South Wales [Australia]). The referent exemplars were selected on the basis of the following
factors:
 Time of adoption/adaptation;
 Relevance and coherence of the content-area learning objectives;
 Suggestions from the Colorado staff; and
 Consistent use by other experts in the field.
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The referent exemplars were initially scanned for structural, organizational, and guiding
elements and then cross-indexed to each of Colorado’s Standards, comparing the
organizational and conceptual frameworks for each set of standards, and using the lenses of
rigor, depth, breadth, and coherence, as previously described. This offered a consistent tool
for reviewing standards that also facilitated identification of unique aspects of various
standards sets when developing, reframing, or redefining standards. Further background
information about the CAS and referent standards is provided in Section VI of this Report.
The documents used for this Review were digitally available, offering the Team a readily
available means of deepening its investigation of the CAS through additional references and
resources highlighted in the CAS, referent exemplars, and accompanying materials. Resources
identified in the Review of the CAS in the Arts include:
 Academic Standards for Dance, Drama and Theatre Arts, Music, and Visual Arts
 Prepared Graduate Competencies
 High School Expectations
 Grade Level Expectations
 Evidence Outcomes
When comparing the CAS to the referent exemplars, the Reviewers rated the latter as “Very
Similar,” “Similar,” “Dissimilar,” or “Very Dissimilar” to the CAS in the Arts. The
similarities and dissimilarities among the Standards are described in the content narrative
section of this Report and appear as graphic organizers in Cross-Index Comparison
Spreadsheets.
Three components of the Colorado Standards were not included within the Crosswalk
Comparison Tables or given ratings as part of this Review. This exclusion was to clearly
delineate the rigor, depth, breadth, and coherence in the elements of the Standards that are
similarly used for assessment purposes in other Colorado disciplines. The three components
that were used to inform rating decisions, but not given separate ratings within this study,
include:
 21st Century Skills and Readiness Competencies;

 Inquiry Questions; and the
 Nature of the Discipline.
Ethics
As indicated earlier, the Reviewers who contributed to this Report are arts education
professionals employed as State Education Agency visual and performing arts education
consultants at various state departments of education throughout the country. Their conduct in
this work follows the five principles of the American Educational Research Association Code
of Ethics, which include the areas of:
 Professional Competence
 Integrity
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 Professional, Scientific, and Scholarly Responsibility
 Respect for People’s Rights, Dignity, and Diversity
 Social Responsibility
Realities of the Study

 Timeline: The timeline for the Review Team’s investigation of the CAS in the Arts
offered the opportunity to focus on specific elements common to quality standards sets
- clear objectives, age/level-appropriate investigation of the content area, and ease of
readability within the framework.
 Referent Exemplars: Since there was a limited timeframe for the Review, the Team
identified quality standards sets to use as referent exemplars. The designation of the
comparison sets was based on the collective professional experience of the Reviewers,
all of whom have had prior involvement with creating and revising teacher and student
learning standards, identifying and analyzing arts education models, implementing and
disseminating standards and assessments, and supporting instructional practices in the
arts.
 Data Resources: Data collection was limited to current online resources available via
the referent exemplars and the field’s sharing of standards construction and
components for arts education. The Reviewers were well-versed in previous and
current state and national arts standards, including the design, creation, and adoption
of the National Core Arts Standards through membership in the National Coalition for
Core Arts Standards (NCCAS); the national consortium of arts content, service
providers, and research and advocacy organizations that drove the development of
NCAS.
 Assumptions: A starting point for the Reviewers in the construction of the Report
included several assumptions, since the client request focused solely on Standards.
These assumptions were: 1) That the current educational environment provides
students access to quality instruction under the direction of a professional educator
who has been content-certified; 2) There are opportunities in the classroom to use
effective tools of instruction, traditional or technological. 3) In addition, the
assumption of the Reviewers was that there is ample instructional time and frequency
for students to deeply investigate concepts, develop skills, and master techniques to
achieve the objectives as called for in the content area Standards.
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IV. GENERAL OBSERVATIONS AND RECOMMENDATIONS:
It is worth noting that the process for reviewing the Colorado Academic Standards for Dance,
Drama and Theatre Arts, Music, and Visual Arts was limited, by design, to analyzing two
main components of the CAS model; the content-specific standards; and their associated
grade-level expectations. Accordingly, this Review and the ratings within were based on the
merits of the explicit GLE language alone. The Reviewers acknowledge that additional clarity
or understanding could be attained by connecting the Prepared Graduate Competencies
[PGCs] aligned to the content standards embedded in the GLE, Evidence Outcomes, and 21st
Century Skills and Readiness Competencies. Furthermore, inclusion of these elements may
certainly have resulted in different ratings. For this Report to guide future iterations of the
CAS toward greater coherence, the CAS might benefit from close examinations of the full set
of aforementioned resources (i.e., PGC, GLE, EOs, and 21st Century Skills and Readiness
Competencies) to ensure the GLEs, themselves, are written in such a way that there can be no
mistaking what students are expected to know and be able to do. As arts educators are the
primary users/implementers of the Standards and would most assuredly rely on the GLE
statements as the primary component or expression of the Standards, it is important to draft
GLE statements that include clear, accountable language. This would go a long way toward
making explicit the currently implicit expectations for teaching and learning.
Moreover, a substantial number of the existing GLEs are broad, sweeping statements of intent
that do not necessitate action and are not written in measurable language; they fail to identify
where students’ knowledge and skills should fall along a continuum. Additionally, there is an
apparent lack of consistency and “voice” (i.e., parallel language, coherence) with respect to
the flow of the Standards from grade to grade and across grade-band clusters. This applies to
the majority of GLEs across all four arts disciplines under review. As indicated, there is a
strong likelihood that essential knowledge and skills are present in components parts of the
CAS that were not part of this analysis (e.g., EOs, 21st Century Skills and Readiness
Competencies). However, the GLEs, in and of themselves, do not explicitly spell out
expectations for student learning. Perhaps making the GLEs more verb-driven would help to
ameliorate the issue.
When contemplating why this pattern exists across grade bands and all four arts disciplines,
the Review Team raised a number of questions about the development process through which
the standards and GLE were written. For example, were the writers in agreement about the
interpretation and meaning of each of the four Standards? Were the writers in agreement about
grain size or developmental progressions of learning for each grade span? Did the writing
teams engage in deep conversations about developmentally appropriate curriculum and
instruction? Were required knowledge and skills inadvertently eliminated in the editing
process? Had the writing teams considered what success looked like and how it would be
assessed? Finally, were assumptions made by the writers that the essential knowledge and
skills for arts literacy and fluency embedded in the GLEs were self-evident, when, in fact,
they are not necessarily readily apparent to those not engaged in the standards-writing
process?
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These are all theoretical questions. However, it is important to recognize that standards-
writing is a multi-phase process, and writers need ample opportunity to repeatedly re-engage
in the writing process within the specified timeframe. Otherwise, the end product is likely to
contain gaps.
Ultimately, the goals of revising standards are to make them better drivers of teaching and
learning; and to provide a mechanism for the assessment of student learning outcomes.
Improving the clarity of the Colorado GLEs and increasing their rigor, depth, breadth, and
coherence is vital to arriving at a set of Standards that collectively provides a greater sense of
how learning progressions build toward stated objectives of the Standards. In the judgment of
the Review Team, this could be accomplished in any number of ways.
One way of reimagining and reframing the standards would be to infuse the current GLEs
with significantly more specificity about expectations for student mastery of essential
knowledge and skills and/or increasing the number of subtly nuanced and clearly targeted
GLEs. Whatever the solution, the writers of the next iteration of Colorado Standards need to
make time to identify and come to consensus about which knowledge and skills in all the arts
are essential to attaining arts literacy and fluency. Once arriving at consensus, these essential
must be mapped to the GLEs and Standards to ensure that the expectations for student mastery
are aspirational, yet achievable. Additionally, future Standards revision teams must attend to
the horizontal and vertical alignment of the GLEs to repair the developmental gaps that
currently exist. Finally, it is paramount that the Colorado Academic Standards for the Arts set
out clear, achievable, measurable, and developmentally appropriate learning targets for
students that scaffold logically and sequentially over time.
The Review Team posits that the inclusion of more readily available glossaries with clear
definitions of terms for Dance, Drama and Theatre Arts, Music, and Visual Arts is highly
advisable. While the Review Team is aware of the current, searchable online glossary, it is
recommended that glossary links be embedded in all Standards documents so users have
definitions “at the ready” and do not have to move between documents if a question arises
during use. Without referring to the glossary in the current CAS document, one person’s style
is another person’s genre; one person’s genre is another person’s form. While consensus may
vary among practitioners, interpreting terms as the writers intended is crucial to understanding
and applying Standards and GLEs.
15
V. CONTENT-AREA FINDINGS AND RECOMMENDATIONS
A. DANCE
This Section provides observations and recommendations specific to the Colorado Academic
Standards (CAS) for Visual Arts. There are two main components to the Visual Arts Content
Review:
1) the internal review, in which the Colorado Academic Standards for Visual Arts
underwent a thorough evaluation for content, driven by the research question:
To what extent do the Colorado Academic Standards for Dance, Drama and
Theatre Arts, Music, and Visual Arts provide sufficient rigor, depth, breadth, and
coherence to drive the creation and implementation of robust PK-12 arts
curricula, in a manner which is quantifiable and against which student growth can
be measured?
2) an external review providing referent standards exemplars to highlight visual arts

standards in other states and countries focusing on the research question:
How do the Colorado Academic Standards for Dance, Drama and Theatre Arts,
These two research questions guided the Review, starting with the internal review, which
provided a closer look at the Colorado Academic Standards for Visual Arts.
The Colorado Academic Standards (CAS) for Dance and accompanying Grade Level
Expectations (GLEs) were examined for rigor, depth, breadth, and coherence as well as for
their relationship with the National Core Arts Standards (NCAS). Specific references to each
of the four dance Standards and their supporting GLEs based on the criteria above are found
further on in this narrative Report and in the Appendices. In sum, the complete document
known as the Colorado Academic Standards for Dance, which includes the four dance
Standards, aligned Prepared Graduate Competencies, Grade-Level Expectations, Evidence
Outcomes, and 21st Century Skills and Readiness Competencies provide teachers and students
with a great many essential and cognitively demanding concepts, skills, and understandings to
harvest for a robust set of learning expectations in Dance for Colorado.
Standard 1. Movement, Technique, and Performance

Competence and confidence during a performance is the goal. Skillful movement and
technique provide the practical substance for performance. Performance is the demonstration
of human feeling and reasoning through movement. It is technical expertise and artistic
expression through reflective practice, study, and evaluation of one’s own work and the work
of others.
16
Table 3—CAS-Dance Standard 1 (Movement, Technique, and Performance) Composite
Ratings
STANDARD GRADES Rigor Depth Breadth Coherence

Standard 1 GLEs PK-2 1.75 1.25 2.00 1.50
Standard 1 GLEs 3-5 1.67 2.00 1.67 1.33
Standard 1 GLEs 6-8 3.00 2.33 2.33 2.00
Standard 1 GLEs HS Found’l. 3.00 3.00 3.00 1.00
Standard 1 GLEs HS Extended 3.00 3.00 3.00 3.00
Rating Scale: Strong (3), Moderate (2), Weak (1), or Not Found (0)
According to the CAS for Dance, the goal of this Standard is competence and confidence
during a performance. The GLEs must build toward this goal. Collectively, the GLEs in
Standard 1 capture the knowledge and skills needed for accomplishing a quality performance
in dance. However, the GLE statements need more clarity. The GLEs for Standard 1 pertain to
acquiring knowledge and skills in elements of dance, moods and feelings in performance, and
techniques that lead to performing simple dance phrases, dances, and more complex
choreography. Consider how to better scaffold the knowledge and skills already present in the
GLE and align them more tightly to the developmental milestones (i.e., progressions of
learning) within the grades. Additionally, the skills needed to achieve quality performance in
dance need to be described with greater clarity.
Grades PK-2
Consider GLE for PK that build body part awareness; moving safely in general and personal
space, and exploring a variety of ways to move (e.g. exploring the elements of dance). The
focus of PK dance instruction is more appropriately aimed at having students explore a variety
of movements and thereby building body awareness and increasing motor skills than it is
about demonstrating dance phrases, per se. A ‘dance phrase’ has a deliberate beginning,
middle, and end. Mastery over phrase work demands that the dancer is cognizant of the
nuances of the phrase, including its dynamic changes. This is beyond the cognitive and
metacognitive abilities of most PK students. For PK, the GLEs should help students begin
building toward this objective, which is more achievable for second graders or above.
Grades 3-5
The sequence of the Standards for Grades 3-5 should be considered in reverse, so that
performing with accuracy is a grade 5 objective, and performing basic dance
movements/techniques is grade 3 learning goal. The GLE, performing with accuracy needs
further clarification. Accuracy is a relative term for which a continuum of levels of mastery
can be observed and scored on a scale of ranging from no accuracy to perfectly accurate. The
GLE needs to reflect the skills or phenomena that is being scored for accuracy. For example,
is it the footwork, rhythmic acuity, sequencing ability, timing of entrances and exits, ensemble
skills or other performance dimensions that are being measured against the Standard?
17
Obviously, the possibilities are practically boundless. However, the essential element this
GLE lacks is focus, given no developmentally appropriate learning target has been identified
for this Standard.
Grades 6-8
The GLE for Grades 6-8 need refinement, but are generally developmentally appropriate and
provide sufficient levels of detail needed to establish clear learning targets. It is advisable that
future revision teams take steps to ensure that GLE are driven by strong verbs and that more
current dance vernacular is used to describe student expectations for content mastery.
Additionally, there are numerous vague entries that need to be remediated in order to express
more explicit expectations for student outcomes (e.g., “Demonstrate performance skills” and
“Various foundational dance styles (ballet, modern, jazz, tap)”). To be communicative, the
GLE must identify exactly what performance skills students are expected to be able to
demonstrate (e.g., technical skills, developing a relationship with other dancers on stage, focus
and projection, etc.). This is a matter of equity. As it stands, it is not clear what demonstrating
“various foundational dance styles” translates to as a measurable outcome.
High School
The high school GLEs for Standards 1 (Movement, Technique, and Performance) describe
developmentally appropriate learning expectations. However, they would benefit from greater
specificity and they are generally not written in outcomes-based language. (See examples in
the Cross-Index Comparisons for High School Dance that follow Table XX?).
Standard 2. Create, Compose and Choreograph

Creative dance involves using the dance elements of space, time, and energy to explore,
improvise, and make movement phrases. The degree of sophistication in the choreographic
process is evident in composition, which is a shorter work of art in progress. Choreography is
the art of making dance using meaning, intent, and principles of structure and design. In
dance, there are three levels of creativity that define and solve artistic problems in presenting a
work of art – notation, movement vocabulary, and style.
Table 4—CAS-Dance Standard 2 (Create, Compose, and Choreograph) Composite Ratings

Standard 2 GLEs PK-2 2.00 2.00 2.25 1.75
Standard 2 GLEs 3-5 0.00 0.00 0.00 0.00
Standard 2 GLEs 6-8 1.00 1.00 0.67 0.67
18
The challenge with this set of GLE pertaining to Creating, Composing and Choreographing
dances is to clearly articulate expectations around the process of transforming movement into
choreography (i.e., learning and applying choreographic structures and compositional
devices), and attending to choreographic intent and meaning-making when creating and
composing dances. All of the Standard 2 GLE would benefit significantly from a review for
clarity, they use outcomes-based language, and appropriate scaffolding of essential knowledge
and skills across grade spans.
Grade 1
The elements of dance are required at grade 1 to achieve the Grade 1 GLE for Creating,
Composing and Choreographing dances. In the current iteration of this Standard, students are
asked to “demonstrate” the elements of dance. In Standard 2, they are expected to “use” the
elements to create a simple movement phrase. In this context, “Use” is a weak verb. Consider
a more cognitive demanding verb that is better suited to what is being asked of by the student
(e.g. apply, manipulate).
The second part of this Standard at grade 1 requires students to recall and replicate what they
created, which establishes higher cognitive demand than responding to stimuli through
movement to reflect different feelings or states of mind. In other words, it may be more
appropriate for students to improvise (e.g. respond), and not have to recall and replicate their
movement phrase, which rises to level of creating a solo, which moves first grade students
into realms of choreography that are beyond their cognitive and motor skill abilities.
Grade 2
The grade 2 GLE begins with a strong concept; that of incorporating motifs into dance
making. However, the second portion of this Standard is overly broad. For example, the
phrase, “create expressive movement” is exceedingly vague. To improve this GLE, it will be
necessary to cull the important knowledge and skills necessary for age-appropriate dance
literacy and fluency linked to the stated outcomes of the GLE.
Grades 3-5
Improving the Grades 3-5 GLE for Creating, Composing, and Choreographing will necessitate
the identification of verbs with higher cognitive demand that differentiates essential
knowledge and skills across the grade span. Attention also needs to be paid to vertical
scaffolding to ensure that students have the underlying skills to compose and choreograph
short dances that are appropriately developmentally, cognitively, and physically challenging.
Grades 6-8
The Grades 6-8 GLE for Standard 2, Grades 6-8 need to be revised using clearer, more
measurable language.
19
High School
Overall, the High School GLEs for Standard 2 Create, Compose, and Choreograph are
relatively good. A glossary of terms would be beneficial, identifying and defining principles
and practices of choreography, the creative process, choreographic form, and more.
In the HS Fundamental GLE for Standard 2, GLE number one (1) appears to supersede what
is expected in GLE number four (4). More significantly, the difference between the HS
Fundamental GLE and the HS Extended GLE is not distinguishable enough.
Standard 3. Historical and Cultural Context

The Historical and Cultural Context in Dance focuses on understanding the relevance of
dance. The aim is to know dance from a variety of cultures: understand how dance shapes and
reflects cultures and history through time; and acknowledge dance in society as creative,
expressive, communicable, and social.
Table 5—CAS-Dance Standard 3 (Historical and Cultural Context) Composite Ratings

Standard 3 GLEs PK-2 1.00 1.00 1.00 0.75
Standard 3 GLEs 3-5 1.00 1.67 1.00 0.67
Standard 3 GLEs 6-8 0.33 2.00 2.00 0.00
NCAS embeds social and historical context into Connecting and relegates aesthetic
evaluation, perceiving, analyzing, and interpreting to the Performance Standards (i.e., grade-
level expectations) in Responding. Having this historical and cultural Standard as one fourth
of the dance content places a great deal of emphasis on social and world dance. Conceptually,
the objectives of this Standard could be expanded by adding "personal" context (Personal,
Historical, and Cultural Context). This would parallel the NCAS concepts reflected in
Connecting and provide an opportunity to build out the content and equalize the weight of this
Standard compared to the other three Standards.
Grades PK-2
The scaffolding of Standard 3 at PK-2 is hard to follow. The GLE across the grade span
vacillate between world dance and social dance. It is worth considering that there may be too
much emphasis on dance forms, and not enough attention paid to perceiving dance as a form
of communication and societal expression.
20
Early childhood is a time to discover and build the students’ understanding of their world
around them rather than branching out into recognizing dances from around the world. In
early childhood sources for dance such as the home, the school, and the community are more
appropriate than the abstract around the world. It may be that the student is exposed to world
dance through their community but the context is different, and perhaps more personal and
internal rather than distant and impersonal.
Grades 3-5
The grade 3 GLE is such a big idea and such a fundamental concept that it seems it should be
considered as a PGC. Improving this GLE will necessitate identifying strong verbs with
cognitive demand that differentiate the essential knowledge and skills across the grade span.
Scaffolding vertically to assure students have the underlying skills to understand dance as a
means of communication rather than stating that as the GLE is also needed (See Appendix B,
Cross-Index Comparison for Grades 3-5). Additionally, there is blending of concepts between
Standard 2 and Standard 3 with regard to dance styles and genres that needs to be remediated.
Grades 6-8
The GLE for Grades 6-8 for Standard 3 (Historical and Cultural Context) have potential.
However, they need to be written in outcomes-based language and with more specific learning
expectations.
High School
The High School GLE for dance history and culture would benefit from more specificity and
the use of outcomes-based language.
Standard 4. Reflect, Connect, and Respond

Reflect upon Dance to stimulate the imagination and challenge the intellect; connect Dance
with other disciplines to enrich and enhance the spectrum of knowledge; and respond to
deepen and refine one's emotional nature. Represent dance as art in oral and written
communications. Critique and analyze new dance works, reconstructions, and masterpieces.
Distinguish the aesthetic values of dance, and discover the artistic intent.
Table 6—CAS-Dance Standard 4 (Reflect, Connect, and Respond) Composite Ratings

Standard 4 GLEs PK-2 1.75 1.50 1.75 1.75
Standard 4 GLEs 3-5 2.67 2.33 2.33 1.33
Standard 4 GLEs 6-8 0.67 0.67 0.67 0.67
21
Standard 4 of the CAS for Dance contains plenty of big ideas (as per the description on page
105 of the CAS document). Connecting dance to other disciplines is one such concept.
However, it is not reflected in the set of GLEs that are the focus of this Review. Generally
speaking, the GLEs for Standard 4 need greater emphasis on developing dance vocabulary
and understanding dance through observation, discussion, reflection, and critique. This can be
accomplished by having students observe a variety of dance genres and respond to teacher
prompts that require students to identify and refer to elements of dance. At PK-2, it seems too
soon (developmentally) to delve into styles of dance, but identifying characteristics of dance
(e.g., movements, costumes, sound/accompaniment) that distinguish one dance form from
another is certainly appropriate for first and second grade.
Grades PK-2
PK students are as apt to connect with the base emotional content of a dance or the general
storyline as well as identifying different dance genres. GLE #2 is a behavioral Standard; not a
content Standard. This is an important concept. However, behavioral expectations are more
appropriate for local curricula than state standards.
Grades 3-5
The Grades 3-5 Standard 4, pertaining to Reflecting, Connecting, and Responding to works of
Dance need greater attentiveness to age-appropriate expectations. It will be important for the
framers of the next iteration of Dance Standards to identify/select words that both describe
and set expectations for students to understand and/or relate to dances they observe or
participate in. Additionally, the Standards needs to include specific expectations regarding
students’ abilities to articulate what they find compelling about a dance or dances, and offer a
rationale for why.
Grades 6-8
The Grades 6-8 set of GLEs pertaining to Standard 4 have potential. However, they must be
rewritten using outcomes-based language and more specific learning expectations.
High School
The High School GLE for Reflecting, Connecting, and Responding to works of Dance would
benefit from more specificity and the inclusion of targeted, outcomes-based language that
connotes a continuum of knowledge and skills, which is cognitively and metacognitively
challenging, but attainable.
22
External Dance Review
Table 7—Purpose Alignment: CAS-Dance to NCAS
Colorado Academic Standards Alignment National Core Arts Standards
Purpose Statement: The purpose of Similar Purpose: (Foundations of Artistic

dance education in preschool through Both document and Literacy) Artistic literacy is the
high school is to broadly educate all emphasize dance as knowledge and understanding required
students in dance as an art form and to an art form. NCAS to participate authentically in the arts.
promote physical activity for fitness. identifies an Fluency in the language(s) of the arts is
Investigating the meanings and overarching goal the ability to create,
significance of the works of artists, that applies to all perform/produce/present, respond, and
choreographers, and technicians across arts disciplines. connect through symbolic and
time and space provides for the CAS for Dance are metaphoric forms that are unique to the
examination of ideas across disciplines. specific to Dance. arts. It is embodied in specific
They demonstrate a strong sense of See Table 7 for philosophical foundations and lifelong
self-worth and satisfaction. Artistic Process and goals that enable an artistically literate
Lifelong Goals. person to transfer arts knowledge,
skills, and capacities to other subjects,
settings, and contexts.
Colorado Academic Standards, Dance, Conceptual Framework for Arts

excerpts from page 8 Learning, page 11
Standard: The topical organization of Very Similar Artistic Processes: The cognitive and
an academic content area. Though identified physical actions by which arts learning
by different names, and making are realized. These
these essential processes define and organize the link
organizational between the art and the learner.
elements, common
to each document,
provide a foundation Conceptual Framework for Arts
Colorado Academic Standards, Dance, for making further Learning, page 11
page 9 comparisons.
Table 8—PGCs and Standards Alignment: CAS-Dance to NCAS
Prepared Graduate Competencies: Similar Anchor Standards: Describe the

The preschool through twelfth-grade PGCs are not the general knowledge and skill that
concepts and skills that all students parallel across arts teachers expect students to demonstrate
who complete the Colorado education disciplines, but the throughout their education in the arts.
system must master to ensure their intent is similar to These Anchor Standards are parallel
success in a postsecondary and Anchor Standards across arts disciplines and grade levels
workforce setting. on a discipline by and serve as the tangible educational
discipline basis. expression of artistic literacy.
23
 12 Dance Prepared Graduate  11 Overarching Anchor Standards
Competencies
Conceptual Framework for Arts
Colorado Academic Standards, Dance, Learning, page 12
page 9 & 12
Dance Standards: Similar Dance Artistic Processes:

Standard 1: Movement, Technique, and Intent is very Creating- Conceiving and developing
Performance similar; the CO new artistic ideas and work.
Standard 2: Create, Compose and Standards and Performing- Realizing artistic ideas
Choreograph NCAS Artistic and work through interpretation and
Standard 3: Historical and Cultural Processes establish presentation.
Context similar structural Responding- Understanding and
Standard 4: Reflect, Connect, and organizers and evaluating how the arts convey
Respond describe similar meaning.
artistic concepts. Connecting- Relating artistic ideas and
work with personal meaning and
external context.

page 13
Table 9—High School Expectations Alignment: CAS-Dance to NCAS
High School Expectations: The Dissimilar High School Proficiencies:

articulation of the concepts and skills of NCAS takes a  Proficient -A level of achievement
a standard that indicates a student is student-centered attainable by most students who
making progress toward being a point of view with complete a high-school level course in
prepared graduate. What do students an emphasis on the arts (or equivalent) beyond the
need to know in high school? students attaining a foundation of quality PreK-8
 Fundamental Pathway- dance particular skill level instruction.
instruction for general enrichment while Colorado  Accomplished - A level of achievement
 Extended Pathway-dance instruction takes an attainable by most students who
that is specialized in the art in its instructional point of complete a rigorous sequence of high-
more advanced, performance- or view and addresses school level courses (or equivalent)
choreography-oriented form as dance instruction beyond the Proficient level.
preparation for college or a career. rather than student  Advanced - A level and scope of
achievement. achievement that significantly exceeds
the Accomplished Level. Achievement
at this level is indisputably rigorous and
substantially expands students’
knowledge, skills, and understandings
beyond the expectations articulated for
Accomplished achievement.

page 9 & 13 Learning, page 8 & 26
24
Table 10—GLEs and Evidence Outcomes Alignment: CAS-Dance to NCAS
GLE-Grade Level Expectations: The Similar/Dissimilar Performance Standards: The

articulation (at each grade level), Similar in discipline-specific (dance, media arts,
concepts, and skills of a standard that organization. music, visual arts, theatre), grade-by-
indicate a student is making progress Dissimilar in grain grade articulations of student
toward being ready for high school. size and achievement in the arts PK-8 and at
What do students need to know from subsequently three proficiency levels in high school
preschool through eighth grade? dissimilar in (proficient, accomplished and
content, rigor, advanced). As such, the performance
breadth, depth and standards translate the anchor
coherence. (See standards into specific, measurable
Appendix B, Cross- learning goals.
Index Comparison
Colorado Academic Standards, Dance, Spreadsheet for Conceptual Framework for Arts
page 9 further details.) Learning, page 13
The design of the CAS GLE takes a Very Dissimilar The NCAS framework design takes a
backward design (not associated with progressions approach and lays out
McTighe and Wiggins) approach standards sequentially forward from
whereas the GLE progress from HS PK up through HS Proficient,
Extended Pathway to the HS Accomplished, and Advanced levels.
Fundamental Pathway and continues
sequentially down from 8th grade to PK. Conceptual Framework for Arts
Learning, page 8
Evidence Outcomes: The indication Dissimilar N/A-some overlap with Model

that a student is meeting an expectation Evidence Outcomes Cornerstone Assessments
at the mastery level. How do we know appear to be Model Cornerstone Assessments
that a student can do it? formative or (MCA) are performance tasks that are
strongly correlated intended to illustrate the type of
with GLEs.; Model evidence and methodology needed to
Cornerstones are show attainment of desired learning.
more summative MCAs include key traits or “look fors”
when used to used to build evaluation tools for open-
demonstrate mastery ended performance tasks.
Colorado Academic Standards, Dance, over grade spans.
page 9 Conceptual Framework for Arts
Learning, page 15-16
25
Table 11—Additional Alignments: CAS-Dance to NCAS
N/A Process components: The actions artists

carry out as they complete each artistic
process. The process components played
a key role in generating enduring
understandings and performance
standards, and serve as the action verbs
that collectively build toward the artistic
processes.

Learning, page 16
21st Century Skills and Readiness Similar/Dissimilar Creative Practices: Success and
Competencies: Purpose and intent achievement in the arts demands
are similar; engagement in the four fundamental
however, CAS creative practices of imagination,
embeds 21C Skills investigation, construction, and reflection
and Readiness in multiple contexts. These meta-
Competencies in cognitive activities nurture the effective
each GLE. NCAS work habits of curiosity, creativity and
Creative Practices innovation, critical thinking and problem
provide an solving, communication, and
instruction approach collaboration, each of which transfers to
and exist in narrative the many diverse aspects of learning and
form only. life in the 21st century.

page 10 Learning, page 19
Inquiry Questions: Sample questions Dissimilar Essential questions guide students as

are intended to promote deeper thinking, Some overlap exists, they uncover enduring understandings.
reflection and refined understandings however Colorado Wiggins and McTighe assert that
precisely related to the grade level inquiry questions are essential questions are those that
expectation. developed for grade encourage, hint at, even demand transfer
levels; NCAS beyond the particular topic in which
essential questions students first encounter them, and
apply to all grades therefore, should recur over the years to
and therefore recur promote conceptual connections and
over time. curriculum coherence.

page 10 Learning, page 14
Relevance and Application: Examples Very Dissimilar Enduring understandings are

of how the grade level expectation is While there is some statements summarizing important ideas
overlap with the and core processes that are central to a
26
applied at home, on the job or in a real- EUs, it is rare. The discipline and have lasting value beyond
world, relevant context. statements appear to the classroom.
have a different
intent. Conceptual Framework for Arts
page 10
Nature of the Discipline: Dissimilar N/A-Some overlap with EUs

The characteristics and viewpoint one Colorado viewpoints
keeps as a result of mastering the grade relate to grade level
level expectation. expectations while
NCCAS enduring
understandings
apply to all grades
and relate to the
Colorado Academic Standards, Dance, appropriate Anchor
pg. 10 Standard from a
discipline-specific
viewpoint.
A review of the correlation between the Colorado Prepared Graduate Competencies in Dance
and the overarching Anchor Standards from the National Core Arts Standards reveals
similarities, gaps, and over-coverage. The Colorado PGCs more heavily cover Anchor
Standards #5-Develop and refine artistic techniques and work for presentation. Conversely,
there is a lack of coverage in the PGCs around the first part of Anchor Standard 6-Convey
meaning through the presentation of artistic work. Collectively, the Colorado Dance Standards
may drive students toward conveying meaning through performing dance. However, in a pure
comparison of the Colorado PGCs and the NCAS Anchor Standards the concept of conveying
meaning through the presentation of artistic work is not evident. Another observation is that
the PGC “Participate in dance production” is listed in the full set of PGCs in the Colorado
Dance Standards document but is not included in the subset of PGCs listed under each
Standard (see pages 20, 54, 84, and 104). Note that there is no alignment to Anchor Standard
#10.
27
Table 12—PGCs Alignment: CAS-Dance to NCAS (Anchor Standards)
Prepared Graduate Competencies in Dance NCAS Anchor Standards
The prepared graduate competencies are the Anchor Standards describe the general knowledge
preschool through twelfth-grade concepts and skills and skill that teachers expect students to
that all students who complete the Colorado demonstrate throughout their education in the arts.
education system must master to ensure their success These Anchor Standards are parallel across arts
in a postsecondary and workforce setting. disciplines and grade levels and serve as the
tangible educational expression of artistic literacy.
Prepared graduates in dance:
Standard 1: Movement, Technique, and Creating Anchor Standards (Students will…)
Performance 1. Generate and conceptualize artistic ideas and
 Understand that dance performance requires work.
technical competency (5)* 2. Organize and develop artistic ideas and work.
 Demonstrate competence and confidence in 3. Refine and complete artistic work.
performing a variety of dance styles and genres
(5)* Performing/Presenting/Producing Anchor
 Demonstrate awareness of fitness, wellness, and Standards (Students will…)
the body’s potential for movement (5)* 4. Select, analyze, and interpret artistic work for
 Participate in a dance production (5)* presentation.
5. Develop and refine artistic techniques and work
Standard 2: Create, Compose and Choreograph for presentation.
 Demonstrate and use the principles and practices 6. Convey meaning through the presentation of
of choreography in the creative process (1, 2, 3)* artistic work.
 Improvise and create movement based on an
intent or meaning (1)* Responding Anchor Standards (Students will…)
7. Perceive and analyze artistic work.
 Demonstrate an understanding of form and
8. Interpret intent and meaning in artistic work.
structure to create dances (2, 7)*
9. Apply criteria to evaluate artistic work.
Standard 3: Historical and Cultural Context
Connecting Anchor Standards (Students will…)
 Understand and appreciate a dance in terms of
10. Synthesize and relate knowledge and personal
the culture in which it is performed (7, 8, 11)*
experiences to make art.
 Explore and perform dance styles from various
11. Relate artistic ideas and works with societal,
cultures and eras (4, 5)*
cultural and historical context to deepen
understanding.
Standard 4: Reflect, Connect, and Respond
 Use criticism and analysis to reflect upon and
understand new works, reconstructions, and
masterpieces (7, 8, 9, 11)*
 Discover connections to academic content areas,
social activities, mass media, and careers (11)*
This PGC is identified in all four CAS Dance

Standards:
 Demonstrate thinking skills such as describing,
analyzing, interpreting, evaluating, and problem-
solving through dance movement and verbal
discussion (1, 2, 4, 5, 7, 8, 9)*
*Indicates, by number, a correlation to a National Core Arts Anchor Standard.
28
Table 13—Standards Alignment: CAS-Dance to NCAS (Lifelong Goals)
CAS-Dance Alignment *NCAS Lifelong Goals

Standard 1: Movement, Technique, Very Similar The Arts as Communication:
and Performance Performing: Artistically literate citizens use a
Competence and confidence during a Realizing artistic ideas variety of artistic media, symbols, and
performance is the goal. Skillful and work through metaphors to independently create and
movement and technique provide the interpretation and perform work that expresses and
practical substance for performance. presentation. communicates their own ideas, and
Performance is the demonstration of are able to respond by analyzing and
human feeling and reasoning through interpreting the artistic
movement. It is technical expertise communications of others.
and artistic expression through
reflective practice, study, and
evaluation of one’s own work and the
work of others.
Standard 2: Create, Compose and Very Similar The Arts as Creative Personal
Choreograph Creating: Realization:
Creative dance involves using the Conceiving and Artistically literate citizens find at
dance elements of space, time, and developing new artistic least one arts discipline in which they
energy to explore, improvise, and ideas and work. develop sufficient competence to
make movement phrases. The degree continue active involvement in
of sophistication in the choreographic creating, performing, and responding
process is evident in composition, to art as an adult.
which is a shorter work of art in
progress. Choreography is the art of
making dance using meaning, intent,
and principles of structure and design.
In dance, there are three levels of
creativity that define and solve artistic
problems in presenting a work of art –
notation, movement, vocabulary, and
style.
Standard 3: Historical and Cultural Similar The Arts as Culture, History, and
Context Connecting: Connectors:
The Historical and Cultural Context in Relating artistic ideas Artistically literate citizens know and
dance focuses on understanding the and work with personal understand artwork from varied
relevance of dance. The aim is to meaning and external historical periods and cultures, and
know dance from a variety of cultures: context. actively seek and appreciate diverse
understand how dance shapes and forms and genres of artwork of
reflects cultures and history through enduring quality/significance. They
time; and acknowledge dance in also seek to understand relationships
society as creative, expressive, among the arts, and cultivate habits of
communicable, and social. searching for and identifying patterns,
relationships between the arts, and
other knowledge.
Standard 4: Reflect, Connect, and Very Similar Arts as Means to Wellbeing:
Respond Responding: Artistically literate citizens find joy,
Reflect upon dance to stimulate the Understanding and inspiration, peace, intellectual
imagination and challenge the evaluating how the arts stimulation, meaning, and other life-
intellect; connect it with other convey meaning enhancing qualities through
disciplines to enrich and enhance the participation in all of the arts.
spectrum of knowledge; and respond
to it to deepen and refine one's No Evidence
29
emotional nature. Represent dance as The Arts as Community
art in oral and written Engagement:
communications. Critique and analyze Artistically literate citizens seek
new dance works, reconstructions, and artistic experience and support the arts
masterpieces. Distinguish the aesthetic in their local, state, national, and
values of dance, and discover the global communities.
artistic intent.
The overarching goal of the National Core Arts Standards is for students to achieve artistic
literacy. References to artistic literacy have not been found in the Colorado Dance Standards
or in the PGCs. Artistic literacy is described on page 17 of the National Core Arts Standards
Conceptual Framework for Arts Learning.
30
B. DRAMA AND THEATRE ARTS
Standards (CAS) for Drama and Theatre Arts. There are two main components to the Drama
and Theatre Arts Content Review:
1) the internal review, in which the Colorado Academic Standards for Drama and
Theatre Arts underwent a thorough evaluation for content, driven by the research
question:
be measured?
2) an external review providing referent standards exemplars to highlight theatre

provided a closer look at the Colorado Academic Standards for Drama and Theatre Arts.
Internal Quality Review
The Colorado Department of Education provided operational definitions of the three Theatre
Standards that comprise the most recent (2009) iteration of the Colorado Standards in the
Arts. The three Standards, which include Create, Perform, and Critically Respond, formed the
basis on which expectations for student outcomes were developed.
The three Colorado Academic Standards for Drama and Theatre Arts are defined in the
following ways:
Standard 1: Create
The creation of Drama and Theatre Arts is a demonstration of learned skills in forming new
theatrical works, interpreting theatrical works for performance and design, and developing
characters and analyzing roles.
Standard 2: Perform
The Drama and Theatre Arts process is a product of the knowledge and essential skills gained
in the study of Drama and Theatre Arts toward the expression of the human experience in
story, movement, speech, and staging for an intended audience.
31
Standard 3: Critically Respond
Informed literacy, thoughtful critique, and cultural research are key aspects of Drama and
Theatre Arts study. Responding focuses on the artistic and scientific knowledge of
conventions, cultures, styles, genres, theories, and technologies needed to recognize better
choices and best practices.
These definitions provide insight into the intentions of the framers of the CAS with respect to
expectations for what learners should know and be able to do as a result of instruction in
Drama and Theatre Arts. These big ideas are encapsulated in the Grade Level Expectations
(GLEs) of the CAS for Drama and Theatre Arts. For the purposes of this study, the Reviewer
for Drama and Theatre Arts adapted the Colorado Cross-Index Comparison Spreadsheet
developed by SEADAE for use as a tool to evaluate the degree to which expectations for
student outcomes for creating, performing, and critically responding to works of Drama and
Theatre Arts are explicitly stipulated in the Colorado GLEs for individual grade levels and
cumulatively among the grade-band clusters. The Reviewers for Dance, Music, and Visual
Arts used the same approach. A sample of this portion of the Review appears in Table 1
below. A link to the complete Spreadsheet for Drama and Theatre Arts is provided in the
Appendix B. Further breakdowns of this data for each of the three Drama and Theatre Arts
Standards appear later in the Review.
Methodology
Sample findings for the Colorado Academic Standards for Drama and Theatre Arts appear in
the Table below, which includes headings for the Standard and GLEs, the Reviewer’s ratings
for the Standard’s relative degrees of rigor, depth, breadth and coherence, and accompanying
comments. As shown in Table 1, ratings were assigned to the four ‘lenses’ with which the
Standards were reviewed as follows: Strong (3), Moderate (2), Weak (1), or Not Found (0)
with respect to Rigor, depth, breadth, and coherence.
Table 14—SAMPLE Cross-Index Comparison Spreadsheet: CAS-Drama and Theatre Arts

(Create)
GRADE GLEs Rigor Depth Breadth Coherence Comments
6 1. Characterization 1.00 1.00 1.00 1.00 R- The Standard does

throughout a not offer active
scripted or language for
improvised scene demonstrating
2. Creation of a knowledge and
scene or play from skills.
an original idea, R- Not challenging
story, or other enough for grade
form of literature level.
3. Design and D- The Standard is a
technical elements statement of fact
of theatre in rather than a
improvised and learning objective
scripted works
32
that drives teaching
and learning.
B- The Standard is
non-specific.
C - Doesn't flow with
adjacent outcomes.
7 1. Characterization 1.00 1.00 1.00 1.00 R- The Standard does
in a scripted or not offer active
improvised scene language for
2. Contributions in demonstrating
improvisation and knowledge and
playbuilding skills.
3. Technical and R- Not challenging
design elements in enough for grade
improvised and level.
scripted works D- The Standard is a
statement of fact
rather than a
learning objective
and learning.
B- The Standard is
non-specific.
adjacent outcomes.
8 1. Creating and 1.00 1.00 1.00 1.00 R- The Standard does
sustaining a not offer active
believable language for
character demonstrating
2. Participation in knowledge and
improvisation and skills.
playbuilding R- Not challenging
3. Construction of enough for grade
technical and level.
design elements D- The Standard is a
statement of fact
rather than a
learning objective
and learning.
B- The Standard is
non-specific.
adjacent outcomes.
Coherence (C)
The preceding chart shows the way in which the Colorado Cross-Index Comparison
Spreadsheet was laid out for Drama and Theatre Arts. The column on the far right of the table
is a sampling of standardized options available to the Reviewers, drawn from a battery of
comments that were common to the Cross-Index Comparison Spreadsheets for Dance, Drama
33
and Theatre Arts, Music, and Visual Arts, and accessible through a pull-down menu. In
addition to these standardized responses, the Reviewers also had the option of writing an
individualized critique. In the preceding example pertaining to Drama and Theatre Arts
Standard 1, Create / Grades 6-8, several general observations can be gleaned from the
Reviewer comments that might inform future Colorado Standards. For instance, none of the
Create Standards for Grades 6-8 are couched in measurable language that informs teachers
about the learners and learners about themselves. Consequently, when it comes to evaluating
the rigor of the Standard(s), there is no way of knowing whether or not—or to what degree—
students possess the necessary declarative and procedural knowledge to be able to use critical
analysis to make informed, consistent character choices, play out objectives in scene work,
envision a character’s thoughts, examine and justify artistic choices, and more. Moreover,
there is little evidence of an inherent progression of learning across the grade-band cluster that
ensures students will understand characterization, scene work, and technical elements of
theatre in an incrementally sophisticated manner as they progress through the grades.
Finally, the Standards for Rigor in the 6-8 grade-band cluster are not sufficiently challenging
to enable and encourage students to build upon prior knowledge and transfer or adapt
specific grade level appropriate constructs to new situations, thereby fostering creativity and
adaptive innovation (SEADAE). A more detailed assessment of the CAS Theatre Standard 1:
Create appears later in this Section of the Report, which also includes observations about the
depth, breadth, and coherence of Standard 1 across all grade-band clusters.
To make informed judgments about the scope and sequence of the Drama and Theatre Arts
Standards, the grade-level ratings for Rigor, depth, breadth, and coherence were totaled and
averaged as Grade-Band Composite Averages. The Composite Averages for three Drama and
Theatre Arts Standards (Create, Perform, and Critically Respond) appear in the Table below.
34
Table 15—CAS-Drama and Theatre Arts Standards Composite Ratings
STANDARDS GRADES Rigor Depth Breadth Coherence
Standard 1 (Create) GLEs PK-2 1.50 1.00 1.00 1.33

Standard 1 (Create) GLEs 3-5 1.33 1.00 1.00 1.67
Standard 1 (Create) GLEs 6-8 1.00 1.00 1.00 1.00
Standard 1 (Create) GLEs HS Found’l. 1.00 1.00 1.00 1.00
Standard 1 (Create) GLEs HS Extended 1.00 2.00 1.00 1.00
Standard 2 (Perform) GLEs PK-2 1.00 1.00 1.00 1.25

Standard 2 (Perform) GLEs 3-5 1.33 1.00 1.00 1.33
Standard 2 (Perform) GLEs 6-8 1.00 1.00 1.00 1.00
Standard 2 (Perform) GLEs HS Found’l. 1.00 1.00 1.00 1.00
Standard 2 (Perform) GLEs HS Extended 1.00 1.00 1.00 1.00
Standard 3 (Respond)* GLEs PK-2 1.00 1.25 1.25 1.25

Standard 3 (Respond) GLEs 3-5 1.50 2.00 1.50 1.50
Standard 3 (Respond) GLEs 6-8 1.67 1.33 1.00 1.33
Standard 3 (Respond) GLEs HS Found’l. 1.00 1.00 1.00 1.00
Standard 3 (Respond) GLEs HS Extended 1.00 1.00 1.00 1.00
Rating Scale: Strong (3), Moderate (2), Weak (1), or Not Found (0); *Full Title: Standard 3 = Critically Respond
Generally speaking, the Colorado Academic Standards for all three Drama and Theatre Arts
Standards lack specificity, offering few qualitative criteria and no quantifiable scale with
which to make a determination as to whether students are approaching the Standard; are
functioning at the level of the Standard; or exceed expectations of the Standards. More
importantly, the lack of a continuum of knowledge and skills necessary to the attainment of
Drama and Theatre Arts literacy and fluency, which ideally needs to be embedded in the
Standards, leaves no way to gauge students’ levels of understanding about the nature of
Drama and Theatre Arts. In this Reviewer’s opinion, a major reason for the inclusion of
learning opportunities in Drama and Theatre Arts for all students is that, at its core, theatre is a
study of the human condition. Reflecting on the human condition in order to make informed
character choices can also help students build empathy, and comprehend and communicate the
human experience as it applies to their own circumstances. For many, particularly at-risk
students, active engagement in Drama and Theatre Arts provides a vehicle through which to
establish personal voice, and enables students to better understand themselves and the world
they live in by seeing and experiencing connections between art and life. In such cases,
perhaps no better purpose could be served. Unfortunately, due to the lack of specificity of the
Colorado GLEs, many of the Drama and Theatre Arts Standards could be met in a single
lesson and do not encourage teaching and learning of sufficient breadth and depth to be
meaningful.
35
The progressions of learning in the Colorado Drama and Theatre Arts Standards are generally
implicitly, but not explicitly, stipulated in the Standards. The result is that the Grade Level
Expectations (GLEs) are not scaffold in such a way as to move students from simple concepts
to more complex and challenging constructs; from lower-level thinking to higher-level
thinking; or from less-sophisticated skills to more nuanced understandings of Drama and
Theatre Arts. Ideally, Standards should be the main drivers of curriculum, instruction, and
assessment. However, this is not the case when using the GLEs for Drama and Theatre Arts as
the single indicator of quality of the Colorado Academic Standards. This is reflected in the
Grade-Band Composite Ratings for all three Drama and Theatre Arts Standards: 1) Creating;
2) Performing; 3) Critically Responding to Drama and works of Theatre.
It is worth noting that, if Composite Scores were averaged for all grade-band clusters by
Standard, the overall Composite Rating for Creating would be 1.14. For Standard 2,
Performing, the inclusive PK-12 Composite Rating would be 1.05. Standard 3, Critically
Responding, fares a little better, with a PK-Grade 12 Composite Score of 1.23. These low
scores are attributable to the lack of specificity in the GLEs. Consequently, there is a
disconnect between the pathways for learning that are laid out in the GLEs and the definitions
for the three CAS for Drama and Theatre Arts (as cited on pages 31 and 32 of this Report). If,
however, the Graduate Competencies were embedded in the GLEs or were reframed as a
replacement for the GLEs, the rigor, depth, breadth, and coherence of the Drama and Theatre
Arts Standards would increase significantly.
The Tables below are excerpts from the comprehensive view of Composite Ratings for the
Standards, with slight alterations. The supporting commentary includes observations and
summative comments regarding the GLEs, as well as the grade-band clusters and their
respective levels of rigor, depth, breadth, and coherence. Additionally, there are
recommendations from the Reviewer for refinements of the GLEs for future iterations of
Colorado's Drama and Theatre Arts Standards.
Table 16—CAS-Drama and Theatre Arts Standard 1 (Create) Composite Ratings
Standard 1 GLEs PK-2 1.50 1.00 1.00 1.33

Standard 1 GLEs 3-5 1.33 1.00 1.00 1.67
Standard 1 GLEs 6-8 1.00 1.00 1.00 1.00
Grades PK-2
The notion of independence as an indicator of literacy and fluency is an important aspect of
the National Core Arts Standards (NCAS), with respect to the knowledge and skills embedded
36
in the Standard. The phrase with prompting and support is commonly used to indicate implicit
and explicit scales in NCAS. Additionally, the Pre-Kindergarten and Kindergarten NCAS
Drama/Theatre Standards underscore the importance of cultivating the understanding for
young children that gesture and words are essential means of communicating through
dramatic play.
The NCAS Standards call for students to create props, using non-representational materials, to
support dramatic play or guided drama experiences. None of these expectations are called for
in the Colorado PK/K GLEs. This level of specificity in NCAS speaks to intentionality of
instruction as a means of moving the drama/theatre experience from an unguided activity to a
multi-sensory tool for teaching, learning, and cognitive development. Furthermore, there is no
recognition in the CAS of the fundamental importance of the ability to name and describe
characters in dramatic play or a guided drama experience or to identify similarities between a
story and personal experience. This, too, is an important component of NCAS and at the core
of how Drama/Theatre education can contribute to a child's cognitive and non-cognitive
development.
Due to the generic nature of the language, the Colorado GLEs for the PK-Grade 2 grade-band
cluster were not construed as being of sufficient rigor to drive expectations for learners that
are academically and intellectually challenging. Moreover, they do not appear to encourage
the transfer of knowledge and skills that equips students to adapt developmentally appropriate
constructs to new situations, thereby fostering creativity and adaptive innovation. There was
little or no evidence in the GLEs of qualitative or quantifiable scales to determine whether
students are approaching the Standard; are functioning at level of the Standard; or exceed the
expectations of the Standard.
The same lack of specificity adversely impacts the GLEs with respect to depth. For example,
the PK GLE for Drama and Theatre Arts Standard 1: Create simply states, Demonstrate
emotions and feelings in dramatic play. While this is a developmentally appropriate outcome,
might there be age-appropriate ways of ascertaining the degree to which students can imagine
and portray emotions through dramatic play?
Similarly, there is insufficient detail in the Kindergarten GLE to address breadth of

instruction or to gauge the learning needs and abilities of students with respect to their
intellectual, emotional, social, and physical development as they engage in dramatic play or
guided drama experiences. Moreover, simply demonstrating characters through dramatic
play, as is the stated intent of the Standard 1 GLE for Kindergarten, ignores the concept of
independence as an essential goal for early childhood learners. Furthermore, there is no
acknowledgment of the need for exercising invention and imagination when creating and
demonstrating characters in guided drama experiences.
This is a primary function of the use of “play” in early childhood education. The importance
of imagination and “play” is conspicuously present in the NCAS Kindergarten Standards. The
NCAS PK-2 Create Standards demand that students invent and inhabit an imaginary
“elsewhere” in dramatic play or a guided drama experience; use non-representational
materials to create props, puppets, and costume pieces; interact with peers and contribute to
dramatic play or a guided drama experience; express original ideas in dramatic play or a
37
guided drama experience; and ask and answer questions in dramatic play or a guided drama
experience, all with prompting and support. All of these facets of dramatic play or guided
drama and theatre arts experiences are quantifiable and observable.
With respect to the coherence of the PK-2 GLEs, there is no explicit progression of learning
from which lessons could be crafted, using dramatic play and guided drama experiences to
move students toward an increasingly more sophisticated understanding of how to embody
feelings and emotions in drama and guided theatre experiences. In the Colorado Create
Standard, the majority of the GLEs could be met through a single lesson; a circumstance that
does not encourage or lead to theatre literacy and fluency.
As it stands, there is minimal alignment between the CAS for Drama and Theatre Arts GLEs
and their corresponding NCAS Kindergarten - Grade 2 Theatre Standards for Creating. It is
highly recommended that future iterations of the Colorado Drama and Theatre Arts Standards
include the intentional use of non-representational materials to create props, puppets, and
costume pieces for dramatic play or a guided drama experience (e.g., process drama, story
drama, creative drama) (NCAS, 2014) as a way of fostering children's ability to inhabit a
character engaged in an imaginary set of circumstances - at an early age. Doing so can help
build empathy and social skills. An additional recommendation is that future early childhood
GLEs for Drama and Theatre Arts employ more precise language that is actionable and
provides guidance as to how students demonstrate varying degrees of mastery of the Standard.
Finally, numerous developmental gaps in the current GLEs need to be remedied to ensure they
are clear, logical, and sequential, and that they provide incrementally sophisticated pathways
for learning at each grade level and across grade-band clusters.
Grades 3-5
The pattern of broad generalities and largely nonspecific GLEs highlighted in the findings for
the PK-2 grade-band cluster persists in the CAS Drama and Theatre Arts Standards for grades
3-5, thereby adversely affecting the rigor of the Standard. All of the Grade 3-5 GLEs are
developmentally appropriate. However, in grades three and four, the Standard does not offer
active language for demonstrating knowledge and skills. Although the GLEs target worthy
learning objectives, the grade five GLEs are not challenging enough. The addition of an arc of
learning that is observable, quantifiable, and incrementally cognitively demanding will be
necessary to improve this set of GLEs in future iterations of the Standards. As they currently
exist, the Grade 3-5 GLEs do not support investigation of Drama and Theatre Arts in
sufficient depth or breadth to drive achievement of specific learning objectives that will
provide a pathway to Drama and Theatre Arts literacy and fluency requiring higher-level
thinking.
From the perspective of coherence, the third grade GLEs are overly broad. The fourth grade
GLEs introduce the act of writing simple scenes, which may be a worthwhile goal, but is
without foundation and has no follow-up in grade five. In fact, the Grade 5 GLE, Contribute
ideas in improvisation and playbuilding is at a much lower cognitive ability level than the
fourth grade GLE 2, Create and write simple dramas and scenes (Colorado, 2009).
Developmentally, these learner outcomes would be more appropriately sequenced in reverse
order. Once again, the GLEs would be greatly improved through the use of much more
explicitly articulated learning targets that represent a continuum of declarative and procedural
38
knowledge, particularly in grade three. As suggested previously, the Evidence Outcomes may
be a source to mine for ways in which students can demonstrate a range of knowledge and
skills linked to the GLEs. This presupposes that the additional clarity must be embedded in
the GLEs, themselves, rather than in a supplementary set of suggested guidelines for which
teachers and students are not held accountable. The exemplars below are excerpted Anchor
Standard 1 (Generate and conceptualize artistic ideas and work) from the National Core Arts
Standards in Theatre for grades 3-5. They are included here as a sampling of ways in which
specific, developmentally targeted goals can serve as a driver of curriculum and assessment
and instruction.
NCAS Grade 3 TH:Cr1.1.3. Creating

Envision/ Conceptualize:
a. Create roles, imagined worlds, and improvised stories in a drama/theatre work.
b. Imagine and articulate ideas for costumes, props and sets for the environment and
characters in a drama/theatre work.
c. Collaborate to determine how characters might move and speak to support the
story and given circumstances in drama/theatre work.
Develop:
a. Participate in methods of investigation to devise original ideas for a drama/theatre
work.
b. Compare ideas with peers and make selections that will enhance and deepen
group drama/theatre work.
Rehearse:
a. Collaborate with peers to revise, refine, and adapt ideas to fit the given
parameters of a drama/theatre work.
b. Participate and contribute to physical and vocal exploration in an improvised or
scripted drama/theatre work.
c. Practice and refine design and technical choices to support a devised or scripted
drama/theatre work.
NCAS Grade 4 TH:Cr1.1.4. Creating

Envision/ Conceptualize:
a. Articulate the visual details of imagined worlds, and 4/ stories that support the
given circumstances in a drama/theatre work.
b. Visualize and design technical elements that support the story and given
circumstances in a drama/theatre work.
c. Imagine how a character might move to support the story and given circumstances
in a drama/theatre work.
Develop:
a. Collaborate to devise original ideas for a drama/theatre work by asking questions
about characters and plots.
b. Make and discuss group decisions and identify responsibilities required to present
a drama/theatre work to peers.
39
Rehearse:
a. Revise and improve an improvised or scripted drama/theatre work through
repetition and collaborative review.
b. Develop physical and vocal exercise techniques for an improvised or scripted
drama/theatre work.
c. Collaborate on solutions to design and technical problems that arise in rehearsal
for a drama/theatre work.
It is noteworthy that, in addition to the level of specificity in the NCAS exemplar above, each
skill in grade four is predicated by foundational knowledge from previous grades. Looking
ahead to grades five and beyond, a clearly scaffolded progression of learning is self-evident
across grade-band clusters. This level of intentionality with respect to clearly articulated
progressions of learning is perhaps the biggest shortcoming of the PK-5 Theatre GLEs.
Grades 6-8
The GLEs for Grades 6-8 are generally developmentally appropriate, but need refinement, like
those of Grades PK-5. The guidance provided in this Report for the (PK-5) primary grades
also applies to the GLEs for Grades 6-8. Careful attention needs to be paid in future iterations
of the CAS Standards to clearly articulate and scaffold progressions of learning that demand
increasingly challenging cognitive ability for mastery of both declarative and procedural
knowledge in Drama and Theatre Arts.
High School
The GLEs for High School students in both ‘tracks,’ Fundamental and Extended, describe
developmentally appropriate learning expectations. However, they are limited in scope and,
like the PK-8 GLEs, lack the specificity to assure sufficient rigor, depth, breadth, and
coherence that form the basis for well-integrated understandings of fundamental concepts
essential to theatre literacy and fluency. Raising the level of specificity of the Colorado
Standards will be a necessary step in order to arrive at consensus about what ‘success’ looks
like and how it will be measured, so that students maximize the benefits of theatre instruction.
Table 17—CAS-Drama and Theatre Arts Standard 2 (Perform) Composite Ratings
Standard 2 GLEs PK-2 1.00 1.00 1.00 1.25

Standard 2 GLEs 3-5 1.33 1.00 1.00 1.33
Standard 2 GLEs 6-8 1.00 1.00 1.00 1.00
40
Grades PK-2
Like Standard 1, the PK-2 GLEs for Standard 2: Perform, lack specificity and offer little
actionable guidance as to how students can demonstrate varying degrees of proficiency. The
two existing CAS Standard 2 GLEs are quantifiable, with the caveat that instruction is
provided regarding ways in which emotions, ideas, and events can be represented through
dramatic play or a guided drama experience. This includes expectations for the use of
physicality, words, simple props, recall, and more in 1st and 2nd Grade. The nonspecific nature
of the PK-2 GLEs make standardizing expectations for levels of programmatic rigor difficult,
if not impossible. Conceivably, a lack of consensus regarding expectations for depth of
inquiry could disadvantage students and teachers. Moreover, because the GLEs are overly
broad, they could each be met in a single lesson.
There is insufficient detail in the Standard, due to its generic nature, to drive depth and
breadth of instruction. There is also no readily apparent continuum built into the Standard
with which to evaluate student progress toward learning goals. No consideration has been
given for the body or voice as instruments for communication, nor has attention been given to
process drama as a teaching tool and means of engaging the imagination. Additionally, there
is no mention of an introduction to various technical elements as part of the guided drama
experience. The cumulative effect of overly broad student outcomes is that fundamental
concepts essential to the attainment of Drama and Theatre Arts literacy and fluency have not
been well-integrated in the Colorado GLEs. Accordingly, developmentally appropriate levels
of investigation that reinforce and revisit core concepts, thereby enabling students to transfer
their knowledge in other contexts, are also not addressed in CAS for Drama and Theatre Arts
for the early grades. In summary, the CAS for Drama and Theatre Arts lack both depth and
breadth.
The final lens through which the CAS for Drama and Theatre Arts were benchmarked was
that of coherence. Similar to the circumstance of Standard 1, there does not appear to be an
explicitly systematic, intentional progression of learning in Standard 2: Perform GLEs that
build on previous Standards and offer students a logical pathway to master simple and
increasingly complex concepts. The absence of specificity adversely affects the coherence of
the Standard throughout the grade-band cluster. The exception is the GLE for Grade 2, which
might provide the basis for a coherent progression of learning, if predicated by actionable
language. Perhaps more importantly, the PK-2 CAS for Drama and Theatre Arts rarely
necessitate higher-level thinking. This circumstance makes evaluating the degree to which
students understand and can portray characters through dramatic play and guided drama
experiences exceedingly difficult.
With respect to alignment between the Colorado GLEs and the National Core Arts Standards,
the NCAS Anchor Standards for Performing call on PK-2 students to 1) Select, analyze, and
interpret artistic work for presentation; 2) Develop and refine artistic techniques and work for
presentation; and 3) Convey meaning through the presentation of artistic work. This is a far
more rigorous set of expectations and calls for much higher levels of cognitive ability for
content mastery than found anywhere in the PK-2 CAS for Drama and Theatre Arts. In this
41
specific instance, the early childhood Drama and Theatre Arts Standards fail to encourage
young children to answer questions about characters and their actions in dramatic play or a
guided drama experience (e.g., process drama, story drama, creative drama). Neither do they
foster imagination as a fundamental tool in dramatic play and the guided drama experience.
Moreover, as was also the case for the previous Standard, the GLEs for Standard 2: Perform
could often be met in a single lesson. This holds true throughout the grade-band cluster.
Finally, there is no mention of the need for students to explore and experiment with various
technical elements of theatre in a developmentally appropriate manner, with prompting and
support. This, too, is called for in the PK-2 NCAS Standards and is highly recommended for
future iterations of the CAS for Drama and Theatre Arts.
Grades 3-5, 6-8, and High School

For Grades 3-5, 6-8, and the High School grade-band clusters, much the same critique of the
Standard 1 (Create) GLEs applies to Standard 2 (Perform). Due to the lack specificity, there is
a need for attention to intentional, sequential, and increasing cognitive demand of learning
progressions in future standards. For example, the Grades 3-5 GLEs do not offer active
language for demonstrating knowledge and skills. Moreover, the Standards statements are
overly broad, and do not flow with adjacent outcomes. Additionally, the Grade 4 GLE 1,
Participate collaboratively with partners and groups, is developmentally misplaced. This
should happen at a much younger age, and more rigorous cognitive demands should be
subsequently expected of fourth graders. Consequently, as a cluster, the Grade 3-5
performance GLEs lack sufficient rigor, depth, breadth, and coherence.
The Grade 6-8 GLEs fare better from the perspective of coherence. They are not couched in
active language that describes a continuum of desired knowledge and skills, are not
challenging enough, and some are statements, rather than learning objectives that drive
teaching and learning.
The High School Standards hold the most promise. However, there is not enough distinction
between the expectations/learning outcomes for students engaged in extended learning, as
opposed to students in the “Fundamental” category. If these two instructional “tracks” are
time-based, there needs to be a significantly different set of expectations for learners at these
two respective levels. Regardless, the level of rigor inherent in the High School GLEs is very
low as compared to other states and the national/international referents. Further detail about
these comparisons appear later in this Report.
Table 18—CAS-Drama and Theatre Arts Standard 3 (Critically Respond) Composite Ratings
Standard 3 GLEs PK-2 1.00 1.25 1.25 1.25

Standard 3 GLEs 3-5 1.50 2.00 1.50 1.50
Standard 3 GLEs 6-8 1.67 1.33 1.00 1.33
42
Grades PK-2
Many of the same challenges to the efficacy and rigor of the first two Standards (Create and
Perform) apply the PK-2 Theatre GLEs for Standard 3: Critically Respond. For example, with
respect to rigor, the PK and Kindergarten GLEs lack specificity, offering little actionable
guidance as to how students can demonstrate varying degrees of proficiency when responding
to stories and plays. There is no explicit attempt to recall an emotional response in dramatic
play or a guided drama experience that would qualify the response (with prompting and
support). The Kindergarten GLE is also vague and potentially misleading. It might be more
appropriate to expect that students identify instances in which drama or theatre imitate life and
identify specific elements of drama and theatre arts that are employed in everyday life. Such a
reframing of the Standard gives rise to rigorous learning experiences through which students
will understand knowledge and concepts that are complex or ambiguous. Thus, the skills
acquired by the students can be applied in a variety of educational, career, and civic contexts
throughout their lives. The Grade 1 GLE also needs supporting detail, defining which
developmentally appropriate key aspects of drama and theatre arts students need to identify.
As it stands, the Standard could be met differently by anyone and without sufficient attention
to rigor. Finally, the Grade 2 GLE is predicated on cognitively low-level, passive verbs,
thereby reducing the level of rigor. General recommendations for future refinements to this
Standard (and accompanying GLEs) are to be more explicit in the use of measurable,
quantifiable language with definitions of terms (e.g., elements of theatre). Finally, by Grade 2,
there needs to be a recognition of the role of artistic choice in guided drama experiences
(e.g., process drama, story drama, creative drama).
As for inherent depth and breadth in PK-2 GLEs linked to critical response, there is
insufficient detail (particularly in the PK and Kindergarten GLEs) to support meaningful
instruction driven by specific learning objectives. There is no continuum built into the PK-2
GLEs that provide a way to gauge a student’s level of independence/skill at deconstructing
stories and plays as sequences of events that engender an emotional response. Beginning in
Grades 1 and 2, there is nothing built in to help students fathom ways in which drama or
theatre is a reflection of the human condition and can be used as means to understanding and
communicating the human experience. Although there is an inherent learning progression for
the Critical Response, Grade 2 GLE, the knowledge and skills embedded in the Standards are
not challenging enough to support a deep, developmentally appropriate exploration of drama
and theatre that would ultimately lead to the attainment of literacy and fluency when critically
responding to dramatic or theatrical works.
Finally, the PK-2 GLEs for critical response lack sufficient coherence to establish clear
learning targets. Simply responding to stories and plays does not help students understand
how drama and guided drama experience can be used to stimulate the imagination, build
empathic and cooperative learning skills, and make sense of the universal experience. There is
potential for coherence of the Kindergarten GLE however, as it provides an opening for
contextualization with other academic disciplines, but only with modification of the Standard.
As is the case of the previous Standards, however, the majority of the PK-2 GLEs could each
be met in a single lesson.
43
Grades PK-2, Relative to NCAS
The PK NCAS Drama/Theatre Standards expect that students, with prompting and support,
will be able to recall an emotional response in dramatic play or a guided drama experience
(e.g., process drama, story drama, creative drama); tell a short story through dramatic play or a
guided drama experience (e.g., process drama, story drama, creative drama); and identify
stories that are similar to one another in dramatic play or a guided drama experiences. A
demand for depth of inquiry regarding critical response to dramatic play or guided drama
experiences is not delineated in the CAS GLE at the PK level. The NCAS Standards for
critical response at the Kindergarten level differ significantly from the expectations for Drama
and Theatre Arts literacy and fluency in the CAS. Generally speaking, the NCAS expectations
are far more robust. The CAS Standards are not readily measurable, are limited in scope, and
do not represent a full spectrum of age-appropriate foundational skills. In Grade 1, there is
limited alignment between the CAS and NCAS Standards for critical response, Responding. It
is questionable whether the existing CAS Standards for this strand provide much insight into
the knowledge and skills of the learners. Moreover, the lack of specificity makes it difficult
for the Standards to be drivers of curriculum and instruction.
Grades 3-12
The rigor, depth, breadth, and coherence of the GLEs pertaining to critical response for
Grades 3-5, 6-8, and High School are also overly broad, offering little active language for
demonstrating knowledge and skills. Future iterations of the Colorado Theatre Standards will
need to attend to intentional, sequential, and increasing demanding progressions of learning in
order to set clear learning objectives that:
1) drive teaching and learning;

2) stimulate deep investigation of developmentally appropriate literacy and fluency in
theatre;
3) reinforce and revisit core concepts and facilitate transfer of prior knowledge in
order to understand more advanced concepts;
4) provide a logical sequence to build learner knowledge and skills; and
5) necessitate increases in cognitive ability for content mastery as students progress
through the grade-band clusters.
None of the criteria for sufficient rigor, depth, breadth, and coherence of the GLEs for critical
response are currently being met by the CAS for Drama and Theatre Arts in Grades 3-High
School. This is largely due to the Standards not being couched in active language. There is
very little focus on Theatre history and culture throughout the PK-12 CAS for Drama and
Theatre Arts. Like the previous High School Standards, there needs to be a greater distinction
between the expected learning outcomes for students in Extended and Fundamental
instructional pathways.
External Review
As stipulated previously, four referent Standards were used for the purpose of comparing the
Colorado Academic Standards for Drama and Theatre Arts to other state, national, and
international standards. The referent exemplars include the Arizona Academic Standards in
44
the Arts, Delaware Content Standards for Visual and Performing Arts, National Core Arts
Standards (NCAS), and the K-12 Creative Arts Continuum, the syllabi developed by the
Board of Studies, State of New South Wales (Australia). Additional background information
is provided for each of these Standards sets in Section VI of this Report.
Areas identified in the Review of each referent exemplar and the CAS-Arts include:
 Academic Standards for Dance, Drama and Theatre Arts, Music, and Visual Arts
 Grade Level Expectations (GLEs)
 Evidence Outcomes (Eos)
The Reviewer’s ratings, standardized comments, and individualized Reviewer comments are
embedded in the Cross-Index Comparison Tables (see Appendix B). Each of the areas is rated
as “Very Similar,” “Similar,” “Dissimilar,” or “Very Dissimilar” to the CAS for Drama and
Theatre Arts.
Table 19—Standards Alignment: CAS-Drama and Theatre Arts to NCAS
Standards: The topical organization of Similar Artistic Processes: The cognitive and
an academic content area. physical actions by which arts learning
1. Create and making are realized. These
2. Perform processes define and organize the link
3. Critically Respond between the art and the learner.
Artistic Processes:
 Creating - Conceiving and
developing new artistic ideas and
work.
 Performing - Realizing artistic ideas
and work through interpretation and
presentation.
 Responding - Understanding and
evaluating how the arts convey
meaning.
 Connecting - Relating artistic ideas
and work with personal meaning and
external context.
45
Table 20—Full Alignment: CAS-Drama and Theatre Arts to NCAS
an academic content area. physical actions by which arts learning
and making are realized. These
processes define and organize the link
between the art and the learner.
(10) Prepared Graduate Similar Anchor Standards: Describe the

Competencies for Theatre: The PGCs are not the general knowledge and skill that
preschool through twelfth-grade parallel across arts teachers expect students to demonstrate
concepts and skills that all students who disciplines, but the throughout their education in the arts.
complete the Colorado education intent is similar to These Anchor Standards are parallel
system must master to ensure their Anchor Standards on a across arts disciplines and grade levels
success in a postsecondary and discipline by discipline and serve as the tangible educational
workforce setting. basis. expression of artistic literacy.
Theatre Prepared Graduate 11 Anchor Standards:

Competencies for Create:
1. Employ Drama and Theatre Arts #1. Generate and conceptualize artistic
skills, and articulate the aesthetics of a ideas and work.
variety of characters and roles. #2. Organize and develop artistic ideas
2.a. Use a variety of methods, new and work.
media, design, construction, #3. Refine and complete.
choreography, playwriting, #4. Analyze, interpret, and select artistic
scriptwriting, and dramaturgy. work for presentation.
b. Create drama and theatre by #5. Develop and refine artistic work for
interpreting and appreciating presentation.
theatrical works, culture, and #6. Convey meaning through the
experience through scenes and presentation of artistic work.
scenarios, improvisation, creating #7. Perceive and analyze artistic work.
environments, purposeful #8. Interpret intent and meaning in
movement, and research. artistic work.
3. Use a variety of methods, new media, #9. Apply criteria to evaluate.
and technology to create theatrical #10. Synthesize and relate knowledge
works through the use of the creative and personal experiences to make
process for performance, directing, art.
design, construction, choreography, #11. Relate artistic ideas and works
playwriting, scriptwriting, and with societal, cultural and historical
dramaturgy. context to deepen understanding.
4. Create drama and theatre by
interpreting and appreciating
theatrical works, culture, and
experience through scenes and
scenarios, improvisation, creating
environments, purposeful movement
and research.
Theatre Prepared Graduate

Competencies for Perform:
46
1. Express Drama and Theatre Arts
skills in a variety of performance,
including plays, monologues,
improvisation, purposeful movement,
scenes, design, technical
craftsmanship, media, ensemble,
works, and public speaking.
2. Demonstrate an understanding and
appreciation of theatre history in
dramatic structure, dramatic literature,
elements of style, genre, artistic
theory, script analysis, and roles of
theatre practitioners through research
and application.
3. Demonstrate the evolution of
rehearsal and product through
performance and/or production
teamwork while simultaneously
validating both as essential to the
theatre making process.
4. Demonstrate the evolution of
rehearsal and product through
performance and/or production
teamwork while simultaneously
validating both as essential to the
theatre making process.
Theatre Prepared Graduate

Competencies for Critically Respond:
1. Make informed, critical evaluations of
theatrical performance from an
audience member and a participant
point of view, and develop a
framework for making informed
theatrical choices.
2. Demonstrate an understanding and
appreciation of theatre history in
dramatic structure, dramatic
literature, elements of style, genre,
artistic theory, script analysis, and
roles of theatre practitioners through
research and application.
NOTE: This same Prepared
Graduate Competency also appears
in the PERFORM strand of CAS as
#4.
3. Discern and demonstrate appropriate
theatre etiquette and content for the
audience, self, venue, technician, and
performer.
Theatre Standards: Similar Theatre Artistic Processes:

Standard 1: Create Intent is similar, Creating - Creating- Conceiving and
Standard 2: Perform meaning Colorado developing new artistic ideas and work.
Standard 3: Critically Respond Standards and NCAS
47
Artistic Processes are Note: (Theatre Creating Artistic
both structural Process is broken into three
organizers with subcategories: 1) Envision /
similar concepts Conceptualize; 2) Develop; and 3)
Rehearse).
Performing- Realizing artistic ideas

and work through interpretation and
presentation.
Note: (Theatre Performing Artistic
Process is broken into three
subcategories: 1) Select; 2) Prepare;
and 3) Share/Present).
Responding- Understanding and

evaluating how the arts convey
meaning.
Note: (Theatre Responding Artistic
Process is broken into two
subcategories: 1) Interpret; 2)
Evaluate).
Connecting- Relating artistic ideas and

work with personal meaning and
external context.
Note: (Theatre Connecting Artistic
Process is broken into three
subcategories: 1) Connect;
2) Empathize; 2) Interrelate; 3)
Research).
High School Expectations: The Similar High School Proficiencies:

articulation of the concepts and skills of NCAS takes a  Proficient - A level of achievement
a Standard that indicates a student is student-centered attainable by most students who
making progress toward being a point of view with an complete a high-school level course
prepared graduate. What do students emphasis on students in the arts (or equivalent) beyond the
need to know in high school? attaining a particular foundation of quality PreK-8
 Fundamental Pathway- skill level while instruction.
Drama/Theatre instruction for general Colorado takes an  Accomplished - A level of
enrichment instructional point of achievement attainable by most
 Extended Pathway- Drama/Theatre- view and addresses students who complete a rigorous
instruction that is specialized in the art Drama/Theatre sequence of high-school level courses
in its more advanced, performance instruction rather (or equivalent) beyond the Proficient
oriented form as preparation for than student level.
college or a career. achievement.  Advanced - A level and scope of
achievement that significantly
exceeds the Accomplished Level.
Achievement at this level is
indisputably rigorous and
beyond the expectations articulated
for Accomplished achievement.
48
GLEs-Grade Level Expectations: The Similar/Dissimilar Performance Standards: The
concepts, and skills of a Standard that organization; music, visual arts, theatre), grade-by-
indicate a student is making progress Dissimilar in grain grade articulations of student
toward being ready for high school. size and subsequently achievement in the arts PK-8 and at
What do students need to know from dissimilar in content, three proficiency levels in high school
preschool through eighth grade? rigor, breadth, depth, (proficient, accomplished and
and coherence. (For advanced). As such, the performance
further details, please standards translate the anchor standards
see Appendix B, into specific, measurable learning goals.
Cross-Index
Comparison
Spreadsheet.)
The design of the CAS GLEs takes a Very Dissimilar The NCAS framework design takes a
backwards design approach whereas the progressions approach and lays out
GLEs progress from HS Extended Standards sequentially forward from PK
Pathway to the HS Fundamental up through HS Proficient,
Pathway and continues sequentially Accomplished, and Advanced levels.
down from 8th grade to PK.

that a student can do it? formative. Model (MCA) are performance tasks that are
Cornerstones are intended to illustrate the type of
more summative with evidence and methodology needed to
formative show attainment of desired learning.
opportunities MCAs include key traits or “look fors”
embedded in each used to build evaluation tools for open-
performance task. ended performance tasks.
N/A Process components: The actions

artists carry out as they complete each
artistic process. The process
components played a key role in
generating enduring understandings and
performance standards and serve as the
action verbs that collectively build
toward the artistic processes.
21st Century Skills and Readiness Enduring Understanding & Essential

Competencies: Questions: Enduring understandings
and essential questions focus on what
are often called “big ideas” and are
meta-cognitive strategies that students
can use to facilitate their meaning-
making or understanding.
Enduring Understandings are
statements summarizing important ideas
and core processes that are central to a
discipline and have lasting value
beyond the classroom.
Essential questions guide students as
they uncover enduring understandings.
49
Wiggins and McTighe assert that
essential questions are those that
encourage, hint at, even demand
transfer beyond the particular topic in
which students first encounter them,
and therefore, should recur over the
years to promote conceptual
connections and curriculum coherence.
Inquiry Questions: Sample questions Dissimilar N/A-some overlap with EQs

are intended to promote deeper Colorado inquiry
thinking, reflection and refined questions are
understandings precisely related to the developed for grade
grade level expectation. levels. NCAS
essential questions
apply to all grades
and therefore recur
over time.
Relevance and Application: Examples Very Dissimilar N/A-some overlap with EUs
of how the grade level expectation is While there is some
applied at home, on the job, or in a real- overlap with the EUs,
world, relevant context. it is rare. The
statements appear to
have a different
intent.

NCCAS enduring
understandings apply
to all grades and
relate to the
appropriate Anchor
Standard from a
discipline-specific
viewpoint.
50
C. MUSIC
This Section provides findings and observations specific to the Colorado Academic Standards
for Music (GLEs for Music). There are two main components to the Music Content Review:
1) the internal review, in which the Colorado Academic Standards for Music
be measured?
2) an external review providing referent standards exemplars to highlight music

These two research questions guided the Review, starting with the internal review,
which provided a closer look at the Colorado Academic Standards for Music.
The Colorado Department of Education provided a description of four Music Standards from
its current work (adopted in 2009). These definitions, with other resources mentioned in the
introduction of this Report, informed this Review in the identification of whether the
Standards articulate what a student should know and be able to do in Music in Grades PreK
through High School. Other resources to support this Review include the referent standards
exemplars and consultation with the other members of the Review Team.
The Colorado Academic Standards for Music (2009) are defined as:
Standard 1: Expression of Music

The expression of music is the demonstration of human thought and emotion through the
medium of performance, which is a product of knowledge and skills gained in the study of
music.
Standard 2: Creation of Music

The creation of music is the demonstration of learned skills in the composition, improvisation,
and arranging of music. Creating music involves writing music, fashioning new music from
an existing piece of music, or forming an entirely new piece of music.
51
Standard 3: Theory of Music
The theory of music is the understanding of the distinctive language, conventions, mechanics,
and structure of organized sound. Investigation of music theory allows for a more complete
understanding of all aspects of the musical process, including musical performance and
composition.
Standard 4: Aesthetic Valuation of Music

The value of music focuses on the knowledge needed to make an informed evaluation and to
provide a well-thought-out critique about a musical piece. It also addresses the beauty, heart,
and soul: the aesthetics of music. Valuing music will permit individuals to distinguish
between a scholarly and an individual judgment of music.
These definitions provide the conceptual underpinnings and highlight the big ideas embedded
in the Grade Level Expectations (GLEs) that drive expectations for what learners should know
and be able to do. The Reviewer for Music, like those in Dance, Drama and Theatre Arts, and
the Visual Arts adapted the Colorado Cross-Index Comparison Spreadsheet to determine the
degree to which the GLEs represent the rigor, depth, breadth, and coherence needed to support
learner development for the stated skill and knowledge objectives within individual grades
and across grade-band clusters. The complete spreadsheets for the Music Review are provided
in Appendix B. Condensed tables for each Standard are offered within this section of the
Report, accompanied by written narrative.
Methodology
The method of review for the Colorado Academic Standards for Music was to examine the
GLEs for individual grades, as well as cumulatively within and across grade-band clusters.
The objective was to ascertain the degree to which the grade bands offered clear progressions
of learning that call for student mastery of content knowledge and skills that progress
logically from simple to more complex ways of understanding, applying, and transferring
content knowledge. The ratings in Music for the grade band, supported by specific narrative
comments, were reported using the same consistent classification system as for individual
grade-level ratings: Strong (3), Moderate (2), Weak (1), or Not Found (0) with respect to
Rigor, depth, breadth, and coherence. Table 1 shares the strengths and areas for growth within
the grade bands.
52
Table 21—CAS-Music Standards Composite Ratings
GRADE
STANDARDS* Rigor Depth Breadth Coherence
BAND
Standard 1 (Expression) GLEs PK-2 1.00 1.25 1.25 1.00
Standard 1 (Expression) GLEs 3-5 1.00 0.33 0.00 0.67
Standard 1 (Expression) GLEs 6-8 1.67 1.67 1.67 1.67
Standard 2 (Creation) GLEs PK-2 2.00 2.25 2.00 2.00

Standard 2 (Creation) GLEs 3-5 0.67 1.00 1.00 0.33
Standard 2 (Creation) GLEs 6-8 1.00 1.00 1.00 1.00
Standard 3 (Theory) GLEs PK-2 1.75 1.75 1.75 1.75

Standard 3 (Theory) GLEs 3-5 2.00 2.00 2.00 2.67
Standard 3 (Theory) GLEs 6-8 1.33 1.33 1.33 1.33
Standard 4 (Aesthetic) GLEs PK-2 2.00 1.75 1.75 1.75

Standard 4 (Aesthetic) GLEs 3-5 2.00 1.33 1.00 1.33
Standard 4 (Aesthetic) GLEs 6-8 1.00 2.00 2.00 2.00
Rating Scale: Strong (3), Moderate (2), Weak (1), or Not Found (0)*Full Standard Titles: Standard 1 =
Expression of Music; Standard 2 = Creation of Music; Standard 3 = Aesthetic Valuation of Music
Calculations for grade bands PK-2, 3-5, and 6-8 were made by calculating the average of the
GLEs ratings for each Standard. High School was not included as a composite score, since
there were only two paths of study - HS Generalist and HS Performance. The scores for High
School may be found in the grade-level, Standard-specific Tables for Music. Tables of
findings for each of the Colorado Academic Standards for Music identified by each grade
level follow with the criteria, ratings, and comments.
Notable areas of moderate support in the grade bands for the Music Grade-Level Expectations
(GLEs) include PK-2 in Standard 2, Creating of Music. Grade band 3-5 has moderate support
in Music GLEs for Standard 3, Theory of Music. Grade band 6-8 provides support in Standard
4, Aesthetic Valuation of Music for depth, breadth, and coherence of the grade-level
expectation. Grade bands with composite scores less than 2 need attention in the construction
of GLEs. Specific comments about grade levels for Music GLEs are provided within the
tables that follow. In general, the intent of a given GLE may have more depth and meaning
from the perspective of the original writers than is readily apparent to readers. There is a lack
of clarity as to what a student should know and be able to do to successfully address the
GLEs. Moreover, some language chosen for the GLEs are statements and/or do not offer
adequate specificity for measuring the skills required for that grade and Standard.
The “grain size” for examining the Colorado Academic Standards for Music was the GLE,
since it most closely resembled that of the NCAS Performance Standards. In the review of
53
each Standard, it is noteworthy that many of the GLEs did not offer measurable language that
was connected to the actual intent of the Standard. This was especially true for the High
School GLEs. The Evidence Outcomes (EO), one grain-size smaller than the GLEs, provided
better articulation of what a student should know and be able to do. The EOs provide a
stronger objective statement in most cases, particularly when applied to High School Music.
For future iterations of the CAS for Music, the inclusion of the Evidence Outcomes as part of
the GLEs would readily provide measurable outcomes for student mastery that are absent
from the current Standards.
Table 22—CAS-Music Standard 1, Grades PK-2 (Expression of Music) Composite Ratings
Grade GLEs Rigor Depth Breadth Coherence Comments*

PK 0.00 0.00 0.00 0.00 D- Developmentally
inappropriate for
literacy and fluency.
K 1. Perform 1.00 1.00 1.00 0.00 R- Not challenging
independently enough for grade
2. Respond to music level expectations.
with movement D- Developmentally
inappropriate for
1 1. Expressively 1.00 2.00 2.00 2.00 B- Standards statement
perform using is overly broad.
simple techniques in
groups and
independently
2. Perform basic
rhythmic and
melodic patterns
2 1. Expressively 2.00 2.00 2.00 2.00
perform simple
songs in small
groups or
independently
2. Perform simple
rhythmic, melodic,
and harmonic
patterns
Coherence (C)
The Standard for Expression of Music describes a learner’s exploration of human thought and
emotion through the medium of performance. GLEs were reviewed with this in mind. Within
the PK level, there is no GLE for expression. This omission needs to be rectified in future
iterations of the GLEs. Adding measurable and developmentally appropriate learning
objectives for early childhood students will be necessary in order to evaluate students’
54
trajectory toward future learning goals. It is also recommended that PK Standard 1 be pulled
from the Creation of Music Standard and placed in the Expression Standard. The skills flow
from K to 2nd Grade needs realignment in order to appropriately scaffold the learning
progressions. Kindergarten shares a performance-based GLE that does not articulate the
manner in which a learner can explore the expressive qualities of music and develop mastery.
In the Grade 1 GLEs, the phrase “expressing music using simple techniques with groups” is
experiential, but unclear as to how it is an indicator of musical literacy and fluency. The
increase in the level of sophistication from the 1st Grade Create GLEs to the 2nd Grade Create
GLEs is readily apparent. Instruction and learning based on the GLEs within the PK-2 grade
band would benefit from more clarity, articulating the various ways that learners can
experience and master skills.
Table 23—CAS-Music Standard 1, Grades 3-5, 6-8 (Expression of Music) Composite Ratings
GRADE GLEs Rigor Depth Breadth Coherence Comments*

3 1. Perform from 1.00 1.00 0.00 0.00 C- Doesn't flow with
memory and use adjacent outcomes.
simple traditional C- Out of sequence
notation with prior
2. Perform extended knowledge.
rhythmic, melodic, D- Developmentally
and harmonic inappropriate for
patterns literacy and fluency.
4 1. Perform using 1.00 0.00 0.00 1.00
accurate
production
techniques
2. Perform a variety
of rhythmic,
melodic, and
harmonic patterns
3. Perform extended
melodies from the
treble staff using
traditional notation
5 1. Perform using 1.00 0.00 0.00 1.00

enhanced musical
techniques
2. Perform more
complex rhythmic,
melodic, and
harmonic patterns
3. Perform melodies
using traditional
notation
6 1. Perform music in 2.00 2.00 2.00 2.00

unison and two
parts accurately
55
and expressively at
the minimal level
of 1 on the
difficulty rating
scale
2. Perform music
accurately and
expressively at the
minimal level of
0.5 on the
difficulty rating
scale at the first
reading
3. Demonstrate
understanding of
major and minor
scales
7 1. Perform music in 2.00 2.00 2.00 2.00

three or more parts
accurately and
expressively at the
minimal level of 1
to 2 on the
difficulty rating
scale
2. Perform music
accurately and
expressively at the
minimal difficulty
level of 1 on the
difficulty rating
scale at the first
reading
individually and as
an ensemble
member
3. Demonstrate
understanding of
modalities
8 1. Create music using 1.00 1.00 1.00 1.00 B- Standards statement
melodic and is overly broad.
harmonic R- Not challenging
sequences enough for grade
2. Arrange a simple level expectations.
existing
composition
3. Improvise over
simple harmonic
progressions
Coherence (C)
56
Within Expression of Music, Grade Levels 3-5 and 6-8 are nonspecific and do not target skills
that are likely to challenge learners. The GLEs focus on broad objectives through the
performance of a piece. The omission of opportunities for students to identify and discuss
components of a piece that highlight music's expressive qualities is a serious shortcoming of
these GLEs. It should be noted that, while the Standard for Aesthetic Valuation of Music may
compensate for some lack of depth and breadth of the GLEs (through the use of critique),
more intentionality is needed focusing on ways to imbue the Expression GLEs with
opportunities for students to embrace conscious decisions about musical expression.
Additionally, the GLEs for Expression of Music need to identify how students make choices in
their interpretations and create pathways for learning in which students must identify the
expressive symbols within music and incorporate their understanding of musical notation that
communicates expressivity while practicing, performing, and discussing musical elements that
foster and shape mood.
In general, the Expression of Music GLEs for Grades 3-5 and 6-8 focus on skills in reading
and playing music. The Standard of Expression of Music is defined as a “demonstration of
human thought and emotion through the medium of performance." The Standard GLEs should
then articulate objectives that allow a student to demonstrate the expressive qualities of music.
There may be some confusion between the Standards Expression of Music and Aesthetic
Valuation of Music for the reader. Greater clarity in the two will provide more specific means
by which students can demonstrate knowledge and skills. It will be important to reach
consensus about what it means to "perform." Moreover, it will be necessary to ascertain
whether it is also appropriate for students to provide written or verbal feedback as a means of
demonstrating their knowledge. Limiting modalities for feedback only to physical
demonstrations, using instruments or the voice to provide evidence of mastery of the
Standard, may disadvantage some students.
57
Table 24—CAS-Music Standard 1, High School (Expression of Music) Composite Ratings

HS Gen. 1. Present music 1.00 1.00 0.00 0.00 R- Not challenging
expressively using enough for grade
appropriate level expectations.
technology B- Standards statement
2. Demonstrate is overly broad.
informed C- Out of sequence
participation in with prior
music-making knowledge.
activities
HS Perf. 1. Perform music 2.00 2.00 3.00 2.00 D- Developmentally
accurately and inappropriate for
expressively literacy and fluency.
demonstrating self-
evaluation and
personal
interpretation at the
minimal level of 3
on the difficulty
rating scale
2. Perform
accurately and
expressively at the
first reading at the
minimal level of 2
on the difficulty
rating scale
3. Participate
appropriately as an
ensemble member
while performing
music at the
minimal level of 3
on the difficulty
rating scale
4. Demonstrate
requisite
performance skill
sets appropriate for
postsecondary
pursuits
Coherence (C)
The High School Generalist GLEs are overly broad. For Expression of Music, it would be
advisable to rewrite the GLEs, stipulating that students demonstrate their knowledge and skills
by 1) making conscious choices about their interpretation of musical scores and 2) identifying
ways in which performers and composers have exercised their choices within the music. The
58
High School GLEs for Performance do provide a logically scaffolded set of GLEs, 1-4. It is
unclear how the connection to technology supports learners’ development of the identified
skill. Consider language for the GLEs that offers a variety of options or methods through
which students demonstrate their skills and knowledge about Expression of Music.
There is a need for a more precise definition of what comprises “informed music-making
activity” and what this looks like on a developmental continuum. The difference between the
High School Generalist GLEs and the High School Performance GLEs is clear for Expression
of Music. The High School Performance GLEs (supported by the graduate competencies
outlined in Music) provide a rigorous path for students contemplating pursuit of
postsecondary opportunities in Music.
Table 25—CAS-Music Standard 2, Grades PK-2 (Creation of Music) Composite Ratings

PK 1. Improvise 2.00 1.00 2.00 2.00 B- The Standard is non-
movement and specific.
sound responses to
music
K 1. Create music 2.00 2.00 2.00 2.00 B- The Standard is non-
through a variety specific.
of experiences
2. Identify simple
musical patterns
1 1. Demonstrate 2.00 3.00 2.00 2.00 D- Developmentally
creation of short, appropriate for
independent literacy and fluency.
musical phrases
and sounds alone
and with others
2. Identify musical
patterns
2 1. Create musical 2.00 3.00 2.00 2.00 D- Developmentally
phrases in the form appropriate for
of simple question- literacy and fluency.
and-answer alone
and in small groups
2. Identify rhythmic
and melodic
notation patterns
Coherence (C)
The Standard, Creation of Music, includes three main areas for learners: composition,
improvisation, and musical arrangement. The review of the Creation of Music GLEs for each
grade included 1) an examination of the extent to which the GLEs identified measurable
59
learner objectives that connote a continuum of scaffolded knowledge and skills aligned to the
Standard; 2) a determination of the extent to which active language was used to drive musical
exploration/creation, including the use of improvisation as a compositional tool; and 3) an
evaluation of the extent to which create the GLEs for Grades 1 and 2 were developmentally
appropriate. One strong recommendation stemming from this analysis is that that the PK and
Kindergarten GLEs would benefit from much more specific, measurable language. Overall,
the PK-2 grade band GLEs are configured in a manner that supports the building of essential
knowledges and skill for the creation of music.
60
Table 26—CAS-Music Standard 2, Grades 3-8 (Creation of Music) Composite Ratings

3 1. Create short 0.00 1.00 1.00 0.00 C- Out of sequence
musical phrases with prior
and patterns knowledge.
2. Notate music using R- Not challenging
basic notation enough for grade
structure level expectations.
4 1. Improvise simple 1.00 1.00 1.00 1.00 B- The Standard is non-
musical phrases specific.
2. Notate simple R- Not challenging
musical selections enough for grade
level expectations.
5 1. Improvise question 1.00 1.00 1.00 0.00 B- The Standard is non-
and answer and specific.
basic musical R- Not challenging
phrases enough for grade
2. Notate simple level expectations.
compositions
6 1. Create melodic and 1.00 1.00 1.00 1.00 R- Not challenging
rhythmic patterns enough for grade
2. Improvise call-and- level expectations.
response patterns B- Standards statement
is overly broad.
7 1. Create four to eight 1.00 1.00 1.00 1.00 R- Not challenging
measures of music enough for grade
melodically and level expectations.
rhythmically
2. Improvise short
melodic phrases
over
accompaniment
8 1. Create music using 1.00 1.00 1.00 1.00 R- Not challenging
melodic and enough for grade
harmonic level expectations.
sequences B- The Standard is non-
2. Arrange a simple specific.
existing
composition
3. Improvise over
simple harmonic
progressions
Coherence (C)
The areas of composition, improvisation, and the arranging of music are prevalent within the
grade levels shown in the Table above, with some notable exceptions. Attention to the
integration and use of these areas in the creation of music for each grade level needs to be
61
consistent to support the building of knowledge and skills. For Grade 3, skills need more
specificity and to be articulated in measurable language that increases in difficulty from Grade
2.
Grade levels, 4, 5, and 8 are not specific as to the skills and knowledge required for mastery,
and do not show a progression of skill development from the prior grade levels. As noted
through the ratings and comments within the Table above, many of the GLEs could benefit
from more specific and challenging objectives that progress in sophistication from prior
levels.
Table 27—CAS-Music Standard 2, High School (Creation of Music) Composite Ratings

HS Gen. 1. Extended 1.00 1.00 1.00 1.00 R- Not challenging
improvisation over enough for grade
varied harmonic level expectations.
progressions 2. B- The Standard is non-
Create original specific.
music, or arrange C- Out of sequence
the music of others, with prior
using appropriate knowledge.
technology
HS Perf. 1. Improvise a 3.00 3.00 2.00 2.00 D- Developmentally
stylistically appropriate for
appropriate vocal literacy and fluency.
or instrumental
solo over a given
pattern of harmonic
progressions 2.
Compose complex
music in several
distinct styles 3.
Arrange selections
for voices or
instruments other
than those for
which they were
written in ways that
preserve and
enhance the
expressive effect of
the music
Coherence (C)
The areas of High School Generalist and High School Performance for the Standard of
Creation of Music were written with separate GLEs. The difference between these two paths
62
is noted within the Table above. High School Performance articulates a student path to pursue
more advanced studies in music, aligning to the graduate competencies.
The flow from prior grade levels to the High School Generalist path, whether from 5th or 8th
grade, does not offer an increase of skills and knowledge from basic to more rigorous skills in
the Creation of Music. An additional aspect of the High School Generalist path integrates
technology. The technology component provided in the High School Generalist path could
better identify how the use of and investigation through technological tools may support
student growth in this area of study. The GLEs would benefit from more active language in
describing what a student should know and be able to do.
Table 28—CAS-Music Standard 3, Grades PK-2 (Theory of Music) Composite Ratings
GLEs Rigor Depth Breadth Coherence Comments*

Grade
PK 1. Describe and 1.00 1.00 1.00 1.00 B- Standards statement
respond to musical is overly broad.
elements
2. Recognition of a
wide variety of
sounds and sound
sources
K 1. Comprehension of 2.00 2.00 2.00 2.00 D- Developmentally
musical opposites appropriate for
2. Comprehension of literacy and fluency.
basic elements of
musical form 3.
Identify different
vocal and
instrumental tone
colors 4. Identify
simple rhythmic
patterns
1 1. Comprehension of 2.00 2.00 2.00 2.00 D- Developmentally
gradual changes in appropriate for
dynamics and literacy and fluency.
tempo 2. Aurally
identify simple
components of
musical form
3. Comprehension of
basic vocal and
instrumental tone
colors
4. Comprehension of
basic rhythmic and
melodic patterns
2 1. Comprehension and 2.00 2.00 2.00 2.00 B- The Standard is non-
use of appropriate specific.
music vocabulary
for dynamics,
63
tempo, meter and
articulation
2. Comprehend
beginning
notational elements
and form in music
3. Comprehension of
vocal and
instrumental tone
colors
4. Comprehension of
beginning melodic
and rhythmic
patterns
Coherence (C)
The Standard, Theory of Music, focuses on student understanding of the distinctive language,
conventions, mechanics, and structure of organized sound. The GLEs were reviewed to
determine the extent to which they provided measurable, developmentally and age-appropriate
language that places demands for rigor, depth, breadth, and coherence of teaching and
learning that is aspirational, but attainable. The level of sophistication for this area is static
from earlier to later grade levels. There is a need to articulate a progression of learning
challenges and to use more active language in grades PK, 1, and 2.
Table 29—CAS-Music Standard 3, Grades 3-8 (Theory of Music) Composite Ratings

3 1. Apply and 2.00 2.00 2.00 3.00 D- Developmentally
demonstrate use of appropriate for
basic dynamics, literacy and fluency.
tempo, meter, and
articulation using
appropriate music
vocabulary
2. Analyze simple
notational elements
and form in music
3. Identify vocal and
instrumental tone
colors
4. Identify and aurally
recognize simple
melodic, rhythmic,
and harmonic
patterns
64
4 1. Application and 2.00 2.00 2.00 3.00 D- Developmentally
demonstration of appropriate for
the use of more literacy and fluency.
advanced
dynamics, tempo,
meter and
articulation using
appropriate music
vocabulary
2. Identification of
aural and visual
notations of basic
musical forms
3. Analyze vocal and
instrumental
examples
4. Identify and aurally
recognize melodic,
rhythmic, and
harmonic patterns
5 1. Analyze and apply 2.00 2.00 2.00 2.00 D- Developmentally
dynamics, tempo, appropriate for
meter, and literacy and fluency.
articulation using
appropriate music
vocabulary
2. Analyze, aurally
and visually,
notation and form
in music
3. Analyze more
complex
instrumental and
vocal examples
4. Comprehension and
application of
melodic, rhythmic,
and harmonic
patterns
6 1. Identification of 1.00 1.00 1.00 1.00 B- The Standard is non-
rhythmic and specific.
melodic patterns in C- Doesn't flow with
musical examples adjacent outcomes.
2. Notation of level .5 D- Developmentally
compositions using inappropriate for
appropriate clef for literacy and fluency.
instrument and/or
voice 3. Analysis
of a beginning
level composition
or performance
using musical
elements
7 1. Identification and 1.00 1.00 1.00 1.00 D- Developmentally
rhythmic inappropriate for
demonstration of literacy and fluency.
65
multiple, changing
meter signatures in
music
2. Notation of level 1
compositions using
the appropriate clef
for instrument
and/or voice
3. Analysis of musical
elements of a
simple level 1
composition or
performance
8 1. Transcription, and 2.00 2.00 2.00 2.00 D- Developmentally
rhythmic appropriate for
demonstration of literacy and fluency.
multiple, changing
meter signatures
2. Notation of level 2
compositions
3. Identification of
musical elements
in a level 2
(difficulty rating
scale) composition
or performance
Coherence (C)
The 3rd Grade GLEs target student growth in their knowledge of music theory. The GLEs
provides a logical flow from 2nd to 3rd grade in Theory of Music. The GLEs for Grades 3-5,
however, offer minimal to no change in the level of sophistication. More advanced
instructional objectives should be used within the GLEs as students progress through the
grades.
66
Table 30—CAS-Music Standard 3, High School (Theory of Music) Composite Ratings

HS Gen. 1. Discernment of 0.00 0.00 0.00 1.00 R- Not challenging
musical elements enough for grade
2. Classification by level expectations.
genre, style, D- The Standard is a
historical period or statement of fact
culture rather than a learning
objective.
C- Doesn't flow with
adjacent outcomes.
HS Perf. 1. Interpretation of 1.00 0.00 1.00 0.00 D- Developmentally
notated of musical inappropriate for
elements and ideas literacy and fluency.
2. Classification by B- Standards statement
genre, style, is overly broad.
historical period, or C- Doesn't flow with
culture adjacent outcomes.
3. Evaluation of
music using
critical, informed
analysis
Coherence (C)
This Standard requires students to investigate and work toward mastery in their understanding
of the distinctive language, conventions, mechanics, and structure of organized sound.
“Discernment” is not measurable and, therefore, lacks clarity as how to measure students’
skills in music theory. It is recommended that future iterations of CAS Music Standards in
Music Theory incorporate greater specificity in the GLEs to identify what students need to
know and be able to do to demonstrate mastery in music theory. It is unclear how the GLEs
encourage advancing growth in knowledge and skills. The skills addressed in prior grade-band
clusters are more sophisticated than those at the High School cluster. Review prior GLEs for
skills and build on them to create High School GLEs with increasing challenges to support
student advancement in the Theory of Music.
67
Table 31—CAS-Music Standard 4, Grades PK-2 (Aesthetic Valuation of Music) Composite
Ratings

PK 1. Demonstrate 1.00 1.00 1.00 1.00 B- Standards statement
respect for music is overly broad.
contributions B- The Standard is
2. Express feeling non-specific.
responses to music D- The Standard is a
3. Recognition of statement of fact
music in daily life rather than a
learning objective
and learning.
K 1. Demonstrate 2.00 2.00 2.00 2.00 D- The Standard is a
respect for the statement of fact
contributions of rather than a
others in a musical learning objective
setting that drives teaching
2. Respond to musical and learning.
performance at a B- The Standard is
basic level non-specific.
3. Recognize and
discuss music and
celebrations in
daily life
respect for the appropriate for
contributions of literacy and fluency.
self and others in a
musical setting
2. Comprehension of
the basic
components of
music and musical
performances at a
beginning level
3. Identify music as
an integral part of
everyday life
respect for appropriate for
individual, group, literacy and fluency.
and self-
contributions in a
musical setting
2. Articulate reactions
to the elements and
aesthetic qualities
of musical
performance using
musical
terminology and
movement
68
3. Demonstrate
increased
awareness of music
in daily life or
special events
Coherence (C)
The Aesthetic Valuation of Music Standard focuses on students making informed evaluations
about musical pieces and providing well-reasoned critiques. These GLEs were evaluated to
determine the extent to which there was alignment between the Standard and the expectations
for student outcomes described in the GLEs. These were couched in measurable and
developmentally appropriate language that encouraged rigor, depth, breadth, and coherence of
The GLEs in Grades K-2 state that students will demonstrate respect for contributions in a
musical setting. This statement is unclear as to how students will demonstrate “respect.” The
Grade PK-2 GLEs use the term “comprehension,” which is passive and needs specific,
actionable language to describe how students will demonstrate their thoughts and knowledge
about a given piece of music.
Table 32—CAS-Music Standard 4, Grades 3-8 (Aesthetic Valuation of Music) Composite

Ratings

3 1. Identify personal 2.00 2.00 1.00 1.00 D- Developmentally
preferences for appropriate for
specific music literacy and fluency.
2. Respond to and C- Doesn't flow with
make informed adjacent outcomes.
judgments about B- Standards statement
music through is overly broad.
participation,
performance, and
the creative process
3. Articulate music's
significance within
an individual
musical experience
4 1. Explain personal 2.00 1.00 1.00 2.00 B- Standards statement
preferences for is overly broad.
specific music C- Out of sequence
2. Comprehend and with prior
respect the musical knowledge.
values of others
considering
69
cultural context as
an element of
musical evaluation
and meaning
5 1. Explain and defend 2.00 1.00 1.00 1.00 D- Developmentally
personal inappropriate for
preferences for literacy and fluency.
specific music C- Out of sequence
2. Articulate the with prior
meaning in music knowledge.
according to
elements, aesthetic
qualities, and
human responses
6 1. Determination of 1.00 2.00 2.00 2.00 R- The Standard does
strengths and not offer active
weaknesses in language for
musical demonstrating
performances knowledge and
according to skills.
specific criteria D- The Standard is a
2. Description of statement of fact
music's role in the rather than a learning
human experience objective that drives
and ways music is teaching and
used and enjoyed learning.
in society
7 1. Analysis, through 1.00 2.00 2.00 2.00 R- The Standard does
compare and not offer active
contrast, of music language for
performances and demonstrating.
compositions knowledge and
according to skills.
detailed criteria, D- The Standard is a
utilizing an statement of fact
informed music rather than a learning
vocabulary objective that drives
2. Articulation and teaching and
analysis of learning.
individual
experiences in
music
8 1. Evaluation of 1.00 2.00 2.00 2.00 R- The Standard does
musical not offer active
performances and language for
compositions using demonstrating
advanced criteria knowledge and
2. Articulation of skills.
music's role and D- The Standard is a
cultural tradition in statement of fact
American history rather than a learning
and society objective that drives
teaching and
learning.
Coherence (C)
70
The 3rd Grade GLEs need better alignment with the previous grades, as well as the inclusion
of readily apparent progression of skills that challenge the learner to move from simple to
more complex ideas. The misalignment continues from Grade 4 through Grade 5. The GLEs
need to require an increased level of sophistication as the grade levels progress and be written
in active, measurable language. The 4th Grade GLEs, for example, use passive language, such
as “comprehend” and “explain.” Use active language for specificity of what students should
know and be able to do.
71
Table 33—CAS-Music Standard 4, High School (Aesthetic Valuation of Music) Composite
Ratings

HS Gen. 1. Practice of 1.00 1.00 1.00 1.00 D- Developmentally
appropriate inappropriate for
behavior during literacy and
cultural activities fluency.
2. Knowledge of C- Out of sequence
available musical with prior
opportunities for knowledge.
continued musical
growth and
professional
development
3. Development of
criteria-based
aesthetic judgment
of the artistic
process and
products in music
4. Informed
judgments through
participation,
performance, and
the creative process
HS Perf. 1. Practice of 1.00 1.00 1.00 1.00 D- Developmentally
appropriate inappropriate for
behavior in cultural literacy and
activities fluency.
2. Evaluation of the B- The Standard is non-
quality and specific.
effectiveness of C- Out of sequence
musical with prior
performances knowledge.
3. Development of
criteria-based
aesthetic judgment
of the artistic
process and
products in music
4. Knowledge of
available musical
opportunities for
continued musical
growth and
professional
development
Coherence (C)
72
Overall, the High School Generalist and High School Performance GLEs for Aesthetic
Valuation of Music lack specific language to describe what students should know and be able
to do. Consider integrating the Evidence Outcomes language, which often uses active and
measurable language, for future iterations of the Colorado Academic Standards for Music.
Infuse the main intent of the Standard, Aesthetic Valuation of Music, within the GLEs.
Aesthetic Valuation of Music requires students to make informed evaluations about a piece of
music and provide a well-considered critique. GLEs need to be constructed with active,
measurable verbs.
Internal Review Summary
Several general observations emerged from the internal review of the Colorado Academic
Standards for Music. Language choices varied throughout the GLEs: sometimes a passive
voice was used, while actionable language establishing clear expectations for levels of student
proficiency was used at other times. Additionally, a preponderance of the GLEs used language
that was nonspecific and failed to clearly target an essential learning objective, while others
called for highly specific skills.
It is recommended that future iterations of the Colorado Academic Standards for Music use
consistent language and tense. The GLEs for Grades PK-8 and the High School Generalist and
Performance Pathways must consistently outline increasingly sophisticated knowledge and
skills for learners to master. Finally, the CAS Purpose Statements for Music must serve as the
foundation for the GLEs. The disconnect between the Colorado Academic Standards for
Music and their related GLEs must be rectified in the future, as well.
To support future work in refining these Standards, consider investigating the National Core
Arts Standards in Music. The Performance Standards from NCAS were used as a referent
exemplar for this Review and offer insightful, practical, and rigorous learner expectations for
Music. Another suggestion is to consider how the existing Evidence Outcomes (EO) can be
integrated within the GLEs to better align learning across grade levels and identify measurable
skills and knowledge.
External Review
In the Review, four referent exemplars are used for comparison to the Colorado Academic
Standards for Music. They are the Arizona Academic Standards in the Arts, Delaware Content
Standards for Visual and Performing Arts, the National Core Arts Standards (NCAS), and the
K-12 Creative Arts Continuum, the syllabi developed by the Board of Studies, State of New
South Wales (Australia). Additional background information is provided about each of these
Standards sets within Section VI of this Report.
73
The Reviewer’s ratings and comments comparing the Colorado Academic Standards for
Music to the National Core Arts Standards are provided in Tables 34 through Table 38 for the
five areas listed below, along with an additional Standards Alignment Study in Table 39
highlighting similarities and differences between the Colorado Academic Standards for Music
and the New South Wales K-12 Creative Arts Continuum.
 Academic Standards for Music

 Graduate Competencies
 Grade Level Expectations (GLEs)
 Evidence Outcomes (EO)
as “Very Similar,” “Similar,” “Dissimilar,” or “Very Dissimilar” to the CAS for Music.
Table 34—Standards Alignment: CAS-Music to NCAS
CAS-Music Alignment National Core Arts Standards
Music Standards: The topical Very Similar Artistic Processes: The cognitive and
organization of an academic content area. physical actions by which arts learning
1. Expression of Music and making are realized. These
2. Creation of Music processes define and organize the link
3. Theory of Music between the art and the learner.
4. Aesthetic Valuation of Music Music Artistic Processes:
 Creating
 Performing
 Responding
 Connecting
Table 35—PGCs Alignment: CAS-Music to NCAS
Prepared Graduate Competencies: The Similar Anchor Standards: Describe the general
preschool through twelfth-grade concepts CAS Graduate knowledge and skill that teachers expect
and skills that all students who complete Competencies have students to demonstrate throughout their
the Colorado education system must similar concepts to education in the arts. These Anchor
master to ensure their success in a that of the NCAS Standards are parallel across arts
postsecondary and workforce setting. Anchor Standards in disciplines and grade levels and serve as
 12 Music Prepared Graduate Music. the tangible educational expression of
Competencies artistic literacy.
 11 Overarching Anchor Standards
74
Table 36—High School Expectations Alignment: CAS-Music to NCAS
High School Expectations: The Dissimilar Preparatory Level Proficiencies for

articulation of the concepts and skills of a The CAS for Music Ensemble and Harmonizing
Standard that indicates a student is HS Expectations Instruments:
making progress toward being a prepared track are paths of  Novice:
graduate. What do students need to know learning. The  Intermediate
in high school? Preparatory Level High School Proficiencies:
 Generalist Track Proficiencies are  Proficient
 Performance Track levels of  Accomplished
 Vocal and Instrumental Expectations achievement. The  Advanced
Vocal and
Instrumental
Expectations were
shared within CAS
for Music as a
means for students
to investigate the
Standards.
Table 37—GLEs Alignment: CAS-Music to NCAS
GLE-Grade Level Expectations: The Similar/ Dissimilar Performance Standards- The

articulation (at each grade level), The grain size is discipline-specific, grade-by-grade
concepts, and skills of a Standard that similar. The review articulations of student achievement in
indicate a student is making progress showed the PK-12 the arts PK-8 and at three proficiency
toward being ready for high school. What GLE inconsistently levels in high school (proficient,
do students need to know from preschool articulated its accomplished and advanced). As such,
through eighth grade? expectations for the performance standards translate the
students. anchor standards into specific,
measurable learning goals.
75
Table 38—Evidence Outcomes Alignment: CAS-Music to NCAS
Evidence Outcomes: The indication that Dissimilar Model Cornerstone Assessments

a student is meeting an expectation at the Evidence Outcomes (MCA) are performance tasks that are
mastery level. How do we know that a articulate a intended to illustrate the type of evidence
student can do it? measurable and methodology needed to show
expectation of attainment of desired learning. MCAs
student learning include key traits or “look fors” used to
similar to a SMART build evaluation tools for open-ended
goal. MCAs are performance tasks.
performance tasks
often showcased
with real examples
for summative
modeling purposes.
Table 39—Alignment: CAS-Music to New South Wales (NSW) Syllabi
CAS-Music Alignment NSW Syllabi – Music, K-6, 7-10
CAS Music Introduction Very Similar Purpose Statement

CAS Music, Page 7 Creative Arts K-6 Syllabus, Page 7
NSW Music Years 7-10 Syllabus,
Page 8
Music Standards Similar Music Objectives
CAS Music, Page 12 Creative Arts K-6 Syllabus, Page 8
Values and attitudes
Page 11
Creative Arts K-6 Syllabus, Page 18
GLE-Grade Level Expectations Very Similar Creative Arts K-6 Stages
CAS Music, Page 9 Creative Arts K-6 Syllabus, page 20-
21, 32-35
GLE-Grade Level Expectations Similar Stages 7-10, Music 1, 2, Extension
CAS Music, Page 9 NSW Music 1 Stage 6 Syllabus,
Pages 7, Page 22-48 Stage 4-6
Content
NSA Music Years 7-10 Syllabus,
Page 9
High School Expectations Similar Higher School Certificate Program of
CAS Music, Page 9 Study
Prepared Graduate Competencies NSW Music 1 Stage 6 Syllabus,
CAS Music, Page 11 Page 5
Evidence Outcomes Similar Outcomes and Indicators
CAS Music, Pages 21-153 Creative Arts K-6 Syllabus, Page 23
Difficulty Level Criteria Similar Content
CAS Music, Pages 155-161 Creative Arts K-6 Syllabus, Page 45
Concepts of Music in Stages 7-10
76
Pages 16-18
Context of Learning
NSW Music 1 Stage 6 Syllabus,
Pages 18-22
CAS Music and New South Wales: Findings and Observations
The comparison of the Colorado Academic Standards for Music to the New South Wales-
Music Syllabi shows the general construction choices made by the respective writing teams to
define music concepts and objectives for learners, with CAS-Music designed as a Standards
framework and NSW-Music designed as a syllabus framework. Notable in the chart are the
similar choices of overall music concepts for learners. In addition, the CAS-Music GLEs and
the NSW Stages have comparable means of delineating how students will investigate these
objectives. Guided by NSW-Music, students sing, play, move, and organize sound into
compositions using music concepts, whereas CAS-Music guidance requires students to
perform, create, and respond to music as a means of developing their skills and knowledge.
The greatest difference between the two examples may lie in the framework within which the
NSW Music Syllabi provide in-depth information about the instruction and resources for the
courses. In addition, the NSW-Music Syllabi provide a set of fourteen values and attitudes to
develop students’ aesthetic and critical thinking. The CAS-Music GLEs provide less-
prescriptive information about the GLEs and, instead, present more broad, conceptual
language until the Evidence Outcomes of CAS-Music are examined. The Eos, then, more
closely resemble the NSW-Music indicators.
Summary
The internal review of the Colorado Academic Standards for Music and the external review,
which compared Colorado to the National Core Arts Standards and the New South Wales
Syllabi each offer valuable information that inform future iterations of the Colorado
Academic Standards for Music. The Review is intended to provide a critical friend’s
perspective of CAS-Music that supports educators in their quest to build students’ musical
capacity. The Music Standards would be substantively improved by the use of more
consistent, specific language that is both actionable and measurable. It is further
recommended that the GLEs be intentionally aligned, both horizontally and vertically, making
sure there is a clear progression from simple to more complex skills and knowledge within
and across the GLEs that also incorporates common terminology.
77
D. VISUAL ARTS
Standards (CAS) for Visual Arts. There are two main components to the Visual Arts Content
Review:
1) the internal review, in which the Colorado Academic Standards for Visual Arts
be measured?
2) an external review providing referent standards exemplars to highlight visual arts

provided a closer look at the Colorado Academic Standards for Visual Arts.
The Colorado Department of Education provided a description of four Visual Arts Standards
from its current work (adopted in 2009). These definitions, with other resources mentioned in
the introduction of this Report, informed this Review in the identification of whether the
Standards articulate what a student should know and be able to do in Visual Arts in grades
PreK through High School. Other resources to support this Review include the referent
standards exemplars and consultation with the other members of the Review Team.
The Colorado Academic Standards for Visual Arts are described as:
Standard 1: Observe and Learn to Comprehend

Articulate and implement critical thinking in the visual arts by synthesizing, evaluating, and
analyzing visual information. To value art involves visualizing, articulating, and conveying
art; thinking about, pondering, and contemplating art; wondering about, assessing, and
questioning art concepts and contexts; expressing art; defining the relevance, significance of,
and importance of art; and experiencing, interpreting, and justifying the aesthetics of art.
Standard 2: Envision and Critique to Reflect

Generate works of art that employ unique ideas, feelings, and values using different media,
technologies, styles, and forms of expression. To make art involves creating, inventing,
78
conceiving, formulating, and imagining art; communicating, ascertaining, and learning about
art; building, crafting, and generating art; assembling and manufacturing art; discovering,
fashioning, and producing art; and causing art to exist.
Standard 3: Invent and Discover to Create

Use the visual arts to express, communicate, and make meaning. To perceive art involves
studying art; scrutinizing and examining art; recognizing, noticing, and seeing art;
distinguishing art forms and subtleties; identifying and detecting art; becoming skilled in
gaining knowledge of art; grasping and realizing art; figuring out art; and sensing and feeling
art.
Standard 4: Relate and Connect to Transfer

Recognize, articulate, and validate the value of Visual Arts to lifelong learning and the human
experience. To respond to art involves relating to art; connecting to art; personally linking to
art; associating with art; boding to art; moving toward art sensibilities; shifting to art
orientations; thinking about art; attaching meaning to art; replying to art; and reacting to art.
These definitions provide the conceptual understandings of what learners should know and be
able to do. The Reviewer for Visual Arts, as well as those in Dance, Music, and Drama and
Theatre, has adapted the Colorado Cross-Index Comparison Spreadsheet in Visual Arts for
this work. The Appendix includes a link to the complete spreadsheet for the Visual Arts
Review, with condensed tables for each Standard appearing—with commentary text—in the
main body of this Report, which follows.
Methodology
The method of review of the CAS for Visual Arts was to analyze individual grade levels in
each of the Standards for Grade Level Expectations (GLEs) which support learner
development. This was completed for PreK-8 and one level of High School: the Fundamental
Pathway and Extended Pathway for High School Visual Arts Standards were not
differentiated, as they were for other arts disciplines. The preference of objective language
within the Standards was that of engaging, active, and measurable verbiage to clearly identify
how a student will demonstrate their skills and knowledge. The use of active language has
proven to provide a more solid base on which to measure skills than passive language, which
lacks clarity on what this looks like at a mastery level. A table of findings for each of the
CAS-Visual Arts Standards follows with the criteria, ratings, and comments.
79
Table 40—SAMPLE CAS-Visual Arts Cross-Index Comparison Spreadsheet

PK 1. Create works of art 2.00 1.00 1.00 2.00 D- Developmentally
based on personal inappropriate for
relevance literacy and fluency.
B- The Standard is non-
specific.
K 1. Create two- and three- 2.00 1.00 2.00 2.00
D- Developmentally
dimensional works of
inappropriate for
art based on personal
relevance
1 1. Create art to 2.00 2.00 2.00 2.00
communicate ideas,
feelings, or emotions
2 1. Use familiar symbols 2.00 2.00 2.00 2.00
to identify and
demonstrate
characteristics and
expressive features of
art and design
Coherence (C)
This grade cluster of GLEs minimally addresses an instructional scope and sequence for
describing the creative process. Missing from this concept are the experimentation and
planning prior to the act of creation and the refinement and consideration for next steps
following the creation of a work. The Pre-K learning target provides little specificity
regarding what is developmentally appropriate for very young children. According to the
National Association for the Education of Young Children, the focus of Pre-school art should
be on the creative process, rather than on the production of a product (NAEYC).
80
Table 41—CAS-Visual Arts Standard 1 (Observe and Learn to Comprehend) Composite
Ratings
Grades Rigor Depth Breadth Coherence Comments*

PK-2 1.00 1.00 1.00 1.00 R- The Standard does not offer active
language for demonstrating knowledge
and skills.
D- The Standard is a statement of fact rather
than a learning objective that drives
B- The Standard is non-specific.
C- The Standard is not written in parallel
construction.
3-5 1.00 1.00 1.00 1.00 R- The Standard does not offer active
and skills.
construction.
and skills.
construction.
HS 1.00 1.00 1.00 1.00 R- The Standard does not offer active
and skills.
construction.
Coherence (C)
GLEs for Standard 1 from PreK through High School were written as statements of fact,
rather than as student learning objectives. This made evaluation of the Standards for rigor,
depth, breadth, and coherence difficult. Rigor and depth of the Standards appear to be
generally developmentally appropriate to support student literacy. However, in their current
form, student achievement against these targets is difficult to determine. Overall, these
Standards are much too broad and, with the exception of Standard 3, are not written in a
81
consistent and coherent manner. Evidence Outcomes from the CAS for Visual Arts provide
clearer expectations of what a student should know and be able to do when demonstrating
their understanding of the content. Quantitatively, the number of GLEs for Standard 1
increased from one (1) in the early elementary grades to three (3) at the High School level, for
a total of twenty-six (26) GLEs. Quantitatively, this Standard appeared to focus on exploring
how Visual Arts integrated expression, feelings, stories, human experience, point of view,
intent, purpose, and communication. These are all valuable and worthy reasons for studying
the Visual Arts, but are not specifically measurable student outcomes in their current form.
Standard 1 was especially weak at the High School level, because there was no differentiation
for student expectation based on years of study or career pathway selected.
82
Table 42—CAS-Visual Arts Standard 2 (Envision and Critique to Reflect) Composite Ratings

and skills.
construction.
and skills.
construction.
and skills.
construction.
and skills.
construction.
Coherence (C)
GLEs for Standard 2 from PreK through High School were written as statements of fact,
rather than as student learning objectives. This, therefore, made evaluation of the Standards
for rigor, depth, breadth, and coherence difficult. Rigor and depth of the Standards appear to
be developmentally appropriate to support student literacy. However, in their current form,
student achievement against these targets is difficult to determine. Overall, these Standards
are much too broad and, with the exception of Standard 3, are not written in a consistent and
coherent manner. Evidence Outcomes from the CAS for Visual Arts provide clearer
83
expectations of what a student should know and be able to do when demonstrating their
understanding of the content. Quantitatively, the number of student expectations for Standard
2 increased from one (1) in the early elementary grades to three (3) at the High School level
for a total of twenty (20) GLEs. Qualitatively, this Standard appeared to focus on exploring art
from different people, places, and times; as well as understanding symbols, visual metaphors,
interpretations, and the value of critiquing one’s own work and the work of others. Again,
these are notable endeavors, but not measurable student outcomes in their present form.
Standard 2 was weak at the High School level, because there was no differentiation for
student expectation based on years of study or career pathway selected.
Table 43—CAS-Visual Arts Standard 3 (Invent and Discover to Create) Composite Ratings
Grade Rigor Depth Breadth Coherence Comments*

PK-2 2.00 1.50 1.75 2.00 D- Developmentally inappropriate for literacy
and fluency.
3-5 2.00 2.00 1.67 1.67 D- Developmentally appropriate for literacy
and fluency.
B- Standards statement is overly broad.
language for demonstrating knowledge and
skills.
D- Developmentally appropriate for literacy
and fluency.
HS 1.00 1.00 1.00 1.00 R- Not challenging enough for grade level
expectations.
D- Developmentally inappropriate for literacy
and fluency.
B- Standards statement is overly broad.
C- Doesn't flow with adjacent outcomes.
Coherence (C)
The Colorado Academic Standard for Visual Arts Standard 3: Invent and Discover to Create
was the most cohesive and coherent of the Standards reviewed. Most notable was consistent
language that clearly described an expected student outcome, including a descriptor of the
Depth of Knowledge required to demonstrate mastery of the concept. Outcomes-based
language was not evident in Standards 1, 2 & 4. As stated above in Table 40, the focus of
early childhood art-making should be on the process of creating, rather than on the production
of a product. Standard 3 was weak at the High School level, because there was no
differentiation for student expectation based on years of study or career pathway selected.
Quantitatively, the number of student expectations increased from one (1) in the early
elementary grades to four (4) at grade 7. This number decreased to three (3) in grade 8 and
High School. Qualitatively, the rigor of Standard 3 was best as described at the 6-8 grade
band. The entire creative process was evident. Problematic, however, was the descriptor
84
“achieve,” which implied a continuum of attainment, rather than a measure of mastery. The
inclusion of a glossary would promote common understanding among Standards writers,
readers, and those implementing the Standards in classrooms.
Table 44—CAS-Visual Arts Standard 4 (Relate and Connect to Transfer) Composite Ratings

and skills.
construction.
and skills.
construction.
and skills.
construction.
and skills.
construction.
Coherence (C)
GLEs for Standard 4 from Pre- K through High School were written as statements of fact,
rather than as student learning objectives. This, therefore, made evaluation of the Standards
85
for rigor, depth, breadth, and coherence difficult. Rigor and depth of the Standards appear to
be developmentally appropriate to support student literacy. However, in their current form,
student achievement against these targets is difficult to determine. Overall, these Standards
are much too broad and, with the exception of Standard 3, are not written in a consistent and
coherent manner. Evidence Outcomes from the Colorado Academic Standards provide clearer
expectations of what students should know and be able to do when demonstrating their
understanding of the content. Quantitatively, the number of student expectations for Standard
4 increased from one (1) in the early elementary grades to three (3) at the High School level
for a total of twenty-two (22) GLEs. Qualitatively, this Standard, like Standard 2, appears to
focus on exploring art for self, family, friends, community, and on the contexts of history and
culture. Critical thinking and reflecting strategies are employed to evaluate art. Standard 4 was
especially weak at the High School level, because there was no differentiation for student
expectation based on years of study or career pathway selected.
The four Colorado Academic Standards for Visual Arts focus on the following: Standard 1
focuses on themes and ideas; Standard 3 focuses on creating works of art; and Standards 2 and
4 integrate investigations of art in relation to cultures, times, and places, and the processes by
which art is evaluated. It is notable—by omission—that no mention is made of sharing or
presenting art. This idea may be implicitly understood by the Standards writers, but is not in
any way explicitly stated in the Standards.
External Review
In the Review, four referent Standards exemplars were used for the purpose of comparison to
the Colorado Academic Standards (CAS) for Visual Arts. They were the Arizona Academic
Standards in the Arts, Delaware Content Standards for Visual and Performing Arts, National
Core Arts Standards (NCAS), and the K-12 Creative Arts Continuum, the syllabi developed
by the Board of Studies, State of New South Wales (Australia). Background information is
provided below for each of these Standards sets within Section VI of this Report.
The five areas below, ratings, and Reviewer comments comparing the referent exemplars to
the Colorado Academic Standards for Visual Arts are within the Cross-Index Comparison
Tables.
 Academic Standards for Dance, Music, Drama and Theatre Arts, and Visual Arts
 Grade Level Expectations
 Evidence Outcomes
as “Very Similar,” “Similar,” “Dissimilar,” or “Very Dissimilar” to the CAS for Visual Arts.
86
Table 45—Full Alignment: CAS-Visual Arts to NCAS

an academic content area. physical actions by which arts
learning and making are realized.
These processes define and organize
the link between the art and the
learner.
Prepared Graduate Competencies: The Similar Anchor Standards: Describe the
preschool through twelfth-grade PGCs are not parallel general knowledge and skill that
concepts and skills that all students who across arts teachers expect students to
complete the Colorado education disciplines, but the demonstrate throughout their
system must master to ensure their intent is similar to education in the arts. These Anchor
success in a postsecondary and Anchor Standards on Standards are parallel across arts
workforce setting. a discipline by disciplines and grade levels and serve
17 Visual Arts Prepared Graduate discipline basis. as the tangible educational expression
Competencies of artistic literacy.
11 Overarching Anchor Standards

Visual Arts Standards: Similar Visual Arts Artistic Processes:
Standard 1: Observe and Learn to Intent is very similar, Creating- Conceiving and developing
Comprehend meaning CO new artistic ideas and work.
Standard 2: Envision and Critique to Standards and NCAS Presenting- Interpreting and sharing
Reflect Artistic Processes are artistic work.
Standard 3: Invent and Discover to both structural Responding- Understanding and
Create organizers with evaluating how the arts convey
Standard 4: Relate and Connect to similar concepts. meaning.
Transfer Connecting- Relating artistic ideas
and work with personal meaning and
external context.
High School Expectations: The Similar High School Proficiencies:
articulation of the concepts and skills of NCAS takes a  Proficient—A level of achievement
a Standard that indicates a student is student-centered attainable by most students who
making progress toward being a point of view with an complete a high-school level course
prepared graduate. What do students emphasis on students in the arts (or equivalent) beyond the
need to know in high school? attaining a particular foundation of quality PreK-8
skill level by instruction.
demonstrating  Accomplished--A level of
understanding while achievement attainable by most
Colorado takes an students who complete a rigorous
instructional point of sequence of high-school level courses
view and addresses (or equivalent) beyond the Proficient
visual arts instruction level.
rather than student  Advanced—A level and scope of
achievement. achievement that significantly
exceeds the Accomplished Level.
Achievement at this level is
indisputably rigorous and
beyond the expectations articulated
for Accomplished achievement.
87
Grade Level Expectations: The Similar/Dissimilar Performance Standards: The
concepts, and skills of a Standard that organization. music, visual arts, Drama-Theatre),
indicate a student is making progress Dissimilar in grain grade-by-grade articulations of student
toward being ready for high school. size and achievement in the arts PK-8 and at
What do students need to know from subsequently three proficiency levels in high school
preschool through eighth grade? dissimilar in content, (proficient, accomplished and
rigor, breadth, depth advanced). As such, the performance
and coherence. See standards translate the anchor
rigor, breadth, depth, standards into specific, measurable
and coherence study learning goals.
for details.
The design of the CAS GLEs takes a Very Dissimilar The NCAS framework design takes a
backwards design approach where the progression approach and lays out
GLEs progress from HS and continue Standards sequentially forward from
sequentially down from 8th grade to PK up through HS Proficient,
PK. Accomplished, and Advanced levels.

that a student can do it? formative; Model (MCA) are performance tasks that are
Cornerstones are intended to illustrate the type of
more summative evidence and methodology needed to
with formative show attainment of desired learning.
opportunities MCAs include key traits or “look
embedded in each fors” used to build evaluation tools for
performance task. open-ended performance tasks.
N/A Process components: The actions
artists carry out as they complete each
artistic process. The process
components played a key role in
generating enduring understandings
and performance standards, and serve
as the action verbs that collectively
build toward the artistic processes.
88
21st Century Skills and Readiness Enduring Understanding &
Competencies: Essential Questions: Enduring
Included the following: understandings and essential questions
 Inquiry Questions focus on what are often called “big
 Relevance and Application ideas” and are meta-cognitive
 Nature of the Discipline strategies that students can use to
facilitate their meaning-making or
understanding.
Enduring understandings are

statements summarizing important
ideas and core processes that are
central to a discipline and have lasting
value beyond the classroom.
Essential questions guide students as

they uncover enduring
understandings. Wiggins and
McTighe assert that essential
questions are those that encourage,
hint at, even demand transfer beyond
the particular topic in which students
first encounter them, and therefore,
should recur over the years to promote
conceptual connections and
curriculum coherence.
Inquiry Questions: Dissimilar N/A-some overlap with EQs
Sample questions are intended to Colorado inquiry
promote deeper thinking, reflection and questions are
refined understandings precisely related developed for grade
to the grade level expectation. levels; NCAS
essential questions
apply to all grades
and therefore recur
over time.
Relevance and Application: Very Dissimilar N/A-some overlap with EUs and some
Examples of how the grade level While there is some overlap with Philosophical
expectation is applied at home, on the overlap with the Foundations and Lifelong Learnings
job or in a real-world, relevant context. EUs, it is rare. The
statements appear to
have a different
intent.
NCCAS enduring
understandings apply
to all grades and
relate to the
appropriate Anchor
Standard from a
discipline-specific
viewpoint.
89
Table 46—PGCs Alignment: CAS-Visual Arts to NCAS
Prepared Graduate Competencies in Visual Arts NCAS Anchor Standards
The prepared graduate competencies are the preschool Anchor Standards describe the general knowledge
through twelfth-grade concepts and skills that all and skill that teachers expect students to demonstrate
students who complete the Colorado education system throughout their education in the arts. These Anchor
must master to ensure their success in a postsecondary Standards are parallel across arts disciplines and
and workforce setting. grade levels and serve as the tangible educational
Prepared graduates in visual arts: expression of artistic literacy.
Visual Arts Standard 1: Observe and Learn to Creating Anchor Standards (Students will…)
Comprehend 1. Generate and conceptualize artistic ideas and work.
 Recognize, articulate and debate that the visual arts 2. Organize and develop artistic ideas and work.
are a means for expression (10)* 3. Refine and complete artistic work.
 Make informed critical evaluations of visual and
material culture, information, and technologies (7)* Performing/Presenting/Producing Anchor
 Analyze, interpret, and make meaning of art and Standards (Students will…)
design critically using oral and written discourse 4. Select, analyze, and interpret artistic work for
(8)* presentation.
 Explain, demonstrate, and interpret a range of 5. Develop and refine artistic techniques and work for
purposes of art and design, recognizing that the presentation.
making and study of art and design can be 6. Convey meaning through the presentation of
approached from variety of viewpoints (7, 8)* artistic work.
Visual Arts Standard 2: Envision and Critique to Responding Anchor Standards (Students will…)
Reflect 7. Perceive and analyze artistic work.
 Recognize, demonstrate, and debate philosophic 8. Interpret intent and meaning in artistic work.
arguments about the nature of art and beauty 9. Apply criteria to evaluate artistic work
(aesthetics) (7)*
 Recognize, demonstrate and debate the place of art Connecting Anchor Standards (Students will….)
and design in history and culture (11)* 10. Synthesize and relate knowledge and personal
 Use specific criteria to discuss and evaluate works experiences to make art.
of art (9)* 11. Relate artistic ideas and works with societal,
 Critique personal work and the work of others with cultural and historical context to deepen
informed criteria (9)* understanding.
 Recognize, articulate and implement critical
thinking in the visual arts by synthesizing,
evaluating, and analyzing visual information. (7)*
Visual Arts Standard 3: Invent and Discover to

Create
 Recognize, interpret, and validate that the creative
process builds on the development of ideas through
a process of inquiry, discovery, and research (1, 2,
& 3)*
 Develop and build appropriate mastery in art
making skills using traditional and new
technologies and an understanding of the of the
characteristics and expressive features of art and
design (1, 2, & 3)*
 Create works of art that articulate more
sophisticated ideas, feelings, emotions, and points
of view about art and design through an expanded
use of media and technologies (1, 2, & 3)*
90
 Recognize, compare, and affirm that the making
and study of art and design can be approached from
a variety of viewpoints, intelligences, and
perspectives (1, 2, & 3)*
Visual Arts Standard 4: Relate and Connect to

Transfer
 Identify, compare, and interpret works of art
derived from historical and cultural settings, time
periods, and cultural contexts (11)*
 Identify, compare and justify that the visual arts are
a way to acknowledge, exhibit and learn about the
diversity of peoples, cultures and ideas (6, 11)*
 Transfer the value of visual arts to lifelong learning
and the human experience (10)*
 Explain, compare and justify that the visual arts are
connected to other disciplines, the other art forms,
social activities, mass media, and careers in art and
non-art related areas (11)*
* Indicates a correlation to a National Core Arts

Anchor Standard by number.
A review of the correlation between the Colorado Prepared Graduate Competencies (PGCs) in
Visual Arts and the overarching Anchor Standards from the National Core Arts Standards
(NCAS) reveals similarities, gaps, and over-coverage. The Colorado PGCs more heavily
cover Anchor Standards #7 - Perceive and analyze artistic work; and #11- Relate artistic ideas
and works with societal, cultural, and historical context to deepen understanding. There is a
need for coverage in the PGCs around the concept of Presentation (Anchor Standards 4, 5, &
6). Collectively, the CAS for Visual Arts may drive students toward conveying meaning
through creating and analyzing works of art. However, in a pure comparison of the Colorado
PGCs and the NCAS Anchor Standards, the concept of conveying meaning through the
presentation of artistic work is not evident. The concept of sharing works of art is only
addressed in the Colorado PGCs in the context of investigating diversity (Prepared Graduate
Competency 6 - Identify, compare, and justify that the visual arts are a way to acknowledge,
exhibit and learn about the diversity of peoples, cultures and ideas.).
91
Table 47—Standards Alignment: CAS-Visual Arts to NCAS
Colorado Academic Standards Artistic Process * National Core Arts Standards
Standard 1: Observe and Learn to Similar Philosophical Foundations and

Comprehend Connecting: Lifelong Goals
Use the visual arts to express, Relating artistic ideas The Arts as Communication:
communicate, and make meaning. To and work with Artistically literate citizens use a variety
perceive art involves studying art; personal meaning and of artistic media, symbols and metaphors
scrutinizing and examining art; external context. to independently create and perform
recognizing, noticing and seeing art; work that expresses and communicates
distinguishing art forms and subtleties; their own ideas, and are able to respond
identifying and detecting art; becoming by analyzing and interpreting the artistic
skilled in gaining knowledge of art; communications of others.
grasping and realizing art; figuring out
art; and sensing and feeling art.
Standard 2: Envision and Critique to Similar The Arts as History, Culture, and
Reflect Responding: Connectors:
Articulate and implement critical Understanding and Artistically literate citizens know and
thinking in the visual arts by evaluating how the arts understand artwork from varied
synthesizing, evaluating, and analyzing convey meaning historical periods and cultures, and
visual information. To value art involves actively seek and appreciate diverse
visualizing, articulating, and conveying forms and genres of artwork of enduring
art; thinking about, pondering, and quality/significance. They also seek to
contemplating art; wondering about, understand relationships among the arts,
assessing, and questioning art concepts and cultivate habits of searching for and
and contexts; expressing art; defining the identifying patterns, relationships
relevance, significance of, and between the arts, and other knowledge.
importance of art; and experiencing,
interpreting, and justifying the aesthetics
of art.
Standard 3: Invent and Discover to Very Similar The Arts as Creative Personal
Create Creating: Realization:
Generate works of art that employ Conceiving and Artistically literate citizens find at least
unique ideas, feelings, and values using developing new artistic one arts discipline in which they develop
different media, technologies, styles, and ideas and work. sufficient competence to continue active
forms of expression. To make art involvement in creating, performing, and
involves creating, inventing, conceiving, responding to art as an adult.
formulating, and imagining art;
communicating, ascertaining, and
learning about art; building, crafting, and
generating art; assembling and
manufacturing art; discovering,
fashioning, and producing art; and
causing art to exist.
92
Standard 4: Relate and Connect to Similar The Arts as History, Culture, and
Transfer Connecting: Connectors:
Recognize, articulate, and validate the Relating artistic ideas Artistically literate citizens know and
value of visual arts to lifelong learning and work with understand artwork from varied
and the human experience. To respond to personal meaning and historical periods and cultures, and
art involves relating to art; connecting to external context. actively seek and appreciate diverse
art; personally linking to art; associating forms and genres of artwork of enduring
with art; bonding to art; moving toward quality/significance. They also seek to
art sensibilities; shifting to art understand relationships among the arts,
orientations; thinking about art; and cultivate habits of searching for and
attaching meaning to art; replying to art; identifying patterns, relationships
reacting to art; internalizing art; between the arts, and other knowledge.
personalizing art; and relating art to
culture and diversity.
Little or No Evidence **The Arts as Community

Engagement:
Artistically literate citizens seek artistic
experience and support the arts in their
local, state, national, and global
communities.
Arts as Means to Wellbeing:

Artistically literate citizens find joy,
inspiration, peace, intellectual
stimulation, meaning, and other life-
enhancing qualities through participation
in all of the arts.
*The overarching goal of the National Core Arts Standards is for students to achieve artistic literacy. Artistic literacy is
described on page 17 of the Conceptual Framework for Arts Learning.
**Artistic literacy in the Colorado Academic Standards for Visual Arts is described on page 2 of the Standards document
outlining notable changes. 7. Intentional opportunities for multiple ways to combine visual literacy skills with the making
of art.
93
VI. EXTERNAL REFERENTS
Resources gathered for this Report beyond the Colorado Academic Standards for the Arts
documents include two state standard sets (Arizona, Delaware), one national standard set
(National Core Arts Standard), and one international (non-U.S.) referent exemplar (New
South Wales Syllabi). The decision to use Arizona and Delaware was based on the timeliness
of these referent exemplars. The choice of the national exemplars offers a broadened
perspective of standards choices for arts education. More details about the choices in referent
exemplars follow within this section.
A Framework Comparison between the State Standards of Arizona and Delaware
The states of Arizona and Delaware were among the first ten states to adapt or outright adopt
the National Core Arts Standards in May 2015 and March 2016, respectively. The processes
by which these Standards were embraced involved the engagement of teacher leaders who
reviewed and revised the National Core Arts Standards. Arizona teachers accomplished this
prior to state school board adoption, while Delaware teachers added to the Standards
following their state adoption. While similar in nature, these refinement processes reflected
differences in state policy and levels of local decision-making. Both states will implement
their new Standards in the 2016-2017 school year.
The National Coalition for Core Arts Standards (NCCAS) provided some flexibility to states
for either adopting or adapting the Standards. The NCCAS defined an adaptation as changes
that altered the original Standards by more than 15%. An adoption of the Standards meant that
the state altered less than 15% of the original Core Arts Standards document.
Both Arizona and Delaware teacher leaders found the need to simplify or clarify Standards
language. Arizona teachers provided clarification by adding instructional samples in Music
and Visual Arts. Delaware teachers clarified learning targets by creating I CAN statements—
Standards in student-friendly language—to mirror World Language Standards that were
revised nationally in 2012.
Referent Exemplars’ Notable Elements
The referent exemplars share many similarities and a few differences that, for the two states,
have been identified and captured within the Tables below, along with the national exemplars.
The Tables share the Standards, Objectives, and Outcomes/Scopes identified within the
exemplars. There are some language differences, which are noted. The structure and
descriptors in several of the Tables that follow are adapted from the College Board’s A
Review of Selected State Arts Standards 2011, page 6.
94
Table 48—Framework Comparison: Arizona-Dance and Delaware-Dance
Delaware-Standards adoption (less
Arizona- Standards adaptation (greater
than 15% change to the NCAS
that 15% change to the NCAS Standards)
Standards)
 Additional grade bands added at the elementary  Adopted NCAS Dance Standards in their
level entirety.
 Simplified NCAS language  I CAN Statements will be added (by

December 2016) to describe NCAS
Performance Standards in developmentally
appropriate student language that will serve as
learning progressions.
Table 49—Framework Comparison: Arizona-Media Arts and Delaware-Media Arts

Arizona-Standards adaptation (greater that
15% change to the NCAS Standards)
Standards)
 Few changes made  Adopted NCAS Media Arts Standards in their
entirety.
 Removed the verb “consummate.”  I CAN Statements will be added (by December
2016) to describe NCAS Performance
Standards in developmentally appropriate
student language that will serve as learning
progressions.
 Made additions to the NCAS glossary including stair

steps in media arts development.
95
Table 50—Framework Comparison: Arizona-Music and Delaware-Music
Standards)
 Simplified language in Pre-K-8 Music.  Adopted NCAS Music Standards in their
entirety
 Added instructional examples in Traditional and  Music educators developed I CAN Statements
Emerging Ensembles and in Harmonizing to describe NCAS Performance Standards in
Instruments. developmentally appropriate student language
that will serve as learning progressions.
Statements complete for Pre-K- 8 Music,
Secondary Traditional and Emerging
Ensembles, and Secondary Music Technology.
Secondary Harmonizing Instruments and
Secondary Composition and Theory will be
completed by December 2016.
 Added foundational skills from the 2006 Arizona

Music Standards.
Table 51—Framework Comparison: Arizona-Theatre and Delaware-Theatre

Standards)
 Few changes made.  Adopted NCAS Theatre Standards in their
entirety.
 Reordered Standards to accommodate a clearer  Theatre educators developed I CAN Statements

pathway for technical theatre and other subsets of to describe NCAS Performance Standards in
theatre education. developmentally appropriate student language
that will serve as learning progressions.
Statements complete for Grade 8 and High
School. Pre-K- 7 Statements will be completed
by December 2016.
96
Table 52—Framework Comparison: Arizona-Visual Arts and Delaware-Visual Arts
Standards)
 Simplified language.  Adopted NCAS Visual Arts Standards in their
entirety.
 Added instructional examples specifically in artistic  Visual Arts educators developed I CAN
styles and cultural references. Statements to describe NCAS Performance
Standards in developmentally appropriate
student language that will serve as learning
progressions.
Background of Arizona Academic Standards
The state of Arizona was one of the first states to adapt NCAS Standards for use. A process of
adaptation was required, because more than 15% of the NCAS Standards were modified.
Arizona teachers met to make recommendations for modification prior to formal approval by
the State Board of Education in May 2015.
The state of Arizona included Fine Arts with Career and Technical Education as one of
twenty-two credits for graduation. Every student should receive an introduction to all five art
forms in Arizona schools such that Arizona students develop an awareness of the ways that
the four Artistic Processes play out in the arts, and develop sufficient foundational skills to
solidify that awareness. In addition, every student should reach a high school proficient level
in at least one art form prior to graduation from high school.
Arizona teachers provided clarification to the NCAS by adding instructional samples in Music
and Visual Arts. Arizona further expanded the NCAS by adding elementary grade bands to
Dance Standards, reordering Theatre Standards, restating Music skill sets from their previous
state Standards, and expanding the NCAS glossaries. Arizona will implement new Standards
in the 2016-17 school year.
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Table 53—Referent Exemplar: Arizona Academic Standards in the Arts
REFERENTS STANDARDS OBJECTIVES OUTCOMES/SC
State/National Main Areas of Expectations of OPE
Focus Students Indicators of
Student Progress
Arizona - 4 Artistic Processes: 11 Anchor Standards: Enduring
Arizona Academic Creating, #1. Generate and Understandings and
Standards in the Arts Performing/Presenting/ conceptualize artistic Essential Questions
Date: 2015 Producing, Responding, ideas and work. present guidance for
Content Areas: Dance, Connecting #2. Organize and instruction, assessment,
Media Arts, Music, develop artistic ideas and practice.
Theatre, and Visual and work.
Arts #3. Refine and
Grade levels: complete.
K,1,2,3,4,5,6,7,8 #4. Analyze, interpret,
HS: Proficient, and select artistic
Accomplished, work for
Advanced presentation.
#5. Develop and refine
Additional Strands in artistic work for
Music: K-8 General presentation.
Music, Performing #6. Convey meaning
Ensembles, through the
Harmonizing presentation of
Instruments, and Music artistic work.
Technology #7. Perceive and
analyze artistic
Media Arts work.
Standards- artistic #8. Interpret intent and
literacy in: film, meaning in artistic
animation, gaming and work.
computational #9. Apply criteria to
artmaking. evaluate.
#10. Synthesize and
relate knowledge
and personal
experiences to make
art.
#11. Relate artistic
ideas and works with
societal, cultural and
historical context to
deepen
understanding.
Background of Delaware Content Standards for Visual and Performing Arts
Delaware was the eighth state to adopt the National Core Arts Standards. Adoption was by a
vote of the State Board of Education in March 2016 and indicated that the state embraced the
Standards in their entirety. Arts education in Delaware schools is mandated for every student
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from Kindergarten through Grade 6. Beyond Grade 6, participation is on an elective basis or
as part of a career pathway. All schools in the state are required to provide programs in the
Visual and Performing Arts. However, the Arts are not included as part of a graduation
requirement in Delaware at this time. All schools in the state are required to provide programs
in the Visual and Performing Arts; however, the Arts are not currently included as a
graduation requirement in Delaware.
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Table 54—Referent Exemplar: Delaware Content Standards for Visual and Performing Arts
REFERENTS STANDARDS OBJECTIVES OUTCOMES/SC
State/National Main Areas of Expectations of OPE
Focus students Indicators of
student progress
Delaware 4 Artistic Processes: 11 Anchor Standards: Enduring
Delaware Standards and Creating, #1. Generate and Understandings and
Instruction for Visual Performing/Presenting/ conceptualize artistic Essential Questions
and Performing Arts Producing, Responding, ideas and work. present guidance for
Date: 2016 Connecting #2. Organize and instruction, assessment,
Content Areas: Dance, develop artistic ideas and practice.
Media Arts, Music, and work.
Theatre, and Visual #3. Refine and
Arts complete.
Grade levels: #4. Analyze, interpret,
K,1,2,3,4,5,6,7,8 and select artistic
HS: Proficient, work for
Accomplished, presentation.
Advanced #5. Develop and refine
artistic work for
Additional Strands in presentation.
Music: K-8 General #6. Convey meaning
Music, Performing through the
Ensembles, presentation of
Harmonizing artistic work.
Instruments, and Music #7. Perceive and
Technology analyze artistic
work.
#8. Interpret intent and
meaning in artistic
work.
#9. Apply criteria to
evaluate.
#10. Synthesize and
relate knowledge
and personal
experiences to make
art.
deepen
understanding.
National Standards for Arts Education (1994)
The standards movement in the United States emerged with the 1994 passage of the Goals
2000: Educate America Act. Title II of that act established a National Education Standards
and Improvement Council, which was charged with finding appropriate organizations to write
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Standards. There were three goals for the Standards development process: (1) to ensure that
the Standards reflect the best ideas in education, both in the United States and internationally;
(2) to ensure that they reflected the best knowledge about teaching and learning, and (3) to
ensure that they had been developed through a broad-based, open process. The Standards,
themselves, were to define what students should know and be able to do to the end that all
students learn to use their minds well, so that they may be prepared for responsible
citizenship, further learning, and productive employment in our nation’s modern economy.
While the arts were not initially included as a core content area in Goals 2000, they did
eventually become part of the legislation and were the first academic subject to successfully
write Standards under that law (though they were preceded by and profited from Standards
developed by the National Council of Teachers of Mathematics). Following the general idea
of developing “voluntary” Standards for “what students should know and be able to do,” and
in anticipation of the passage of the act, a consortium of organizations representing teachers of
Dance, Music, Drama-Theatre, and Visual Arts approached the U.S. Department of
Education, the National Endowment for the Arts, and the National Endowment for the
Humanities in 1992 for a grant to move forward in this area.
The group completed its work and released the National Standards for Arts Education in 1994,
the same year the Goals 2000 Act was enacted. The 1994 Standards established achievement
expectations for students at the 4th, 8th, and 12th grade. The introduction to the Standards set
out the following purposes for that document:
Standards for arts education are important for two fundamental reasons. First,
they help define what a good education in the arts should provide: a thorough
grounding in a basic body of knowledge and the skills required both to make sense
and to make use of each of the arts discipline—including the intellectual tools to
make qualitative judgments about artistic products and expression.
Second, when states and school districts adopt the standards, they are taking a
stand for rigor, informed by a clear intent. A set of standards for arts education
says, in effect, “An education in the arts means that students should know what is
spelled out here, reach specified levels of attainment, and do both at defined points
in their education.”
Those standards, accepted by then-Secretary of Education Richard Riley, were

highly influential. It is fair to say that they have helped shape curricula across
the United States, through adoption of state standards, in the development of
scope-and-sequence documents at the local education agency level, and by
challenging individual arts educators to reflect on their practices.
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Table 55—Referent Exemplar: National Core Arts Standards
REFERENTS STANDARDS OBJECTIVES OUTCOMES/
State/National Main Areas of Expectations of SCOPE
Focus students Indicators of
student progress
National Core Arts 4 Artistic Processes: 11 Anchor Standards: Enduring
Standards Date: 2014 Creating, #1. Generate and Understandings and
Content Areas: Dance, Performing/Presenting/ conceptualize artistic Essential Questions
Media Arts, Music, Producing, ideas and work. present guidance for
Theatre, and Visual Responding, #2. Organize and instruction, assessment,
Arts Connecting for Dance, develop artistic ideas and practice.
Grade levels: Media Arts, Music, and work.
K,1,2,3,4,5,6,7,8 Theatre, and Visual #3. Refine and
HS: Proficient, Arts. complete.
Accomplished, #4. Analyze, interpret,
Advanced and select artistic
work for
Addtl Strands in presentation.
Music: K-8 General #5. Develop and refine
Music, Performing artistic work for
Ensembles, presentation.
Harmonizing #6. Convey meaning
Instruments, and Music through the
Technology presentation of
artistic work.
#7. Perceive and
analyze artistic
work.
meaning in artistic
work.
evaluate.
#10. Synthesize and
relate knowledge
and personal
experiences to make
art.
deepen
understanding.
National Core Arts Standards (2014)
The voluntary National Core Arts Standards are a re-imagining of the 1994
National Standards for Arts Education, and more recently, the 2005 Standards
for Learning and Teaching Dance in the Arts. These standards are to guide arts
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curriculum, instruction, and assessment in America’s schools. Toward that end,
they emphasize the process-oriented nature of the arts and arts learning that
guide the continuous and systematic operations of instructional improvement by:
 Defining artistic literacy through a set of overarching Philosophical

Foundations and Lifelong Goals that clarify long-term expectations for
arts learning.
 Placing Artistic Processes and Anchor Standards at the forefront of the
work.
 Identifying Creative Practices as the bridge for the application of the
Artistic Processes across all learning.
 Specifying Enduring Understandings and Essential Questions that
provide conceptual through-lines and articulate value and meaning
within and across the arts discipline.
 Providing Model Cornerstone Assessments of student learning aligned to
the Artistic Processes.
The National Core Arts Standards exist in a web-based platform, designed to

allow flexible sorting and organizing to meet individual teacher and local district
needs. The web-based platform allows for examples of student work to be linked
directly to each of the standards. Over time, as teachers implement the standards
and capture student work based on the model cornerstone assessments, this
repository of representative student work near standard, at standard, and above
standard will grow.
The format and design of this new set of standards repositions the way in which
the field interacts with standards and assessments. No longer do we talk about
standards as lists of what students should know and be able to do. Rather, we talk
about standards as measurable and attainable learning events based on artistic
goals.
A backwards design approach was selected as a clear and cogent model for
building standards. The Understanding by Design (UbD) Framework®, co-
created by Jay McTighe and Grant Wiggins, assists educators in first identifying
important outcomes of learning, then determining acceptable evidence of
attainment, and finally designing the best path for achieving those desired results.
National Core Arts Standards have been developed using the UbD framework as
a major design driver. Jay McTighe, along with visual arts educator Daisy
McTighe, provided early guidance to standards writing chairs as well as
additional assistance on model cornerstone assessments.
National Core Arts Standards were also developed with the full knowledge of
current trends in the field of public education, including—notably—the Common
Core State Standards. Educators familiar with the Common Core State Standards
for English Language Arts, in particular, found similarities in structure that aided
in the smooth implementation of the National Core Arts Standards.
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Simultaneously, those same educators found differences in content and
presentation that stem from the unique nature and traditions of each art form.
The National Coalition for Core Arts Standards is not associated with the
Common Core State Standards project, although it did review CCSS concepts
and design.
The National Core Arts Standards are built around evidence—not just evidence
of student learning, but also research-based discoveries that helped writers and
reviewers determine best-practice methods for the presentation of the standards
as well as their content. In addition to research compiled by the National
Coalition for Core Arts Standards (NCCAS) member organizations, the
standards writers have benefited from research efforts of the College Board. (The
College Board’s research on behalf of NCCAS is detailed in the Research-based
Discoveries section of the NCCAS website http://nationalartsstandards.org/).
Additional valuable research on arts education may be found in sources including
ArtsEdSearch.
The structure of the new arts standards suggests that they are learning events,
progressing across grades and levels to create a sequential, standards-based
approach to arts education. However, they also assume that learning does not
happen out of context. Quality learning requires opportunity-to-learn conditions
that create a rigorous and supportive learning environment. Standards are only
one building block of quality arts education.
Excerpted from National Arts Standards Conceptual Framework
Table 56—Referent Exemplar: NSW Creative Arts Syllabi

REFERENTS OBJECTIVES OUTCOMES/SCOPE
State/National Expectations of Indicators of student progress
students
New South Wales In the artform, Levels of learning -
Creative Arts K-6 students will Early Stage 1= KG
Date: 2006 develop knowledge, Stage 1: Years 1 and 2
Content Areas: Art, Dance, Drama, and skills and Stage 2: Years 3 and 4
Music understanding in: Stage 3: Years 5 and 6
Grade levels: K-6 Art (making, Scope offered with specific activities for
appreciating), Music more in depth learning and the
Addtl. Information: (performing, identification of results as students
-Digital Forms suggestions pgs. 84, 92, organizing sound, engage with the artforms.
-Assmt/Eval. Pgs. 99-101 listening), Drama
-The units of work are not mandatory, (making,
offering teachers and schools ways to performing,
adapt the units based on student needs, appreciating), Dance
resource access, and school priorities. (performing,
composing,
appreciating).
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Table 57—Full Alignment: CAS-Dance to NSW Syllabi
Colorado Academic Standards Alignment New South Wales Syllabi
K-6, 7-10, 11-12
Purpose Statement: Very Similar Purpose Statement:
The purpose of dance education in The overarching Creative Arts in grades K-6 (Early
preschool through high school is to goal of both is to Stage-Stage 3) is designed to enable
broadly educate all students in dance as experience dance students to gain increasing understanding
an art form and to promote physical as an art form. and accomplishment in the visual arts,
activity for fitness. CAS inserts fitness. music, drama and dance and for students
Investigating the meanings and NSW includes an to appreciate the meanings and values
significance of the works of artists, emphasis on that each of the artforms offer
choreographers, and technicians across communication, personally, culturally and as forms of
time and space provides for the values and communication. Dance in grades 7-10
examination of ideas across disciplines. attitudes. NSW (Stage 4-5 syllabus) is additional studies
They demonstrate a strong sense of self- includes portions based on dance as an artform and ensures
worth and satisfaction. of description for an all-round dance education in
all art forms and Performance, Composition and
specifics for dance. Appreciation. The knowledge, skills and
understanding, values and attitudes
gained are extended in Years 11-12.
Dance in grades 11-12 (Stage 6
syllabus) is designed for students to
experience, understand and value dance
as an artform through the study of the
performance, composition and
appreciation of dance.
Colorado Academic Standards, Dance, Dance Stage 6 Syllabus, excerpts from

excerpts from page 8 page 9
Prepared Graduate Competencies: Dissimilar Values and Attitudes in the Creative
The preschool through twelfth-grade Some overlap on a Arts: The arts exist within a framework
concepts and skills that all students who specific level, but of values; highly significant to students’
complete the Colorado education system overall intention is development of knowledge,
must master to ensure their success in a different. PGCs are understanding and skills in the artforms.
postsecondary and workforce setting. not parallel across Values contribute to the ways in which
 12 Dance Prepared Graduate arts disciplines, students develop interpretations,
Competencies Values and explanations and meanings about their
Attitudes in the own and others’ work in the art forms
Creative Arts are. that have a personal, social and cultural
PGCs need to be relevance; assist students to understand
measured for and utilize the artforms as symbolic
mastery unlike forms of communication.
NSW Values and  14 Values and Attitudes in the NSW
Attitudes K-6 syllabus
Colorado Academic Standards, Dance, Creative Arts K-6 Syllabus, page 18

page 9 & 12
Prepared Graduate Competencies: Similar/Dissimilar Key Competencies:
The preschool through twelfth-grade The CAS PGCs Dance provides a powerful context
concepts and skills that all students who and the NSW Key within which to develop general
complete the Colorado education system Competencies are competencies considered essential for the
must master to ensure their success in a similar in purpose; acquisition of effective, higher-order
postsecondary and workforce setting. however, they thinking skills necessary for further
105
 12 Dance Prepared Graduate differ in grain size. education, work and everyday life. Key
Competencies CAS have PGCs competencies are embedded in the Dance
for every GLE. Stage 6 Syllabus to enhance student
NSW Key learning
Competencies  8 Key competencies
provide broad
Colorado Academic Standards, Dance, context. See
page 9 & 12 Dance Stage 6 Syllabus, page 17
comparison chart
entitled Comparing
CAS Prepared
Graduate
Competencies in
Dance with the
NSW Key
Competencies.
N/A Foundation Statements: Sets out a

clean picture of the knowledge, skills
and understanding that each student
should develop at each stage of primary
school.
Creative Arts K-6 Syllabus, page 20

Standard: Similar Objectives: No definition found.
The topical organization of an academic Overall intent and
content area. purpose of
“objectives”
correlates to CAS
Colorado Academic Standards, Dance, definition of
page 9 “standard.”
Dance Standards: Similar Dance Dance Objectives:
1. Perform Intent is very Objectives: K-9 10-12
2. Create similar; In dance, Through dance
3. Contextualize organization is students will studies, students will
4. Respond & Connect similar. In NSW develop develop knowledge
“contexts” is knowledge, and understanding,
embedded in skills and skills, values and
composing and understanding in: attitudes about:
performing. 1. Composing 1. Dance as an
Appreciating 2. Performing artform
includes 3. Appreciating 2. Dance
responding to performance
dance works. 3. Dance
Creative Arts K- composition
6 Syllabus, page 4. Dance
8 appreciation
Colorado Academic Standards, Dance,
page 13 Dance Stage 6
Syllabus, pages 13-
16
High School Expectations: Very Similar Higher School Certificate Program of
The articulation of the concepts and skills Ultimate goal for Study—Stage 6 (years 10-12):
of a Standard that indicates a student is HSC program of
106
making progress toward being a prepared study and CAS The purpose of the HSC program of
graduate. What do students need to know Extended Pathway student is to 1) provide a curriculum
in high school? is so that students structure which encourages students to
 Fundamental Pathway- dance are prepared for complete secondary education; 2) foster
instruction for general enrichment advanced abilities the intellectual, social and moral
 Extended Pathway-dance instruction need for a dance development of students; 3) provide a
that is specialized in the art in its more career or college flexible structure within which students
advanced, performance- or dance performance can prepare for further education and
choreography-oriented form as degree. training; employment; full and active
preparation for college or a career. participation as citizens; 4) provide
formal assessment and certification of
students’ achievements; 5) provide a
context within which schools also have
the opportunity to foster students’
page 9 & 13
physical and spiritual development .
Dance Stage 6 Syllabus, page 5

GLE-Grade Level Expectations: Similar Outcomes:
The articulation (at each grade level), Similar definition; The outcomes are statements of the
concepts, and skills of a Standard that similar grain-size. knowledge and understanding and the
indicate a student is making progress However, NSW skills expected to be gained by most
toward being ready for high school. What outcomes typically students as a result of effective teaching
do students need to know from preschool spans 2 grade and learning in the artforms at the end of
through eighth grade? levels rather than a stage.
being grade-level
specific. CAS
definition assumes
effective teaching
Colorado Academic Standards, Dance, and learning.
page 9 Creative Arts K-6 Syllabus, page 23
Evidence Outcomes: Similar Indicator:
The indication that a student is meeting Similar intent; An indicator is a statement of the
an expectation at the mastery level. How similar grain size. behavior that students might display as
do we know that a student can do it? The NSW syllabus they work towards the achievement of
establishes a syllabus outcomes. Indicators are most
stronger correlation effectively used in relation to intentions
between Objectives of units of work and when assessing
and Indicators than student work samples. Indicators
the CAS do included in syllabi are examples only.
between GLE and
Evidence
Outcomes.
Colorado Academic Standards, Dance, Creative Arts K-6 Syllabus, page 23
page 9
GLE-Grade Level Expectations: Similar Content:
The articulation (at each grade level), Curiously, the CAS The knowledge and understanding,
concepts, and skills of a Standard that definition of GLE skills, values and attitudes that students
indicate a student is making progress also aligns with the will be engaged in when learning in the
toward being ready for high school. What NSW definition of Creative Arts. Describes what students
do students need to know from preschool “Content” (see will “learn to do” and what they will
through eighth grade? NSW “learn about” the artforms. Provides
“Outcomes”). NSE guidance for learning experiences in the
grain-size is classroom.
smaller.
107
Colorado Academic Standards, Dance, Dance Years 7-10 Syllabus, page 21
page 9 Dance Stage 6 Syllabus, page 19
21st Century Skills and Readiness
Competencies:
page 10
Inquiry Questions: N/A N/A
Sample questions are intended to promote
deeper thinking, reflection and refined
understandings precisely related to the
grade level expectation.
Relevance and Application: Similar Key Competencies:
Examples of how the grade level Some similarities Dance provides a powerful context
expectation is applied at home, on the job are found between within which to develop general
or in a real-world, relevant context. the purpose of the competencies considered essential for the
NSW Key acquisition of effective, higher-order
Competencies and thinking skills necessary for further
the CAS Relevance education, work and everyday life. Key
and Application; competencies are embedded in the Dance
however NSW is Stage 6 Syllabus to enhance student
grades 11-12 only learning.
and CAS is grade  8 Key competencies
level specific.
Colorado Academic Standards, Dance, Dance Stage 6 Syllabus, page 17
page 10
Nature of the Discipline: Similar/Dissimilar Nature of the Art Form:
The characteristics and viewpoint one Even without No definition provided; embedded in the
keeps as a result of mastering the grade having a succinct Rationale and Overview of Learning in
level expectation. definition from Creative Arts.
NSW it is evident
that there are
similarities in
purpose; however,
CAS includes
Nature of
Discipline for
every GLE. NSW
is in narrative form
found in the
Colorado Academic Standards, Dance, Rationale and
page 10 Overview of Creative Arts K-6 Syllabus, pages 6, 9-10
Learning.
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Table 58—PGCs Alignment: CAS-Dance to New South Wales Syllabi
Prepared Graduate Competencies in Dance NSW Key Competencies Stage 6 Syllabus
The prepared graduate competencies are the Dance provides a powerful context within which to
preschool through twelfth-grade concepts and skills develop general competencies considered essential
that all students who complete the Colorado for the acquisition of effective, higher-order thinking
education system must master to ensure their success skills necessary for further education, work and
in a postsecondary and workforce setting. everyday life. Key competencies are embedded in
Prepared graduates in dance: the Dance Stage 6 Syllabus to enhance student
 Understand that dance performance requires learning.
technical competency (C)*
 Demonstrate competence and confidence in Collecting, analysing and organising information
performing a variety of dance styles and genres (C)*
 Demonstrate awareness of fitness, wellness, and  In composition and choreographic activities,
the body’s potential for movement students collect stimulus material (of a
 Demonstrate and use the principles and practices kinaesthetic, visual, auditory, tactile or ideational
of choreography in the creative process (C)* nature) as the basic motivation for their
 Improvise and create movement based on an choreography. Its relevance is analysed through
intent or meaning (C)* the processes of abstraction,
 Demonstrate an understanding of form and  improvisation, evaluation, selection and
structure to create dances (C)* refinement, and the creative responses to the
 Participate in a dance production stimulus material are organised into a dance piece
 Understand and appreciate a dance in terms of the through dance movement. (C)*
culture in which it is performed (C)*  In Performance and Composition studies, students
 Explore and perform dance styles from various are required to complete a process diary detailing
cultures and eras (C)* their observations, research, decisions made and
 Use criticism and analysis to reflect upon and solutions to problems.
understand new works, reconstructions, and  In Appreciation studies, students research and
masterpieces (C)* collect material that they analyse and organise
 Discover connections to academic content areas, into critical, reflective essays. (C)*
social activities, mass media, and careers (C)*
 Demonstrate thinking skills such as describing, Communicating ideas and information (C)*
analyzing, interpreting, evaluating, and problem- In dance the body is the instrument for non-verbal
solving through dance movement and verbal communication. Through dance movement, students
discussion (C)* develop skills in communication where they express
moods, feelings, ideas and emotions.
 In dance technique classes, students use dance
technique to communicate and interpret dance
*C = Correlation between CAS & NSW Key
performance. (C)*
Competencies
 In Composition studies, students learn to
construct dance movement to communicate
clearly the intent of their choreography. (C)*
 In Appreciation, students learn to make
discriminating judgments about dance. (C)*
Planning and organising activities (C)*

In Composition studies students choreograph solo
and group dances. Choreography requires planning,
and students learn to integrate practical and
theoretical aspects of dance in the context of a dance
performance. They have to demonstrate their ability
to plan and
structure a dance and apply choreographic devices,
then organise the choreography through to
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performance, where they consider the staging, type
of accompaniment, props and costumes.
Working with others and in teams (NC)*

This competency is embedded in all components of
the syllabus. The study of the interrelated areas of
dance (Performance, Composition and Appreciation)
requires a cooperative learning environment.
• In learning about the process of composition,
students work closely with each other by making
their movement ideas suit the body/bodies of the
dancer/s they are working with. They learn
collaborative skills in order for their choreographic
work to be
understood and performed well.
• As the performer in both classroom activities and
in another student’s piece, students must observe
and reproduce movement as demonstrated by the
teacher or student choreographer.
Using mathematical ideas and techniques (C)*

There are many mathematical ideas and techniques
that are used as ways of thinking and visualising in
dance. In dance activities, students learn about the
transformation of shape, and they develop the ability
to understand the nature of change and structure.
 With space, students work with spatial awareness,
shape and direction, symmetry/asymmetry,
patterns, pathways and two and three dimensions.
 With measurement, students work with time,
patterns in time, distance, area, volume, and size.
Students also work with counting and complex
numbering sequences.
Solving problems (NC)*

Through problem-solving activities in Composition,
students learn to make creative responses. The
responses are dependent on the student’s ability to
perceive the problem, manipulate abstract ideas,
draw on previous learning, analyse and synthesise
solutions and
test and evaluate the solutions. In doing so, students
develop skills in communication, interpretation,
interaction, observation, critical appraisal and
evaluation, and research and analysis.
Using technology (NC)*

In major study Dance and Technology, students
develop skills in the use of computer software as a
choreographic tool. They can also use film/video
technology in filming dance.
Cultural understanding (C)*

In Appreciation studies, students view and analyse
dance from artistic, aesthetic and cultural
110
perspectives. They also address the concept of
differing artistic, social and cultural contexts of
dance.
Dance Stage 6 Syllabus, page 17-18
Many correlations were found between the CAS PGCs and the NSW Key Competencies.
However, the NSW Key Competencies are more descriptive and, therefore, provide greater
rigor, depth, and breadth. Using mathematical ideas and techniques correlates most closely
with PGC Discover connections to academic content areas, social activities, mass media, and
careers. A CAS PGC for Dance correlation to NSW Solving problems and using technology
was not found. While correlations across competencies were not found for each competency
while reviewing other components of the CAS Dance and the NSW syllabi, these areas are
likely to be identified and lead to establishing a stronger correlation across documents than
identified in this table.
Table 59—Full Alignment: CAS-Drama and Theatre Arts to NSW Syllabi

K-6, 7-10, 11-12
Theatre Arts are Important to Life and The overarching Creative Arts in grades K-6 (Early
Learning. Theatre arts are a universal goal of both is to Stage-Stage 3) is designed to enable
force in the everyday life of people experience drama students to gain increasing
around the world. This force connects as an art form and understanding and accomplishment in
each new generation to those who have a strong the visual arts, music, drama and dance
gone before. Students need Drama- connection and for students to appreciate the
Theatre arts to make these connections between people meanings and values that each of the
and to express the otherwise from different artforms offer personally, culturally and
inexpressible. Theatre, the imagined and times and places. as forms of communication. Drama in
enacted world of human beings, is one grades 7-10 (Stage 4-5 syllabus) is an
of the primary ways children learn about artform with a discrete body of
life – about actions and consequences, knowledge including conventions,
customs and beliefs, and others and history, skills and methods of working.
themselves. It is an integral aspect of our society
and is taught in school curricula
worldwide. Drama fosters an
understanding of continuity and change,
and of the connections between
different times and cultures. It provides
opportunities to explore social, cultural,
ethical and spiritual beliefs, including
the diverse values of Australian culture.
Drama in grades 11-12 (Stage 6
syllabus) is an art form that explores the
world through enactment. It is a
collaborative art form that involves the
creative interaction of individuals using
a range of artistic skills. Drama is an
important means of understanding,
111
constructing, appreciating and
communicating social and cultural
values; interpreting, valuing and
transmitting the past and traditions;
exploring, celebrating and challenging
the present and imagining the future.
Drama Years 7-10 Syllabus, page 8

Drama Stage 6 Syllabus, excerpts from
Colorado Academic Standards, Drama page 5
and Theatre Arts
Dissimilar Values and Attitudes in the Creative
Some overlap on a Arts: The arts exist within a framework
specific level, but of values; highly significant to students’
overall intention is development of knowledge,
different. PGCs are understanding and skills in the artforms.
not parallel across Values contribute to the ways in which
arts disciplines, students develop interpretations,
Values and explanations and meanings about their
Attitudes in the own and others’ work in the art forms
Creative Arts are. that have a personal, social and cultural
PGCs need to be relevance; assist students to understand
measured for and utilize the artforms as symbolic
mastery unlike forms of communication.
NSW Values and  14 Values and Attitudes in the NSW
Attitudes K-6 syllabus

Prepared Graduate Competencies: Similar Key Competencies: Drama skills and
The preschool through twelfth-grade The CAS PGCs knowledge are frequently developed
concepts and skills that all students who and the NSW Key simultaneously through participation in
complete the Colorado education system Competencies are creative activity, providing a framework
must master to ensure their success in a similar in purpose; for students to develop effective higher-
postsecondary and workforce setting. however, they order thinking skills considered essential
 8 Drama Prepared Graduate differ in grain size. for further education, work and
Competencies everyday life. Key competencies are
embedded in the Drama syllabus to
enhance student learning.
 6 Key competencies
Colorado Academic Standards, Drama
and Theatre Arts, page 9 & 12 Drama Stage 6 Syllabus, page 13
N/A Foundation Statements: Sets out a
clean picture of the knowledge, skills
and understanding that each student
should develop at each stage of primary
school.

Standard: The topical organization of Similar Objectives: No definition found.
an academic content area. Overall intent and
purpose of
“objectives”
correlates to CAS
112
Colorado Academic Standards, Drama definition of
and Theatre Arts, page 9 “standard.”
Drama and Theatre Arts Standards: Similar Drama Drama
1. Create Intent is very Objectives: K-9 Objectives: 10-12
2. Perform similar; In Drama, Students will
3. Critically Respond organization is students will develop:
similar. develop knowledge and
knowledge, skills understanding
and about, and skills in,
understanding: making
• in making drama drama through
Colorado Academic Standards, Drama collaboratively participation in a
and Theatre Arts, page 13 by taking on variety of dramatic
roles and and theatrical
creating forms, drama and
imagined theatre using a
situations variety of dramatic
shaped by the elements, theatrical
elements of techniques and
drama conventions values
• in performing and attitudes about
drama by the collaborative
actively nature of drama
engaging in and theatre,
drama forms knowledge and
• in appreciating understanding
their own about, and skills in,
dramatic works performing using
and those of the elements of
others. drama and theatre
in performance in
improvised and
play built theatre,
and scripted drama
values and
attitudes about the
diversity of the art
of dramatic and
theatrical
performance
knowledge and
understanding
about, and skills in,
critically studying
the place and
function of drama
and theatre in
communities and
societies, past and
present a variety of
forms and styles
used in drama and
theatre values and
attitudes about
drama and the
theatre as a
113
community activity,
a profession and an
industry.
Dance Stage 6
Creative Arts K-6 Syllabus, pages 13-
Syllabus, page 8 16
High School Expectations: The Very Similar Higher School Certificate Program of
articulation of the concepts and skills of Ultimate goal for Study—Stage 6 (years 10-12): The
a Standard that indicates a student is HSC program of purpose of the HSC program of student
making progress toward being a study and CAS is to 1) provide a curriculum structure
prepared graduate. What do students Extended Pathway which encourages students to complete
need to know in high school? is so that students secondary education; 2) foster the
 Fundamental Pathway - describes are prepared for intellectual, social and moral
students who have limited interest in advanced abilities development of students; 3) provide a
theatrical performance or theatre- need for a dance flexible structure within which students
related vocations, or whose interest career or college can prepare for further education and
lies within other aspects of theatre- dance performance training; employment; full and active
related vocations, such as acoustic and degree. participation as citizens; 4) provide
structural engineering, advertising and formal assessment and certification of
marketing, event management, fashion students’ achievements; 5) provide a
design, mass communications, or context within which schools also have
publishing. the opportunity to foster students’
 Extended Pathway - is directed at physical and spiritual development .
students who intend to pursue Drama Stage 6 Syllabus, page 4
postsecondary education or vocation
in theatre, which might lead to careers
in theatre education, performance,
technical production, theater
management, or other theatre-related
areas. The expectations in the
Extended pathway meet all of the
prepared graduate competencies with
a much higher degree of rigor
appropriate to the expectations of
postsecondary Drama-Theatre
opportunities.
Colorado Academic Standards, Drama

GLE-Grade Level Expectations: The Similar Outcomes: The outcomes are
articulation (at each grade level), Similar definition; statements of the knowledge and
concepts, and skills of a Standard that similar grain-size. understanding and the skills expected to
indicate a student is making progress However, NSW be gained by most students as a result of
toward being ready for high school. outcomes typically effective teaching and learning in the art
What do students need to know from spans 2 grade forms at the end of a stage.
preschool through eighth grade? levels rather than
being grade-level
specific. CAS
definition assumes
effective teaching
Colorado Academic Standards, Drama, and learning. Creative Arts K-6 Syllabus, page 23
page 9
Evidence Outcomes: The indication Similar Indicator: An indicator is a statement
that a student is meeting an expectation Similar intent; of the behavior that students might
at the mastery level. How do we know similar grain size. display as they work towards the
that a student can do it? The NSW syllabus achievement of syllabus outcomes.
114
establishes a Indicators are most effectively used in
stronger correlation relation to intentions of units of work
between Objectives and when assessing student work
and Indicators than samples. Indicators included in syllabi
the CAS do are examples only.
between GLE and
Evidence
Outcomes.
Colorado Academic Standards, Drama, Creative Arts K-6 Syllabus, page 23
page 9
GLE-Grade Level Expectations: The Similar Content: The knowledge and
articulation (at each grade level), Curiously, the CAS understanding, skills, values and
concepts, and skills of a Standard that definition of GLE attitudes that students will be engaged in
indicate a student is making progress also aligns with the when learning in the Creative Arts.
toward being ready for high school. NSW definition of Describes what students will “learn to
What do students need to know from “Content” (see do” and what they will “learn about” the
preschool through eighth grade? NSW artforms. Provides guidance for learning
“Outcomes”). NSE experiences in the classroom.
grain-size is
smaller. In Drama Years 7–10 students engage in
an integrated study of:
 the elements of drama through the
practices of making, performing and
appreciating
 within the context of a range of
dramatic forms, performance styles
and their dramatic techniques and
theatrical conventions.
In Drama, the practices of Making,

Performing, and Critically Studying
interrelate. Students learn to engage in a
collaborative process in which they
explore, shape and symbolically
represent imagination, ideas, feelings,
attitudes, beliefs and their consequences.

Colorado Academic Standards, Drama, Drama Years 7-10 Syllabus, page 18
page 9 Drama Stage 6 Syllabus, page 14
Competencies:
page 10
Inquiry Questions: Sample questions N/A N/A
are intended to promote deeper thinking,
reflection and refined understandings
precisely related to the grade level
expectation.
Relevance and Application: Examples Similar Key Competencies: Drama skills and
of how the grade level expectation is Some similarities knowledge are frequently developed
applied at home, on the job or in a real- are found between simultaneously through participation in
world, relevant context. the purpose of the creative activity, providing a framework
NSW Key for students to develop effective higher-
115
Competencies and order thinking skills considered essential
the CAS Relevance for further education, work and everyday
and Application; life. Key competencies are embedded in
however, NSW is the Drama syllabus to enhance student
grades 11-12 only learning
and CAS is grade-  6 Key competencies
Colorado Academic Standards, Drama, level specific.
page 10 Drama Stage 6 Syllabus, page 13
Nature of the Discipline: Similar/Dissimilar Nature of the Art Form: No definition
The characteristics and viewpoint one Even without provided; embedded in the Rationale and
keeps as a result of mastering the grade having a succinct Overview of Learning in Creative Arts.
level expectation. definition from
NSW it is evident
that there are
similarities in
purpose; however,
CAS includes
Nature of
Discipline for
every GLE. NSW
is in narrative form
found in the
Rationale and
Overview of
Colorado Academic Standards, Drama, Learning. Creative Arts K-6 Syllabus, pages 6, 9-
page 10 10
Table 60—PGCs Alignment: CAS-Drama and Theatre Arts to NSW Key Competencies
Prepared Graduate Competencies in Drama NSW Key Competencies Stage 6 Syllabus
The prepared graduate competencies are the Drama skills and knowledge are frequently
preschool through twelfth-grade concepts and skills developed simultaneously through participation in
that all students who complete the Colorado creative activity, providing a framework for
education system must master to ensure their students to develop effective higher-order thinking
success in a postsecondary and workforce setting. skills considered essential for further education,
Prepared graduates in drama: work and everyday life. Key competencies are
 Employ drama and theatre skills, and articulate embedded in the Drama syllabus to enhance student
the aesthetics of a variety of characters and roles learning.
 Use a variety of methods, new media, and
technology to create theatrical works through the Collecting, analysing and organising information
use of the creative process for performance, (C)*
directing, design, construction, choreography,
playwriting, scriptwriting, and dramaturgy Communicating ideas and information (C)*
 Create drama and theatre by interpreting and Students reflect core processes of enquiry and are
appreciating theatrical works, culture, and explicit in the objectives and outcomes of the
experience through scenes and scenarios, syllabus. The other key competencies are developed
improvisation, creating environments, purposeful through the methodologies of the syllabus and
movement, and research through classroom pedagogy.
 Express drama and theatre arts skills in a variety
of performances, including plays, monologues, Planning and organising activities (C)*
improvisation, purposeful movement, scenes,
design, technical craftsmanship, media, ensemble
Working with others and in teams (C)*
works, and public speaking
116
 Demonstrate the evolution of rehearsal and Students work as individuals and as members of
product through performance and/or production groups to construct work for the Group Performance
teamwork while simultaneously validating both and the Individual Project.
as essential to the theatre making process
 Demonstrate an understanding and appreciation Solving problems (C)*
of theatre history, dramatic structure, dramatic In the Making, Performing, and Critically Studying
literature, elements of style, genre, artistic theory, practices within the Drama syllabus, student
script analysis, and roles of theatre practitioners learning involves enquiry, research, analysis,
through research and application experimentation and reflection.
 Make informed, critical evaluations of theatrical
performance from an audience member and a Using technology (C)*
participant point of view, and develop a Students have the opportunity to study new
framework for making informed theatrical approaches to Drama and Theatre and dramatic
choices forms in the media of film, video, radio and CD-
 Discern and demonstrate appropriate theatre ROM.
etiquette and content for the audience, self, venue,
technician, and performer
Colorado Academic Standards, Drama and Theatre
Arts
Drama Stage 6 Syllabus, page 13
Many correlations may be found between the CAS PGCs and the NSW Key Competencies.
CAS PGCs were descriptive and provided a high degree of correlation to the NSW Key
Competencies.
Table 61—Full Alignment: CAS-Visual Arts to NSW Syllabi

K-6, 7-10, 11-12
Exploration of visual arts and design The overarching Creative Arts in grades K-6 (Early
processes is about invention, creation goal of both is to Stage-Stage 3) is designed to enable
and innovation. Building on the experience visual students to gain increasing
development of ideas through a process arts as an art form. understanding and accomplishment
of inquiry, discovery and research leads NSW includes an in the visual arts, music, drama and
to the creation of works of art, and, emphasis on dance and for students to appreciate
whether using traditional materials or the communication, the meanings and values that each of
latest technologies, prepares students to values and the artforms offer personally,
be independent, lifelong learners. attitudes. NSW culturally and as forms of
Participation in the visual arts provides includes portions communication. Visual Arts in
students with unique experiences and of description for grades 7-10 syllabus) Visual Arts
skills that develop important traits for all art forms and places great value on the
success in the 21st century workforce. specifics for visual development of students’
Studying art and design involves inquiry, arts. intellectual and practical autonomy,
posing, and solving problems, reflective action, critical judgement
perseverance, re-purposing, taking risks and understanding of art in
and persuading and inspiring. artmaking and in critical and
historical studies of art. Visual Arts
plays an important role in the social,
cultural and spiritual lives of
students. It offers a wide range of
117
opportunities for students to develop
their own interests, to be self-
motivated and active learners who
can take responsibility for and
continue their own learning in
school and post-school settings.
Visual Arts in grades 11-12 (Stage 6

syllabus) Visual Arts as a subject
provides for various interpretations
of the visual arts that are both
contemporary and relevant.
Acknowledging that visual arts
encompasses the areas of art, craft
and design, the subject is
theoretically and practically
sustained by practice, the frames,
and a conceptual framework about
art. These underpinnings form the
basis for content and accommodate
Colorado Academic Standards, Visual different student interests and
Arts, excerpts from page 8 abilities.
Visual Arts Stage 6 Syllabus,

excerpts from page 9
Prepared Graduate Competencies: Dissimilar Values and Attitudes in the Creative
The preschool through twelfth-grade Some overlap on a Arts:
concepts and skills that all students who specific level, but The arts exist within a framework of
complete the Colorado education system overall intention is values; highly significant to students’
must master to ensure their success in a different. PGCs are development of knowledge,
postsecondary and workforce setting. not parallel across understanding and skills in the
arts disciplines, artforms. Values contribute to the
 17 Visual Arts Prepared Graduate Values and Attitudes ways in which students develop
Competencies in the Creative Arts interpretations, explanations and
are. PGCs need to be meanings about their own and others’
measured for work in the artforms that have a
mastery unlike NSW personal, social and cultural
Values and Attitudes relevance; assist students to
understand and utilize the artforms as
symbolic forms of communication.
Colorado Academic Standards, Prepared  14 Values and Attitudes

Graduate Competencies in Visual Arts,
page 13 Creative Arts K-6 Syllabus, page 18
Prepared Graduate Competencies: Similar/Dissimilar Key Competencies:
The preschool through twelfth-grade The CAS PGCs and Visual Arts Stage 6 provides
concepts and skills that all students who the NSW Key opportunities for students to develop
complete the Colorado education system Competencies are skills in each of the key competencies.
must master to ensure their success in a similar in purpose; These competencies are considered
postsecondary and workforce setting. however, they differ essential for the acquisition of
 17 Visual Arts Prepared Graduate in grain size. CAS effective, higher-order thinking skills
Competencies have PGCs for every necessary for further education, work
GLE. NSW Key and everyday life.
Competencies  7 Key competencies
provide broad
118
context. See
Colorado Academic Standards, Prepared comparison chart
Graduate Competencies in Visual Arts, below. Visual Arts Stage 6 Syllabus, page 17
page 13
N/A Foundation Statements:
Sets out a clean picture of the
knowledge, skills and understanding
that each student should develop at
each stage of primary school.

Standard: The topical organization of an Similar Objectives: No definition found.
academic content area. Overall intent and
purpose of
“objectives”
Colorado Academic Standards, Visual correlates to CAS
Arts, page 9 definition of
“standard.”
Visual Arts Standards: Similar Visual Arts Visual Arts
1. Observe and Learn to Comprehend Intent is very Objectives: K-9 Objectives: 10-12
2. Envision and Critique to Reflect similar; organization In visual arts, Through visual
3. Invent and Discover to Create is similar. In NSW students will arts studies,
4. Relate and Connect to Transfer “contexts” is develop students will
embedded in knowledge, develop
creating and skills and knowledge and
interpreting. understanding understanding,
in: skills, values and
1. Make attitudes about:
artworks 1. Artmaking
2. Critically and 2. Art criticism
historically and art history
interpret art
Visual Arts
Colorado Academic Standards, Visual Years 7-10
Arts, page 13 Syllabus, page Visual Arts Stage 6
11 Syllabus, page 9
High School Expectations: Similar Higher School Certificate Program
The articulation of the concepts and skills Ultimate goal for of Study—Stage 6 (years 10-12):
of a Standard that indicates a student is HSC program of The purpose of the HSC program of
making progress toward being a prepared study and CAS student is to 1) provide a curriculum
graduate. What do students need to know Extended Pathway is structure which encourages students to
in high school? so that students are complete secondary education; 2)
prepared for foster the intellectual, social and moral
advanced abilities development of students; 3) provide a
need for college or flexible structure within which
career. students can prepare for further
education and training; employment;
full and active participation as
citizens; 4) provide formal assessment
and certification of students’
achievements; 5) provide a context
within which schools also have the
opportunity to foster students’
physical and spiritual development .
119
Colorado Academic Standards Visual Visual Arts Stage 6 Syllabus, page 4
Arts page 15
GLE-Grade Level Expectations: Similar Outcomes:
The articulation (at each grade level), Similar definition; The outcomes are statements of the
concepts, and skills of a Standard that similar grain-size. knowledge and understanding and the
indicate a student is making progress However, NSW skills expected to be gained by most
toward being ready for high school. What outcomes typically students as a result of effective
do students need to know from preschool spans 2 grade levels teaching and learning in the artforms
through eighth grade? rather than being at the end of a stage.
grade-level specific.
CAS definition
assumes effective
teaching and
Colorado Academic Standards, Visual learning.
Arts, page 15 Creative Arts K-6 Syllabus, page 23
Evidence Outcomes: Similar Indicator:
The indication that a student is meeting Similar intent; An indicator is a statement of the
an expectation at the mastery level. How similar grain size. behavior that students might display
do we know that a student can do it? The NSW syllabus as they work towards the achievement
establishes a of syllabus outcomes. Indicators are
stronger correlation most effectively used in relation to
between Objectives intentions of units of work and when
and Indicators than assessing student work samples.
the CAS do between Indicators included in syllabi are
GLE and Evidence examples only.
Colorado Academic Standards, Visual Outcomes.
Arts, page 10 Creative Arts K-6 Syllabus, page 23
GLE-Grade Level Expectations: The Similar Content:
articulation (at each grade level), Curiously, the CAS The knowledge and understanding,
concepts, and skills of a Standard that definition of GLE skills, values and attitudes that
indicate a student is making progress also aligns with the students will be engaged in when
toward being ready for high school. What NSW definition of learning in the Creative Arts.
do students need to know from preschool “Content” (see NSW Describes what students will “learn to
through eighth grade? “Outcomes”). NSW do” and what they will “learn about”
grain-size is smaller. the artforms. Provides guidance for
Colorado Academic Standards, Visual learning experiences in the classroom.
Arts, page 9
Visual Arts Years 7-10 Syllabus, page
14
Visual Arts Stage 6 Syllabus, page 16
Competencies:
Colorado Academic Standards, Visual
Arts, page 10
Inquiry Questions: N/A N/A
Sample questions are intended to promote
deeper thinking, reflection and refined
understandings precisely related to the
grade level expectation.
Relevance and Application: Similar Key Competencies:
120
Examples of how the grade level Some similarities Dance provides a powerful context
expectation is applied at home, on the job are found between within which to develop general
or in a real-world, relevant context. the purpose of the competencies considered essential for
NSW Key the acquisition of effective, higher-
Competencies and order thinking skills necessary for
the CAS Relevance further education, work and everyday
and Application; life. Key competencies are embedded
however, NSW is in the Dance Stage 6 Syllabus to
grades 11-12 only enhance student learning.
and CAS is grade-  7 Key competencies
level specific.
Colorado Academic Standards, Visual Visual Arts Stage 6 Syllabus, page 14
Arts, page 10 & 15
Nature of the Discipline: Similar/Dissimilar Nature of the Art Form:
The characteristics and viewpoint one Even without having No definition provided; embedded in
keeps as a result of mastering the grade a succinct definition the Rationale and Overview of
level expectation. from NSW it is Learning in Creative Arts.
evident that there
are similarities in
purpose; however,
CAS includes
Colorado Academic Standards, Visual Nature of Discipline
Arts, page 10 for every GLE. Creative Arts K-6 Syllabus, pages 6,
9-10
Table 62—PGCs Alignment: CAS-Visual Arts to NSW

Prepared Graduate Competencies in Visual Arts: NSW Key Competencies Stage 6 Syllabus
The prepared graduate competencies are the Visual Arts Stage 6 provides opportunities for
preschool through twelfth-grade concepts and skills students to develop skills in each of the key
that all students who complete the Colorado competencies. These competencies are considered
education system must master to ensure their success essential for the acquisition of effective, higher-order
in a postsecondary and workforce setting. thinking skills necessary for further education, work
and everyday life.
Prepared graduates in Visual Arts:
Standard 1: Observe and Learn to Comprehend Collecting, analysing and organising information
 Recognize, articulate and debate that the visual (C)*
arts are a means for expression • In the practices of artmaking, art criticism and art
 Make informed critical evaluations of visual and history students learn to collect selected information
material culture, information, and technologies that is adapted and shaped in their investigations of
 Analyze, interpret, and make meaning of art and ideas and images. In developing informed points of
design critically using oral and written discourse view in written and practical forms, students
 Explain, demonstrate, and interpret a range of consider how information may be analysed and used
purposes of art and design, recognizing that the to represent new interpretations of ideas and
making and study of art and design can be interests.
approached from variety of viewpoints
Communicating ideas and information (C)*
Standard 2: Envision and Critique to Reflect In Visual Arts Stage 6 students develop skills in
 Recognize, demonstrate, and debate philosophic representing ideas and interests in artworks, written
arguments about the nature of art and beauty and oral forms. Students learn to consider the
(aesthetics) different ways their ideas and interests may be
 Recognize, demonstrate and debate the place of art understood by audiences and how they communicate
and design in history and culture meaning.
121
 Use specific criteria to discuss and evaluate works Planning and organising activities (C)*
of art (9)* Visual Arts Stage 6 encourages students to actively
 Critique personal work and the work of others with investigate and develop networks of procedures and
informed criteria actions. In artmaking, students learn to plan courses
 Recognize, articulate and implement critical of action and make judgements about ways to
thinking in the visual arts by synthesizing, organise ideas, images and materials to represent a
evaluating, and analyzing visual information. point of view in the works they make. Through
researching interests in art criticism and art history,
Standard 3: Invent and Discover to Create students learn to plan investigations and arguments
that involve the organisation of written information
 Recognize, interpret, and validate that the creative
and examples of artworks, artists and audiences to
process builds on the development of ideas
use in their explanations and evaluations.
through a process of inquiry, discovery, and
research
 Develop and build appropriate mastery in art Working with others and in teams (NC)*
making skills using traditional and new In Visual Arts students learn to work collaboratively
technologies and an understanding of the of the in artmaking and art criticism and art history.
characteristics and expressive features of art and Through group discussions of ideas, research
design investigations, class debates and the making of
 Create works of art that articulate more collaborative works, students learn to work
sophisticated ideas, feelings, emotions, and points cooperatively and to consider the responses of others
of view about art and design through an expanded to their points of view.
use of media and technologies
 Recognize, compare, and affirm that the making Using mathematical ideas and techniques (C)
and study of art and design can be approached Through artmaking students develop skills in
from a variety of viewpoints, intelligences, and judging proportions, sizes, time and spatial
perspectives relationships in 2, 3 and 4 dimensions. Particular
artworks employ complex mathematical knowledge
and skills requiring precise measurement and
Standard 4: Relate and Connect to Transfer
geometry.
 Identify, compare, and interpret works of art
derived from historical and cultural settings, time
periods, and cultural contexts Solving problems (NC)
 Identify, compare and justify that the visual arts Solving problems is regarded as being central to this
are a way to acknowledge, exhibit and learn about syllabus. Practical forms of knowledge are
the diversity of peoples, cultures and ideas recognised as foundational to learning in the subject.
 Transfer the value of visual arts to lifelong Students in Visual Arts Stage 6 examine and assess
learning and the human experience the nature and requirements of the various tasks they
undertake in the art classroom. They make
 Explain, compare and justify that the visual arts
judgements about the appropriateness of actions and
are connected to other disciplines, the other art
procedures to solve problems in artmaking, art
forms, social activities, mass media, and careers in
criticism and art history.
art and non-art related areas
Using technology (C)
In Visual Arts Stage 6 students develop skills in the
use of both contemporary and traditional technology
in the practice of artmaking, art criticism and art
history. The range of technologies used may include
film/video, computer hardware and software,
printmaking equipment and a variety of materials
used in the expressive forms.
Visual Arts Stage 6 Syllabus, pages 14 &15
122
Many correlations may be found between the CAS PGCs and the NSW Key Competencies.
However, the NSW Key Competencies are more descriptive and, therefore, provide greater
rigor, depth, and breadth. Using mathematical ideas and techniques correlates most closely
with PGC Discover connections to academic content areas, social activities, mass media, and
careers. Correlations were not found for NSW Solving problems and Working with other in
teams in the CAS PGCs for Visual Arts. The NSW Key Competency Cultural Understanding
was not included in the CAS-Visual Arts document. While correlations across competencies
were not found for each competency while reviewing other components of the CAS Visual
Arts and the NSW syllabi, these areas could be identified and used to establish a stronger
correlation across documents than identified in this cross-comparison chart.
Table 63—Overview: CAS-Arts

State/National Main Areas of Focus Expectations of SCOPE
Students Indicators of Student
Progress
Colorado 4 Standards - Grade Level and High Evidence/Outcomes and
Date: 2009 1. Expression of music School Expectations - 21st Century and PWR
Grade levels: Preschool, 2. Creation of music Prepared Graduate Skills Inquiry Questions
K,1,2,3,4,5,6,7,8 3. Theory of music Competencies
HS: Generalist and 4. Aesthetic Valuation of
Performance music
Pathways
- 21st century skills
throughout.
- Colorado Early
Childhood
Building Blocks
Standards on Creativity
and High Scope Music
recommendations were
incorporated.
123
Table 64—Referent Exemplar: Arizona Academic Standards in the Arts
Progress
Arizona - 4 Artistic Processes: 11 Anchor Standards: Enduring
Arizona Academic Creating, #1. Generate and Understandings and
Standards in the Arts Performing/Presenting/ conceptualize artistic Essential Questions
Date: 2015 Producing, Responding, ideas and work. present guidance for
Content Areas: Dance, Connecting #2. Organize and instruction, assessment,
Media Arts, Music, develop artistic ideas and practice.
Theatre, and Visual Arts and work.
Grade levels: #3. Refine and complete.
K,1,2,3,4,5,6,7,8 #4. Analyze, interpret,
HS: Proficient, and select artistic
Accomplished, work for
Advanced presentation.
#5. Develop and refine
Additional Strands in artistic work for
Music, Performing #6. Convey meaning
Ensembles, Harmonizing through the
Instruments, and Music presentation of
Technology artistic work.
#7. Perceive and analyze
Media Arts Standards- artistic work.
artistic literacy in: film, #8. Interpret intent and
animation, gaming and meaning in artistic
computational work.
artmaking. #9. Apply criteria to
evaluate.
#10. Synthesize and
relate knowledge and
personal experiences
to make art.
#11. Relate artistic ideas
and works with
deepen
understanding.
124
Table 65—Referent Exemplar: Delaware Content Standards for Visual and Performing Arts
Progress
Delaware 4 Artistic Processes: 11 Anchor Standards: Enduring
Date: 2016 Creating, #1. Generate and Understandings and
Content Areas: Dance, Performing/Presenting/ conceptualize Essential Questions
Media Arts, Music, Producing, Responding, artistic ideas and present guidance for
Theatre, and Visual Arts Connecting work. instruction, assessment,
Grade levels: K, 1, 2, 3, #2. Organize and and practice.
4, 5, 6, 7, 8 develop artistic
HS: Proficient, ideas and work.
Accomplished, #3. Refine and complete.
Advanced #4. Analyze, interpret,
and select artistic
Additional Strands in work for
Music, Performing #5. Develop and refine
Ensembles, Harmonizing artistic work for
Instruments, and Music presentation.
Technology #6. Convey meaning
through.
artistic work.
meaning in artistic
work.
evaluate.
#10. Synthesize and
relate knowledge
and personal
experiences to make
art.
and works with
deepen
understanding.
125
Table 66—Referent Exemplar: National Core Arts Standards
Progress
National Core Arts 4 Artistic Processes: 11 Anchor Standards: Enduring
Standards Date: 2014 Creating, #1. Generate and Understandings and
Content Areas: Dance, Performing/Presenting/ conceptualize Essential Questions
Media Arts, Music, Producing, Responding, artistic ideas and present guidance for
Theatre, and Visual Arts Connecting for Dance, work. instruction, assessment,
Grade levels: Media Arts, Music, #2. Organize and and practice.
K,1,2,3,4,5,6,7,8 Theatre, and Visual Arts. develop artistic
HS: Proficient, ideas and work.
Accomplished, #3. Refine and complete.
Advanced #4. Analyze, interpret,
and select artistic
Additional Strands in work for
Music, Performing #5. Develop and refine
Ensembles, Harmonizing artistic work for
Instruments, and Music presentation.
Technology #6. Convey meaning
through.
artistic work.
meaning in artistic
work.
evaluate.
#10. Synthesize and
relate knowledge
and personal
experiences to make
art.
and works with
deepen
understanding.
126
Table 67—Referent Exemplar: New South Wales Creative Arts Syllabi
Progress
New South Wales In the artform, students Levels of learning-
Date: 2006 will develop knowledge, Early Stage 1= KG
Content Areas: Art, skills and understanding Stage 1: Years 1 and 2
Dance, Drama, and in: Art (making, Stage 2: Years 3 and 4
Music appreciating), Music Stage 3: Years 5 and 6
Grade levels: K-6 (performing, organizing Scope offered with
sound, listening), Drama specific activities for
Addtl. Information: (making, performing, more in depth learning
-Digital Forms appreciating), Dance and the identification of
suggestions pgs. 84, 92, (performing, composing, results as students
-Assmt/Eval. Pgs. 99- appreciating). engage with the
101 artforms.
-The units of work are
not mandatory, offering
teachers and schools
ways to adapt the units
based on student needs,
resource access, and
school priorities.
Summary
The next steps in this journey will likely include rich discussions, some of which may
challenge individuals and whole teams to broaden their perspectives. It is hoped that the
observations and recommendations stemming from this Review will equip future Colorado
Academic Standards writing teams with a solid starting point on which to base changes to the
Standards. The members of the Review Team fervently believe that shaping Standards
through the lenses of rigor, depth, breadth, and coherence will result in materials that guide
curriculum and instruction, and that teachers and students can embrace as a roadmap to arts
127
VII. REFERENCES
2008. Senate Bill 08–212. Accessed September, 28, 2016 at

http://www.cde.state.co.us/cdedepcom/cap4klegislation; See 08-212-22-7-1001
SECTION 1. Article 7 of Title 22, Colorado Revised Statutes, is amended BY THE
ADDITION OF A NEW PART to read: PART 10 PRESCHOOL TO
POSTSECONDARY EDUCATION ALIGNMENT 22-7-1001
Achieve - http://www.achieve.org/files/IntELABrief.pdf
American Educational Research Association Code of Ethics
Australian Standards - http://www.boardofstudies.nsw.edu.au/australian-curriculum/k-12-

arts.html
College Board - http://www.ed.gov/race-top/district-competition/definitions
Ed Glossary - http://edglossary.org/learning-standards/
International Standards for Arts Education by College Board 2013 Review -

http://www.nationalartsstandards.org/sites/default/files/College%20Board%20Research%20-
%20International%20Standards_0.pdf
New South Wales - http://k6.boardofstudies.nsw.edu.au/wps/portal/go/creative-arts
WestEd - Standards site- https://www.wested.org/area_of_work/standards-assessment-

accountability/
US Education Definitions - http://www.ed.gov/race-top/district-competition/definitions
128
VIII. APPENDICES
APPENDIX A: REVIEWER BIOGRAPHIES
Project Lead and Theatre Review - Dale Schmid, Ed.D.
Dr. Dale Schmid is the Visual & Performing Arts Coordinator for the New Jersey State
Department of Education; a position he has held since 1999. Currently, Dr. Schmid serves
on the executive committee for the State Education Agency Directors of Arts Education
(SEADAE); the Leadership Team of the National Coalition for Core Arts Standards
(NCCAS); the governance board and steering committees of the New Jersey Arts Education
Partnership; and the 6-12 Arts Advisory Council & Non-Cognitive Arts Impact Research
Team for the College Board. Some of his prior leadership experience includes having served
as an executive steering committee member of the national Arts Education Partnership, the
States Collaborative on Assessment and Student Standards (SCASS)/Arts Education
Consortium, and NJN Public Broadcasting Authority.
A Past-President of the National Dance Education Organization (NDEO), Dr. Schmid was
also a member of the teams that developed the NCCAS National Arts Standards; NDEO’s
Standards for a K-12 Model Program: Opportunities to Learn in Dance Arts Education
(2005); the Professional Teaching Standards for Dance Arts (2005, 2011); and the
Standards for Learning & Teaching Dance in the Arts: Ages 5-18. Additionally, he was the
project coordinator overseeing the development and psychometric evaluation of the Dance
Entry Level Teacher Assessment (DELTA) project for NDEO and SEADAE; a national
entry-level teacher readiness examination for K-12 public school dance educators. The first
instrument of its kind, DELTA represents a major step toward reaching national consensus
on the pedagogic content knowledge necessary to the success of beginning teachers. Prior
to his employment at the NJDOE, Dr. Schmid taught dance and theatre at the high school
and collegiate levels, and spent many years on the regional and national touring circuit as a
dancer, actor, choreographer, director and teaching artist. He earned his Doctorate in
Educational & Organizational Leadership from the University of Pennsylvania, and holds a
M.Ed. in dance from Temple University as well undergraduate degrees in Speech & Theatre,
and Health & Physical Education from Bemidji State University.
Dance Review - Marcia McCaffrey, M.A.
M.A. Dance Education, Columbia University, Teachers College (1984)

B.S. Iowa State University, Elementary Education (1980)
B.S. Iowa State University, Physical Education, Dance Emphasis (1980)
As the Arts Consultant for the New Hampshire Department of Education, Ms. McCaffrey
has seventeen years of leadership experience at the state education agency working with
partners and key stakeholders to interpret and implement quality arts education for the
129
state’s public education sector. Marcia is the immediate past president of the State
Education Agency Directors of Arts Education (SEADAE) representing SEADAE on the
National Coalition for Core Arts Standards (NCCAS) Leadership Team and facilitated
meetings for NCCAS during the 3 years of National Standards development.
Ms. McCaffrey’s experience includes serving as a dance grant panelist National

Endowment for the Arts; national conference presenter on the power of standards and
assessment in teaching and learning; dance educator for public schools and higher
education; and proprietor of a small dance business; and director of a seniors’ dance
company. She is also a member of the National Dance Education Organization’s Advisory
Board and in that role focuses on curriculum, standards, and assessment for the
organization.
With co-author Dr. Linda Lovins, Ms. McCaffrey recently completed a report on The
Status of Arts Assessment in the United States. The study is a result of a 2015 survey
implemented by Lovins and McCaffrey to SEADAE members to investigate drivers of
arts assessment at the state level. Results will also be published in a forthcoming book on
Policy and Practice in Music Assessment, Oxford University Press, Dr. Timothy Brophy,
editor.
Music Review - Julie A. Palkowski, Ph.D.
Dr. Julie A. Palkowski is the Fine Arts and Creativity Education Consultant for the
Wisconsin Department of Public Instruction. She has previously served as an arts
administrator with school districts in Rockford, Illinois and Madison, Wisconsin. In her
current position, she is a liaison to various boards including the Wisconsin School Music
Association, Wisconsin Art Education Association, the Alliance for Wisconsin Theatre
Education, and the Wisconsin Dance Council. Julie has facilitated arts education sessions
focused on pedagogy, program development and promotion, disciplinary literacy, and
technology throughout Wisconsin.
Prior to these positions and activities, Dr. Palkowski worked as a Title I Instructional
Supervisor, a K4-8th Grade Principal, Music Teacher, and Summer Enrichment
Coordinator. She has led multiple standards reviews as a Fine Arts Administrator with two
school districts and as a Principal. Additional research experiences include serving as a
doctoral chair and mentor for graduate and doctoral students, and as an external research
team member for the Madison Metropolitan School District. She served as a reviewer for
the Nebraska Art Standards in preparation for their state adoption. She has worked as a
collaborator to the National Core Arts Standards Dance Leadership Writing Team.
National work includes Dr. Palkowski’s service as President to the State Education
Agency Directors of Arts Education, where she has also been supporting the Arts
Education Data Project as a Co-Chair, serves as an active member to the National
Coalition of Core Arts Standards, and has been a session panelist and reviewer for
organizations such as the Arts Education Partnership and National Endowment for the
Arts.
130
Visual Arts Review - Debora Hansen
M. Ed. School Counseling, Wilmington University (1999)

B.F.A. Printmaking, University of Delaware (1981)
Debora Hansen is the Education Associate for Visual & Performing Arts, Gifted &
Talented Programs and College Level Coursework at the Delaware Department of
Education. A graduate of the University of Delaware with a Bachelor of Fine Arts degree
in printmaking, Deb taught visual arts in Delaware public schools before receiving her
Master’s degree in school counseling through Wilmington University. In 1996, she was
honored to be named Delaware’s Art Educator of the Year. In that year she was also
appointed by Governor Tom Carper to serve as a member of the Delaware State Arts
Council. Employed at the Delaware Department of Education since 2000, Deb has
overseen a state arts standards revision, three cycles of development and implementation
of student assessments in the arts for use in teacher evaluation, the adoption of Core Arts
Standards and the planning and implementation of professional learning to support these
efforts. Deb serves as an executive board member of the Delaware Arts Alliance. In 2008
she was elected president of SEADAE, the State Education Agency Directors of Arts
Education, and in that capacity served as a steering committee member of NCCAS, the
National Coalition for Core Arts Standards, which developed the Core Arts Standards.
Editor - Ray Lowther, Ed.D.
Dr. Lowther has served in public schools and collegiate institutions. He has 26 years of
experience in administrative and supervisory roles; and in coordinating academic,
performance, and non-performance programming. Dr. Lowther has edited and facilitated
the writing of fine arts standards in Virginia, Ohio, and Nebraska. He will be facilitating
the revision of fine arts standards in West Virginia in 2018. He has earned a Doctor of
Education from George Washington University in 1998.
Editor - Joyce Huser, M.Ed.
As Fine Arts Education Consultant for the Kansas State Department of Education, Joyce
provides state and national educational resources and guidance for diverse arts, arts
education, and general education groups regarding leadership in developing curricular
standards, curriculum design, instruction, and program planning. She is a two-time
National Board Certified teacher in Early/Middle Childhood Art, and has been an adjunct
instructor for both the University of Kansas in Lawrence, Kansas, and Washburn
University in Topeka, Kansas. She was a high school, middle, and elementary art teacher
for 20 years in various school districts in Wisconsin and Kansas, and director of the Valley
Park Elementary Cultural Arts Program in Overland Park, Kansas, for 6 years. She is a
member of and has served various roles in numerous professional associations, such as
131
SEADAE, NAEA, NASDAE, NAfME, KCA, KMEA, KAEA, KSAAE, and Kansas
Thespians. Her work includes writing National Course Code Descriptors for the Visual
Arts with direction from National Center for Education Statistics (NCES); assisting in the
development of the 21st Century Arts Skills Map in cooperation with The Partnership for
21st Century Skills (P21); and a writing the National Core Arts Standards (NCAS) for
Visual Arts through the National Coalition for Core Arts Standards (NCCAS). She has
written various articles for state and national publications, including chapters for
publications in and outside of Kansas. She has conducted various presentations and
workshops across the United States and in Dubai, United Arab Emirates. During her
professional career, Joyce has been awarded various state and regional awards, including
“Kansas Outstanding Elementary Art Educator of the Year,” “National Outstanding
Elementary Art Educator of the Year,” and “Kansas Outstanding Supervision and
Administrator of the Year.”
Editor - Linda Lovins, Pd.D.
Dr. Linda Lovins is a consultant, presenter, and author in education and the arts,
addressing such content as learning goals, essential questions, assessment of and for
learning, and authentic means of addressing common core standards in arts classrooms.
With respected colleague Marcia McCaffrey, she recently co-authored a chapter for The
Oxford Handbook of Assessment Policy and Practice in Music Education (2017, Timothy
Brophy, Editor). Titled The Status of Arts Assessment in the United States, the chapter will
serve as the opening to Volume II of this soon-to-be-published work on music assessment.
While the Arts Education Specialist at the Florida Department of Education from 2007 to
2011, she led development of the Next Generation Sunshine State Standards for the Arts
and more than 280 Course Descriptions incorporating the new arts standards. While at the
Department, Dr. Lovins also served as the Vice President of SEADAE, the State
Education Agency Directors of Arts Education, assisted with its grant-writing, served on
the Technology Committee, and co-facilitated the early work of the National Coalition for
Core Arts Standards.
She holds degrees in K-12 Music Education from the Crane School of Music at Potsdam
State University, Potsdam, New York; and earned her doctorate in Choral Music
Education from The Florida State University, where she studied with Dr. Clifford Madsen,
Rodney Eichenberger, Dr. Judy Bowers, and Dr. André Thomas. Her teaching career
spans 19 years in the K-16 music education classroom, most of which was dedicated to
her students in the public schools of Northern New York State. She is deeply honored to
be the “old music teacher” of many current arts and non-arts teachers and
performing/producing artists, and to be the blessed wife and mom of talented musicians
and artists. In addition to writing and consulting, Dr. Lovins remains a practicing musician
at Lafayette Presbyterian Church in Tallahassee, Florida, where she serves as Director of
Music and Artistic Director of Music with a Mission.
132
APPENDIX B: LINKS TO REFERENCE CHARTS
Cross-Index Comparison Spreadsheet: NCAS/CAS-DANCE

PK-2 Dance
3-5 Dance
6-8 Dance
HS Generalist and HS Performance
Composite Averages Dance
Alignment Study for CAS and NSW-Dance
Cross-Index Comparison Spreadsheet: NCAS/CAS-DRAMA and THEATRE ARTS

PK-2 Drama-Theatre
3-5 Drama-Theatre
6-8 Drama-Theatre
Composite Averages Drama-Theatre
Alignment Study for CAS and NSW-Drama/Theatre (See Section VI, p. 111)
Cross-Index Comparison Spreadsheet: NCAS/CAS-MUSIC

PK-2 Music
3-5 Music
6-8 Music
Composite Averages Music PK-8
Alignment Study for CAS and NSW-Music
Cross-Index Comparison Spreadsheet: NCAS/CAS-VISUAL ARTS

PK-2 Visual Arts
3-5 Visual Arts
6-8 Visual Arts
Composite Averages Visual Arts
Alignment Study for CAS and NCAS-Visual Arts
133
APPENDIX C: TABLES
SAMPLE Cross-Index Comparison Spreadsheets
Table 1—SAMPLE Cross-Index Comparison Spreadsheet: CAS-Drama and Theatre Arts .....9
Table 2—SAMPLE Cross-Index Comparison Spreadsheet: CAS-Visual Arts .......................11
Tables for Content Reviews: Dance
Table 3—CAS-Dance Standard 1 Composite Ratings .............................................................17

Table 7—Purpose Alignment: CAS-Dance to NCAS..............................................................23
Table 8—PGCs and Standards Alignment: CAS-Dance to NCAS .........................................23
Table 9—High School Expectations Alignment: CAS-Dance to NCAS .................................24
Table 10—GLEs and Evidence Outcomes Alignment: CAS-Dance to NCAS ........................25
Table 11—Additional Alignments: CAS-Dance to NCAS ......................................................26
Table 12—PGCs Alignment: CAS-Dance to NCAS (Anchor Standards) ...............................28
Table 13—Standards Alignment: CAS-Dance to NCAS (Lifelong Goals) .............................29
Tables for Content Reviews: Drama and Theatre Arts
Table 14—SAMPLE Cross-Index Comparison Spreadsheet: CAS-Drama/Theatre Arts ........32

Table 15—CAS-Drama and Theatre Arts Standards Composite Ratings ................................35
Table 16—CAS-Drama and Theatre Arts Standard 1 Composite Ratings ...............................36
Table 19—Standards Alignment: CAS-Drama and Theatre Arts to NCAS ............................45
Table 20—Full Alignment: CAS-Drama and Theatre Arts to NCAS ......................................46
Tables for Content Reviews: Music
Table 21—CAS-Music Standards Composite Ratings .............................................................53

Table 22—CAS-Music Standard 1, Grades PK-2 Composite Ratings.....................................54
Table 23—CAS-Music Standard 1, Grades 3-5, 6-8 Composite Ratings ................................55
Table 24—CAS-Music Standard 1, High School Composite Ratings .....................................58
134
Table 34—Standards Alignment: CAS-Music to NCAS .........................................................74
Table 35—PGCs Alignment: CAS-Music to NCAS................................................................74
Table 36—High School Expectations Alignment: CAS-Music to NCAS................................75
Table 37—GLEs Alignment: CAS-Music to NCAS ................................................................75
Table 38—Evidence Outcomes Alignment: CAS-Music to NCAS .........................................76
Table 39—Alignment: CAS-Music to New South Wales (NSW) Syllabi ...............................76
Tables for Content Reviews: Visual Arts
Table 40—SAMPLE CAS-Visual Arts Cross-Index Comparison Spreadsheet.......................80

Table 41—CAS-Visual Arts Standard 1 Composite Ratings ...................................................81
Table 45—Full Alignment: CAS-Visual Arts to NCAS ..........................................................87
Table 46—PGCs Alignment: CAS-Visual Arts to NCAS .......................................................90
Table 47—Full Alignment: CAS-Visual Arts to NCAS ..........................................................92
Tables for External Reviews: Referent Exemplars
Table 48—Framework Comparison: Arizona-Dance and Delaware-Dance ............................95

Table 49—Framework Comparison: Arizona-Media Arts and Delaware-Media Arts ............95
Table 50—Framework Comparison: Arizona-Music and Delaware-Music ............................96
Table 51—Framework Comparison: Arizona-Theatre and Delaware-Theatre ........................96
Table 52—Framework Comparison: Arizona-Visual Arts and Delaware-Visual Arts............97
Table 53—Referent Exemplar: Arizona Academic Standards in the Arts ...............................98
Table 54—Referent Exemplar: Delaware Content Standards for Visual/Performing Arts ....100
Table 55—Referent Exemplar: National Core Arts Standards...............................................102
135
Table 56—Referent Exemplar: New South Wales (NSW) ....................................................104
Table 57—Full Alignment: CAS-Dance to NSW ..................................................................105
Table 58—PGCs Alignment: CAS-Dance to NSW ...............................................................109
Table 59—Full Alignment: CAS-Drama and Theatre Arts to NSW .....................................111
Table 60—PGCs Alignment: CAS-Drama and Theatre Arts to NSW...................................116
Table 61—Full Alignment: CAS-Visual Arts to NSW ..........................................................117
Table 62—PGCs Alignment: CAS-Visual Arts to NSW .......................................................121
Table 63—Overview: CAS-Arts ............................................................................................123
Table 64—Referent Exemplar: Arizona Academic Standards in the Arts .............................124
Table 65—Referent Exemplar: Delaware Content Standards for Visual/Performing Arts ....125
Table 66—Referent Exemplar: National Core Arts Standards...............................................126
Table 67—Referent Exemplar: New South Wales .................................................................127
136
APPENDIX D: GLOSSARY
The terms identified below were either constructed by the Review Team, adapted by the
sources indicated, or identified with their originating sources. The keywords below offer a
deeper understanding of the main concepts which shape the work of the Review Team and
their lens for the Standards being investigated.
NCAS Music Glossary -

http://www.nationalartsstandards.org/sites/default/files/NCCAS%20GLOSSARY%20for%20
Music%20Standards%201%20column.pdf
Aesthetic Valuation of Music (CAS 4 - Music)—The value of music focuses on the

knowledge needed to make an informed evaluation and to provide a well-thought-out
critique about a musical piece. It also addresses the beauty, heart, and soul: the
aesthetics of music. Valuing music will permit individuals to distinguish between a
scholarly and an individual judgment of music.
Anchor Standards (NCAS)—Anchor Standards describe the general knowledge and skill
that teachers expect students to demonstrate throughout their education in the arts.
These Anchor Standards are parallel across arts disciplines and grade levels and serve
as the tangible educational expression of artistic literacy
Breadth—Breadth is defined to mean a logically scaffolded and sequenced set of standards in

which essential content is explored through a wide array of interrelated ideas, facts,
and perspectives. (Review Team-constructed definition)
Coherence—Learning standards can promote greater academic and instructional coherence,

or ‘alignment’ within a school or education system. Because standards are carefully
mapped out and sequenced, they can help schools and teachers avoid redundancy or
unnecessary repetition, while also creating a progression of instruction in which each
lesson builds on previous lessons, moving students from simpler concepts to more
complex and challenging concepts, from lower-level thinking to higher-level thinking,
or from less-sophisticated skills to more-sophisticated skills as they progress through
their education. (Ed Glossary)
Connecting (NCAS)—Relating artistic ideas and work with personal meaning and external
context.
Connecting (NCAS)—Relating artistic ideas and work with personal meaning and external
context.
Creating (NCAS)—Conceiving and developing new artistic ideas and work.
Creating (NCAS)—Conceiving and developing new artistic ideas and work.
137
Creation of Music (CAS 2 - Music)—The creation of music is the demonstration of learned
skills in the composition, improvisation, and arranging of music. Creating music
involves writing music, fashioning new music from an existing piece of music, or
forming an entirely new piece of music.
Depth—Depth is widely used by educators to describe robust, well-integrated understandings

of fundamental concepts essential to the attainment of literacy and fluency in [an arts]
discipline. Courses of sufficient 'depth’ include developmentally appropriate levels of
investigation that reinforce and revisit core concepts and that provide a firm
foundation for students to learn and understand more advanced concepts and transfer
their knowledge in other contexts. (Adapted from College Board Science Framework)
Expression of Music (CAS 1 - Music)—The expression of music is the demonstration of

human thought and emotion through the medium of performance, which is a product
of knowledge and skills gained in the study of music.
Inquiry Questions (Colorado)—Inquiry is a multifaceted process requiring students to think

and pursue understanding. Inquiry demands that students (a) engage in an active
observation and questioning process; (b) investigate to gather evidence; (c) formulate
explanations based on evidence; (d) communicate and justify explanations, and; (e)
reflect and refine ideas. Inquiry is more than hands-on activities; it requires students to
cognitively wrestle with core concepts as they make sense of new ideas.
Model Cornerstone Assessments (NCAS)—The assessments bring the Standards to life by

illustrating the demonstrations of desired learning and the criteria by which student
performances should be judged. Standards-based curriculum and associated instruction
can then be designed “backward” from key assessments that reflect the desired
outcomes. They are intended to engage students in applying knowledge and skills in
authentic and relevant contexts. They call for higher order thinking (e.g., evaluation)
and habits of mind (e.g., persistence) in order to achieve successful results. Their
authenticity and complexity is what distinguishes them from the decontextualized,
selected-response items found on many tests.
Nature of Discipline (Colorado)—The unique advantage of a discipline is the perspective it

gives the mind to see the world and situations differently. The characteristics and
viewpoint one keeps as a result of mastering the grade level expectation is the nature
of the discipline retained in the mind’s eye.
Performance Standards (NCAS)—Performance Standards are discipline-specific (dance,

media arts, music, visual arts, theatre), grade-by-grade articulations of student
achievement in the arts PK-8 and at three proficiency levels in high school (proficient,
accomplished and advanced). As such, the Performance Standards translate the
Anchor Standards into specific, measurable learning goals.
138
Performance Standards—a task/event/performance designed to measure a student’s ability
to directly demonstrate particular knowledge and skills.(Source: NCAS Glossary)
Performing (NCAS)—Realizing artistic ideas and work through interpretation and

presentation.
Performing/ Producing/Presenting (NCAS)—Performing (dance, music, theatre): Realizing

artistic ideas and work through interpretation and presentation. Presenting (visual arts):
Interpreting and sharing artistic work. Producing (media arts): Realizing and
presenting artistic ideas and work.
Postsecondary and workforce readiness (Colorado) describes the knowledge, skills, and
behaviors essential for high school graduates to be prepared to enter college and the
workforce and to compete in the global economy. The description assumes students
have developed consistent intellectual growth throughout their high school career as a
result of academic work that is increasingly challenging, engaging, and coherent.
Postsecondary education and workforce readiness assumes that students are ready and
able to demonstrate the following without the need for remediation: Critical thinking
and problem-solving; finding and using information/information technology; creativity
and innovation; global and cultural awareness; civic responsibility; work ethic;
personal responsibility; communication; and collaboration.
Presenting (NCAS)—Interpreting and sharing artistic work.
Process Components (NCAS)—Process Components are the actions artists carry out as they
complete each artistic process. Students’ ability to carry out these operational verbs
empowers them to work through the artistic process independently. The process
components played a key role in generating Enduring Understandings and
Performance Standards, and serve as the action verbs that collectively build toward
artistic processes. Process Components and their definitions are presented among
supplemental resources. In the final presentation of the Standards, individual arts
disciplines have placed differing levels of emphasis on the process components. The
CAS Music Standards, in particular, give Process Components a central role.
Producing (NCAS)—Realizing and presenting artistic ideas and work.
Relevance and Application (Colorado)—The hallmark of learning a discipline is the ability

to apply the knowledge, skills, and concepts in real-world, relevant contexts.
Components of this include solving problems, developing, adapting, and refining
solutions for the betterment of society. The application of a discipline, including how
technology assists or accelerates the work, enables students to more fully appreciate
how the mastery of the grade level expectation matters after formal schooling is
complete.
Responding (NCAS)—Understanding and evaluating how the arts convey meaning
139
Responding (NCAS)—Understanding and evaluating how the arts convey meaning.
Rigor—The term rigor is widely used by educators to describe instruction, schoolwork,

learning experiences, and educational expectations that are academically,
intellectually, and personally challenging. Rigorous learning experiences, for
example, help students understand knowledge and concepts that are complex,
ambiguous, or contentious, and they help students acquire skills that can be applied in
a variety of educational, career, and civic contexts throughout their lives. (Ed
Glossary) http://edglossary.org/rigor/
School readiness describes both the preparedness of a child to engage in and benefit from
learning experiences, and the ability of a school to meet the needs of all students
enrolled in publicly funded preschools or kindergartens. School readiness is enhanced
when schools, families, and community service providers work collaboratively to
ensure that every child is ready for higher levels of learning in academic content.
Theory of Music (CAS 3 - Music)—The theory of music is the understanding of the

distinctive language, conventions, mechanics, and structure of organized sound.
Investigation of music theory allows for a more complete understanding of all aspects
of the musical process, including musical performance and composition.
140

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Colorado Academic Standards Review:

Prepared for the Colorado Department of Education by

State Education Agency Directors of Arts Education

Timeline, Deliverables, and Reviewers

Review Research Questions

 An overview of the benchmarking process, including a description of the research

Organization of the Report

Content Expert Reviewers

Internal Quality Review Criteria

The questions guiding the ratings for rigor include:

“Depth is widely used by educators to describe robust, well-integrated understandings of

The questions guiding the ratings for depth include:

The questions guiding the ratings for breadth include:

“Learning standards can promote greater academic and instructional coherence, or

The questions guiding the ratings for coherence include:

Table 1—SAMPLE Cross-Index Comparison Spreadsheet: CAS-Drama and Theatre Arts,

GRADE GLEs Rigor Depth Breadth Coherence Comments

6 1. Characterization 1.00 1.00 1.00 1.00 R- The Standard

Table 1: Findings and Observations

Table 2—SAMPLE Cross-Index Comparison Spreadsheet: CAS-Visual Arts, Standard 3

GRADE GLEs Rigor Depth Breadth Coherence Comments*

External Quality Review Criteria

 21st Century Skills and Readiness Competencies;

Realities of the Study

2) an external review providing referent standards exemplars to highlight visual arts

Standard 1. Movement, Technique, and Performance

STANDARD GRADES Rigor Depth Breadth Coherence

Table 3: Findings and Observations

Standard 2. Create, Compose and Choreograph

Table 4—CAS-Dance Standard 2 (Create, Compose, and Choreograph) Composite Ratings

STANDARD GRADES Rigor Depth Breadth Coherence

Standard 3. Historical and Cultural Context

Table 5—CAS-Dance Standard 3 (Historical and Cultural Context) Composite Ratings

STANDARD GRADES Rigor Depth Breadth Coherence

Table 5: Findings and Observations

Standard 4. Reflect, Connect, and Respond

Table 6—CAS-Dance Standard 4 (Reflect, Connect, and Respond) Composite Ratings

STANDARD GRADES Rigor Depth Breadth Coherence

Table 7—Purpose Alignment: CAS-Dance to NCAS

Colorado Academic Standards Alignment National Core Arts Standards

Purpose Statement: The purpose of Similar Purpose: (Foundations of Artistic

Colorado Academic Standards, Dance, Conceptual Framework for Arts

Table 8—PGCs and Standards Alignment: CAS-Dance to NCAS

Colorado Academic Standards Alignment National Core Arts Standards

Prepared Graduate Competencies: Similar Anchor Standards: Describe the

Dance Standards: Similar Dance Artistic Processes:

Conceptual Framework for Arts

Table 9—High School Expectations Alignment: CAS-Dance to NCAS

Colorado Academic Standards Alignment National Core Arts Standards

High School Expectations: The Dissimilar High School Proficiencies:

Colorado Academic Standards, Dance, Conceptual Framework for Arts

Colorado Academic Standards Alignment National Core Arts Standards

GLE-Grade Level Expectations: The Similar/Dissimilar Performance Standards: The

Evidence Outcomes: The indication Dissimilar N/A-some overlap with Model

Colorado Academic Standards Alignment National Core Arts Standards

N/A Process components: The actions artists

Conceptual Framework for Arts

Colorado Academic Standards, Dance, Conceptual Framework for Arts

Inquiry Questions: Sample questions Dissimilar Essential questions guide students as

Colorado Academic Standards, Dance, Conceptual Framework for Arts

Relevance and Application: Examples Very Dissimilar Enduring understandings are

Nature of the Discipline: Dissimilar N/A-Some overlap with EUs

This PGC is identified in all four CAS Dance