Texas Register, Volume 38, Number 29, Pages 4555-4690, July 19, 2013 Page: 4,614
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(A) exhibit increasingly mature, characteristic sound
appropriate for the genre while sight reading;
(B) demonstrate, refine, and apply psychomotor and
kinesthetic skills such as appropriate posture, breathing, text, diction,
articulation, vibrato, bowings, fingerings, phrasing, independent
manual dexterities, and percussion techniques while sight reading;
(C) demonstrate correct articulation and rhythmic accu-
racy while sight reading using a counting system within an appropriate
tempo;
(D) demonstrate observance of multiple key signatures
and changing modalities while sight reading;
(E) demonstrate use of a melodic reading system such
as solfege, numbers, letter names, note names, or scale degrees while
sight reading;
(F) demonstrate application of dynamics and phrasing
while sight reading; and
(G) demonstrate accurate intonation while sight reading
using concepts such as vowel shapes, ensemble blend, and just intona-
tion.
(5) Historical and cultural relevance. The student relates
music to history, culture, and the world. The student is expected to:
(A) compare and contrast music by genre, style, culture,
and historical period;
(B) define uses of music in societies and cultures;
(C) identify and explore the relationships between mu-
sic and other academic disciplines;
(D) identify music-related vocations and avocations;
(E) identify and explore the impact of technologies, eth-
ical issues, and economic factors on music, musicians, and perfor-
mances; and
(F) identify and explore tools for college and career
preparation such as personal performance recordings, social media
applications, repertoire lists, auditions, and interview techniques.
(6) Critical evaluation and response. The student listens to,
responds to, and evaluates music and musical performance in formal
and informal settings. The student is expected to:
(A) exhibit informed concert etiquette as a performer
and as an audience member during live and recorded performances in
a variety of settings;
(B) design and apply criteria for making informed judg-
ments regarding the quality and effectiveness of musical performances;
(C) develop processes for self-evaluation and select
tools for personal artistic improvement; and
(D) evaluate musical performances by comparing them
to exemplary models.
117.312. Music, Level III (One Credit), Adopted 2013.
(a) General requirements. Students may fulfill fine arts and
elective requirements for graduation by successfully completing one
or more of the following music courses: Band III, Choir III, Orchestra
III, Jazz Ensemble III, Jazz Improvisation III, Instrumental Ensemble
III, Vocal Ensemble III, World Music Ensemble III, Applied Music III,
Mariachi III, Piano III, Guitar III, and Harp III (one credit per course).
The prerequisite for all Music, Level III music courses is one credit of
Music, Level II in the corresponding discipline.(b) Introduction.
(1) The fine arts incorporate the study of dance, music, the-
atre, and the visual arts to offer unique experiences and empower stu-
dents to explore realities, relationships, and ideas. These disciplines
engage and motivate all students through active learning, critical think-
ing, and innovative problem solving. The fine arts develop cognitive
functioning and increase student academic achievement, higher-order
thinking, communication, and collaboration skills, making the fine arts
applicable to college readiness, career opportunities, workplace envi-
ronments, social skills, and everyday life. Students develop aesthetic
and cultural awareness through exploration, leading to creative expres-
sion. Creativity, encouraged through the study of the fine arts, is essen-
tial to nurture and develop the whole child.
(2) Four basic strands--foundations: music literacy; cre-
ative expression; historical and cultural relevance; and critical evalua-
tion and response--provide broad, unifying structures for organizing the
knowledge and skills students are expected to acquire. The foundation
of music literacy is fostered through reading, writing, reproducing, and
creating music, thus developing a student's intellect. Through creative
expression, students apply their music literacy and the critical-thinking
skills of music to sing, play, read, write, and/or move. By experienc-
ing musical periods and styles, students will understand the relevance
of music to history, culture, and the world, including the relationship
of music to other academic disciplines and the vocational possibilities
offered. Through critical listening, students analyze, evaluate, and re-
spond to music, developing criteria for making critical judgments and
informed choices.
(3) Statements that contain the word "including" reference
content that must be mastered, while those containing the phrase "such
as" are intended as possible illustrative examples.
(c) Knowledge and skills.
(1) Foundations: music literacy. The student describes and
analyzes music and musical sounds. The student develops organiza-
tional skills, engages in problem solving, and explores the properties
and capabilities of various musical idioms. The student is expected to:
(A) evaluate exemplary musical examples using tech-
nology and available live performances;
(B) explore musical textures such as monophony, ho-
mophony, and polyphony while using a melodic reading system;
(C) compare and contrast concepts of music notation,
intervals, and chord structure using appropriate terminology;
(D) compare and contrast concepts of rhythm and meter
using appropriate terminology and counting system;
(E) compare and contrast musical forms such as song,
binary, ternary, rondo, and sonata-allegro selected for performance and
listening;
(F) compare and contrast concepts of balance and blend
using appropriate terminology;
(G) compare and contrast musical styles and genres
such as cantata, opera, zydeco, motet, hip-hop, symphony, anthem,
march, beats, musical theatre, gospel jazz, and spirituals;
(H) compare and contrast concepts of music such as
rhythm, meter, melody, harmony, texture, key, expression markings,
dynamics, and timbre using literature selected for performance; and
(I) apply health and wellness concepts related to music
practice such as body mechanics, hearing protection, vocal health, hy-
dration, and appropriate hygienic practices.38 TexReg 4614 July 19, 2013 Texas Register
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Texas. Secretary of State. Texas Register, Volume 38, Number 29, Pages 4555-4690, July 19, 2013, periodical, July 19, 2013; Austin, Texas. (https://texashistory.unt.edu/ark:/67531/metapth326803/m1/60/: accessed April 23, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting UNT Libraries Government Documents Department.