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AERO Music
Philosophy

AER O Music O pportunity to Le arn State m e nt

Music Standards in line ar form at
Music Standards in chart form at
R e turn to A ERO+ hom e

The arts fulfill a hum an ne e d to e x pre ss and re spond to life

e x pe rie nce . This unive rsal ne e d has le d to the de ve lopm e nt of
artistic e x pre ssion in all socie tie s, past and pre se nt. The arts
re fle ct the de e pe st value s and be lie fs of a culture . Arts
e ducation de ve lops stude nts’ unde rstanding of dive rse pe ople s
and culture s and is ne ce ssary to e nsure that the ir e x pe rie nce s
with the arts e nrich and illum inate the ir live s.

Music is basic to the hum an e x pe rie nce – it is a fundam e ntal source of com m unication, e x pre ssion and
unde rstanding. Music e ducation pre pare s stude nts for life tim e involve m e nt with m usic not only as audie nce
m e m be rs, but as active participants in pe rform ing and cre ating, the re by e nabling the m to contribute to the
richne ss and progre ss of the ir own culture .

A quality m usic e ducation be ne fits stude nts, schools, and socie ty in m any im portant ways. Music is a k e y
com pone nt for the de ve lopm e nt of the total child. Stude nts who re ce ive a quality m usic e ducation can
de ve lop se lf-discipline , task focus, cre ativity, the ability to work e ffe ctive ly as m e m be rs of a te am , and a
positive attitude toward school. W he n inte grate d into the broade r e ducational program of the school, m usic
can im prove le arning in othe r subje cts by addre ssing individual stude nts’ varie d inte re sts and le arning style s.
Music also de ve lops a se nse of com m unity, bringing pe rform e rs and audie nce toge the r in an active and
participatory conte x t.

In a quality, standards-base d m usic program , stude nts are active ly e ngage d in pe rform ing, cre ating, and
re sponding to m usic. Instruction facilitate s stude nt-to-te ache r and stude nt-to-stude nt com m unication through
m usic, words, and notation. O ve r tim e stude nts de ve lop a broade r pe rspe ctive by studying m usic from a
varie ty of culture s and historical pe riods, including – in inte rnational schools – the m usic of the host country.
The curriculum , although se que ntial, is fle x ible to accom m odate stude nts e nte ring with a varie ty of
back grounds and abilitie s. Through collaboration with colle ague s and inte gration of com m unity re source s, the
instructor e ncourage s stude nts to conne ct m usic le arning with othe r discipline s.

Music classe s m e e t fre que ntly throughout stude nts’ K-8 schooling. Music classroom s provide appropriate
space and e quipm e nt for pe rform ing, liste ning to and e valuating m usic, e nabling stude nts to com pare the ir
own work with pe e rs’ and e x e m plars. Diagnostic, form ative and sum m ative asse ssm e nts are inte grate d into
instruction to e nsure m usical unde rstanding, to re ve al succe sse s, and to build a progre ssive program .
Pe rform ance ve nue s e ncourage ae sthe tic appre ciation from both pe rform e r and audie nce .

The instructor e x hibits a passionate e njoym e nt of m usic that has the pote ntial to inspire stude nts to e ngage
in life long m usical e x pe rie nce s. The individual stude nt, pe rform ing e nse m ble s and school com m unity as a
whole value m usic and the place that it has in the ir live s.

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A ERO Music Opportunity to Learn Statement (C lick he re for printe r frie ndly ve rsion)

The quality m usic e ducation e nvisione d in the AER O standards is possible only whe n schools provide stude nts
with e sse ntial re source s that colle ctive ly offe r the opportunity to le arn. Substantial and fre que nt instruction by
k nowle dge able te ache rs is the m ost e sse ntial condition for stude nt le arning in any art form . Many of the
othe r k e y re source s for quality arts program s, such as facilitie s and e quipm e nt, diffe r from those re quire d for
any othe r program in the school, and also vary conside rably from one arts discipline to anothe r. This se ction
of the AER O Music Standards docum e nt pre se nts som e of the k e y re source s e sse ntial for a m usic program to
de live r on the vision outline d in the standards.

A de taile d and conside rably m ore com pre he nsive de scription of the staffing, facilitie s, e quipm e nt, m ate rials,
le ade rship, and othe r re source s ne ce ssary for quality instruction in e ach art form can be found in the national
docum e nt, O pportunity-to-Le arn Standards for Arts Education. More de taile d guide line s for facilitie s and othe r
he lpful inform ation are available from the profe ssional arts e ducation organizations.

Essential Resources for International Music Program Teachers

Pe rsonal Ex pe rtise

Musical e x pe rtise (applie d m usicianship couple d with k nowle dge of m usic of varie d culture s,
including W e ste rn)
Knowle dge and sk ill in e ducational Be st Practice s

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Knowle dge of e stablishe d ge ne ral m usic pe dagogie s (e .g., Kodaly, O rff, Suzuk i, Music
Le arning The ory, Dalcroze Eurythm ics) and e x pe rie nce in de live ring at le ast one
pe dagogy re le vant to the te aching assignm e nt
Knowle dge of and e x pe rie nce with conte m porary m ode ls and the orie s of curriculum and
asse ssm e nt (e .g., Unde rstanding by De sign, rubrics, portfolio asse ssm e nt, update d
Bloom ’s Tax onom y )

Acce ss to and support for continue d profe ssional de ve lopm e nt, including m usicianship and
m usic pe dagogy

C urriculum

C le ar, standards-base d curriculum outline d for e ach grade le ve l and course

R oom (Instructional Facility)

Ade quate se ating

Space for m ove m e nt

W hite board visible throughout

Fre e of outside noise

Te chnology & Equipm e nt

High quality sound re production and re cording e quipm e nt

Le ve l-appropriate m usical instrum e nts

Piano or quality e le ctronic k e yboard

C om positional software and hardware (e spe cially in grade s 5-12), with te chnical support

Program of Study

Ele m e ntary Music (Grade s 1-5)

At le ast twice pe r we e k with a m usic spe cialist, no le ss than six ty m inute s of spe cialize d
instruction
Grade s 3-5 have additional opportunitie s for chorus and be ginning band or orche stra

Middle school
R e quire d Ge ne ral Music course s that last throughout the acade m ic ye ar.

Study on harm onizing instrum e nt such as piano or guitar

C om positional studie s on e le ctronic instrum e nts

O pportunitie s for additional or spe cialize d studie s in chorus and band or orche stra

High School

Spe cialization in choir, band, or orche stra through e le ctive s for varying le ve ls of
e x pe rtise
(W he re population supports qualifie d faculty) Ele ctive opportunitie s to spe cialize in
com position, a harm onizing instrum e nt, the ory, or m usicology (m usic history)

C ontinuity of program

Stude nts are re quire d to study m usic on a re gular basis through grade s K-8

R e spe ct for host country and stude nt population

Diffe re ntiate d instruction to accom m odate varie d le ve ls

Induction support from adm inistration for ne w stude nts

C urriculum te ache s W e ste rn m usic while also affirm ing the traditions of the host country and
significant stude nt populations in school

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Atm osphe re /C lim ate

Move m e nt, Ene rgy, C re ativity, Ex pre ssion, and Ex cite m e nt

Note : Significant portions of this AER O docum e nt have be e n adapte d from A Guide to K-12 Program
De ve lopm e nt in the Arts. Hartford, C T: C onne cticut State De partm e nt of Education, 2001.

i Consortium of National Arts Education Associations.¬ Opportunity-to-Learn Standards for Arts Education. Reston, VA:
NAEA, 1995.
ii Geerdes, Harold P. Music Facilities: Building, Equipping, and Renovating. Reston, VA: MENC, 1987.
NAEA. Design Standards for School Art Facilities. Reston, VA: NAEA, 1993.
Additional publications in dance are available from the National Dance Association at (703) 476-3436.
Theatre materials are available from the American Alliance for Theatre and Education at (602) 965-6064.
iii Anderson, Lorin and Krathwohl, David (ed.) (2001). A Taxonomy for Learning, Teaching, and Assessing. New York:
Addison Wesley Longman, Inc. (www.ablongman.com)

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PERFORM

1. Sing and play a varied repertoire of music

By the end of grade 2:

a. Echo a varie ty of short rhythm ic and m e lodic patte rns

b. De m onstrate a ste ady be at and accuracy on age appropriate rhythm patte rns whe n
singing, spe ak ing, and playing classroom instrum e nts

c. Sing and play sim ple songs from various culture s in tune , accurate ly, and e x pre ssive ly
(by im itation) with appropriate posture

d. Maintain m e lodic and rhythm ic accuracy whe n singing ostinati, partne r songs, or
sim ple canons in a group

e . Accom pany sim ple harm onic songs on classroom instrum e nts with appropriate
dynam ics

f. De m onstrate prope r pe rform ance sk ills:

- R e spond to cue s of a conductor (te m po, start and stop)

- Use corre ct pe rform ance e tique tte

By the end of grade 5:

a. Sing or play ostinati, partne r songs, canons, and sim ple two-part harm ony

b. De m onstrate a ste ady be at and accuracy on age appropriate rhythm patte rns whe n
singing, spe ak ing, and playing instrum e nts in both sm all and large e nse m ble s

c. Sing and play sim ple songs from the host country and large subgroups of the school
population accurate ly and e x pre ssive ly (by im itation) with appropriate posture

d. Sing and play songs from a varie ty of historical pe riods and world culture s
e x pre ssive ly with appropriate dynam ics, phrasing, tone , diction, and posture

e . Pe rform sim ple harm onic accom panim e nts with appropriate phrasing, dynam ics, and
chordal se que nce /structure

f. De m onstrate prope r pe rform ance sk ills:

- R e spond to cue s of a conductor (phrasing, dynam ics, and style )

- Use pe rform ance e tique tte appropriate to a varie ty of style s of pe rform ance

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By the end of grade 8:

a. Pe rform a m ode rate ly difficult re pe rtoire of m usic re pre se nting various ge nre s, style s,
and culture s, including that of the host country and large subgroups of the school
population, with e x pre ssion and te chnical accuracy

b. Inde pe nde ntly se le ct re pe rtoire , pre pare , and pe rform alone and with othe rs in an
e x pre ssive and accurate m anne r (conside ring: le ngth of program , inte nde d audie nce ,
re he arsal pre paration, stylistic conside rations, and individual inte rpre tation)

By the end of grade 12:

a. Follow a syste m atic inve stigation of form al and conce ptual issue s whe n cre ating art
and building a portfolio.

PERFORM

2. Read music from traditional and nontraditional notation

By the end of grade 2:

a. R e ad sim ple rhythm ic and m e lodic patte rns (e .g. using e ighth, quarte r, half note s,
re sts, and the do-pe ntatonic scale )

b. Use a syste m (e .g. solfe ge syllable s, num be rs, le tte rs) to re ad sim ple pitch notation
in the tre ble cle f

c. Sightre ad sim ple rhythm ic and m e lodic patte rns

By the end of grade 5:

a. R e ad rhythm ic and m e lodic patte rns (e .g. six te e nth note s, dotte d rhythm s, diatonic
scale , and le tte r nam e s)

b. Ide ntify, inte rpre t, and use standard notation sym bols for m e te r, pitch, rhythm ,
dynam ics, te m po, articulation, and e x pre ssion

c. Sightre ad sim ple rhythm s and m e lodie s

By the end of grade 8:

a. R e cognize and inte rpre t sym bols and te rm s re fe rring to the e le m e nts of m usic
(including but not lim ite d to: pitch, rhythm , articulation, te m po, m e te r, dynam ics,
m e lody, harm ony)

b. Sightre ad accurate ly at a de ve lopm e ntally appropriate le ve l

By the end of grade 12:

a. R e ad a m usical score with e nough flue ncy to le ad a sm all e nse m ble

b. Sightre ad m usic of a m e dium le ve l of difficulty accurate ly and e x pre ssive ly

PERFORM

3. A nalyze and evaluate own performances

By the end of grade 2:

a. De scribe and re fle ct on m usical pe rform ance s using age -appropriate

crite ria (e .g. clarity of words, pitch accuracy, spe e d, ste ady be at)

b. De scribe and re fle ct on pe rform ance e tique tte (e .g. stage be havior)

By the end of grade 5:

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a. De scribe and critique m usical pe rform ance s using appropriate m usic
te rm inology (e .g. intonation, balance , phrasing, dynam ics) and crite ria

b. De scribe and re fle ct on pe rform ance e tique tte (e .g. solo and e nse m ble
stage pre se nce )

By the end of grade 8:

a. Ide ntify and apply stylistically appropriate crite ria for e valuating the
e ffe ctive ne ss of a varie ty of pe rform ance s, using m usic vocabulary,

b. C ritique pe rform ance e tique tte using appropriate crite ria

By the end of grade 12:

a. Analyze the e ffe ctive ne ss of m usical choice s, including inte rpre tation, in
pe rform ance s

PERFORM

4. Improvise melodies, variations, and accompaniments

By the end of grade 2:

a. Im provise m atching “answe rs” to give n sim ple rhythm ic and m e lodic
phrase s

By the end of grade 5:

a. Im provise phrase s that include both rhythm and m e lody

b. Im provise a sim ple variation on a fam iliar m e lody (e .g. m e lodic

e m be llishm e nt, rhythm ic alte ration)

By the end of grade 8:

a. Im provise short m e lodie s, unaccom panie d and with give n rhythm ic

accom panim e nts, e ach in a consiste nt style , m e te r, and tonality

b. Im provise variations on a sim ple m e lody that involve both rhythm and
pitch

By the end of grade 12:

a. Im provise e x te nde d m e lodie s, unaccom panie d and with give n rhythm ic

accom panim e nts, e ach in a consiste nt style , m e te r, and tonality

b. Im provise variations in diffe re nt style s base d on a m e lody

c. Im provise sim ple harm onizations (e .g. vocalize harm ony line , guitar or
k e yboard chords)

Create

5. Compose and arrange music using notation

By the end of grade 2:

a. C re ate and notate sim ple rhythm ic and m e lodic patte rns

b. C re ate sim ple arrange m e nts and accom panim e nts of k nown songs using classroom
instrum e nts

By the end of grade 5:

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a. C om pose and notate m e lodie s using traditional notation

b. Arrange accom panim e nts to fam iliar songs (e .g. bass line s, chords)

c. C re ate and arrange short songs/ accom panim e nts to storie s, poe m s, dram atizations
and/or instrum e ntal pie ce s using pitche d and unpitche d instrum e nts

d. R e ad and play standard chord sy

By the end of grade 8:

a. C om pose and notate a m e dium -le ngth song for two to four voice s using te ache r-
spe cifie d guide line s

b. Arrange a give n pie ce of m usic for diffe re nt instrum e ntation

c. C om pose a short pie ce for non-traditional sounds or e le ctronic m e dia

d. Ex plain why various form s of notation e volve d (i.e ., chant, guitar tablature , le ad
she e ts, pe rcussion notation, 20th ce ntury)

e . C re ate and notate a harm onic accom panim e nt for a sim ple m e lody (e .g. I, IV, V)

By the end of grade 12:

a. C re ate and notate a four-voice com position using appropriate conve ntions suitable to
the style chose n

b. Arrange a give n pie ce of m usic for diffe re nt instrum e ntation using at le ast one
transposing instrum e nt

c. C om pose and notate a pie ce for non-traditional sounds or e le ctronic m e dia

d. C re ate a com position de m onstrating functional harm ony that incorporate s

m odulations and se condary dom inants

Create

6. A nalyze and evaluate own creations

By the end of grade 2:

a. De scribe and re fle ct on own m usical cre ations using age -appropriate language

By the end of grade 5:

a. De scribe and critique own m usical cre ations using appropriate m usic te rm inology and
crite ria

b. C om pare own cre ations with the cre ations of othe r stude nts using appropriate
te rm inology and crite ria

By the end of grade 8:

a. Ex plain own com positional choice s using appropriate m usic te rm inology and crite ria

b. C om pare own com positions with those of e stablishe d com pose rs using appropriate
te rm inology and style -appropriate crite ria

c. C om pare own im provisations with those of e stablishe d im provise rs using appropriate

te rm inology and style -appropriate crite ria

By the end of grade 12:

a. Justify own com positional choice s using appropriate m usic te rm inology and crite ria

b. C om pare the e ffe ctive ne ss of own com positions to those of othe r stude nts and
m aste rs base d on stylistic conve ntions

c. C om pare the e ffe ctive ne ss of own im provisations to those of othe r stude nts and
m aste rs base d on stylistic conve ntions

Respond
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7. Understand the historical contributions and cultural dimensions of music

By the end of grade 2:

a. Ide ntify conne ctions be twe e n m usic of various tim e pe riods, culture s, and com pose rs

b. Sing, liste n to and de scribe m usic re pre se ntative of diffe re nt activitie s and
ce le brations in a varie ty of world culture s

By the end of grade 5:

a. C om pare and contrast characte ristics of m usic from various tim e pe riods, culture s,
and com pose rs (e .g. Baroque style , program m atic m usic, instrum e ntation, folk songs)

b. Ex plain or de m onstrate how m usic is use d in various world culture s (including host
country and subgroups of the stude nt population)

c. Analyze the contributions and life historie s of a varie ty of com pose rs and m usicians
from diffe re nt culture s and place s

By the end of grade 8:

a. Ide ntify and e x plain the stylistic characte ristics of various pe riods of W e ste rn classical
m usic
b. Ex plain the role s of m usicians and com pose rs (e .g., orche stra conductor, folk singe r,
church organist) in various m usical se ttings and culture s
c. Ex plain how political, historical and cultural norm s and e x pe ctations influe nce the
cre ation of m usic and vice ve rsa

By the end of grade 12:

a.R e se arch and e x plain the cultural and historical influe nce s of individual and socie tal
m usic pre fe re nce s

b. Analyze m usic from various culture s on the basis of its functions, giving e x am ple s
and de scribing its use s

Respond

8. Understand relationships among the arts and disciplines outside the arts

By the end of grade 2:

a. Ide ntify sim ilar the m e s in storie s, songs and art form s

b. R e late m usical conce pts to discipline s outside of the arts (e .g. form to m athe m atical
patte rn)

By the end of grade 5:

a. C om pare how the e le m e nts of two or m ore art form s can be use d to re fle ct sim ilar
e ve nts, sce ne s, e m otions, or ide as (e .g., visual com pone nts of classical landscape
painting and sound e le m e nts in Be e thove n’s Six th Sym phony).

b. R e late m usic e le m e nts and conce pts to discipline s outside of the arts (e .g. scie nce of
sound, note s and division)

c. R e fle ct on pe rsonal m usical involve m e nt and possible life tim e paths in m usic

By the end of grade 8:

a. De scribe sim ilaritie s and diffe re nce s am ong the characte ristics of m usic, the atre ,
visual arts, and dance within a particular historical pe riod or culture

b. Ide ntify and de scribe the cultural, political, and historical influe nce s on work s of all art
form s from various tim e pe riods (e .g., the influe nce of Napole on on Be e thove n’s Third
Sym phony and …)

c. De scribe how m usic is inte rpre te d through scie nce , m ath, and physiology

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d. De scribe how pe rsonal m usical taste has e volve d ove r tim e

By the end of grade 12:

a. Ex plain the e le m e nts and te chnique s characte ristic of m usic, the atre , visual arts, and
dance of various style s in a non-W e ste rn culture .

b. Analyze how the characte ristics of m usic within a particular historical pe riod or style
we re influe nce d by ide as, hum anitie s, or scie nce s

c. De scribe the role of m usic in various care e rs (e .g., m ulti-m e dia e nte rtainm e nt,
acoustic scie nce s, pre natal re se arch e tc.) and re fle ct on pe rsonal life tim e involve m e nt
with m usic

Respond/Listen

9. A nalyze, evaluate, and respond to varied musical repertoire and performances

By the end of grade 2

a. Ide ntify age -appropriate m usic conce pts (e .g. fast/slow, loud/soft, and rhythm s) and form s (e .g.
ve rse /re frain, AB, ABA) in m usical se le ctions

b. C lassify com m on instrum e nts by m e thod of sound production

c. De scribe and re fle ct on othe rs’ m usical pe rform ance s and re pe rtoire using age -appropriate language
and crite ria

d. De m onstrate appropriate audie nce be havior for in-school pe rform ance s

By the end of grade 5

a. Ide ntify and analyze , using m usic te rm inology, the use of form s (e .g. rondo, the m e and variations)
and m usical e le m e nts (tonality, te m po, dynam ics, tim bre ) in a varie ty of m usic

b. Visually and aurally ide ntify m ajor instrum e nts of the orche stra and the ir se ctions

c. Aurally ide ntify adult voice s as soprano, alto, te nor and bass

d. De scribe and critique othe rs’ m usical pe rform ance s and cre ations using appropriate m usic
te rm inology (e .g. intonation, balance , phrasing, dynam ics) and crite ria

e . De m onstrate appropriate audie nce be havior for a varie ty of m usical style s

By the end of grade 8

a. Ide ntify and analyze , using m usic te rm inology, the use of com ple x form s (e .g. sonata alle gro,
fugue ) and m usical e le m e nts in a varie ty of m usic

b. Ide ntify/classify world m usic (non-W e ste rn, including host country and subgroups of the stude nt
population) by style , using m usical te rm inology

c. Visually and aurally ide ntify com m on instrum e nts from a varie ty of culture s

d. Ide ntify and apply stylistically appropriate crite ria, using m usic vocabulary, for e valuating the
e ffe ctive ne ss of a varie ty of othe rs’ m usical pe rform ance s and cre ations

e . Use appropriate m usical te rm inology and crite ria to com pare diffe re nt pe rform ance s of the sam e
work

f. De m onstrate appropriate audie nce be havior for a varie ty of m usical style s and se ttings

By the end of grade 12

a. C lassify unfam iliar work s of art by ge nre , style , culture , and historical pe riod, supporting the
classification using m usical te rm inology

b. Ide ntify the characte ristics of quality m usic criticism through the analysis of critique s from
profe ssional publications

c. Apply crite ria of profe ssional criticism to cre ate own critique of live pe rform ance

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