The Oxford Handbook of Assessment Policy and Practice in Music Education, Volume 1

COVER\nTHE OXFORD HANDBOOK OF ASSESSMENT POLICY AND PRACTICE IN MUSIC EDUCATION, VOLUME 2\nCOPYRIGHT\nDEDICATION\nCONTENTS\nLIST OF CONTRIBUTORS\nPART I: MUSIC ASSESSMENT IN THE UNITED STATES\n	Chapter 1: Legislation and Common Law Impacting Assessment Practices in Music Education\n		Understanding the Language and Landscape\n			The Importance of Understanding and Incorporating Practices Grounded in Extant Law\n			Defining Common Law and Legislation (Statute)\n			Understanding the Different Types of Courts and the Relative Influence of Their Decisions\n		Evolution of the Courts’ Willingness to Hear and Rule on Educational Cases\n			First Heard Case/First Assessment Legal Challenges ( Barnard v. Inhabitants of Shelburne, 1913)\n			Legal Deference\n				The Barnard Principles\n				Distinguishing Between Academic Issues and Misconduct\n			Social and Educational Activism in Courts\n			Due Process\n		Common Law: Recent Trends in Educational Decisions\n			Findings That Uphold School Assessment Decisions\n			Findings Overturning School Assessment Decisions\n			Achievement Versus Nonachievement Assessments\n		Legislation: Statutes Impacting Assessment\n			Federal Statutes\n				No Child Left Behind\n				American Recovery and Reinvestment Act of  2009\n				Family Educational Rights and Privacy Act\n				Individuals with Disabilities Education Act\n		Teacher Evaluation\n		Moving Forward\n			Trends\n		Note\n		References\n	Chapter 2: The Impact of State Testing on American Music Classrooms\n		Introduction\n			Definition of Terms\n		Impact of General Statewide Assessments on the Music Classroom: Standards, Accountability, and “Testing Madness”\n		Music Educator Rationales for the Study of Music in Schools\n		Adaptation and Acceptance: Music Educators are Changing\n		Assessment and Accountability: Overreach\n		Transition\n			Factors Influencing the Culture of Assessment and Accountability in Music\n			Impact of Music-Specific Statewide Assessment on the Music Classroom\n		Conclusion\n		References\n	Chapter 3: High-Stakes Assessment in Music\n		What Is High-Stakes Assessment and Why Is It Relevant Now?\n			Music as a Core Subject\n			The Many Faces of High-Stakes Assessment\n			The Position Paper Format as Chapter Framework\n		The Bases for Opposing High-Stakes Assessment\n			Assessment Implementation Limitations\n			Negative High-Stakes Assessment Attitudes\n		The Merits of High-Stakes Assessment\n			Looking Beyond the Negative Connotations: What Music Has to Offer\n		Moving Toward High-Stakes Assessment in Music\n			Challenging Beliefs\n				Group Assessments are Sufficient\n				Assessments are Uninteresting and Invalid\n				Assessments are Disconnected\n			Validity and Reliability\n			Characteristics of High-Quality, High-Stakes Assessments\n				Assessment and Standards\n				Discipline-Based Actions\n				A Series of Assessments\n				Assessment for Success\n		Chapter Summary\n		Note\n		References\n	Chapter 4: The Status of Arts Assessment in the United States\n		Introduction and Parameters\n			The 2008 Study\n				Research Questions\n			SEADAE: The Organization Behind the Research\n				Development of the 2014 National Core Arts Standards\n				Model Cornerstone Assessments\n		The 2015–2016 Study\n			Research Questions: 2015–2016 Study\n			Separation of State and Local Control\n			Method of Data Collection\n				Refining and Preparing the Survey Items\n				Other Considerations\n			Data Analysis\n			Findings\n				Question 1. What drives arts assessment?\n				Question 2. What priorities are associated with arts assessment, and how are states addressing them?\n				Question 3. Who is engaged in arts assessment and in what capacity?\n				Question 4. What (professional development) needs exist and how are they being addressed?\n				Question 5. How is technology impacting arts assessment?\n				Question 6. How are arts assessment results used?\n			Discussion\n			Suggestions for Further Study\n		References\n	Chapter 5: Connecticut Common Music Assessments: Collaboratively Building Capacity and Exemplars\n		Goals 2000 Grant\n			The Piloting Process\n			The Tasks\n				Solo Performance\n				Ensemble Performance\n				Ensemble Critique\n				Sight-Reading\n				Arranging\n			Impact of the Project\n		3 District (3-D) Grant\n		Connecticut Guide to K–12 Program Development in the Arts\n		SCASS/Arts\n		Inter-District Music Composition Grant\n		CTcurriculum.org and MeasureSuccess.org\n		The Connecticut Common Arts Assessment Initiative\n			Professional Development Benefits\n			The Common Music Assessments\n				Emphasis on Performance Tasks\n				Performing Process (Singing) Tasks\n					Singing and Self-Evaluation Grades 2–8 (ages 7–13)\n					Selecting Appropriate Literature\n					Traits Used to Score Student Performance (Singing)\n						Expression\n					Procedures for Administration\n					Student Self-Evaluation of Performance\n				Creating Process (Improvisation and Composition) Tasks\n					2nd-Grade (Age 7) Rhythmic Improvisation\n					3rd-grade (age 8) Bass-Line Improvisation\n					5th-grade (age 11) Composition and Self-Evaluation\n					7th- and 8th-Grade (Ages 13 and 14) Composition\n			Limitations of the Common Music Assessments\n			Contributions of the Common Music Assessment Initiative\n		Summary\n		Appendix 5.1: Common Arts Assessment Project\n			Goals 2000 Assessment Tasks\n		Notes\n		References\n	Chapter 6: The Florida Performing Fine Arts Assessment Project\n		The Need for the Florida Performing Arts Assessment\n			Closing the “Achievement Gap”\n		Race to the Top\n		Development of the Florida Performing Fine Arts Assessment Project\n			Philosophical Foundation\n			Artistic Process\n		Project Design\n			Preparing to Assess the Standards\n		Weighting the Benchmarks\n		Project Challenges\n			Item Development and Review\n			Item Bank and Test Platform\n		Pilot Administration\n		Feedback on Initial Testing\n		Conclusion\n		References\n	Chapter 7: Kentucky Policies and Practices for Assessment in Music Education: Past, Present, and Future\n		Introduction\n		The First Generation of KERA Assessment: Kentucky Instructional Results Information System (1992–1998)\n		The Second Generation of KERA Assessment: Commonwealth Accountability Testing System (1998–2009)\n		Large-Scale Music Assessment Initiatives in Other States\n		Kentucky Music Educators Association (KMEA) and the Kentucky Department of Education (KDE) Music Listening Assessment (MLA) Pilot Project for Grades 5, 8, and 11 (2002–2006)\n		2009–2016: The Unbridled Learning Accountability Model and Kentucky Music Assessment Practices\n		Arts and Humanities Program Reviews\n		Kentucky Professional Growth Effectiveness System\n		Kentucky’s Adoption of the National Core Arts Standards\n		College and/or Career Ready Arts Portfolios\n		Music Assessment in Kentucky: Successes and Lessons Learned\n		Future Implications for P-12 Music Programs in Kentucky\n		Conclusion\n		Appendix 7.1: 2004 Sample Released CATS Items: Grade 5\n			Music Multiple Choice Question: Grade 5\n			Music Open Response Question: Grade 5\n				Instrument Families\n		Appendix 7.2: 2004 Sample Released CATS Items: Grade 8\n			Music Multiple Choice Question: Grade 8\n			Music Open Response Question: Grade 8\n				New Musical Instruments\n		Appendix 7.3: 2004 Sample Released CATS Items: Grade 11\n			Music Multiple Choice Question: Grade 11\n			Music Open Response Question: Grade 11\n				Time Machine to the 60s\n		Note\n		References\n	Chapter 8: Washington State’s Classroom-Based Performance Assessments: Formative and Summative Design for Music Education\n		Introduction\n		History and Development (2001–2006)\n			Vision for the CBPAs\n				Vision, Mission, Goals, and Purpose Formula for the Music CBPAs\n				Riverside Publishing Company Contract, 2003–2006\n				Formula for CBPA Design Structure and Purpose\n		Implementation, Professional Development, Refinement, and Reporting (2006–2011)\n			OSPI Annual January Conference in 2006\n			Statewide Scoring Training Event, 2006\n			CBPA Development 2006–2008\n		Music CBPAs Journey in Progress: Legacy for Student and Teacher Success (2011–Present)\n		Summary\n		Appendix 8.1: Comparison Chart of Washington State Arts Essential Academic Learning Requirements (2001) and Washington State K–12 Arts Learning Standards (2011)\n			Appendix 8.2   Comparison Chart Washington State’s Classroom-Based Performance Assessments 2006–2017\n		Notes\n		References\n	Chapter 9: The texas music assessment: Grassroots Development of a Statewide Music Test\n		Curriculum Development\n		First Assessments of Knowledge-Based General Music Content\n		Performance-Based Assessment\n			Performance-Based Delivery Mechanism\n		Using the Texas Music Assessment\n		What We Have Learned\n		Note\n		References\n	Chapter 10: Assessment in music education: A Colorado Partnership\n		The Colorado Landscape\n		Policy\n		The Assessment Development Process\n		The Colorado “Content Collaboratives”\n		Implementation\n		Educator Effectiveness and Evaluation\n		National Connections\n		Summary\n		Recommendations\n		Conclusions\n		References\n	Chapter 11: Measuring student learning in michigan: The Michigan Arts Education Instruction and Assessment Project\n		Context for the Michigan Arts Education Instruction and Assessment (MAEIA) Project\n			Contextualizing Assessment with Opportunity to Learn\n		Structure and Development of Michigan’s Model Arts Education Instruction and Assessment Project\n			Project Leadership: Background and Skills\n			Project Overview and Process\n			Assessment Specifications and Assessments\n			Assessment Types\n			Use of the Assessments in Teacher Evaluation\n		Critical Analysis of the Project: Process, Goals, and Outcomes\n			Process: Project Timing\n			Outcomes: Concerns About Misuse in Educator Evaluation\n			Effect of the Blueprint and Program Review Tool\n			Disagreements and Tensions Regarding Assessment Items\n			Implications\n		Conclusions\n		Notes\n		References\n	Chapter 12: The South Carolina Arts Assessment Program\n		An Introduction to SCAAP\n		A Brief History of SCAAP\n		Assessment Content and Test Specifications\n			Multiple-Choice Item Bank\n			Multiple-Choice Analyses\n				Reliability\n				Descriptive Statistics\n				IRT Model Fit and Equating Test Forms\n				Test Bias: Differential Item Functioning (DIF)\n				Technical Characteristics of Items\n		Item Review Process\n		Considering Item Analysis Using Rasch\n		Performance Task Preparation and Benchmarking\n		Performance Task Scoring Procedures\n		Interrater Reliability of Performance Tasks\n		Performance Task Difficulty and Descriptive Statistics\n		Using SCAAP to Understand the Impact of Music Instruction\n		Reporting Results to Schools\n		Lessons Learned and Looking Toward the Future\n		Notes\n		References\nPART II: THE ASSESSMENT OF STUDENT MUSIC LEARNING\n	Chapter 13: Assessment and Critical Pedagogy: A Perspective from the United States\n		A Critical Pedagogy View of Teaching and Learning\n			Hegemony\n			Marginalized and “Silenced” Voices\n			Banking\n		Critical Pedagogy and Assessment in the Literature\n		Toward a New Vision of Assessment in Music Education with Ideas from Critical Pedagogy\n			Question 1: In what ways do assessment practices encourage conversation and connect to and broaden a view of reality held by teachers and their learners?\n				Student-Generated Assessments\n			Integrative Assessment\n			Question 2: In what ways do formative and summative assessments contribute in positive and negative ways to empowering learners, and how do teachers use the data gleaned from learner assessments to nurture transformation?\n			Question 3: In what ways do the politics of education, of schools, and of music education contribute in positive and negative ways to foster music learning, music teaching, and music education in schools?\n		Other Perspectives\n		Conclusion\n		Note\n		References\n	Chapter 14: Making Assessment Meaningful, Measurable, and Manageable in the Secondary Music Classroom\n		Introduction\n		Common Characteristics of Robust Music Assessment Practice\n			Validity\n			Reliability\n			Fairness\n			Clear Standards\n			The End in Mind\n			Performance-Oriented Assessment\n			Quality Data to Improve Instruction\n			Quality Data to Improve Student Learning\n			The Performance and Nonperformance Music Classroom\n			Effective Assessment Practice in the Secondary Music Classroom\n		The Meaning, Measurement, and Management of Classroom Music Assessment for Secondary Teachers\n			Assessments That Have Meaning\n			Assessments and Measurable Goals\n			The Management of Classroom Assessments\n		Assessment of Musical Skills\n			Performance Skills\n			Written Theory\n			Listening Theory\n			A Model for Written and Listening Theory Assessments\n			Additional Assessment Formats in the Music Classroom\n		Developing a Systematic Assessment Plan\n		Using Data Effectively in the Music Classroom\n			Individual Student Data\n			Group Data\n		Assessments in Action in the Secondary Music Classroom\n			Self-Assessment\n			Peer Assessment\n			Director Assessment\n			Technologically Assisted Assessment\n			Cultivating the Self-Directed Learner in the Music Classroom\n		Reimagining the Future of Music Assessment\n		References\n		Further Reading\n	Chapter 15: Assessment Practices of American Band Directors\n		Classroom Music Assessment\n			Assessment in Band\n		Assessment Practices: In the Band Classroom\n			Types of Assessments Used by Band Directors\n			What Is Being Assessed? Development of Assessment and Curriculum in Band Classes\n			Why Is It Being Assessed? Purposes of Assessment\n			How Is It Being Assessed? Grade- and Performance-Level Specifics\n		Current Assessment Practices: Ensemble Performance Assessments\n		Moving Forward: The Future of Assessment in Band\n			The National Core Arts Standards, Model Cornerstone Assessments, and Opportunity to Learn Standards\n			Common Core State Standards and State-Led Initiatives\n			Technology’s Use in and out of the Band Classroom\n			Impact for the Future of Instrumental Music Education\n		References\n	Chapter 16: Assessment Practices of American Choral Music Educators\n		Choirs in the United States\n		Collecting Student Information\n		Assessing Ensemble Performance\n		Assessing Critical Thinking and 21st-Century Skills\n		Assessing Performance Skills\n			Scoring Student Performance\n		Standards-Based Assessment\n			Performing Model Cornerstone Assessments\n			Creating Model Cornerstone Assessments\n			Responding Model Cornerstone Assessments\n		Grading Practices of High School Choral Music Educators\n		Reporting Assessment Results\n		Assessment Practices of High School Choral Music Educators\n		Assessment Perspectives of Five Choral Music Educators Supervising a Student Teacher\n			Formative Assessment\n				Student Teacher A\n				Student Teacher B\n				Student Teacher C\n				Student Teacher D\n				Student Teacher E\n			Summative Assessment\n				Student Teacher A\n				Student Teacher B\n				Student Teacher C\n				Student Teacher D\n				Student Teacher E\n			Student Growth Outcomes\n				Student Teacher A\n				Student Teacher B\n				Student Teacher C\n				Student Teacher D\n				Student Teacher E\n		Toward the Future\n		References\n	Chapter 17: Assessment Practices of American Orchestra Directors\n		Overview\n		Related Literature\n		Survey\n			Forms of Assessment\n			Types of Assessment\n			Discussion\n				Discussion Points\n			Frequency of Assessment\n			Discussion\n		Promising Practices\n			Interviews\n			Findings\n				Stated Motivations for Assessment\n				Standards\n				Individual Playing Assessments\n				Self-Assessment\n				Grading\n			Discussion\n				Discussion Points:\n		Synthesis\n		Notes\n		References\n	Chapter 18: Assessment Practices in American Elementary General Music Classrooms\n		Assessment Foundations in Elementary General Music\n		Assessing Artistic Process: Creating\n			Composing\n			Improvising\n		Assessing Artistic Process: Performing\n			Moving\n			Singing\n			Playing\n		Assessing Artistic Process: Responding\n			Listening\n			Evaluating\n		Assessing Artistic Process: Connecting\n		Assessment and Learning\n			Assessment for and of Student Learning\n			Assessment for and of Teaching\n		Conclusion\n		References\n	Chapter 19: Assessing Music in Early Childhood\n		Introduction\n			Definitions\n			Review of the Literature\n		The Role of Assessment in Early Childhood Music\n			Historical and Philosophical Background\n			Establishing Foundation for Assessment in Early Childhood\n			Designing Assessment Systems in Early Childhood Music\n		Ethics\n		Quality Characteristics of Assessment Tools\n			Individualized to Developmental Stages\n		Policy\n		Considerations for the Development of Early Childhood Music Assessments\n			Standardized Assessments\n		Assessment Examples\n			Phase 1 Assessment Example\n			Phase 2 Assessment Item Examples\n		Conclusion\n		Note\n		References\n	Chapter 20: Assessment in the Music Learning Theory–Based Classroom\n		Audiation, Aptitude, and the Development of Music Learning Theory\n			Audiation and Aptitude\n			Aptitude and Achievement\n			Gordon’s Tests of Music Audiation and Music Aptitude\n		Applications of Music Learning Theory and Assessment in Elementary General Music\n			Forms of Assessment Used by MLT Practitioners\n			Instruction and Assessments\n				Assessment in Learning Sequence Activities\n				Assessment in Classroom Activities\n				Sample Assessments for Use in Classroom Activities\n		Using Assessment Data\n			Adapting Instruction\n			Idiographic and Normative Evaluation\n			Teacher Effectiveness\n		Conclusion\n		References\n	Chapter 21: Assessment in the Kodály Classroom\n		Developing a Pedagogy\n		The Kodály Approach in the United States\n		Evolving from a Subject-Based to a Skills-Based Curriculum\n		Practicing the Kodály Approach\n			Singing\n			Folk Songs and Singing Games\n			Movable Do Solfège\n			Inner Hearing\n			Child-Developmental Progression\n			Sequential Order of Elements/Concepts\n			Reading, Writing, and Dictation\n			Improvising and Composing\n			Prepare-Present-Practice Model\n		Designing a Curriculum-Instruction-Assessment System\n			Developing Standards, Assessments, Rubrics, and Benchmarks\n			Continuous Quality Improvement\n		The Current Curriculum-Instruction Assessment System in District #761\n			Sequence of Elements\n			Abridged Scope\n			Enduring Understandings\n			Lesson Planning\n		Assessing and Evaluating in the Elementary Kodály Music Classroom\n			Formative and Summative Assessment\n			When and to What Degree to Assess\n			Rubrics and Rating Systems\n			How to Assess Students\n			Student Self-Assessments\n			Report Card Evaluation\n			Benchmark Assessments\n			Student Survey\n			Assessment Goals\n		Assessing Middle School Students\n			Classroom Music\n			Choirs\n			Instruments\n		Adapting Kodály Practice to US National Standards\n		Envisioning the Future\n		Acknowledgment\n		References\n	Chapter 22: Assessment and Orff Schulwerk Pedagogy\n		Introduction/Overview\n			Orff Schulwerk\n				A Brief History\n				Philosophical Tenets\n			Orff Schulwerk Worldwide\n			Adaptations of the Schulwerk in the United States\n		The Role of Assessment in Orff-Based Teaching\n			The Orff approach\n				The Orff Process\n				Creativity as a Fundamental Principle\n				Assessing the Creative Process\n			Influences of the Orff Approach on Assessment\n				Process Versus Product\n				Ontological Development of Musical Competencies\n				Scope and Sequence Progressions\n		Factors That Impact Assessment Practices in Orff-Based Teaching\n			Frameworks and Guidelines for Music Teaching\n				National Standards\n				State Standards\n				Local and District Standards\n				Arts-Based Curricular Integration\n			Practical Considerations\n				Material and Equipment\n				Financial\n				Scheduling\n		Conclusions/Implications\n			Chapter Summary\n			Principles with Implications for Teaching Practice\n		References\n	Chapter 23: Assessment in Dalcroze Pedagogy\n		General Definition of Dalcroze Pedagogy\n		The First Steps of the Approach\n		Branches of Dalcroze Pedagogy\n			Rhythmics\n			Solfège\n			Improvisation\n			Plastique Animée\n		Practical Applications\n		The Content-Specific Learning Objectives as Assessment Target Areas\n		Forms of Assessment in Dalcroze Teaching\n			Objective Versus Subjective Assessment\n			Holistic Versus Analytical Assessment\n			Diagnostic, Formative, and Summative Assessment\n		Assessment Practices, Methods, and Tools\n			Observation\n			Self-Assessment\n			Peer Assessment\n				Exams and Tests\n			Grading\n		Concluding Comments\n		Notes\n		References\n	Chapter 24: Analyzing student data to inform instruction and increase student growth: Assessment in American Music Classrooms\n		Learning Targets and Scales as a Framework for Monitoring Progress\n		Analyzing Student Work\n		Analyzing Data to Improve Student Learning\n			Case 1: 5th-Grade General Music (Ages 11–12)—Adjusting Instruction and Assessment Tools to Improve Learning\n			Case 2: 6th-Grade Orchestra (Ages 12–13)—How Assessment Directions Affect Scoring\n			Case 3: High School Choir (Ages 14–18)—The Importance of Analyzing One Aspect of Work at a Time and Improving the Scoring Device\n			Case 4: High School Band (Ages 14–18)—Differentiating Lessons for Student Growth\n		Using Data from ASW to Write Rubrics\n			High School Composition—Writing a Rubric to Assess an Assignment\n		Using Data from ASW to Create Consensus\n		Conclusion\n		Notes\n		References\n	Chapter 25: Assessing Music Learning Through Composition\n		Introduction\n		Philosophical Foundations\n		Definitions\n		Creative Identity\n		Composition Assessment in Research and Practice\n			Experimental\n			Contextual\n			Practice\n				Assessing Solo Products\n				Assessing Group Products\n				Assessing Process\n		Moving Forward\n		Note\n		References\n	Chapter 26: Assessing Singing Voice Development\n		Introduction\n			Definition of Singing Development\n		Overview of Approaches to Singing Assessment\n			Measures Using Human Raters\n			Measures Using Technology\n			Singing Tasks\n		Selected Tools for the Assessment of Singing Voice Development\n			Vocal Range\n			Vocal Register\n			Pitch Accuracy\n			Vocal Register and Pitch Accuracy\n			Singing Tasks\n		Recommendations and Strategies for Assessment\n			In Research Settings\n			In Classroom Settings\n		Summary and Conclusions\n		References\n	Chapter 27: Self-Assessment of Singing Accuracy\n		Singing Self-Assessment Accuracy of Elementary School Children\n		Study 1: An Examination of Children’s Self-Assessment Singing Accuracy\n			Purpose\n			Method\n			Results\n			Discussion\n			Conclusions and Implications for Music Education\n		Study 2: Effects of Teacher Feedback on the Singing Self-Assessment Accuracy\n			Related Research\n			Purpose\n			Method\n			Results\n			Discussion\n			Conclusions and Implications for Music Education\n		Study 3: Effects of Peer Feedback on the Singing Self-Assessment Accuracy\n			Related Research\n			Purpose\n			Method\n			Results\n			Discussion\n			Conclusions\n			Implications for Music Education\n		References\n	Chapter 28: Practical Tools and Strategies for Assessing Aural Skills\n		Defining Aural Skills\n		Scope of This Chapter\n		Sight-Singing\n			Sight-Singing Assessment at Choral Festivals\n			Sight-Singing Assessment Challenges\n			Tools for Sight-Singing Assessment\n			Conclusions and Implications\n		Dictation\n			Practical Examples of Dictation Skills Assessment\n			Dictation in the Broader Music Curriculum\n			Conclusions and Implications\n		Error Detection\n			Assessing Error Detection in Music Classes\n			Tools for Assessing Error Detection\n			Conclusions and Implications\n		Important Issues in Aural Skills Assessment\n			Teacher Confidence\n			Technological Tools for Aural Skills Assessment\n			Test Preparation\n		Recommendations\n		References\n	Chapter 29: Assessing Music Listening\n		What Is Music Listening?\n		Identifying Sources and Selecting Music for Listening\n		Attending in Listening\n		Music Listening as Sense-Making\n			Responses on Which to Base Assessments of Music Listening\n		Summary\n		References\n	Chapter 30: The Assessment of Adult Music Learning in the United States\n		Adult Music Learning in the United States\n			Learner\n			Context\n			Process\n		Assessment of Adult Music Learners\n		Recommendations for Future Study\n		References\n	Chapter 31: CulturallyResponsive Assessmentin Music Education\n		Culture, Music, and Humans\n		Musical Enculturation, Cognition, and Education\n		Why Culturally Responsive Teaching?\n		Culturally Responsive Teaching, Assessment, Achievement, and Music Education\n		African American Children’s Musical Lives at Lincoln Elementary\n		Future Directions Regarding Culturally Responsive Music Assessment Practices\n		References\n	Chapter 32: Spotlight on Children and Young People with Complex Special Needs\n		Introduction to Music in the Special Education Sector\n		Discussion\n			STEM/STE A M: Dilemmas, Cultures, and Big Issues for Music in the Special Education Sector\n				Development and Learning Science\n				Music Psychology, Neuroscience, and Auditory Cognitive Neuroscience\n			HASS: Dilemmas, Cultures, and Big Issues for Music in the Special Education Sector\n				Extent and Potential of Music in the Special Education Sector\n				Law, Policy and Procedures, and Professional Practice in Music in the Special Education Sector\n				Training of the Music Teacher for a Career in the Special Education Sector\n		Assessment and Reporting: Music in the Special Education Sector\n			Quantitative Approaches\n			Qualitative and Mixed Approaches\n			Reliability, Fairness, Validity, and Credibility of Music Assessment in the Special Education Sector\n			Ethical Issues for Music in the Special Education Sector\n		Concluding Remarks\n		References\n	Chapter 33: Evidence-Based Practices for Music Instruction and Assessment for PreK–12 Students with Autism Spectrum Disorder\n		Introduction\n		Defining Autism Spectrum Disorder and Suggestions for Music Instruction and Assessment\n		United States Education Laws and Policies for Students with Disabilities: Implications for Music Instruction and Assessment\n		Universal Design for Learning\n		Evidence-Based Practice\n		Related Literature: Evidence-Based Practices Related to Music Education, Special Education, and Music Therapy for Students with ASD\n		Music Therapy Practices for Students with ASD\n		Special Education National Standards, Autism Focused Intervention Modules (AFIRM)/EBP for Students with ASD\n		Evidence-Based Practices and Alignment to a Preschool Music/Movement/Creative Arts Program\n		Preschool Program Instructional/Assessment EBP Scenarios\n		Preschool Program Instructional/Assessment Scenario: Preparing for a Concert\n		EBPs and Alignment to P-12 Music/Movement Curriculum, Instruction, and Assessment for Students with ASD\n		P-12 AP Music/Movement Curriculum, Instruction, Assessment Data Collection and Results\n		Federal and Kentucky Education Policies and Implications for Music Assessment\n		Future Directions for Assessment in Music Education for Students with ASD\n		References\nPART III: ASSESSMENT AND MUSIC TECHNOLOGY\n	Chapter 34: Policy, Standards, and Assessment in Technology-Based Music Instruction\n		Introduction\n		Policy as a Backdrop\n		Theoretical Foundations of TBMI\n			Pedagogical Theories\n			TPACK\n			Objectives of TBMI\n			Key Conclusions and Suggestions Regarding Pedagogical Theories\n		Practical Influences that Support TBMI\n			National Core Arts Standards\n			Technology Institute for Music Educators Areas of Pedagogical Skill and Understanding\n			National Educational Technology Standards\n			National Education Technology Plan\n		Key Conclusions Regarding the Influences of Standards\n		Measurable Outcomes for TBMI\n			Suggested Assessment Outcomes\n				Performance\n				Application of Compositional Principles Through Creative Means\n				Music Theory Knowledge\n				Techniques Specific to Technological Music Making\n				Outcomes Mandated by Sets of Standards\n			Observing/Measuring/Assessing Growth\n			Key Conclusions Regarding Assessable Outcomes\n		How Might We Influence Policy?\n			Addressing the Preservice Opportunity\n			Including Composition in Teacher Preparation\n			Collaborative Work on Standards\n			Assessment and Teacher Performance\n		Conclusion\n		Note\n		References\n	Chapter 35: Technical Issues Related to Computerized Music Performance Assessment\n		An Introduction to Technology in Music Assessment\n		Rationale for Using Technology in Music Education\n		History of Technology in Music Assessment\n		Philosophical Issues of Technology in Music Assessment\n		Practical Issues of Technology in Music Assessment\n			Practical Considerations: Pitch Recognition\n				Background Sound\n				Instrument Timbre\n				Pitch Errors\n				Microphone Issues\n					selection\n					response pattern\n					sensitivity and gain adjustment\n					automatic gain control\n					placement\n			Technology in Music Assessment: Data Analysis\n				Timing Issues\n				Scoring Issues\n				Performance Issues\n					timbre\n					intonation\n					vibrato\n					articulation\n				Practical Considerations: Display of Assessment Feedback\n					sound wave display\n					music notation display\n					numerical display\n		Summary\n		Suggestions for Future Development\n		References\n	Chapter 36: Assessing Music Learning with Technology\n		Assessment Principles Applicable to Technology-Assisted Musical Assessment\n			Role of Assessment in Music Teaching and Learning\n			Types of Assessment\n			Validity, Reliability, and Fairness\n			Approaches to Assessment\n		Designing Assessment Tasks and Procedures Facilitated by Technology\n			Backward Design\n			Technocentrism\n			Technological Pedagogical and Content Knowledge\n			Universal Design for Learning and Assistive Technologies\n		Technology, Assessment Instruments, and Assessment Management\n			Assessing Declarative Knowledge\n			Assessing Procedural Knowledge—Products and Performances\n				Checklists, Rating Scales, and Rubrics\n				Portfolios\n			Assessment Management\n		Technology for Assessing Creating, Performing, and Responding to Music Learning Outcomes\n			Creating Music\n			Performing Music\n			Responding to Music\n		Summary\n		Notes\n		References\nEPILOGUE\n	Chapter 37: Assessment in music education: The State of the Art\n		The Conditions That Shape the Assessment Context\n			Opportunity to Learn\n			Standards\n			Curriculum\n			Philosophy\n			Accountability and High-Stakes Testing\n		Qualities of Well-Designed Assessments of Music Learning\n			Validity\n				Threats to Validity\n			Reliability\n			Validity and Reliability in Practice\n			The Criterion Debate\n				Consensual Assessment\n				Consensus Moderation\n		International Principles for Assessment in Music Education\n			The Philosophical Foundation of the Principles\n			Principle of Shared Language\n			Principle of Quality\n			Principle of Purpose\n			Principle of Operability\n			Principle of Alignment\n			Principle of Authenticity\n			Principle of Social Justice\n			Principle of Valuing\n		The State of the Art\n		Notes\n		References\nINDEX