ARTS Grade 8 : Pretests Question and answers Visual Arts & Music

ARTS Grade 8 Multiple Choice (9)Short Constructed Response (6)Extended Constructed Response (4) Pretests Question and answers Visual Arts & Music

self-portrait A [1]

Self-Portrait, Drawing, Kathe Kollowitz © National Gallery of Art

self-portrait B [2]

Self portrait, Egon Schiele © Photo courtesy Galerie St. Etienne, New York.

Question 1 refers to self-portrait A [1], self-portrait B [2]

Open your packets and look at your two prints. Each print shows an image of a self-portrait created by a twentieth-century artist. Self-portrait A is by Kathe Kollwitz, and self-portrait B is by Egon Schiele. A “self-portrait” is an artwork that shows the person who created the work. The self-portraits you will be working with for this task, both of which show the faces and upper bodies of the artists, tell important things about the personalities of the people who created them. After you answer some  questions about the works, you will create your own self-portrait.

As you answer the  questions about each self-portrait, think carefully about what the artists might have wanted to communicate about themselves in their self-portraits. Now look at each of the artworks closely and answer the  questions in your test booklet.

1.   Look at self-portrait A. Which of the following is an important aspect of the composition (arrangement of shapes, lines, and forms) of the drawing?

A.     Linear perspective

B.     Horizontal emphasis

C.     Radial emphasis

D.     Symmetry

Key

B

Question 2 refers to self-portrait A [1], self-portrait B [2]

2.   Self-portrait A is a charcoal drawing. Describe two characteristics of charcoal that you see in self-portrait A.

1.

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2.

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Scoring Guide

Score & Description
ACCEPTABLE

The student gives two accurate identifying characteristics of charcoal.

PARTIAL

The student gives only one identifying characteristic of charcoal, e.g., dark shade.

UNACCEPTABLE

The student does not give identifying characteristics of charcoal.

Question 3 refers to self-portrait A [1], self-portrait B [2]

3.   Which statement describes a technical  similarity between self-portraits A and B?

A.     The figure in each work is seen from the same point of view.

B.     Both works combine loose gestural lines with careful drawing.

C.     The compositions in both works are symmetrical.

D.     Both works rely on light and shadow to emphasize depth.

Key

B

Question 4 refers to self-portrait A [1], self-portrait B [2]

4.   For this question, you will write a short essay on page 5 about  what the artist of self-portrait B may have been trying to communicate. To help you write your essay, take some time to look carefully at self-portrait B and make  brief notes in the space below about

the way the artist has drawn the different  parts of the body, like the  face, facial features, head, neck, and shoulders;

how the artist has used  different kinds of lines in the self-portrait; and

how the artist has used  color in the self-portrait.

You will not be scored on your notes, but you will need them to help you write your essay.

WHEN YOU HAVE FINISHED TAKING NOTES,

WRITE YOUR ESSAY ON PAGE 5.

Write an essay on the lines below that explains what the artist of self-portrait B may have been trying to communicate.

In your essay, support your ideas by describing

the way the artist has drawn parts of the body;

the use of different kinds of lines; and

the use of color.

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Scoring Guide

Score & Description
EXTENSIVE

The student accurately and fully describes how the artist has drawn parts of the body and used line and color to communicate a plausible message.

ESSENTIAL

The student describes a message the artist may have been trying to communicate in relation to the way the artist drew two of the elements asked for, OR, the student describes the way the artist has drawn two or three of the elements asked for with no reference to what the artist was trying to communicate.

PARTIAL

The student describes a message the artist may have been trying to communicate in relation to minimal aspects of the work, OR, the student describes a message the artist may have been trying to communicate with no reference to the way the artist drew, OR, the student makes minimal observations about the work with no reference to what the artist was trying to communicate.

UNACCEPTABLE

The student offers no relevant interpretation or observations about the work.

Question 5 refers to self-portrait A [1], self-portrait B [2]

5.   Now put your white drawing paper, oil pastels, a mirror, and your charcoal pencil in front of you.

Think about how you could communicate something important about your personality by drawing your  face and upper body.

Using the materials in any way you choose, create a self-portrait that will communicate to a viewer something you think is important about your personality. You may use the mirror if you wish.

Scoring Guide

Score & Description
SUFFICIENT

Observation is clear and specific, identifying detail is skillfully incorporated and developed, compositional elements are used purposefully, and the use of materials is sensitive.

UNEVEN

Some specific observations are present. Compositional elements employed are sometimes pertinent and sometimes not. There is some attention to detail to convey expression and/or effective use of materials to communicate. However, works are typically somewhat inconsistent or incomplete in parts.

MINIMAL

Efforts at specific observations are apparent, but relatively minimal. Compositional successes may seem more accidental than deliberate, and use of materials is unskilled.

INSUFFICIENT

Observation is unspecific, there is little awareness of composition, and use of materials is highly unskilled.

Question 6 refers to self-portrait A [1], self-portrait B [2]

6.   Explain what you hoped to communicate about yourself in your drawing.

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Discuss  at least three specific things about your self-portrait that communicate your personality. In your answer, talk in detail about how you used the oil pastels and/or charcoal to create the things you talk about.

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Scoring Guide

Score & Description
EXTENSIVE

The student explains how at least three specific aspects of the self-portrait communicate something (or a few things) about his or her personality. Descriptions are specific and connect attributes of the portrait or how tools were used to what the student was trying to communicate.

ESSENTIAL

The student explains how two specific aspects of the self-portrait communicate something (or things) about his or her personality.

PARTIAL

The student explains how one specific aspect of the self-portrait communicates something (or things) about his or her personality.

UNACCEPTABLE

The student does not describe aspects of their self-portrait, makes vague statements about a message (e.g., “what I look like”), or does not link descriptions of uses of materials to what he or she was trying to communicate (e.g., “I used charcoal on my clothes”).

Musical texture refers to the blend of various sounds and the ways in which the lines of music in a piece are related. The diagrams below contain drawings showing different ways that various lines of music could be combined to create musical texture.

The first piece of music you will hear will be used for question 1. The music will be played one time. Before you hear the music, read question 1.

For this question, students listened to an excerpt from  Concertino, Op. 107 by Cecile Chaminade. Because of copyright restrictions, we are unable to present the actual audio clip for this question.

7.   Which diagram best illustrates the texture of the music?

A.    

B.    

C.    

D.    

Key

D

The next piece of music will be used for question 2. The music will be played one time. Before you hear the music, read question 2.

(Copyright: “The Art of the Fugue, BMV 1080” by Arthur Frackenpohl, Johann Sebastian Bach, copyright © 1988 CBS Records, (P) 1988 Sony Music Entertainment. Under license from The Sony Music Custom Marketing Group, a division of Sony Music Entertainment.)

8.   Which diagram best illustrates the texture of the music?

A.    

B.    

C.    

D.    

Key

A

The next piece of music will be used for question 9. The music will be played two times. Before you hear the music, read question 9. (NOTE: Although in the actual assessment students heard the music twice, the music is played only once here.)

(Copyright: “Drodope” by Les Femmes Pleureuses de Klo Mayondi from Togo:  Music from West Africa (ROUN5004). Courtesy of Rounder Records.)

9.   From where does the music come?

Other than the language used in the song, describe one feature of the music that helps to identify it as coming from the part of the world you selected. Be specific in your description.

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Scoring Guide

Score & Description
DEVELOPED

Student identifies the music as coming from Africa and provides a specific musical characteristic of African music that is present in the music.

ADEQUATE

Student identifies the music as coming from Africa and provides a vague musical characteristic of African music that is present in the music.

LIMITED

Student identifies the music as coming from Africa but does not provide any description of a musical characteristic present in the music.

INADEQUATE

Student does not identify the music as coming from Africa.

10.    Which of the following is a correct time signature for the music?

A.     2

4

B.     3

4

C.     4

4

D.     5

4

Key

B

11.    What does the symbol in circle 1 tell the performer to do?

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What is the musical (Italian) name for the symbol in circle 1?

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Scoring Guide

Score & Description
ADEQUATE

Student describes the meaning for the dynamic marking and provides its name.

LIMITED

Student provides either a description of the meaning of the dynamic marking or provides its name.

INADEQUATE

Student does not provide any correct information.

12.    What kind of note is in circle 2?

A.     An eighth note

B.     A quarter note

C.     A half note

D.     A whole note

Key

C

13.    For question 8, you are to write an ending for the rhythmic pattern you see below. You will hear it played two times. After you hear the rhythmic pattern, write an ending to the pattern in the empty measures printed in your test booklet. The music that you write should make the rhythm sound finished. You may use notes or rests in your answer, but do not copy any of the measures that are already used in the music. Make sure that the ending that you write has the correct number of beats.

Scoring Guide

Sample Correct Responses:

This item measures two different skills: the ability to use the correct notation and the ability to write an appropriate ending. This scoring guide refers to the student’s ability to use the correct notation.

Score & Description
DEVELOPED

Student writes any combination of notes or rests totaling four beats, with no technical notation errors (such as note heads not filled in properly, backward stems, or note heads on eighth notes not filled in).

ADEQUATE

One measure of the response is completely correct with no technical errors in notation. The other measure of the notation contains the correct number of beats but contains a technical error in notation.

PARTIAL

One measure of the response contains the correct number of beats with no technical errors in notation. The other measure is incorrect.

Or:

Each measure of the response has the correct number of beats but contains a technical notation error.

Examples of technical notation errors include backward stems or note heads on eighth notes not filled in appropriately.

VERY LIMITED

One measure of the response contains the correct number of beats but has a technical error in notation. The other measure contains an incorrect number of beats.

Examples of technical notation errors include backward stems or note heads on eighth notes not filled in appropriately.

INADEQUATE

Each measure of the response contains an incorrect number of beats.

Examples of technical notation errors include backward stems or note heads on eighth notes not filled in appropriately.

14.    For question 8, you are to write an ending for the rhythmic pattern you see below. You will hear it played two times. After you hear the rhythmic pattern, write an ending to the pattern in the empty measures printed in your test booklet. The music that you write should make the rhythm sound finished. You may use notes or rests in your answer, but do not copy any of the measures that are already used in the music. Make sure that the ending that you write has the correct number of beats.

Scoring Guide

Sample Correct Responses:

This item measures two different skills: the ability to use the correct notation and the ability to write an appropriate ending. This scoring guide refers to the student’s ability to write an appropriate ending.

Score & Description
DEVELOPED

Student’s ending is musically and rhythmically satisfying.

INADEQUATE

Student’s ending is not musically and rhythmically satisfying, or copies measures 1 and 2.

The music will be played one time. After you hear the music, you will have 2 minutes to complete Before you hear the music, read

For this question, students listened to an excerpt from  Black Angels by George Crumb. Because of copyright restrictions, we are unable to present the actual audio clip for this question.

15.    The music comes from which style period?

Describe one specific feature of the music that shows that it comes from the style period you selected.

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Scoring Guide

Score & Description
DEVELOPED

Student selects twentieth century as the style period and describes a specific identifying characteristic of twentieth century music present in the music.

ADEQUATE

Student selects twentieth century as the style period and offers a correct but vague description of an identifying feature present in the music.

LIMITED

Student selects twentieth century as the style period but fails to provide any description of a feature of the music.

INADEQUATE

Student selects a period other than twentieth century.

For this question, students listened to an excerpt from  Black Angels by George Crumb. Because of copyright restrictions, we are unable to present the actual audio clip for this question.

16.    Describe one possible emotion or mood that the composer might have been trying to create in this music.

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Describe two specific details of the music that the composer used to create the emotion or mood you described.

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Scoring Guide

Score & Description
DEVELOPED

Student identifies an emotion and provides two references in the music to support the answer (e.g., “I thought the composer was trying to create scary sounding music.  He did this by making lots of sudden changes in the music and by creating weird sound effects on the strings”).

ADEQUATE

Student identifies an emotion or mood and provides one reference in the music to support the answer (e.g., “Insanity, because the composer made the music have shrieking noises,” “Tension.  The music never stops changing throughout”), or student provides no mood but describes two features appropriately.

LIMITED

Student identifies an emotion or mood (e.g., “Fear,” “Anger,” “Tension,” “Insanity,” “Nervousness”) but does not give any musical reference that supports the answer, or student provides no mood but describes one feature appropriately.

UNACCEPTABLE

Student fails to identify an emotion or mood and does not refer to elements present in the music.

17.    At the beginning of the piece, a solo is played on

A.     a flute

B.     an oboe

C.     a saxophone

D.     a clarinet

Key

D

For this question, students listened to sections of  Variations on “America” by Charles Ives, arranged by William Schuman. Because of copyright restrictions, we are unable to present the actual audio clip for this question.

18.    What type of ensemble played the music?

A.     A brass quintet

B.     A symphony orchestra

C.     A concert band

D.     A bluegrass band

Key

B

For this question, students listened to sections of  Variations on “America” by Charles Ives, arranged by William Schuman. Because of copyright restrictions, we are unable to present the actual audio clip for this question.

19.    The music is an example of which form?

A.     Theme and variations

B.     Rondo

C.     Prelude and fugue

D.     Sonata-allegro

Key

A