Outcomes define what students are expected to know, understand and be able to do by the end of a grade or secondary course in a particular are of study. The outcomes provide direction for assessment and evaluation, and for program, unit and lesson planning.

Outcomes:

• Focus on what students will learn rather than what teachers will teach;
• specify the skills, abilities, knowledge and/or attitudes that students are expected to demonstrate;
• are observable, assessable and attainable and;
• are supported by indicators which provide the breadth and depth of expectations.

Indicators are representative of what students need to know, understand and/or be able to do in order to achieve an outcome. When planning for instruction, teachers must comprehend the set of indicators to understand fully the breadth and the depth of learning related to a particular outcome. Based on this understanding of the outcome, teachers may develop indicators that are responsive to students' needs, interests and prior learning. Teacher-developed indicators must maintain the intent of the outcome.

The set of indicators for an outcome:

• provides the intent (breadth and depth) of the outcome;
• tells the story, or creates a picture, of the outcome;
• defines the level and types of knowledge required; and
• is not a checklist or prioritized list of instructional activities or assessment items.

The outcome for vocal jazz are organized around the three K-12 arts education goals: creative/productive ,critical/responsive and cultural/historical. Students will be working on a number of the outcomes at the same time. Teacher planning and preparation are critical to ensure that the outcomes and indicators are addressed in a timely manner.

When reviewing the outcomes for the Saskatchewan vocal jazz curriculum, teachers will notice that most outcomes will have an impact on, or connection to, at least some of the other outcomes. For example, improvement in a student's technical development (VJCP10.3) almost certainly will affect his/her improvisation (VJCP10.1), which certainly will be affected by listening to jazz masters (VJCR10.4 and VJCH10.2). This shows not only the integration of outcomes, which is necessary for the study of vocal jazz, but also the importance of teaching in a holistic manner to achieve deep understanding. Within the outcomes and indicators in this curriculum, the terms "including" and "such as" as well as the abbreviation "e.g." occur. The use of each term serves a specific purpose.

The term "including" prescribes content, contexts, or strategies that students must experience on their learning, without excluding other possibilities. For example, consider the indicator, "Identify the time signature on first hearing a piece of music, including odd metre times such as 12/8 and 5/4, in addition to simpler duple and triple time signatures". Here, students are expected to provide referents for all of the time signatures listed. Other time signatures, such as 7/8 or 10/8, could be added but are not expected by the indicator or outcome.

The term "such as" provides examples of possible broad categories of content, context, or strategies that teachers or students may choose, without excluding other possibilities. For example, consider the indicator "notate an entire solo including elements such as form, chord changes, pitches, rhythms, articulations and dynamics". Here, the list is not specific only to those examples given but could be broadened to include many other elements of a solo.

Finally the abbreviation "e.g.," offers specific examples of what a term, concept, or strategy might look like. For example, consider the indicator, "Respond to the rest of the ensemble (e.g., its tone, colour, pitch, dynamics, style, rhythm, time, balance, consistent vowel use and blend)". In this case, the listed elements are specific types of examples, but they are not mandatory.

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