MUS 328-01 - University of Louisville



MUS 328-01Frameworks for Teaching Music in a Diverse SocietyUniversity of LouisvilleSchool of MusicSpring, 2016InstructorProfessor Robert A. Amchin, PhD.Office: School of Music, Room 229Phone: Office: 852-0536E-Mail: raamch01@louisville.edu (please include “Your name and MUS328” in your subject line)ROBAMCHIN@ (please include “Your name and MUS328” in your subject line)Description of the courseWorking with older children is an exciting and challenging educational experience for both the teacher and student. MUS 328 introduces methods used for teaching music to children in sixth grade through and high school in non-select music learning settings. Special topics such as humanities classes, special populations, and discipline are investigated in detail.General informationCourse / SectionLecture Meeting timesLocationCreditsMUS 328-01M/W 12:00-12:50Room 263, School of Music2First class: January 7, 2015 Last class: April 22, 2015Final Exam: April 28, 11:30am - 2:00pm Office hours: Tentative schedule below and by appointment. Call if you want to stop in on non-scheduled times. MondayTuesdayWednesdayThursdayFriday11:15-12:00, 2-3:003:30-4:30 pm11:15-12:00 1-2:003:30-4:00 (by appt) tentative.11:00-11:30Virtual office hours on FB 9-10 pmRequired Materials Charles, C.M. Building Classroom Discipline: From Models to Practice, 11th ed. White Plains NY: Longman, 2011.LiveText Account3-ring binderNAFME Student Membership. On-line registration must be completed by January 24. Register at .Course objectives Students will be able to demonstrate an ability to:1. Communicate the art of music with artistic sensitivity to students of secondary school age.SLO—Write a philosophy statement, submitted at the end of the semester.2. Identify stages of learning with respect to the development of musical concepts and select materials and teaching techniques appropriate for the level of development.SLO—Complete a lesson plan that is age appropriate to school age children (secondary) in a unit of study.3. Recognize and provide adaptations for the special needs students in the public school classroom.SLO—Submit chapter summaries and reflections from readings assigned during the semester.4. Provide aesthetic education through listening with secondary school students using the common elements approach.SLO—Create a listening lesson using a concepts=based approach.6. Write units of study, with related evaluative procedures, appropriate for secondary level music classes.SLO—Create a unit of study on a topic appropriate to a humanities class in the secondary school, including a PowerPoint lesson plan and objectives.7. Understand contemporary curriculum changes and their relationship to traditional curricula.SLO—Students will create s unit of study appropriate to children of this generation as part of a music unit of study.8. Develop a variety of teaching styles and disciplinary measures.SLO—Students will summarize viable appropriate to discipline as appropriate in the public school setting.10. Learn a chording instrument for use in the public schools.SLO—Students will learn to play Ukulele.11. Learn about adaptations of musical instruction for special needs populations.SLO— Students will create in-class presentations on special needs topics and applications for the music classroom12. Explore teaching children of diverse backgrounds and using diverse resources in the music classroomSLO—Students will create a lesson using non-western music and identify how they will present this material to a diverse population of students, as found in the public school setting.Literacy StandardsSuccess of reading and writing may be dependent on a solid background in oral language skills.? Both oral and written language can be explored in the same manner. That is, by using literacy skills in a variety of holistic literacy experiences, students can develop deeper understandings of what the students already know about and can do with oral and written communication. Oral language is an interactive and social process, and music experiences are a natural way for students to experience language in a meaningful way. Music classrooms create an environment that is conducive to this type of holistic learning. It can reduce stress, increase interest, and set the stage for intrinsically valuable listening and learning experiences. Using music as a stimulus can effect one's emotions and retain and recall information with more ease. The similarities between literacy acquisition and musical development are many. It is important for adolescent readers to experience many connections between literacy in language and music for students of all backgrounds and ages. This course will explore these similarities and connections aligned with the following standard:Standard 4: Diversity—MUS 328— Frameworks for Teaching Music in a Diverse SocietyCandidates create and engage their students in literacy practices that develop awareness, understanding, respect, and a valuing of differences in our society.Task: Read the following articles How can we prepare teachers to work with culturally diverse students and their families? What skills should educators develop to do this successfully? “ and“Diverse Teaching Strategies for Diverse Learners” . Write a one-two page summary of these readings and discuss how ideas in these articles can be adapted in your future music classroom. Include a statement of how will your lesson encourage students of diverse populations to explore music of their and other cultures? 2. Choose a traditional piece of music that is non-western, e.g., Sakura (Japanese), Che che Kolay (Ghanese), or an ensemble piece that includes non-western elements and write a lesson that illustrates how you would present it to diverse populations. In your lesson, include the text of your piece and activities that use the text and cultural origins in engaging student-centered activities. Indicate how you would present your selection to diverse populations. What strategies and adaptations will you use in your lesson to address diversity in your classroom encouraging students to explore music of diverse cultures as part of your lesson’s outcomes.Assessment RubricExemplaryTargetDevelopingInsufficient EvidenceStandard 4: DiversityCandidates create and engage their students in literacy practices that develop awareness, understanding, respect, and a valuing of differences in our society.Provide example of differentiated instruction and instructional materials, including traditional print, digital, and online resources that capitalize on student diversityProvide example of differentiated instruction and instructional materials, including traditional print, digital, and online resources that reflect student diversityProvide instruction and instructional materials, including traditional print, digital, and online resources, that somewhat reflect student diversityProvide limited instruction and instructional materials, including traditional print, digital, and online resources that do not reflect student diversityNotebookA final notebook is required during MUS 328. Students must have a 3-ring loose-leaf notebook to organize handouts, class and observation notes, projects, etc. Notebooks must have a table of contents and be organized logically as a future resource tool for the student (by topic). Do not paginate notes in your notebook. Create your own, personal (typed) table of contents. Additional information about the notebook is described in this syllabus.AttendanceRegular attendance is expected. Excused absences will be given for legitimate reasons only, such as illness, death in the family, etc. Concerts, rehearsals or master classes scheduled during class time will not be tolerated without approval by the course instructor. Unexcused absence will lower the student’s final grade by one letter grade for each absence after the first missed class. Should the student is asked to participate in an on-campus concert or performance, it is up to that student to notify the instructor within two weeks of the performance for approval and possible acceptance as an excused absence. Non-university performances are considered unexcused absences. Excused absences must be discussed with the teacher prior to the absence. Due to the participatory nature of this class, it is very difficult to make up classes satisfactorily. NO EXCUSED CUTS MAY BE TAKEN IN THE LAST Three WEEKS OF THE COURSE without one’s grade being lowered two letter grades. All students are expected to attend the final class during finals week. Failure to attend this class will be considered a “cut” and will also lower the student’s grade by one letter grade.NAfME/KMEAAttendance at the KMEA conference will be included in the attendance record of the student. A letter will be given to each student on the second third week of the semester to be given to course instructors requesting these days to attend the conference. Students are encouraged to attend this event. Campus ClosureIn the event of a campus-wide closure, students will be expected to submit assignments electronically within 5 days of the assigned due date. Schedule changes will be posted if needed.Oral communicationTeachers are communicators! Good speech and correct classroom English will be stressed. Some students never hear English spoken better than their teachers. Good modeling is expected. Spelling will count in assignments presented to the instructor.PlagiarismAcademic integrity is expected! Plagiarism will not be tolerated and will be dealt with in accordance with university policies. This is discussed under Academic Dishonesty in the Graduate Catalog and includes the following, quoted here from the catalog:Plagiarism: Representing the words or ideas of someone else as one's own in any academic exercise, such as: a. Submitting as one's own a paper written by another person or by a commercial "ghost writing" service.b. Exactly reproducing someone else's words without identifying the words with quotation marks or by appropriate indentation, or without properly citing the quotation in a footnote or reference.c. Paraphrasing or summarizing someone else's work without acknowledging the source with a footnote or reference.d. Using facts, data, graphs, charts, or other information without acknowledging the source with a footnote or reference. Borrowed facts or information obtained in one's research or reading must be acknowledged unless they are "common knowledge". Clear examples of "common knowledge" include the names of leaders of prominent nations, basic scientific laws, and the meaning of fundamental concepts and principles in a discipline. The specific audience for which a paper is written may determine what can be viewed as "common knowledge": for example, the facts commonly known by a group of chemists will differ radically from those known by a more general audience. Students should check with their teachers regarding what can be viewed as "common knowledge" within a specific field or assignment, but often the student will have to make the final judgment. When in doubt, footnotes or references should be used.Do your own work and do your work with integrity. Remember that this is an education course for pre-service teachers and you will be expected to develop the work ethic and academic habits of a teacher.Special ConsiderationsStudents whose disabilities may prevent them from fully demonstrating their abilities are encouraged to contact the University disabilities office and the instructor personally to discuss accommodations necessary to facilitate full participation in the course. If because of a diagnosed disability, you need and intend to ask for special consideration to complete the requirements of this course, please advise me at the first class meeting. I will be happy to work with you and a counselor to make any appropriate ments about assignments and preparation for class—Students must have the materials listed above and those assigned specifically for each lecture. Being late to class or being unprepared will lower the student’s attendance/participation grade, which is averaged into the final grade point average for the class.—Assignments are due on the day assigned. Students are expected to prepare assignments, presentations, and participate in the activities at each class meeting. Assignment turned in late will not receive credit. Do not be late! If you have a concert or other conflict, turn in your assignments early. If you have a conflict that will not allow this to be possible, you must discuss this with the instructor at least a week before the conflict. —Each student is expected to do all assignments, take tests, engage in in- and out-of-class presentations, observations, and prepare a class notebook. —Each student’s final grade will be based upon class attendance records, attitude, class participation, class work, assignments, tests, major projects, observation reports (15 hours), and notebook.—Students are required to purchase the books used in this course.—The use of computer, word processor or typewriter for assignments is required for all appropriate assignments unless otherwise indicated or discussed with the professor. —All assignments requiring musical notation must be turned in on sheets supplied by the instructor and/or written on full 8 1/2 X 11 manuscript paper. Use pencil for these types of assignments. Do not e-mail assignments unless specified by the instructor.—Pace yourself through the week for the longer assignments. Late assignments will not be accepted.Other comments about 328—Observations—You will be asked to observe the general music (non-ensemble) classes in secondary schools during the semester (15 hours). Plan ahead for these off-site experiences.WorkshopsAll who are enrolled in MUS 328 should attend at least three sessions at the KMEA conference in February and write up a review of the workshops attended (three hours out of your 15 field hour observation requirement). These experiences count as part of your total 200 hours of field experiences, as outlined by the KY Certification board (EPSB). Be sure your membership to NAfME is up to date.NAfME/KMEAPlan to attend KMEA workshops, seminars and the state conference this term. KMEA is in early February, so check by Dr. Amchin’s office door to sign up at student prices! On-line registration must be completed by January 23. Register at . As members of NAFME, you should attend all music education-related classes and events. Let Dr. Amchin know the best time to schedule events by the end of the first week of classes. Credit will be given for each NAFME/KMEA session you review at conference.Course AttendanceDaily attendance grade25 points per day of class 15 points deducted for days you arrive late or are unprepared. AssignmentsDisciplineChapters: Summaries of chapters 1, 4, 5, 8, 9, and 10. Create a study list/definition pages of 5 points you learned about in each assigned chapter (term or concept with a short definition and description). End with a critical thinking response to the following questions: “What surprised you from your reading? What parts of your reading supported/confirmed your understanding discipline in the classroom? How might you apply these ideas into an music classroom setting. (A=100, B=85, C=75, F=0).Choose your own: Choose one discipline model you not listed above and outline the chapter as above. Include a critical paragraph on why you chose the chapter and how it fits AND challenges your idea of good classroom management/discipline in music classes. (A=100, B=85, C=75, F=0). Classroom Rules: Write your tentative classroom rules based on your readings and expectations as a future music educator. (A=50, B=40, C=35, F=0).Special PopulationsPresented by teams of 2-3 people. Use materials from MUS 228 as a starting point for these presentations, as listed in the “Tentative Calendar.” Use the library, music therapy resources and the WWW to create an engaging presentation on your chosen topic. Include a music-related activity that we all can do to highlight your ics:--Vision impairments--Learning disabilities (e.g., dyslexia, dyspraxia)--Autism spectrum--Orthopedic impairments (i.e. mobility and occupational therapy impairments)--Hearing impairments (including speech/language and articulation disabilities)--Cognitive impairments (including mild and functional mental disabilities)--Behavioral impairments—Atypical behavior that is Neurological-based (Chapter 3) (e.g., ADHD, Bipolar disorder, oppositional defiant disorder)--Gifted and talentedPresentations will include (1) a basic fact sheet with a Powerpoint, (2) an activity that presents music instruction adapted for this population, and (3) presentation of important issues for the teacher. Creative presentations will receive higher grades.PRESENTATIONS: Oral presentation in class (if team-taught each presenter will be given individual grades)EXCEPTIONALACCEPTABLEUNACCEPTABLE(95/Target): Clearly a planned, group and thought-out presentation. Highly original presentation that includes clarity of materials, active learning experiences, and exceptional handouts and presentation.(75/Acceptable): Some originality of presentation. Presentation appears organized, Includes some active learning but mostly lecture. Not clearly thought-out as a presentation of information and application. (0/Unacceptable): No originality of presentation. Not well organized or thought-out. Presentation is inaccurate and/or incomplete regarding core information. HANDOUT/WRITTEN WORK/POWERPOINTEXCEPTIONALACCEPTABLEUNACCEPTABLE(95/Target): Materials and Powerpoints included and are original including clarity of materials, clearly outlined active learning ideas, and exceptional handouts. Includes connections to Kentucky learning themes and core content applications and adaptations.(75/Acceptable): Materials appear organized, handouts and Powerpoints are incomplete or primarily taken from other sources. Clear and accurate materials. Minimal application or adaptations related to KY core content and learning expectations. (0/Unacceptable): Ill prepared. Weak Powerpoint/handouts. Handouts are Xeroxes of other sources or clearly plagiarized. Inaccurate materials. No consistent connections to KY standards and outcomes. Creative activities leading to Critical Thinking2550EXCEPTIONALACCEPTABLEUNACCEPTABLEHighly innovative use of critical thinking strategies to involve class members in reflecting on the topic’s implications on their future as musician/educatorsLimited involvement of class members in reflecting on the implications of the topic on their future as musician/educators (Prompting by professor to think critically about the topic)Passive presentation. No higher order thinking strategies or challenges presented to the group. Professor led critical thinking discussions)Arts and Humanities unit of studyA unit of study and presentation on a topic based on the following topics. This will be uploaded to your LiveText account. Presentations will be in groups of 2-5 people.Suggested TopicsUkuleleTheory for beginners through active learning—An Orff (or Kodaly) Approach (secondary discipline: Elements of Visual Arts—graphic notation, poetry concrete)Folk and Social Dance in America (secondary discipline: Folk Music)Elements of Artistic Dance (secondary discipline: Ballet)American Musical Theater (secondary discipline: Elements of Drama)The Roots of Gospel Music (secondary discipline: African Music, and Singing in Pioneer days/Shape Note Singing)Hip Hop: Where did it come from? (secondary discipline: African American Music)Elements of Visual Arts (secondary discipline: Musical Elements of Timbre and Form)Masters of Visual Arts in the 20th century (see Grawmeier award)Elvis: Rock and Roll Legend (secondary discipline: Popular dance) Keyboards in the classroom (secondary discipline: Music of Bach and art of his time)How to Play Guitar (or Recorder, or Ukulele or Drums) All that Jazz: Three greats everyone should know (secondary discipline: History in art)Opera for Fun (secondary discipline: Elements of Drama)Unit of Study should have most of the following A Powerpoint presentation using at least 10 “slides” to present to your classmates (submit on LiveText and through BB.ANDUnit outline based on your set of possible teaching materials ANDOutline of a 4-9 day unit of study on your chosen topic that includes the following:Use the KERA lesson plan format given to you in class. Post this UNIT OF STUDY on LIVETEXTConcepts, objectives, material listsVisuals (including your PowerPoint slides).Active music making (Singing, dancing, playing instruments, improvising, writing, composing)Culminating activity—A test of CORE CONTENT information. With answer key.Extension activities such as review games, extended lessons, related videos and CDs, resources from the library that relate to the topic.A summative assessment instrument (a test or graded activity).PRESENTATIONS: Oral presentation in class (if team-taught each presenter will be given individual grades)EXCEPTIONALACCEPTABLEUNACCEPTABLE(100/Target): Clearly a planned, group and thought-out presentation. Highly original presentation that includes clarity of materials, active learning experiences, and exceptional handouts and presentation.(75/Acceptable): Some originality of presentation. Presentation appears organized, Includes some active learning but mostly lecture. Not clearly thought-out as a presentation of information and application. (0/Unacceptable): No originality of presentation. Not well organized or thought-out. Presentation is inaccurate and/or incomplete regarding core information. HANDOUTSEXCEPTIONALACCEPTABLEUNACCEPTABLE(100/Target): Materials and included and are original including clarity of materials, clearly outlined active learning ideas, and exceptional handouts. Includes connections to Kentucky learning themes and core content applications.(75/Acceptable): Materials appear organized, handouts and are incomplete or primarily taken from other sources. Clear and accurate materials. Minimal application or adaptations related to KY core content and learning expectations. (0/Unacceptable): Ill prepared. Weak handouts. Handouts are Xeroxes of other sources or clearly plagiarized. Inaccurate materials. No consistent connections to KY standards and outcomes. PowerpointEXCEPTIONALACCEPTABLEUNACCEPTABLE(100/Target): Powerpoints includes Key terms and examples for the theme being taught. Use of powerpoint is done creatively rather than “reading the powerpoint.” Includes connections to Kentucky core content.(75/Acceptable): Powerpoints is incomplete or primarily taken from other sources. Clear and accurate materials. Includes limited examples for the theme presented. Presentation of Powerpoint is primarily reading through the information on the screen. Minimal application or adaptations related to KY core content and learning expectations. (0/Unacceptable): Ill prepared. Weak Powerpoint are clearly taken from other sources or clearly plagiarized. Incomplete Inaccurate materials necessary to cover the basic theme of the presentation. No consistent connections to KY standards and outcomes. Creative activities leading to Critical Thinking2550EXCEPTIONALACCEPTABLEUNACCEPTABLEHighly innovative use of critical thinking strategies to involve class members in reflecting on the topic’s implications on their future as musician/educatorsLimited involvement of class members in reflecting on the implications of the topic on their future as musician/educators (Prompting by professor to think critically about the topic)Passive presentation. No higher order thinking strategies or challenges presented to the group. Professor led critical thinking discussions)Philosophy statement Begin by answering the following questions: What is a quality musical experience. Why is music important in every child’s life? How does this relate to the NAFME National standards and state standards? Why are you entering the teaching profession. The first chapter of your textbook and previous classes can be used in drafting your statement. (Give your definition of a good teacher of children)? A=50 points. B=40 points, C=35 points. F=0 points. Multicultural Unit of Study“Bluegrass For Beginners”“Jewish Music From Around the World”“African Adventure”“South American Journey”“Hispanic Festival”“Music of Asia”(Assessment will be identical to the HUMANITIES UNIT Assessment Rubric)Unit will have the following to distribute to the class.A PowerPoint presentation using at least 7 “slides” to present to your classmates ANDUnit outline based on your set of possible teaching materials ANDOutline of a 4-9 day unit of study on your chosen topic that includes the following:Concepts, objectives, material listsVisuals (including your PowerPoint slides).Active music making (Singing, dancing, playing instruments, improvising, writing, composing)Culminating activity—A test of CORE CONTENT information. With answer key.Extension activities such as review games, extended lessons, related videos and CDs, resources from the library that relate to the topic.An summative assessment activity (a test or final project) that you might give at the end of your unit.Off-Campus ObservationsOff-campus observations and reviews of the experience: 15 hours of field observations in a secondary school Humanities or non-ensemble-based class setting. You may use the set of questions from MUS 228 OR create your own format for reflecting on what you see in the classes you visit. Complete a visitation log for each time you visit a school. Do one report for each class you visit. Be sure to include how this related to materials and themes of MUS 328. Graded on clarity, grammar, and content. Reports can be half-page reflections for each hour. Complete a log entry for each hour your visit a school. OBSERVATIONS COUNT FOR 40 percent of your grade.A=100 points. B=85 points, C=75 points. F=0 pointsNotebook Graded as followsA=100, A-=90, B+=88, B=85, B-=80, C+=78, C=75, C-=70; D+=67, D=65 F=0Singing in tuneYou must sing one song from your project(s) this term. This song must be sung in tune and with musical expression. Failure in accurate musicianship in class, regardless of cumulative average will result in failing the class. Music teachers must be musical models in their singing, moving, and presentations.Note about Concerts and Other EventsAttend KMEA and music education events this term. University concerts, holidays, campus workshops, and events (NAFME, KMEA) are not listed above. These will be announced in class. It is your responsibility to update this calendar with these changes and additions. If you are a member of a university ensemble, group, or service organization and would like something announced in class I encourage you to do so at the beginning of class.Final Grade: Cumulative average of all grades received during the term.A+ = 98.5-100A = 95.0-98.40 A- = 90-94.9B+ = 86-89.9 B = 83.9-85.9 B- = 80.0-83.8C+ = 76-79.9 C = 73.9-75.9 C- = 70.0-73.8D+ = 68.9-69.9D = 65.1-68.8 D- = 65.0Tentative Calendar(Subject to change as the term unfolds)DateDayAssignments/TopicsPhase 1DisciplineJanuary7Wednesday Introduction to course. Assigning of projects for the term. Webbing and Lesson Planning.January12MondayLesson Planning for single day and longer Units of study, Philosophy of music education, Off-campus requirements.Discipline Unit. Read chapter 1 for discussion in class. January14WednesdayChapter 1/10th ed (What is Classroom Discipline and How Do I Encourage Productive Efforts in My Classroom?)— 5 or more key points and a critical thinking paragraph on what surprised you and supported your previous understanding of materials covered in the chapter.UkuleleJanuary21WednesdayChapter 2/10th ed (How can I Anticipate My Students’ Behavior and Deal with Factors that Promote Misbehavior?)5 or more key points and a critical thinking paragraph on what surprised you and supported your previous understanding of materials covered in the chapter.UkuleleJanuary26MondayGeneral Music materials—Read the three articles about teaching for diversity.January28WednesdayRead chapter 4/10th ed (What Are the Foundations That Underlie Today’s Best Systems of Discipline?) 6/10th ed (How Do Harry and Rosemary Wong Use Responsibilities and Procedures to Establish Class Discipline?) and 7 (How Does Fred Jones Establish Class Discipline by Keeping Students Responsibly Involved?) for discussion in class.KMEA membership due today.Chapter 2/11th ed —Recognizing your obligations and charting the course aheadUkuleleFebruary2MondayCreate a formal lesson plan that meets the Diverstiy standard, as described in this syllabus Chapter 4/10th ed5 or more key points and a critical thinking paragraph on what surprised you and supported your previous understanding of materials covered in the chapter.Chapter 2/11th ed —Recognizing your obligations and charting the course aheadChapter 6/11th ed —Harry and Rosemary Wong on the first things you should teachUkuleleFebruary4-7No class on Wednesday but please help Dr. Amchin load his car with Orff Instruments at noon.Attend KMEA. Attend a minimum of 3 sessions.Submit Chapter 6/10th ed by Sunday5 or more key points and a critical thinking paragraph on what surprised you and supported your previous understanding of materials covered in the chapter.Chapter 3/11th ed —The development of Modern DisciplineFebruary9MondayChapter 7/10th ed5 or more key points and a critical thinking paragraph on what surprised you and supported your previous understanding of materials covered in the chapter.Chapter 7/11th ed —Fred Jones and keeping students willingly engaged in learningFebruary11WednesdayChapter 9/11th ed —William Glasser on releasing the power of positive choice UkuleleFebruary16Monday(8)—Build a listening map in class.In-class discussion regarding classroom rulesChapter 14/11th ed —Building Your Personalize Approach to DisciplineFebruary18WednesdayTurn in an outline of your favorite chapter (see syllabus for guidelines).Praxis Quiz Practice—a 30-minute lesson on a musical concept using song materials appropriate for older students.Turn in your ”Classroom Rules” electronically—Using ideas from your Discipline text, submit a set of classroom rules on BB. Use your text’s index to find examples of classroom rules. Adapt these to fit a music classroom.UkulelePhase 2Special PopulationsFebruary23MondaySpecial Populations Unit Presentations—in class time to prepare presentations.--Vision impairments--Learning disabilities (e.g., dyslexia, dyspraxia)--Autism spectrum--Orthopedic impairments (i.e. mobility and occupational therapy impairments)--Hearing impairments (including speech/language and articulation disabilities)--Cognitive impairments (including mild and functional mental disabilities)--Behavioral impairments—Atypical behavior that is Neurological-based (Chapter 3) (e.g., ADHD, Bipolar disorder, oppositional defiant disorder)--Gifted and talentedPrepare a unit for the others in the class for your presentation. Be sure to present a music-based adaptation example in your presentation.February25WednesdaySpecial Population presentations begin (Presentations given by teams of 3-5)UkuleleMarch2MondaySpecial Populations presentations continueMarch4WednesdaySpecial Populations Presentations conclude (final presentations) Key terms and the law for inclusive settings. Prepare a packet of material for the others in the class for your presentationUkuleleMarch9MondaySpecial Populations Presentations, if needed. In-class Quiz: List the 9 NAFME National Standards, Identify how you would adapt one of the lessons presented by Dr. Amchin for each of the types of special students described in the class presentations.LAST DAY TO WITHDRAW (March 6)March11Catch up day.Ukulele (tentative)March16-20Spring BreakMarch23MondayCatch up day, as neededPreparation for Unit or Study/Humanities/Core Content Unit presentationsPraxis test preparation dayMarch25WednesdayExplore Using PowerPoints, Smartboard, and LiveText sessionUkulelePhase 3—CORE CONTENT UNITS/HUMANITIESMarch30MondayNAfME standards—(1, 2, 3) create a one-page lesson outline that would address these standards using materials appropriate to secondary general music classrooms and your humanities topic. (three pages. One per standard)“Hawaiian Celebration” (tentative)April 1WednesdayPresentations on a humanities/core content integrated arts topic.Engaging presentations on a humanities integrated arts topic (2-5 presenters per unit) Prepare a packet of material for the others in the class for your presentation. —Post your PowerPoints and units on LiveText and submit them electronically on BB.April6MondayPresentations on a humanities integrated arts topic, continueNAfME standards (4, 5, 6)—create a one-page lesson outline that would address these standards using materials appropriate to secondary general music classrooms and your humanities topic. (three pages. One per standard)April8WednesdayPresentations on a humanities integrated arts topic, continueUkuleleApril13MondayPresentations on a humanities integrated arts topic, continue Praxis Practice Philosophy Statements due.NAfME standards 7—create a one-page lesson outline that would address three different standards using materials appropriate to secondary general music classrooms and your humanities topic. (One per standard)April15WednesdayPresentations on a humanities integrated arts topic, continue Praxis Quiz: List 3 pieces in major, 3 pieces in pentatonic (drm s l), and 3 pieces minor mode. Find two songs for each mode for children or perform and turn these in today.In-class time to prepare Multicultural PresentationsUkulelePhase 4—World MusicApril20MondayWorld Music/Multicultural Unit of Study Presentations—Post these on LiveText and submit them electronically.April22WednesdayLast day of classesWorld Music/Multicultural Unit of Study Presentations—Post these on LiveText and submit them electronically.Praxis Quiz: List 1 piece that demonstrates different stylistic periods. Relate each to a second concept that might be taught in a music classroom.April23ThursdayNotebooks due: OBSERVATION REPORTS ARE DUE WITH YOUR NOTEBOOK. LATE REPORTS WILL NOT BE ACCEPTED.April28FridayFinal class Praxis Test (graded A=100, etc)World Music/Multicultural Unit of Study Presentations concluded.11:30-2:00NOTEBOOK FORMAT—MUS328Due on April 23, 3:00 pmLate notebooks will not be accepted. They must be turned in on time or earlier. Tab each section. Label tabs with title of sections, not numbers. When you turn in your notebook, all ungraded assignments must placed in the front of your notebook. Notebooks should be arranged in the following manner unless approved by the instructor. Have all handouts in order, and logically organized. Everything should be easy to find. Begin your notebooks with the major headings suggested above. Minor headings may be used in your notebook. Class notes do not have to be typed. Create your own table of contents.Title page (Typed, with you name, course title, and e-mail address)Table of Contents (Required, typed, do not paginate)Outstanding assignments (to be turned in with notebook or on the last day of the term.Introductory materials—Syllabus, course requirements, and assignment descriptionsFoundationsPersonal statement, philosophy Notes from class related to foundations of music education.Impression of the class's influence on your thinking about the profession, etc. (required)Philosophy statement: Why teach music? What makes a person musically educated? Why should music be supported in public schools? (One to two pages) (Required)Teaching, Lesson plans/planningKY CORE CONTENT (TAKEN FROM THE WEB)“NAFME National Standards” and KERA materials (find these online!)All lesson planning notesClass handouts on lesson planningObservations and off-campus experiencesUnits of studyMusical ConceptsOrganize by Concept: For each concept include: definitions, related handouts, call and test charts, class notes, singing, and movement materialsHandouts, appropriate, webs, and examples from lecture, and peer projectsHumanities units Popular Music, etc. Handouts, appropriate, webs, and examples from lecture, and peer projectsMulticultural project (this may be submitted as a separate notebook)Handouts, appropriate, webs, and examples from lecture, and peer projectsOther units (drawn from your course pack notes)DisciplineHandouts and notes from lectures, organized by discipline strategyAssessments and tests related to this unit.Special Populations—A collection of materials and notes from in-class presentations, organized by topicMiscellaneous education-related materials, catalogues, and bibliographiesStudent information — MUS 328Name____________________________________________ Semester: Spring 20 ______(Please print)Address__________________________________________ Phone _________________Some experiences will be videotaped this term (teaching segments), see your instructor if this will be a problem. Otherwise, sign below.**I agree to be video taped during the course of the current class as part of youtube videos and Tegrity archiving (please sign) ________________________________________________Class standing (please circle) Freshman, Sophomore, Junior, Senior, Other____________U of L E-mail Address_________________________________________________________Second E-mail Address_________________________________________________________Major Instrument _______________ Other minor instruments ______________________Do you have a car to help car-pool? Yes ? number of passengers __________ No ?Do you play guitar? Yes ? No ? Do you play any other folk instruments? Yes ? No ?Do you play any alto recorder? Yes ? No ?What is your favorite . . .?Popular music?_______________________________________ Classical music _______________________________________Contemporary music _______________________________________Beside “Elementary Methods,” my teaching experience includes: Write your course schedule below and on the index card provided. Include class titlesMTWTHFHow to write behavioral objectives (outcome-based objectives)It is important for teachers to plan what the child will do individually and how the class might respond as a group during the music class. Musical behaviors can be observed in various ways and help you assess student progress in each lesson and throughout your curriculum. Monitoring student behaviors/learnings is made easier when teachers specify (plan ahead) what musical competencies or actions will be observed for each learning experience. The most common way to do this is by using lesson objectives. Behavioral objectives, which match outcome-based education, lay out necessary parameters for day-to-day and long-term assessment. Behavioral objectives specify observable behaviors (not aesthetic or feelingful impressions) that teachers can grade, test, monitor, and/or evaluate. Teachers, administrators, students, and parents are consciously aware of classroom goals when behavioral objectives are written for each activity planned. Behavioral objectives are specific to each activity and curricular needs (conceptual learning) by their format. In lesson planning you should write one or more behavioral objective for each activity you teach. Apply your objectives to help plan your teaching sequences. Understand that you will not teach each child every fact or skill every day but that certain musical behaviors will be a base-line signal that the class as a whole has learned something about the concept being studied. Behavioral objectives define the observable signals to help you decide when it is time to move forward in your curriculum or if additional experiences are needed for content mastery. Do not be creative in writing behavioral objectives. Follow the format below. Use the models in this handout and in other lessons given to you.Examples of incomplete behavioral objectives:Children (C) will learn to keep the beatSoloists will play the instruments to a beatC. will learn about Mozart.C. will move to the dance’s phraseC. will sing the song Blue Tail FlyC. will listen to Nutcracker Trepak and talk about itC. will sing the song B.Tail F in tuneC. will tell about ta and titiexampleGiven Who WhatHowByGiven the song, GGM, students will accompany the song using I-V harmony using Orff instrumental part by Whenplaying the instruments at appropriate times as the teacher plays the melody on recorder. Connecting Behavioral Objectives with Concepts and MaterialsWhen you write behavioral objectives, they must match the concepts you have chosen to focus on during the lesson. Your Sequence (process) will describe how you will lead children to this Musical behavior. Materials: Sousa, Stars and Stripes Forever Concept: Meter: Simple meter refers to those meters that have a beat, which is subdivided into 2s. Meter is the pattern of strong and weak beats. Strong beat is the first beat of a set of beats.Materials: CD player, CDBehavioral Objectives...So...You must use the concepts “Meter” and “Steady Beat” in your Beh. Obj. Behavioral Objectives answer the question “How will children demonstrate that they understand (and can use) the concept in a musical way?” Here are some examples for the materials and concepts on this page:1. Given the recording S&S Forever, students show their ability to keep the Steady Beat by accurately moving their feet in time to the music (locomotor) while it plays and the teacher mirrors the steady beat in the circle. and/or 2. Given the recording S&S Forever, students will show their understanding of Meter by doing appropriate body percussion — patchen/clap (duple meter) to the steady beat, as the CD plays, without the teacher’s help. (Note that in this Beh. Obj. I give an EXAMPLE of what I expect to see. I leave little to chance. and/or3. Given the recording S&S Forever, students show their understanding of the term meter and steady beat by answering the question “does this music have a steady beat and what is the meter” in a test (or verbally during discussion. You lesson plan will describe how you will get children to these objectives. This third example is an academic goals rather than an artistic one. Be sure that you have the artistic one. The academic one should come after preparation and presentation of doing to do the musical concept. Remember that to say you know what meter is does not mean that you can use this information!) Children can all mimic the word “Steady Beat.” Whether they can actually keep a steady beat is a different matter. This takes practice and reinforcement through various musical activities. When you have a different concept, you should have a way of assessing (seeing a behavior) that speaks to that concept IN YOUR PLAN!Extensions and variations on each conceptIt is not enough to say: “They’ll keep the beat to the music.” Each kind of activity secures and reinforces this fundamental concept. There are so many different ways to show that children can keep the steady beat. They should be able to do all of these (and more!)Format For Lesson Plans in the Secondary School Humanities LessonsName of teacher (Your name)Date and classMaterials needed: An extensive list including chalk, tapes, visuals, recordings, copies of songs, references to textbooks (song series books) AV equipment, etc.Behavioral Objectives: (See other pages for this format explanation)Musical Concepts: (from the elements of music)Non-Musical Concepts: (particularly important for Humanities units)Notes: Make sure that concepts match Behavioral Objectives: Use clear concepts and definitions in your lessons plans. These are not just single words. Be complete and accurate.Process (Teaching Sequence)Outline your process completely; include all questions you will ask. Outline if children need to move to do specific activities (e.g., in circle, passing out instruments and mallets, etc.). Include sample student responses and musical examples in your lesson plan as needed. The Kodaly Prepare/Present/Practice teaching mode is outlined below. Another possible process is SAS: Synthesis (hear the complete piece)—Analysis (isolating musical concepts or themes from the music)—Synthesis (return to the entire piece). Regardless of how you prepare your lesson plans, DON’T LECTURE. Invite discussion or student interactions.Sponge activity/Opening: A short description or review of unit being studied. Typical questions to get such an opening sponge activity include: “Who can tell me what we were talking about last class?” “What words did we define” “What music did we play?”Motivator for unit or concept: How will you get the class to be interested in your lesson. This might be a definition, quiz, mystery work from previous lesson(s), or drop-the-needle questionActivity 1: (Typically from a previous lesson or learning)Preparation: Active explorations, dialogues, questions, journal entries, singing, echoing, mirroring, reading, listening (with a reason!), observing, following, turning to page and finding etc.) Present here you take piece apart, sing, explore, analyze listen, learn the music or concept through active music making. Don’t be passive.Practice/Reflect: Here the questions given by the teacher should lead the class to some musical understanding (list on board, thumbs up or down, use visuals, find other examples in books, improvise more information). Do not lecture. Find out what the class hears and understands.Activity 2: This is typically a NEW piece of music or musical activity (Ask the class to identify how it is related)“Let’s see where we might expand the concept or theme of the day with another piece of music”Prepare the new piece, Present the new piece (and relate to previous learning) Practice it (this will be reviewed in subsequent lessons in the unit or made into a test item for a unitUse this information in the gestalt for better musical performance. (Analysis or gestalt activity, improvisation activity); listen for X now as we perform it in class, etc. Activity 3: This may be a new piece of music or activity. Regardless, Change the type of pace for this activity. If you have done singing, switch to instrumental work or writing. Repeat for each new piece.Preparation Present PracticeActivity 4-6 (as time permits): Vary the mode of instruction from lecture, movement, exploration, singing, and playing throughout the lesson. Special activities: Note that using instruments or having movement activities will take longer than most activities. Also be sure you plan how long you will watch a filmstrip or movie, if that is in your plan. Assessment: Closure of lesson/or section of the lesson: Evaluation, test or verbal review (attach your assessment rubric or written exam with a answer key)Self-evaluation Reflection on teaching, planning, impressions, and overall student growth and needs for the future.Standards and Core ContentKY Core ContentState Standards met (Do not list numbers. A brief description of the standards you address in your lesson)National NAFME standards metGeneral Comments About Lesson Plans? Lessons must be typed using format given.? Musical notation may be hand written using a pencil.? Include all sections of the lesson in your plan as listed in the lesson format given.? Over plan!? Do not under plan!? Include behavior management strategies, when children need to move to stations, circles, out or into seats, etc., mirror your, echo you.? ALWAYS include what questions and anticipated answers from students that you will see and hear in your teaching.? Always include the starting pitch for songs. Use a pitch pipe or recorder.? Consider what kids need to know to do your activities (previous experiences and required knowledge.? If you plan a creative experience (i.e., improvisation) ALWAYS include a sample of an acceptable or appropriate response in your notes.? If you plan a rhythmic or melodic activity, note the number of phrases, beats or measures to be repeated.? If you plan movement activity, try to visualize it first. Notate your plan graphically.? Several concepts and behavioral objectives are common for lesson plans since classes will include some conscious learning, some preparatory learning and some review activities in it. ? Similarly, several activities might address the same concepts in different ways.? When you include evaluative experiences in you lessons, be complete. For example if you give a test, write a clean copy and a key of correct answers. ? Include where you got your music/record or dance in your plans. Copy what you need so you don’t have to thumb through books during the lesson. ? If you use textbooks, clearly note the page that children need to turn to. Plan ahead!? See your texts and class notes for lesson planning ideas. Ideas to Action—Teaching, Self-Reflection, and Observation QuestionsDuring each teacher observations, videotape review, or teaching experiences you must reflect on your experiences. Answer at least two of the following questions related to how class ideas were brought to real-time action and application. At the bottom of the page is a suggestion for using this list. Type or print your responses. You may e-mail these to Dr. AmchinHow was the room set up physically? How did this help or hinder the teacher in achieving her goals? (Do question this on your first observation; you may use this question only one time.)Did the teacher model appropriate musical behaviors and enthusiasm? How did the teacher invite students to follow her modelWhich activities were well paced? How did the teacher change the pace of the lesson? How did you observe the teaching pace? In terms of speaking, delivery of materials or some other way? Describe. Did the boys and girls respond to the activities identically? How so? How were disruptive children monitored/disciplined? What was said or done? (Consider this question at least once during the term.)What might be the next lesson using these materials/children?How were musical activities evaluated in class? Describe what you liked or disliked about the evaluation strategy used. (Answer this question at least once during the term.)What motivation or discipline device (or statement) did you observe in the classroom? What was the outcome? Was there musical growth? How could you tell?What physical characteristics of the class helped the lesson? (Age, # of girls, etc.)What administrative activities were observed? How did the teacher do these efficiently?What songs were sung? Why do you think they were included in this lesson?What was the best part of the lesson in terms of material selection and presentation (i.e., teaching)? Why?What could be done vocally with the children that you did or did not observe?How were movement activities (or instruments) introduced/modeled by the teacher?How were the activities performed by children? What was the class’ reaction?What was the most fun activity you saw during the class? Why do you think so?How could the singing of the children be improved/monitored?Was technology used in the lesson? Describe how it was used and what might did you learn from the technology?If you are observing a repetition of a lesson or observing a class you’ve seen before, describe the differences, i.e., delivery of material or children’s reaction. Create your own question and answer it! Or describe what you are learning from your observations. THEN answer the following reflection on how class ideas presented themselves in your observation (self or field)Process:Read over questions before observing and choose three issues to focus on. See annotations for some of these)Write these out on a page to “fill in” while you observe. Jot down impressions and ideas after the lesson.Type a final draft of your reactions to turn in. E-mail them to Dr. Amchin. Next time, focus on at least one new question to react to as you watch the video. See if there is improvement in one or more of the things you observed! 12325355908040OUTCOMESTeacher’s planning future teaching and lessons to increase knowledge, understanding and appreciation (self-assessment)Student’s love of music as a participant or performer00OUTCOMESTeacher’s planning future teaching and lessons to increase knowledge, understanding and appreciation (self-assessment)Student’s love of music as a participant or performer6991356517640006991355831840004705354612640Addressing KERA Standards and Core Content00Addressing KERA Standards and Core Content1918335421640Quality Teaching and LEARNING EXPERIENCES in Music00Quality Teaching and LEARNING EXPERIENCES in Music4280535293624000428053540030400032899351793240003181351869440Meeting musical concept goals and objectives00Meeting musical concept goals and objectives43567351869440AddressingNAFME Standards00AddressingNAFME Standards42805354612640Respecting needs of students00Respecting needs of students23755353012440--Accuracy--Artistry/Enthusiasm--Assessment --Adapting to students age, needs and background--Connecting to other parts of the lesson and school curriculum00--Accuracy--Artistry/Enthusiasm--Assessment --Adapting to students age, needs and background--Connecting to other parts of the lesson and school curriculum4966335644144000318135697484000496633568986400055759355527040006261735278384000318135286004000321373546888400011563353926840001003935293624000Web on planning—Amchin ................
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