Edtpa Pfa Planning Commentary Final

K-12 Performing Arts
Task 1: Planning Commentary
TASK 1: PLANNING COMMENTARY

Respond to the prompts below (no more than 9 single-spaced pages, including prompts) by typing your responses within the
brackets. Do not delete or alter the prompts. Pages exceeding the maximum will not be scored.
1. Central Focus
a. Describe the central focus and purpose of the content you will teach in the learning
segment.
[The description of the central focus of my learning segment is interpreting a phrase of choral
music. The purpose of my learning segment is to teach students how musical phrases can be
interpreted differently through manipulation of voice and dynamics. Students will learn about
artistic options of musical interpretation, as well as the cultural context, and the reasoning
behind the composers decisions. Students will critique and analyze the choir sound as a whole,
along with suggesting improvements for the overall good of the piece.]
b. Given the central focus, describe how the standards and learning objectives within your
learning segment address creating, performing, and/or responding to
music/dance/theater by applying
knowledge/skills (e.g., tools/instruments, technical proficiencies, processes,

elements, organizational principles)
contextual understandings (e.g., social, cultural, historical, global, personal reflection)

artistic expression (e.g., interpretation, creativity, exploration/improvisation, individual
choices)
[In my learning segment, I address responding to music through contextual understandings by
applying National Core Arts Standard MU: Pr4: 3E HS, demonstrate understanding and
application of expressive qualities in a varied repertoire of music through prepared and
improvised performances. I will also address in lesson plan two National Core Arts Standard
MU: Re7.1.E. HS, identify reasons for selecting music based on characteristics found in music,
connection to interest, and purpose or context. During lesson two students will review the
definition of phrasing and expression. Students will then demonstrate their understandings by
comparing and contrasting musical characteristics within different vocal arrangements. After
students watch and listen to professional recordings of three musical selections, of which the
students are currently rehearsing, the students will evaluate their cultural viewpoints. One
musical selection students will discuss is from the musical, Sweeney Todd. Students will listen
to another recording selection, Truly Brave, by Sara Bareilles and Cyndi Lauper. Students will
answer questions about the intent of this song, as well as how the songs lyrics affect them, their
own personal reflection. The description of the standards and learning objectives within my
learning segment address responding by applying knowledge and skills is National Core Arts
Standard MU: Pr4: 3E HS and National Core Arts Standard MU: Re7.1.E. HS. Throughout
lesson plan two, students will reflectively respond to the recordings using music vocabulary and
elements learned in lesson plan one. Students will describe similarities and differences between
professional recorded versions and their choral interpretation. Students will also reflect on
phrasing in a written format. Using the National Core Standard MU: Pr6.1E. HS, demonstrate
attention to technical accuracy and expressive qualities in prepared and improvised
performances of a varied repertoire of music, students will use text to demonstrate knowledge
and skills of phrasing. The standards and learning objectives addressing responding by applying
artistic expression is National Core Arts Standard MU: Pr4: 3E HS. Students will listen to a
recording of themselves from a previous lesson singing Truly Brave, as well as a professional
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recording of this same piece during lesson plan two. Students will compare and contrast choral
works, professional and their own recording. Using a formal assessment, students will be
demonstrating their artistic expression by interpreting, as well as creatively suggesting new
ideas for the Treble Ensemble to implement.]
c. Explain how your plans build on each other to help students to create, perform, and/or
respond to music/dance/theater and in making connections to knowledge/skills,
contextual understandings, and artistic expression.
[The scaffolding of the lesson plans begins in lesson plan one. Students are given examples, as
well as the definition of phrasing. Students will respond to music making connections through
knowledge by identify phrasing within other communicative forms, such as within conversation
and writing. The first phrasing example comes directly from the text of The Ballad of Sweeney
Todd. This phrase is written on the front white board. I will have a student read the phrase as
written. As the punctuation changes, students take turns changing the tone and inflection of
their voices. Connections of knowledge are made to how phrasing can alter meaning and intent
when manipulated through voice and dynamics. Lesson two builds with lesson ones phrasing
understandings by reviewing and developing the phrasing vocabulary. First students review
what they learned on the previous lesson about phrasing and how we use it within a choral
setting. In lesson two students will watch three professional recordings of the musical selections
they are singing in class. Students will respond to the pieces of music they have listened to and
make connections to lesson plan one by using learned vocabulary to artistically express
different phrasing possibilities. Suggestions will be used during the next rehearsal. I will create a
Top Ten list for Truly Brave of student ideas from their feedback. Students will experience
the process of transposing their artistic expression of music phrasing to a choral selection. I will
introduce lesson three by showing students paintings by famous artists, asking them to describe
the paintings using the musical elements with music terms. It is important for students to
contextualize music as culturally diverse connecting to other art forms.]
2. Knowledge of Students to Inform Teaching
For each of the prompts below (2ab), describe what you know about your students with
respect to the central focus of the learning segment.
Consider the variety of learners in your class who may require different strategies/support
(e.g., students with IEPs or 504 plans, English language learners, struggling readers,
underperforming students or those with gaps in academic knowledge, and/or gifted
students).
a. Prior academic learning and prerequisite skills related to the central focusCite
evidence of what students know, what they can do, and what they are still learning
to do.
[Through prior observations, evaluations, assignments, and quizzes, I have gained evidence on
what my students know. I have watched my students for the first five weeks of school, which
has given me knowledge on students readiness level. 1qw 29 of the 29 students participated in
a freshmen choir and have prerequisite understanding and experience with phrasing. I have
learned that these students can apply dynamics and can read written music notation, The ten
students who were not previously in choir I have differentiated the lessons, helping them
understand phrasing and vocal technique. Meeting my students needs at their readiness levels
of phrasing have allowed me to bring the new students up to date with the rest of my class.
Students have had vocal evaluations, which demonstrated their understandings of music notes
and rhythms in the three compositions they are rehearsing for the Fall Concert. Students are still
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learning how to understand and extend their phrasing knowledge. In lesson three students will
demonstrate evidence of phrasing in music with another art form, as well as reflect on different
phrasing possibilities with their own choral pieces. Students with IEPs and 504 plans are
addressed within the lesson plans and assessments with accommodations matching their
individualized needs. I have two students with an Emotional Disability IEP. I will be allowing
these students more time to turn in their assignments, and more response time for questions in
class. Also, students will be provided written instructions for activities that I will be using in class.
I have one autistic student who has an intellectual disability. This student will also be allowed
more time for written questions, and will have written directions activities. Re-focus breaks will
be incorporated in the lessons, as well as having the student rephrase directions. The refocus
breaks and individualized instructions will help my student refocus and be confident.]
b. Personal, cultural, and community assets related to the central focusWhat do you
know about your students everyday experiences, cultural and language
backgrounds and practices, and interests?
[My students cultural background in this school district is as follows. The demographics are as
follows: 71.1% Caucasian, 22.2% Hispanic, 1.9% African American, 1.7% Asian, 3% Multiracial/Ethnic. Specifically in the Treble Ensemble there are 14 Caucasians, 10 Hispanics, 2
African Americans, 2 Asians, and one multiracial student. There are a total of 29 students in
Treble Ensemble. 17% of the students come from low-income households and 22% of the
student population is transfer students. Only 11 of the students in my class are bi-lingual, the
rest are English speaking. The data provides evidence that the students in the Treble Ensemble
come from a wide variety of backgrounds. My students everyday experiences range from
cultural background, family dynamics and economics. Several of my students are more
economically challenged, while others are economically advantaged. Some students are
involved in sports, as well as academic clubs. Musically, some of the students in my class do
not have the extra funds to take private voice lessons outside of school. Many students in my
class do participate in a range of music activities. The level of musical ability varies. The school
provides several musical based extracurricular activities. Ten of my students are involved in the
student-produced musical and the fall all-school musical. Three students are involved in the
Swing Choir, which meets during school time, and is considered one of the top performing
ensembles. Five students are involved in Madrigal Singers, another top musical performing
group. There are four students with IEPs and two students with 504 Plans in this class. Both IEP
students and students with 504 Plans have similar accommodations for this class. When
separating into partner activities, students with an IEP for an emotional disability will be allowed
to select their own partner if they choose. Students with accommodations will also receive both
written and verbal directions for class activities. Other accommodations will include: cues for
focusing, re-focus breaks, extended time for assignments including taking an assignment home
if preferred. Fostering a welcoming and caring environment is important. Students need to be
able to vocalize their concerns as well as be comfortable in asking questions. In this class there
are 27 sophomores and two seniors. Treble Ensemble is an elective class. In this high school,
the students have multiple choices for their electives. If they have an interest in music, and
enjoy learning about choral music, as well as different music elements, the Treble Ensemble is
an excellent choice. Parent support is a key factor in student enrollment. It is evident through
performance attendance, plus fundraiser involvement as well as the compliments and e-mails
after shows and events hosted by the Music Department that parent support is very strong. This
high level of support impacts students attitudes and involvement in music classes and
activities.]

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3. Supporting Students Performing Arts Learning

Respond to prompts below (3ac). To support your justifications, refer to the instructional
materials and lesson plans you have included as part of Planning
Task 1. In addition, use principles from research and/or theory to support your
justifications.
a. Justify how your understanding of your students prior academic learning and personal,
cultural, and community assets (from prompts 2ab above) guided your choice or
adaptation of learning tasks and materials. Be explicit about the connections between
the learning tasks and students prior academic learning, their assets, and
research/theory.
[Based on the methodology of this performance-based class, many of the students have had
one year of choir experience and have had exposure with competency on learning notes and
rhythms. Previous individualized vocal evaluations provided evidence students were
consistently singing correct rhythms and pitches. By having the students demonstrate through
formal and informal assessments, students had an opportunity also to share their opinions, as
well as the new knowledge they have learned. It is also evident through communication and
observation, that parents are supportive of the arts, and encourage their children to fully
participate in choir. During my time observing the students, I noticed that the choir members
wanted what was best for the choir and collaborated to create a desired sound. According to
Deci and Ryans Self-Determination Theory, people tend to be driven by a need to grow and
gain fulfillment. This theory directly corresponds to my learning segment. Students during
rehearsal will entertain a hub of constant questioning, and sharing of opinions. Students overall
feel intrinsically motivated to accomplish the desired sound. Students are not receiving external
rewards when they accomplish the sound; instead they are feeling a personal sense of
accomplishment. Deci and Ryan states, that a connection of self-belonging to a group of
people can foster a growth of desire to perform at a high level. By creating an environment that
is open and honest, the students can elaborate and solve open-ended questions or problems.
In each lesson, I have included open-ended review questions, which elicit student collaboration.
I will use a rubric format for an assessment, which asked students to describe two phrasing
differences between a professional recording and a previous recording from their ensemble.
The students also will be asked to provide two phrasing changes they would like to see
implemented in their next lesson with the full choir. Problem-Based Learning Theory, developed
by psychologists through the Medical School of McMaster University in Canada, supports
collaboration towards meaningful change. My lesson plans embrace this theory, giving students
the opportunity to implement their creativity and meaning to our music. Through 21st century
learning, students will listen and watch professional recordings from Internet of the three choral
pieces they are currently rehearsing for their upcoming concert. Each video selected will
showcase a different setting and tone. The first selection is from the Broadway Show, Sweeney
Todd. The piece will be observed is The Ballad of Sweeney Todd. It was adapted for television
in the late 1970s. The second music selection, Salmo 150, was from a Californian professional
choir known for singing music from the Philippines. Finally, Truly Brave, a mash-up, which is
two separate songs combined to create one song, is the third piece the students will view. All
three viewings are distinctly different, and will provide students opportunities for discussion.
David Siemens and Stephen Downes, Connectivism Theory explains how the Internet and
modern technologies create opportunities for learning and sharing information. The school also
requires students to own a Chrome Book or rent one from the school. Digital technology is
strongly encouraged by the community. Because students have access to computers easily, I
will encourage my students to view the videos again, as well as find other electronic

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interpretations of the songs. Through this multi-media collaboration, my students will gain more
information and better understandings of music phrasing.]
b. Describe and justify why your instructional strategies and planned supports are
appropriate for the whole class, individuals, and/or groups of students with specific
learning needs.
Consider the variety of learners in your class who may require different
strategies/support (e.g., students with IEPs or 504 plans, English language learners,
struggling readers, underperforming students or those with gaps in academic
knowledge, and/or gifted students).
[The first planned support for my whole class will be an introduction into phrasing using a crosscurricular connection. I will use this planned support because I want my students to have a
smooth introduction into understanding phrasing. My activity will focus on written phrasing
without music. I will write out the lyrics of the choral piece on the whiteboard, and switch
different punctuation marks within the text. Students will listen to the different punctuated
responses, as well as reflect on how the phrasing will sound differently when the punctuation
changes. Another planned learning support will be to introduce and extend music vocabulary.
Because of students varied experience in choral music, I will need to differentiate music terms
in my lesson. The music terms, such as phrasing, dynamics, crescendo, diminuendo, staggered
breathing, arch, musical intent and expression will be discussed in reference to the art piece we
will view. Student input during discussion will give me an informal assessment on
understandings of terminology. Students will also think-pair-share, a strategy I will use to ease
any anxiety students may be experiencing in a large group setting. According to Lev Vygotskys
Theory of Social Development, social interactions precede cognitive development.
Consciousness and cognition are the end products of socialization. Using Vygotskys theory, I
will incorporate this learning support within pairs and small groups. Not only will my students
learn and review the music terms, but they will also practice listening to others ideas and
responding in a respectful manner. This type of planned support I use will also assist my
students with an emotional or learning IEP. I use these instructional strategies because it will
give these students additional time to process, and allow for repetition and additional inquiry.
Another planned support I will use for my whole class occurs in lesson three. Like lesson one,
this planned support is also cross-curricular. I will use this support because it gives the students
another opportunity to internalize and review music terms. In this activity, students will describe
famous artwork using music terms. According to Pavlovs Theory of Classical Conditioning,
which is explained as a reflexive or automatic type of learning where a stimulus acquires the
capacity to evoke a response that was originally evoked by another stimulus. This automatic
type of learning can help students internalize and repeat the music terms. Throughout my
lesson plan, I will use this planned support to encourage students to recognize correct usage.
According to another theory of Lev Vygotsky, Theory of Social Development, social interactions
precedes development; consciousness and cognition are the end products of socialization and
social behavior. Using Vygotskys theory, I will incorporate this learning with pairs and small
groups to promote social interactions. Students with an emotional or learning IEP will benefit
greatly with this strategy too. It will give these students additional time to process and allow for
repetition and additional inquiry. My final planned support will be an assessment, which will
accommodate the learning profiles of my IEP choral members by allowing individualized
instruction, as well as allowing more time for completion. Another theory from Vigotsky, the
Theory of Zone of Proximal Development, states that learners can simply do more when help is
provided at a close proximity to them. Walking around and being close to my students, as well
as asking individual questions and offering support, will help them understand the phrasing

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assignment fully. I use this technique often throughout class to build confidence and better focus
with my students, especially with my students who need additional support. ]
c. Describe common student errors, weaknesses, or misunderstandings within your
content focus and how you will address them.
[One of the common misconceptions students might have with this lesson segment is to believe
that there is only one way to sing a musical phrase. Often my students hear a song through the
radio, Internet and other sources and label this version as the right style. Anything different is
considered incorrect or wrong. I will address this student misconception in my lesson guiding my
students to discover how sounds can be different, and still be correct. Students will listen and
watch different versions of the choral songs they are currently rehearsing. I will also have my
students listen to their own choral recordings of themselves singing. Finally, I will ask the
students to suggest on how they should sound and why? After collecting different phrasing
possibilities, students will have an opportunity in lesson three to sing these different phrases
that their peers suggested. Another student misconception of this lesson segment is that a
high-pitched sound equals to a forte sound. It is important for students to understand that a
phrase can be low and forte, as well as high and piano. Understanding this misconception will
help students ability to internalize phrasing and the composers intent. I will have the students
overcome this misconception by rehearsing these concepts with them, and allowing them to
observe it through videos and recordings.]
4. Supporting Performing Arts Development Through Language
As you respond to prompts 4ad, consider the range of students language assets and
needswhat do students already know, what are they struggling with, and/or what is new to
them?
a. Language Function. Using information about your students language assets and
needs, identify one language function essential for students to learn the performing arts
knowledge within your central focus. Listed below are some sample language functions.
You may choose one of these or another more appropriate for your learning segment.
Analyze
Compare/contrast
Create
Describe
Evaluate
Explain
Identify
Improvise
Perform
Respond
Summarize
[A key language function essential to my central focus is the ability for my students to
interpret. This is a foundational language function within my learning segment. Students
need to interpret musical elements, as well as be able to listen to different recordings of the
same pieces and be able to articulate the musical intent and phrasing between the pieces.
This learning segment with the focus on interpreting allows students to critically think about
different performances, especially phrasing differences. This information will be new to the
students. The students in the ending assessment will be asked to demonstrate phrasing
knowledge and terms, while interpreting the performances and providing meaningful change
to better their choirs sound. ]
b. Identify a key learning task from your plans that provides students with opportunities to
practice using the language function. Identify the lesson in which the learning task
occurs. (Give lesson/day number.)

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[A key learning task from my lesson plans which provides students with opportunities to
practice using the language function is interpreting a phrase of choral music. Lesson
one/day one will expose students to the selected music and have fun singing a section of
each choral piece first time through. Students will have this opportunity to begin to interpret
the phrases individually. Students will also partake in an activity where they will review a
written musical phrase on the white board. This lesson focuses on the English language, by
exchanging, deleting and adding different punctuation marks in this phrase, creating varied
expressions. This exercise demonstrates to the students how a phrase can differ within
English writing, as well as musically. On day two/ Lesson two students will continue their
study of phrasing by interpreting musical phrasing by listening and analyzing two
professional recordings. Students will then describe the differences between their choral
group, Treble Ensemble, and the professional recordings. At the end of day one/lesson one
I will record student singing the music piece, Truly Brave. During the end of day two/lesson
two, students now will listen to the professional recording of Truly Brave and the
ensembles recording of the same song. Students will discuss the differences between the
two recordings of the same song. Not only will they discuss the difference, students will also
interpret the phasing of both. At the end of day two/lesson two, students will turn in an
assignment on their interpretation of how Truly Brave should sound. Their responses
should have musical elements, as well as music terms to support their interpretations and
justifications. On the last day, day three/lesson three, I will have complied a Top Ten List of
their suggestions for Truly Brave phrasing changes. Students will need to explain what
they know in their written document on why this change should occur. Students will try each
interpretation and practice with these phrasing changes during choral rehearsal.]
c. Additional Language Demands. Given the language function and learning task
identified above, describe the following associated language demands (written or oral)
students need to understand and/or use:
Vocabulary and/or symbols

Plus at least one of the following:
Syntax
Discourse
[An additional language demand students will learn is how musical vocabulary align with this
learning segment. Discussions will be used frequently during the learning segment. There is
a big focus in my lesson plans for students to be able to freely express their opinions at
appropriate times about phrasing and composers creative intent. Students will spend a set
amount of time discoursing with others back and forth with my pre-select topics. Students
need to be able to use vocabulary properly to foster meaningful discussion among class
members. Students have been continually exposed to musical vocabulary from the
beginning of year. I will prompt students throughout class, as well as model proper
vocabulary. I will continue to define the terms in context, especially during our discussion to
accommodate the range of students language assets and needs. My goal is for students to
have less prompts and be able to respond and use the vocabulary in an analytical and
evaluative manner with each other naturally.]
d. Language Supports. Refer to your lesson plans and instructional materials as needed
in your response to the prompt below.
Identify and describe the instructional supports (during and/or prior to the learning
task) to help students understand, develop, and use the identified language
demands (vocabulary/symbols, function, syntax, discourse).
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[During my learning segment, I will plan instructional supports to learn about the key
language function, which is to interpret and also to use additional language functions of
vocabulary and discourse. Students have been continually exposed to many of the
vocabulary terms used during this learning segment. The vocabulary terms used in this
learning segment are: arch, expression, musical intent, crescendo, diminuendo, staggered
breathing, and phrasing. Students who have been in choir for two years have demonstrated
increased vocabulary usage than students who are new to the choir his year. Both groups of
students will receive time to comprehend these musical terms. Through open conversation I
will highlight correct vocabulary usage and distinctive discipline-specific discourse between
my students and myself, the students will learn about the language function, interpret,
through a variety of planned activities. During day one/lesson one, students will interpret a
lyric written out on the white board by reading it out loud with different punctuation markings
for each reading. I will add punctuation, as well as delete or replace markings for students to
read. Using this technique will allow students to take their knowledge of punctuation
markings from the English language, and make connection to music phrasing. Students will
learn through comparison that different interpretations of a phrase of music can change,
which is similar to a written phrase with different punctuation markings. Understanding how
music phrasing can be similar to or different from a written sentence will heighten the
students ability to interpret phrases. Students in lesson two/day two will continue to develop
their knowledge and skills in phrasing by increasing their understandings of vocabulary
words, interpretation of a phrase of music by continued discourse on comparison between
students and myself. Students will observe a video of a professional recording of the music
pieces they are currently rehearsing for a performance. The students will watch these videos
one at a time. Students will then be asked to analyze these performances using correct
vocabulary. During this process students will internalize these terms, as well as the
interpretations of each performance. Using the correct syntax, students will then offer
suggestions for phrasing changes to try during rehearsal. I will have the students rehearse
some of the phrasing changes they suggested. When students bring up changes, I will
reinforce the vocabulary by supporting the new vocabulary they use, or dive deeper, asking
follow-up questions modeling the vocabulary I want them to use. In lesson three/day three,
the students will be interpreting four different famous painting with different styles and brush
strokes. In my learning segment, I will be asking students how they can use the new
vocabulary terms that they have learned in the learning segment to describe the paintings.
The exercise is not only cross-curricular, but is a wonderful instruction support for students
who need multiple and/or different explanations and examples of my central focus. The
discourse between the students and myself are extremely important for this learning
segment, because their responses help shape and individualize further instruction. During
every lesson, students will have an opportunity to share in a large class setting, as well as in
a think-pair-share time. This time is very important to students who feel more comfortable
sharing with a partner than in a large group setting. The class has a welcoming culture,
which was established at the beginning of the school year. It is open and safe for the
students to communicate their feelings, opinions and questions. ]
5. Monitoring Student Learning
In response to the prompts below, refer to the assessments you will submit as part of the
materials for Planning Task 1.
a. Describe how your planned formal and informal assessments will provide direct
evidence of students creating, performing, and/or responding to music/dance/theater by
applying knowledge/skills, contextual understandings, and artistic expression
throughout the learning segment.
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[During my lesson segment, I will be informally assessing constantly. For example, I

informally assess when students are rehearsing a piece and through class discussion.
There is direct evidence that as students are performing their pieces, they are incorporating
the knowledge and skills needed to sing the pieces correctly. I will also ask the students
questions regarding how they feel about how the piece they are performing should sound in
particular sections. This is also direct evidence that when the students perform they are
applying what they have learned through artistic expression. On day two/lesson two,
students will formally demonstrate their ability to interpret artistic expression of other
performers by comparing and contrasting a recording of themselves singing to a
professional recording of the same piece. For this formal assessment students will receive a
rubric, which clearly outlines expectations, asks for evidence and explains the point system
used. The rubric will ask students to use two vocabulary words when responding to the
pieces phrasing, which is direct evidence of the students demonstrating understanding of
the vocabulary terms and phrasing during the learning segment. Specifically, on day
three/lesson three the students will be informally assessed through their participation and
engagement in our class discussion. Students will also be assessed during rehearsal on day
three/ lesson three on Truly Brave using the phrase suggestions created from class
members during their formal assessment. Each suggestion will focus on a different musical
element, and this will focus again on musical phrasing from the performers perspective. The
student will be asked to discuss in a small group or in pairs on how they felt each phrase
suggestion changed the music intent of the piece.]
b. Explain how the design or adaptation of your planned assessments allows students with
specific needs to demonstrate their learning.
Consider the variety of learners in your class who may require different
strategies/support (e.g., students with IEPs or 504 plans, English language learners,
struggling readers, underperforming students or those with gaps in academic
knowledge, and/or gifted students).
[The design of my informal assessments allows students with specific needs to demonstrate
their learning through participation and class discussions. The students will receive clear
instructions about how to fully participate and engage in class discussions. The rubric I will
use for my formal assessment can adapt easily to my students with specific learning needs.
To accommodate the varying needs of my students, I will provide examples as well as
model the evaluation process of each category within the assignment. I will also allow for
questions so students are aware how to receive full credit to demonstrate their learning.
When the students are working individually on their assessments, I will conduct individual
check-ins too. These check-ins verify what is to be expected of the assignment and rubric
with each student. I want to make sure that my students have no questions or concerns
about the assignment or rubric. In this learning segment the students will be assessed in
multiple ways. They will be assessed formally with their written worksheet according to the
rubric. They will also be assessed informally during class discussions. Finally, they will be
informally assessed during partner think-pair-share time, as well as being informally
assessed during rehearsal. Each child will have several opportunities to receive individual
attention. Students will also have opportunities to ask questions and discuss in a group,
partner or individual format. Both students, who have struggling needs or need further
extensions will be addressed. Each student in this learning segment will be able to
demonstrate an understanding of the central focus, at least through one of the
assessments.]

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Edtpa Pfa Planning Commentary Final

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K-12 Performing Arts

Task 1: Planning Commentary

TASK 1: PLANNING COMMENTARY

knowledge/skills (e.g., tools/instruments, technical proficiencies, processes,

contextual understandings (e.g., social, cultural, historical, global, personal reflection)

K-12 Performing Arts

K-12 Performing Arts

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

K-12 Performing Arts

3. Supporting Students Performing Arts Learning

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

K-12 Performing Arts

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

K-12 Performing Arts

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

K-12 Performing Arts

Vocabulary and/or symbols

K-12 Performing Arts

K-12 Performing Arts

[During my lesson segment, I will be informally assessing constantly. For example, I

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

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