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Evaluate the lesson plan according to the following NSW Quality Teaching model elements.
Evaluation score – refer to NSW QTM Classroom Practice Guide for each element
Comments incl. evidence for evaluation score (2 sentences)
1 Intellectual quality
1.1 Deep knowledge
1 – 2 – 3 – 4 – 5 Comments: Pitch is discussed at a superficial level. The key elements of pitch outlined in the
syllabus are not mentioned in the lesson.
1.5 Metalanguage
1 – 2 – 3 – 4 – 5 Comments:
The lesson does have “mini-lessons” to explain and explore the concepts and terms. However, the
lesson only provides a brief explanation and there are missed opportunities to use more terminology.
2.2 Engagement
1 – 2 – 3 – 4 – 5 Comments:
Students have the potential to be engaged in the activities that require practical work. However, the
activities are teacher-based and limits the students’ creativity.
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1–2–3–4–5 Comments: The lesson demonstrates that students are undermined as the lesson is largely teacher
based. However, there is scope for positive reinforcement through possible teacher observation.
3 Significance
3.1 Background knowledge
1 – 2 – 3 – 4 – 5 Comments: Students’ prior classroom knowledge is acknowledged and contributes to the lesson
activities. However, the lesson does not acknowledge students’ outside knowledge.
3.4 Inclusivity
1–2–3–4–5 Comments:
Students with a disability and those from different cultures would feel cultural excluded from the
lesson. However, some activities could include people with a disability.
3.5 Connectedness
1 – 2 – 3 – 4 – 5 Comments: The lesson does not connect the content to the meaning and value it is given in the real
world. Students are not shown how composition or musical knowledge can be used outside of the
classroom.
3.6 Narrative
1–2–3–4–5 Comments: The lesson connects rhythm and pitch to contribute to students making a composition.
The narrative of the lesson is not clearly structured or communicated to the students.
Identify the four NSW QT model elements you are targeting for improvement.
QT model
1) Deep Understanding 2) High Expectations
3) Student Direction 4) Connectedness
Lesson Plan
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Topic area: Stage of Learner: Syllabus Pages:
Pitch Stage 4
Date: Location Booked: Lesson Number: /
Body Review previous lesson on rhythm asking students to recount note types/names.
5min Conduct a five-question quiz on rhythm: Students to write answers neatly because
they will be swapping books with another student to mark the quiz.
Play a one-bar rhythm (in 4/4 metre) for each question.
Teacher explains the Staff, ledger lines and explains that the treble clef dictates
10min what notes are present on the staff.
Give acronym “Every Good Boy Deserves Fruit” and “FACE” for remembering
notes on the staff. (Student must write down).
Direct Draw a keyboard diagram and show when middle C is, and that notes are either
Instruction higher or lower from middle C.
Explain that what is a melody.
Explain why large leaps between notes is not practical.
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Play melody to students to demonstrate the smooth transitions a melody should
have.
Get students to play the melody.
Students will be doing independent research project, explain and also provide
10min handout of instructions.
Student needs to find a partner
Get own smart device
Each student only chooses one of the research projects to complete (cannot
be the same as your partner’s)
Options:
1) Define indefinite and definite pitch. Find a composer who uses indefinite
pitch in their work. Write an explanation of how the indefinite pitch adds
to the narrative of the piece.
3) Find a simple melody. Notate the melody in your book and draw a line
that follows the curves of the melody. What is the melody direction?
Draw a picture that represents the melodic direction
Once task complete partners are to share their answer only with each other
Then move onto next activity with partner.
15min Students can collect sheet from the front of the class that states the instructions for
this activity:
Then in pairs, one student will play their melody repeatedly while the other
student will be improvising using definite and indefinite pitch. Students can
swap roles at any time. (Any instruments can be used)
Conclusion Get student to come together and get them to watch Charlie Puth- Song writing clip
https://www.youtube.com/watch?v=IU8BEMi8UyM 0:27-3:45.
8min
Discuss with class how the clip shows that composition music can be done in
different ways.
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What can music convey?
Then discuss how today’s lesson was provided the skills to be able to write music
and understand how the melodies you sing in your head etc. You can use the skills
learnt today in any form of composition.
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Academic Justification:
The original lesson plan did explore the content necessary for music literacy; however, the content
was simplified to the point that was not allowing the lesson to be greatly effective. The altered
lesson improves four elements of the NSW Quality Teaching Model (Ludwig and Gore, 2003);
deep understanding, student direction, high expectations and connectedness, to increase the overall
The alteration of the lesson plan aimed to improved students deep understanding of composition
and pitch (which were the topic outlined in the original lesson plan). Mitchell et al. (2017) argues
that having a few big ideas in a lesson and even more broadly in the curriculum encourages deeper
understanding. A few big ideas offer a sense of direction and allows students to engage deeply with
a concept rather than covering a lot of ideas at a superficial level (Mitchell et al., 2017). Though the
original lesson plan did focus on the “big idea” of pitch, the lesson did not thoroughly unpack the
elements that define pitch within music. The altered lesson plan engages specifically with pitch and
asks students to critically think about the manipulation and meaning of pitch in music. The altered
lesson plan covers the elements of pitch that is outlined in the syllabus such as melodic direction,
definite and indefinite pitch that the original lesson plan did not cover (Music 7-10 syllabus, 2003).
Through the lesson covering more elements of pitch it enables students to have a deeper
The lesson was altered to enable student direction through providing students with options in an
activity and allowing students to pace some of the lesson. Direct instruction is minimized greatly so
that students are more engaged and so there is more opportunity for student direction. Students are
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able to choose their own activity during one period of the new lesson and students are also given
the power to choose when they move onto the next task. Patall, Cooper and Wynn (2010) establish
that providing choice to students increases their autonomy and increases intrinsic motivation to
complete school tasks. Though the lesson was altered to provide more student direction there is still
ten-minutes of uninterpreted direct instruction (Belcher and Lowe, 2012). Belcher and Lowe (2012)
conducted a study that demonstrated that ten-minutes of direct instruction improves students’
musical literacy more effectively than any other method. Overall the lesson aimed to integrate
teacher instruction and student direction to create a cohesive lesson and allow students to learn
Ludwig and Gore (2003) define connectedness as exploring the connection between classroom
knowledge and real-world situations that significantly impact students’ thinking. The lesson
originally lacked connectedness, however, modifications were made to the lesson to connect the
musical content to careers in the music industry (a real-life situation). Johnson (2000) argues that
teachers need to make connections to the real world during lessons, so students can use their skills
in innovative ways when entering the workplace. An activity in the modified lesson encourages
students to investigate careers that use musical notation in some form, excluding composers. This
activity asks students to critically think about how classroom content can be applied to a diverse
range of musical careers and fields. Sakakeeny (2015) illustrates that musical activities have the
ability to prepare individuals for a career as a professional and famous musician. The lesson also
encourages students to dream big as becoming a composer is represented in the class discussion as
a viable career. The lesson makes the connection that the skills learnt in the classroom can be built
on to enable a career as a composer and encourages students to have a lifelong engagement with
music. Furthermore, the clip played to stimulate the class discussion demonstrates different
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applications of elements from formal notation (Rolling Stone, 2017). (Formal notation is learnt in
the modified lesson). Therefore, students can observe how ideas from the classroom can be
The final alteration aimed to instil high expectations in the lesson plan. Walkey et al. (2013) argues
that “setting modest goals for students could be communicating and reinforcing low expectations”
(p. 313). The improved lesson, sets high goals for all students as they are expected to explore topics
independently and perform with others without invasive supervision. Rubie-Davies (2007)
establishes that teachers who have high expectations more frequently develop their students’ higher
order thinking than teachers who have low or average expectations. The lesson does get students to
do different activities that involve different methods of exploration of pitch such as defining,
explaining, performing and interpreting information. The lesson focused largely on increasing
expectations through allowing students to have autonomy and setting work that invokes higher
order thinking.
Reference List:
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Patall, E., Cooper, H., & Wynn S. (2010). The Effectiveness and Relative Importance of Choice in
__________10.1037/a0019545
Lowe, G., & Belcher, S. (2012). Direct Instruction and Music Literacy: One Approach to
Mitchell, I., Keast, S., Panizzon, D., & Mitchell, J. (2017). Using ‘big ideas’ to enhance teaching
__________and student learning. Teachers and Teaching: Theory and Practice, 23 (5), 596-610.
__________doi: 10.1080/13540602.2016.1218328
Sakakeeny, M. (2015). Music Lessons as Life Lessons in New Orleans Marching Bands. Souls, 17
__________(3), 279-302.
Walkey, F., McClure, J., Meyer, L., & Weir, K. (2013). Low expectations equal no expectations:
Rubie-Davies, C. (2007). Classroom interactions: Exploring the practices of high- and low-
Johnson, L. (2000). The Relevance of School to Career: A Study in Student Awareness. Journal of
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Music 7-10 syllabus. (2003). NSW Education Standards Authority. Retrieved from
__________http://educationstandards.nsw.edu.au/wps/portal/nesa/k-10/learning-areas/creative-
__________arts/music-7-10
Ludwig, J., & Gore, J. (2003). Quality Teaching in NSW Public Schools A classroom practice
__________rounds/Assets/Classroom_Practice_Guide_ogogVUqQeB.pdf
Rolling Stone. (2017, October 3). See Charlie Puth Break Down Emotional Hit Song, "Attention”
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