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102086 Designing Teaching & Learning

Assignment 2
Lesson Plan Analysis

Contents

Lesson Plan Analysis……………………………………………………………2

Modified Lesson Plan……………………………………………………………4

Academic Justification…………………………………………………………..7

References……………………………………………………………………….9

Learning Portfolio Web Link……………………………………………………10

Nathan Berger

University of Western Sydney | [Company Address]

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Music Lesson Plan Analysis
102086 Designing Teaching & Learning
Assignment 2: QT Analysis

Evaluation of the Music Lesson Plan provided in Vuws according to the following NSW Quality
Teaching model elements.

1 Intellectual quality
1.1 Deep knowledge
1 – 2 – 3 – 4 – 5 Comments: Lesson plan proposes that students have a deep knowledge of the given topic. Reference
was made to previous lesson.

1.2 Deep understanding


1 – 2 – 3 – 4 – 5 Comments: Lesson is predominantly lead by the teacher, questions from students do not appear to
be of importance. Though set activities propose that students have a deep understanding of subject.

1.3 Problematic knowledge


1 – 2 – 3 – 4 – 5 Comments: Lesson is heavily scaffolded to achieve a certain goal. The potential for discussions is
presented once, but not utilised when the opportunity presents itself for other sections.

1.4 Higher-order thinking


1 – 2 – 3 – 4 – 5 Comments: There is potential for a high order of thinking during some activities, but overall the
lesson is heavily scaffolded to achieve a certain goal. No time for questions during the lesson are
allocated within the lesson plan.

1.5 Metalanguage
1 – 2 – 3 – 4 – 5 Comments: Provides an understanding of some metalanguage used in music (staff, treble clef,
rhythm, pitch). Though more metalanguage could have been present to further deepen the
knowledge and understanding of students.

1.6 Substantive communication


1 – 2 – 3 – 4 – 5 Comments: lesson plan does not appear to encourage communication amongst students. It would
be beneficial for students that struggle in the last task that involves composing a melody within less
than 5 minutes.

Quality learning environment


2.1 Explicit quality criteria
1 – 2 – 3 – 4 – 5 Comments: The lesson plan demonstrates the method of activities well as well as the expected
outcome. Though some topics in the outcomes are not mentioned through the lesson plan.

2.2 Engagement
1 – 2 – 3 – 4 – 5 Comments: Most of the lesson appears to be engaging with activities to help students further
understand metalanguage and notation concepts. It would be beneficial to allow more time for
discussions and questions as the lesson plan does not appear to have a focus on.
2.3 High expectations
1 – 2 – 3 – 4 – 5 Comments: Lesson plan expresses that students have an understanding on the topics, but does not
allow time for questions that would show that students have a greater understanding than expected.
Lesson plan is scaffolded for students to follow the set criteria.

2.4 Social support


1 – 2 – 3 – 4 – 5 Comments: No sign of group work activities are presented throughout the lesson plan. Making the
last composition task an activity for a group of two would lessen the pressure on the students.

2.5 Students’ self-regulation

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1–2–3–4–5 Comments: Lesson plan suggests that students may not be raising hands for questions as there are
no times for student questions and discussion within the criteria. Though raising and lowering hands
of students to identify difference in high/low pitch allows for some self-regulation.

2.6 Student direction


1 – 2 – 3 – 4 – 5 Comments: Students are given the opportunity to create their own melody for the last activity.
Though most of the lesson plan is scaffolded for students to reach a specific goal.

3 Significance
3.1 Background knowledge
1 – 2 – 3 – 4 – 5 Comments: Reference is made to previous lesson, and the outcomes are clearly stated. Lesson plan
suggests that students have some knowledge attained from previous lessons.

3.2 Cultural knowledge


1 – 2 – 3 – 4 – 5 Comments: No comments or referencing to culture was made. Would be beneficial to include
different music from various other cultures to help deepen their understandings.

3.3 Knowledge integration


1 – 2 – 3 – 4 – 5 Comments: Lesson plan appears to have much based off from the music curriculum, but topics such
as the concepts of music are mentioned in the outcomes but not fully explored or defined. Would
be beneficial to include as it is a vital topic that would further help the understanding of students.
3.4 Inclusivity
1 – 2 – 3 – 4 – 5 Comments: Inclusivity is not mentioned nor referenced. It is assumed that all students are on the
same level of understanding as each other.

3.5 Connectedness
1 – 2 – 3 – 4 – 5 Comments: Discussions amongst students could have been integrated with activities, but was not
utilised. Questions encourage discussion which would further encourage connectedness amongst
students and towards teacher.

3.6 Narrative
1–2–3–4–5 Comments: No mention of personal experience in terms of composing. Can be beneficial when
helping students understand the importance of what is being presented to them.

Identifying Areas for Improvement

Four NSW QT model elements targeted for improvement.

QT model
1) Metalanguage 2) Narrative
3) Social Support 4) Student Direction

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Modified Lesson Plan

Topic area: Stage of Learner: Stage 4 Syllabus Pages: 11-18


Pitch
Date: Location Booked: Music Room Lesson Number: 2/4

Time: Total Number of students Printing/preparation

Whiteboard, 
 Keyboards /
tuned percussion

Teoria.com

Outcomes Assessment Students learn about Students learn to


4.5 Notates compositions • notating • explore forms of
using traditional and/or non- compositions using musical notation,
traditional notation. various forms of including computer-
traditional and non- based applications, as a
4.9 Demonstrates musical traditional notation method of recording
literacy through the use of their own musical ideas
notation, terminology, and • identifying,
the reading and interpreting understanding and • respond to the range
of scores used in the music describing how
 the of repertoire used for
selected for study concepts of music listening
have been used and
manipulated • identify different
concepts with the
• Understanding help of understanding
metalanguage used to metalanguage
describe and identify
things in certain
topics

Time Teaching and learning actions


10
min Review previous lesson on rhythm asking students to recount note
types/names

Echo clapping exercise

Rhythm dictation: Play some examples and have students write what they
hear (using teoria.com).

5 Teacher explains the Staff, and explains the Treble Clef dictates what
min

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notes are presented on the staff.

Label the notes.

Explain that there are 7 “white” notes in music and these are arranged in a
repeating pattern: A, B, C, D, E, F, G…

Using a “keyboard” drawn on the whiteboard explain the repeating pattern


of white notes. Then play on an actual keyboard

Explain how the sequence of the 7 white notes is a major scale.

Provide a brief explanation on scales

10 Give acronym “Every Good Boy Deserves Fruit” and “FACE” for
min remembering notes on the treble clef staff. Ask students to come up with
their own.

Ask for 2 or 3 volunteers to show their acronyms to the class (hands up


volunteers)

Write words on stave using notation, ie DEAF, FAÇADE, BEE, BEAD,


CABBAGE

Students copy “words” and write letter names underneath

Have students that finish early to create their own words

Allow students to discuss and share ideas with the person directly next to
them, and ask teacher (hands up) questions

Explain the concept of comparing pitch in terms of Higher and Lower. Play
two notes on a keyboard, have students decide whether the second is
5min higher or lower. Repeat a number of times for clarity.

Explain the concept is presented on the staff. The higher the note on the
page, the higher the pitch.

Students raise hands for higher and point to ground for lower notes

10 Using a keyboard diagram on whiteboard explain where notes on the stave


mins are located on the keyboard.

Students locate specific pitches on keyboards / tuned percussion

Show students where ‘middle C’ is on the keyboard and explain how


‘middle C’ is the middle note of all the notes on the keyboard.

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Have students find high and low notes (ie high C, lower C) on keyboard

Students locate high C / lower C etc on keyboard or tuned percussion.

10 Teacher shows students one of their old compositions then identifies a


mins simple 4 bar melody section within the song.

Explain how pitch and rhythm can be notated together to create a sense of
different emotions, ‘Tone Colour’ (show through playing composition on
keyboard)

Have students attempt to play the teacher notated melody on keyboard /


tuned percussion, whilst explaining that if you change the rhythm you can
change how the melody sounds and reflects Tone Colour.

Give students a short composition/performance task that will be due for the
next lesson.

Explain that they need to compose and perform a simple 4 bar melody for
the keyboard/pitched percussion that uses a combination of rhythm and
pitch to convey a certain emotion

Students may hand write or use Sibelius, or Finale to notate.

Place students into random groups of two to compose, notate and perform
a simple 4 bar melody to the class in the next lesson.

5 Quick Summary of lesson


mins
Ask students if they have any questions on the topics of the lesson or
composition task.

Pack up

How am I measuring the outcomes of this lesson?

Learning Outcome Method of measurement and recording


4.5 Notates compositions Informal assessment of student responses to teaching
using traditional and/or and learning activities.
non-traditional notation.
Small composition task designed to gage the
knowledge and composition skills of students

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4.9 Demonstrates musical Informal assessment of student responses to teaching
literacy through the use of and learning activities.
notation, terminology, and
the reading and Small composition task designed to gage the
interpreting of scores used knowledge and composition skills of students
in the music selected for
study

Academic Justifications:

The original lesson plan was well set out and straight forward, but there were many areas
within its criteria where certain topics were not explained or utilised to their full extent or
were not used at all. The lesson plan was well scaffolded and possessed some good
topics, but it seemed to be more teacher lead and did not leave much room for student
direction. The four Quality Teaching model elements I chose to improve on were
metalanguage, narrative, student direction and social support.

Social support is something that is lacking within the original lesson plan. It has been
proven that peer support (Jeffrey Jensen Arnett, 2014) can increase a student’s
understanding on topics. The lesson plan is very equality based meaning that some
students may be struggling to understand. With peer support students are able to help
their fellow class mates and this minimises the possibility of bullying. In terms of student
direction, the lesson plan does not present much of it. Studies have shown that allowing a
student direct themselves through a task is far more effective than telling them exactly
what to do, (Johnmarshall Reeve, 2013), as they become interested and they are able to
express their capabilities. When teaching music, showing your musical skills and
experience is one of the best ways to engage with a class when explain the relevance of
certain topics (Belinda R. Yourn, 2010). Creating Narratives is the best way to teach
music, which is something the original lesson plan fails to show. Metalanguage was
implemented through the lesson plan, but there were opportunities to introduce new
metalanguage that the lesson plan did not explore.

The following modifications allowed for the lesson plan to become more engaging, and
allowed for more free thinking and speech from students.

The first section of the lesson plan was a review of the last lesson on the topic rhythm.
The lesson began with the teacher asking students to recall the different types of notes.
This was then followed on by a rhythmic clapping exercise, then rhythm dictation with the
aid of website, called teoria.com, designed to help students learn how to read and write
music. The review was given a timing of 10 minutes which I feel was an appropriate
amount of time to review what they had learnt so far, and the activities allowed the
students to become engaged and ready to learn.

It was an appropriate approach to have the students first learn how many basic notes
there are and how to read and write them onto a staff with a treble clef. The first 5 minutes

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was an explanation of how there are 7 ‘white’ notes, which were presented on a keyboard
diagram on the white board. The timing was appropriate, but the metalanguage in this
section could have been expanded upon. The notes were not named, so I made a
modification to have them named as this is something needed to complete the
understanding of notes. The next modification added was that after the presentation of the
diagram, the teacher would proceed to play the pattern of notes onto an actual keyboard,
while explaining how the pattern is also known as a major scale. By doing this, students
are instantly engaged as a narrative is created by the teacher showing their skills on the
piano, and their metalanguage is being enhanced as the teacher explains what a scale is
with the aid of a keyboard.

The next topic of the lesson was to learn how to read and write notes onto a staff. This
section was given 10 minutes which again is an appropriate amount of time as this goes
more into the theory side. These activities are a common use when teaching people how
to read and write music. I modified this section to allow for students have more
engagement with each other and provide social support amongst each other. The
modification also allows for more student direction as they are encouraged to create their
own acronyms and share them with the class, but only if they volunteer.

I left the next 5 minutes of the lesson as it was because this would allow for the teacher to
regain the attention of the class. The main topic of pitch is introduced to the class and an
activity is done to explain the concept in a quick and simple manner. This then lead into
the next section which was given 10 minutes to complete. Students were given a task to
find different high ‘C’ and low ‘C’ notes, but no definition of what is the boundary that
differentiates was given. The modification I made was having the teacher explain the
concept of ‘middle C’. This contributed to the students metalanguage.

The last section of the original lesson plan was given 5 minutes. How to use pitch and
rhythm together was explained through a written example by the teacher on the white
board. The melody was then played and students were asked to identify when the pitch
became higher and lower. They were then made to attempt to play the given example,
then compose their own melody and play it to the class. I modified this section by
changing the time limit to 10 minutes to lessen the pressure on students by allowing more
time. Instead of notating a simple melody, the teacher will present one of their own
compositions and identify a four bar section with a simple melody. The teacher would then
explain that by combining rhythm and pitch you can notate a melody that presents
different emotions, also known as ‘Tone Colour’. The modification presents a narrative as
the teacher presents their own work to help with their explanation which then contributes
to the student’s metalanguage understanding.

The next modification made allows for more student direction and social support. Instead
of having a task where students must create and perform a melody within less than 5
minutes, the teacher breaks students up into groups of two to complete a small
composition/performance task that would be due for the next music lesson. This allows for
students to be more creative and puts less pressure on them as they have more time to
complete it, and because it is a group task it allows for more social support.

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Reference List:

Jeffrey Jensen Arnett, Pearson, 2014, Adolescence and Emerging Adulthood, 5th edition
pg. 83-84

Johnmarchall Reeve, American Psychological Association, 2013, How students Create


Motivationally Supportive Environments for Themselves: The Concept of Agentic
Engagement.

Belinda R. Yourn, Routledge Taylor & Francis group, 2010, Learning to Teach:
Perspectives from beginning music teachers

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Learning Portfolio Web Link

https://mamangali.weebly.com

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