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Lesson Plan: 8th Grade Band
Objective:
Students will use proper dynamic contouring while playing the melody. Students will blend and balance to support the melody when they are playing accompanying parts.
Prior knowledge:
Students have worked on “My Funny Valentine”. Students have learned to concept of decrescendo and crescendo. Students have heard a recording of Frank Sinatra singing “My Funny Valentine”.
Warm-up:
Students will play an E-flat major scale with the first pitch being played at a pp. Teacher will tell students to gradually crescendo as they get to the highest note of the scale, but only to an f. Then, when descending, students should decrescendo back to a pp. Teacher should make sure that students execute this in a very smooth, legato style as well.
Procedure:
1. Teacher will start at measure 9. Teacher will ask everyone to play except for the melody (alto sax and 2nd cl.). Teacher will remind them to play four-bar phrases in a legato style.
2. Teacher will tell band that they will continue on to measure 34 and whenever anyone has the melody, stop playing. But make sure they follow in their part and hear the melody in their head to know when they should come back in.
3. Teacher will go back to measure 9 with the melody playing. Teacher will tell students that they must not only make sure the melody can be heard over the accompaniment, but that the accompaniment is listening to each other to balance and blend with one another.
4. Teacher will ask the students how long the “idea” lasts in the melody. Teacher will remind students of the song and the verses of the song. Each verse last 8 measures. Teacher tells students they most look for the highest note in those 8 bars and that that is the most important note. Teacher will remind students not to play too loudly, just allow a gentle rise and fall with the shape of the melodic line.
5. Teacher will use informal assessment by listening to the balance and blending of the ensemble as well as accurate dynamic contrast.
Lesson Plan: 6th Grade
Objective:
Students will determine which articulations are appropriate for a piece and execute them.
Prior Knowledge:
Students have been working on “The Challenger”. Students have worked on various articulations. Students have discussed articulations based on style. Students have discussed the story of the Space Shuttle Challenger.
Warm-up:
Students will play the F and B-flat tetra chords. Students will hold out the third note of the F tetra chord until teacher conducts them to move to the next note.
Procedure:
1. Teacher will ask students about “The Challenger”. Is it a march? Is it happy or sad? The teacher will compare “The Challenger” to “Bunker Hill March” and ask students what makes the two pieces different, even though they are both marches. The teacher will then ask which articulations make sense for opening (measure 28) of “The Challenger” and why.
2. Students will play the opening and keep going. Teacher will stop at roughly measure 41. Teacher will ask students what happened at measure 29. Most likely, students will mention the “modulation” or key change. Teacher will ask them if the “feeling” of the piece changes at measure 29. Teacher will ask students what type of dynamics would fit that section (accented marcato, short, etc.).
3. Students will perform the section with the articulations they determined. After measure 49, ask students which section it now sounds like, the first or second. When the first is determined, remind students to use this articulation. Take this moment to remind students to look at the “road map” of this piece because, in case they’ve forgotten, something interesting happens. Teacher will not tell students about the D.S. al Coda, as it has been reviewed several times.
4. Teacher will start at measure 49 and continue through the piece. Teacher will use informal evaluation by listening for correct articulations, rhythms, and pitches.
I think it is clear to the students what behavior is acceptable and what behavior is unacceptable. Most of this seems to be established by Allison's reactions to behavior and the children are probably familiar with this by now. When a child was behaving poorly, it did not seem to surprise them when they were reprimanded.
2. Are there rules posted in the room?
I was actually shocked to see that no rules were posted in Allison's classroom.
3. How does the teacher handle disruptions that occur?
I think that Allison did not want to take away from the class time or enjoyment by focusing too much on misbehaving students. She would give a brief verbal warning or just say the child's name and give them a firm look for 5 seconds or so. If the inappropriate behavior continued, she would tell the child to sit out away from the class until they were able to control themselves. If the children were engaged in an activity that involved movement she would maintain a close proximity to a child who was behaving poorly. In the most extreme cases of inappropriate behavior that I observed this week, she would remove the child from all activities for the entire class period or warn them that a phone call would be made to their parents.
4. Is the teacher consistent? Are the rules in force for all students? every day?
I do not think that Allison was very consistent with her classroom management. Some behaviors were not allowed sometimes but then allowed other times. Also, I feel that she gave too many verbal warnings for some, and not enough for others. She talked to some students numerous times throughout a given lesson. I feel she should have punished them a bit more after so many disruptions.
5. How does the teacher deal with undesirable students behavior?
I think that my answer for number 3 deals with this question as well. I can add that Allison at times did offer explanations as to why she asked students to behave a certain way. For example she would say, "When you interrupt the learning process it acts like an eraser and no one can learn anything" and so on.
6. How does the teacher provide for individual student differences?
For students with special needs, Allison makes a point to compliment them for their accomplishments. For example, there was a girl in one of the first grade classes with a cognitive disability who was singing loudly during one of the songs. Allison made it a point to tell her that it was the best she's ever heard her sing. Also, with a student who typically has behavioral issues, Allison seemed to let some things slide that she may not have let slide for children without these issues. Like a child in another first grade who had really behaved poorly the first time I saw him was better behaved the second time around. He was quieter and more attentive, however he sat slightly off of the circle and sat on his feet, not his bottom. Allison did not try to make him correct this because it was more important that he was paying attention to the lesson as well as letting other students focus on the lesson by no interrupting.
7. How does the teacher foster respect for students?
I believe that Allison fosters respect by modeling respect herself.
Allison's directions were typically clear and understood by the students.
2. Is the questioning clear and appropriate? Do the directions address higher order skills (Bloom's Taxonomy)?
I think that I've almost always made a reference to Allison's questioning the class. It is very clear and appropriate. Allison's child centered classroom does address higher order skills. By becoming a sort of guide to the students' learning experiences, Allison gets her student's to recall past learning experiences and build upon that previous knowledge. Once they understand the concept they apply in to other tasks with minimum help or explanation from the teacher.
3. Does the teacher use positive terms (yes, good) ? Can the teacher find a positive comment even when an answer (verbal or musical) is incorrect?
Allison did use positive terms, but not as often as I think she should have. If the students were doing board work, sometimes she would say "good" and other times she wouldn't say anything at all. It was a little inconsistent. She was more consistent with finding positive comments for incorrect answers. She would say things like "Are you sure? Try that one again." or "Would you like someone to help you?" A few times she did give a student a simple "good" when there answers were inaccurate. I feel this was brought on by distractions from other students. Most of the time the other students caught the incorrect answer, but others (especially in the younger grades) they went by unnoticed.
4. How does the teacher acknowledge pupils' comments and ideas?
Allison would acknowledge comments that were serious and went along with what was going on in the classroom. With the comments that were not about what was going on, she typically made a comment about how it had nothing to do with the learning of the classroom and continue with the lesson.
5. What effective non-verbal communication does the teacher use?
Allison made eye contact with her students frequently. This, of course, meant different things at different times. It was at times accompanied with a smile to encourage positive behavior or with a firm look to discourage inappropriate behavior. Allison also used proximity to discourage inappropriate behavior. She would stand or sit close to a student who was misbehaving. She would also hold up her hand in a "stop" fashion or give a thumbs up.
Allison definitely had clearly defined musical objectives in each one of her lessons. Every grade had different musical objectives, such a beat vs. rhythm, distinguishing high pitches and low pitches, sight singing, pitch and rhythm detection, etc. The Pre-K grades at Onaway have certain themes every week. Each theme is a focus on learning. The theme for this week was the letter 'K' and winter weather (oddly enough, seeing how it was 55 degrees). Allison worked this into the lesson plan by adding the songs "Three Little Kittens" and "Frosty Weather".
2. How are the materials appropriate to the age and grade level of the students?
For the most part the materials were appropriate for the age and grade level of the students. The songs and methods used to enhance the musical learning of the lesson were excellent as well as creative. I felt that overall focus was the highest during these times. This was helped by Allison's method of asking the students to check one another's work.They also focused on the appropriate music learning for that grade level according to the Kodaly method, which is the primary basis of Allison's teaching style. Some of the game songs I feel may have been a little two young for some of the classes. These are the times when focus was lost the most. Some of the boys didn't seem to really want to play the games and lost interest quickly which lead to distractions. However, that is probably typical.
3. How does the teacher familiarize him or himself with the materials (words and music to songs, recordings, score preparation?)
Allison says that she practices songs she wants to incorporate into her lesson the same way you would learn a piece of music; through repetition. She sings and plays them until she knows it completely. She would never teach a song to the class that she didn't 100% know.
4. Does the teacher maintain written lesson plans? What format is used?
Allison keeps lesson plans on her computer as well as a backup on a memory stick. She has lesson plans from the past three or so years. Everyday she prints out the lesson plans she needs for that day so she can keep it handy to look at or write changes she's made during the lesson on them. The format she uses is the same one we used to write our own lesson plans in class. She has the tone set, materials needed, focus, steps, and so on.
5. Does the teacher use a music series or other textbook? How?
Allison has music series books in her classroom, but said that she never really used them. The only time they've really been used is by a substitute teacher.
Allison really seemed to focus on student activity with a minimum of teacher talk. What she tried to do was guide the students through their own learning by simply asking them questions that would engage the students to think. For example she would sing a song or say a chant and ask the students to tap a steady beat and then ask them how many beats were in what she said. When a student would answer she would not say yes or no right away, but ask the other students if that student was right or wrong. That was also how she conducted board work. She also frequently encouraged the students to sing songs without her help.
2. What is the quality of the teacher's eye contact? (Continual? Comprehensive? Interested?)
Allison did give the students a good deal of eye contact throughout each lesson. Her eye contact showed the students that she was interested in what they were doing as well as what they were learning. This eye contact made the students feel comfortable with classroom activities.
3. Does the teacher seem to be enjoying the lesson?
Allison always looks like she's enjoying the lesson. She is constantly smiling. She also really enjoys her students. It's all very clear when you watch her. Even when there are problems Even though she teaches the same lesson to different classes three or four times a day, you would not be able to tell because she gives each class a unique learning experience based on the types of students that are in the class. She is very in tune with the personalities of the students in each class that each lesson is a unique learning experience even though they are learning the same musical concepts.
4. Are students interested and attentive? Why or why not?
Generally the students are interested and attentive. There did seem to be a bit of additional talking in a few of the classes, but that could be due to a number of factors (a number of IEP students, just returning from winter break, etc.). But even though there was excess talking the students were relatively easy to rope back into the lesson and once they were back they understood what was going on and really enjoyed it. It is clear that they students enjoy their time with Allison. They also are really excited about music and know a good deal of musical concepts.
5. Does each student have a sense of accomplishment?
I believe that each student did have a sense of accomplishment. None of the students participating in the lesson looked as though they felt frustrated or seemed discouraged. When a child gave an incorrect answer, Allison did not move on to another child, but gave that child another opportunity to answer the question correctly. Also, but allowing the class to check their own work, they felt as though they really were learning and absorbing the material, not simply having it being told to them. Allison also complimented students and the class as a whole for jobs well done.,
2. List these non-instructional responsibilities and the cooperating teacher's attitude towards the responsibilities.
3. Describe the cooperating teacher's interactions with the administration and other faculty members.
1. What musical skills are apparent at each grade level?
In the third grade class, the children were working on independent singing, solfege, hand signs, skips and steps (going up and down), and 5 note (pitch) songs. In second grade, they were working on independent singing, high and low, steady beat, reading and clapping rhythms, and the music staff using sol and mi (skips) both up and down. In first grade, they did talking voice vs. singing voice, steady beat, some independent singing, and worked with high and low using both iconic notation as well as body signs.
2. Describe each lesson; include the following: a) How many songs/activities are in each lesson? How are they varied within each lesson? Across grade levels? b) How does each lesson begin? End?
The lessons began with the children coming in and finding their places on the circle while singing a song. The lessons all ended with the children singing as they lined up to the door.For the third graders there were about five songs/activities in the lesson. The major difference with the third grader lesson was that it was more in depth than the other lessons. They worked a good deal on the pitch ladder and five pitch songs and even mentioned "pentatonic" and worked on skips and steps. Solfege and hand signs were also a major part of the lesson. The second and first grade lessons were somewhat similar (probably due to Kristen's maternity leave), The second graders did deal with rhythm notation and clapping as well as the music staff and skips up and down. The second graders had five or six activities/songs and the first graders have five activities/songs.
3. How do the students enter and exit the classroom? Is there a procedure? Is it the same for each grade/class?
Each class entered the room the same way, with their teachers dropping them off in a straight line quietly at the door. The students seemed to have assigned seats because when they came in the room they quickly sat down. This was true in the circle as well as the lines. When it is time to leave, Kristen had them sing as they walked to the door, and as they lined up she would tell them to check their feet and hands as well as remind them to be quiet. This was the same for all the grades.
4. Is there an obvious management/discipline structure in place? If so, describe.
I saw more of an obvious management structure than a discipline structure in the class. There was an area on the wall that listed how one was to behave in the classroom (mostly dealing with respecting each other). Also, when some of the students laughed when one student sang, Kristen stopped to activity for a little bit to make sure that the students knew that laughing was not going to be tolerated. She stressed respect for fellow students by telling the class that if someone was talking while someone else was singing it could be a distraction and prohibit the singer from singing their best. There was also assigned seating in the circle and lines.
5. How does the teacher motivate the students? Is it the same at each grade level?
Kristen seemed to use positive reinforcement to motivate the students. She would point out how a child had entered the room and went straight to their place while singing and chose them first for an activity or compliment them in front of the class for their good behavior or nice singing. This seemed to remain the same at each level.
6. Is this a teacher with whom you would choose to spend more time or student teach? Why or why not?
Kristen is a teacher whom I would enjoy spending more time with in the future. I really liked how she handled her class as well as the time she had with her class. I liked how she asked a lot of questions to make sure there was understanding. The lesson was set up so that things moved along quickly, but did not feel rushed or skimmed over. Her classes were also very well behaved and from the look of the classroom, she discusses many aspects of music (tempo, culture, composers, instruments). I thought she did an amazing job.
- Mood:
cheerful - Music:Lucy Locket
September 29, 2007
1. How can you tell whether or not the teacher is building on known skills?
I could tell that the teacher was building on known skills because the students worked on the lesson with sheets given and worked on in previous lessons. Also, the children already knew the solfege for "Twinkle, Twinkle, Little Star" which was the song used for the lesson (which was about transposition).
2. Describe the organization of the room and the structure of the lesson. How does the room set-up and lesson structure compare to the previous observation at Onaway?
The room set-up at Parkview had chairs, which was very different from Onaway. There was also less things on the walls as well as an overhead that was used. The students also had folders that they took in the beginning of class. The lesson structure used papers and written out materials, which was very different from Onaway. Since the children were older at Parkview, the lesson was more complex. The students also went into groups during the lesson, unlike at Onaway where they stayed as a singular class.
3. Do any behavioral issues occur in the lesson the need the teacher's attention? Did the teacher handle any issues that you would have ignored? Does the teacher ignore any issues that you might have dealt with? Describe and discuss these.
There were no serious behavioral issues during the lesson that needed to be addressed. However, I did notice that during the group section of the lesson that a group of boys seemed to be getting off task with the "boom whackers". They did not seem to be focused on the task at hand. They were not being rowdy, but they could have used some supervision to be pushed in the right direction. I would have taken more time to go from group to group to make sure that each group was on task.
- Mood:
thoughtful - Music:Twinkle, Twinkle Little Star
1. Describe your overall impressions of the music room, school, teacher interactions with the students.
The first thing that came into my head when I walked into Allison Hungerford's classroom was "wow". It was something like a child's paradise. All of the recorders, xylophones, dulcimers, and other instruments that filled the walls and shelves were amazing. I also enjoyed the different things posted on the walls and boards around the room, such as the expectations of the class materials and what different grades had learned (such as "In 3rd grade, we know.... beat, rhythm, etc. ). I was happy to see that there were no chairs in the room so the children could not just move around freely, but also be aware that that was expected.
I was also very impressed with how with how well Allison interacted with her students. She expressed later after class that she tries to look at each child at least twice every time they are together, and you can really see that in her teaching. She also pointed out and praised good behavior and rewarded it (by choosing the child that was quietly raising their hand or singing very well). She was also aware of how much to address certain situations that came up with some of the children.
2. Describe your impression of the lesson (the music learning, singing, participation, and so on.)
I thought that the lesson was well thought out and, for lack of a better word, incredibly cute. The way she planned the song order to act out a trip through town was a great way to get the kids to remember what they had done that day. Since the classes were both first grade, I was not surprised that they only really worked with beat (keeping a steady beat) and pitch (through games that involved independent singing). It was great how Allison used different songs and activities to develop the same music skill so that the kids did not realize that were working on the same thing and grow bored. For example, in "Cobbler, Cobbler", the children hit their shoe to a steady beat and they individually got up and used a hammer to physically hit every beat. In "Fireman No. 8" the children played a clapping game in which they clapped every beat. With the song "See Saw" the class used different body motions and moved their bodies to the beat. With "Doggy, Where's Your Bone?", she was able to listen to individuals sing and the children simply thought that they were playing a game. In this game she could also encourage them to use their "best singing voices" to make it harder for the person to figure out who was singing the line.
The singing and participation was better for the first class than the second class as I discuss further in the next question.
3. Comment on the distinctions between the two first grade lessons. Describe the similarities and differences between the classroom interactions (teacher-students; students-students), and "climate".
There seemed to be more "buddy groups" in the second group of first graders, meaning two or three children who closely followed and mirrored each other. This became a problem when one boy did not want to skip to the barbershop which of course led to his friends not wanting to skip either. However, the climate of the non-participatory class seemed more relaxed than the first class. Allison did not harp over the fact that certain kids were unwilling to participate, she moved on to another child relatively quickly. Perhaps she felt that if she loosened up the kids would loosen up as well and want to participate.
4. What were the musical objectives of the lesson? What was the teacher trying to accomplish musically? Did she succeed? Why or why not?
As I mentioned before, the objectives of the lesson were beat and pitch. However, since this was early in the school year, I do not believe that the children were using the word "beat" yet. Therefore, I think that Allison's main goal in this lesson was to get the children more familiar and comfortable with clapping and moving to the beat before they learn about what beat actually is. The same goes for pitch. I believe that Allison wanted to kids to become comfortable with their singing voices and the materials before she began correcting them. In that case, I do believe that Allison succeeded in her lesson because the children knew what they were supposed to do and looked like they were comfortable doing it. Now they have a foundation to learn about beat and pitch in the future.
5. What did you enjoy most about this observation?
I really enjoyed watching the children have so much fun while learning at the same time. I thought that Allison did an amazing job of keeping the children engaged and I could really see that as I watched them. It was great.
- Mood:
bouncy - Music:Skip to the Barbershop
