Task 1 Part e Planning Commentary MF

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.
[Through many student assessments and conversations with my cooperating teacher, it has
come to my attention that all students are not proficient in analyzing and counting rhythms.
Being able to correctly read, write, and perform rhythms is essential to musical growth at any
ability level as rhythm exists within all music, albeit very rare exceptions. During my edTPA
learning segment, students will learn to analyze rhythms that use sixteenth through whole note
values, including tied and dotted notes and how to apply this knowledge to their future piano
assessments. Seven of the nine students in this piano class are first-time music readers.
Weekly performance assessments are the basis of grading for this class; students are asked
to perform a piece from their Alfred piano book, which they have practiced all week on their
own, for either myself or my cooperating teacher. Students are graded upon appropriate
tempos, accurate rhythms, and accurate note reading skills. Students should improve their
scores on the rhythmic aspect of the weekly assessments after we have completed this unit. As
we continue to progress through their textbook, the students will utilize their rhythmic skills when
practicing and in their assessments throughout the rest of the grading period.]
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)
[The standards and learning objectives used within the learning segment directly address
performing, creating, and responding to music. As this is a performance based class, the
knowledge and skills my students are learning can not only be directly applied to their
performance assessments that they have each week, but to their own compositions or learning
the rhythms that appear within their favorite music. Since we are focusing on simple meters like
2/4, 3/4, and 4/4, I plan to help the students learn about and integrate the Standard Counting
System (1 2 3 4 | 1 ) into their work. Students will learn about the history and importance of
bar lines, which will directly relate to counting and performing rhythms accurately. I will also be
assessing students on rhythmic knowledge in their upcoming assessments after these lessons
are completed, as this is an important part of their class grade. Students will know how many
beats each type of note receives, as well as how they can be broken down, or divided, into parts
to create new notes as evidenced by a rhythm tree drawn on the board. Students will also learn
about how dots alter the length or value of a note and how to count them using basic algebra or
basic drawings. I plan to ask students in their Day 1 exit slip to compose a rhythm using whole,
half, and quarter notes in two measures of 4/4 time. Their rhythmic compositions will not only
help me learn more about their creativity, but if the students are applying their knowledge.]
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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.
[My plans begin with Lesson Plan 1 discussing and teaching larger note values of whole, half,
and quarter notes that must be understood before moving onto more complex rhythms and
smaller beat divisions. During this lesson, students will learn about bar lines and their
importance, as well as the Standard Counting System that will be used. I have created a bar
line rule which will remind students to always re-start counting at 1 following a bar line. We
review examples from the pre-test, which gives the students multiple opportunities to make
connections and think about the bar line rule and how to implement it in their own work. I will
review quarter, half, and whole rests as well so all students have the same information. After
this is completed, we will perform an example rhythm which will be written on the board and
counted by students. The students must be aware of how many counts each note receives so
they can make the connection of the rhythm and adhere to performing the rhythm properly.
During Lesson Plan 2, students learn about quarter, eighth, and dotted note values. We will
talk about which note can be broken down into parts to create eighth notes and how to count
them because they are only counted for half of one beat. Students will learn that rests in the
place of beat 1 will receive beat one. Although they are rests and represents silence, that does
not mean that they do not have value. They are still part of a performance and should have as
much integrity as the half rest in Lesson 1s rhythm example. The students have many rests in
their textbook and do not always adhere to the suggested rhythm. After we discuss the
importance of giving each note or rest its relevant value, we will discuss dotted notes. The
function of the dot is to add value to each note. If using an algebraic example, the note will
receive 1.5x its original value. A half note receives two beats. When a dot is added to a half
note, it would represent the note receiving three beats. Alloutte is a great example to use when
connecting the function of a dot and making it relevant for the students.
In Lesson Plan 3, the students will learn how to break down eighth notes into sixteenth notes,
as well as counting these notes. The sixteenth notes do not show up in their textbook, as it is for
beginners, so knowing that the students are progressing past their book may encourage them to
learn more about rhythm. This is a bit of an extension activity for the class as they have
surpassed the content which is taught in their book.]
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.
[Seven of the nine students in this class are first-time music readers. One high-performing
student was involved with choir for four years. The other high-performing student is currently a
tubist in the 9th grade band. Two low-performing students have an IEP for ADHD and have not
read rhythms or music before, as evidenced by their pre-test material. One of those students
with an IEP learns visually and aurally. Another learns visually and kinesthetically. One student,
who does not have an IEP, says that she needs more time in her classes, especially on tests.
Overall, the students have a general idea of rhythm. It takes some of them several seconds to
figure out what type of a note is on the page, but they can verbally count whole, half, and
quarter notes. Except for the two students with prior music involvement, most generally perform
all notes as half or eighth notes, exhibiting little to no rhythmic integrity or accuracy.]
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?
[Prior to beginning my work with this class, I asked the students to fill out a student interest
survey which included the following questions: What grade are you in? What is your favorite
type of music to listen to? Do you have any siblings? Do you have any pets? What do you do for
fun? Are you involved in any clubs or sports? What type of learner would you say you are:
visual, aural, or kinesthetic? What class is your favorite?
All students enjoy listening to music outside of piano class. They also have diverse interests,
styles, and personalities. Students are involved in ROTC, softball, cross country, band, choir,
student council, photography/journalism, and enjoy Netflix, mythology, card games, and disc
golf. Almost half of the class has at least one pet. All but two students have at least one sibling,
and I have a students older sibling in a different class. Another student is close to her younger
cousins and sees them quite often. This inventory turned out to be very useful while I was
preparing my lessons for the class.
In this region, there are not many music performance opportunities. Most students in the area
do not have a piano or keyboard at home due to not financial difficulties, but still want to learn
more about music. They are heavily encouraged to do so through their high school, which offers
six class periods of introductory piano for the general student population and are split between
the choir and band teachers. These courses also fulfill a fine arts credit for students which are
required for graduation. With that, most students do not come into this class knowing the basics
about music. In fact, seven of nine students are reading music for the first time. The students
have touched up and reviewed their note reading technique, but still needed help with rhythms.
They all exhibit a hardworking behavior as they are practicing for the 40-minute duration of the
class which tells me they want to learn more. Two students, Emina and Brittany, have IEPs to
help them manage their ADHD. These students work just as hard as other students, but are
underperforming noticeably.]
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.
[My students are generally underperforming on their pre-test. I chose to work on rhythms in
simple time meters, like 2/4, 3/4, and 4/4, as these are the prominent time signatures within their
piano textbook and will present an opportunity to transfer their knowledge they gain from my
lessons directly to their practice regime and their weekly performance assessments. Logan and
Garrett have more than three years of music instruction per person and prove to be the higher
performing students. I plan to ask them questions that may take other students more time to
think about and answer. I then decided to give my students a survey to see what types of things
they enjoy and what type of learning style would benefit each individual.
Once I learned about my students, their interests, and learning styles, I could imagine the
types of questions they could or would ask, as well as adapting explanations and thinking of
several analogies. Having all types of learners in my class made it interesting and sometimes
challenging for which to plan. I made sure that the class and I would use a metronome while
clapping and counting rhythms together because it happened to be a great activity for all types
of learners in the classroom: visual, aural, and kinesthetic. The students could see the rhythm
on the board, observe me as I clapped the rhythm (modeling for them), hear the rhythm and the
metronome at the same time, clap the rhythm with me, and also tap their foot to the beat. I drew
all rhythms that we clapped and counted together on the board, drew a rhythm tree, and used
pictures to break down different types of notes into smaller notes. Madison, Brittany, Emma,
Logan, Garrett, Emina, Emilee, and Megan identified themselves as visual learners. Kira
identified as an aural learner with Emina and Logan. Kira also identified herself as the single
kinesthetic learner in the class.
I had conducted lessons prior to the edTPA lessons and the students were quiet during
throughout the class period. I was able to plan planted questions that were to be asked to
specific students if nobody else had answered within 10 seconds. Since the size of the class is
small and the students are rather quiet, I also elected to give them an exit slip and homework.
Both were activities students could do quietly and independently, which also resulted in self-
constructed answers proving how much the students really knew.]
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).
[When planning to teach the visual learners, I planned to write the exercises from the pre-test
and some that I had created onto the whiteboard for everyone to see and be more engaged with
me. For example, I could break down one measure of 4/4 time into eight eighth notes. I would
ask the students to think about how many eighth note each type of note would receive. A half
note would receive four eighth notes. For students who are more mathematically inclined, I also
used fractions. Instead of drawing them, I substituted eighth notes for a fraction of 1/2 as the
eighth note receives 1/2 of a beat. We added 1/2 to itself eight times to represent how many
eighth notes were present in one measure of 4/4. While learning about dotted notes, I will use
simple algebra. A dotted note receives 1.5x value of the original note. For example, when a half
note does not have a dot, it receives two beats. When a half note has a dot beside it, one half of
the original value is added. 2 x 1.5 = 3 was shown on the board to show the work that would
prove the dotted half notes value. Therefore, the dotted half note receives three beats.
For the aural and kinesthetic learners, I was able to create an activity that would consider and
assist both learning styles. I will model clapping and counting rhythms with a metronome. I
planned to introduce and use the metronome because the students would be able to hear how
the steady beat interacts with the counts of each note. I will introduce the class to my activity by
having them count quarter notes in 4/4 time with the metronome. Next, I will ask the students to
tap their feet with the beat and count quarter notes, then eighth notes. We maintain the beat
with our feet and alternated between counting quarters and eighth notes, and then move onto
clapping and counting rhythms that were from the pre-test and some that I had made up. I
clapped and counted the rhythm aloud first and asked the class to join me in the next repetition.
This exercise will be helpful when the students could hear themselves speeding up during the
first learning segment. They worked hard to regroup and get back on track with the metronome.
The goal of this exercise is to enhance the class rhythmic integrity by giving each note its full
value as well as encourage class engagement and participation, which proved to be rather
successful.
My instructional time will be spent divided between a lecture-style class and an activity-based
class. This allowed me to make sure that all students were receiving the same information from
me, regardless of their abilities background knowledge. I could easily discuss or teach more
about rhythm in front of the class and then see which students are having trouble applying the
information to the performance and give verbal feedback. After the entire class portion is
completed, I will walk around the room and assist students as needed.
In terms of individual instruction, this was interesting to plan. Logan is normally practicing in
another practice room outside of the piano classroom, so he will be asked to sit in the normal
piano classroom during these classes. I will sometimes use Logan and Garrett as examples or
asked them to answer harder questions as they were the two highest performing students on
the pre-test. I plan to give my instruction from the side of the classroom that is near Emina and
Brittany. This will hopefully encourage these two students to pay attention and ask or answer
questions since I will be closer to them. They are the two students with IEPs for their ADHD and
performed below average on their pre-test.
The goal of these lessons is to help students learn about and gain different strategies from a
social setting that they can utilize when they are figuring out or creating rhythms. This plan was
based off of Lev Vygotskys Zone of Proximal Development. Vygotskys theory shows a
progression of what the student cannot do, what the student can do with help, and what the
student can do. Vygotskys theory also states that knowledge must come from a social setting
first, hence the lecture-based class. Once the knowledge occurs within a social setting, only
then can it be present within the individual, hence the activity-based class and independent
work given to the students. The strategies that will be used in the classroom were designed to
help all students with all learning styles learn what they do not know, counting rhythms
precisely, from what they already know, hence the use of algebra, pictures, movement,
modeling, and human interaction.]
c. Describe common student errors, weaknesses, or misunderstandings within your
content focus and how you will address them.
[As gathered from the pre-test, my students knowledge displayed both correct and incorrect
information. The students knew how many beats each value receives, as well as being able to
describe the value in a fraction form. However, some students did not restart their counting with
1 after each bar line, did not count rests at all, or left out multiple counts for multi-beat notes
such as half or whole notes. It seemed that some students were numbering the different values
on the page, excluding rests, instead of counting all of the beats within each measure.
To counteract the negative learning trends, I will first discuss what we will call the bar line
rule, or that after each bar line, you will always start counting again with one, regardless of if
the value is a note or a rest. I plan to have the students notate, or write in, the counts for the
rests because they are still a part of a performance. It is important that the students learn the
rests represent silence, but do not get excluded. I will introduce subdivision, its importance, and
how to subdivide in lesson plan 3 to help the students find the smaller beat divisions. Logan and
Garrett, my higher performing students, may serve as examples during the lecture and will be
selected to answer questions to which the lower performing students may not know the answer.
I will also walk around after the lecture and activity have concluded as students will most likely
benefit from one on one interaction. All of these learning outcomes will be important as they
prepare for their upcoming piano assessments and progress through the rest of their textbook.]
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
[The students in my classroom will ultimately need to be able to analyze rhythm patterns as well
as rhythms that are present within their textbook to understand how they should be performed.
Most students do not use a counting system at all or know why they are important. I will teach
the Standard Counting System, as it is one of the most popular system within the music world
and is utilized within the school district where I am teaching. This will be new information to
most of them with the exception of Garrett and Logan, and I believe that some will struggle with
this new information. The students analyzation of rhythms when using a counting system will
increase their score on the posttest and in the rhythm category of their weekly piano
performance assessments.]
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.)
[The extension activity from Lesson 1 gives the students an opportunity to analyze rhythm
patterns in 4/4 and 3/4 time, as well as utilize their bar line rule and begin to count with 1
after each bar line. This homework sheet will give the students a chance to independently
implement the Standard Counting System as well as utilize the counting system to account for
rests that exist within the patterns. It is likely that the students have similar patterns within their
textbook, which will help the students analyze the like rhythms when they do appear.]
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
[The students can already identify the notes and tell how many counts each note receives and
the next step is to implement a counting system. The students will need to understand the
Standard Counting System and the syllables used to represent different rhythms and how they
directly correlate to the rhythms in their textbook and homework. During my learning segment, I
will be referring to and using these subdivisions using their names in the counting system. For
example, four sixteenth notes are both notated and orally counted as 1 e +(and) a(uh). One
measure of 4/4 containing eight eighth notes would be notated and counted as 1 + 2 + 3 + 4 +.
This information is new to most of them, which helps explain why the students were not
counting to 4 in every measure of 4/4 time and restarting with 1 after each bar line. Throughout
the learning segment, I will also be asking students to count rhythms for me using the system
both in class and on their homework, which may be troublesome and why I have allotted for
individual work in class. When the students are actively participating or starting their homework
in class, I will be able to help or give feedback which will prevent them from potentially learning
incorrect information.
In terms of vocabulary, students will need to be able to read music notation symbols. They will
need to know what whole, half, quarter, eighth, and sixteenth values look like, as well as dotted
values. The students also need to know what a double bar, a bar line, and 2/4, 3/4, and 4/4 time
signatures look like. This should not be new information to the students because this is printed
in the textbook, but I will present the information to ensure that all students receive the
information and give the students the opportunity to transfer their knowledge from class to
performance.]
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).
[For the students to use academic language, I have added some thoughtful questions to support
language acquisition in my lesson plans. One example of a language support occurs in Lesson
Plan 1. I will be showing students a few different ways to distinguish between half and whole
rests, which will help students analyze rhythm patterns that contain those rest values in the
future. In Lesson Plan 1, I also begin introducing bar lines and why they are important. This is
assessed on the Exit Slip 1 and will be important throughout the rest of the learning segments
as we continue to analyze rhythm patterns that contain bar lines quite often. I also stress the
importance of a counting system in Lesson Plan 1 when I compare counting the words in a book
to counting quarter notes: the numbers must carry on in music unless you see a bar line. This
helped me create the bar line rule that is mentioned throughout this teacher assessment.]
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.
[The formal summative assessment, used as both the pre- and post-test, utilizes seven (7)
worksheets (#2201, 2204, 2207, 2210, 2212, 2215, and 2218) from the music engraving
computer application Finale 2014. The worksheets contain rhythm patterns in simple meters,
such as 2/4, 3/4, and 4/4. The rhythms that appear on the worksheets also appear within the
textbook and presents an opportunity for students to transfer their learning from lecture to
activity to performance. I will be able to see the students growth of knowledge as directly
evidenced by their scores on the pre- and post-tests. This assessment will check the students
ability to analyze rhythm patterns using the Standard Counting System. The students are also
presented with an opportunity to express themselves, as they have had several options
presented to them that will help them count and prove they are counting rests.
Informal formative assessments like the exit slip from Lesson Plan 1 will allow me to check the
students understanding of the concepts that may be brand new to most of them. I can also see
how the student learns and what they understand based upon how they explain the concepts in
their own words, as well as their use of academic language. This same exit slip also allows
students to compose a two-measure statement using whole, half, and quarter notes and writing
in the corresponding counts, giving the students a bit of free reign to write as they please. The
short composition will help me gauge what the students know about each type of note and how
they relate to the Standard Counting System.
Group practice sessions will be utilized as an informal formative assessment within the
classes. I will write a rhythm pattern on the board for the students to analyze. When this is
completed, I will turn on a metronome and begin to instruct the students as to how to apply their
new knowledge directly to a performance setting. I plan to give feedback as I see fit. The
students will respond as to how they feel the metronome can help them, how they can apply the
knowledge to their piano assessments, and if they are feeling more confident with analyzing and
performing rhythms. We will also go over rhythms that the students do not feel confident with
from their textbook to be sure that the students are applying the information to their
performances correctly.
Homework sheets will also be used as informal formative assessments (Finale 2014 sheets
#2205 including Patterns 21-24, #2211 including Patterns 15-18, and #2219 including Patterns
7-8). Students will be taught the information that directly correlates to the homework sheets and
then instructed to analyze the rhythm patterns which appear on their homework. I will able to
directly assess if there was any information that I needed to reteach or if we needed to review
concepts during the next lesson if the students are utilizing the Standard Counting System, as
well as applying the bar line rule and drawing pictures if needed.]
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).
[By utilizing the answers given in the student survey, I was able to plan assessments and
activities that would demonstrate learning from all students. Some students perform better when
verbally communicating, while others perform better when they are able to write out their
answers or physically perform the task in question. I have also left time at the end of the classes
to walk around the classroom and assist students who may be struggling with analyzing specific
rhythm patterns. They can demonstrate their knowledge to me in a one-on-one atmosphere and
I will be able to act as the More Knowledgeable Other, as mentioned in Vygotskys theory of
social learning.
Performance applications with a metronome are included to present students with a different
way that they can practice their rhythms and ensure rhythmic integrity in the future. Students
who have musical experience will be able to help keep the students on beat with me in this
social setting. I will be able to see which students are clapping and counting the rhythm, as well
as keeping a steady beat as they tap their feet with the metronome. This will be useful as not all
of the students have experienced keeping time with a metronome before.
Within the homework assignments, I have planned to make accommodations for Brittany and
Emina for their ADHD and ask them to only complete the first line of each exercise to make sure
they are staying engaged in their homework while also learning the content I will be teaching. I
will also ask these two students to answer questions in class when I am writing on the board as
well because they are visual learners.
Included in the formal summative assessment are syncopated rhythms that may challenge the
higher performing students. I also included less complex rhythms that may present a challenge
to the lower performing students. In the post-test formal summative assessments, I plan to have
the students only analyze select rhythms on the first three pages as these should be rather
simple. I believe the students may have more of a challenge with those pages and this shorter
assessment will ensure that the students have enough time to work towards completing the
assessment. During the post-test, the students will have the opportunity to draw pictures on the
pages for help or quietly clap/count the rhythms to themselves to assist themselves as they
analyze rhythm patterns.]

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K-12 Performing Arts

Task 1: Planning Commentary

TASK 1: PLANNING COMMENTARY

4. Supporting Performing Arts Development Through Language

Analyze Compare/contrast Create Describe Evaluate

Explain Identify Improvise Perform Respond

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