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LEADERSHIP
Assignment 1 - Report
Mitchell Cavens
Executive Summary……………………………………………………………………………………………………………….2
Goals………………………………………………….……………………………………………………………………….3
Recommendations Summary…………………………………………………………………………………….3
Unit outline…………………………………………………………………………………………………….………….4
Comparative Table……………………………………………………………………………………………………….……….11
Recommendations……………………………………………………………………………………………………………….13
Concept Map………………………………………………………………………………………………………………….……15
Unit Outline………………………………………………………………………………………………………………17
Assessment……………………………………………………………………………………………………….………23
References……………………………………………………………………………………………………………………………25
1
Executive Summary
This unit has been designed for the Music faculty at Cambridge Park High School, which is
located in Western Sydney. Cambridge park High is a Co-Educational Government School
with streamed music classes according to numeracy and literacy NAPLAN results. The
students attending the school are primarily locally-based, with only 16% of students having a
language background other than English, and 13% of students who Identify as being of
Aboriginal or Torres-Strait Islander descent. Also, the socio-economic status of school
attendees is fairly low, with 63% of parents earning within the bottom quarter of earners in
the country.
This unit was taught to stage 5 learners (elective). Students in these classes consisted of
primarily locally based learners, with students originating from low-socioeconomic
backgrounds, affecting classroom performance.
N.B. This unit includes references to PowerPoint slides as well as references to assessment
that has not been included in detail.
Reference: Statistics and tables above are retrieved from the MySchool Website:
https://www.myschool.edu.au/school/41835
2
Goals
Recommendations summary
- Increase the amount and alter learning experiences which address numeracy and
literacy student needs
- Create a concept map in order to determine key threshold topics
- Apply the three UbD stages to the unit plan in order to develop more meaningful
experiences which are relevant to important key threshold topics, and also address
methods of assessment with the focus on accurate representation of the students’
knowledge
- Improve sequencing of topics in order to ensure that there is cohesion and
development in student background knowledge
3
Original unit plan
o The following unit explores the uses of rock beats, riffs, chord
progressions, melodic licks, and improvisation in order to develop a
comprehensive performance. Examples will be used from
Australian rock bands that have used the above techniques to
compose typical rock songs. These techniques will be analysed and
utilised through the assessment of an annotation and performance
of a famous Australian rock chart.
5.3 performs music selected for study with appropriate stylistic features
demonstrating solo and ensemble awareness
4
5.7 demonstrates an understanding of musical concepts through the
analysis, comparison, and critical discussion of music from different
5
read and play one piece
of music. Solving musical
problems and working
on posters etc in a group
setting.
- Brainstorm o Song
famous BMG
Australian rock (America)
bands who o Universa
were l Music
successful in Group
the (American-
international French)
music o Warner
industry. Music Group
(American)
Present a list of
Australian rock
bands that are
internationally
successful despite
the disadvantage of
not being American
(slide 3).
6
categories of Students to
each concept. learn the intro of
‘Are You Gonna Be
My Girl? by Jet’ on
their instrument.
7
- Interpret ‘Imrovising song (dependant on student
major, minor (Stage 6 needs)
and power Music).m4a’
chords. Discuss the
meaning of Melody
as a ‘horizontal
succession of
pitches’
Present a list of
different melody
types and focus on
‘riff’ (slide 34).
Discuss the purpose
of a rock riff and
watch a video
example of some
famous rock riffs
(slide 35).
Show explicitly
what students need
to demonstrate
about ‘riff’ in their
assessment (slide
36).
8
demonstrate how
music resolves using
this centre.
Discuss ‘keys’
and ‘key signatures’
(slide 50).
Scaffold how to
find the major and
minor chords that
belong to a key
signature.
Construct a
power chord from a
major chord
Students to
learn how to play
‘T.N.T.’ by ACDC on
their instruments.
Show explicitly
what students need
to demonstrate
about ‘chords’ in
their
assessment (slide
54).
9
their Demonstrate
performance. some rock licks, and
give notation to
students to learn
(slide 60).
Discuss the
importance of
learning melodic
licks from other
experienced
musicians. Teach
how to adapt
melodic licks by
transposing them
into the key of
another song (slide
62).
Research Task:
students to research
melodic licks to use
in their performance
(slide 63).
10
Comparative Table
11
foster critical information as (Pogonowski,
thinking well as an 1989).
increase in aural
analysis tasks with
a focus on
instrument quality
distinction
Group Lack of detail in Increase of detail Self-Regulation in
Personal and performance research tasks and in research tasks research tasks
Social increases need composition in and increase of fosters personal
Capabilities for effective order to foster compositional educational
collaboration and personal learning tasks development
communication, Zimmerman &
requiring social Schunk, 2011)
skill
Individual Insufficient group Increase in group Engagement in
research performance performance musical activities
increases activities impacts on social
personal inclusion (Welch
education ability et. al., 2014)
“Evidence of “Students Learn “Desired Learning The importance of
learning” section To” section Outcomes” relevancy for
Understanding is well reflective inaccurately section to replace learning as a
by Design of stage 2 of the identifies desired “Students learn to whole (Vygotsky,
UbD principle: outcomes section” in order 1978)
“Determine to hone focus on
Assessment the creation of
Evidence” relevant learning
experiences
“Students Learn Irrelevant and Creation of Effective order is
About” section somewhat concept map in required for good
involves key disorganised order to foster directon
threshold concepts and relevant key (Arguedas,
concepts order concepts and help Daradoumis, &
provide clarity in Xhafa, 2016).
re-organisation
concept order
12
Recommendations
To reconstruct the unit with a focus on UbD principles in order to improve threshold-concept
understanding, sequencing and assessment
This unit outline is lacking in key areas. There is no appropriate scope & sequence section, no
concept map, and insufficient formative assessment information. Though these elements are
lacking, there is a comprehensive variety of learning experiences, a sufficient “evidence of
learning” (assessment) section, as well as a “students learn about” section which includes
important threshold concepts within the realm of rock music such as melodic riffs, the music
industry, and performance. However, each of these elements can be enhanced/altered
according to the UbD framework in order to foster a greater quality of student learning.
Within the redesigned unit plan, a concept map is included for multiple useful purposes. For
the teacher, a concept map provides a broad overview of the topic and its facets as a whole,
which helps in the process of determining what key concepts should be taught in the
classroom, according to the nature of the classroom. This broad outlook is critical to
understand before delving into the specifics of topics, as it can aid in sequencing and
planning in accordance with the backward mapping method of the UbD framework (Novak &
Cañas, 2008). This can then flow on to what learning experiences should occur in the
classroom and how their understanding of the concept can be best assessed. For the student,
a concept map is a useful tool that can assist them in directing their focus on what they know
and do not yet know. Also, it provides the student with a basic understanding of the concept
as a whole, which is a critical factor in student learning, as students who do not acquire a
basic level of conceptual understanding in a classroom often do not gain any relevant
knowledge (Novak & Cañas, 2008). Also, as the student progresses through curriculum
covering different topics, a concept map is useful in encouraging knowledge integration, a
key element required for meaningful learning (Novak & Cañas, 2008). Due to this
information, I have included a concept map in this revised unit plan which reflects what I
believe to be ‘key threshold concepts’, as well as micro concepts which are connected to the
key concepts. The construction of this concept map includes and expands on elements
already listed in the ‘big ideas/key concepts’ section, as well as adding others that I believe to
be of value. The concept map included is a representation of potential topics, but in order to
receive maximum benefit, concept maps should be designed by faculties with multiple
members in the future.
Included in the original unit plan was a “why does this learning matter” section. Though this
brief explanation may prove useful to the teacher, it will not necessary be communicated
effectively to the students which is important as students require relevancy in order engage
in learning in a way that might extent outside of ‘zone of proximal development’ and into a
desire for a greater understanding in learning as a whole, resulting in a greater confidence in
their knowledge (Vygotsky, 1978). Therefore, due to the benefit of a greater overall
understanding of important concepts through the concept map, alterations were made to
the “students learn about” section in order to reflect a more strategic and specific focus on
key threshold concepts listed in the concept map. In the revised unit plan, amongst other
changes, “The Music Industry” section is removed, and “Genres of Music and its’ Artists” are
added in order to reflect the change in clarity of focus on key threshold topics. This
13
application of the UbD framework, used in combination with the concept map, increases
relevancy for the students (McTighe & Wiggins, 2012), which is key to the quality of their
learning as the majority of these students struggle with engagement due to their low socio-
economic background, and an increased relevancy of topic areas also helps students realise
the importance of their learning, potentially increasing their engagement and passion for
learning (Perry & McConney, 2010).
As there is no scope and sequence section, the teacher and students lack timeframe required
for order and direction (Arguedas, Daradoumis, & Xhafa, 2016), as well as lack the context
needed in order to understand what the students have already learned as well as what they
are yet to learn. Therefore, within the reformed unit plan, a scope and sequence section is
added in order to ensure the key element of student background knowledge required for
effective learning, based on the UbD principle of the importance of comprehensive
curriculum planning in bringing about enhanced learning (McTighe & Wiggins, 2012;
Marzano, 2004). In order to maximise meaningful learning, these key threshold concepts
were sequenced in an order designed to improve students’ knowledge integration and
background knowledge. The order was determined according by the topical links within the
concept map in order to maintain student relevance. Due to the clarity and direction derived
from the more strategic threshold concepts sequencing, a number of changes were made to
learning experiences which are designed to effectively address a variety of elements within
each topic, as well as meeting literacy, numeracy and ICT curriculum requirements.
Due to these changes of learning experiences and following on from the backward mapping
of curriculum design in accordance with the UbD framework process, changes were made to
the forms of assessment in order to effectively reflect the changes in learning experiences
and threshold topics. More specific criteria for accurate assessment is a key element of a
teacher’s reflective process (Boud, 2013). Also, formative assessment was explained and
added in order to ensure that students are able to demonstrate evidence of learning. These
assessments also provide the teacher with further opportunity to reflect on how effective the
learning experiences have been in meeting the target learning goals (Boud, 2013).
These changes and the progression of understanding and undertaking the UbD stages 1 and 2
clearly highlight issues within the included learning experiences section. The learning
experiences included do not always clearly address the target learning outcomes. Therefore,
within the revised unit plan, stage 3 of the UbD procedure, “plan learning experiences and
instruction”, was put into operation in order to create experiences which will accurately
move towards the target learning outcomes (McTighe & Wiggins, 2012). Some of these
changes include more compositional tasks in order foster more creativity (Burnard, &
Younker, 2002), as well as an increased focus on group performance in order to increase
social capability as well as direct relevant focus onto the final assessment task (Welch et. al.,
2014).
14
Concept map
Melodic
Rhythmic role Harmonic
Root notes role Role
Distortio
n
Bass guitar Vocals
Instrumental
roles
Electric
guitar
Power Piano/synthesise
Triad r
s Chords Rock
instruments/layer
s of sound
Major/ The Drum Kit
minor
Chord Improvisation Tones/Sem
s i-tones
The
Melodic riff Rock
Rock Chord beat
Progression
s
Stylistic Features
Structure /characteristics
Performance of Rock Music
technique
Australian Performance
Rock Australian Rock The Music
Artists Music Industry
Recording
Solo’ Labels
s Types of
Rock
music/Genres
Metal Pun
k
Alternative
Grung
e
Blues
Rock
15
Revised Unit Plan (All changes/additions are highlighted in blue)
16
Unit Outline Unit duration
Description of Unit. 10 Weeks
o The following unit explores the uses of rock beats, riffs, chord
progressions, melodic licks, and improvisation in order to develop a
comprehensive performance and understanding of the characteristics of
rock music. Examples will be used from Australian rock bands that have
used the above techniques to compose typical rock songs. These techniques
will be analysed and utilised through the assessment of an annotation and
performance of a famous Australian rock chart.
5.3 performs music selected for study with appropriate stylistic features
demonstrating solo and ensemble awareness
5.5 notates own compositions, applying forms of notation appropriate to the music
selected for study
17
5.8 demonstrates an understanding of musical concepts through aural
identification, discrimination, memorisation and notation in the music selected for
study
18
genres of Rock, identifying differences in interrelation of
their names, year of genres musical genre
formation and 3 of their Task quality, Students develop an
most famous songs, detailed Reponses appreciation for
Students listen to rock Practical musical artists within
music from their chosen demonstration and the realm of
Australian artists and list explanation of Australian Rock
three musical features performance Music
which make them unique. Students develop a
This is presented to the confidence in their
class ability to perform a
Students perform piece of music which
“down under” by ‘men at they listen to
work’ on their individual Students improve in
instruments and then to their ability to focus
the class in listening for
differences in
musical style
19
Students research a
‘solo’ performer of each
individual instrument and
address how their
performers utilise the
musical concept of pitch
20
famous rock riffs (slide
35).
Show explicitly what
students need to
demonstrate about ‘riff’ in
their assessment (slide
36).
21
Melodic Riffs Define a ‘lick’ as a Visual aids The ability to
short melodic pattern that Guided recognise short
can be used in several questioning melodic patterns,
songs. Simplified known as ‘licks’.
Listen to some notation An increased ability
examples of blues licks Modified level to aurally analyse
(slide 57). of difficulty the use of melodic
Analyse ‘Come When I Assistance with riffs in a rock song in
Call’ by John Mayer, and technique it’s relation to the
examine how he uses Practical concept of pitch
melodic licks. Students to demonstrations Increased
complete Come When I Individual or confidence in
Call by John Mayer (Sheet collaborative tasks research and
Music Worksheet). Watch (dependant on transposition of
video of John Mayer student needs) other musician’s
playing ‘Come When I Call’ melodic licks, and an
live and discuss the increased confidence
meaning of call and in adapting them to
response using the original performance
completed worksheet.
Demonstrate some
rock licks, and give
notation to students to
learn (slide 60).
Discuss the
importance of learning
melodic licks from other
experienced musicians.
Teach how to adapt
melodic licks by
transposing them into the
key of another song (slide
62).
Research Task:
students to research
melodic licks to use in
their performance (slide
63).
Students compose
their own melodic lick
over prescribed chord
progression on noteflight
Students then spend
time practicing their own
melodic lick, either what
they composed or what
they have previously
researched for their
performance
22
Performance Students are to be Modified level Increased
given extended rehearsal of difficulty understanding in the
time to prepare for their Assistance with mechanics of
rock performance. technique melodic riffs, chords
Students are to be and licks, with the
assessed on their purpose of the
performance and their development of a
incorporation of riffs, comprehensive
chords, and melodic licks. performance.
Final Performance
Perform your choice of rock song on your instrument in front of the class (2-5 minutes long).
You will be assessed on your incorporation of riffs, chords, and quality of performance.
23
Quality of performance Little-no clarity Some clarity in Excellent clarity
(50%) in performance, performance in performance
many mistakes Interest is Excellent use of
20 marks Incomplete created by pitch creates
performance good use of interest and
pitch increases
Complete audience
performance engagement
Complete
performance
Outcomes Assessed
5.1 performs repertoire with increasing levels of complexity in a range of musical styles demonstrating an
understanding of the musical concepts
5.3 performs music selected for study with appropriate stylistic features demonstrating solo and ensemble
awareness
24
References
Arguedas, M., Daradoumis, T., & Xhafa, F. (2016). Analyzing How Emotion Awareness
Influences Students’ Motivation, Engagement, Self-Regulation and Learning
Outcome. Educational Technology & Society, 2, 87-103.
Jeanneret, N. (2006). The National Review of Music in Schools and the endless debate about
music in primary schools. Australian Journal of Music Education, (1), 93.
Kamil, M. L., Borman, G. D., Dole, J., Kral, C. C., Salinger, T., & Torgesen, J. (2008). Improving
Adolescent Literacy: Effective Classroom and Intervention Practices. IES Practice
Guide. NCEE 2008-4027. National Center for Education Evaluation and Regional
Assistance.
McTighe, J., & Wiggins, G. (2012). Understanding by design framework. Alexandria, VA:
Association for Supervision and Curriculum Development.
Novak, J. D. & A. J. Cañas. (2008) The Theory Underlying Concept Maps and How to Construct
and Use Them, Technical Report IHMC CmapTools 2006-01 , Florida Institute for
Human and Machine Cognition
Perry, L. B., & McConney, A. (2010). Does the SES of the school matter? An examination of
socioeconomic status and student achievement using PISA 2003. Teachers College
Record, 112(4), 1137-1162.
Pogonowski, L. (1989). Critical thinking and music listening. Music Educators Journal, 76(1),
35-38.
Rickard, N. S., Vasquez, J. T., Murphy, F., Gill, A., & Toukhsati, S. R. (2010). Benefits of a
classroom based instrumental music program on verbal memory of primary school
children: a longitudinal study. Australian Journal of Music Education, 1, 36-47.
25
Vygotsky, L. S. (1978). Mind in society: The development of higher psychological
processes Cambridge, Mass.: Harvard University Press
Welch, G. F., Himonides, E., Saunders, J., Papageorgi, I., & Sarazin, M. (2014). Singing and
social inclusion. Frontiers in Psychology, 5, 803.
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