Documente Academic
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Documente Cultură
Contemporary Teacher
Leadership Assignment 1:
REPORT
Brooke Grech - 18893641
Brooke Grech
WESTERN SYDNEY UNIVERSITY
CONTENTS:
Executive Summary: ................................................................................................................ 3
Objective and Context: .......................................................................................................... 3
Goals: ..................................................................................................................................... 4
Background information of Unit:........................................................................................... 4
Comparative Table: ................................................................................................................. 5
Recommendations: ................................................................................................................... 6
Reconstructed Unit: ............................................................................................................... 10
Scope and Sequence:............................................................................................................ 10
Concept Map: ....................................................................................................................... 11
Assessment Task: ................................................................................................................. 12
Marking Criteria: ................................................................................................................. 14
Redesigned Unit Outline:..................................................................................................... 15
References:.............................................................................................................................. 24
Appendices of Original Documents:..................................................................................... 26
Executive Summary:
Reference: Statistics and graphs sourced from MySchool Website. Retrieved from:
https://www.myschool.edu.au/school/41577
Goals:
Literacy will be addressed throughout the learning of the unit, with a focus on
improving this experience for students with a LBOTE.
Differentiation strategies will be incorporated to cater for all students’ learning needs
Opportunities to develop personal and social capabilities in working collaboratively and
self-reflection will be addressed and improved
The unit design will be reorganised and reevaluated according to the target audience of
students enrolled (92% LBOTE & 61% low SES)
The Understanding by Design (UbD) will assist in backwards mapping learning
experiences and desired outcomes.
Hill High School. It is a foundational unit for music studies used to teach students who have
little to no background in music studies and from predominantly low socioeconomic statuses
(SES) and language backgrounds other than English (LBOTE) (MySchool, 2017). The unit
explores an additional context to the syllabus, ‘film music’, through the objectives of
listening, performing and composing (NESA, 2003a). Although the original unit outline
provides a decent foundation, there are some gaps within the outline that could be improved
with the appropriate strategies. This unit was taught for five weeks of professional practicum,
hence, strategies for improvement will be made on these corresponding weeks. Initial
classroom practices of this unit were significantly different to proposals made in the unit
outline. This may be because the unit was not carefully catered to the majority of students’
needs, specifically, a high percentage of students from a LBOTE (92%) (MySchool, 2017).
This concern will mainly be addressed in this endeavour to improve the program. A scope
and sequence, concept map and marking criteria for assessment were not provided by the
school, hence, these have been created appropriate to amendments made in the redesigned
unit outline. Furthermore, a comparative table has been constructed to coordinate areas of
Comparative Table:
Colours indicate ‘key’ for each area of consideration and the suggested changes that will be amended in the Redesigned Unit Outline section (see p. 15).
Area of Strengths of the area of Concerns of the area of consideration Suggested Changes to counteract Research support for the
consideration consideration concerns changes suggested.
Incorporates literacy for Music literacy is complex and confusing More variety of pedagogical Quality Teaching
music using reading and and for LBOTE students, learning these strategies and opportunities for Framework (QTF) (Ladwig
Literacy comprehension of texts in concepts on top of learning a second incorporating literacy concerns for & Gore, 2009)
musicology tasks language can be even more challenging. LBOTE students. Use of UDL for Inclusive Education
Strategies to incorporate literacy for inclusivity. (Loreman et al., 2011)
LBOTE students is limited.
Uses music studies to Numeracy is incorporated at a sufficient N/A N/A
naturally incorporate level and will not be needing adjustment.
Numeracy numeracy – addition,
subdivision and counting
rhythm and beats
Creativity is naturally Critical and creative thinking is N/A Critical Thinking and
Critical and incorporated into incorporated at a sufficient level and will Music Education (Topoglu,
Creative composition and not need adjustment. 2014)
Thinking performance tasks
Performances allow Little to no group work – collaborative Increase opportunities to work with Encouraging deep
Personal and students to express practice. peers. reflection on-learning
Social themselves and gain No opportunities for self-reflection Increase opportunities for self- (Minott, 2015)
Capabilities confidence reflection Importance of collaborative
practice (Ababneh, 2017;
Burnard & Dragovic, 2015;
Pike, 2014)
The unit includes the The unit’s structure is disorganized and For better understanding and flow, Scaffolding Language,
Understanding necessary outcomes from not scaffolded appropriately for the the unit will use a backwards Scaffolding Learning
by Design the syllabus including: majority of students. mapping technique (UbD) and will (Gibbons, 2015)
‘students learn to and be restructured week by week to Understanding by Design
about’ and evidence of help improve scaffolding for low (UbD) (Wiggins &
learning. SES and LBOTE students. McTighe, 2005)
Recommendations:
This proposal will outline recommendations for amending five weeks of the original unit,
‘Music of the Media (Film)’ for stage 4, year 8. Considerations include literacy and numeracy,
critical and creative thinking, personal and social capabilities and the overall unit design. Various
literature including theoretical frameworks and evidence-based research will assist in identifying
gaps within the current unit and provide suggestions for improvement. Changes made will also be
supported by the NSW Educational Standards Authority (NESA) syllabus for music stage 4 (NESA,
2003a).
The original unit was able to naturally integrate numeracy into areas of performing,
composing, listening and musicology. Numeracy skills is evidently demonstrated in the concepts of
music, duration, texture and structure, which are discussed in music analyses across all contexts
(NESA, 2003a). These include counting beats and clapping rhythms, recognising and organising
patterns, and counting layers. Conversely, there were only basic integrations of literacy including the
reading of texts and comprehension of texts. Furthermore, there is limited detail to how this is
achieved, especially regarding students from a learning background other than English (LBOTE). For
example, a section for ‘ESL scales’ is provided but is left incomplete. There are also limited
differentiation strategies to support various learners, which is vital as it supports standard 1.5 of the
Australian Professional Standards for Teachers, “Know students and how they learn…differentiate
teaching to meet the specific learning needs of students across the full range of abilities” (AITSL,
2017, p. 1). This was evidently deficient in the initial practice of teaching this unit, hence, strategies
The Quality Teaching Framework (QTF) has been implemented into many successful
programs across the years and continues to provide evidence for improving classroom quality
(Berger, 2017; Ladwig & Gore, 2009). Hence, the QTF elements will be added to the current unit
outline to ensure that teachers produce quality lessons. The QTF elements, ‘background and cultural
knowledge’, specifically, will be used to help improve literacy concerns for students with a LBOTE
(Ladwig & Gore, 2009). Creagh’s (2013) study shows that the NAPLAN lacks integration of
multicultural contexts, whilst predominantly favouring Western contexts, leaving LBOTE students at
a disadvantage. The instructional congruence framework strongly supports this research, suggesting
that integrating background and cultural knowledge will allow LBOTE students to relate and make
stronger connections to topics and texts (Kelly-Jackson & Delacruz, 2014). Therefore, in addition to
the current core resource and reference for assessment, ‘Harry Potter’, scenes from multicultural
films such as, ‘The Mummy’ (English and Arabic) and ‘Rush Hour’ (English and Chinese) will also
be integrated to increase cultural congruence. Other multicultural films can also be incorporated, and
students could be given opportunities to suggest these resources, which would support the QTF
element, ‘student direction’ (Ladwig & Gore, 2009). Integrating multicultural resources may also
help LBOTE students’ development of English phonetics and language acquisition, as students may
make phonetic connections with actors that speak English with different intonations (Watkins, Lean
The Universal Design for Learning (UDL) will be used to differentiate pedagogical strategies
for all students (Loreman, Deppeler & Harvey, 2011). Terminology in music studies such as
‘crotchet’ or ‘diminuendo’ can sound confusing or irrelevant to students, especially those from a
LBOTE. Studies have found that using visual pedagogical strategies helped improve literacy for
LBOTE students and students with learning disabilities (Kelly-Jackson & Delacruz, 2014; Trezise,
Gray, Taffe & Sheppard, 2014). Hence, resources with more visual cues will be used as a strategy to
increase literacy skills across all students, especially for students with a LBOTE or learning
disability. Visual strategies will be incorporated through PowerPoint presentations and posters with
symbols and images to reflect class content, film (clips), and drawing in reflection logbooks. Log-
booking is a versatile strategy added to the unit outline, inspired by drama studies (NESA, 2003b).
Logbooks would be kept at school and used to complete in-class tasks, and once a week for
reflection. Hence, students can complete syllabus content, address literacy, numeracy, critical and
creative thinking, and personal reflection skills simultaneously, and not forget their books at home
(Minott, 2015; Ladwig & Gore, 2009). This also provides routine for students with learning
disabilities who require more classroom structure and support (De Nobile, Lyons & Arthur-Kelly,
2017; Lynch & Irvine, 2009). Reflection questions can be based upon what was learned in class, how
students feel about tasks and objectives (example, performing), and what they have learned about
Performing and composing music on a larger scale generally entails both solo and ensemble
work. Hence, working with others is an important part of music studies. However, the current unit
incorporated very little evidence of group work. Working collaboratively has many benefits to
learning, specifically, the development of social and problem-solving skills, self-efficacy and
improved well-being (Ababneh, 2017; Burnard & Dragovic, 2015; Pike, 2014). Working in groups is
especially recommended for students from a LBOTE, as it encourages literacy and language
acquisition and communication skills (Ababneh, 2017). The suggested amendment is to increase
opportunities for group work within the unit. This has been applied to ‘learning experiences’ within
the unit and the assessment task, which was originally an individual task. Students are judiciously
paired by the teacher, considering language backgrounds and learner needs. Students are still marked
individually to demonstrate their own understanding; however, group work is used to increase
Creative and critical thinking are naturally imbedded into studying music. Music compels
students to develop their problem-solving skills and process information using high cognitive
activity, which are skills imbedded into creative and critical-thinking (Minott, 2015; Zellner, 2011).
For example, listening to a range of music repertoire, requires students to think about genre, patterns
and meaning (Topoglu, 2014). Music is also a natural form of expressing creativity and emotion
(Topoglu, 2014). The driving force for developing creative and critical thinking in this unit, is the
study of the concepts of music, required by the syllabus to be imbedded into all music topics studied
(NESA, 2003a). Studying the concepts of music are what allow students to define musical problems,
gather knowledge for decision making, and recognise inconsistencies within assumptions (Topoglu,
2014).
The Understanding by Design (UbD) model was used to backward map the learning
experiences and outcomes in the redesigned unit (Wiggins & McTighe, 2005). Most of the time
teachers focus on textbooks, lessons and activities, and give little thought to the desired results of
students’ learning (Wiggins & McTighe, 2005). This was found in the initial practice of this unit, as
there was little evidence of the ‘learning experiences’ being met by students. This may be due to
absence of scaffolding and unrealistic goals for the majority of students who have basic music
understanding. The UbD was used to revise and determine realistic learning outcomes which students
could successfully meet, and still reflect the learning objectives of performing, listening and
composing in the syllabus (NESA, 2003a). The desired outcomes will reflect achievements of
beginner level and understanding of music content materials and learning experiences.
Threshold concepts within music studies can relate to the expression of individuals and
significance of music in society. The concept map (p. 11) shows how music can uplift society by
expressing and sharing creativity, developing discipline, encouraging collaborative practice, and
through a range of styles and cultures, unite communities. Music also encourages development of
individual skills such as empathy, higher-order thinking, and communication (Burnard & Dragovic,
2015).
Reconstructed Unit:
Scope and Sequence:
There was no original scope and sequence provided, hence one has been created for the redesigned unit outline.
Concept Map:
Assessment Task:
No changes were made to the following in-class task. Changes made to second page of assessment task.
The following task is completed as a whole class using examples of film scenes to complete this page. This is part of
scaffolding for the actual assignment.
Year 8 Film Music
Incidental Music Composition In-class Assessment
Incidental Music: Background music that is heard during specific scenes to create
emotional response from the audience or to create an atmosphere that matches the
actions in the scene.
Scene 1:
1. Name the movie: ___________________
2. What instruments can you hear? __________________
3. How is the music created?
______________________________________________________________
______________________________________________________________
______________________________________________________________
__________________________________
Scene 2:
1. Name the movie: ___________________
2. What instruments can you hear? __________________
3. How is the music created?
______________________________________________________________
______________________________________________________________
______________________________________________________________
__________________________________
Marking Criteria:
A marking criterion was not provided for the assessment for this unit. Hence, one has been
created for the redesigned assessment task. The three dot points (criteria points) in each
category match the number of possible marks on the right side (3 numbers) to provide
consistency of marking.
The Music year 7-10 syllabus: Advice on Programming and Assessment was used to format
the basis of the following marking criteria (NESA, 2003c, p. 36).
Criteria: Marks
Demonstrates an excellent performance of original composition and
demonstrates a high understanding of techniques used
Demonstrates excellent graphic notation of composition that closely 10-12
symbolises the performance played
Uses an extensive range of techniques to create a unique incidental
music composition
Demonstrates a very good performance of original composition and
demonstrates a moderate understanding of techniques used
Demonstrates a very good graphic notation of composition that 7-9
symbolises the performance played
Uses a range of techniques to create a unique incidental music
composition
Demonstrates a satisfactory performance of original composition and
demonstrates a basic understanding of techniques used
Demonstrates basic graphic notation of composition that may/may not 4-6
symbolise the performance played
Uses techniques to create an incidental music composition
Demonstrates a poor performance of original composition and
demonstrates a limited understanding of techniques used
Understanding of graphic notation is limited and does not symbolise 1-3
performance played
Uses limited/no techniques to create an incidental music composition
ESL Scales SUSTAINABILITY LITERACY NUMERACY ICT target areas Assessment Resources
Background Assessment of Reading of texts Addition, subdivision and Internet Keyboard Composition YouTube clips
and cultural sustainability in film Comprehension of counting through the study Interactive websites and performance Various CDs
knowledge music industry. texts of rhythm and beat (the (Kahoot, Soundtrap – Half yearly exam Computers
integration Research/comprehension Making correlations concepts of music – production site) Ongoing class work, Worksheets
(QTF) between images and duration, texture and PowerPoint bookwork and participation PowerPoint slide shows
Visual words (symbolism). structure) Google Classroom Keyboards
cues/strategies Analysing texts and Guitars
for interpreting meaning
representation of a variety of
of information repertoire.
Writing of listening
task answers.
QUALITY TEACHING FRAMEWORK
Intellectual Quality Quality Learning Environment Significance
Deep Knowledge Explicit quality criteria Background Knowledge
Deep understanding Engagement Cultural Knowledge
Problematic Knowledge High expectations Knowledge integration
Higher-order thinking Social support Inclusivity
Metalanguage Students’ self-regulation Connectedness
Substantive communication Student direction Narrative
The Quality Teaching Framework is incorporated in all teaching and learning programs to ensure that quality education is being provided throughout the school and as a
means of providing staff with a platform for critical reflection and analysis of current teaching practice and used to guide planning of classroom and assessment practice.
Students revise notation and music Performing: Performing: Students can play
Week 3 terminology from Term 2 (cont. bass clef recognising the use of musical perform music through excerpts from diverse
notes, barline, double barline, rests, repeat concepts in singing, playing and films on the keyboard and
Performing: 4.1, 4.3 sign, staff/stave) Visuals incorporated to various repertoire moving to a range of can use keyboard
Listening: assist in learning characteristic of the topics repertoire technology to access
4.7, 4.8, 4.9, 4.10 Students watch scenes from ‘The Mummy’, studied perform musical different tone colours
Other: 4.11, 4.12 provides context for activities – learning how understanding how the compositions and
music is used in the film to compliment what concepts of music are arrangements Students are able to
is seen on the screen. used and manipulated in individually and/or in compose melodies,
Keyboard – Drones and Riffs – students compositions and groups chords and patterns by
learn a variety of drones and riffs scaffolding arrangement experimenting on the
next week’s excerpt from ‘The Mummy’. understanding various forms Listening: keyboard.
Students experiment with these drones and of musical listen to and analyse a
riffs using different tones on the keyboard. notation used in the repertoire range of repertoire Students can accurately
Melodic dictation – extension of Term 1 work studied identify how concepts identify terminology and
by using small leaps – Scaffold first by using of music have been read bass clef notes
piano to play melodic contours Pitch going Listening: used and manipulated
up, pitch staying the same, pitch going down. aurally exploring music of in a range of Students understand the
Using scenes from films as examples various styles, periods and repertoire concepts of music and
students identify the direction of melodies genres respond to the range can identify how they are
and music heard. identifying, understanding and of repertoire used for used in pieces studied in
Rhythm Dictation activities – students are describing how listening class
able to recognise notation and terminology the concepts of music have
taught from terms 1 and 2 through identifying been used and Students can aurally
and tapping/clapping various rhythmic manipulated identify how the concepts
patterns. responding to and discussing of music are used during
Kahoot quiz on all Basic Notation and Music the varying listening activities
Terminology learned so far repertoire used in class and in
Students reflect in logbook according to the world of Students can identify and
prepared questions (given at the beginning music play different rhythms in
of the week so they have all week to think notation
Students are introduced to ‘Incidental Music’ Performing: Performing: Students understand the
Week 5 – which will be the main topic for their recognising the use of musical perform music through concepts of music and
composition and performance assessment concepts in singing, playing and can identify how they are
Performing: 4.1, (due later in the term). various repertoire moving to a range of used in pieces studied in
4.2, 4.3 Listening: Activities – Making incidental music and characteristic of the topics repertoire class
4.7, 4.8, 4.9, 4.10 graphic notations for cartoon strips or studied perform musical
Composing: characters. Students create appropriate understanding how the compositions and Students can aurally
4.4, 4.5, 4.6 incidental music pieces by referring to the concepts of music are arrangements identify how the concepts
Other: 4.11, 4.12
images of a cartoon strip or creating a theme used and manipulated in individually and/or in of music are used during
for a character from a chosen film. compositions and groups listening activities
Scaffolding – Emotions & characteristics of arrangement perform music that
music, major (happy) vs minor (sad), quick understanding various forms uses different forms of Students are able to
vs slow etc – “Inside Out” can be used as an of musical musical notation and compose musical ideas
example notation used in the repertoire technologies that match certain themes
Students experiment with their compositions studied in film
on the keyboard and perform for their Composing:
partner, group or class. Composing: experiment and Students are able to
Analysing the concepts of music, specifically, experimenting and improvising improvise both compose melodies,
‘pitch’, students participate in listening music representative of individually chords and patterns by
activities on Incidental Music using a variety various styles, periods and and in groups using experimenting on the
of different films: Horror, Fantasy, Drama, genres stimulus characteristic keyboard.
Action etc. creating simple compositions of the repertoire
Kahoot quiz on Incidental Music both studied Students are able to
Students reflect in logbook according to individually and in groups organise musical respond verbally and
prepared questions (given at the beginning notating compositions using ideas into simple textually to a wide range
of the week so they have all week to think various forms of of questions during
References:
Ababneh, S. (2017). Attitudes of Jordanian Students Towards Using Group Work in EFL
Classrooms. Advances In Language And Literary Studies, 8(1), 233. doi:
10.7575/aiac.alls.v.8n.1p.233
Angelo, D. (2013). NAPLAN implementation: Implications for classroom learning and teaching,
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Berger, N. (2017). Guide to Quality Teaching. Lecture, Western Sydney University Kingswood
Campus.
Burnard, P., & Dragovic, T. (2015). Collaborative creativity in instrumental group music
learning as a site for enhancing pupil wellbeing. Cambridge Journal Of Education, 45(3),
371-392. doi: 10.1080/0305764x.2014.934204
Creagh, S. (2013). ‘Language Background Other Than English’: a problem NAPLaN test
category for Australian students of refugee background. Race Ethnicity And
Education, 19(2), 252-273. http://dx.doi.org/10.1080/13613324.2013.843521
De Nobile, J., Lyons, G., & Arthur-Kelly, M. (2017). Positive learning environments (1st ed.,
pp. 1-36, 213-255). Melbourne: National Library of Australia Cataloguing-in-Publication
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Kelly-Jackson, C., & Delacruz, S. (2014). Using Visual Literacy to Teach Science Academic
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guide (3rd ed., pp. 1-60). Sydney, Australia: NSW Department of Education and Training.
Loreman, T., Deppeler, J., & Harvey, D. (2011). Inclusive education (2nd ed., pp. 1-301). Crows
Nest, N.S.W.: Allen & Unwin.
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spectrum disorder: an integrated approach. International Journal Of Inclusive
Education, 13(8), 845-859. http://dx.doi.org/10.1080/13603110802475518
NSW Education Standards Authority. (2003a). Music Year 7-10 Syllabus (pp. 1-61).
NSW Education Standards Authority. (2003b). Drama Year 7-10 Syllabus (pp. 1-61).
NSW Education Standards Authority. (2003c). Music Years 7-10 Advice on Programming and
Assessment (pp. 1-43).
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1. Performance:
- All treble clef notes, sharps, flats, all individual rhythm values, simple time signatures, barline,
Read musical notation
double barline, crotchet rest, irregular time signature 5/4 etc.
- All bass clef notes
- Film music techniques used in diverse films- background to the movie and the composer-
storyline of the film- how musical concepts are used in the film.
Evaluation of Unit
Teacher Evaluation Comments/Variations
Incidental Music: Background music that is heard during specific scenes to create
emotional response from the audience or to create an atmosphere that matches the
actions in the scene.
Scene 1:
4. Name the movie: ___________________
5. What instruments can you hear? __________________
6. How is the music created?
________________________________________________________________
________________________________________________________________
________________________________________________________________
____________________________
Scene 2:
4. Name the movie: ___________________
5. What instruments can you hear? __________________
6. How is the music created?
________________________________________________________________
________________________________________________________________
________________________________________________________________
____________________________
Composition Task:
Watch the train scene from Harry Potter and CREATE an incidental
music on the keyboard using the following: