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Contemporary Teacher Leadership

Contemporary Teacher
Leadership Assignment 1:
REPORT
Brooke Grech - 18893641

Brooke Grech
WESTERN SYDNEY UNIVERSITY

Brooke Grech - 18893641


Contemporary Teacher Leadership

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

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Contemporary Teacher Leadership

Executive Summary:

Objective and Context:


The original unit outline was designed for Chester Hill High School’s Creative and Performing Arts
(CAPA) faculty, in the subject Music. Chester Hill is a suburb located in the Greater Western Sydney
area. Chester Hill High is a highly multicultural and inclusive co-educational school which offers
studies in music from year 7 to year 12. Student enrolments include a total of 1289, with a very high
percentage (92%) of students with a language background other than English (LBOTE) and very small
percentage (1%) identifying as Indigenous individuals. Student gender differences are minor, with
slightly more male (51%) than female (49%) students. The socioeconomic status of Chester Hill High
is moderately low with 61% of families earning within the bottom quarter.
This unit was originally taught in a Year 8 music classroom at a relatively low level to match majority
of the students’ basic music understanding. This may be due to classes consisting of students
predominantly from a LBOTE and low SES; hence, music taught as extracurricular was a rarity.

Reference: Statistics and graphs sourced from MySchool Website. Retrieved from:
https://www.myschool.edu.au/school/41577

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Contemporary Teacher Leadership

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.

Background information of Unit:


The ‘Music of the Media (Film)’ unit outline is designed for year 8 music students at Chester

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

consideration, strengths and concerns, suggestions for adjustment and evidence-based

research, which will be further elaborated in the recommendations section.

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Contemporary Teacher Leadership

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)

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Contemporary Teacher Leadership

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

for improvement must be suggested.

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

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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

& Noble, 2015; Angelo, 2013).

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).

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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

their own abilities (Minott, 2015).

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

effectiveness of learning (Pike, 2014).

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

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Contemporary Teacher Leadership

(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).

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Reconstructed Unit:
Scope and Sequence:
There was no original scope and sequence provided, hence one has been created for the redesigned unit outline.

2018 Music Scope & Sequence Stage 4 – Year 8


Unit One: Australian Music
Week 1 | Week 2 | Week 3 | Week 4 | Week 5 | Week 6 | Week 7 | Week 8 | Week 9 | Week 10 | Week 11 |
TERM 1
Overview: Basics of Concepts of Music and Music Terminology Overview: The Concepts of Music and Music Terminology –
11 Weeks Overview of Australian Music – Traditional and Western. In depth: Duration In depth: Dynamics and expressive techniques
25 Hours Basic Keyboard – Scales, Melodies, Right-Hand only Australian Music – Traditional and Western
Incursion – Indigenous Digeridoo Performance and Workshop Basic Keyboard – Scales, Melodies, Right-Hand only - Listening Assessment
Outcomes: Performing: 4.1, 4.3 Listening: 4.7, 4.8, 4.9, 4.10 Composing: 4.4, Outcomes: Performing: 4.1, 4.3 Listening: 4.7, 4.8, 4.9, 4.10 Composing: 4.4, 4.5
4.5 Other: 4.11, 4.12 Other: 4.11, 4.12
Unit Two: Popular Music and Guitar
TERM 2 Week 1 | Week 2 | Week 3 | Week 4 | Week 5 | Week 6 | Week 7 | Week 8 | Week 9 | Week 10 |
Overview: History of Popular Music and Basic Guitar (Melodies and Chords) Overview: Popular Music today and Basic Guitar continued (Melodies and Chords)
10 Weeks Performing, listening and arranging (composing) activities Performing, listening and arranging (composing) activities - Performing assessment
25 Hours In depth: Structure In depth: Texture
Outcomes: Performing: 4.1, 4.3, 4.3 Listening: 4.7, 4.8, 4.9, 4.10 Composing: Outcomes: Performing: 4.1, 4.3 Listening: 4.7, 4.8, 4.9, 4.10 Composing: 4.4 Other:
4.4 Other: 4.11, 4.12 4.11, 4.12
Unit Three: Music of the Media (Film) and Keyboard
TERM 3 Week 1 | Week 2 | Week 3 | Week 4 | Week 5 | Week 6 | Week 7 | Week 8 | Week 9 | Week 10 |
Overview: Overview of Film Music – In depth: Pitch Overview: Incidental Music – In depth: Tone colour
10 Weeks Study of film scenes from: “Harry Potter”, “The Mummy” or other film Study of film scenes from: “Star Wars”, “Rush Hour 3” or other film
25 Hours Performing and listening activities – Basic Keyboard 2 Performing and composing activities/assessment – Basic Keyboard 2 continued
Outcomes: Performing: 4.1, 4.3 Listening: 4.7, 4.8, 4.9, 4.10 Composing: 4.4, Outcomes: Performing: 4.1, 4.3 Listening: 4.7, 4.8, 4.9, 4.10 Composing: 4.4, 4.5,
4.5, 4.6 Other: 4.11, 4.12 4.6 Other: 4.11, 4.12
Unit Four: Music of Africa and Drumming
TERM 4 Week 1 | Week 2 | Week 3 | Week 4 | Week 5 | Week 6 | Week 7 | Week 8 | Week 9 | Week 10 |
Overview: Overview of African Music – instruments Overview: African Drumming extended
10 Weeks Basics of percussion – Performing, listening and composing activities Incursion – African Drumming
25 Hours Listening Assessment – Concepts of Music: Duration & Texture – African Music Performing, listening and composing activities
Outcomes: Performing: 4.1, 4.3 Listening: 4.7, 4.8, 4.9 Other: 4.11, 4.12 Outcomes: Performing: 4.1, 4.3 Listening: 4.7, 4.8, 4.9 Other: 4.11, 4.12

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Concept Map:

Can be viewed at:


https://bubbl.us/NTE1MjUxNC85ODU1OTA1LzRlMmY1MzUzNGZjYmFlZWZlNjM1OGJhMGZhOWFiMDJk- Brooke Grech - 18893641
X?utm_source=shared-link&utm_medium=link&s=9855905
Contemporary Teacher Leadership

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

Name: ___________________________ Class: _____________

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?
______________________________________________________________
______________________________________________________________
______________________________________________________________
__________________________________

Create your own graphic notation for this incidental music:

Scene 2:
1. Name the movie: ___________________
2. What instruments can you hear? __________________
3. How is the music created?
______________________________________________________________
______________________________________________________________
______________________________________________________________
__________________________________

Create your own graphic notation for this incidental music:

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Red = Amendments made
Composition Task:
Watch the train scene from Harry Potter
In pairs choose a scene from ONE of the following films shown to you in
class: “Harry Potter”, “The Mummy”, “Rush Hour 3”
Together, you will CREATE an incidental music on the keyboard to
represent this muted (no sound) scene using the following:

1. An appropriate instrumental sound (tones on the keyboard)


2. Include high/medium/low notes
3. Include long/short notes
4. Include repeated notes if you wish
5. You must also create a graphic notation of your composition using
signs and symbols.
6. You will create and perform this task in pairs, but be marked
individually

7. Play your composition to Mr Htoo.

a) Choose instrument/sound you are using:

b) Any high/medium/low notes or a mixture of all?

c) Any long/short notes?

d) Any repeated notes?

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Contemporary Teacher Leadership

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

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Redesigned Unit Outline:


Colours indicate ‘key’ for each area of consideration and the suggested changes – found in the Comparative table (see p. 5).
Red = Amendments made Blue = Comments on amendments
YEAR 8 Term 3 Music of the Media (Film)
Unit Outline Unit duration
This unit will explore the music of the media (film) through the experiences of
listening, performing and composing. 10 Weeks 5 Weeks (period of professional practicum)

Big ideas/key concepts Why does this learning matter?


The key concepts I want students to learn: The learning matters because:
 Further developing their understanding of film music from the year 7 unit on  Reading musical notation is crucial in the learning of music
the music from “Harry Potter” and building upon this knowledge by using new  Students can express themselves and gain confidence through
resources: “The Mummy” and “Rush Hour” performance
 Further increase their ability to read and write musical notation and  Aural skills aid in better performance and composition skills
understand terminology, which will address literacy skills  Through the study of film music, students learn more about the way in
 Increase their composition skills which music is composed
 Increase their performance skills and their confidence when performing for  Student confidence is increased through performing music
others  Students learn to interpret music texts through discourses on metalanguage
 Develop listening skills and increase their aural awareness of musical which increase literacy and critical thinking skills
concepts, where numeracy skills will be addressed  Students learn how to work collaboratively
 Students develop multicultural understanding through music
 Students can explore and develop their creative thinking skills
Place in scope & sequence/Building the field Target Outcomes
4.3 performs music demonstrating solo and/or ensemble awareness
By the beginning of Term 2 students are able to play chords and melodies on the 4.4 demonstrates an understanding of musical concepts through exploring, experimenting,
guitar. They have also begun to play the keyboard with both hands and create improving, organising, arranging and composing
melodies for given chord patterns. Throughout this unit students will further develop
these skills and also enhance their ability to read musical notation and discuss 4.5 notates compositions using traditional and/or non-traditional notation
musical concepts. 4.7 demonstrates an understanding of musical concepts through listening, observing,
responding, discriminating, analysing, discussing and recording musical ideas
The above expectations are too complex for the majority of students at ‘beginner’ 4.8 demonstrates an understanding of musical concepts through aural identification and
levels of music studies. Gifted and talented students may be able to achieve these discussion of the features of a range of repertoire
expectations, in which, the teacher can cater for these needs. However, expectations
should focus on the majority of students, who are at beginner levels of music. 4.9 demonstrates musical literacy through the use of notation, terminology, and the reading
Furthermore, the UbD model has been used to develop realistic and scaffolded goals and interpreting of scores used in music selected for study
for the desired learning experiences. Hence, the above will be readjusted with the 4.10 identifies the use of technology in the music selected for study appropriate to the
following: musical context

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4.11 demonstrates an appreciation, tolerance and respect for the aesthetic value of music as
In Term 3, students are reintroduced to the keyboard, which was scaffolded in Term an artform.
1. By the middle of term 3, students have progressed their keyboard abilities and are 4.12 demonstrates a developing confidence and willingness to engage in performing,
able to confidently play basic melodies and some chords with the right-hand. composing and listening experiences.
Students are developing their ability to play with both hands on the keyboard and by
the end of Term 3, students will be able to play basic keyboard melodies and chords
with both hands. (The outcomes above were neatly reorganised compared to original)

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.

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Most of this unit outline was redesigned and rewritten. Purple = Original Text
Time Frame/ Learning Experiences Students learn about Students learn to: Evidence of learning
Syllabus musical concepts through: (See Syllabus)
Outcomes (See Syllabus)
 Students are introduced to the topic ‘Music of Performing: Performing:
Week 1 the Media (Film)’  recognising the use of musical  perform music through  Students can play
 General history of film music (Silent films – concepts in singing, playing and excerpts from diverse
Performing: 4.1, 4.3 Charlie Chaplin, Tom & Jerry) various repertoire moving to a range of films on the keyboard and
Listening:  Keyboard – Right Hand melody for “Harry characteristic of the topics repertoire can use keyboard
4.7, 4.8, 4.9, 4.10 Potter” theme. Individual and group work. studied  perform musical technology to access
Other: 4.11, 4.12  understanding how the
 Concepts of Music study – introduction to compositions and different tone colours
‘Pitch’ – patterns, major (happy) vs minor concepts of music are arrangements
(sad) – Scaffolding for subtopic: emotions used and manipulated in individually and/or in  Students understand the
and film music. Visuals incorporated to assist compositions and groups concepts of music and
in learning arrangement can identify how they are
 Listening exercises based on “Harry Potter”  understanding various forms used in pieces studied in
scenes. Analyse according to the concepts of musical Listening: class
of music, specifically, ‘Pitch’. notation used in the repertoire  listen to and analyse a
 Students reflect in logbook according to studied range of repertoire  Students can aurally
prepared questions (given at the beginning  identify how concepts identify how the concepts
of the week so they have all week to think of music have been of music are used during
about the questions). Listening: used and manipulated listening activities
E.g.  aurally exploring music of in a range of
‘What have you learnt about film music in this various styles, periods and repertoire  Students can identify
week’s lessons?’ genres  respond to the range pitch aurally and in
‘What have you learnt about the concepts of  identifying, understanding and of repertoire used for notation
music?’ describing how listening
‘What did you find easy in this week’s lessons?’ the concepts of music have  Students are able to
‘What did you find challenging in this week’s been used and respond verbally and
lessons?’ manipulated textually to a wide range
‘How did you feel about your participation in the  responding to and discussing of questions during
lessons?’ the varying listening and musicology
‘How do you think you can improve for next repertoire used in class and in lessons and reflection
week?’ the world of time
music

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 Keyboard – Students rearrange the Right Performing: Performing:  Students can play
Week 2 Hand melody for “Harry Potter” theme by  recognising the use of musical  perform music through excerpts from diverse
notating the Right Hand melody on a staff. concepts in singing, playing and films on the keyboard and
Performing: 4.1, 4.3 Students use different tones on the keyboard various repertoire moving to a range of can use keyboard
Listening: to create a new piece. Individual and group characteristic of the topics repertoire technology to access
4.7, 4.8, 4.9, 4.10 work studied  perform musical different tone colours
Composing:  Listening exercises based on “Harry Potter”  understanding how the compositions and
4.4, 4.5, 4.6 scenes. Analyse according to the concepts concepts of music are arrangements  Students can accurately
Other: 4.11, 4.12
of music, specifically, ‘Pitch’. used and manipulated in individually and/or in identify terminology and
 Students revise notation and music compositions and groups read treble clef notes
terminology from Term 1 and 2 (treble clef arrangement
notes, individual rhythm values (Semibreve,  understanding various forms Composing:  Students can identify and
minim, crotchet, quaver, semi-quaver) – of musical  experiment and play different rhythms in
using song and actions, simple time notation used in the repertoire improvise both notation
signatures). Visuals incorporated to assist in studied individually
learning and in groups using  Students understand the
 Rhythm Identification activities – students Composing: stimulus characteristic concepts of music and
are able to recognise notation and  experimenting and improvising of the repertoire can identify how they are
terminology taught from terms 1 and 2 music representative of studied used in pieces studied in
through identifying and tapping/clapping various styles, periods and  organise musical class
various rhythmic patterns. genres ideas into simple
 Students reflect in logbook according to  creating simple compositions compositions both  Students can aurally
prepared questions (given at the beginning both individually and in identify how the concepts
of the week so they have all week to think individually and in groups groups of music are used during
about the questions). See week 1 for  notating compositions using  notating compositions listening activities
examples. various forms of using various forms of
traditional and non-traditional traditional and non-  Students are able to
notation traditional notation respond verbally and
textually to a wide range
Listening: Listening: of questions during
 aurally exploring music of  listen to and analyse a listening and musicology
various styles, periods and range of repertoire lessons and reflection
genres  identify how concepts time
 identifying, understanding and of music have been
describing how used and manipulated
the concepts of music have in a range of
been used and repertoire
manipulated  respond to the range
 responding to and discussing of repertoire used for
the varying listening

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Contemporary Teacher Leadership
repertoire used in class and in
the world of
music

 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

Brooke Grech - 18893641


Contemporary Teacher Leadership
about the questions). See week 1 for
examples.  Students are able to
respond verbally and
textually to a wide range
of questions during
listening and musicology
lessons and reflection
time
 Students continue learning about ‘Pitch’ – Performing: Performing:  Students can play
Week 4 listening activities on “The Mummy” scenes.  recognising the use of musical  perform music through excerpts from diverse
 Keyboard and percussion – Right Hand concepts in singing, playing and films on the keyboard and
Performing: 4.1, 4.3 melodies, bass notes and different rhythms various repertoire moving to a range of other instruments
Listening: for an excerpt of “The Mummy - Imhotep” characteristic of the topics repertoire
4.7, 4.8, 4.9, 4.10 theme. Students play different instruments studied  perform musical  Students understand the
Composing: and learn this theme – students will learn  understanding how the compositions and concepts of music and
4.4, 4.6 through individual and group work. concepts of music are arrangements can identify how they are
Other: 4.11, 4.12
Arrangements made for year 8 level. The used and manipulated in individually and/or in used in pieces studied in
aim is for the class to play this excerpt compositions and groups class
altogether with the instruments/roles chosen. arrangement
 Students learn how to use ‘Soundtrap’ at a  understanding various forms Composing:  Students can aurally
basic level. of musical  experiment and identify how the concepts
 ‘Soundtrap’ is used to compose a ‘scary’ notation used in the repertoire improvise both of music are used during
theme song that could be used for a scene in studied individually listening activities
‘The Mummy’. and in groups using
 Kahoot quiz on ‘Pitch’ Composing: stimulus characteristic  Students are able to
 Students reflect in logbook according to  experimenting and improvising of the repertoire compose musical ideas
prepared questions (given at the beginning music representative of studied that match certain themes
of the week so they have all week to think various styles, periods and  organise musical in film
about the questions). See week 1 for genres ideas into simple
examples.  creating simple compositions compositions both  Students are able to
both individually and in compose melodies,
individually and in groups groups chords and patterns by
 notating compositions using experimenting with
various forms of Listening: technology (programs).
traditional and non-traditional  listen to and analyse a
notation range of repertoire  Students are able to
 identify how concepts respond verbally and
Listening: of music have been textually to a wide range
used and manipulated of questions during
in a range of listening and musicology
Brooke Grech - 18893641
Contemporary Teacher Leadership
 aurally exploring music of repertoire lessons and reflection
various styles, periods and  respond to the range time
genres of repertoire used for
 identifying, understanding and listening
describing how
the concepts of music have
been used and
manipulated
 responding to and discussing
the varying
repertoire used in class and in
the world of
music

 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

Brooke Grech - 18893641


Contemporary Teacher Leadership
about the questions). See week 1 for traditional and non-traditional compositions both listening and musicology
examples. notation individually and in lessons and reflection
groups time
Listening:  notating compositions
 aurally exploring music of using various forms of
various styles, periods and traditional and non-
genres traditional notation
 identifying, understanding and
describing how Listening:
the concepts of music have  listen to and analyse a
been used and range of repertoire
manipulated  identify how concepts
 responding to and discussing of music have been
the varying used and manipulated
repertoire used in class and in in a range of
the world of repertoire
music  respond to the range
of repertoire used for
listening

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Contemporary Teacher Leadership
This section used an appropriate method to evaluate the unit. Hence, no changes were made.
Evaluation of Unit
Teacher Evaluation Comments/Variations

How did the unit rate in these areas? 😊 😐 ☹


Time allocated for topic
ESL Scales addressed
Student understanding of content
Opportunities for student reflection on learning
Suitability of resources
Variety of teaching strategies
Integration of Quality Teaching Strategies
Integration of ICTs
Literacy strategies used
Numeracy strategies used

Date commenced: Date completed:

Teacher’s signature: Head Teacher’s signature

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Contemporary Teacher Leadership

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,
with recommendations for improvement. TESOL In Context, 23(1), 53-73. Retrieved from
https://search-informit-com-
au.ezproxy.uws.edu.au/documentSummary;dn=885422716767620;res=IELAPA

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
Data.

Kelly-Jackson, C., & Delacruz, S. (2014). Using Visual Literacy to Teach Science Academic
Language: Experiences from Three Preservice Teachers. Action In Teacher
Education, 36(3), 192-210. doi: 10.1080/01626620.2014.917364

Ladwig, J., & Gore, J. (2009). Quality teaching in NSW public schools: A classroom practice
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.
Lynch, S., & Irvine, A. (2009). Inclusive education and best practice for children with autism
spectrum disorder: an integrated approach. International Journal Of Inclusive
Education, 13(8), 845-859. http://dx.doi.org/10.1080/13603110802475518

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Contemporary Teacher Leadership

Minott, M. (2015). Encouraging secondary students’ deep reflection-on-learning: a case for a


reflective approach to evaluating students’ learning. Reflective Practice, 16(4), 487-496.
doi: 10.1080/14623943.2015.1064375

MySchool. (2017). Home | My School. Retrieved from https://www.myschool.edu.au/

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).

Pike, P. (2014). An Exploration of the Effect of Cognitive and Collaborative Strategies on


Keyboard Skills of Music Education Students. Journal Of Music Teacher Education, 23(2),
79-91. doi: 10.1177/1057083713487214

Standards | Australian Institute for Teaching and School Leadership. (2017). Aitsl.edu.au.
Retrieved 11 April 2019, from https://www.aitsl.edu.au/teach/standards

Topoğlu, O. (2014). Critical Thinking and Music Education. Procedia - Social And Behavioral
Sciences, 116, 2252-2256. doi: 10.1016/j.sbspro.2014.01.554

Trezise, K., Gray, K., Taffe, J., & Sheppard, D. (2014). Working memory in adolescent males
with Down syndrome and males with autism and intellectual disability: Implications for the
classroom. Journal Of Intellectual & Developmental Disability, 39(1), 24-34. doi:
10.3109/13668250.2013.874550

Watkins, M., Lean, G., & Noble, G. (2015). Multicultural education: the state of play from an
Australian perspective. Race Ethnicity And Education, 19(1), 46-66. doi:
10.1080/13613324.2015.1013929

Wiggins, G., & McTighe, J. (2005). Understanding by design (2nd ed.). Alexandria, Va.:
Association for Supervision and Curriculum Development.

Zellner, R. (2011). A study of the Relationship Between Instrumental Music Education and
Critical Thinking in 8th and 11th Grade Students (Doctor). Capella University.

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Contemporary Teacher Leadership

Appendices of Original Documents:


YEAR 8 Term 3 Music of the Media (Film)

Unit Outline Unit duration


This unit will explore the music of the media (film) through the experiences of
listening, performing and composing. 10 Weeks

Big ideas/key concepts Why does this learning matter?


The key concepts I want students to learn: The learning matters because:
 Further developing their understanding of film music from the year 7 unit on  Reading musical notation is crucial in the learning of music
the music from “Harry Potter”  Students can express themselves and gain confidence through
 Further increase their ability to read and write musical notation and performance
understand terminology  Aural skills aid in better performance and composition skills
 Increase their composition skills  Through the study of film music, students learn more about the way in
 Increase their performance skills and their confidence when performing for which music is composed
others  Student confidence is increased through performing music
 Develop listening skills and increase their aural awareness of musical
concepts
Place in scope & sequence/Building the field Target Outcomes
4.3 performs music demonstrating solo and/or ensemble awareness 4.4 demonstrates an
By the beginning of Term 2 students are able to play chords and melodies on the understanding of musical concepts through exploring, experimenting, improving, organising,
guitar. They have also begun to play the keyboard with both hands and create arranging and composing 4.5 notates compositions using traditional and/or non-traditional
melodies for given chord patterns. Throughout this unit students will further develop notation
4.7 demonstrates an understanding of musical concepts through listening, observing,
these skills and also enhance their ability to read musical notation and discuss responding, discriminating, analysing, discussing and recording musical ideas 4.8
musical concepts. demonstrates an understanding of musical concepts through aural identification and
discussion of the features of a range of repertoire 4.9 demonstrates musical literacy through
the use of notation, terminology, and the reading and interpreting of scores used in music
selected for study 4.10 identifies the use of technology in the music selected for study
appropriate to the musical context 4.12 demonstrates a developing confidence and
willingness to engage in performing, composing and listening experiences.
ESL Scales SUSTAINABILITY LITERACY NUMERACY ICT target areas Assessment Resources
Assessment of Reading of texts Addition, subdivision and Internet Keyboard Composition YouTube clips
sustainability in film Comprehension of counting through the study Interactive websites and performance Various CDs
music industry. texts of rhythm and beat PowerPoint Half yearly exam Computers
Research/comprehension Ongoing class work, Worksheets
bookwork and participation PowerPoint slide shows
Keyboards
Guitars

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Contemporary Teacher Leadership

Students learn about: Students learn to: Learning Experiences

1. Performance:

- Perform more complicated rhythms by clapping them back


- Learn pitch patterns and other major and minor scales used in music from various films
Music from various Play using both hands - Learn to play excerpts from various film themes on the keyboard using a wide variety of tone
films including Harry on keyboard colours
Potter, Star Wars, etc.
Compose melodies for 2. Composition:
The guitar and the keyboard to fit
keyboard given chord patterns - Continue and finish keyboard composition started in Term one
- Compose incidental music for a variety of film scenes
- Compose a theme to fit the movie, idea or character
The concepts of music Analyse music using
the concepts of music 3. Aural:
Composition skills
Answer listening - Analyse various excerpts from diverse film music looking at the concepts of tone colour,
Film music techniques questions by referring structure, lyrics, melody, duration, dynamics
to the concepts of - Rhythm ID and dictation exercises – 2 bar using crotchets, quavers, semiquavers, crotchet
Musical notation and music rest, minims, dotted crotchet patterns, quaver/semiquaver/semiquaver pattern
terminology - Melodic dictation – extension of Term 1 work by using small leaps
Read and write musical
notation 4. Musicology:

- 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.

Brooke Grech - 18893641


Contemporary Teacher Leadership

Evaluation of Unit
Teacher Evaluation Comments/Variations

How did the unit rate in these areas? 😊 😐 ☹


Time allocated for topic
ESL Scales addressed
Student understanding of content
Opportunities for student reflection on learning
Suitability of resources
Variety of teaching strategies
Integration of Quality Teaching Strategies
Integration of ICTs
Literacy strategies used
Numeracy strategies used

Date commenced: Date completed:

Teacher’s signature: Head Teacher’s signature

Brooke Grech - 18893641


Contemporary Teacher Leadership

Year 8 Film Music


Incidental Music Composition In-class Assessment

Name: ___________________________ Class: _____________

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?
________________________________________________________________
________________________________________________________________
________________________________________________________________
____________________________

Create your own graphic notation for this incidental music:

Scene 2:
4. Name the movie: ___________________
5. What instruments can you hear? __________________
6. How is the music created?
________________________________________________________________
________________________________________________________________
________________________________________________________________
____________________________

Create your own graphic notation for this incidental music:

Brooke Grech - 18893641


Contemporary Teacher Leadership

Composition Task:

Watch the train scene from Harry Potter and CREATE an incidental
music on the keyboard using the following:

1. An appropriate instrumental sound (tones on the keyboard)


2. Include high/medium/low notes
3. Include long/short notes
4. Include repeated notes if you wish
5. You must also create a graphic notation of your composition using
signs and symbols.

6. Play your composition to Mr Htoo.

a) Choose instrument/sound you are using: ________________

b) Any high/medium/low notes or a mixture of all?

c) Any long/short notes?

d) Any repeated notes?

Brooke Grech - 18893641

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