102086 Designing Teaching & Learning

Assignment 2: QT Analysis Template

Evaluation score – refer to NSW QTM Classroom Practice Guide for each element
Comments incl. evidence for evaluation score (2 sentences)

1 Intellectual quality
1.1 Deep knowledge
1 – 2 – 3 – 4 – 5 Comments: This lesson plan provides a deep knowledge of notation and recognising pitch. This
lesson then incorporates those ideas into melody writing.

1.2 Deep understanding

1 – 2 – 3 – 4 – 5 Comments: This lesson plan provides multiple exercises for the students. These include notating,
recognising pitch and rhythms.

1.3 Problematic knowledge

1 – 2 – 3 – 4 – 5 Comments: This lesson provides one standard way of teaching pitch, notation and melody. Within
the short timeframe of five minutes, students demonstrate their understanding of composition.

1.4 Higher-order thinking

1 – 2 – 3 – 4 – 5 Comments: This lesson does not provide an in-depth opportunity to analyse and evaluate new
information. This is only done in the composition exercise at the end.

1.5 Metalanguage
1 – 2 – 3 – 4 – 5 Comments: The lesson plan uses technical terms to describe musical concepts. This lesson includes
visual diagrams of musical staff and keyboards.
1.6 Substantive communication
1 – 2 – 3 – 4 – 5 Comments: Apart from the brief composition at the end of the lesson, there is no opportunity for
students to elaborate on their understanding of musical concepts.

Quality learning environment

2.1 Explicit quality criteria
1 – 2 – 3 – 4 – 5 Comments: Before the teacher starts each exercise, there is a clear understanding of what the
students are doing. In the final exercise before summary, there is a lot of content to cover within the
span of five-minutes.

2.2 Engagement
1 – 2 – 3 – 4 – 5 Comments: The lesson is designed so that the students are partaking in multiple exercises
throughout the lesson. The activities are short to keep students engaged.

2.3 High expectations

1 – 2 – 3 – 4 – 5 Comments: Multiple exercises with brief time frames suggest, the teacher believes they will
understand music concepts.

2.4 Social support

1 – 2 – 3 – 4 – 5 Comments: The class partaking in exercises as an entire group could be an opportunity to provide
social support. A higher mark would have been awarded if there was groupwork in smaller groups
of students.

2.5 Students’ self-regulation

1 – 2 – 3 – 4 – 5 Comments: The brief time frame of the tasks and the variety of them, maximize student
engagement. Student autonomy is brief with only five-minute composition exercise.

2.6 Student direction

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 1–2–3–4–5 Comments: The only time students exercise direction over their learning is the five-minute
composition that the end and the notating words exercise.

3 Significance
3.1 Background knowledge
1 – 2 – 3 – 4 – 5 Comments: The beginning of the lesson has a 5 min summary of the last lesson. However, there is
no opportunity for students to incorporate their own background knowledge.

3.2 Cultural knowledge

1 – 2 – 3 – 4 – 5 Comments: This is a lesson dedicated to pitch and melody. There is no opportunity to discuss how
pitch and notation involves diverse social groupings.

3.3 Knowledge integration

1 – 2 – 3 – 4 – 5 Comments: The five-minute summary at the start of lesson might be an opportunity to integrate the
previous lesson.
3.4 Inclusivity
1 – 2 – 3 – 4 – 5 Comments: This lesson does not give an example of groupwork that promotes students working in
diverse groups.

3.5 Connectedness
1 – 2 – 3 – 4 – 5 Comments: The only time this lesson provides an opportunity for students to share their work is
through the composition at the end of the lesson.

3.6 Narrative
1–2–3–4–5 Comments: This lesson plan does not incorporate Narrative to teach the concept of pitch and
notation.

Identifying Areas for Improvement

Identify the four NSW QT model elements you are targeting for improvement.

QT model
1) Student Direction 2) Inclusivity
3) Cultural Knowledge 4) Narrative

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 Lesson Plan

Topic area: Stage of Learner: Stage 4 Syllabus Pages:

Pitch
Date: Location Booked: Lesson Number: /

Time: Total Number of students Printing/preparation

Whiteboard /
Keyboards
(Every student has access to a
keyboard) / tuned percussion /
Work sheet that has a diagram
of keyboard (2 octaves) and
blank staff lines.

Teoria.com

Outcomes Assessment Students learn about Students learn to

4.5 Notates compositions • notating • explore forms of musical
using traditional and/or non- compositions using notation, including
traditional notation. various forms of computer-based
traditional and non- applications, as a method
4.9 Demonstrates musical traditional notation of recording their own
literacy through the use of musical ideas
notation, terminology, and • identifying,
the reading and interpreting understanding and This lesson does not use
of scores used in the music describing how
the computer-based methods
selected for study concepts of music to assist in students
have been used and recording their own ideas.
manipulated
• respond to the range of
repertoire used for
listening

Time Teaching and learning actions

10
min Review previous lesson on rhythm asking students to recount note
types/names
5min
Echo clapping exercise

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 Rhythm dictation: Play some examples and have students write what they
hear (using teoria.com).

Encourage students to make their own clapping exercises. Select a few students to
perform exercise in front of class, while fellow students notate what they think the
rhythm is.

Shortened the time of this activity to provide more time for final activity.

5 Teacher explains the Staff, and explains the Treble Clef dictates what
min notes are presented on the staff.

Label the notes.

Explain that there are 7 “white” notes in music and these are arranged in a
repeating pattern.

Using a “keyboard” drawn on the whiteboard explain the repeating pattern

of white notes.

Have students write down the names of the notes onto the sheet paper. There is a diagram
of a keyboard provided on the sheet paper.

10 Give acronym “Every Good Boy Deserves Fruit” and “FACE” for
min remembering notes on the staff. Ask students to come up with their own.

Write words on stave using notation, ie DEAF, FAÇADE, BEE, BEAD,

CABBAGE

Students copy “words” and write letter names underneath

(Students can invent their own words)

In addition to this exercise, I would get the students to work in small groups and play the
words on keyboards. For example, if the word was DEAF, students would have to find
the musical notes D, E, A and F.

Explain the concept of comparing pitch in terms of Higher and Lower. Play
two notes on an instrument, have students decide whether the second is
5min higher or lower. Repeat a number of times for clarity.

Explain the concept is presented on the staff. The higher the note on the
page, the higher the pitch.

Students raise hands for higher and point to ground for lower notes

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10 Using a keyboard diagram on whiteboard explain where notes on the stave
mins are located on the keyboard.

5 Students locate specific pitches on keyboards / tuned percussion

mins
Have students find high and low notes (ie high C, lower C) on keyboard

Students locate high C / lower C etc on keyboard or tuned percussion.

Shortened time of the activity to provide more time for final activity.

5 Notate a simple two bar melody on whiteboard.

mins
Explain how pitch and rhythm can be notated together
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Mins Ask students to clap rhythm then name the pitches.

Discuss which notes are higher / which are lower.

Play the melody and ask students to raise hands when pitch gets higher
and point to the floor when it becomes lower.

Students attempt to play the teacher notated melody on keyboard / tuned

percussion

Students compose, perform and notate their own simple melody and
perform to class

Teacher provides an example of own 8 bar composition with lyrics. Teacher tells a
story as to why they have chosen these lyrics.

Students are to work together and write an 8-bar melody. Students are then going to write
lyrics, one word for each musical note played. The lyrics should incorporate student’s
own experiences and values. Students then share compositions to the class. They do not
have to sing, instead speak each word.

5 Quick Summary of lesson

mins

Collect sheets of paper with notated music exercises.

Pack up

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 How am I measuring the outcomes of this lesson?

Learning Outcome Method of measurement and recording

4.5 Notates compositions
using traditional and/or
non-traditional notation.
Informal assessment of student responses to teaching
and learning activities.
Teacher listening to group performances at the end of
the lesson.

4.9 Demonstrates musical Informal assessment of student responses to teaching

literacy through the use of and learning activities.
notation, terminology, and
the reading and By collecting music sheets with students completed
interpreting of scores used work.
in the music selected for
study

750 Word Justification

After reviewing the quality teaching model, some of the weaknesses of the learning plan include,

Cultural Knowledge, Inclusivity, Student Direction and Narrative. The first change I have made is

included a compositional exercise that incorporates the concepts of Cultural knowledge and

Inclusivity. Cultural Knowledge deals with the question of, how can a lesson be used to explore a

student’s cultural background? Inclusivity involves getting a diverse range of students involved and

participating in classroom activities. In the composition exercise, students have the freedom to write

their own lyrics however, they should be encouraged to write songs about their unique cultural

backgrounds. I have made this exercise group work, this provides students the opportunity to share

their own unique backgrounds with other students. Gore (2007) has suggested that providing students

with diverse cultural perspectives enhances their views on the world, while also avoiding one

dominant cultural perspective. By altering the composition exercise, students become the ones

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providing diverse cultural perspectives. The Year 7 – 10 Syllabus for Music states, one of the aims

of teaching music in school is to “allow a range of music to have a continuing role in their lives”

(Board of Studies, 2003, p. 10). Students are more likely to have an appreciation of music, if the

music is relevant to them. A compositional exercise that incorporates individual backgrounds of

students, should be recognised as a tool for self-expression. In Music 1 Stage 6 syllabus, it is expected

that students understand, “music is a medium of personal expression that enables the sharing of ideas”

(Board of Studies, 2009, p. 6). The new composition exercise can foster ideas of expression for

students who wish to pursue music in later years of school.

The original lesson plan had a focus on the teacher presenting information, followed by students

doing an exercise. There were only brief opportunities for students to engage in Student Direction. I

have extended the time frame for the final composition exercise, as well as provided opportunities

for students to notate words and make their own clapping exercises. In an article by Hellmer (2012)

she discusses student autonomy, she makes the statement that, “the teacher seems to be increasingly

used as a substitute … instead of as a compliment; we are thereby probably losing important issues

like … analytical and critical thinking” (p.51). In the original lesson, students were only given brief

opportunities to implement autonomy over their learning. By extending the timeframe of the

composition exercise and giving students more artistic freedom, they are given more opportunities to

critically think for themselves and problem solve within a group context. The original lesson plan

might not be the most effective way to assess if students have correctly implemented Student

Direction. The echo clapping exercise and the recognising pitch exercises, work on imitation based

learning, the teacher does an exercise and the class follows. By having the students notate onto sheet

paper and perform their songs to the class, followed by collecting sheets at the end of the lesson. The

teacher has a better way of assessing if his/her class can critically think and interpret musical

concepts. Doubet & Virginia (2015) reinforce this idea by stating that informal assessment “informs

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and illuminates the teacher’s preconceptions and beliefs about individual students” (p. 60). With a

physical copy of students work, there is a better way of tracking Student Direction.

The concept of Narrative within the original lesson plan depends on how the teacher teaches the

lesson. In my updated version, I have incorporated the concept of Narrative into the learning plan.

The teacher provides an example of an eight-bar melody with lyrics, then explains why they have

chosen the lyrics, through the form of a short story. This is to be used as an example to prompt

students to think for themselves. Davies (2007) discusses the idea of storytelling within a classroom

context, stating that it can be used as a tool to develop student’s “ability to interpret and understand

events beyond their immediate experience” (p.5). It is highly likely some students in stage four have

not had prior experience in composing. Therefore, they may feel uncomfortable with sharing musical

ideas with peers. Davies (2007) has suggested that storytelling can also make tasks seem more

relatable to students. With these ideas in mind, Narrative can be used as a tool to break down the

barriers between, getting the task done and the students who feel uncomfortable sharing their own

identity with peers.

https://michaelflarretyteaching.weebly.com

References.

Davis, A. (2007). Storytelling in the classroom enhancing oral and traditional skills for teachers.
Retrieved from

https://ebookcentral.proquest.com/lib/uwsau/reader.action?docID=354933&query=

Doubet, K. & Virginia, A. (2015). Differentiation in middle & high school: Strategies to engage all
learners. Retrieved from
https://ebookcentral.proquest.com/lib/uwsau/detail.action?docID=4398159

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Gore, J. (2007). Improving pedagogy: The challenges of moving teachers toward higher levels of
quality teaching. Making a difference: Challenges for teachers, teaching and teacher education. (pp.
15 – 33). Rotterdam, Netherlands: Sense Publishers. Retrieved from

https://ap01.alma.exlibrisgroup.com/leganto/readinglist/citation/20083492660001571

Hellmer, S. (2012). Student Autonomy and Peer Learning – An Example. Student Autonomy 2(1), 51
-54. doi Retrieved from

http://journals.lub.lu.se/index.php/hus/article/view/5293/4783

NSW Education Standards Authority. (2018). Music 7 – 10 Syllabus (2003). Retrieved From
http://educationstandards.nsw.edu.au/wps/portal/nesa/k-10/learning-areas/creative-
arts/music-7-10

NSW Education Standards Authority. (2018). Music 1 Stage 6 Syllabus (2009). Retrieved From
http://educationstandards.nsw.edu.au/wps/portal/nesa/11-12/stage-6-learning-areas/stage-6-
creative-arts/music-1-syllabus