Areas of need such as communication, academic and social emotional often impact on each other, weaving a complex pattern that can affect the student, causing problems and hindering progress. The student, classmates, teachers and parents may all be affected by one students' situation. By recognising a student in difficulty, school personnel can take action and help alleviate problems and provide access to the best education possible.
Students can often present with more than one area of need. When a student is diagnosed by a specialist, such as a paediatrician, child psychiatrist or clinical psychologist, the education department has its own guidelines for accommodating such students and providing inclusive education.
Funding may be applied for and used as seen fit by the school. Students who may be eligible for funding include those with mild, moderate or severe intellectual disability, autism, physical impairment, hearing impairment, vision impairment, language disorder, mental health and not identified (e.g. Attention Deficit Disorder). Many of these students will need special support in academic, communication, social and emotional areas. Additionally, students with undiagnosed special needs can be assisted. For example, a senior student who is normally good academically may experience the death of a parent and naturally suffer grief and anxiety. A supporting statement from an authority, such as a General Practitioner, may request allowances be made for the student.
It is generally obvious when a student requires special help and the student, class teacher, parent, school counsellor or other professional may initiate a process whereby the problems can be addressed and a plan of support can be devised and implemented. A plan of support helps create a picture of where the student is currently and where he or she could potentially be and outlines a step by step program to help the student reach that state of potential.
It needs to be made clear what situation the student is in. Symptoms may be present such as poor academic progress, inappropriate behaviour in class, unstable emotions or social withdrawal. Staff, student, parents and specialists may be involved in identifying problem areas and hopefully their sources. Alternatively, adults may be aware the student is under some stress, for example an unwanted pregnancy, or trouble outside school. Other issues a student may be facing include domestic violence, drug abuse, the death of a loved one, severe illness, or possibly a condition such as ADD, a visual or hearing impairment or a learning disability. The latter cases may be as yet unidentified so the plan of support might include referring the student for testing by an appropriate specialist (e.g. Audiologist for suspected hearing loss).
The plan of support would then involve addressing identified symptoms and causes by establishing achievable goals. The student, who is often self referred, would take an active role in the intervention process and be included in discussions regarding needs and possible strategies. The student may formulate his or her own goals such as overcoming a drug problem, or being provided with opportunities for self expression, or improving academic progress.
Strategies to assist the student at school would be explored and decided upon, as well as ways and means of monitoring progress within a certain timeframe. Goals set might be short, medium and/or long term. Parties involved such as teachers or parents may need to educate themselves regarding the issues that the student is facing. For example, issues pertinent to a young person with an eating disorder. An expert in the area may be brought in to speak to staff and/or students, or a parent who has already been through a similar situation may share stories and insights to help generate awareness and understanding.
The Board of Studies has guidelines and requirements that may be relevant. For example, it may be appropriate to consider allowing the student to undertake the Life Skills Curriculum, or special consideration may need to be applied for.
The Greeks said learning is a relationship. Assisting the student via a quality relationship can be a fundamental part of effective support. One would look at what sort of relationships the student is maintaining (or not) and whether intervention is necessary. Is there a relationship that is part of the problem, such as a peer outside the school who is often in trouble with the police, or a parent who is not coping well or involved in an unhealthy relationship that affects the student? is there someone the student relates to particularly well who may assist in the efficacy of the process? How does the student relate to teachers and class mates and is it necessary to assist them in changing these relationships for the better?
A plan of support would look at people who can help the student achieve defined goals and deal with specific problems. District support may be required, such as a specialist behaviour teacher who may assist, for example, a child with Asbergers Syndrome. The student may be coping academically but needs help forming friendships or help transitioning to high school. Where other children have developed faster socially and emotionally, a child with Asbergers may have trouble in the playground and a support teacher can help out. A personalised social skills program may be devised and implemented, with suggestions of personal excursions and activities.
A counsellor may be consulted, or be already intrinsically involved in the case and can help draw attention to problem areas and make suggestions regarding strategies. For example, if a student is depressed and withdrawn, a "buddy" or selected class mate who will be open and regarded as a positive influence may be asked to befriend the student in need and look out for him/her. The counsellor may suggest other ways to include the student such as group work or extracurricular activities.
Community Health specialists may become involved. Mullumbimby has an adolescent drug and alcohol counsellor and the High School often refers students who need that kind of support. The community health centre is close by so students can visit during school hours or the support worker will visit students at the school. Counsellors from the centre and the school have monthly meetings to discuss case management and to look at options and resources and potential strategies. They stay in touch with class teachers and year advisors.
Mullumbimby High has an established welfare program so students are aware that they are able to ask for help. They know the process of putting their name down to see the school counsellor and a messenger will get them out of class to attend an appointment. Having these structures in place allows for points of reference when making a support plan and people can effectively work together to make positive changes.
Other personnel that might support a student in need, depending on the situation, include speech pathologists, remedial teachers, teachers aides, specialist teachers, mentors, youth workers, sexual abuse workers and parents. Also, some form of support for the staff may be required.
A student who is challenged academically may need help in organisational skills or help in a particular subject. Depending on the need, the teacher can become a mentor and be available for extra support. The role of parents and guardians can also be considered, with suggestions and strategies that may assist the child in getting tasks done, for example, and reinforce elements of the support plan.
The plan of support may look at helpful strategies the teacher can incorporate into the daily classroom situation. The student will often be required to do all the necessary academic work while being encouraged to meet internal challenges and cope with the circumstances. The student's strengths and passions can be considered and developed in order to promote self esteem, a common issue to be addressed.
If a student is presenting with behaviour problems, a diary or letter can be sighted and signed by each teacher with perhaps a comment to report on the current behaviour. If a student is undergoing emotional stress, time out can be given. This may take the form of a time out card to be signed by the class teacher so the student can legitimately leave and perhaps see the counsellor to express any pressing needs instead of playing truant. Or the teacher may allow the student to simply be present in the class without necessarily actively participating.
Communication between parties is essential and is done via regular meetings that may involve different participants depending on the situation such as teachers, school counsellor, year advisor, parents and student. A particular teacher may be aware of a specific problem area and bring it to the attention of other staff so that they may make adjustments where necessary. Many schools have weekly learning support team meetings where information is shared, problems are looked at and possible solutions considered. An Individual Education Program may be devised, making allowances in work. Extra time to complete tasks or sit exams may be given and course content may be modified.
Adjustments for academically challenged students may include reducing the amount of content, providing explicit teaching and modelling, repetition of key concepts, additional demonstration, simplified instruction, deeper levels of scaffolding, catering for preferred learning styles, visual supports, consideration of location in the classroom concepts, personalised reinforcement schedule, adjustments to presentation of materials and alternate formats for tasks and assessment.
An example of modifying teaching methods and content is Craig in year 11 who does the subject entertainment. He has a history of drug and alcohol use, truancy and poor academic progress. He finds tasks involving numeracy particularly challenging and can become upset and frustrated, then gives up easily and becomes defensive, defiant and either withdraws or runs from the classroom. Here all three areas of academic, emotional and communication become problematic. His teacher will make an effort to keep activities practical and carefully plans and communicates steps to ensure success and avoid raising Craig’s stress levels. Extra encouragement is given and requirements are given explicitly when mathematical abilities are involved such as measuring the space for placement of equipment or deducing electrical current amounts.
Technology can be used to help support people with communication needs, such as a student with hard to read handwriting, slow writing skills, or visual and hearing impairments. A student struggling with course content may be motivated to access relevant computer programs that present information differently.
The arts can provide a gateway to healing and dealing with major issues. When a student is seen to be interested in or talented in a particular creative area, this can be used as a form of support. For example at Shearwater, the Wearable Arts is a major performing arts event that students can volunteer to be involved in. They may take part in many different aspects of the production including creating their own garment, performing, being part of the production crew, choreography, music and promotional work. Student with special needs may be encouraged to participate in ways that will help address their needs. For example, the opportunity for artistic expression, the opportunity to actively participate in school culture when they may not be interested or are considerably challenged by other aspects of school work, and the opportunity to develop skills, relationships and self confidence.
Other aspects of school culture that can enhance the support plan include participation in winter, spring and autumn festivals, eurythmy, curative eurythmy, art and yoga.
Creative Arts Therapists, music, art and drama, may play a part in supporting a student with various needs. Music therapy, for example, is a flexible and accessible modality that can provide individualised assistance, especially when more traditional methods are ineffective. It can address emotional, social and communication issues and can help reinforce academic concepts and support music education.
Special needs manifest uniquely in each individual so support plans, referrals and adjustments reflect this.
REFERENCES
http://www.boardofstudies.nsw.edu.au/special_ed/exam-modifications.php
http://espace.library.uq.edu.au/eserv.php?pid=UQ:8438&dsID=Ashman_et_al__20.pdf
http://education.qld.gov.au/curriculum/learning/students/disabilities/
To date, in Queensland’s schools six levels of impairment have been recognised, Levels 1 through
6, the latter indicating the highest level of need.
Level 1 involves an initial consultation, an intervention with referral if needed, assessment, contact
with parents, follow up, and referral to another agency, if appropriate. Level 1 is also used as a
preliminary classification assigned to indicate that the student has been entered into the system and
is awaiting the ascertainment process.
Level 2 involves management activities only, that is, monitoring of student performance, a review of
performance, professional support of up to three hours per term but not necessarily personal contact
with the individual student.
Level 3 involves the enactment of a support program, consultation and goal setting (review of
teaching strategies, evaluation, resources, classroom management), the facilitation of appropriate in-
class assistance (e.g., peer tutoring), and professional support of up to three hours per month.
Level 4 involves the formation of a support program, shared implementation, cooperative planning,
direct assistance in program implementation, and professional support of up to three hours per
fortnight;
Level 5 also involves the formation of a support program, shared implementation and modification,
major input into program design and operation, a modified curriculum, and up to three hours of
support per week;
Level 6 involves the development of an alternative program, the preparation of individual education
plan (IEP), an alternative curriculum, and support in an integrated or segregated setting if this is
considered appropriate.
Teachers at Shearwater School and Mullumbimby High School
Counsellor at Mullumbimby High School
Wednesday, September 19, 2007
Sunday, June 24, 2007
SECONDARY STUDENTS VIGNETTE
The major concerns
Approaches and possible solutions
management techniques
motivational issues
group and relationship considerations
non verbal communication
planning rationale
instructional techniques
deep learning
diversity of learning styles
Having an interesting and engaging introduction to a lesson helps bring students out of their past location (ie the play ground) and orients them to the present (the lesson). In this scenario the teacher started before the class was settled. This can indicate to the students that it is okay for them to carry on their own conversations and not pay attention while the teacher is talking. The teacher is not helping create an optimum environment for learning.
An alternative method might be to greet students at the door and wait for order before entering the room. If students have already entered the room in a disorderly manner they may be asked to go outside and enter in a more respectful and quiet manner. If they still can't manage this perhaps a short military training drill could be suggested (humour is always good!).
Group work is much more effective when the teacher chooses the group members. These students were able to choose their own, resulting in the giggling and off task behaviour. They may need to be assigned roles and given clear boundaries about where to work. It may also be effective to include a drama elective student in each group to lend their experience and interest in role play.
The issue needs to be made relevant. This may be included in an introductory discussion about water safety (was there a class discussion?). Engaging students interest by asking
Has anyone had to rescue someone from water?
Does anyone know someone who drowned or almost drowned?
Has anyone got into difficulties in the water and how did that feel?
Telling an appropriate personal story or relating the drowning of someone they have heard of or know (eg famous and well loved singer songwriter Jeff Buckley died with his boots on and his mate was unable to save him)
Acknowledging that one can be a good swimmer and still drown (such as a recent local death on Tallows beach)
This discussion can be used to stimulate thinking and impart the serious nature and relevance of what is to be learnt.
An optimum learning environment, a basic provision, was apparently not afforded these students as some had to find a better place to concentrate. Sending students outside then losing them is a major concern regarding, especially as the teacher left the classroom, and therefore his responsibility, to look for missing students.
Time management also seems to be of concern. It seems extravagant to spend a whole lesson on this topic and also to give students ten minutes to work on their task. Year 9s are likely to get easily and quickly distracted. They need to be given explicit instructions in the beginning, perhaps two minutes to talk about it, then present it. It may also be stipulated that they can't leave without completing the task, or that they may work on something of their own interest at the end.
Students need to be encouraged to do quality, masterful work, so the teacher could remind them that the play needs to be done to the best of their ability. This is especially in a performance situation where people are likely to feel self conscious or inhibited. Also a clear guide as to the essential content of the play could help curb distracting overacting, making the exercise fun, yet productive.
Disorder in the classroom, in the form of pushing, laughing, yelling, standing on a desk as well as the teacher resorting to yelling is not a good look. To raise one's voice indicates loss of control of oneself and the situation. It seems a lot of the disruptive behaviour went unchecked and there were no preventative discipline strategies in place. Disruptive behaviour needs to be addressed immediately, for example, asking
What are you doing now?
How can your behaviour change to best suit the needs of the group?
If rules haven't already been set, a short discussion on appropriate behaviour and the consequences could be facilitated. For example, a first incident is to attract a warning and after two warnings the student/s spend their next lunchtime in the support room.
There seems to be a lack of motivation and engagement (after ten minutes some students hadn't started on their work and no one wanted to present their play). Evaluation also seems to be missing from this scenario. This could be a great opportunity for group evaluation. Letting students know they are to critique each other's work gives them a sense of urgency and makes it matter. A time limit could also be given otherwise the victim could drown. It might also be possible to videotape the performances.
More choice could be offered to the students, once groups are allocated by the teacher, regarding how the information is presented. For example write a script for another group to read/act out, draw a diagram of the process, write a rap or song to be performed, thus appealing to different intelligences. One group could be allocated as a judging panel whose task is to ascertain judging criteria. To make it fun and culturally relevant, it could be turned into a "camp idol" show and see who is the best and fastest at saving lives. Giving feedback after the performances, verbally in the group or individually on a prepared checklist sheet would show how much students have understood about the exercise and whether they processed the relevant information.
Alternatively, the main points could be discussed beforehand, or a script already written for the students to jump up and improvise without preparation, teaching them to think on their feet which is what life saving requires.
The lesson seems to lack structure which is a vital ingredient in an effective lesson and more thought needs to go into the planning. Apparently there was not enough time allocated to complete the activity, especially due to off task behaviour and there was no proper closure.
Approaches and possible solutions
management techniques
motivational issues
group and relationship considerations
non verbal communication
planning rationale
instructional techniques
deep learning
diversity of learning styles
Having an interesting and engaging introduction to a lesson helps bring students out of their past location (ie the play ground) and orients them to the present (the lesson). In this scenario the teacher started before the class was settled. This can indicate to the students that it is okay for them to carry on their own conversations and not pay attention while the teacher is talking. The teacher is not helping create an optimum environment for learning.
An alternative method might be to greet students at the door and wait for order before entering the room. If students have already entered the room in a disorderly manner they may be asked to go outside and enter in a more respectful and quiet manner. If they still can't manage this perhaps a short military training drill could be suggested (humour is always good!).
Group work is much more effective when the teacher chooses the group members. These students were able to choose their own, resulting in the giggling and off task behaviour. They may need to be assigned roles and given clear boundaries about where to work. It may also be effective to include a drama elective student in each group to lend their experience and interest in role play.
The issue needs to be made relevant. This may be included in an introductory discussion about water safety (was there a class discussion?). Engaging students interest by asking
Has anyone had to rescue someone from water?
Does anyone know someone who drowned or almost drowned?
Has anyone got into difficulties in the water and how did that feel?
Telling an appropriate personal story or relating the drowning of someone they have heard of or know (eg famous and well loved singer songwriter Jeff Buckley died with his boots on and his mate was unable to save him)
Acknowledging that one can be a good swimmer and still drown (such as a recent local death on Tallows beach)
This discussion can be used to stimulate thinking and impart the serious nature and relevance of what is to be learnt.
An optimum learning environment, a basic provision, was apparently not afforded these students as some had to find a better place to concentrate. Sending students outside then losing them is a major concern regarding, especially as the teacher left the classroom, and therefore his responsibility, to look for missing students.
Time management also seems to be of concern. It seems extravagant to spend a whole lesson on this topic and also to give students ten minutes to work on their task. Year 9s are likely to get easily and quickly distracted. They need to be given explicit instructions in the beginning, perhaps two minutes to talk about it, then present it. It may also be stipulated that they can't leave without completing the task, or that they may work on something of their own interest at the end.
Students need to be encouraged to do quality, masterful work, so the teacher could remind them that the play needs to be done to the best of their ability. This is especially in a performance situation where people are likely to feel self conscious or inhibited. Also a clear guide as to the essential content of the play could help curb distracting overacting, making the exercise fun, yet productive.
Disorder in the classroom, in the form of pushing, laughing, yelling, standing on a desk as well as the teacher resorting to yelling is not a good look. To raise one's voice indicates loss of control of oneself and the situation. It seems a lot of the disruptive behaviour went unchecked and there were no preventative discipline strategies in place. Disruptive behaviour needs to be addressed immediately, for example, asking
What are you doing now?
How can your behaviour change to best suit the needs of the group?
If rules haven't already been set, a short discussion on appropriate behaviour and the consequences could be facilitated. For example, a first incident is to attract a warning and after two warnings the student/s spend their next lunchtime in the support room.
There seems to be a lack of motivation and engagement (after ten minutes some students hadn't started on their work and no one wanted to present their play). Evaluation also seems to be missing from this scenario. This could be a great opportunity for group evaluation. Letting students know they are to critique each other's work gives them a sense of urgency and makes it matter. A time limit could also be given otherwise the victim could drown. It might also be possible to videotape the performances.
More choice could be offered to the students, once groups are allocated by the teacher, regarding how the information is presented. For example write a script for another group to read/act out, draw a diagram of the process, write a rap or song to be performed, thus appealing to different intelligences. One group could be allocated as a judging panel whose task is to ascertain judging criteria. To make it fun and culturally relevant, it could be turned into a "camp idol" show and see who is the best and fastest at saving lives. Giving feedback after the performances, verbally in the group or individually on a prepared checklist sheet would show how much students have understood about the exercise and whether they processed the relevant information.
Alternatively, the main points could be discussed beforehand, or a script already written for the students to jump up and improvise without preparation, teaching them to think on their feet which is what life saving requires.
The lesson seems to lack structure which is a vital ingredient in an effective lesson and more thought needs to go into the planning. Apparently there was not enough time allocated to complete the activity, especially due to off task behaviour and there was no proper closure.
GLASSER AND DREIKURS
CRITICALLY REFLECT ON THE THEORIES OF AT LEAST TWO PSYCHOLOGISTS AND APPLY THEIR THEORIES TO TECHNIQUES FOR IMPROVING STUDENT MOTIVATION
Glasser and Dreikurs provide a welcome alternative to the strict and stifling authoritarian approaches where teachers adopt a superior stance and feed students information and keep them them under control. Like their predecessor Maslow, they consider basic physical and psychological human needs and the importance of recognising student drivers which informs a more wholistic and therefore effective approach to teaching,motivating and managing students.
There is a wonderful emphasis on positivity: being a positive role model, encouraging students in their efforts recognising positive behaviours,looking for positive attributes which helps build positive relationships, allowing for freedom and choice and staying in the present.
Glasser and Dreikurs both acknowledge a student's need and desire to belong. It's the teacher's role to help each student feel as though they belong by providing a safe, comfortable environment for fun and effective learning and providing social, collaborative learning situations. Presenting interesting and challenging group projects in an optimum learning environment are basic motivational strategies.
Glasser's findings culminated in Choice Theory: if a student is given a choice on what and how to learn he will be motivated to follow his instincts and complete work that he perceives to be worth doing.
Respect and responsibility, values advocated by both Glasser and Dreikurs, definitely need to be present in a classroom for effective learning to occur.
Dreikurs considers family constellation as important background knowledge for a teacher and Glasser stresses the importance of quality relationships. Getting to know a student personally gives one more ways into the student's culture and world,.This information can be combined with different learning styles and strategies to make learning material relevant and interesting to the student which serves as a motivational force.
Awareness of a student's life beyond the classroom and subject can also help gain insight into reasons for inappropriate behaviour. Glasser and Dreikurs both say to treat incidents in the present only. Dreikurs advocates identifying where the behavour comes from (attention seeking, power, revenge or helplessness). This is not neccesarily an easy task, nor is it always appropriate to not give attention to attention seekers as they can be very disruptive. But having the intention to only give positive attention is a great maxim, as is not to engaging in power struggles.
Giving explicit instructions, having all the class decide on the rules and logical consequences (not punishments), encouraging self responsibility, independence and self evaluation are all part of Dreikur's theory. These comprise not only preventative discipline strategies but are motivational strategies as well. Dreikurs also says to avoid rewarding (intrinsic motivation should be encouraged over extrinsic) and to be a positive role model for students to follow.
Encouraging effort rather than praising an outcome, a Dreikurs method, can help motivate a student to persevere independently with enjoyment and takes the focus off competeing. Glasser goes a step further and encourages quality work.
The findings of these two psychologists provide good ideas with which to work but are not flawless and sometimes too dry for acknowledging the richness of humanity. We can give each other much more than just information (inspiration...) and we are creative beings who do much more than simply "behave".
Glasser and Dreikurs provide a welcome alternative to the strict and stifling authoritarian approaches where teachers adopt a superior stance and feed students information and keep them them under control. Like their predecessor Maslow, they consider basic physical and psychological human needs and the importance of recognising student drivers which informs a more wholistic and therefore effective approach to teaching,motivating and managing students.
There is a wonderful emphasis on positivity: being a positive role model, encouraging students in their efforts recognising positive behaviours,looking for positive attributes which helps build positive relationships, allowing for freedom and choice and staying in the present.
Glasser and Dreikurs both acknowledge a student's need and desire to belong. It's the teacher's role to help each student feel as though they belong by providing a safe, comfortable environment for fun and effective learning and providing social, collaborative learning situations. Presenting interesting and challenging group projects in an optimum learning environment are basic motivational strategies.
Glasser's findings culminated in Choice Theory: if a student is given a choice on what and how to learn he will be motivated to follow his instincts and complete work that he perceives to be worth doing.
Respect and responsibility, values advocated by both Glasser and Dreikurs, definitely need to be present in a classroom for effective learning to occur.
Dreikurs considers family constellation as important background knowledge for a teacher and Glasser stresses the importance of quality relationships. Getting to know a student personally gives one more ways into the student's culture and world,.This information can be combined with different learning styles and strategies to make learning material relevant and interesting to the student which serves as a motivational force.
Awareness of a student's life beyond the classroom and subject can also help gain insight into reasons for inappropriate behaviour. Glasser and Dreikurs both say to treat incidents in the present only. Dreikurs advocates identifying where the behavour comes from (attention seeking, power, revenge or helplessness). This is not neccesarily an easy task, nor is it always appropriate to not give attention to attention seekers as they can be very disruptive. But having the intention to only give positive attention is a great maxim, as is not to engaging in power struggles.
Giving explicit instructions, having all the class decide on the rules and logical consequences (not punishments), encouraging self responsibility, independence and self evaluation are all part of Dreikur's theory. These comprise not only preventative discipline strategies but are motivational strategies as well. Dreikurs also says to avoid rewarding (intrinsic motivation should be encouraged over extrinsic) and to be a positive role model for students to follow.
Encouraging effort rather than praising an outcome, a Dreikurs method, can help motivate a student to persevere independently with enjoyment and takes the focus off competeing. Glasser goes a step further and encourages quality work.
The findings of these two psychologists provide good ideas with which to work but are not flawless and sometimes too dry for acknowledging the richness of humanity. We can give each other much more than just information (inspiration...) and we are creative beings who do much more than simply "behave".
Thursday, June 21, 2007
MOTIVATION ESSAY
"MOTIVATION IS A VERY IMPORTANT FORCE THAT AFFECTS AND DIRECTS OUR BEHAVIOUR. AS A CONSEQUENCE, IT IS A VITAL FACTOR FOR TEACHERS TO UNDERSTAND AND APPLY IN THEIR TEACHING". DISCUSS
Motivation is a neccesary ingredient for learning. If one is not interested or engaged, one is not likely to pay attention or give the focus required to consolidate and integrate new information and ideas.
Motivation can come from within, from a natural curiosity and joy of learning that may have been fostered in the home, from self esteem and confidence that makes people unafraid of "having a go" and flexing their abilities, from a genuine interest or love for the topic, a perceived need to learn or a chance to extract personal satisfaction. A sense of satisfaction or accomplishment are also sources of "intrinsic" motivation.
To encourage intrinsic motivation, which is beneficial as it fosters longer lasting and self sustaining efforts, one can focus on the subject, expressing one's own passion for the subject and discovering more about the student and therefore how they might develop their own interest. One can place less emphasis on grades and more on students' efforts and the learning process. One can encourage students interest in a subject by appealing to them in a number of ways, such as novelty, utility, applicability, anticipation, surprise, challenge, feedback and closure (DeLong & Winter 2002).
Extrinsic motivation comes from external sources, such as material rewards, parental expectations, achievement of grades or avoidance of punishment. It is not so effective in the long term and can be seen to be disadvantageous. Striking a happy medium between intrinsic and extrinsic motivation may be the answer, with a definite emphasis on intrinsic.
Dreikurs advocates the avoidance of giving rewards as students can come to expect some material response (lollies, gifts, etc) whenever they do well or as a bribe to do better. Their self determination can also be decreased as a result of expecting rewards as outcomes. Instead, intrinsic motivation should be encouraged so that the act of learning itself is the reward. The aha! Experience. Recognising effort rather than praising an outcome, can help motivate a student to persevere independently with enjoyment and takes the focus off competing.
The SCORE theory (Strong, Silver & Robinson 1995) claims to go beyond intrinsic and extrinsic motivation theories which have apparently been extensively debated and researched. This anagram stands for Success, Curiosity, Originality, Relationships and Energy and aims to "combine acheivement and artistry" and value high standards.
Activities that help improve a person's self esteem and don't involve competitiveness are ideal. Self image can be a concern, where one may not make an effort due to seeing oneself as a failure or because it's not "cool". "Surface learners" will do the minimum required in order to not be seen as a failure. They can be helped through scaffolding tasks so that success can be built on what has been learnt before. Collaborative groupwork, such as the jigsaw method, is a great learning and motivational technique. Students see that their efforts and contributions are integral to the process and their talents are utilised and exhibited.
Glasser says students are driven by five needs, those of survival, belonging, freedom, choice and fun. He deems it helpful to ensure these needs are met in the classroom and identify and help those students whose needs that aren't being met. One can provide opportunities for choice, self responsibility and control. If students have a sense of ownership of a problem, or control over the situation, they are more likely to engage (deCharms 1984, Deci 1980, Hackman and Oldham1980).
Weiner's Attribution theory (1980, 1992) incorporates cognitive theory and self efficacy theory and categorises perceived reasons for success or failure which are effort, ability (internal), luck and task difficulty (external).
Howard Gardner's findings on multiple intelligences helps inform a teacher to tap into a student's optimum way of learning, thus appealing to strengths and arousing interest. He acknowledges the importance of relevance, that school work needs to relate to life beyond school.
Gagnes' events of instruction provide a structure that can be combined with John Keller's ARCS Motivation Theory. ARC stands for four major categories of motivational strategies: Attention, Relevance, Confidence, and Satisfaction.
Dreikurs considers family constellation as important background knowledge for a teacher and Glasser stresses the importance of quality relationships. Getting to know a student personally gives one more ways into the student's culture and world. This information can be combined with different learning styles and strategies to make learning material relevant and interesting to the student, thus serving as a motivational force.
Charles and Senter (Elementary classroom management p 72-3) look at reasons why people won't do what is required of them. That is, they don't know the what, how or why of the activity, they're not matched to the task or they simply don't want to. These findings indicate the importance of giving clear and detailed instructions (Kearsley 2001) including clear criteria for success (Tibenirs 1990), making sure tasks are suitable in that they are age appropriate, build on prior learning and take into account a student's main intelligence, and presenting tasks in an interesting way.
"Interesting" can include novelty, mystery, puzzlement, excitement, colour, sound and movement. Curiosity can be aroused by presenting inconsistent or incongruous information. Tony Ryan (1990), in Michael Pohl's book, devised "thinkers keys", different question starters to promote analytical, critical and creative thinking. For example different uses of an object, alternative ways of completing a task, what can be done without the use of the usual tools, start with the answer and figure out five questions for it and brainstorming.
A teacher needs to emanate charisma, enthusiam, confidence, trust, support and care in order to inspire motivation. Developing mutual respect within the group is paramount (Glasser, Dreikurs, Kagan). Teachers can capitalise on a student's need to seek new experiences, perfect skills, overcome challenges, succeed, be involved and interact (Forsyth & McMillan 1991). One can feel satisfied and rewarded when these needs are fulfilled.
Teachers can model the behaviour they wish students to adopt, such as a positive attitude, avoiding negativity, being motivated, hard working and committed with high yet realistic expectations. Tasks need to be challenging yet acheivable, provide early opportunities for success, involve increasing difficulty and focus on continued improvement. Self evaluation, where students can critique their strengths and weaknesses, helps improve self motivation (Lowman 1990, Forsyth & McMillan 1991).
Feedback needs to be carefully worded, such as illustrated by DESCA ("teacher messages to inspire new growth in dignity,energy, self management, community and awareness, Marsh 2004. Techniques such as "I appreciate you" and "I'm with you" messages, and plainly stating what is correct or incorrect are ways of giving effective feedback.
Choice and variety (Ames & Ames, Forsyth & McMillan, Lowman, Glasser) play a great part in helping motivate students. If a student is given a choice on what and how to learn he will be motivated to follow his instincts and complete work that he perceives to be worth doing.
Material can be presented in different ways where students are active participants such as role play, demonstration, multi media, debate, brainstorming and partner or group projects. Students can do, make, write, design, create, solve, illustrate. Also, assign breaks, order things differently, use the voice in interesting ways and impart the concept of freedom and responsibility.
If the classroom climate is caring and supportive with a sense of belonging, acceptance and mutual respect, students are more likely to actively engage (Brophy) Glasser and Dreikurs acknowledge a student's need and desire to belong. It's the teacher's role to help each student feel as though they belong by providing a safe, comfortable environment for fun and effective learning and providing social, collaborative learning situations. Presenting interesting and challenging group projects in an optimum learning environment are basic motivational strategies.
A good balance of routine mixed with the unexpected helps keep students grounded and "on their toes". A strict time structure to complete a task is a great motivator, for example a five second countdown to form a circle or reach a state of quiet, two minutes to discuss with a partner how to present a concept, complete the set task by the end of the lesson, etc.
Giving explicit instructions, having all the class decide on the rules and logical consequences (not punishments), encouraging self responsibility, independence and self evaluation comprise not only preventative discipline strategies but are motivational strategies as well (Dreikurs).
A teacher needs to be aware of being a motivational force in learning. How she presents herself, the environment and the learning material and how she communicates with and facilitates the group are all crucial factors. As Brophy says
"It is essential for teachers to view themselves as active socialisation agents capable of stimulating...student motivation to learn".
REFERENCES
Ames, Carole A.
"Motivation: What Teachers Need to Know." TEACHERS COLLEGE RECORD 91, 3 (Spring 1990): 409-21.
Brophy, Jere.
ON MOTIVATING STUDENTS. Occasional Paper No. 101. East Lansing, Michigan: Institute for Research on Teaching, Michigan State University, October 1986. 73 pages. ED 276 724.
Carol M. Charles, Gail W. Senter
Elementary Classroom Management (4th Edition) (ISBN: 0205412661)
cvc3.coastline.edu/Telelearning2001Web/Motivation.htm
www.educationessentials.com
www.ferris.edu/HTMLS/academics/center/ Teaching_and_Learning_Tips/Motivation/Keller%92sModel.htm
www.kidsource.com/kidsource/content2/Student_Motivatation.html
Marsh, Colin
Becoming a teacher 2004
Matt DeLong and Dale Winter,
Learning to Teaching and Teaching to Learn Mathematics: Resources for Professional Development,
Mathematical Association of America, 2002, page 168.
www.middleweb.com/StdntMotv.html
Pohl, Michael
Infusing thinking into the middle years : English, performing & visual arts & LOTE : a
resource book for teachers / Michael Pohl.
Cheltenham, Vic. : Hawker Brownlow Education, 2002.
1-7402-5620-4
www.vanderbilt.edu/cft/resources/teaching_resources/interactions/motivating.htm
Motivation is a neccesary ingredient for learning. If one is not interested or engaged, one is not likely to pay attention or give the focus required to consolidate and integrate new information and ideas.
Motivation can come from within, from a natural curiosity and joy of learning that may have been fostered in the home, from self esteem and confidence that makes people unafraid of "having a go" and flexing their abilities, from a genuine interest or love for the topic, a perceived need to learn or a chance to extract personal satisfaction. A sense of satisfaction or accomplishment are also sources of "intrinsic" motivation.
To encourage intrinsic motivation, which is beneficial as it fosters longer lasting and self sustaining efforts, one can focus on the subject, expressing one's own passion for the subject and discovering more about the student and therefore how they might develop their own interest. One can place less emphasis on grades and more on students' efforts and the learning process. One can encourage students interest in a subject by appealing to them in a number of ways, such as novelty, utility, applicability, anticipation, surprise, challenge, feedback and closure (DeLong & Winter 2002).
Extrinsic motivation comes from external sources, such as material rewards, parental expectations, achievement of grades or avoidance of punishment. It is not so effective in the long term and can be seen to be disadvantageous. Striking a happy medium between intrinsic and extrinsic motivation may be the answer, with a definite emphasis on intrinsic.
Dreikurs advocates the avoidance of giving rewards as students can come to expect some material response (lollies, gifts, etc) whenever they do well or as a bribe to do better. Their self determination can also be decreased as a result of expecting rewards as outcomes. Instead, intrinsic motivation should be encouraged so that the act of learning itself is the reward. The aha! Experience. Recognising effort rather than praising an outcome, can help motivate a student to persevere independently with enjoyment and takes the focus off competing.
The SCORE theory (Strong, Silver & Robinson 1995) claims to go beyond intrinsic and extrinsic motivation theories which have apparently been extensively debated and researched. This anagram stands for Success, Curiosity, Originality, Relationships and Energy and aims to "combine acheivement and artistry" and value high standards.
Activities that help improve a person's self esteem and don't involve competitiveness are ideal. Self image can be a concern, where one may not make an effort due to seeing oneself as a failure or because it's not "cool". "Surface learners" will do the minimum required in order to not be seen as a failure. They can be helped through scaffolding tasks so that success can be built on what has been learnt before. Collaborative groupwork, such as the jigsaw method, is a great learning and motivational technique. Students see that their efforts and contributions are integral to the process and their talents are utilised and exhibited.
Glasser says students are driven by five needs, those of survival, belonging, freedom, choice and fun. He deems it helpful to ensure these needs are met in the classroom and identify and help those students whose needs that aren't being met. One can provide opportunities for choice, self responsibility and control. If students have a sense of ownership of a problem, or control over the situation, they are more likely to engage (deCharms 1984, Deci 1980, Hackman and Oldham1980).
Weiner's Attribution theory (1980, 1992) incorporates cognitive theory and self efficacy theory and categorises perceived reasons for success or failure which are effort, ability (internal), luck and task difficulty (external).
Howard Gardner's findings on multiple intelligences helps inform a teacher to tap into a student's optimum way of learning, thus appealing to strengths and arousing interest. He acknowledges the importance of relevance, that school work needs to relate to life beyond school.
Gagnes' events of instruction provide a structure that can be combined with John Keller's ARCS Motivation Theory. ARC stands for four major categories of motivational strategies: Attention, Relevance, Confidence, and Satisfaction.
Dreikurs considers family constellation as important background knowledge for a teacher and Glasser stresses the importance of quality relationships. Getting to know a student personally gives one more ways into the student's culture and world. This information can be combined with different learning styles and strategies to make learning material relevant and interesting to the student, thus serving as a motivational force.
Charles and Senter (Elementary classroom management p 72-3) look at reasons why people won't do what is required of them. That is, they don't know the what, how or why of the activity, they're not matched to the task or they simply don't want to. These findings indicate the importance of giving clear and detailed instructions (Kearsley 2001) including clear criteria for success (Tibenirs 1990), making sure tasks are suitable in that they are age appropriate, build on prior learning and take into account a student's main intelligence, and presenting tasks in an interesting way.
"Interesting" can include novelty, mystery, puzzlement, excitement, colour, sound and movement. Curiosity can be aroused by presenting inconsistent or incongruous information. Tony Ryan (1990), in Michael Pohl's book, devised "thinkers keys", different question starters to promote analytical, critical and creative thinking. For example different uses of an object, alternative ways of completing a task, what can be done without the use of the usual tools, start with the answer and figure out five questions for it and brainstorming.
A teacher needs to emanate charisma, enthusiam, confidence, trust, support and care in order to inspire motivation. Developing mutual respect within the group is paramount (Glasser, Dreikurs, Kagan). Teachers can capitalise on a student's need to seek new experiences, perfect skills, overcome challenges, succeed, be involved and interact (Forsyth & McMillan 1991). One can feel satisfied and rewarded when these needs are fulfilled.
Teachers can model the behaviour they wish students to adopt, such as a positive attitude, avoiding negativity, being motivated, hard working and committed with high yet realistic expectations. Tasks need to be challenging yet acheivable, provide early opportunities for success, involve increasing difficulty and focus on continued improvement. Self evaluation, where students can critique their strengths and weaknesses, helps improve self motivation (Lowman 1990, Forsyth & McMillan 1991).
Feedback needs to be carefully worded, such as illustrated by DESCA ("teacher messages to inspire new growth in dignity,energy, self management, community and awareness, Marsh 2004. Techniques such as "I appreciate you" and "I'm with you" messages, and plainly stating what is correct or incorrect are ways of giving effective feedback.
Choice and variety (Ames & Ames, Forsyth & McMillan, Lowman, Glasser) play a great part in helping motivate students. If a student is given a choice on what and how to learn he will be motivated to follow his instincts and complete work that he perceives to be worth doing.
Material can be presented in different ways where students are active participants such as role play, demonstration, multi media, debate, brainstorming and partner or group projects. Students can do, make, write, design, create, solve, illustrate. Also, assign breaks, order things differently, use the voice in interesting ways and impart the concept of freedom and responsibility.
If the classroom climate is caring and supportive with a sense of belonging, acceptance and mutual respect, students are more likely to actively engage (Brophy) Glasser and Dreikurs acknowledge a student's need and desire to belong. It's the teacher's role to help each student feel as though they belong by providing a safe, comfortable environment for fun and effective learning and providing social, collaborative learning situations. Presenting interesting and challenging group projects in an optimum learning environment are basic motivational strategies.
A good balance of routine mixed with the unexpected helps keep students grounded and "on their toes". A strict time structure to complete a task is a great motivator, for example a five second countdown to form a circle or reach a state of quiet, two minutes to discuss with a partner how to present a concept, complete the set task by the end of the lesson, etc.
Giving explicit instructions, having all the class decide on the rules and logical consequences (not punishments), encouraging self responsibility, independence and self evaluation comprise not only preventative discipline strategies but are motivational strategies as well (Dreikurs).
A teacher needs to be aware of being a motivational force in learning. How she presents herself, the environment and the learning material and how she communicates with and facilitates the group are all crucial factors. As Brophy says
"It is essential for teachers to view themselves as active socialisation agents capable of stimulating...student motivation to learn".
REFERENCES
Ames, Carole A.
"Motivation: What Teachers Need to Know." TEACHERS COLLEGE RECORD 91, 3 (Spring 1990): 409-21.
Brophy, Jere.
ON MOTIVATING STUDENTS. Occasional Paper No. 101. East Lansing, Michigan: Institute for Research on Teaching, Michigan State University, October 1986. 73 pages. ED 276 724.
Carol M. Charles, Gail W. Senter
Elementary Classroom Management (4th Edition) (ISBN: 0205412661)
cvc3.coastline.edu/Telelearning2001Web/Motivation.htm
www.educationessentials.com
www.ferris.edu/HTMLS/academics/center/ Teaching_and_Learning_Tips/Motivation/Keller%92sModel.htm
www.kidsource.com/kidsource/content2/Student_Motivatation.html
Marsh, Colin
Becoming a teacher 2004
Matt DeLong and Dale Winter,
Learning to Teaching and Teaching to Learn Mathematics: Resources for Professional Development,
Mathematical Association of America, 2002, page 168.
www.middleweb.com/StdntMotv.html
Pohl, Michael
Infusing thinking into the middle years : English, performing & visual arts & LOTE : a
resource book for teachers / Michael Pohl.
Cheltenham, Vic. : Hawker Brownlow Education, 2002.
1-7402-5620-4
www.vanderbilt.edu/cft/resources/teaching_resources/interactions/motivating.htm
Friday, June 15, 2007
UNDERSTANDING AND MANAGING ADOLESCENTS EXAM
1. HOW TO ACT IN A CLASSROOM TO ENSURE GLASSER'S 5 DRIVERS IN YEAR 9 STUDENTS ARE MET AND THUS ALLOW EFFECTIVE LEARNING TO TAKE PLACE
Ah Year 9s, bless them in their socially, emotionally challenged ways and heightened sexual awareness phase. One must definitely have one's sense of humour intact and be switched on to what they're switched onto. Yes, learning needs to be fun, culturally relevant and social so that students feel connected and a sense of belonging.
It is vital to establish class rules. These can be devised by both teacher and students, again to foster a feeling of being part of a group and having responsible input into school life. The KISS method is advised (Keep It Simple Sweetheart) and phrase expectations in the postive, e.g. keep noise level to a minimum, respect each other.
One could do well to adopt Glasser's 7 caring habiits (supporting, encouraging), listening, accepting, trusting, respecting, negotiating differences) and incorporate into class rules the avoidance of the 7 deadly habits (criticising, blaming, complaining, nagging, threatening, punishing, bribing/rewarding o control).
Students should also be involved in deciding consequences so they may gain an understanding of logical results for inappropriate behaviour, feel involved in the process and adopt ownership for their actions and class rules. Students can be taught to be responsible for their own behaviour and to be able to personally control themselves
An interesting, well planned and enthusiastically presented lesson will help to provide structure and motivation, therefore keeping students on track. Give explicit instructions on what, how, why, when an activity is to be achieived. Cooperative learning strategies such as group based projects allow students to work, acheive and evaluate as a team which provides for deeper learning.
Asking for students to talk or write about their own interests, likes and dislikes, helps inform the teacher on how to make content accessible and relevant and tasks satisfying and fun. A teacher of year 9 needs to have many interesting and challenging activities in order to keep the momentum going so students may not utter those three unmagic words "This is boring". Students can choose their own learning objectives which helps them self-regulate and take on the responsibility to commit to working towards those objectives.
Adolescents need to be given a sense of freedom and with it, a sense of responsibility. They should be given oppprtunities to give feedback about their lessons and give suggestions which may then be followed through. Discussion time may also reveal misunderstandings that can be cleared up (e.g. S: why do I have to learn G scale it's so boring? T: the melody in that song you want to learn is based on that scale so you will know all the notes).
Encouraging students for their efforts is important so that students feel recognised, accepted and have a sense of belonging.
It is necessary to praise the deed not the doer.
2. HOW TO STRUCTURE A LESSON SO THAT STUDENTS ARE REALLY ENGAGED IN THEIR LEARNING AND THE UNDERPINNING MOTIVATIONAL THEORIES
Structure is the key! Have the lesson well prepared with motivational factors woven in. An exciting, interesting, novel start to a lesson can help gain students attention (Gagne) and arouse their interest. A good beginning also includes explicitly stating what the lesson will be about and what students are required to complete by the end of it. The lesson topic may also be related to the subject's "bigger picture".
Who am I teaching? Consider the poplulation, a generation Y mob capable of multitasking in a modern technological age. Material should be socially relevant and connected to school culture, or "habitus" (Durkheim).
Lessons can incorporate some degree of computer technology so that students gain ongoing skills and confidence in this area through awareness of cyber networking and digital learning. Connectivism, as proposed by Durkheim and Siemens, recognises that effective planning addresses different domains of learning and e-learning can provide important integrated experiences.
Students need to be encouraged, gain a sense of subject relevance, think that a task is worth doing and assured they can complete it (value and expectancy variables were found to motivate students by Pintrich and Degroot 1990). The latter researchers also advocate helping students explore a personal connection to work. This can be incorporated into the lesson by group discussions with well chosen questions and individual coaching.
Use time management wisely, in estimating task/project time, and balancing teacher centred and student centred learning.
A lesson can be structured to ensure the basic 5 needs are met (Maslow, Glasser):
Survival: make sure the learning environment is safe, comfortable and conducive to learning
Love, belonging, acceptance: foster a sense of belonging and respect via modelling behaviour, groupwork and class made rules. Also make it known that it's ok to make mistakes (Turney). Work on nurturing and deepening relationships between students, and teacher and student.
Power, recognition: Set acheivable yet challenging goals and create opportunities for positive or constructive student and teacher feedback
Freedom: Include many opportunities for choice, such as choosing one's own objectives
Fun: Aha! make the activities fun and interesting. Have a sense of humour and be entertaining.
(These qualities also relate to those of expert teachers, Hattie)
To ensure that tasks are developmentally appropriate one can refer to Piaget:is the student still in concrete operational or formal operational and capable of abstract thought? what are their current schemes of knowledge and how can they be built upon/modified? Create culturally relevant social learning situations such as initiating a discussion revolving around the students interests in relation to the topic.
Consider students' prior knowledge and existing skills and the zone of proximal development can then come into play (Vygotsky). Also cater for different intelligences (Gardner) and learning strategies and use Bloom's taxonomy to identify
key questions and structure activities.
Jigsaw is a great groupwork strategy where students can connect and work with some autonomy. Unusual, challenging tasks that stimulate curiosity can be undertaken (Smith and Ragan).
Throughout the lesson, the teacher can model enthusiasm, passion and a "we can do this" attitude, foster an atmosphere of fun and self worth and stimulate intrinsic motivation. Strategies include presenting unfamiliar examples, novel situations and case studies and encouraging students to be pleased with the acheivement of a step, a task (the yippee! factor), or praising their efforts.
Brophy theorised that teachers need to view themselves as active socialisation agents who can stimulate and motivate students to learn and Kounin says to keep the momentum going by smooth transitions between the introduction, activities and closure.
Strong, Silver and Robinson developed the SCORE method: success, curiosity, originality and relationships with energy. By clearly stating or showing what is to be acheived and how, along with an expectation of mastery (Hattie) students can feel successful once they've completed a task. Arousing curiosity can be done by presenting incongruous material and connecting subject matter to student's personal lives. Also, Tony Ryan devised Thinkers Keys designed to motivate and engage students, such as asking a ridiculous question, brainstorming, considering the reverse and what if? Originality comes from encouraging students' self expression and relationships obviously from partner work and group work.
Incorporate questions, breaks and surprises, address lulls in attention and application in a firm and friendly manner and give immediate feedback.
Provide adequate closure by critically reflecting on the process and what has been acheived (such as related to Bloom's Taxonomy). Give pointers for the future, perhaps a taster for what is to come next time or a reminder about work that needs to be completed.
3. HOW TO USE THE RESTORATIVE JUSTICE MODEL TO DEAL WITH AN INCIDENT IN CLASS WHERE A STUDENT IS BEING PUSHED, NAME CALLED AND EXCLUDED FROM THE GROUP
Identify the issues by being an active listener to clarify what has happened and, without blame, find out who is involved.
Restorative justice aims to develop empathy and a shared concern for others. I would ask the "victim" if it's okay to deal with the situation with the class/group and for her/him to support and have faith in this process. I would ask all those involved to consent to solving the problem without blame, interrogation or labeling.
There are four main, non punitive measures and in this case, a formal apology would seem appropriate.
Make the issue inclusive by bringing everyone together and respectfully help students understand the importance of group harmony through questions and open discussion. This might include how do you like to be treated by others, what do we need in place to feel safe and accepted and therefore able to get on with learning, and an exploration of the concept of expect respect.
Refer to school policy and basic human rights on physical safety and boundaries and what is unacceptable behaviour.
Ascertain that the students have a problem to be solved and that perpertrators need to specifically name it to the offended person. Persons responsible for the bullying would be asked to name a time to make a formal apology.
The student/s making the apology are then asked to name their specific offence, explain why it was committed and that it was out of character and won't happen again. The victim needs to be assured that it wasn't meant to be taken personally and shown genuine regret for the behaviour.
As the teacher, encourage the students to understand the situation and have the confidence and courage to communicate authentically and impart a heartfelt apology.
4. MY FUNDAMENTAL IDEAS ABOUT THE NATURE OF EDUCATION AND CLASSROOM MANAGEMENT
It's all about fun, freedom and self expression! As my area of specialisation is music these factors can easily come into play. We can all have a good time and learn cognitively, musically, intuitively, socially, spiritually. I am blessed to work in a progressive school that encourages individuality and recognises the value of creative expression.
My background in music therapy contributes to my view as perceiving a positive relationship with a student as priority. I am interested in helping build self confidence and facilitating appropriate social behaviour while meeting educational needs and requirements. Discipline is derived from disciple and I see myself in service to the young people I work with and their wellbeing.
I find learning and teaching a constant cycle. As a teacher I am always learning and get a buzz from seeing kids grow in their understanding, skills and personalities. By feeling my own joy of learning and participating in group activities I can appreciate the simple yet effective ways learning can occur.
Studying this Dip Ed has rekindled my joy of learning and using my brain. I am still developing my style, but so far I am particularly inspired by what it takes to be an expert teacher according to hattie's findings and happily recognise some of those qualities in myself, such as a passion for my subject and an ability to improvise, and I aspire to develop in other areas.
Ideally I love to be organised and appreciate the value of planning. Within structure freedom can be created. I enjoy the challenge of "winging it" or having to improvise due to unforseen circumstances, or being able to immediately accomodate the students' interests and suggestions (I don't like that song/it's too hard, can we do this one?).
Finding the humour and the joy and connecting with each other are important ingredients for learning and teaching. I find Glasser interesting as he developed a therapeutic approach for adolescents that emphasises quality relationships and the here and now. Self awareness and self responsibility are also important qualities to foster in an educational setting that are also important qualities for life.
Music itself is a motivator and provides structure that can attribute to classroom management. It's great if musical activities are well chosen and serve to keep students involved and interested. Of course there will always be behavioural disturbances and I enjoy seeing how other teachers maintain group cohesion. Effective strategies I have used include counting backwards from 5 or 10 so that students are on task by zero and counting in to indicate the music is to begin (and the chatting therefore needs to stop).
I recognise that not all methods work every time and it is important to be adaptable and intuitive as to what the situation needs. Looking at Dreikurs' democratic theory, to avoid giving attention to attention seekers, except for acknowledging appropriate behaviour is good idea but not always easy in practice. However to address the situation immediately instead of allowing a lesson to be continually disrupted is essential practice. To remember to respect the disruptive student while attempting to remedy the situation is important.
While it's great to be able to stay calm in all situations, I feel that sometimes a student, particularly a repeat offender, needs a short sharp rebuke, perhaps followed by an indication from the teacher that she/he is still loved an accepted. Mostly I gravitate towards Glasser and the Pain model for discipline guidance. I find particularly helpful Glasser's caring and deadly habits.
Personally I derive much of my inspiration and ideas from my drama training, from two teachers in particular. My favourite rule from those days is "Love yourself no matter what".
Ah Year 9s, bless them in their socially, emotionally challenged ways and heightened sexual awareness phase. One must definitely have one's sense of humour intact and be switched on to what they're switched onto. Yes, learning needs to be fun, culturally relevant and social so that students feel connected and a sense of belonging.
It is vital to establish class rules. These can be devised by both teacher and students, again to foster a feeling of being part of a group and having responsible input into school life. The KISS method is advised (Keep It Simple Sweetheart) and phrase expectations in the postive, e.g. keep noise level to a minimum, respect each other.
One could do well to adopt Glasser's 7 caring habiits (supporting, encouraging), listening, accepting, trusting, respecting, negotiating differences) and incorporate into class rules the avoidance of the 7 deadly habits (criticising, blaming, complaining, nagging, threatening, punishing, bribing/rewarding o control).
Students should also be involved in deciding consequences so they may gain an understanding of logical results for inappropriate behaviour, feel involved in the process and adopt ownership for their actions and class rules. Students can be taught to be responsible for their own behaviour and to be able to personally control themselves
An interesting, well planned and enthusiastically presented lesson will help to provide structure and motivation, therefore keeping students on track. Give explicit instructions on what, how, why, when an activity is to be achieived. Cooperative learning strategies such as group based projects allow students to work, acheive and evaluate as a team which provides for deeper learning.
Asking for students to talk or write about their own interests, likes and dislikes, helps inform the teacher on how to make content accessible and relevant and tasks satisfying and fun. A teacher of year 9 needs to have many interesting and challenging activities in order to keep the momentum going so students may not utter those three unmagic words "This is boring". Students can choose their own learning objectives which helps them self-regulate and take on the responsibility to commit to working towards those objectives.
Adolescents need to be given a sense of freedom and with it, a sense of responsibility. They should be given oppprtunities to give feedback about their lessons and give suggestions which may then be followed through. Discussion time may also reveal misunderstandings that can be cleared up (e.g. S: why do I have to learn G scale it's so boring? T: the melody in that song you want to learn is based on that scale so you will know all the notes).
Encouraging students for their efforts is important so that students feel recognised, accepted and have a sense of belonging.
It is necessary to praise the deed not the doer.
2. HOW TO STRUCTURE A LESSON SO THAT STUDENTS ARE REALLY ENGAGED IN THEIR LEARNING AND THE UNDERPINNING MOTIVATIONAL THEORIES
Structure is the key! Have the lesson well prepared with motivational factors woven in. An exciting, interesting, novel start to a lesson can help gain students attention (Gagne) and arouse their interest. A good beginning also includes explicitly stating what the lesson will be about and what students are required to complete by the end of it. The lesson topic may also be related to the subject's "bigger picture".
Who am I teaching? Consider the poplulation, a generation Y mob capable of multitasking in a modern technological age. Material should be socially relevant and connected to school culture, or "habitus" (Durkheim).
Lessons can incorporate some degree of computer technology so that students gain ongoing skills and confidence in this area through awareness of cyber networking and digital learning. Connectivism, as proposed by Durkheim and Siemens, recognises that effective planning addresses different domains of learning and e-learning can provide important integrated experiences.
Students need to be encouraged, gain a sense of subject relevance, think that a task is worth doing and assured they can complete it (value and expectancy variables were found to motivate students by Pintrich and Degroot 1990). The latter researchers also advocate helping students explore a personal connection to work. This can be incorporated into the lesson by group discussions with well chosen questions and individual coaching.
Use time management wisely, in estimating task/project time, and balancing teacher centred and student centred learning.
A lesson can be structured to ensure the basic 5 needs are met (Maslow, Glasser):
Survival: make sure the learning environment is safe, comfortable and conducive to learning
Love, belonging, acceptance: foster a sense of belonging and respect via modelling behaviour, groupwork and class made rules. Also make it known that it's ok to make mistakes (Turney). Work on nurturing and deepening relationships between students, and teacher and student.
Power, recognition: Set acheivable yet challenging goals and create opportunities for positive or constructive student and teacher feedback
Freedom: Include many opportunities for choice, such as choosing one's own objectives
Fun: Aha! make the activities fun and interesting. Have a sense of humour and be entertaining.
(These qualities also relate to those of expert teachers, Hattie)
To ensure that tasks are developmentally appropriate one can refer to Piaget:is the student still in concrete operational or formal operational and capable of abstract thought? what are their current schemes of knowledge and how can they be built upon/modified? Create culturally relevant social learning situations such as initiating a discussion revolving around the students interests in relation to the topic.
Consider students' prior knowledge and existing skills and the zone of proximal development can then come into play (Vygotsky). Also cater for different intelligences (Gardner) and learning strategies and use Bloom's taxonomy to identify
key questions and structure activities.
Jigsaw is a great groupwork strategy where students can connect and work with some autonomy. Unusual, challenging tasks that stimulate curiosity can be undertaken (Smith and Ragan).
Throughout the lesson, the teacher can model enthusiasm, passion and a "we can do this" attitude, foster an atmosphere of fun and self worth and stimulate intrinsic motivation. Strategies include presenting unfamiliar examples, novel situations and case studies and encouraging students to be pleased with the acheivement of a step, a task (the yippee! factor), or praising their efforts.
Brophy theorised that teachers need to view themselves as active socialisation agents who can stimulate and motivate students to learn and Kounin says to keep the momentum going by smooth transitions between the introduction, activities and closure.
Strong, Silver and Robinson developed the SCORE method: success, curiosity, originality and relationships with energy. By clearly stating or showing what is to be acheived and how, along with an expectation of mastery (Hattie) students can feel successful once they've completed a task. Arousing curiosity can be done by presenting incongruous material and connecting subject matter to student's personal lives. Also, Tony Ryan devised Thinkers Keys designed to motivate and engage students, such as asking a ridiculous question, brainstorming, considering the reverse and what if? Originality comes from encouraging students' self expression and relationships obviously from partner work and group work.
Incorporate questions, breaks and surprises, address lulls in attention and application in a firm and friendly manner and give immediate feedback.
Provide adequate closure by critically reflecting on the process and what has been acheived (such as related to Bloom's Taxonomy). Give pointers for the future, perhaps a taster for what is to come next time or a reminder about work that needs to be completed.
3. HOW TO USE THE RESTORATIVE JUSTICE MODEL TO DEAL WITH AN INCIDENT IN CLASS WHERE A STUDENT IS BEING PUSHED, NAME CALLED AND EXCLUDED FROM THE GROUP
Identify the issues by being an active listener to clarify what has happened and, without blame, find out who is involved.
Restorative justice aims to develop empathy and a shared concern for others. I would ask the "victim" if it's okay to deal with the situation with the class/group and for her/him to support and have faith in this process. I would ask all those involved to consent to solving the problem without blame, interrogation or labeling.
There are four main, non punitive measures and in this case, a formal apology would seem appropriate.
Make the issue inclusive by bringing everyone together and respectfully help students understand the importance of group harmony through questions and open discussion. This might include how do you like to be treated by others, what do we need in place to feel safe and accepted and therefore able to get on with learning, and an exploration of the concept of expect respect.
Refer to school policy and basic human rights on physical safety and boundaries and what is unacceptable behaviour.
Ascertain that the students have a problem to be solved and that perpertrators need to specifically name it to the offended person. Persons responsible for the bullying would be asked to name a time to make a formal apology.
The student/s making the apology are then asked to name their specific offence, explain why it was committed and that it was out of character and won't happen again. The victim needs to be assured that it wasn't meant to be taken personally and shown genuine regret for the behaviour.
As the teacher, encourage the students to understand the situation and have the confidence and courage to communicate authentically and impart a heartfelt apology.
4. MY FUNDAMENTAL IDEAS ABOUT THE NATURE OF EDUCATION AND CLASSROOM MANAGEMENT
It's all about fun, freedom and self expression! As my area of specialisation is music these factors can easily come into play. We can all have a good time and learn cognitively, musically, intuitively, socially, spiritually. I am blessed to work in a progressive school that encourages individuality and recognises the value of creative expression.
My background in music therapy contributes to my view as perceiving a positive relationship with a student as priority. I am interested in helping build self confidence and facilitating appropriate social behaviour while meeting educational needs and requirements. Discipline is derived from disciple and I see myself in service to the young people I work with and their wellbeing.
I find learning and teaching a constant cycle. As a teacher I am always learning and get a buzz from seeing kids grow in their understanding, skills and personalities. By feeling my own joy of learning and participating in group activities I can appreciate the simple yet effective ways learning can occur.
Studying this Dip Ed has rekindled my joy of learning and using my brain. I am still developing my style, but so far I am particularly inspired by what it takes to be an expert teacher according to hattie's findings and happily recognise some of those qualities in myself, such as a passion for my subject and an ability to improvise, and I aspire to develop in other areas.
Ideally I love to be organised and appreciate the value of planning. Within structure freedom can be created. I enjoy the challenge of "winging it" or having to improvise due to unforseen circumstances, or being able to immediately accomodate the students' interests and suggestions (I don't like that song/it's too hard, can we do this one?).
Finding the humour and the joy and connecting with each other are important ingredients for learning and teaching. I find Glasser interesting as he developed a therapeutic approach for adolescents that emphasises quality relationships and the here and now. Self awareness and self responsibility are also important qualities to foster in an educational setting that are also important qualities for life.
Music itself is a motivator and provides structure that can attribute to classroom management. It's great if musical activities are well chosen and serve to keep students involved and interested. Of course there will always be behavioural disturbances and I enjoy seeing how other teachers maintain group cohesion. Effective strategies I have used include counting backwards from 5 or 10 so that students are on task by zero and counting in to indicate the music is to begin (and the chatting therefore needs to stop).
I recognise that not all methods work every time and it is important to be adaptable and intuitive as to what the situation needs. Looking at Dreikurs' democratic theory, to avoid giving attention to attention seekers, except for acknowledging appropriate behaviour is good idea but not always easy in practice. However to address the situation immediately instead of allowing a lesson to be continually disrupted is essential practice. To remember to respect the disruptive student while attempting to remedy the situation is important.
While it's great to be able to stay calm in all situations, I feel that sometimes a student, particularly a repeat offender, needs a short sharp rebuke, perhaps followed by an indication from the teacher that she/he is still loved an accepted. Mostly I gravitate towards Glasser and the Pain model for discipline guidance. I find particularly helpful Glasser's caring and deadly habits.
Personally I derive much of my inspiration and ideas from my drama training, from two teachers in particular. My favourite rule from those days is "Love yourself no matter what".
INTRODUCTION TO TEACHING SKILLS (SECONDARY) EXAM
1. HOW TO SELECT AND APPLY A RANGE OF INSTRUCTIONAL STRATEGIES AND RESOURCES FOR A MUSIC LESSON
Using the nsw board of studies syllabus, the school curriculum and drawing on my own interests, I would formulate an outcome to be acheived. This would be age appropriate and culturally relevant and of interest to the target population and involve one or more of the three main areas of music learning experiences: listening, performing and composing. For example, for a student to perform solo and/or ensemble music with an awareness of song structure.
I would consider what musical skills and knowledge students already possess that they can bring to the lesson and how far these might be extended in one or more lessons involving the topic (i.e. looking at prior learning and Vygotsky's Zone of Proximal Development).
Following the above example, I would select songs possibly in a range of styles with one or more features that make them accessible to the students, such as a simple chord structure, a catchy riff, a well known tune, a fun chorus, a basic bassline. Where possible I would have recordings of the songs or know how to access them (such as on youtube) and be able to play and sing the different parts.
I would prepare some visual representation of the song such as a chord chart, a notated rhythm and/or melody, guitar tab, a labelled pictorial keyboard.
As Hattie refers to expert teachers having an integrated approach and deep understanding of one's subject area, and being already passionate about music, I would reflect on and gather information that relates to the songs such as the songwriters and performers - who are they and what's interesting about their playing/lyrics/style/life path/practice schedule, etc. that might help stimulate students to learn.
As well as having ready information on style, content and cultural aspects, I would collate questions to arouse interest and encourage discussion such as who is your favourite singer/musician/songwriter?, what singer songwriters are doing well publicly in Australia at the moment?, what is your favourite tune at the moment? can you identify what musical elements in the song appeal to you? Do you know how to access chord charts from the web? By asking these questions, a social experience has begun (which will later lead to a musical experience), students' interests and perceptions become evident and hopefully thay are having fun and have a sense of belonging (Glasser).
I would prepare Advanced Organisers (Ausubel) that can help integrate new material with old, e.g. the chord structure for "Let it be" is the same as "Where is the Love" with one new chord in the chorus.
The main activty, to prepare a song to perform, could get underway. If students are for some reason uncomfortable playing or find it too challenging, they may be given other duties such as drawing up chord charts, helping set up or maintain equipment, writing lyrics on the board, or doing some related computer based task such as researching songs on youtube or composing in garage band, etc. Students have the opportunity to gravitate towards an instrument they can already play or become interested in learning a new skill (freedom).
The lesson would be flexible so as to accomodate for everyone learning one song or small groups or individuals learning different songs. Also, they could choose their own song to play or even write one if they possess enough musicianship, confidence and desire (more freedom) .
Gardner's Multiple Intelligences are well engaged in music making, for example it encompasses obviously musical, visual spatial (looking at music sheets and at each other for cues), bodily kinesthetic (hands on playing of an instrument), linguistic (singing lyrics), interpersonal (being part of a group and discussing ways of playing).
Giving the students a time limit (such as you need to perform what you've done so far at the end of the lesson/the song at the end of the week) will help keep students on task. They may also be able to take part in evaluating both the creative process and the end product for themselves and each other, gaining an insight into their learning strategies and musical development (Hattie's expert dimension of enhancing self-concept and self efficacy).
Evaluation might include demonstrated ability to follow the song structure, play the correct chords and rhythm, complete the song, listen and respond to cues. A checklist to this effect could be compiled with the students input so they gain an understanding of what comprises a good performance and what they can do to work towards it.
If it felt appropriate I may also source other teachers or students to be an audience for the performance, providing more incentive for mastery and achievement and a feeling of power, recognition and acceptance.
Some students may feel discouraged or have low self esteem in which case their efforts could be congratulated and perhaps a story of a famous muso who had a struggle before they "made it" (like Macy Gray being told she couldn't sing).
2. PRINCIPLES THAT ARE BASIC TO ASSESSING, MEASURING AND EVALUATING STUDENT PROGRESS IN AN AREA OF DEVELOPMENT IN MUSIC TEACHING
Assessment reveals progress and informs future instruction. It is important that learning activities and their assessment relate directly to course objectives and outcomes, By setting high yet acheivable standards, specific instructions on what how why when and how much is to be acheived, incorporating self and peer evaluation and giving constructive feedback, students can feel responsible for and motivated to engage in assessment tasks.
Effective assessment involves testing material while it is relatively fresh and a conducting a number of regular assessment tasks rather than one big one. It needs to be reliable, which can be acheived by including a concept in a variety of tasks and using different assessment stratgies. The principles of validity and fairness should be adhered to, ensuring all assessable material has been well presented, is directly linked to outcomes and is accessible to all.
Two types of assessment are: formative, which can be held at the beginning of or during a unit to ascertain students current abilities and how to pitch the course content, and summative, conducted at the end of a series of lessons. Formative assessment can be fairly informal, such as asking reflective questions and ascertaining levels of understanding through group discussions.
Norm referenced assessment compares students performances against each other and enables ranking of highest acheivers to lowest. This method of assessment is not always an adequate reflection of students' acheivements or understandings but can help identify students who need help.
Criterion referenced tests compare the students results against a pescribed standard relating to objectives and outcomes.
Performance Descriptors indicate what is necesary to acheive a certain standard. A rubric matrix defines a range of possible performance levels. It can be specific to a learning area and provides a range of possible responses that illustrate the acheivement of different standards.
For example, a music performance by year 9 might be self and group assessed. Students individually, and/or in a group, determine criteria that constitutes an excellent performance, such as positive attitude, confidence, participating team member, energy and projection, diction, expression, accurate pitch, good tone quality, correct rhythm, concentration and focus, good posture, audience awareness. Creating a checklist with variable weightings helps students clarify what is neccesary, understand why a standard framework was chosen and may serve to motivate students to continue to improve.
A portfolio may also constitute part of the assessment where students can reflect on the process of learning music in a group.
Describe the learning and rehearsal process you have just undertaken (for you as an indicidual and group member)
Describe how your performance skills have developed (make a comparison between now and the beginning of the year)
How has your understanding of musical concepts changed (pitch/tempo/dynamics/duration,etc?
What areas do you feel you could improve upon? (musical performance/musicianship)
What do you feel are the advantages of group music making?
What would you like to do differently next time?
Evaluation, a teacher's professional judgement, should be a good feedback tool that can show students their areas of strength and motivate them to work on their less developed skills. Measurements, or quantative data, can be used to identify individual differences so that relevant activities can be used to target such differences.. (ie gardner's Multiple Intelligences).
Currently standardised reference assessment has been seen to be effective in accurately reflecting students abilities and acheivements. In accordance with outcomes based assessment, it allows for demonstrable, observable, measurable results where students can work towards a common goal within the realm of their own potential.
3. HOW I WOULD PROVIDE FOR THE DIVERSITY OF LEARNING STYLES AND ENSURE DEEP LEARNING OCCURS IN ALL STUDENTS WHEN TEACHING A MUSIC LESSON
Different learning styles can be identified and addressed with the help of Gardner's Multiple Intelligences. By presenting material in a variety of ways, I can assess what a student responds to most effectively and adapt learning experiences to suit their needs.
By following Bloom's taxonomy that ensures higher order thinking. I would refer to these cognitive objectives and weave them into my planning.
As groupwork is an effective way of learning, I could devise a range of tasks that each highlight a particular intelligence and place students in groups accordingly. Music is such a vast subject that can be understood, percieved and experienced in a variety of ways.
Let us take the music of Pink Floyd as an example of a topic. This relates to other subject areas such as English (philosophical lyrics) and entertainment (elaborate live shows) and Society and Culture (psychedelic music and drug abuse).
As an introduction, the song, "On the turning away" would be listened to and sung and perhaps played. Then, a discussion about the musical elements, lyrical content and emotional responses to the song. A broader discussion on Pink Floyd, their work and cultural context would reveal students interests (or lack thereof).
Students could then choose to start on one or more of a variety of activities to be completed at a later date:
Using a pink floyd song
Learn and perform it, solo or group (musical, interpersonal, intrapersonal, kinesthetic)
Present a musical analysis as a chord chart, by notation, a picture or a stuctural map (visual, mathematical)
Write a response/interpretation of lyrics, exploring themes-either one song in depth or compare and connect two or more songs (verbal, existentialist, interpersonal)
Write your own verse or bridge using the same structure (verbal)
Describe the recording process
Describe how it is has been or could be performed live with lighting and visuals
Computer based possibilities:
Present accompanying visuals
Locate chords and lyrics on the web and describe how you did it
And further possibilities that could be chosen by the student. If they really didn't connect with pink floyd as a topic they could complete the activities with a different song/artist of interest to them.
Musical intelligence will be tapped through most activities and it is possible to complete them as group projects.
Students are likely to go deeper into a task they have chosen for themselves. Group discussions with lower and higher order questions and process based group evaluation enable deep learning to occur.
Bloom's taxonomy provides a structure catering for different levels of complexity and ways to go deeper into a subject via knowledge, comprehension, application, analysis, synthesis and evaluation.
A way to apply this to individual learning needs, for example, is to give students activities where they are to learn the structure of a major scale. They can write C major scale in notation or letter form, marking the degrees, tones and semitones (knowledge), sing or play a scale by reading or from memory and say where the tones and semitones occur (comprehension), be able to sing/play/write a different major scale (eg G major) using the tone/semitone formula (application), talk about how these scales are related (analysis) and play or compose a melody based on one of these scales, identifying the degrees, and where tones and semitones occur (synthesis). They can hear or see if they are correct (evaluation).
QUESTION 4
boardofstudies.nsw.edu.au is the essential site for all nsw teachers. It provides syllabus for creative arts, of which music is a part, K to 6, and music syllabus for year 7 to 10 (stages 4 and 5) and year 11 and 12 (stage 6).
On the left side of the home page are a list of access points to various areas including HSC, school certificate for year 7 to 10 and K to 6.
Click on HSC Exam papers and "M" to access those available from past years, with notes from the marking centre.
At HSC level are Music 1, Music 2 and Music Extension, found under "M". An introduction to the syllabus, support documents which include examples of how to outline and assess a unit, draft performance bands which set out what is needed to achieve a "band" or grading, past exam papers and notes on them, marking guidelines, specimen HSC exam resources, sample marking guidelines for practical tasks and submitted works and advice regarding the latter.
There are HSC exam and timetables and important dates for practical submissions and marking, resources and textbooks and updates, rules and procedures, a guide for year 10s entering the new HSC.
There are syllabus and assessment resources including FAQs, newsletter, standards setting, glossary and course descriptons.
Clicking on HSC assessment on the home page takes you to HSC assessment policies and documents including rules and procedures, advice to parents and teachers and "All my own work".
Under advice re: HSC assessments and submitted works is an example of a student declaration form that music composition students are required to fill out.
School Certificate has syllabus for years 7 to 10, course performance descriptors, guide to the syllabus, advice on programming and assessment, Life Skills (for students with special needs) planning, programming and assessment, Life Skills outcomes worksheet. there are rules and procedures and portfolio credentials, and school statistics that date back to 1955.
Back on the home page, the assessment resource gives access to all levels of study and acheivement where samples of students' work can be found with their grading and commentaries.Then there is advice on work samples and the grade alignment process and the common grade scale.
Manuals and guides inform about things such as equipment checklist for exams, recognition of prior learning, applying for special provisions, and guides to assessment practice.
Special education needs provides support for teachers of life skills students.
Vocational education
Official Notices and the board bulletin have a variety of current information including a note about the use of unusual musical instruments or sound sources in HSC music exams.
Down the middle of the home page is The HSC exam timetable, respect and responsibility, values and education information, Aboriginal educational contexts, special education needs and certificate test reports.
In the ICT section, click on the database and choose music and the relevant stage to attain outcomes, content and syllabus requirements regarding computer based work.These pointers can be incorporated into lesson planning.
On the right of the home page, are relevant partner sites AMEB NSW and ENCORE.The latter site can be shown to HSC students so they can hear outstanding performances and compositions of previous HSC students, which would serve to motivate and inspire them and perhaps give them some ideas.
One can program the music curriculum using the syllabus as a guide. It shows the pathway of learning from K-12 and the three main learning experiences are addressed through out the document, those of listening, composing and performing. Objectives, outcomes and content can be used to inform programming and lesson planning. For example a unit could comprise essential content, Australian music and individual lessons could be based on one or more musical concepts of pitch, duration, expressive techniques, tone colour, texture and stucture.
A lesson based on tone colour could be adapted from the content overview:
for students to explore, identify and discuss the following aspects of tone colour in relation to traditional and contemporary aboriginal music:
• sound source material, for example, wood, metal, string, skin, electronic and vocal
• combination of sound sources, for example, single voice, multiple voices, voices accompanied or unaccompanied by instruments
• method of sound production, for example, blowing, hitting, plucking, scraping and shaking.
The syllabus also indicates key competencies, such as orgainising ideas, communicating information and working with others in teams, environmental considerationas, using mathematical ideas and technology. It suggests ideas for topics which can be
used for a series of lessons such as jazz, music for film,tv and multimedia, and music of a culture.
Basically the syllabus is a great resource guide and helps one organise ideas and concepts into learning experiences and how they might be assessed.
Using the nsw board of studies syllabus, the school curriculum and drawing on my own interests, I would formulate an outcome to be acheived. This would be age appropriate and culturally relevant and of interest to the target population and involve one or more of the three main areas of music learning experiences: listening, performing and composing. For example, for a student to perform solo and/or ensemble music with an awareness of song structure.
I would consider what musical skills and knowledge students already possess that they can bring to the lesson and how far these might be extended in one or more lessons involving the topic (i.e. looking at prior learning and Vygotsky's Zone of Proximal Development).
Following the above example, I would select songs possibly in a range of styles with one or more features that make them accessible to the students, such as a simple chord structure, a catchy riff, a well known tune, a fun chorus, a basic bassline. Where possible I would have recordings of the songs or know how to access them (such as on youtube) and be able to play and sing the different parts.
I would prepare some visual representation of the song such as a chord chart, a notated rhythm and/or melody, guitar tab, a labelled pictorial keyboard.
As Hattie refers to expert teachers having an integrated approach and deep understanding of one's subject area, and being already passionate about music, I would reflect on and gather information that relates to the songs such as the songwriters and performers - who are they and what's interesting about their playing/lyrics/style/life path/practice schedule, etc. that might help stimulate students to learn.
As well as having ready information on style, content and cultural aspects, I would collate questions to arouse interest and encourage discussion such as who is your favourite singer/musician/songwriter?, what singer songwriters are doing well publicly in Australia at the moment?, what is your favourite tune at the moment? can you identify what musical elements in the song appeal to you? Do you know how to access chord charts from the web? By asking these questions, a social experience has begun (which will later lead to a musical experience), students' interests and perceptions become evident and hopefully thay are having fun and have a sense of belonging (Glasser).
I would prepare Advanced Organisers (Ausubel) that can help integrate new material with old, e.g. the chord structure for "Let it be" is the same as "Where is the Love" with one new chord in the chorus.
The main activty, to prepare a song to perform, could get underway. If students are for some reason uncomfortable playing or find it too challenging, they may be given other duties such as drawing up chord charts, helping set up or maintain equipment, writing lyrics on the board, or doing some related computer based task such as researching songs on youtube or composing in garage band, etc. Students have the opportunity to gravitate towards an instrument they can already play or become interested in learning a new skill (freedom).
The lesson would be flexible so as to accomodate for everyone learning one song or small groups or individuals learning different songs. Also, they could choose their own song to play or even write one if they possess enough musicianship, confidence and desire (more freedom) .
Gardner's Multiple Intelligences are well engaged in music making, for example it encompasses obviously musical, visual spatial (looking at music sheets and at each other for cues), bodily kinesthetic (hands on playing of an instrument), linguistic (singing lyrics), interpersonal (being part of a group and discussing ways of playing).
Giving the students a time limit (such as you need to perform what you've done so far at the end of the lesson/the song at the end of the week) will help keep students on task. They may also be able to take part in evaluating both the creative process and the end product for themselves and each other, gaining an insight into their learning strategies and musical development (Hattie's expert dimension of enhancing self-concept and self efficacy).
Evaluation might include demonstrated ability to follow the song structure, play the correct chords and rhythm, complete the song, listen and respond to cues. A checklist to this effect could be compiled with the students input so they gain an understanding of what comprises a good performance and what they can do to work towards it.
If it felt appropriate I may also source other teachers or students to be an audience for the performance, providing more incentive for mastery and achievement and a feeling of power, recognition and acceptance.
Some students may feel discouraged or have low self esteem in which case their efforts could be congratulated and perhaps a story of a famous muso who had a struggle before they "made it" (like Macy Gray being told she couldn't sing).
2. PRINCIPLES THAT ARE BASIC TO ASSESSING, MEASURING AND EVALUATING STUDENT PROGRESS IN AN AREA OF DEVELOPMENT IN MUSIC TEACHING
Assessment reveals progress and informs future instruction. It is important that learning activities and their assessment relate directly to course objectives and outcomes, By setting high yet acheivable standards, specific instructions on what how why when and how much is to be acheived, incorporating self and peer evaluation and giving constructive feedback, students can feel responsible for and motivated to engage in assessment tasks.
Effective assessment involves testing material while it is relatively fresh and a conducting a number of regular assessment tasks rather than one big one. It needs to be reliable, which can be acheived by including a concept in a variety of tasks and using different assessment stratgies. The principles of validity and fairness should be adhered to, ensuring all assessable material has been well presented, is directly linked to outcomes and is accessible to all.
Two types of assessment are: formative, which can be held at the beginning of or during a unit to ascertain students current abilities and how to pitch the course content, and summative, conducted at the end of a series of lessons. Formative assessment can be fairly informal, such as asking reflective questions and ascertaining levels of understanding through group discussions.
Norm referenced assessment compares students performances against each other and enables ranking of highest acheivers to lowest. This method of assessment is not always an adequate reflection of students' acheivements or understandings but can help identify students who need help.
Criterion referenced tests compare the students results against a pescribed standard relating to objectives and outcomes.
Performance Descriptors indicate what is necesary to acheive a certain standard. A rubric matrix defines a range of possible performance levels. It can be specific to a learning area and provides a range of possible responses that illustrate the acheivement of different standards.
For example, a music performance by year 9 might be self and group assessed. Students individually, and/or in a group, determine criteria that constitutes an excellent performance, such as positive attitude, confidence, participating team member, energy and projection, diction, expression, accurate pitch, good tone quality, correct rhythm, concentration and focus, good posture, audience awareness. Creating a checklist with variable weightings helps students clarify what is neccesary, understand why a standard framework was chosen and may serve to motivate students to continue to improve.
A portfolio may also constitute part of the assessment where students can reflect on the process of learning music in a group.
Describe the learning and rehearsal process you have just undertaken (for you as an indicidual and group member)
Describe how your performance skills have developed (make a comparison between now and the beginning of the year)
How has your understanding of musical concepts changed (pitch/tempo/dynamics/duration,etc?
What areas do you feel you could improve upon? (musical performance/musicianship)
What do you feel are the advantages of group music making?
What would you like to do differently next time?
Evaluation, a teacher's professional judgement, should be a good feedback tool that can show students their areas of strength and motivate them to work on their less developed skills. Measurements, or quantative data, can be used to identify individual differences so that relevant activities can be used to target such differences.. (ie gardner's Multiple Intelligences).
Currently standardised reference assessment has been seen to be effective in accurately reflecting students abilities and acheivements. In accordance with outcomes based assessment, it allows for demonstrable, observable, measurable results where students can work towards a common goal within the realm of their own potential.
3. HOW I WOULD PROVIDE FOR THE DIVERSITY OF LEARNING STYLES AND ENSURE DEEP LEARNING OCCURS IN ALL STUDENTS WHEN TEACHING A MUSIC LESSON
Different learning styles can be identified and addressed with the help of Gardner's Multiple Intelligences. By presenting material in a variety of ways, I can assess what a student responds to most effectively and adapt learning experiences to suit their needs.
By following Bloom's taxonomy that ensures higher order thinking. I would refer to these cognitive objectives and weave them into my planning.
As groupwork is an effective way of learning, I could devise a range of tasks that each highlight a particular intelligence and place students in groups accordingly. Music is such a vast subject that can be understood, percieved and experienced in a variety of ways.
Let us take the music of Pink Floyd as an example of a topic. This relates to other subject areas such as English (philosophical lyrics) and entertainment (elaborate live shows) and Society and Culture (psychedelic music and drug abuse).
As an introduction, the song, "On the turning away" would be listened to and sung and perhaps played. Then, a discussion about the musical elements, lyrical content and emotional responses to the song. A broader discussion on Pink Floyd, their work and cultural context would reveal students interests (or lack thereof).
Students could then choose to start on one or more of a variety of activities to be completed at a later date:
Using a pink floyd song
Learn and perform it, solo or group (musical, interpersonal, intrapersonal, kinesthetic)
Present a musical analysis as a chord chart, by notation, a picture or a stuctural map (visual, mathematical)
Write a response/interpretation of lyrics, exploring themes-either one song in depth or compare and connect two or more songs (verbal, existentialist, interpersonal)
Write your own verse or bridge using the same structure (verbal)
Describe the recording process
Describe how it is has been or could be performed live with lighting and visuals
Computer based possibilities:
Present accompanying visuals
Locate chords and lyrics on the web and describe how you did it
And further possibilities that could be chosen by the student. If they really didn't connect with pink floyd as a topic they could complete the activities with a different song/artist of interest to them.
Musical intelligence will be tapped through most activities and it is possible to complete them as group projects.
Students are likely to go deeper into a task they have chosen for themselves. Group discussions with lower and higher order questions and process based group evaluation enable deep learning to occur.
Bloom's taxonomy provides a structure catering for different levels of complexity and ways to go deeper into a subject via knowledge, comprehension, application, analysis, synthesis and evaluation.
A way to apply this to individual learning needs, for example, is to give students activities where they are to learn the structure of a major scale. They can write C major scale in notation or letter form, marking the degrees, tones and semitones (knowledge), sing or play a scale by reading or from memory and say where the tones and semitones occur (comprehension), be able to sing/play/write a different major scale (eg G major) using the tone/semitone formula (application), talk about how these scales are related (analysis) and play or compose a melody based on one of these scales, identifying the degrees, and where tones and semitones occur (synthesis). They can hear or see if they are correct (evaluation).
QUESTION 4
boardofstudies.nsw.edu.au is the essential site for all nsw teachers. It provides syllabus for creative arts, of which music is a part, K to 6, and music syllabus for year 7 to 10 (stages 4 and 5) and year 11 and 12 (stage 6).
On the left side of the home page are a list of access points to various areas including HSC, school certificate for year 7 to 10 and K to 6.
Click on HSC Exam papers and "M" to access those available from past years, with notes from the marking centre.
At HSC level are Music 1, Music 2 and Music Extension, found under "M". An introduction to the syllabus, support documents which include examples of how to outline and assess a unit, draft performance bands which set out what is needed to achieve a "band" or grading, past exam papers and notes on them, marking guidelines, specimen HSC exam resources, sample marking guidelines for practical tasks and submitted works and advice regarding the latter.
There are HSC exam and timetables and important dates for practical submissions and marking, resources and textbooks and updates, rules and procedures, a guide for year 10s entering the new HSC.
There are syllabus and assessment resources including FAQs, newsletter, standards setting, glossary and course descriptons.
Clicking on HSC assessment on the home page takes you to HSC assessment policies and documents including rules and procedures, advice to parents and teachers and "All my own work".
Under advice re: HSC assessments and submitted works is an example of a student declaration form that music composition students are required to fill out.
School Certificate has syllabus for years 7 to 10, course performance descriptors, guide to the syllabus, advice on programming and assessment, Life Skills (for students with special needs) planning, programming and assessment, Life Skills outcomes worksheet. there are rules and procedures and portfolio credentials, and school statistics that date back to 1955.
Back on the home page, the assessment resource gives access to all levels of study and acheivement where samples of students' work can be found with their grading and commentaries.Then there is advice on work samples and the grade alignment process and the common grade scale.
Manuals and guides inform about things such as equipment checklist for exams, recognition of prior learning, applying for special provisions, and guides to assessment practice.
Special education needs provides support for teachers of life skills students.
Vocational education
Official Notices and the board bulletin have a variety of current information including a note about the use of unusual musical instruments or sound sources in HSC music exams.
Down the middle of the home page is The HSC exam timetable, respect and responsibility, values and education information, Aboriginal educational contexts, special education needs and certificate test reports.
In the ICT section, click on the database and choose music and the relevant stage to attain outcomes, content and syllabus requirements regarding computer based work.These pointers can be incorporated into lesson planning.
On the right of the home page, are relevant partner sites AMEB NSW and ENCORE.The latter site can be shown to HSC students so they can hear outstanding performances and compositions of previous HSC students, which would serve to motivate and inspire them and perhaps give them some ideas.
One can program the music curriculum using the syllabus as a guide. It shows the pathway of learning from K-12 and the three main learning experiences are addressed through out the document, those of listening, composing and performing. Objectives, outcomes and content can be used to inform programming and lesson planning. For example a unit could comprise essential content, Australian music and individual lessons could be based on one or more musical concepts of pitch, duration, expressive techniques, tone colour, texture and stucture.
A lesson based on tone colour could be adapted from the content overview:
for students to explore, identify and discuss the following aspects of tone colour in relation to traditional and contemporary aboriginal music:
• sound source material, for example, wood, metal, string, skin, electronic and vocal
• combination of sound sources, for example, single voice, multiple voices, voices accompanied or unaccompanied by instruments
• method of sound production, for example, blowing, hitting, plucking, scraping and shaking.
The syllabus also indicates key competencies, such as orgainising ideas, communicating information and working with others in teams, environmental considerationas, using mathematical ideas and technology. It suggests ideas for topics which can be
used for a series of lessons such as jazz, music for film,tv and multimedia, and music of a culture.
Basically the syllabus is a great resource guide and helps one organise ideas and concepts into learning experiences and how they might be assessed.
Thursday, June 14, 2007
INTRODUCTION TO TEACHING AND THE CURRICULUM EXAM
SECTION A
QUESTION 1
Arthur Costa describes 16 habits of mind which are patterns we refer to in order to engage our intelligence.
Some people are persistent. They want to try different ways of problem solving and don't give up easily. If something doesn't work, they will try another solution and will find ways to back up their solutions. They are thorough in their application to problem solving and welcome a task that is not clear cut.
Some people are blessed with listening ears and wish to hear and understand. They pick up auditory and visual cues (reading body language) and show empathy by paraphrasing what they heard in order to understand. From this solid base they can then formulate their own ideas.
People with a flexible habit of mind are adaptable and creative with a sense of humour. They are multi taskers and lateral thinkers with a variety of ideas and options. They are skilled at perceiving the required approach to a task and enjoy employing novel and alternative approaches. They understand relationships and rules and how to work within and around them.
Some people apply their past knowledge to a new situation in order to understand or make it meaningful. They use recalled information to make sense of and experience a new learning event.
Humour and laughter is a habit of mind employed by some. They playfully find the funny, incongruous side of things and have original and interesting perceptions. Sometimes the humour can be inappropriate or imbalanced in relation to the situation.
QUESTION 2
Gardner's nine intelligences include
Visual and Spatial Intelligence
Students who learn by seeing a visual representation of a concept, or whose attention can be gained well visually.
They like artistic, eye catching material. They would respond well to visual cues and materials such as graphs, tables, maps, charts, artwork, cartoons, videos
Bodily an Kinesthetic Intelligence
Students who like to be physical with their bodies by moving, dancing, exercising, active play. They learn by doing and being given opportunities for hands on work
Musical and Rhythmic Intelligence
Students with a natural musical ability who can discern rhythms and patterns and can pick up ideas through songs and playing music
Intrapersonal Intelligence
Students who are self aware and intuitve. They have a good relationship with their inner world, their emotions and ideas and can connect their learning to what is meaningful for them. They may enjoy their own company and prefer working alone.
Interpersonal Intelligence
Socially active students who enjoy interacting and talking with others. They would benefit from groupwork or partner work.
QUESTION 3
Piaget's fundamental contribution to child psychology was to theorise on how children think, learn and act at various stages of their development. He developed the ideas of constructivism where students construct their own knowledge and where mental patterns and ways of learning are considered
Piaget identified four stages of cognitive development from birth to adulthood whereby a person's learning abilities are affected by their environment and their stage of maturity. He proposed that tasks need to suit a child's cognitive stage for effective learning to occur..
From birth to approximately 2 years of age, is the sensorimotor stage, when a child experiences and learns through the senses and motor actions
From around 2 to 7 years is the preoperational stage when a child's language is developing and he/she can identify and classify objects
It is at the concrete operational stage from 7 to 11 years when a child starts to think logically about the physical world
And finally, at the formal operational stage from 12 years to adulthood the capacity for abstract thought emerges.
In the earliest two stages, children experience the world and undertake new learnings by acting them out physically and as they become concrete operational, thought becomes more complex.
New ideas can be assimilated, where they are understood by linking them to existing ideas. However when existing ideas are no longer relevant they are accomodated by changing the idea and new learning occurs.
QUESTION 4
Vygotsky's significant contribution to understanding how children learn was his social development theory. He found that people learn most effectively in social situations and culture is a major influence on learning.
Problem solving by interacting with a partner or in a group is Vygotsky's ideal way of acquiring knowledge. Our cognitive skills develop by participating in social learning experiences. We learn concepts twice, in a social situation and by internalising the idea.
The zone of proximal development considers a child's potential for development. It is not only what a child is capable of doing alone, but what he'she can do with help and guidance from an adult or another person/s that more accurately reflects the child's mental capacity.
The teacher can connect to students in a culturally relevant way, then assist them to learn. By providing opportunities to collaborate, meaningful recipricol learning can take place.
SECTION B
QUESTION 1
Expert teachers have a deep understanding or their specialist field and are able to help students integrate knowledge by being adaptable and selective in teaching essential information. They can sense a student's cognitive processesand can find ways to remedy shortcomings. They relate current material to previously learnt subject matter both within their field and in the wider curriculum.
Expert teachers are flexible, able to improvise and are good at anticipating problems. Thay are concerned about the efficacy of their teaching and welcome and act on feedback. Through an effective mix of student centred and content based learning, focus is maintained, objectives are met and student queries and concerns are provided for and utilised meaningfully.
These qualities are part of an ability to identify essential representations of the subject and come from a great love of one's subject, a love of service, teaching and learning and a genuine interest in developing quality relationships.
Expert teachers can guide learning through classroom interactions. They are constantly multitasking and are aware of what's happening in the classroom at different levels. They encourage students to be active participants in the learning process and ensure the environment is conducive to learning and is a safe place to "have a go" at problem solving and expressing one's viewpoint.
Students are more likely to respond when being taught by someone who shows an interest in them personally and individually and who shows respect and commitment . They would be less inhibited and likely to be reached through the various strategies an expert teacher is likely to employ. And passion and enthusiam are cintagious for as young people are particularly impressionable, the optimism and eagerness of an expert teacher helps students stay involved in constructing their own knowledge.
Students benefit from expert teachers' abilities to tune into intellectual and emotional needs, then pinpoint solutions, drawing on a wide range of skills and experience. They take time to "read" a situation or an attitude, understand it and problem solve creatively. Monitoring feedback is given ample consideration.
An expert teacher imparts a positive yet challenging approach and expectations of high standards and mastery whilst nurturing self esteem. Students are encouraged to manage their own learning and rise to challenges, acheiving outcomes at surface and deep levels.
All these qualities seem equally important but if i had to choose, I would say respect for the students, otherwise why be there?, combined with a deep knowledge and passion for the subject and the ability to improvise (especially as a music teacher!), which is a solid grounding for learning and teaching. To have a sound knowledge base from which to draw and to impart this knowledge in varied and integrated ways can already be an inspiration for students - to observe someone so skilled in their field. To be able to respond to whatever happens and make it up as you go as well as be an organised expert in your field covers a lot of teaching ground.
QUESTION 2
Methods to use to cater for individual differences in the classroom.
I would endeavour to become aware of students' abilities and interests through activities designed to identify these and where possible find out how they get along in other classroom and social situations.
I would address three domains of learning: cognitive, psychomotor and affective, for example analysing a song, playing a song and responding emotionally to a song.
By using Gardner's 9 intelligences and possibly Costa's habits of mind as a guide,individual differences could be identified and catered for. Students could be given choices of tasks and how to complete them, ie verbally, written, pictorially, demonstrated, musically performed solo or in a group, relating to nature,emotions or ideas.
For example, a presentation of a composer and one of his/her works may be role played, listened to with visuals, written about, visually and artistically interpreted, a time line, a musical analysis, a multi media presentation.
Bloom's taxonomy provides a structure catering for different levels of complexity and ways to go deeper into a subject via knowledge, comprehension, application, analysis, synthesis and evaluation.
A way to apply this to individual learning needs, for example, is to give students activities where they are to learn the structure of a major scale. They can write C major scale in notation or letter form, marking the degrees, tones and semitones (knowledge), sing or play a scale by reading or from memory and say where the tones and semitones occur (comprehension), be able to sing/play/write a different major scale (eg G major) using the tone/semitone formula (application), talk about how these scales are related (analysis) and play or compose a melody based on one of these scales, identifying the degrees, and where tones and semitones occur (synthesis). They can hear or see if they are correct (evaluation).
This entire activity could be quite complex for some students but the completion of the first two stages would be a satisfactory initial acheivement.
Group work is a great way to learn and accomodate differences, as individuals strengths and weaknesses are pooled together and affect each other. Everyone has something to contribute and growth and learning will surely occur (Vygotsky's social theory). Jigsaw and think/pair/share are effective group work methods and it is good to rotate group members for different projects.
One can ask lower and higher order questions and encourage shy students to respond. Also, modelling (demonstrating), individual coaching, scaffolding (providing a variety of levels of support), articulation (step by step description by students of how they problem solved), critical reflection and exploration all serve to provide for individual differences.
So see where students are at (recognition of prior learning, interests, mood), meet them there and take them on a multi-layered learning journey. And have fun!
SECTION C
QUESTION 1
boardofstudies.nsw.edu.au is the essential site for all nsw teachers. It provides syllabus for creative arts, of which music is a part, K to 6, and music syllabus for year 7 to 10 (stages 4 and 5) and year 11 and 12 (stage 6).
On the left side of the home page are a list of access points to various areas including HSC, school certificate for year 7 to 10 and K to 6.
Click on HSC Exam papers and "M"to access those available from past years, with notes from the marking centre.
At HSC level are Music 1, Music 2 and Music Extension, found under "M". An introduction to the syllabus, support documents which include examples of how to outline and assess a unit, draft performance bands which set out what is needed to achieve a "band" or grading, past exam papers and notes on them, marking guidelines, specimen HSC exam resources, sample marking guidelines for practical tasks and submitted works and advice regarding the latter.
There are HSC exam and timetables and important dates for practical submissions and marking, resources and textbooks and updates, rules and procedures, a guide for year 10s entering the new HSC.
There are syllabus and assessment resources including FAQs, newsletter, standards setting, glossary and course descriptons.
Clicking on HSC assessment on the home page takes you to HSC assessment policies and documents including rules and procedures, advice to parents and teachers and "All my own work".
Under advice re: HSC assessments and submitted works is an example of a student declaration form that music composition students are required to fill out.
School Certificate has syllabus for years 7 to 10, course performance descriptors, guide to the syllabus, advice on programming and assessment, Life Skills (for students with special needs) planning, programming and assessment, Life Skills outcomes worksheet. there are rules and procedures and portfolio credentials, and school statistics that date back to 1955.
Back on the home page, the assessment resource gives access to all levels of study and acheivement where samples of students' work can be found with their grading and commentaries.Then there is advice on work samples and the grade alignment process and the common grade scale.
Manuals and guides inform about things such as equipment checklist for exams, recognition of prior learning, applying for special provisions, and guides to assessment practice.
Special education needs provides support for teachers of life skills students.
Vocational education
Official Notices and the board bulletin have a variety of current information including a note about the use of unusual musical instruments or sound sources in HSC music exams.
Down the middle of the home page is The HSC exam timetable, respect and responsibility, values and education information, Aboriginal educational contexts, special education needs and certificate test reports.
In the ICT section, click on the database and choose music and the relevant stage to attain outcomes, content and syllabus requirements regarding computer based work.These pointers can be incorporated into lesson planning.
On the right of the home page, are relevant partner sites AMEB NSW and ENCORE.The latter site can be shown to HSC students so they can hear outstanding performances and compositions of previous HSC students, which would serve to motivate and inspire them and perhaps give them some ideas.
One can program the music curriculum using the syllabus as a guide. It shows the pathway of learning from K-12 and the three main learning experiences are addressed through out the document, those of listening, composing and performing. Objectives, outcomes and content can be used to inform programming and lesson planning. For example a unit could comprise essential content, Australian music and individual lessons could be based on one or more musical concepts of pitch, duration, expressive techniques, tone colour, texture and stucture.
A lesson based on tone colour could be adapted from the content overview:
for students to explore, identify and discuss the following aspects of tone colour in relation to traditional and contemporary aboriginal music:
• sound source material, for example, wood, metal, string, skin, electronic and vocal
• combination of sound sources, for example, single voice, multiple voices, voices accompanied or unaccompanied by instruments
• method of sound production, for example, blowing, hitting, plucking, scraping and shaking.
The syllabus also indicates key competencies, such as orgainising ideas, communicating information and working with others in teams, environmental considerationas, using mathematical ideas and technology. It suggests ideas for topics which can be
used for a series of lessons such as jazz, music for film,tv and multimedia, and music of a culture.
Basically the syllabus is a great resource guide and helps one organise ideas and concepts into learning experiences and how they might be assessed.
QUESTION 2
Planning is important because students need structure, both cognitive and behavioural, so they can have a sense of direction and place. A well thought out and presented lesson will serve to stimulate and engage and provide a focus for working towards goals.
Lessons should be planned with a beginning, a middle and an end where Gagne's instructional events and Bloom's Taxonomy may be followed, Vygostky's Zone of Proximal Development can be considered and Gardner's multiple intelligences can inform the content and tasks to ensure effective learning. Student's need to be informed of what they are expected to learn, both as a guide and a motivational force, and then provided with opportunities to explore the subject matter in a variety of ways, particularly in student centred activities.
The school curriculum, state syllabus and the teacher's own interests all come into play when planning a lesson, as well as consideration of the students wants, abilities and needs. A well rounded and organised approach should contain the what, how, when and why of the lesson and allow for questions, critical reflection, perceivable outcomes, feedback and evaluation.
Relating new experiences to what students already know is a fundamental concept of constructive learning
One can refer to previous lessons and consider the developmental stage of students to have an idea of their prior learning. What, if anything, do they already know about the subject. Are there skills already existing that can drawn upon and extended? What attitudes or ideas do students have already and are there concepts they are familiar with?
Background knowledge can then be tapped into as a means of understanding the new material. Understanding a students' cultural world of interests, attractions and inspirations are also important factors to stimulate and help make learning experiences relevant and accessible. For example, in a music lesson on song structure, a current popular song most likely known by all can be used to listen to and analyse. Students can then find another song with a similar structure which allows for their own input and interests.
By beginning a lesson in a novel or surprising fashion, such as having them perform a quick body percussion exercise to warm up (physically, to each other and to the lesson) their attention will most likely be commanded. An obvious visual cue, such as a question on the board to be answered or a new instrument placed in the middle of the room would also arouse interest.
Gagne suggests that gaining attention is the first strategy needed in a lesson and stimuli should point to the content and serve to orient students to task. Devising routine whereby students know what to expect and respond accordingly is effective and allows for consistency and engagement.
Music can be a great motivator as a stop/start cue for example, as year 9 students enter the eurythmy room they are greeted with motivating music to get them into their first exercise and the music stops when they have completed it. When students are becoming restless or distracted, playingthe beginning of the music for the next exercise alerts them to the task at hand.
Assignments should incorporate layers of learning strategies, such as Gardner's multiple intelligences and Bloom's taxonomy, in order for a student to gain deep understanding and higher order thinking.
Group based projects allow for exchange and transmission of ideas and allow for social learning. Some verbal or written follow up regarding findings could be presented.
Explicit instructions on what information is to be gathered, recalled, analysed, synthesised and evaluated should be given. Strategies includewritten assignments with specific questions, verbal presentations of knowledge and performance to demonstrate a skill. For example, a student may be asked to explain the meaning of semitones and tones, write some examples, play or sing them, identify them aurally or visually and include them in a melody.
QUESTION 1
Arthur Costa describes 16 habits of mind which are patterns we refer to in order to engage our intelligence.
Some people are persistent. They want to try different ways of problem solving and don't give up easily. If something doesn't work, they will try another solution and will find ways to back up their solutions. They are thorough in their application to problem solving and welcome a task that is not clear cut.
Some people are blessed with listening ears and wish to hear and understand. They pick up auditory and visual cues (reading body language) and show empathy by paraphrasing what they heard in order to understand. From this solid base they can then formulate their own ideas.
People with a flexible habit of mind are adaptable and creative with a sense of humour. They are multi taskers and lateral thinkers with a variety of ideas and options. They are skilled at perceiving the required approach to a task and enjoy employing novel and alternative approaches. They understand relationships and rules and how to work within and around them.
Some people apply their past knowledge to a new situation in order to understand or make it meaningful. They use recalled information to make sense of and experience a new learning event.
Humour and laughter is a habit of mind employed by some. They playfully find the funny, incongruous side of things and have original and interesting perceptions. Sometimes the humour can be inappropriate or imbalanced in relation to the situation.
QUESTION 2
Gardner's nine intelligences include
Visual and Spatial Intelligence
Students who learn by seeing a visual representation of a concept, or whose attention can be gained well visually.
They like artistic, eye catching material. They would respond well to visual cues and materials such as graphs, tables, maps, charts, artwork, cartoons, videos
Bodily an Kinesthetic Intelligence
Students who like to be physical with their bodies by moving, dancing, exercising, active play. They learn by doing and being given opportunities for hands on work
Musical and Rhythmic Intelligence
Students with a natural musical ability who can discern rhythms and patterns and can pick up ideas through songs and playing music
Intrapersonal Intelligence
Students who are self aware and intuitve. They have a good relationship with their inner world, their emotions and ideas and can connect their learning to what is meaningful for them. They may enjoy their own company and prefer working alone.
Interpersonal Intelligence
Socially active students who enjoy interacting and talking with others. They would benefit from groupwork or partner work.
QUESTION 3
Piaget's fundamental contribution to child psychology was to theorise on how children think, learn and act at various stages of their development. He developed the ideas of constructivism where students construct their own knowledge and where mental patterns and ways of learning are considered
Piaget identified four stages of cognitive development from birth to adulthood whereby a person's learning abilities are affected by their environment and their stage of maturity. He proposed that tasks need to suit a child's cognitive stage for effective learning to occur..
From birth to approximately 2 years of age, is the sensorimotor stage, when a child experiences and learns through the senses and motor actions
From around 2 to 7 years is the preoperational stage when a child's language is developing and he/she can identify and classify objects
It is at the concrete operational stage from 7 to 11 years when a child starts to think logically about the physical world
And finally, at the formal operational stage from 12 years to adulthood the capacity for abstract thought emerges.
In the earliest two stages, children experience the world and undertake new learnings by acting them out physically and as they become concrete operational, thought becomes more complex.
New ideas can be assimilated, where they are understood by linking them to existing ideas. However when existing ideas are no longer relevant they are accomodated by changing the idea and new learning occurs.
QUESTION 4
Vygotsky's significant contribution to understanding how children learn was his social development theory. He found that people learn most effectively in social situations and culture is a major influence on learning.
Problem solving by interacting with a partner or in a group is Vygotsky's ideal way of acquiring knowledge. Our cognitive skills develop by participating in social learning experiences. We learn concepts twice, in a social situation and by internalising the idea.
The zone of proximal development considers a child's potential for development. It is not only what a child is capable of doing alone, but what he'she can do with help and guidance from an adult or another person/s that more accurately reflects the child's mental capacity.
The teacher can connect to students in a culturally relevant way, then assist them to learn. By providing opportunities to collaborate, meaningful recipricol learning can take place.
SECTION B
QUESTION 1
Expert teachers have a deep understanding or their specialist field and are able to help students integrate knowledge by being adaptable and selective in teaching essential information. They can sense a student's cognitive processesand can find ways to remedy shortcomings. They relate current material to previously learnt subject matter both within their field and in the wider curriculum.
Expert teachers are flexible, able to improvise and are good at anticipating problems. Thay are concerned about the efficacy of their teaching and welcome and act on feedback. Through an effective mix of student centred and content based learning, focus is maintained, objectives are met and student queries and concerns are provided for and utilised meaningfully.
These qualities are part of an ability to identify essential representations of the subject and come from a great love of one's subject, a love of service, teaching and learning and a genuine interest in developing quality relationships.
Expert teachers can guide learning through classroom interactions. They are constantly multitasking and are aware of what's happening in the classroom at different levels. They encourage students to be active participants in the learning process and ensure the environment is conducive to learning and is a safe place to "have a go" at problem solving and expressing one's viewpoint.
Students are more likely to respond when being taught by someone who shows an interest in them personally and individually and who shows respect and commitment . They would be less inhibited and likely to be reached through the various strategies an expert teacher is likely to employ. And passion and enthusiam are cintagious for as young people are particularly impressionable, the optimism and eagerness of an expert teacher helps students stay involved in constructing their own knowledge.
Students benefit from expert teachers' abilities to tune into intellectual and emotional needs, then pinpoint solutions, drawing on a wide range of skills and experience. They take time to "read" a situation or an attitude, understand it and problem solve creatively. Monitoring feedback is given ample consideration.
An expert teacher imparts a positive yet challenging approach and expectations of high standards and mastery whilst nurturing self esteem. Students are encouraged to manage their own learning and rise to challenges, acheiving outcomes at surface and deep levels.
All these qualities seem equally important but if i had to choose, I would say respect for the students, otherwise why be there?, combined with a deep knowledge and passion for the subject and the ability to improvise (especially as a music teacher!), which is a solid grounding for learning and teaching. To have a sound knowledge base from which to draw and to impart this knowledge in varied and integrated ways can already be an inspiration for students - to observe someone so skilled in their field. To be able to respond to whatever happens and make it up as you go as well as be an organised expert in your field covers a lot of teaching ground.
QUESTION 2
Methods to use to cater for individual differences in the classroom.
I would endeavour to become aware of students' abilities and interests through activities designed to identify these and where possible find out how they get along in other classroom and social situations.
I would address three domains of learning: cognitive, psychomotor and affective, for example analysing a song, playing a song and responding emotionally to a song.
By using Gardner's 9 intelligences and possibly Costa's habits of mind as a guide,individual differences could be identified and catered for. Students could be given choices of tasks and how to complete them, ie verbally, written, pictorially, demonstrated, musically performed solo or in a group, relating to nature,emotions or ideas.
For example, a presentation of a composer and one of his/her works may be role played, listened to with visuals, written about, visually and artistically interpreted, a time line, a musical analysis, a multi media presentation.
Bloom's taxonomy provides a structure catering for different levels of complexity and ways to go deeper into a subject via knowledge, comprehension, application, analysis, synthesis and evaluation.
A way to apply this to individual learning needs, for example, is to give students activities where they are to learn the structure of a major scale. They can write C major scale in notation or letter form, marking the degrees, tones and semitones (knowledge), sing or play a scale by reading or from memory and say where the tones and semitones occur (comprehension), be able to sing/play/write a different major scale (eg G major) using the tone/semitone formula (application), talk about how these scales are related (analysis) and play or compose a melody based on one of these scales, identifying the degrees, and where tones and semitones occur (synthesis). They can hear or see if they are correct (evaluation).
This entire activity could be quite complex for some students but the completion of the first two stages would be a satisfactory initial acheivement.
Group work is a great way to learn and accomodate differences, as individuals strengths and weaknesses are pooled together and affect each other. Everyone has something to contribute and growth and learning will surely occur (Vygotsky's social theory). Jigsaw and think/pair/share are effective group work methods and it is good to rotate group members for different projects.
One can ask lower and higher order questions and encourage shy students to respond. Also, modelling (demonstrating), individual coaching, scaffolding (providing a variety of levels of support), articulation (step by step description by students of how they problem solved), critical reflection and exploration all serve to provide for individual differences.
So see where students are at (recognition of prior learning, interests, mood), meet them there and take them on a multi-layered learning journey. And have fun!
SECTION C
QUESTION 1
boardofstudies.nsw.edu.au is the essential site for all nsw teachers. It provides syllabus for creative arts, of which music is a part, K to 6, and music syllabus for year 7 to 10 (stages 4 and 5) and year 11 and 12 (stage 6).
On the left side of the home page are a list of access points to various areas including HSC, school certificate for year 7 to 10 and K to 6.
Click on HSC Exam papers and "M"to access those available from past years, with notes from the marking centre.
At HSC level are Music 1, Music 2 and Music Extension, found under "M". An introduction to the syllabus, support documents which include examples of how to outline and assess a unit, draft performance bands which set out what is needed to achieve a "band" or grading, past exam papers and notes on them, marking guidelines, specimen HSC exam resources, sample marking guidelines for practical tasks and submitted works and advice regarding the latter.
There are HSC exam and timetables and important dates for practical submissions and marking, resources and textbooks and updates, rules and procedures, a guide for year 10s entering the new HSC.
There are syllabus and assessment resources including FAQs, newsletter, standards setting, glossary and course descriptons.
Clicking on HSC assessment on the home page takes you to HSC assessment policies and documents including rules and procedures, advice to parents and teachers and "All my own work".
Under advice re: HSC assessments and submitted works is an example of a student declaration form that music composition students are required to fill out.
School Certificate has syllabus for years 7 to 10, course performance descriptors, guide to the syllabus, advice on programming and assessment, Life Skills (for students with special needs) planning, programming and assessment, Life Skills outcomes worksheet. there are rules and procedures and portfolio credentials, and school statistics that date back to 1955.
Back on the home page, the assessment resource gives access to all levels of study and acheivement where samples of students' work can be found with their grading and commentaries.Then there is advice on work samples and the grade alignment process and the common grade scale.
Manuals and guides inform about things such as equipment checklist for exams, recognition of prior learning, applying for special provisions, and guides to assessment practice.
Special education needs provides support for teachers of life skills students.
Vocational education
Official Notices and the board bulletin have a variety of current information including a note about the use of unusual musical instruments or sound sources in HSC music exams.
Down the middle of the home page is The HSC exam timetable, respect and responsibility, values and education information, Aboriginal educational contexts, special education needs and certificate test reports.
In the ICT section, click on the database and choose music and the relevant stage to attain outcomes, content and syllabus requirements regarding computer based work.These pointers can be incorporated into lesson planning.
On the right of the home page, are relevant partner sites AMEB NSW and ENCORE.The latter site can be shown to HSC students so they can hear outstanding performances and compositions of previous HSC students, which would serve to motivate and inspire them and perhaps give them some ideas.
One can program the music curriculum using the syllabus as a guide. It shows the pathway of learning from K-12 and the three main learning experiences are addressed through out the document, those of listening, composing and performing. Objectives, outcomes and content can be used to inform programming and lesson planning. For example a unit could comprise essential content, Australian music and individual lessons could be based on one or more musical concepts of pitch, duration, expressive techniques, tone colour, texture and stucture.
A lesson based on tone colour could be adapted from the content overview:
for students to explore, identify and discuss the following aspects of tone colour in relation to traditional and contemporary aboriginal music:
• sound source material, for example, wood, metal, string, skin, electronic and vocal
• combination of sound sources, for example, single voice, multiple voices, voices accompanied or unaccompanied by instruments
• method of sound production, for example, blowing, hitting, plucking, scraping and shaking.
The syllabus also indicates key competencies, such as orgainising ideas, communicating information and working with others in teams, environmental considerationas, using mathematical ideas and technology. It suggests ideas for topics which can be
used for a series of lessons such as jazz, music for film,tv and multimedia, and music of a culture.
Basically the syllabus is a great resource guide and helps one organise ideas and concepts into learning experiences and how they might be assessed.
QUESTION 2
Planning is important because students need structure, both cognitive and behavioural, so they can have a sense of direction and place. A well thought out and presented lesson will serve to stimulate and engage and provide a focus for working towards goals.
Lessons should be planned with a beginning, a middle and an end where Gagne's instructional events and Bloom's Taxonomy may be followed, Vygostky's Zone of Proximal Development can be considered and Gardner's multiple intelligences can inform the content and tasks to ensure effective learning. Student's need to be informed of what they are expected to learn, both as a guide and a motivational force, and then provided with opportunities to explore the subject matter in a variety of ways, particularly in student centred activities.
The school curriculum, state syllabus and the teacher's own interests all come into play when planning a lesson, as well as consideration of the students wants, abilities and needs. A well rounded and organised approach should contain the what, how, when and why of the lesson and allow for questions, critical reflection, perceivable outcomes, feedback and evaluation.
Relating new experiences to what students already know is a fundamental concept of constructive learning
One can refer to previous lessons and consider the developmental stage of students to have an idea of their prior learning. What, if anything, do they already know about the subject. Are there skills already existing that can drawn upon and extended? What attitudes or ideas do students have already and are there concepts they are familiar with?
Background knowledge can then be tapped into as a means of understanding the new material. Understanding a students' cultural world of interests, attractions and inspirations are also important factors to stimulate and help make learning experiences relevant and accessible. For example, in a music lesson on song structure, a current popular song most likely known by all can be used to listen to and analyse. Students can then find another song with a similar structure which allows for their own input and interests.
By beginning a lesson in a novel or surprising fashion, such as having them perform a quick body percussion exercise to warm up (physically, to each other and to the lesson) their attention will most likely be commanded. An obvious visual cue, such as a question on the board to be answered or a new instrument placed in the middle of the room would also arouse interest.
Gagne suggests that gaining attention is the first strategy needed in a lesson and stimuli should point to the content and serve to orient students to task. Devising routine whereby students know what to expect and respond accordingly is effective and allows for consistency and engagement.
Music can be a great motivator as a stop/start cue for example, as year 9 students enter the eurythmy room they are greeted with motivating music to get them into their first exercise and the music stops when they have completed it. When students are becoming restless or distracted, playingthe beginning of the music for the next exercise alerts them to the task at hand.
Assignments should incorporate layers of learning strategies, such as Gardner's multiple intelligences and Bloom's taxonomy, in order for a student to gain deep understanding and higher order thinking.
Group based projects allow for exchange and transmission of ideas and allow for social learning. Some verbal or written follow up regarding findings could be presented.
Explicit instructions on what information is to be gathered, recalled, analysed, synthesised and evaluated should be given. Strategies includewritten assignments with specific questions, verbal presentations of knowledge and performance to demonstrate a skill. For example, a student may be asked to explain the meaning of semitones and tones, write some examples, play or sing them, identify them aurally or visually and include them in a melody.
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