MUED273: Leadership Portfolio Project

Kathleen Gibson, Sophia Kadi & Davina Miaw

Narrative Prompt:​ You have been contacted by a school or community organization to create a unit to help
learners ​use ukuleles to make music​ and ​explore music to develop empathy and cultural competence​. The
organization has asked you to create a unit curricula that can be used by multiple teachers (including you) that will
be clear enough to allow for unity in the learning/activities of each class/group, but allow for adaptability for
specifics of each group of learners and each teacher.

Use the setting of your practicum placement (if you are JMUke, pick one setting) as the basis for this curricula. You
will turn in a completed and well-thought-out curriculum plan using the UbD template below. You may work alone
or in groups of no more than four. Feel welcome to use and adapt the songs/goals you have begun to generate
already in your leadership assignments. Also, you may want to draw on the readings you have done for your
Scholarship project to shape how you frame learning and teaching here.

Please copy and paste this guide into your own google document. Replace all text that is written in ​italics​. There
are multiple steps:
- 4/17 by 4:00PM: Context Statement and Stage 1
- 4/24 by 4:00PM: Stage 2 and begin Stage 3
- 5/3 by 11:59PM: All (complete Stage 3 and craft end assessment rubric)
-
The full project will be due May 2 by 11:59. To submit, create a leadership blog post and include the following:
- A textbox that describes what this is and what you have learned through the process of creating this
curricula.
- A link to the google document set with share settings as “Anyone with Link can Comment.”
- A PDF of the document embedded in the post using the Scribd tool.

Learning Popular Songs on the Ukulele: Creative Kids Co-Op  

Context Statement:​ Covenant Presbyterian Church, the location of the Creative Kids Co-Op, is in Harrisonburg,
Virginia; the learners within this co-op are primarily Caucasian, home-schooled students grades sixth through
eighth. Some technical limitations within the school include: limited access to technology such as slower Wi-Fi and
difficult projectors. Some other cultural limitations include religious affiliations, specifically choosing songs that are
appropriate to religious beliefs and the education curriculum. Prior to this experience, the learners knew some
chords and strumming patterns on ukulele, had a basic sense of rhythm, and knew how to carry a simple melodic
tune. The learners are interested in country music, contemporary Christian music, playing games, and songwriting
as a group. The learners are in need of exposure to different kinds of music within reason, fragments of activities (5
minute increments to stay on task), and a safe space for performance opportunities.

Stage 1 - Desired Results

Standards: Goals:
MIB.1 Students will ● I can figure out the rhythm and chord progression using G, D, Am, C
echo, read, and notate chords to a song by listening to it and performing it (T)
music, including 1)
identifying, defining,
and using basic standard
notation for pitch,
rhythm, meter,
articulation, dynamics,
and other elements of
music; and 2) singing
selected lines from
music being studied.

MIB.2 The students will ● I can play strumming patterns (DDDD, DDUUDU, and DUDU) at a steady
echo, read, and perform tempo for sixteen bars (S)
rhythm and rhythmic
patterns, including
whole notes, half notes,
quarter notes, eighth
notes, dotted half notes,
and corresponding
rests.
● I can look at any song and stomp the beats with my feet and clap beat
MIB.4 Students will one of every measure with my hands to help me identify the time
identify, read, and signature of the song by the end of this experience (T)
perform music in simple
meters (2/4, ¾, 4/4, C).
● I can echo a melody or rhythmic phrase accurately three out of five times
MIB.15 The student will (S)
perform simple
rhythmic and melodic
examples in
call-and-response styles.
● I can actively listen to music performed by my peers and provide one
MIB.19.6 The student positive comment and one constructive criticism of their performance (T)
will explore historical ● I can define what culture is and identify different cultural songs from
and cultural aspects of different parts of the world (K)
music by:
demonstrating concert
etiquette as an active
listener.

MU:Cr2.1.H.8a Select, ● I can record a draft of an eight measure phrase containing at least two
develop, and use chords and a melody with original lyrics (S)
standard notation ​and ● I can create a short 1-2 minute tune including different melodic and
audio/video recording rhythmic elements layered (at least 2 different accompanying parts)
to document melodic, using free programs such as Acapella. (S,T)
rhythmic, and harmonic
ideas for drafts of
melodies (created over
specified chord
progressions or AB/ABA
forms) and ​two-to-three
chord​ accompaniments
for given melodies. ● I can explain at least two significant events during the time period that
the song was written and its effects on the style of the piece (U)
MU:Re7.2.H.8a ​Describe
how ​the way that the
elements of music are
manipulated​ and
knowledge of the
context (social and
cultural) inform the
response. ● I can write a short paragraph (3-5 sentences) about the different feelings
and images I see and experience when listening to a piece of music (S)
MIB.21.4 The student
will investigate aesthetic
concepts related to
music by identifying
ways in which music
evokes sensory,
emotional and
intellectual responses,
including ways in which
music can be
persuasive.

Generative (Essential) Questions:​ Broad questions that learner will work toward finding multiple and unique
answers. These questions encourage learners to dive deep (not easy to answer quickly and not answerable in only
one or two ways). For example:
- What makes a song popular and appealing to listen to?
- In what ways can musicians change parts of a song to make it sound like a different style?
- How can the process of learning and growth be documented?
- What is culture and how can a song be ‘cultural?’
- How can we try and understand cultural songs without ​being​ a part of the specific culture?

Stage 2 - Evidence 

Be as specific as possible to articulate what a quality piece of evidence will look like that will demonstrate that
learners grew related to each of the goals. Be clear and think about what specifics need to be addressed and which
ones don’t (use vagueness purposefully to encourage some aspect of learner agency). Identify the format and
qualities of each piece of evidence and how they relate to the goals. Also provide specific adaptations to the
evidence to allow for this curricula to be inclusive of learners with different ability levels and body/mind
constitution.
Develop rubrics, checklists, and informal assessments (like observation guides) to assess learners growth in your
setting. Develop a final rubric.

Maybe give them a checklist to do _______

● I can figure out the rhythm and chord progression using G, D, Am, C chords to a song by listening
to it and performing it (T)

Evidence: Students will bring in at least three songs that use a chord progression containing the GM, DM,
Am, and CM chords. These tabs will have the rhythm of the strumming patterns dictated right above the
corresponding lyrics where the strum patterns occur. The student will then choose one of the songs to
perform, clapping out the rhythm and saying aloud what and where the chord changes are. Students will
have three chances to perform the progression then will reflect on what they thought went well and what
they can do to help them do better in the future. This evidence will demonstrate the student’s ability to
identify rhythm and chord progressions.

Adaptations: Students may use body percussion and record themselves instead of writing down the
rhythms. They may also present a recording rather than performing in front of the class live.

● I can play strumming patterns (DDDD, DDUUDU, and DUDU) at a steady tempo for sixteen bars
(S)

Evidence: Students will notate the strumming patterns that correlate with the lyrics on the tab of their
chosen song. They will use one color for down strums and a different color for up strums, preferably to
significantly different colors. Then they will perform this strumming pattern three times for the teacher.
This evidence will demonstrate their knowledge of strumming patterns and ability to articulate and
perform a consistent strumming pattern.

Adaptations: Students may say the words “down” and “up” rather than writing them on the ukulele tab.
They may also use one hand to demonstrate “up” and another to demonstrate “down” strums.

● I can look at any song and stomp the beats with my feet and clap beat one of every measure with
my hands to help me identify the time signature of the song by the end of this experience (T)

Evidence: Students will take a video or perform live the task of stomping “little beats” with their feet and
clapping beat one of every measure with their hands of their one chosen song. Then during class time,
they will be given a short multiple choice quiz to state the time signature they identified for each piece
performed by the other students.

Adaptations: Students may take a verbal quiz where they state the answer to the teacher rather than a
multiple choice quiz.

● I can verbally echo a melody or rhythmic phrase accurately three out of five times (S)

Evidence: Students will be assessed in a group setting where the group will be keeping the steady beat
by clapping their hands or tapping their feet, then teacher will say a melodic or rhythmic phrase and point
to a student for them to echo. This is a call and response activity.
Adaptations: Students may do this individually in a quieter, non-group setting if they feel uncomfortable.

● I can actively listen to music performed by my peers and provide one positive comment and one
constructive criticism of their performance (T)

Evidence: Students will be given a sheet of paper that has blank spots to put their peer’s name, their own
name, one positive comment, and one constructive criticism (see below). They should be able to write at
least one insightful, complete sentence for each comment section.

Peer’s Name:_____________ Your Name:

______________

Positive Comment:

Constructive Criticism:

Adaptations: Students can type or record themselves providing the comments if they would rather not
write it down on a piece of paper.

● I can define what culture is and identify different cultural songs from different parts of the world (K)

Evidence: Students will be given a short quiz that asks them to define the culture of music, which will
have a word bank for different parts of the world. A number of songs will be played and each word from
the word bank will be used to identify the origin of the piece. Students must write those words next to the
number of the listening.

Name:

Define Culture:

1.
2.
3.
4.

Word Bank: China, India, Mexico, United States

Adaptations: Students will be allowed to have as much time and as many listenings as they need to
answer the questions.
 ● I can record a draft of an eight measure phrase containing at least two chords and a melody with
original lyrics (S)

Evidence: Students will turn in either a notated draft of their piece that dictates the melody, the chords
used, and the location of the chord changes, or they may turn a video/recording of themselves singing
and playing a draft of their piece.

Adaptations: Students may have another person play their chords for them if they do not have the ability
to play an instrument; however, they must have created the piece and given instruction on how they
wanted it to sound beforehand.

● I can create a short 30 seconds tune including different melodic and rhythmic elements layered (at
least 2 different accompanying parts) using free programs such as Acapella. (S,T)

Evidence: Students will turn in a 30 second recording of a collaborative and or individual cover of their
own choice; explanation/reflection on why they choose the songs and what tools they used in order to
learn it.

Adaptations: Students may not want to work with others so an individual option is offered. Students may
not have classmate friends that are willing to work with them; the option of choosing groups or selection
of group are the options. Students may not have access to certain instruments or computers so office
hours may have to be extended.

● I can explain at least two significant events during the time period that the song was written and
its effects on the style of the piece (U)

Evidence: Students will choose a piece and historically analyze the time period. They will create a
timeline outside of the musical context and make an educated guess on the influences the composer may
have had and or the music encompasses.

Adaptations: Students may be overwhelmed with this project since history in general is a vast concept;
maybe dissecting this projects into steps would help students. Categorically organizing the music history
sections into eras; Classical, Romanticism, etc. would best help students will OCD and or certain forms of
anxiety.

● I can write a short paragraph (3-5 sentences) about the different feelings and images I see and
experience when listening to a piece of music (S)

Evidence: Students will choose a song, referencing a video to the song and writing a short paragraph
including specific timestamps through which they feel certain emotions throughout the song. If time
allows, then students can analyze the melody and dissect how their emotions change through the song.

Adaptations: Some students may not have access to computers at home so extended office hours with
computer should be available. Students may fake this and write random feelings down rather than putting
their effort into it -- in this case, students may write a fictional story or narrative relating to the song.

For most of these goals, a simple checklist like the one below will suffice.
 Student Name Accomplished Task (Check Mark or None)

Stage 3 – Learning Plan 

Discuss the specific process by which learners will make progress toward the goals. Specifically address the ways
you, as a teacher, will support, challenge, and wind for the learners. What “workshops,” “lessons,” or “experiences”
will you guide learners in to help them develop tools needed to grow? How will you support individual learning and
growth? Identify when and how assessments occur throughout the unit. Your unit should be at least 6
days/meetings long (for 30-minute class periods in class settings) and/or 3 days/meetings long (for 1 hour-long
community settings). These will be sketches, not complete experience designs.

You may choose to sketch this out in a number of ways, including:

- A series of days (maybe this is a 10 day project) with the day noted along with the
- A vignette that tells what students and teacher are doing each day of the unit. These would be narratively
dense.
Each day is a 30-minute class period.
Day 1:​ The teacher will introduce the curriculum and the different objectives of the unit. They will tell
students what their wishes for the final product of the class unit to be, which is their own original song.
Students will begin learning two basic chords (CM and FM) on the ukulele, as well as a simple DDDD
strumming pattern. We would first show them a ukulele tab of the CM chord and then explain how to read
it and what fingers to place on what string. Once they are able to do this, they will sing “Hi, my name is
______” playing a CM chord and down strums on each syllable. Then, we would show them the ukulele
tab of FM and they would work with a partner to learn how to play this chord. They will create their own
jingle using only down strums and FM and CM.

Day 2: ​ At the beginning of class students will receive a piece of paper with one verse of a well known
song (ex. Twinkle Twinkle Little Star) and are asked to get in groups of two or three and figure out what
the chords change to throughout the song (the chord progression). They are only given a list of the
chords previously known and where in the lyrics the chords change. While this is happening, the teacher
is going to each group and checking their proficiency on each chord as an assessment. Students will then
learn more chords (GM, am) and a variety of strumming patterns (DUDU, DDUUDU).

Day 3:​ The teacher will introduce how to write a song by identifying and explaining what a verse, chorus,
and bridge are through a well known song. The teacher will choose a song from the Billboard Top 100
that is appropriate for the students’ developmental stage and well known to them, and then talk them
through the different sections of the song. They will then get into groups of two or three and do the same
thing with a song of their choice. They will print out the lyrics for the song and then highlight the verses,
choruses, and bridges in different colors. These sheets will be turned in and used as an assessment for
teachers to see if their students understood the concepts taught about song structure.

Day 4: ​The​ ​teacher will provide the students with three writing prompts and they will choose one to write
their song from. The students will pick out the lines from what they wrote and use it as the lyrics for their
original piece (at least sixteen bars). They will then create a chord progression using the chords they
learned on Day 2 and form a melody to fit their lyrics to. The teacher will provide the students with the
final rubric so that the students can self-assess themselves as they work on their piece.

Day 5:​ The teacher will assign the students into groups of five to form a composer’s workshop where
students can receive feedback from their peers on their individual songs. The peers will use the rubric
given by the teacher on Day 4 to help guide their feedback for their peers on their original song. The
teacher will help facilitate with questions for groups if there needs to be more engaged discussion in the
classroom.

Day 6:​ The students will be in their same group of five from Day 5 and rehearse performing their piece
live in front of a smaller audience if they chose this option instead of a video recording. Before the recital
begins, the teacher will briefly explain proper performance etiquette. The students will have a miniature
recital where they either present their original song live or play a video recording of their piece for the
classroom to see.

Final Assessment Rubric 

Goal/Quality No  Minimal  Meet  Exceeds 

Evidence  Evidence  Expectations  Expectations 

1) Knowledge of Does not Knows one to Knows three to Knows six or more
chords and reading know any three chords and five chords and chords and can
tabs chords and can read tabs can read tabs explain how to read
has no without some without any extra tabs to others.
knowledge of extra guidance. guidance.
how to read
tabs.

2) Ability to play Does not Knows chords but Is able to switch Excellent ability to
chords and know the lacks ability to from chord to switch from chord to
strumming patterns fingerings to switch from chord chord. Less flow chord with flow and
chords, so to chord. No flow; and musicality. musicality. No
cannot play lack of rhythmic Minimal mistakes, mistakes; no sign of
them. No flow integrity. however discomfort and ticks.
and no Discomfort is discomfort is
rhythmic evident when evident when
integrity. mistakes occur. mistakes occur.
Discomfort is
evident at all
times.
3) Demonstrates Does not Knows a few facts Can explain the Can explain the
cultural competence know anything about background background background behind
about the behind the songs behind the songs the songs and artists
background and artists they and artists they they chose to use in
behind the chose to use in chose to use in their activities, as well
songs and their activities, but their activities, but as make connections
artists they cannot explain. cannot make extra between this
chose to use connections. information and the
in their world today.
activities.

4) Transfer of Does not Can take the Can take the Can take the chords
knowledge to other transfer any chords they know chords they know they know to play and
content skills or to play and use it to play and use it use it to learn other
knowledge of to learn other to learn other songs independently.
chords to songs with some songs The skills they
learning new extra help. independently. develop are used to
music create new songs.
independently.

5) Understanding of Is loud and Sits quietly, but Attentive to peers Engaged and
performance not paying may be slightly when they are interested in peers
etiquette and attention to distracted when performing. when they are
performance peers when peers are Performs original performing. Performs
technique they are performing. piece with original piece with
performing. Performs original accuracy, but enthusiasm and
Does not piece with a few lacks enthusiasm. accuracy.
perform mistakes.
original piece.