102086 Designing Teaching & Learning

Assignment 2: Lesson Plan Analysis, Revision and Justification

18345621 – Kaitlin Rose Trojko

1 Intellectual quality
1.1 Deep knowledge
1 – 2 – 3 – 4 – 5 Comments:
Knowledge is deep with the consistency of key ideas and/or concepts throughout the lesson. The
correlation between the music concept ‘rhythm’ and using the knowledge to compose a sequence.
1.2 Deep understanding
1 – 2 – 3 – 4 – 5 Comments:
The activities in the lesson can provide deep understanding knowledge as it provides a fairly simple
explanation of pitch and how it can relate to other concepts. Some activities allow students to use
this new knowledge to demonstrate their understanding of composing.
1.3 Problematic knowledge
1 – 2 – 3 – 4 – 5 Comments:
Majority of the knowledge is only presented by fact. Although this is an introduction of the concept
of pitch, allowing students to discuss or brainstorm their ideas of how and why this notation was
created can enhance problematic knowledge. Overall this concept is a little difficult to scale.
1.4 Higher-order thinking
1 – 2 – 3 – 4 – 5 Comments:
Most of the activities involve lower-order thinking as this lesson is an introduction to a new concept.
Nevertheless, there is a chance for students to use higher-order thinking of using action, create, and
differentiate in some activities but not enough time is given.
1.5 Metalanguage
1 – 2 – 3 – 4 – 5 Comments:
There is a high use of Metalanguage throughout the entire lesson. Since students are learning
notation it involves the use of language to recognise symbols and how pitch is arranged.
1.6 Substantive communication
1 – 2 – 3 – 4 – 5 Comments:
Communication can be substantial throughout the lesson. However, they may be times where
discussions may tend to follow the “initiate-respond-evaluate” (IRE) pattern. Would be more factual
based questions or statements.
Quality learning environment
2.1 Explicit quality criteria
1 – 2 – 3 – 4 – 5 Comments:
Very little communication in the quality of work required for each student. No detailed instruction
of what quality of work students need to uphold in some of the activities and potentially not enough
time.
2.2 Engagement
1 – 2 – 3 – 4 – 5 Comments:
Activities provides some engagement for students however not enough cause of the activities.
Gifted and talented (GAT) students may be a little advanced for some aspects of the lessons, such
as using music notation to write common words, but overall high engagement can be evident.
2.3 High expectations
1 – 2 – 3 – 4 – 5 Comments:
The activities do provide some challenges that can associates students with deep understanding.
Challenges such as integrating new language with previous knowledge into the first steps of
composing and performing after associates with high expectations.
2.4 Social support
1 – 2 – 3 – 4 – 5 Comments:

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 Activities provide social support in a positive matter as most of these activities involve interaction
and guidance from the teacher majority of the time. However, it does depend on how the teacher
responds to students and how they give support.
2.5 Students’ self-regulation
1 – 2 – 3 – 4 – 5 Comments:
This element is hard to determine on just the lesson plan and needs to be seen in action. Majority
of the activities do involve the teacher explaining and interacting with students which may or may
not have interruptions. Also, the timing of certain activities may cause interruptions.
2.6 Student direction
1 – 2 – 3 – 4 – 5 Comments:
Students have minimal control on most activities especially the amount of time given in conducting
for the last activity. Choice in what they do in the last activity is the only control allowed.
3 Significance
3.1 Background knowledge
1 – 2 – 3 – 4 – 5 Comments:
This element is a little difficult to determine on student’s background knowledge. However, there
is a chance for students to incorporate their own background knowledge and a connection outside
of school through
3.2 Cultural knowledge
1 – 2 – 3 – 4 – 5 Comments:
This element is difficult to score. Through the context used in pitch, it does only identify with
Western (culture) music notation. Since this notation is universal maybe an insight that nowadays
most cultures associate music with this type of notation.
3.3 Knowledge integration
1 – 2 – 3 – 4 – 5 Comments:
Connections are made in the last activity that associates with general maths. Connecting rhythm
and pitch in the composed melody requires addition. Maybe even an activity of music maths (using
music notes to create an equation) at the start of the lesson. Using English to create words through
using the music notation is integrated within the lesson.
3.4 Inclusivity
1 – 2 – 3 – 4 – 5 Comments:
Activities are constructed in a way for minimal discrimination as most of the activities involve
participation throughout the whole classroom. This includes answering questions and providing
ideas as a group to further understand the content.
3.5 Connectedness
1 – 2 – 3 – 4 – 5 Comments:
There is an opportunity for students to recognise some connections with this knowledge that might
include sharing their work and creativity to other outside of school. Especially the performing
element implemented within the last activity can create personal meaning and might influence an
audience beyond the classroom.
3.6 Narrative
1 – 2 – 3 – 4 – 5 Comments:
Not much of a chance to relate their learning with narrative. Allowing students to set a scene of a
personal experience they have had and incorporating their feelings of it through music.

Identifying Areas for Improvement

QT model
1) Higher-Order Thinking 2) Explicit Quality Criteria
3) Engagement 4) Student Direction

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 Music Lesson Plan

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

Date: Location Booked: Lesson Number: /

Time: Total Number of students Printing/preparation

Keyboard books, Blank Stave
paper

Outcomes Assessment Students learn about Students learn to

4.3 performs music • notating • explore forms of
demonstrating solo and/or compositions using musical notation,
ensemble awareness various forms of including computer-
traditional and non- based applications, as a
4.5 Notates compositions using traditional notation method of recording
traditional and/or non-traditional their own musical ideas
notation. • identifying,
understanding and • respond to the range
4.9 Demonstrates musical literacy describing how 
 the of repertoire used for
through the use of notation, concepts of music have listening
terminology, and the reading and been used and
interpreting of scores used in the manipulated • Develop solo and/or
music selected for study ensemble skills through
• identifying notes on performance.
the keyboard and
performing music

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Time Teaching and learning actions
5 min Review previous lesson on rhythm asking students to recount note types/names

Echo clapping exercise

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

Label the notes.

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

Using a “keyboard” drawn on the whiteboard explain the repeating pattern of white
notes.

Notate a simple two bar melody on whiteboard.

Explain how pitch and rhythm can be notated together

Ask students to clap rhythm then name the pitches.

Compose a 4-bar melody as a class. Ask students to think of mood as our inspiration.

Ask students at random to name a type of note and what pitch to use. E.g. Crotchet,
D.

Write it up on the whiteboard.

25 Students are to choose one of the 2 activities provided:

min
Activity 1:
Students are to move to a keyboard with an Introduction to Keyboard book they were
provided and to start learning an instrument.

Explain to students where their hand needs to be placed on the keyboard and to find
middle C.

Students are to be able to play ‘Hot Cross Buns’ by the end of the lesson.

NOTE: Advised for beginners/or those who have a bit of experience and are a bit
rusty.

Activity 2:
Students are to attempt to compose their own 4-bar melody in the Treble clef using
the blank stave paper.

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 Learn and Practice their composed piece at a keyboard.

NOTE: Advised for students who are intermediate/advanced or would like a challenge
(GAT).
5 min Quick summary of lesson

Pack up.

How am I measuring the outcomes of this lesson?

Learning Outcome Method of measurement and recording

4.3 performs music Informal assessment of student responses to teaching and learning
demonstrating solo and/or activities.
ensemble awareness

4.5 Notates compositions Informal assessment of student responses to teaching and learning
using traditional and/or activities.
non-traditional notation.
4.9 Demonstrates musical Informal assessment of student responses to teaching and learning
literacy through the use of activities.
notation, terminology, and
the reading and
interpreting of scores used
in the music selected for
study

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Justification
Every teacher has their own way of teaching content to their students. Teacher’s may feel

that getting students to copy off the board every lesson, some would rather allow students

to learn through action and movement. Whatever the case, all students need to be guided

in the right direction with full attention in accumulating new content to help become better

achievers. Using the Quality Teaching (QT) model, I have analysed the lesson plan to my

intentions and have found 4 elements that need improving. They are higher-order thinking,

explicit quality criteria, engagement, and student direction. Although there were other

elements that were lacking, it was hard to distinguish their score due to the criteria as it

was analysed as a theoretical approach. The elements that are needed to be improved do

complement each other and can also improve other areas in the lesson plan.

The first element that belongs to the QT model’s domain, Intellectual quality, is Higher-

order thinking. Higher-order thinking is when students are capable of manipulating

information and ideas to ways that transform their meaning and implications. This element

is important in music as a means to connect with music at a deeper level and create

connections with their own music and others. According to Kruger and Merwe (2012), a

strategy for teaching high-order thinking is through a constructivist approach. He explains

the learning sequence of seven steps although our main focus is the first 4. Stage 1 is

performing existing music. Stage 2 is analysing musical ideas. Stage 3 is composing and

arranging own work, and stage 4 is performing own music1.

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Kruger & van der Merwe, Higher-order thinking in music, pg. 65-66

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I modified the lesson plan by removing lower-order thinking activities that I found were

unnecessary to understanding the concept of pitch, such as the ‘pointing to the sky for

high sounding notes and down for low’. Instead I maximised the time for the second

activity to 15 minutes and added elements of the original last activity to promote high-order

thinking. The modifications to promoting higher-order thinking also links to the QT model

element explicit quality criteria. Students who have a better understanding of your

expectations for an activity, they are more likely to achieve through clear communication.

Using the modified activity to compose a melody as a class may help in students to

understand the expectations of what is needed to be done when composing their own

music if chosen as their last activity. Allowing students to understand the importance of

using inspiration, to thinking of a rhythm before a melody as demonstrated before can

guide them in the right direction.

Moving on to engagement, the lesson plan provided theoretically, did not meet the criteria

as of the lack of active engagement present in the activities. Music is all about active

engagement and students need to be able to make connections between the music

concepts by physically learning an instrument such as keyboard. Mentioned in an article

by Kokotsaki & Hallam (2007), that active engagement with music making or playing can

increase self-esteem in children of low economics status and increase social inclusion2.

Secondary students also enhance their awareness of others, social skills, well-being,

confidence in performance and self-discipline3. This is evident that active engagement is

crucial for students and needs to be indorsed in the classroom. Student direction is

another element that needs to be enhanced as it is a way for students to further

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Kokotsaki & Hallam, Benefits of Participative Music Making
3
Benefits in Participative Music Making

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understand a concept at their own pace. One study focused on inquiry-based learning and

whether student direction, mixed direction or teacher direction was the most effective 4. In

most of the studies, it was believed that student direction, in a science classroom, was the

most effective in terms of metacognitions. Of course, they suggest that allowing student

direction in the classroom at moderate amounts can improve thinking skills and other

benefits5. Like music, you need to think and brainstorm ideas for a song to compose by

using inspiration. The modifications I made that involves student direction is the second

activity where as a class we compose our own melody. The part of the lesson which goes

for 25mins, is allowing students to choose either of the two activities. They are both going

at their own pace of learning how to play an instrument or composing and making their

own music.

In conclusion, the modifications I made was to improve 4 elements in the QT model.

Higher-order thinking is needed in students to understand the concepts of music and

create their own meaning through from learning an existing piece to creating their own.

Explicit quality criteria are important for students to understand the expectations of their

work from the teachers to achieve individually. Engagement is most important in students

to process new information in an active way to promote benefits such as self-esteem and

confidence. And Lastly student direction can allow students to understand a concept at

their own. These elements and modifications can help students achieve more.

References:
Dobber et al.. (2017). Literature review: The role of the teacher in inquiry-based
education. Educational Research Review, 22(1), 194-214.

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Dobber et al.. (2017) Literature reveiw
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Literature review

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Kokotsaki, D & Hallam, S. (2007). Higher Education Music Students’ Perceptions of the Benefits
of Participative Music Making. Music Education Research, 9(1), 93-109.

Kruger, J & van der Merwe, L. (2012). Learning About the World: Developing Higher-order
thinking in Music Education. The Journal for Transdisciplinary Research in Southern
Africa, 8(1), 63-80.