You are on page 1of 21

2017

102086: Designing
Teaching & Learning
ASSIGNMENT 2: LESSON PLAN ANAYLSIS
18036116 : JASMINE BREEZE

Contents
Original Lesson Plan
Lesson Plan Analysis
Modified Lesson Plan
Academic Justification
References
Learning Portfolio Web Link
Original Lesson Plan

Class code 11MUS Ability High Number of students on 16


roll

Scheme of Set Works


Work:
Focus of lesson:
Schoenberg – Composition

Work Schoenberg – Introduction to Expressionism


completed in
previous lesson:

Learning Objectives (new skills or knowledge, Learning Outcomes (how new skills or
explicitly linked to NC or Syllabus objectives. knowledge and progress will be
Ensure these are delivered in pupil-friendly demonstrated and assessed during the
language) lesson)
To recall key features used in Expressionist Pupils will define a number of key words
music. associated with Expressionist music.
To understand how harmony is constructed by Pupils will understand how to create a
Schoenberg in ‘Peripetie’. hexachord and what function this serves in
‘Peripetie’.
To be able to compose a piece in an Pupils will demonstrate their understand of
Expressionist style. the key features linked to Expressionist
music by composing a piece using ‘Peripetie’
as a stimulus.

Brief summary of lesson


What I will do: Pupil outcomes:
Do Now (3 mins)

Play Peripetie during discussion. After 2 Pupils should discuss what they think the
mins ask pupils to feedback. word ‘klangfarbenmelodie’ means in
relation to Expressionism.
Achievement point if a group have guessed
the answer correctly. Each group should share a ‘convincing’
definition.
Starter (7 mins)

Key words relating to Expressionism on the


board. Pupils will write one key feature they
remember from this category (i.e. melody)
Choose one person to explain the feature on their mini whiteboard.
they have chosen. Address any
misunderstandings.

Repeat for each category. Repeat for each category.

Phase 1 (10 mins)

Explain what a hexachord is and model


how to construct one.

Circulate room helping pairs. Pupils should work in pairs on iMacs to


construct their own hexachord and record
it into Garageband.

Extension: Pupils can make more than one


hexachord and experiment with using
Phase 2 (10 mins) different timbres to change the tone of the
chord.
Explain how hexachords can be used for
melodic material as well as harmony and
model how to create a motif using a Pupils will choose an emotion they would
hexachord, based on an emotion. like to portray in their composition and
create a motif using the notes from their
Circulate room helping pairs. hexachord. They can change the mood
using melodic shaping
(ascending/descending), tempo, pitch, and
timbre.

Extension: Pupil can experiment with


‘klangfarbenmelodie’ – passing their motifs
around different instruments.

Phase 3 (15 mins)


Explain inversion, imitation and diminution
and model how to use these features on
their motifs (link with minimalism).

Circulate room helping pairs. Pairs will experiment with these features,
along with other previously mentioned
Expressionist features, to compose a piece
based on their chosen emotion.

After 10 mins, ask some pairs to share their Pupils should listen/watch some
compositions. compositions and try to identify the
Plenary (7 mins) techniques that have been used, and guess
the emotion that they were trying to
Put key words on the board. convey.

Group with most correct answers awarded In groups of four pupils will attempt to
achievement points. correctly define as many key words as
possible (on mini whiteboards) in 5 mins.
Homework: Schoenberg essay
Resources (worksheets/power point slides attached if applicable):

IWB, ppt, iMacs.

WWW: EBI:

Source: This Lesson Plan was sourced from a Western Sydney High school and was
provided to me by the CAPA Head Teacher of this school. It has been de-identified to
protect the privacy of the teacher and school.
Lesson Plan Analysis

102086 Designing Teaching & Learning 1H 2017


Assignment 2: APST and QT Analysis Template
Section 1: Australian Professional Standards for Teachers
Evaluate the lesson plan according to the following Australian Professional Standards for Teachers. Only
standards directly addressed in Designing Teaching & Learning that are relevant to this assignment have been
included. However, this does not mean the other standards are irrelevant to lesson planning and evaluation more
generally.
Evaluation score – 1 (poor) to 5 (excellent)
Comments incl. evidence for evaluation score (2 sentences)
1 Know students and how they learn
1.3 Students with diverse linguistic, cultural, religious and socioeconomic backgrounds
1 – 2 – 3 – 4 – Comments: There is no mention of teacher help, but mention of the teacher circulating the
5 room and therefore is suggestive that the teacher helps the groups throughout practical work.
1.4 Strategies for teaching Aboriginal and Torres Strait Islander students
1 – 2 – 3 – 4 – Comments: No mention of teaching strategies, but can be incorporated within this lesson plan
5 through pair and group work. There can also be mention to inspiration for compositional
content.
1.5 Differentiate teaching to meet the specific learning needs of students across the full range of abilities
1 – 2 – 3 – 4 – Comments: There is an extension provided for high achievers within the practical work, as
5 well as a dedicated time allocation near the beginning of the lesson plan to clear any
misunderstandings.
1.6 Strategies to support full participation of students with disability
1 – 2 – 3 – 4 – Comments: The school has a supported inclusion education program within the school,
5 therefore supporting why it is not implemented within lesson plan but can be implemented
within group work through change of resources.
2 Know the content and how to teach it
2.2 Content selection and organisation
1 – 2 – 3 – 4 – Comments: The lesson plan contains reflection and relevance to the unit area. There is also
5 mention to the students’ prior lesson content, but is lacking a lesson overview.
2.3 Curriculum, assessment and reporting
1 – 2 – 3 – 4 – Comments: There are multiple examples of reporting like reflection on selected compositions
5 and musical context, as well as some informal examination through compositional content.
2.6 Information and Communication Technology (ICT)
1 – 2 – 3 – 4 – Comments: The lesson involves working on iMacs with the system Garage band. There is
5 also resources of a power-point presentation and IWB.
3 Plan for and implement effective teaching and learning
3.1 Establish challenging learning goals
1 – 2 – 3 – 4 – Comments: There are many goals presented within the topic studied. ‘Hexachords’ was more
5 distinct in comparison to others, with other mention of learning goals like expressionism
concepts and musical features.
3.2 Plan, structure and sequence learning programs
1 – 2 – 3 – 4 – Comments: The lesson plan is well organised and flows well in context with compositional
5 concepts and practical execution. There could be development on prior knowledge and
introduction of new knowledge but time consideration explains brief considerations of areas.
3.3 Use teaching strategies
1 – 2 – 3 – 4 – Comments: The lesson is spaced well among learning objectives with mainly teacher led
5 activities using resources provided. Although interaction and practical work engagement for
students are group and pair orientated. There may be a learning disadvantage that can occur
within group compositions.
3.4 Select and use resources
1 – 2 – 3 – 4 – Comments: There is a balanced amount of theoretical and practical involvement through use
5 of ICT software and presentation. Although it might be useful to implement notation through
a traditional method being pen and paper for students to write and revise on.
4 Create and maintain supportive and safe learning environments
4.1 Support student participation
1 – 2 – 3 – 4 – Comments: Student participation was fair with group and pair groups throughout the lesson.
5 There is slight worry for contribution from the groups with students more likely to sit back
and watch rather than actively have control of part of the composition.
4.2 Manage classroom activities
1 – 2 – 3 – 4 – Comments: The structure of classroom activities was set out well with relation to prior and
5 new learning. It is a very practical lesson that includes incorporation of musical concepts and
composition through student participation.
4.3 Manage challenging behaviour
1 – 2 – 3 – 4 – Comments: No mention to any challenging behaviour accounted for within the lesson plan or
5 any expectation for misbehavior. Although division of extensional work can be implemented
as promoting effort and participation.
4.4 Maintain student safety
1 – 2 – 3 – 4 – Comments: There is no mention to student safety, but can be implemented through the
5 practical element of using specific ICT’s.
4.5 Use ICT safely, responsibly and ethically
1 – 2 – 3 – 4 – Comments: Should be mention to the safety of working with ICT that can produce excessive
5 loud noises. Also the responsibility and respect to keep noise levels to a minimum for students
working in the same learning environment.
5 Assess, provide feedback and report on student learning
5.1 Assess student learning
1 – 2 – 3 – 4 – Comments: There is provided feedback for selected students compositions works which is an
5 act of informal assessment and reporting. Also there is reporting of the knowledge of students
understanding through reflection activities on the outcome of the lesson.
5.2 Provide feedback to students on their learning
1 – 2 – 3 – 4 – Comments: Peer feedback is provided in form of class discussion, not all students will receive
5 feedback on their compositions. This can be improved through contribution to composition
portfolio.
Section 2: NSW Quality Teaching Model
Evaluate the lesson plan according to the following NSW Quality Teaching model elements.
Evaluation score – refer to NSW QTM Classroom Practice Guide for each element
Comments incl. evidence for evaluation score (2 sentences)
1 Intellectual quality
1.1 Deep knowledge
1 – 2 – 3 – 4 – Comments: There is a sustained concept of prior learning and new learning throughout the
5 lesson with smaller concepts in relation to ‘composition’ that links to previous syllabus
content.

1.2 Deep understanding


1 – 2 – 3 – 4 – Comments: There are teacher led discussions that promote deeper understanding within
5 students. As well as the students creating ‘hexachords’ and using compositional techniques to
demonstrate understanding of an expressionist composition.
1.3 Problematic knowledge
1 – 2 – 3 – 4 – Comments: The lesson content is limited among social constructed perspectives with some
5 discussions, although there is open-ness to multiple perspectives within the opportunity for
individual composition.

1.4 Higher-order thinking


1 – 2 – 3 – 4 – Comments: Demonstration of high order thinking is present within compositional works and
5 class discussions but not within the reflection of the lesson.

1.5 Metalanguage
1 – 2 – 3 – 4 – Comments: There are many uses of metalanguage throughout the lesson mainly at the
5 beginning of the lesson and at the end during reflection.

1.6 Substantive communication


1 – 2 – 3 – 4 – Comments: The lesson is set up for effectiveness in term of creativity and therefore only
5 incorporates substantive communication in a couple of interactions that are essential in
understanding the topic and the concept of composition.

Quality learning environment


2.1 Explicit quality criteria
1 – 2 – 3 – 4 – Comments: There is statement of student’s expectation within the lesson plan, but is no
5 evidence that students are relaying of these expectations to support their work.

2.2 Engagement
1 – 2 – 3 – 4 – Comments: The lesson appears engaging with regular attention from the teacher and little
5 disengagement from advanced learners.

2.3 High expectations


1 – 2 – 3 – 4 – Comments: There is little encouragement to take risks. Although there is participation in
5 challenging work and are extensions for students to aim for.

2.4 Social support


1 – 2 – 3 – 4 – Comments: Group and pair work is advised as part of the lesson. Respect for fellow peers
5 could be implemented within working and presenting as a group.

2.5 Students’ self-regulation


1 – 2 – 3 – 4 – Comments: There is some comment on self-regulation of students and is promoted through
5 the extension on work for those who demonstrate initiative within the lesson plan. As the lesson
plan structure focuses on pupil expectation in practical works, suggestion can be made that
behaviour issues are limited due to pair grouping.
2.6 Student direction
1 – 2 – 3 – 4 – Comments: There is some access to student control within compositional work. Although this
5 is relevant to the significance of the activity within the lesson plan.

3 Significance
3.1 Background knowledge
1 – 2 – 3 – 4 – Comments: The practical lesson plan tends to build upon the understanding of prior learning
5 activities, but is limited in representing out-of-school background knowledge.

3.2 Cultural knowledge


1 – 2 – 3 – 4 – Comments: Some cultural content is including within the lesson plan with reference to cultural
5 composer. Composer’s ideas are use within compositional works.

3.3 Knowledge integration


1 – 2 – 3 – 4 – Comments: Multiple links to relevant content of the unit, following the syllabus outlines of
5 the KLA. Specifically shown through interrelation of minimalist features in expressionist
composition.

3.4 Inclusivity
1 – 2 – 3 – 4 – Comments: Inclusivity of every student within this lesson plan is shown through involvement
5 of individuals choosing which emotion to link their composition to.

3.5 Connectedness
1 – 2 – 3 – 4 – Comments: Students can recognize the compositional connection between music and
5 emotions through musical concepts.

3.6 Narrative
1 – 2 – 3 – 4 – Comments: There are use of resources that incorporate aspects of viewing, reading and
5 listening. This is used through most of the lesson to assist and highlight the point of the lesson.

Section 3: Identifying Areas for Improvement


Identify the two APST standards and two NSW QT model elements you are targeting for improvement.

APST
1) 1.4 Strategies for teaching Aboriginal and Torres 2) 4.3 Managing Challenging Behaviour
Strait Islander students
QT model
1) 2.3 High Expectations 2) 3.1 Background Knowledge
Modified Lesson Plan

Music 1 Lesson Plan

TOPIC AREA: STAGE OF LEARNER: SYLLABUS PAGES:


MUSIC STAGE 6 (YEAR 11)
DATE: LOCATION BOOKED: LESSON NUMBER:
28TH APRIL 2017 MUSIC ROOMS 2/4
TIME: 60 TOTAL NUMBER OF STUDENTS PRINTING/PREPARATION
MINUTES 16 EXPRESSIONISM BRAINSTORM SHEET
PEER EVALUATION SHEET

Outcomes Assessment Students learn about Students learn to


Syllabus Outcomes Lesson assessment Learning Outcomes Learning Objectives
Formal summative Pupils will demonstrate To be able to
P3: assessment their understanding of compose using an
Improvises and the key features linked expressionist style
creates melodies, Pupils should work in to Expressionist music and incorporate
harmonies and pairs on iMacs to by composing a piece cultural or individual
rhythmic construct their own using ‘hexachords’ and understanding within
accompaniments for hexachord and record it personal reflection as a the piece.
familiar sound sources into Garageband. stimulus.
reflecting the cultural
and historical contexts
studied.
Informal Diagnostic Pupils will reflect and To understand how
P4: Assessment recognize the concepts music like Schoenberg
Recognises and of music within ‘Peripetie’ displays
identifies the concept Pupils work in groups to expressionism and musical concepts of
of music and discusses reflect on what they reflect on these ideas expressionism, and
their use in a variety have learnt on within other musical how these can be
of musical styles. ‘expressionism’. styles and cultural conveyed in other
Students then must experiences. musical styles and
apply their knowledge cultural aspects.
to background
experiences and musical
experiences existing
within society and share
this in class discussion.
Informal Reporting Students will To be able to
P5: demonstrate their constructively and
Comments on and Students participate understanding of the respectfully evaluate
constructively among peer key features linked to and deconstruct
discusses compositions by expressionist music by musical techniques
performances and reflecting and reflecting upon a from a fellow peer
compositions. identifying the composers piece using composition.
techniques that have ‘Peripetie’ as a stimulus
been used, and the for feedback.
emotion that was
conveyed within the
piece.
Informal Reporting/ Pupils will explore a To recall key features
P6: Diagnostic Assessment number of key used in expressionist
Observes and concepts associated music and convey
discusses concepts of Pupils should discuss with expressionist these features within
music in works what they think the music and experiment their composition.
representative of the word with
topics studied. “klangfarbenmelodie’ “klangfarbenmelodie’
means in relation to within their
expressionism and use compositions.
this within application
of composition.
Formal Summative Pupils will make a start To compose a piece
P10: Assessment to their compositional using key ideas of an
Demonstrates a portfolio and expressionist
willingness to Pupils will choose an demonstrate composer or culture
participate in emotion they would like participation through influence.
performing, to portray in their their compositional
composition, composition and create works and cultural
musicology and aural a motif using the notes influences to their
activities. from their hexachord. pieces.
The composition should
reflect upon a cultures’
perspective or involve
interaction with a
cultural instrument.
The composition should
be accounted for within
the students’
composition portfolio.
Cross Curriculum themes & General capabilities Explicit subject specific concepts and skills
- Aboriginal and Torres Strait Islander Students within Music 1 are required to
histories and cultures complete 3 selected units. Schoenberg is a
- ICT Capability = iMac system, Garageband. chosen composer of the unit ‘19th Century
- Creative Thinking = Creation, Reflection Music’ and conveys expressionism ideas
- Literacy = Writing up of composition through the creation of a 12 tone chord.
reflection. Students have prior knowledge of Schoenberg –
Introduction to Expressionism. Lesson 1/4.
Students will be applying their creativity in
relevance to Schoenberg ideas of expressionism
to create their own expressive compositions
with influence of cultural history. Lesson 2/4

Time Teaching and learning actions Organisation Centred


T/S
Intro Do Now Teacher:
3 - Split into 4 groups - Organise 4 tables for the 4
minutes groups.
Find out what ‘klangfarbenmelodie’ means in - Write the Do Now question
relation to Expressionism? on the board.
- Write down what we will be
Lesson Overview (write on board) covering today.
1. Recap on Expressionism. - Ask students and explain
(Play example ‘peripetie’) what ‘klangfarbenmelodie’
2. Hexachord’s means
- What it is? - Explain the lesson overview
(Model: Constructing a Hexachord) to students.
- Understanding a hexachord through Student:
creation. - Settle down in four groups
- How they can hexachords be used? - Answer ‘Do Now’ within
- Explain: The interrelation of a hexachord, groups.
melodic material and harmony. - Listen to lesson overview.
- Create a hexachord motif using an emotion Resources: Ipads, Text Books,
as inspiration. Prior Lesson Context.
- Upload towards composition portfolio.
Recap What is Expressionism? Teacher: Instigate a
7 - Students must brainstorm off the key brainstorm on the whiteboard
minutes concepts of expressionism within groups and by creating a mind map
prepare answers for the class. leading with – “what is
QT - 3.1=Background Knowledge expressionism?” and write
the key concepts surrounding
- In terms of the ‘expressionism’ discussion this question.
students must think about: (Highlight any
The relation to personal experiences of a misunderstandings)
culture’s history involving music or Let students discuss among
expressionism within modern society. groups and regather to
discuss ideas and
examples: perspectives.
Expressionism through a selected music
choice. Student:
Expressionism in relation to daily life - Students need to relate their
incorporation. own personal reflection of
Expressionism with relevance to aborigines’ expressionism among their
stories of the ‘Dream time’. groups.
(This can be done through
examples of music that they
may listen to that convey
expressionism concepts.)
(They can also incorporate
out of school examples that
relates to the idea of
expressionism within the
group discussion. For instance
the incorporation and
significance of Aboriginal
music, instrumentation and
the stories of the
‘Dreamtime’.)

- Students need to be able to


reflect on personal
interrelation to expressionism
within class discussion.
Resources:
- Whiteboard
- IWB (ppt)
Activity What is a hexachord? Teacher: Ask the question,
1 Students must work in pairs within their “What is a hexachord”
allocated groups from the beginning of the Use IWB to explain and show
lesson to construct their own hexachord. “Constructing a
Hexachord”.PDF
Model: Constructing a hexachord (PDF) Student:
10 - Go through the PDF model
minutes The paired students must engage with the of a hexachord as a class or
PDF to create their own hexachord within again within pairs.
groups. - Use this resource to
contribute to your paired
creation of a Hexachord.

Resources:
- Constructing a
hexachord.pdf
- Use of IWB.
Activity Execution in Understanding a Hexachord. Teacher: Discuss the task of
1 Cont.. Students must illustrate an understanding to illustrating a hexachord
a hexachord through notating their own within your pairs.
creation within their music books. Once an Perform your hexachord using
illustration is completed using iMacs students Garageband as a recording
will open Garageband and record their device.
10 hexachords as a track.
minutes Students must demonstrate
Extension: Students can make more than one an understanding of what a
hexachord and experiment by using different hexachord sounds like.
timbres and changing the tone of the chord.
Circulate the room to help the
pairs.
Student:
- Illustrate a Hexachord within
pairs. Students can use
instruments to support their
understanding.
- Move onto iMac and record
your Hexachord into
Garageband.
Extension: Students are
expected to experiment with
their hexachord by using
multiple timbres and tones.
Resources:
- iMacs (Garageband)
- IWB (Constructing a
hexachord.pdf)
- Music Books (Notation)
Activity Explaining how Hexachords can be used Teacher: Keep the students
2 within melodic material. within their pairing.
Provide examples of hexachords through Inform students that they will
10 melodic material with reference to the now be creating a motif using
minutes musical concepts. For example; Harmony. their hexachord notes and
must represent an emotion
Model how to create a motif using a through their motif.
hexachord, based on an emotion or historic Student:
cultural event. - Students will create a
composition based off a
QT - 3.1=Background Knowledge hexachord motif and show
contrast of an emotion.
- Students can change the
For Example: A piece based on the complexity mood using melodic shaping
of the instrument being the ‘digeridoo’ and (ascending/descending),
the cultural context of the ‘dream time’ and tempo, pitch, and timbre.
musical interrelation of expressionism within
music culture.) Extension: Students should
experiment with
‘klangfarbenmelodie’ –
passing their motifs around
different instruments. For
example use a ‘digeridoo’.

Resources:
- iMacs (Garageband)
- Music Books (Notation)
Activity Explain musical expressions. Teacher: Explain musical
3 Explain inversion, imitation and diminution expressions and model these
and model how to use these features on on a students’ motif.
5 student motifs. Show relevance to
minutes (Create link to minimalism in terms of minimalism through minimal
creating a motif. For example the simplicity of content within motif.
a digeridoo motif.) Student:
- Experiment with one
musical feature that relates to
expressionism and use this as
10 Students must show expressionism features a development to your
minutes within their compositional piece to be hexachord motif.
assessed within peer assessment. Extension: Students should
try to incorporate other
expressionist features of their
Total choice to their ‘emotion’
15 composition.
minutes Resources:
- iMacs (Garageband)
- Music Books (Notation)
Wrap Peer Assessment & Compositional Portfolio Teacher: Inform students that
Up Within the last 5 minutes. it’s time to wrap it up.
Students must upload their
5 Students must upload their compositional work to their compositional
minutes creation to their composition portfolio and portfolio and complete a peer
complete a peer assessment on their partners assessment that will be
compositional work. provided as feedback to the
composing student.

Address homework:
1. Complete peer assessment
This peer assessment will be added to their of others work.
compositional portfolio as reflection of their 2. Find a piece that shows an
piece. There will be an option to develop example of
among the composition using the peer’s klangfarbenmelodie’. Use the
advice in further lessons. piece as supporting evidence
towards your Schoenberg
Essay.

Student:
- Students must upload their
compositional work
completed or uncompleted to
their portfolio.
- Students must complete a
peer assessment on the
fellow peer’s compositional
work and submit to their
compositional portfolio.
Resources:
- iMacs (Garageband)
- Peer Assessment Form
- Compositional Portfolio

Reflection
What have I learned about the teaching and learning process when preparing this lesson?
In modifying this lesson plan, I found that managing challenging behaviour and incorporation of
Aboriginal culture were poorly covered or not covered at all in the lesson plan. I also found that
involving aboriginal culture in music education is vital to creating cultural understanding and
interplays with musicality concepts and characteristics through the history of the aboriginals
and the stories created using specific instruments. Although there are many options in drawing
interrelations with the aborigine’s culture. I found that to keep within the music context, the
incorporation of aborigines was limited to creativity opportunities like composing with cultural
inspiration.

Managing challenging behaviour was also found to be unadvised within the lesson plan. So due
to the lack of mention of challenging behaviour. I additionally added extensions to the work to
motivate those students to achieve higher and work independently on their own incase of
disruptive behaviour that an educator may need to attend to.

Effort is essential within students and for those students with a growth mindset, nothing is
impossible. This is why promoting extensions among work and implementing student outcomes
within lessons are significant factors to advancing high achiever students. In reflection of this
assignment, I found that it definitely challenging to deliver the lesson in regards to curriculum
content, cultural diversity and student success. It has also widened my perspective in how I can
apply the Quality Teaching model to my lessons in future and has engaged me with a greater
understanding of the required teaching standards.

How am I measuring the outcomes of this lesson?


Learning Outcome Method of measurement and recording
P3 Formal summative assessment through creation of
expressionist composition.
P4 Informal Diagnostic Assessment during discussion of
reflection on what is ‘expressionism’.
P6 Informal Diagnostic Assessment through use of
expressionism features in composition.
P10 Formal Summative Assessment by the participating
towards a compositional piece and contribution to
their composition portfolio.

WHS
What are the key risk issues that may appear for and need to be reduced/eliminated in this
lesson? Using your syllabus and support documents as well as other WHS policy- Outline the
key WHS considerations that are to be applied in this lesson?

The major potential risk within the practical component of composition would be the
use of ICT. Care should be taken when using compositional software as these
programs can emit loud sounds beyond the 0dB (decibel) regulation and can create
loss of hearing after extensive periods. It should be advised that students listen to
their creations at a volume level of 75% to prevent hearing issues. Students should
also take into consideration that ICT has many other safety factors that involve using
common sense. For example, the handling of equipment and instruments.
Academic Justification

The original lesson plan was adequate in providing the essential outcomes and objectives of the
NSW Quality Teaching model. (Ludwig & Gore, 2003). Although with respect to the Australian
Professional Standards for Teachers (AITSL, 2016) and the QT model. There are areas within
the original lesson plan that were in need of improvement. For instance, the original lesson plan
lacks the Professional Standards 1.4 and 4.3. Whilst within the QT model elements 2.3 and 3.1
had potential to work among within the modified lesson plan.

The Professional Standard 1.4: Strategies for teaching Aboriginal and Torres Strait Islander
students, has been implemented within the modified lesson plan by incorporating musical
understanding through examples of cultural instruments and their significant roles. These
instruments perform within the understanding of the historical and cultural timeline of
Indigenous Australians. Incorporation of aboriginal understanding within the modified lesson
plan has enabled cultural understanding and respect for Aboriginal and Torres Strait Islanders
through a musical perspective. For example, the modified lesson plan has created a holistic
outlook on ‘expressionism’ and how cultural influence like Aboriginal culture, can interpret the
understanding of musical composition techniques to convey interpreted expressions of the
‘dreamtime’ stories. Supporting this strategy for aboriginal incorporation within the lesson are
the six modules that have been developed in order of creating competence and professional skills
and knowledge in the APST Standard 1.4. (“Helping teachers support Aboriginal and Torres
Strait Islander education: Volume 11, Issue 20”, 2013) In particular module 3. Understanding
learners and learning, and module 5. Creating effective learning experiences, are both important
focus areas that I have chosen to draw among within this lesson plan. Both modules 3 and 5
develop on the understanding and importance of incorporation of Aboriginal and Torres Strait
Islander students by drawing attention to educational access, participation and achievement. In
stating attention to these three vital areas, educators must be “better prepared to build activities
that reflect and value Aboriginal and Torres Strait Islander people, languages, knowledge and
cultures.” (“Helping teachers support Aboriginal and Torres Strait Islander education: Volume
11, Issue 20”, 2013)
Educators must also be competent in enhancing learning opportunities and differentiating their
teaching style in accordance to making lessons more culturally appropriate and engaging for
Aboriginal and Torres Strait Islander Students.

The quality teaching framework ensures that quality education is consistent throughout the
schools by providing a critical reflection platform for teachers to analyse their teaching practice,
classroom and assessment practices. (DET, 2008) In relation to the modified lesson plan, I have
chosen to provide more evidence of the element 3.1: Background Knowledge which falls under
the QT dimension of ‘Significance’. As stated within the QT guide, background knowledge
provides evidence through previous experiences of local, cultural and personal reference, and can
involve prior knowledge of media, popular culture and previous learning in and out of schooling.
(NSW Department of Education and Training, 2003., pg.40) A higher background knowledge
can be sourced through the identification and acknowledgement of cultural and historical
relevance shown through ‘expressionism’. Student lesson activities like brainstorming, personal
correlation to modern society examples and compositional techniques, can be implemented to
show the significance of cultural context, personal understanding and the importance of why we
learn ‘knowledge’. As teachers and educators, we need to provide evidence of meaningful
relationships between students’ background knowledge and their understandings. For students to
consider ‘new learning’ as significant, they must understand that their learning experiences act as
building blocks to their existing knowledge and prior learning. (Liberante, 2012)

The Professional Standard 4.3: Managing challenging behaviour, has always been an issue
within diverse classrooms. Therefore, it is important as an educator that we implement an
effective classroom management that contributes to every student’s development within
achieving syllabus learning outcomes. As highlighted among the modified lesson plan, Music 1
syllabus learning outcomes P3, P5 and P10 all involve aspects of musicality that can become
disruptive within a classroom environment. (Board of Studies, NSW, 2009) Exploring further
into the depth of these outcomes we can find focus on participation, understanding and creativity
of the students’. Therefore, in evaluation of how to manage disruptive behaviours within the
lesson plan. I have determined that my focus is to promote high achieving students to complete
extension work. This also interrelates with the QT element 2.3: High expectations, as the original
plan is appointed for 16 students, the challenging behaviour would be derived from high
achievers that have completed their work for the set time limit. In terms of resourcing within the
modified lesson, I have incorporated their composition portfolio as a stimulus to students’
academic performance within class disruptions. I have hope in that incorporating a goal for the
students that there will be less distractions and more consideration to achieving syllabus
outcomes and reaching the students’ full academic potential.
References

AITSL. (2016). Australian Professional Standards for Teachers. Retrieved from


http://www.aitsl.edu.au/australian-professional-standards-for-teachers/standards/list

Board of Studies, NSW. (2009). Music 1: Stage 6 Syllabus (pp. 12 - 14). NSW: Board of Studies
NSW.

DET. (2008). Quality Teaching to support the NSW Professional Teaching Standards. NSW:
Department of Education and Training.

Helping teachers support Aboriginal and Torres Strait Islander education| Volume 11, Issue 20.
(2013). Curriculum & Leadership Journal. Retrieved 9 May 2017, from
http://www.curriculum.edu.au/leader/helping_teachers_support_aboriginal_and_torres_str,3
6825.html?issueID=12826

Liberante, L. (2012). The importance of teacher - student relationships, as explored through the
lens of the NSW Quality Teaching Model. Journal Of Student Engagement: Education
Matters, 2(1), 6. Retrieved from http://ro.uow.edu.au/jseem/vol2/iss1/2

Ludwig, J., & Gore, J. (2003). Quality Teaching in NSW Public Schools A classroom practice
guide Retrieved from http://www.rqt.edu.au/files/5514/1774/9895/NSW_DET_2003-
Quality_Teaching_Guide.pdf

NSW Department of Education and Training. (2003). Quality teaching in NSW public schools: A
classroom practice guide. (p. 40). NSW: NSW, Department of Education and Training.
Learning Portfolio Web Link

http://jasminerbreeze.weebly.com/