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EDID 6505: Systems Approach to Designing Instructional Materials

Group Assignment- Final Project
Training Teachers to Teach and Integrate Music into the Core Curriculum
Submitted by:
Arlene Alleyne-Regis - ID# 313151609
Maxine Suffrien-Arthur- ID# 313500042
Natasha Siu-Jagdeo- ID# 313500167
Tamara Millette- ID# 806008118
Albert P. Joseph- ID# 20052880

A Paper Submitted as Final Fulfillment of the Requirements of
[EDID 6505 [Systems Approach to Designing Instructional Materials]
Trimester 2, [2014]


University: University of the West Indies Open Campus
Group Facilitator: Dr. Leroy Hill
Course Coordinator Dr. Camille Dickson-Deanne


Submission Date: August 22, 2014




1

TABLE OF CONTENTS


Introduction 2

Rationale..2

Needs Assessment3
Task Selection Worksheet...7
Procedural Analysis.8
Prerequisite Analysis.10
Objectives...12

Contextual Analysis...13

Lesson One.15

Lesson Two23

Lesson Three.31

References.39












2

INTRODUCTION

It has been proven that music not only increases early brain development, but it also
improves overall academic performance in both children and adults. A research team exploring
the link between music and intelligence reports that music training, is superior to computer
instructions and dramatically enhances childrens abstract reasoning skills, which are necessary
for learning Maths and Science (Irvine, 1997). Research has also shown that music improves
reading and Math performances, develops quick and decisive thinking, builds team working
skills and even enhances cooperation among students.. It is universally important to every human
being and his culture, and is accessible to the special child. Through experiences in music the
learner will be increasingly capable of feeling, creating, performing, listening,learning and
thinking. The study of music promotes cognitive, affective and psychomotor development


RATIONALE

There is convincing evidence that music is worthy of recognition as a valuable subject in
the curriculum.Music has a theory and value system which involves ratios, numerals, fractions,
measurements and arithmetic symbolizations. In its most sophisticated areas such as
composition, harmony and counterpoint, it requires the same high level of abstract thinking as
does mathematics. Music has form and design,cause and effect. It is a means of communicating
as important and eloquent as the written word, perhaps even more so. Music serves both the
mind and the spirit and is intelligible to all people if they have experience in its interpretation. It
3

is structured around symbols that are linguistic in nature. These convey impressions,express
ideas, communicate thought and create mood.
In addition to studying for its own sake, music can provide a springboard for the study of
probably all, or, at any rate, many other subjects on the normal school curriculum, and it may
well be the only subject that can do this.

NEEDS ASSESSMENT

Overall Course Goal:
To enable teachers of XYZ Primary School to become aware of how music can be used
to enhance learning by incorporating strategies to teach basic aspects of music while integrating
it into core subject areas.
Goal of Needs Assessment
To gather information regarding teachers level of comfort with the new initiative of
integrating music in the primary school curriculum as well as identify areas of strengths and
weaknesses that would inform the planning of instruction for the workshop by identifying
current needs and anticipated training needs.
Target Audience
This initiative targets 30, fifth and sixth grade teachers from the pilot school of XYZ
primary located in the Eastern Caribbean. Teachers range in age from 24 to 50 years of age.
While they possess a vast number of years in teaching experience at the primary school level,
they have no formal training in music but are required by mandate to incorporate it into the
4

teaching of the core curriculum. They therefore lack the skills and experience to effectively
perform the tasks required.
What Information is Needed?
In order to conduct a successful workshop, the following information on actuals,
optimals,causes, feelings, solutions will be needed:
Optimals (what do learners /performers need to know and do?)
Teachers should be comfortable with implementing strategies learnt from the workshop
in the classroom
Teachers should be able to access the curriculum at all times
Teachers will be equipped to expose students to the creative arts in particular music.
Teachers will be provided with the necessary resources to implement music in the
classroom
Actuals (what do learners/performers actually know and do?)
Length of time allocated for training was five days
Training does not adequately address the specific needs of the different subject
disciplines and grade levels
Currently teachers are not teaching music as a core subject
Teachers are not integrating music into the timetable used to teach academic subjects like
Mathematics and English
Teachers are reluctant to teach outside of their comfort zone
Causes
After the workshop there is no ongoing training or support from the Ministry
Instruments are not readily available for teacher use
5

Students are not assessed in music as a subject at the national level
Lack of confidence in the ability of the trainer

Feelings (How do learners/performers feel about topic, training about the topic?)
Teachers are apprehensive because most are not formally trained in music
Teachers do not see the relevance of a music programme in schools
Teachers felt that the training was too intense for the given time
Teachers felt that the training gave them additional work to do in the classroom.
Teachers felt that knowledge gained from training was inadequate to allow them to
competently deliver the curriculum
Solutions
There is a need for specialist teachers to provide training
Teachers need to be provided with ongoing support from the Visual and Performing Art
unit.
Teachers will need to improvise resources to compensate for a lack of instruments
Students can be assessed individually at the national level
Teachers need to be provided with additional training in order to improve their
competency at delivery
Why do we need to know it?
To develop an effective instruction programme for the teaching and integration of music
To make teachers more aware of the importance of their roles in teaching music as a
subject as well as using music as a tool of integration of other subject areas.
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To make teachers aware of how they should use the knowledge and skills gained from the
workshop training.
Who knows what?
Information can be acquired from sources to adequately identify the training needs from:
Experts in the area of music
Curriculum development officers in the music field
The Visual and Performing Arts Unit
The teachers
How will you get that information?
The data collection methods being employed will involve both formative (assessment during
and before completion training) and summative evaluation (assessment after completion of
training). Objective is to evaluate the effectiveness of instructions and compare the findings to
the prior training. The methods will include:
Criterion-referenced test to assess teacher entry-level to determine the extent to which
learning outcomes was achieved by end of course
Interviews - Teachers will be interviewed to provide feedback on teaching music as a
subject. Open-ended questions will be used
Extant data analysis - review current students progress in various subject areas

How will you use that information?
The criterion-referenced test results will determine participants entry-level behaviour
prior to training and will reveal learner differences, goals, and experiences and show level of
experience and comfort with regards to learning and teaching music.
7

Formats

Training will be done using several formats/materials. These include: youtube
videos,PowerPoint presentations, CD player, classroom instruments, prezi presentations,
discs,demonstrations, simulations, role playing and journals.

TASK SELECTION WORKSHEET


Criteria for Task
Selection Worksheet
Criti
cality


40
pts
Univ
ersal
ity

10
pts
Frequ
ency


10 pts
Standard
ization


10 pts
Difficu
lty


30 pts
Tot
al


100
pts
Note
s
Priorit
y
TASKS #1 #2 #3 #4 #5 #6 #7 #8
Identify steady beat in
Duple, Triple and
Quadruple Time over 8-
bar piece
40 10 9 10 30 99 1
Singing: sol-fa,
vocables, words from
poems and lyrics from
simple songs
40 10 10 10 10 80 3
Playing melodic and non
melodic instruments
35 10 8 10 15 78 4
Journal Entries 35 7 9 5 15 71 5
Integrating Music in
S.E.A Core subjects
40 10 10 10 25 95 2




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PROCEDURAL ANALYSIS
Major Task: Identify the steady beat in Duple, Triple and Quadruple Time over an 8-bar piece
Sub-tasks:
1.1 Walk to the steady beat
1.2 count the beats and find the one
1.3 clap the beat
1.4 identify the strong beat and the weak beats (clap, snap and/or using different body
movements)
1.5 clap or tap strong beats loudly and weak beats softly
1.6 clap or tap steady beats at a slow tempo
1.7 clap or tap steady beats at a fast tempo

Major Task: Singing (solfa, vocables, words from poems and lyrics from simple songs)
Sub-tasks:
2.1 stand with the right posture
2.2 open throat
2.3 breathe
2.4 warm up vocals
2.5 practice major/solfa scale
2.6 Find range
2.7 determine pitch


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Major Task: Playing melodic and non-melodic instruments
Sub-tasks:
3.1 play simple rhythmic patterns using non-melodic instruments
3.2 play rhythmic patterns from poems and simple songs
3.3 play rhythmic patterns loud and soft
3.4 play rhythmic pattern s fast and slow
3.5 play rhythmic patterns to a recorded beat

Major Task: Integrating music into the core curriculum
Sub-tasks:
4.1 discuss the research on the value/importance of integration
4.2 . identify and differentiate between the 3 models of integration
4.3 teach strategies on how to include music in Science/Math curriculum
4.4 play appropriate music to teach a theme

Major Task: Journal entries
Sub-tasks:
5.1 Making journal entries at the end of each lesson to recall activities
5.2 Making journal entries to evaluate myself and peers




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PREREQUISITES ANALYSIS

Major task: Identify the steady beat in Duple, Triple and Quadruple Time over an 8-bar piece.
To perform this task, participants must first be able to establish the difference in beats per
measure (Duple = 2 beats, Triple= 3 beats, Quadruple = 4 beats per measure before performing
this task. To establish the difference in the beats (rhythm) by knowing duration which is the
length of each sound or silence, and are represented by symbols called notes. Silences are
represented by symbols called rests.

Participants will be given grouping of notes to write appropriate time signatures.
Participants will be given time signatures to place bar lines appropriately
Participants will be given time signatures and bar lines to fill bars with appropriate
notes and rests

Major task: Singing solfa, vocables, words from poems and lyrics from simple songs.
To perform this task, participants must first be able to identify and play semitones and tones by
being able to identify the various pitch, which is heard as high or low sounds.
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Major task: Playing melodic and non-melodic instruments.
To perform this task participants must first be able to:
Construct and play scales of A and E flat Major
Read and perform simple notation in simple duple, triple, and quadruple time
compare simple rhythmic patterns using simple duple, triple, and quadruple time
Identify different musical signs, symbols, and term

Major Task: Integrating music into the core curriculum
To perform this task participants must first be able to:

determine which model of integration will be used
develop the themes/concepts within the subject (Science/Math)| Syntegration model
locate appropriate music to complement the theme/concept being taught
identify opportunities for problem solving
describe how musical notes relate to fractions.
identify a variety of musical notes (for example, whole, half, and quarter notes).
read and clap a measure of music, assigning appropriate values to notes.
solve fraction math problems that use musical notes in place of the fractions.





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TERMINAL OBJECTIVE

By the end of a five day workshop teachers will be able to acquire at least 80% of the skills and
knowledge required to teach basic music and integrate music into core subject areas.


Enabling Objectives
At the end of the 1 week workshop participants will:
1. Identify the steady beat in duple, triple and quadruple time over an 8 bar piece by
participating in personal and group activities that illustrate some of the essentials of rudiments of
music .
2. Sing solfa, vocables, words from poems and lyrics from simple songs
3. Play melodic and non melodic instruments
4. Recognize the value of integrating music into the core curriculum
5. Integrate music in SEA core subjects
6. Create journal entries at the end of each lesson for recall and evaluation



13


CONTEXTUAL ANALYSIS WORKSHEET


Directions: Identify relevant factors in categories (only where and when appropriate) and indicate
the effect they will have by circling appropriate number.

-2 Greatly impedes
-1 Slightly impedes
+1 Slightly facilitates
+2 Greatly facilitates

Orienting Context
Learner Factors
Teaching experience varies among staff -2 -1 +1 +2
Teachers are of varying ages between 24 and 50 -2 -1 +1 +2
Teachers have a more positive attitude towards the upcoming
training programme -2 -1 +1 +2
Teachers intend to integrate music in specific subject areas -2 -1 +1 +2
Teachers have not had any formal training in the area of music. -2 -1 +1 +2
Teachers know the training must be used in teaching after training -2 -1 +1 +2


Immediate Environment Factors
Principals support their teachers to go on the training by
providing training time off -2 -1 +1 +2
Teachers provide peer support to each other -2 -1 +1 +2


Organizational Factors
Certificates of participation will be presented -2 -1 +1 +2
Training is mandated by the education administration -2 -1 +1 +2


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Instructional Context
Learner Factors
Learners not motivated to learn as they view this as an additional
task to add to job function -2 -1 +1 +2
Learner unsure about the expert ability of the instructor for the training -2 -1 +1 +2


Immediate Environment Factors
Classroom is equipped with adequate chairs and tables for instruction -2 -1 +1 +2
Classroom has proper lighting to carry out instruction -2 -1 +1 +2
Classroom not equipped with all required musical tools and instruments
for instructional purposes -2 -1 +1 +2
Training manual available for all teachers on training to aide with delivery -2 -1 +1 +2


Transfer Context
Learner Factors
Teachers will have access to resources - musical instruments -2 -1 +1 +2
Teachers are able to improvise and create access to instruments -2 -1 +1 +2
Teachers believe they would be able to apply the skills learned -2 -1 +1 +2
Teachers will use manuals when in need of guidance -2 -1 +1 +2

Immediate Environment Factors
Teachers are able to allow students to conduct experiments -2 -1 +1 +2
Teachers are able to teach in varied spaces e.g. outdoors -2 -1 +1 +2
Principal gives verbal acknowledgement/praise on teachers efforts -2 -1 +1 +2
Teaching of music is timetabled at specific periods during the week -2 -1 +1 +2
Teachers will engage in team planning when integrating music in lessons -2 -1 +1 +2

Organizational Factors
Principal reviews teachers performance every 4 weeks -2 -1 +1 +2
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Teacher observations and work samples used to assess students progress -2 -1 1+ +2
Teachers are given autonomy and allowed to be creative when integrating in core subjects or
teaching music -2 -1 +1 +2


INSTRUCTIONAL STRATEGIES

Lesson Plan One

Learning objective: Identify steady beat in Duple, Triple and Quadruple Time two, four and
eight bar piece by participating in personal and group activities that illustrate some of the
essentials of rudiments of music .



TOPIC: Identify steady beat in Duple, Triple and Quadruple meter (time)
Objectives: Participants should be able to:

1. Identify long and short sounds and how they are organized into rhythmic patterns
2. Identify steady and accented beats in music heard
3. recognize duple, triple and quadruple time (meters) in musical pieces

Instructional materials: CD Player, classroom instruments, diagrams, youtube video, PowerPoint
Presentations, Pretest and self-test.

16

Activity 1: Pre Test (Activation)

Before proceeding to the lesson, participants will be required to take this Pretest. This test will
determine the entry level and what is still required to learn about the topics in this lesson.
1. Listen to the following excerpts of local songs (from CD Tracks 1 -5)
Identify the meter ( Duple, Triple and Quadruple) of the songs by writing the letters of the
correct answers. Answers may be used more than once.

1. ___ Track 1 a. duple
2. ___ Track 2 b. triple
3. ___ Track 3 c. quadruple
4. ___ Track 4
5. ___ Track 5

Instructional Strategies

In order to effectively teach this tasks, instructional strategies that includes a dialog and an
analogy will be used to simply terms that must be grasped by participants:

Rhythm: Rhythm is found in nature and everyday life. There is rhythm in the beating of your
heart. There is rhythm when you rock a baby to sleep. The sun rises in the east in the morning
and sets in the west in the evening day after day. Planting and harvesting, dry and rainy seasons
come and go year after year. There are many things that happen constantly, like a pattern that
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keeps on repeating. This is the rhythm of everyday life. In music, rhythm is the beat that you feel
when listening to music or performing it. You often find yourself tapping or clapping along.
Rhythm is the invisible energy that keeps the music moving.

Analogy used to simplify the term steady beats:
A clock with a second hand (as distinct from the minute hand), as illustrated will be used.
Every time the seconds hand ticks, participants will be required to tap their foot.
The steady, evenly spaced, and constant tapping of the foot is very much like the
underlying beats felt when listening to music.


Steady Beats: These constant, evenly-spaced, underlying beats in music are called steady beats.
They are the heartbeat or pulse of music. Steady beats are the most basic rhythmic component of
any piece of music, and all other rhythmic aspects, such as tempo, are derived from them.
Tempo in music is determined by the speed of steady beats. The faster the steady beats, the faster
the tempo. The slower the steady beats, the slower the tempo.

Activity 2: Beat Exercises

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The Following Activity will be projected on PowerPoint slide # 1 and 2 with animated effects
applied to the sticks and hand and foot activities to practice skills taught.
:

Assessment for Activity 2
Self-Test will be used to allow students to apply knowledge taught.
1. Write the letters of the correct answers in your journal.
____ Steady beats a. depends on the speed of steady beats
____ Multiplied beats b. fall exactly in between steady beats
____ Divided beats c. constant, even, underlying beats in music
____ Accented beats d. feel heavier or weightier than other beats
____ Tempo e. longer than one steady beat

Participants will be paired for this activity.

2. Tap the accents with your foot and clap steady beats of a familiar folk song to your teacher-
facilitator. Tap at least five accented beats correctly in order to earn 5 points.
Check: Test I using the Answer Key. Record your score in your journal.
19

Perfect Score: 10 My Score: __

Activity 3
If you were tap-clapping correctly in Activity 2, you would have observed a pattern. The steady
beats are grouped into 2s, with accented beat acting like the leader of the group. In music, this
grouping of steady beats is called meter. Participants will be asked to refer to graphical chart
depicted the in PowerPoint Slide # 3 which portrays musical note and equivalent beat (animated
effects applied to tap and rest). This activity allows for practical application of skills taught.


Assessment Rubric
After completing the lesson the following assessment rubric will be used:

Level of
ability
Assessment
Criteria
Assessment
Criteria
Assessment
Criteria
Assessment
Criteria
Assessment
Criteria
Move to the
steady beat
Differentiate
between
Identify the
first beat by
Clap or tap
to the
Clap or tap
to the
20

using a
moderate
tempo
(walk,
clap,snap or
pat)
strong and
weak beats
saying
one aloud
steady beat
in a slow
tempo
steady beat
in a fast
tempo
Outstandin
g
starts on time
and displays
no errors in
moving in
time to the
beat
Always
differentiates
strong and
weak beats
using clapping,
pattern and/or
stomping
Always
identifies
the first beat
by saying
one loud
Displays no
errors in
clapping or
tapping to
the beat in a
slow tempo
Displays no
errors in
clapping or
tapping to
the beat in a
fast tempo
Good Displays one
or two errors
(ahead of the
beat or
behind the
beat or does
not start on
time)
One or two
times did not
differentiate
strong and
weak beats but
eventually did
so through
clapping,
patting and/or
stomping
One or two
errors when
identifying
the first beat
by saying
one loud
Three to
four errors
in clapping
or tapping to
the beat in a
slow tempo
Three to
four errors
in clapping
or tapping to
the beat in a
fast tempo
Competent Displays
three or four
errors.
(ahead of
beat, behind
the beat,
Does not
start on time)
Three to four
times did not
differentiate
strong and
weak beats but
eventually did
so through
clapping,
patting and/or
stomping.
Three to
four errors
when
identifying
the first beat
by saying
one aloud.
Three to
four errors
in clapping
or tapping to
the beat in a
slow tempo.
Three to
four errors
in clapping
or tapping to
the beat in a
fast tempo
Moderate Displays five
to six errors
(Ahead of
the beat,
Five to six
times did not
differentiate
strong and
Five to six
errors in
clapping or
tapping to
Five to six
errors in
clapping or
tapping to
Five to six
errors in
clapping or
tapping to
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behind the
beat, does
not start on
time)
weak beats but
eventually did
so through
patting,
clapping and/or
stomping
the beat in a
slow tempo
the beat in a
slow tempo
the beat in a
fast tempo
Limited Displays
seven to
eight errors
(Ahead of
the beat,
behind the
beat, does
not start on
time
Seven to eight
times did not
differentiate
strong and
weak beats but
eventually did
so through
patting,
clapping and/or
stomping
Seven to
eight errors
in clapping
or tapping to
the beat in a
slow tempo
Seven to
eight errors
in clapping
or tapping to
the beat in a
slow tempo
Seven to
eight errors
in clapping
or tapping to
the beat in a
fast tempo
Very
Limited
Displays
nine or more
errors or
totally out of
sync with the
steady beat.
Simple
clapping or
walking
No action. No
differentiation
between strong
and weak beats
No action.
Counting
aloud but
not
identifying
the first
beast by
saying
one aloud
Totally out
of sync in
clapping or
tapping to
the beat in a
slow tempo
Totally out
of sync in
clapping or
tapping to
the beat in a
fast tempo













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Activity Instructiona
l Strategy
Learning
Theory
Rationale Lesson
Implementation
Pretest Independent
study
Cognitivism The theory establishes
conditions of learning
and strategies to
incorporate individual
differences into the
design of instruction.
Activation
Self-test Indirect
Instructions
Cognitivism Participants are
encouraged to classify or
group the information
and to give descriptive
labels to their groupings.
This allows them to make
connections by seeing the
relationships between
items of information.
Application
PPT
slides
Hands-on
learning
Constructivis
m
Practical exercises to
practice skills.
Techniques applied will
be integrated into core
subject areas
Integration
Journals Independent
study
Constructivis
m
The journal is used as a
reference file to help the
teacher monitor
individual development
and progress during the
workshop and as a
reflection after
Application








23

Lesson Two- Singing

24




Written Assessment (2)

Name:________________________________________________________________________
Date:______________________________________________

Qu.1 What is the definition of pitch

a. The high or low volume of a song or musical note
b. The speed at which a song is sung
c. The high or low quality of a song or musical note

Qu. 2 Listen to the following six (6) sounds and determine if their pitch is high or low.
Check the correct answer in the boxes below.

Sound 1 High Low
25


Sound 2 High Low

Sound 3 High Low

Sound 4 High Low

Sound 5 High Low

Sound 6 High Low


Qu. 3 How many syllables are there on the solfa scale

a. 3
b. 7
c. 4
d. 8

Performance Rubric (2)
Objective: Singing (sol-fa, vocables, words from poems and lyrics from simple songs)


Level of
ability
Assessment
Criteria
Assessment
Criteria
Assessment
Criteria
Assessment
Criteria
Assessment
Criteria
Demonstrate
proper posture
Demonstrated
proper
breathing
technique
Sing the
solfa scale
accurately
Identify 6
songs
according
to high and
low pitch
Sing songs at
high and low
pitch with
proper
diction
Excellen
t
(5
marks)
Feet shoulder
width apart,
knees locked,
hips and
shoulders
aligned, head
straight, chin
parallel with
Accurate
presentation of
breathing
technique used.
Full low breath,
abdominal
expansion, no
shoulder
Sing sofla
scale
accurately
100% of the
time
Identify
pitch
correctly in
all songs.
Always on
pitch.
Articulate
clearly and
text in lyrics
is always
understandabl
e.
26

floor, shoulders
back and relaxed
movement
Very
Good
(4
Marks)
Feet shoulder
width apart,
knees not locked,
hips and
shoulders
aligned, head
straight, chin
parallel with
floor, shoulders
back and relaxed
Proper
breathing
technique used.
Low full breath,
abdominal
expansion, little
shoulder
movement.
Sing solfa
scale
accurately at
least 90% of
the time with
some errors
in pitch or
syllable
Identify
pitch in at
least 5
sounds
correctly
Always pitch.
Articulate
somewhat
clearly and
text in lyrics
is most times
understandabl
e
Good
(3
marks)
At least two
elements out of
position for
posture
Breathing
technique used.
Low breath,
some
abdominal
expansion,
some shoulder
movement.
Sing the
solfa scale
accurately at
least 75% of
the time with
some errors
in pitch or
syllable.
Identify
pitch in at
least 4
sounds
correctly.
Most times on
pitch.
Articulates
the words but
the text is
sometimes not
discernible.
Fair
(2
marks)
At least three
elements out of
position for
posture
Low breath,
little abdominal
expansion,
some shoulder
movement,
audible breath
sound.
Sing the
solfa scale
accurately at
least 50% of
the time with
errors in
pitch and
syllable
Identify
pitch in at
least 3
sounds
correctly.
Sometimes on
pitch. Little
articulation
and text is
barely
discernible.
Poor
(1 mark)
Four elements out
of position for
posture
Low breath,
shallow
abdominal
expansion,
large shoulder
movement,
loud breath
sound.
Sing the
solfa scale
accurately at
least 40% of
the time with
errors in
pitch and
syllable
Identify
pitch in at
least 2
sounds
correctly.
Rarely on
pitch. No
clear
articulation
and text is not
discernible

27

Analogies (2)

CONCEPT ANALOGY

Sol fa Scale The Sol fa scale is like a staircase of eight steps. The
bottom of the staircase is low pitched or your Doh.
As one moves up the stairs the note is pitched higher
So Re which is the next note in the scale would be
pitched slightly higher than the first Doh.





Diaphragmatic
breathing
Imagine the diaphragm is like a balloon. As you
breathe in, the diaphragm gets bigger, likewise the
balloon. As you breathe out the diaphragm gets
smaller.
28






ADVANCED ORGANIZERS (2)
Graphic Organizer: Singing








29

Advanced Organizer- Narrative
Have you ever watched American Idol, particularly the preliminaries? I am sure you can
remember the awful singers who came on and you simply had no choice but to cover your ears.
They just did not seem to have their act together. They were singing out of key, their voice
cracked and you could hardly tell what they were singing because words were not pronounced
properly. And then, there were those who came and stood confidently, relaxed themselves and
once they opened their mouth you knew that they would be belting out a tune worthy of
remembering because of its high quality. What we must realize is that singing is an art and to do
it right there are several steps that we must get right.

Instructional Strategies: Lesson (2)

Strategy Location in Lesson Citation Rationale for use
Drill and practice Used in the
assessment
exercise. Students
are given several
songs to determine
high or low pitch
This strategy is
useful for the
memorization of
information. A
drill and practice
strategy is used to
provide practice
rather than initial
learning (Morrison,
Ross, Kalman,
Kemp, 2011, p.244)
Used to provide
reinforcement to
ensure that
students are able to
distinguish
between low pitch
and high pitch
Advanced
Organizers
This will be used a
t the start of the
lesson on singing.
A sample graphic
and narrative
organizer have
been presented.
Advanced
organizers have
been used
successfully in a
number of subject
areasIf you use
advanced
organizers
The advanced
organizers will be
used to help
students make the
association with
what they know
and what they will
be learning.
30

systematically ,
along with
continuous reviews
and student
summaries, your
students will
outperform others
(Orlich et al., 2013,
pp. 158-159)
Collaborative
Work
Integration of the
lesson
Slide 9
Arrangement in
which students
work in mixed-
ability groups and
are responsible for
each others
learning (Woolfolk,
1998, p.350
Students will be
working in pairs so
that they can assess
whether their peers
are demonstrating
the correct
procedures for
breathing, singing
the sol-fa scale etc.
Demonstration Slide 6 of the
lesson. Students
view
demonstration of
diaphragmatic
breathing and
shaping of the
mouth
Demonstration
involves the teacher
showing students a
process or
procedure such as a
science process, a
cooking procedure
or a computer
procedure.
(OBannon, 2002)
Learners will get a
more concrete idea
of how to perform
the task by
demonstrating the
tasks through
video, pictures and
in person


31

Lesson Plan Three
Topic: Teaching integrated Math and Science concepts through Music (songs)

Lesson Objective
Objective: after discussing classroom integration models, primary school teachers will:
1. use a guideline to integrate Math and Science curricula
2. choose a model of integration and apply music to create a sample lesson for at least one of the
core disciplines to 100% accuracy.

Merrills Principles
Problem
Task Definition: to have teachers create a SEA Math and Science curriculum and sample
lessons incorporating music

Task components
a. discuss the models used to integrate subject disciplines
b. follow guidelines to integrate the Math and Science curricula
c. observe and discuss a sample lesson on how music can be used to teach integrated Science and
Math themes
d. practice creating Math lessons for a grade 6 level
e. share strategies used for creating lessons with participants


32

Activation
Play a short cultural song for teachers and ask them to describe how they felt when they heard
the song.
Present teachers with KWL charts
Ask teachers to describe what they know about planning an integrated curriculum and using
music to facilitate learning in such a curriculum.
Ask teachers to use the KWL chart to record what they know and want to learn about integrating
curricula and ways music can be integrated in the curriculum.
Share what the information recorded with other members of the group

Demonstration
Using PowerPoint slides to introduce integration models and discuss guidelines for planning an
integrating curriculum.
Present examples of an integrated curriculum illustrating how music can be used to facilitate
teaching and learning of Math and Science concepts and themes.
Select a theme or concept from the integrated curricula and show teachers how to create two
lessons and incorporate music.

Application
Have teachers work in groups of four and follow the guidelines to plan an integrated curriculum
for S.E.A Science and Math.
33

Using a particular integrated model as a guide, teachers will be asked to create two sample
lessons that incorporate music. Initially, teachers will work in groups of four and then
independently to create sample lessons
Have each group present their sample lessons before teachers are allowed to work independently

Integration
Review the techniques learned and have teachers explain how they can be applied to include
creative writing
Teachers complete the KWL form and share what they have learned with the group of
participants.
Teachers reflect on the process indicating new concepts strategies they have learned, what
techniques they can apply immediately in their classroom and what they would do differently.
Rubric: Recognize the value of integrating music into the core curriculum

Level of
ability
Assessment
Criteria
Assessment Criteria Assessment Criteria
Identify links
between music
and other
academic subjects
Ability to select
appropriate choices
of music for
teaching/
integration
Justify integration of music
into core curriculum
Advanced

(3-4)
Participant draws
parallels between
the development of
music and other
school subjects
Participant is able to
compare/contrast
musical styles and
support opinions
about music choices
Explanations by all group
members indicate a clear and
accurate understanding of
integration of music into core
curriculum subjects
Proficient
(2)
Participant can
identify several
Participant expresses
valid opinions about
Explanations by most group
members indicate relatively
34

ways how music
relates to other
school subjects
music and supports
his/her opinions.
accurate understanding of
integration of music into core
curriculum subjects
Basic
(0-1)
Participant is
unable to define
how music relates
to other school
subjects.

Participant may have
an opinion about
music, but is unable
to support it with
valid criteria.
Explanations by several
members of the group do not
illustrate much understanding
of integration of music into
core curriculum subjects

Instructional
Strategies
Location in Lesson Citation Rational for use Lesson
Implementation
Motivation Hot seat activity
at the start of the
lesson
Keller Arc Model Stimulate
students interest
to learn and
participate in
lesson activities.
When students are
not receptive
learning will not
take place despite
of efforts made.
Activation
Explicit Modelling Teacher rhythm
activities and
musical notes
activities.
Teacher modelling
makes concept or
skill clear and easy
to learn. It also
provides links
between sub -skills
thus reducing the
possibilities of
confusion and
misunderstanding
Demonstration
Cooperative
learning
Work group create
symphony of
clapping activity
Barkely et. Al 2005 Working together
to achieve a goal
builds teamwork
skills, critical
thinking skills,
increases students
learning and
enjoyment
Application
Journal writing Encourages
introspection and
engages critical
thinking skills.
Integration
35

aExploring Math with Music through Rhythm
This is a sample lesson plan that participants (teachers) are taught during the workshop to
reinforce learning on how to integrate music into the Math curriculum.



36




Assessment Contd


37


Assessment Rubric

Level of
ability
Assessment Criteria Assessment Criteria Assessment Criteria
Ability to calculate
the correct answers
to the Math sums
Ability to create
correct Math sums
using the notes
Uses music & rhythm to
demonstrate knowledge
about fractions
Advanced
(3-4)
Participant is able to
answer all Math sums
correctly
Participant is able to
accurately complete a
Math sum by identifying
all the notes correctly
A rhythm can be correctly
clapped, sung or hummed to
demonstrate a clear and
accurate understanding of
fractions
Proficient
(2)
Participant is able to to
identify the notes
correctly but 2-3
answers are incorrect
Participant is able to
complete a Math sum by
identifying most of the
notes correctly
A rhythm can be clapped, sung
or hummed with 1-3 errors
demonstrating some
understanding of fractions
Basic
(0-1)
Participant is unable to
answer correctly with
more 4 or more errors
Participant is unable to
accurately complete a
Math sum correctly
A rhythm cannot be correctly
clapped, sung or hummed,
therefore demonstrating an
unclear understanding of
fractions


Instructional Strategy Table

Activity Instructiona
l Strategy
Learning
Theory
Rationale Lesson
Implementatio
n
Problem
Solving
Direct
Learning
Cognitivism The practice sessions
allow for participation
and demonstration of an
understanding the
concepts taught
Activation
Discussio
ns
Group
Work
Cognitivism Participants are
encouraged to
collaborate & contribute
Application
38

to the learning process of
each other.
PPT slides Hands-on
learning
Constructivi
sm
Practical exercises to
practice skills.
Techniques applied will
be integrated into core
subject areas
Integration
Journals Self- Review Constructivi
sm
The journal is used as a
tool for reflection on
individual contributions
during and after the
workshop.
Application

39

References

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Morrison, G., Ross, S., Kemp, J. (2011). Designing Effective Instruction (6th edition)
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