Teacher Work Sample Final - Joseph M Weseloh - 2

Northern State University
Professional Semester
Music Teacher Work Sample
Candidate Name
Joseph Matthew Weseloh
Candidate Phone Number
6055205934
Candidate ID Number
1968312
Name of School
Northern State University
Subject/Content Area of Unit
Music
Grade Level
K, 1,4,5,6,9-12
Date Submitted
05/03/2015
I understand that obtaining, or attempting to obtain, a passing grade on a TWS by falsification or

misrepresentation may result in a failing grade in a course or expulsion from the teacher
education program.
Signature of Candidate Submitting TWS Joseph M Weseloh
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(electronic submission)
INDEX
I.
II.
III.
Contextual Information and Learning Environment

Setting Goals
Individual Student Information- Case Study
IV.
Instructional Design and Implementation- Unit (due by week 10)

(Music student teachers must do 2 one at each level)
V.
Management and Motivation

Analysis of Student Learning (due by week 10)
Reflection and Self-Evaluation- Goals (due by week 10)
VI.
VII.
Contextual Information and Learning Environment

Part 1: Community at Large
The community of City X is located in County Y, South Dakota situated in the northeast corridor.
Generally, the county is home to 27,853 residents with a growth rate in population of
2.3% since the last collection of census data in 2010. The county is composed of 93.5% of
White, 0.8% African American, 2.3% Native, 0.7% Asian, 1.3% Hispanic or Latino and 1.8%
two or more races. More specifically, Watertown is a rural town with a population of 21,995
people a 2.2% growth rate since the last collection of census data in 2010. The population is
broken down demographically similar to the county at large, 94.1% White, 0.4% African
American, 2.4% Native, 0.5% Asian and 1.6% Latino and 1.4% two or more races. Roughly
2.8% of households speak a language other than English at home. As I narrow my focus, 16,892
of the people are 18 years or older. The labor force of Watertown, SD is 12,950, and of that force,
12,595 individuals are currently employed. The unemployment rate sits at 3.8%, considerably
lower than the national average of 5.6% (Dec 2014), and lower than the State rate of 5.0%. At
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roughly 5,322 children between the ages of 6-17 years old, 87.1% of these children have all
parents in the workforce. A plurality of these parents are currently employed in the
manufacturing, education, health care and social assistance. These industries represent 20.3%
and 18.8% of the labor force. The next biggest industries at 14.0% and 9.5% are retail trade and
arts, entertainment, and recreation, and accommodation and food services, respectively. A
plurality of these workers earn wages ranging from 25,000 to 99,999 dollars a year. A startlingly
high number of workers, nearly 6.6%, are earning 10,000 dollars or less a year. A more alarming
number, 5.5%, of families earn less than 14,999 dollars a year.
The Community and Poverty
As we look at families and its relation to poverty I found that 7.2% of families of children under
18 years of age live in poverty. As we look even younger, 10.7% of families with children under
the age of 5 years old currently live in poverty. As I look at the most vulnerable, single parent
households headed by mothers, 19.6% live in poverty with a staggering 34.1% with children
under the age of 5 years old living in poverty and 23.0% with children under the age of 18 living
in poverty.
Part 2: School and Classroom Information
The X School District is comprised of eight attendance centers: one 9-12 high school, one 7-8
middle school, five elementary buildings and assisted services elementary building. I am placed
within one of those five elementary schools as well as the high school.
School X has a total population of 1,147 students and 99 teachers. School X has two resource
rooms, which are used by a minority of the students with disabilities (any specific information on
students with disabilities is not available to me at this time). Classroom size and layout varies by
subject, with the smallest being able to hold 25 students and the largest over 100 students.
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Technology is readily available throughout the school. Every student has a MacBook Pro issued
to them at the beginning of the year, and A number of classrooms have SmartBoards and the
school has multiple computer labs. There is also a large library and a number of classrooms
specifically designed for learning professional skills, such as shop class and culinary arts.
School X also has an auditorium, an arena style gymnasium as well as an auxiliary gymnasium,
access to an Olympic-standard pool and a weight room. There is a full kitchen situated off of the
main multipurpose room in the center of the building. This room is mainly used for lunches and
study hall. Breakfast is offered in the mornings. The booster program is active at school X,
helping with concessions and other events. There are three large music ensemble rooms, one
each for orchestra, band and choir. There is a small hallway separating the band and choir room.
Located in that hallway are two offices (one for the band director, one for the orchestra director)
and five practice rooms, one of which is triple in size of the others and doubles as an extra
storage space. There is an instrument storage hallway outside of the band room and it contains
numerous cubbies for instrument storage. There are also multiple storage closets that hold
marching band uniforms, flags and various other equipment. The band room has built-in risers to
elevate the rows of the band, with the percussion being situated in the top-back of the room.
Sheet music is kept in organized file drawers and cabinets to one side of the room and folders for
band music are kept in a slotted cabinet by the main entrance to the room (situated on the left of
the directors podium).
School Y has a total of 501 students and 45 staff members. There are three classrooms per grade
level, each encompassing roughly 25 students each. There is a gymnasium, cafeteria, library,
reading room and resource room all available to the students. There is also a stage and a
band/instrument storage room for the music classes. The main music classes happen on the stage,
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which is separated from the gymnasium by a movable wall and a stage curtain. This ends up
increasing the level of outer ambient noise in the music room as PE classes happen in the
gymnasium at nearly all times that music classes are happening. The musical instrument storage
room is just a smaller room meant for individual and small group lessons. A number of
instruments are stored in that room. The music room is a relatively open space, with storage for
course books and other necessary materials located along the walls of the room as well as in one
storage closet. The music classes consist of one section per grade in 25 minute increments, with
the exception of kindergarten, which meets for 15 minutes a week. The rest of the grades meet
roughly two or three times a week, depending on grade level and the day of the week. There are a
number of students with disabilities in the classrooms, and all of them have aides that follow
them throughout the day. These aides accompany them to music class and help them to
participate. A number of these students spend a portion of the day at the assisted services
building for a portion of the day and then arrive at the elementary building for the rest of the day.
Specific disabilities present in the classroom are as follows; Autism, intellectual/cognitive
disability, multiple disabilities and other health impairments.
Student achievement
According to the 2013 report card, attendance at school X was at 91.06% with Math and English
scores both at proficient level with a percentage of 78.46 and 68.67 achieving marks above an 18
on their ACT in those categories, respectively. Gap students in this year have an expected high
school completion rate of 74.65%. This is in comparison to non-gap students who are sitting at a
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rate of 96.10% and last year's gap students with a rate of 78.41%. This shows a definite decrease
in Gap student high school completion.
According to the 2014 report card, attendance at school Y was at a level of 97.28%, with science
scores of tested classes having 94.59% of students at or above the proficient level. Gap students
in this year had a goal of 94.00% attendance. This mark was exceeded with an actual attendance
percentage of 96.54. Non-gap students also had a goal of 94.00%, and they too exceeded this
mark with a percentage of 97.65. This is in comparison to percentages of gap and non-gap
students of the previous year, sitting at 96.73 and 97.86 respectively.
Section 3: Student Information
Within the classroom in School X that I am placed in, there are 151 students with 70 boys and 81
girls. All students range from 15 years to 18 years of age and are typical of that development age.
The classroom is primarily Caucasian and only two students not being of that race. Two students
are Native American. All students speak English as their first language, so there are no ESL
students within the class. There is no specific data in regards to how many students within the
classroom are on free and reduced lunch, but the school as a whole has 38% of its students on
free and reduced lunch in the 2014-2015 year. Students are relatively well behaved and listen to
instructions well. There is a slight issue with talking during instruction time, but all students
participate well when they are supposed to be playing their instruments.
Section 4: Instructional Implications
Due to the level of poverty in the area, while not crippling, I will certainly be dealing with a
number of students from non-affluent or middle class backgrounds. This will require me to make
sure that all tasks set for the students will be able to be completed with the time and resources
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available to them. Judging by the fact that healthcare and manufacturing are top fields of work in
the area, it is also highly likely that the parents of students in my class will be working odd, and
inflexible, hours. This will make setting up meetings, events and conferences a challenge, but I
will do my best to accommodate them. The percentage of single mothers also holds that I will be
dealing with more odd work hours and inflexible schedules on that front. The classrooms at
School X and School Y are primarily Caucasian, making for an environment that could easily
become biased. That said, an emphasis on keeping the curriculum culturally diverse will be key
in my educational strategies. Not just for those minorities in the class, but also for the Caucasian
students who know may have very little exposure to other cultures.
The classroom at School X has a majority of female students, which may cause some
behavioral issues amongst the male populace of the class. I believe interspersing the
males and females as much as possible will be my best strategy for minimizing any
behavioral issues that may arise. At school Y, the students are relatively evenly divided as
far as gender is concerned, and they tend to get along well with each other. Due to School
Y's higher number of students with disabilities, it will be necessary for me to keep in
consideration those students when planning activities. For instance, when a student who
is confined to a wheelchair and needs to be moved by an aide is in class, making sure that
student has enough room to participate in the activity will be key. In a game where the
students would be moving in between each other in a circle, the students would take a
step back and make sure that student and aide had room to maneuver between them.
Setting Goals
Goals:
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1) Knowledge of Self
Goal: During this experience, I will increase my personal level of preparedness and organization.
I am aware that my organizational skills are not an area in which I am strong, in fact I would
consider myself quite basic in that area. I am also aware that a solid grasp of organization is an
extremely important part of being an educator. I am confident in myself and my personal image,
and I am confident in my social and intellectual abilities. With this in mind, I will need to use
those strengths to help me overcome my weakness in organization.
Procedure: I will accomplish this goal by utilizing my social skills to ask for help from the two
great models of organization that are my cooperating teachers. They both have solid systems for
organizing, both materials and students. I will adopt a number of their practices, such as
maintaining a thought-out daily planner, and take note of the various filing and sorting
techniques they utilize in their classrooms. I will also utilize my high level of perseverance to
make myself take the time to organize my thoughts and my day, in and beyond the school day. If
my life outside of school is organized, then that will transfer to my life in the classroom.
Evaluation: I will evaluate this goal by
a) Completing a monthly schedule for myself, and doing weekly planning on Fridays.
b) Sorting and organizing whatever music, materials and equipment need it whenever those
situations present themselves. I will also offer to sort through music that is already filed to check
for sorting accuracy. I will ask the cooperating teachers to analyze and critique my work.
c) Asking both of my cooperating teachers to critique my current system of organization and ask
them for advice on systems that have worked for them.
Reflection:
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I have succeeded in more fully utilizing a monthly planner in order to become more organized. I
have also gained a number of insights into music organization, instrument storage, uniform
checkout and check-in, and many other forms of organization. I still have a ways to go in
organizing my life, but I have certainly taken steps to improving this aspect of myself, and will
continue to grow in this area with the tips and help I have received this semester.
2) Knowledge of Content
Goal: During this experience I will gain a better understanding of woodwinds and how they
work. This would include fingerings, articulation techniques, posture and proper care. I am a
strong vocalist, as well as a decent brass and strings player and proficient percussionist. The area
that I am weakest in music is woodwinds. I have a firm grasp of general musical concepts, such
as rhythms and dynamics, and will need to draw upon this knowledge to help.
Procedure: I will accomplish this goal by;
a) Taking out and playing woodwind instruments as able during time not used by prep, class or
lessons.
b) Taking all beginning woodwind lessons and co-teaching them with my cooperating teacher.
c) Creating a reference chart for all woodwinds, based off of knowledge I possess currently and
knowledge I gain from my cooperating teacher. This chart will include general fingerings, advise
on helping students create sound, articulation posture of mouth (i.e. tip of tongue to reed, etc.)
and general instrument anatomy.
Evaluation: I will evaluate this goal by;
a) Observing how much I take the lead in teaching woodwind lessons.
b) Having my cooperating teacher quiz me on fingerings and articulation.
c) Having my cooperating teacher look over my woodwind chart for accuracy.
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Reflection: I have obtained much more knowledge of woodwinds in my time at the High school,
as well as at the elementary level. I was given a fantastic resource book of woodwind fingerings,
trills and other general knowledge that already exists, so making a chart myself is somewhat
superfluous. I have taken the lead on nearly all woodwind lessons at the high school level and am
at a higher level of comfort with them than I was before.
Knowledge of the Learner
Goal: During this experience I will increase my knowledge of techniques that can be used to
include students with disabilities in the classroom. I have a decent grasp on the learning of
students without disabilities, and can handle myself relatively well. I am much less familiar with
teaching students with disabilities, and as I have a number of them in the elementary classroom, I
will be able to gain that knowledge.
a) Gaining the insight of my cooperating teacher into techniques that she uses for inclusion, as
well as what has not worked for her in the past and of her experience with students other than
those I will have in the classroom.
b) Always planning and preparing for eventualities from those students in my lessons, and slowly
but surely having me deal with those eventualities, with the help of the aide, rather than my
cooperating teacher.
c) Accompanying my cooperating teacher to the special services school that she also teaches at,
and learning how she works there.
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a) Always conferring with my cooperating teacher before implementing any variations to my

lesson.
b) Asking my cooperating teacher to informally evaluate my performance with those students
with disabilities during daily lessons
c) Visually observing myself if the techniques I am using are engaging those students with
disabilities.
Reflection: I have succeeded in overcoming any awkwardness I had with students with
disabilities. I have obtained many new strategies pertaining to the inclusion of these students in
my classroom, and have to say that I find them more than capable of most of the tasks that I
assign to all the other students. I have also learned to improvise well in lessons, and can adjust
my activities accordingly, if the adjustment I had planned for that student does not work initially,
or at all.
Knowledge of Pedagogy
Goal: During this experience I will gain a firmer grasp on the ability to manage my classroom
without detracting from the lesson, and gain confidence in managing a classroom. I am a
personable individual, and am a strong presence and can hold the attention of a class well. I am
also, however, rather pacifistic in my nature and dislike conflict. This leads me to want to avoid
situations that would lead to me having to discipline a student.
Procedure: I will achieve this goal by;
a) Observing how my cooperating teacher deals with misbehaviors and general class disorder,
taking notes (both mental and physical) and seeing the result of those dealings.
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b) Asking my cooperating teacher about specific troubles she has encountered in the past, and
how she has dealt with them.
c) Taking it upon myself to handle classroom misbehavior, and approaching those situations that
my arise in conflict that I would rather avoid.
a) Gaining feedback from my cooperating teacher about how I managed those situations that had
arisen in class.
b) Observing how the class responds to my management style, and, based on their behavior,
gauge how effective that style was.
c) Asking the administrator to come and observe a lesson, taking note specifically of my
classroom management and ask for a critique of my skills.
Reflection: I have become much more comfortable dealing with classroom management. I have
been told by my cooperating teachers that, while I am not quick to becoming aggravated, that I
still do not allow the students to push me around, and have handed out discipline appropriately
when necessary. I have also handed disputes between students as well as one on one with success
that I have noted as well. I also have realized that when a student is a misbehaving type, nearly
all other teachers already know this and are willing to help however they can.
Knowledge of Self as a Teacher and Member of a Learning Community
Goal: During this experience, I will strive to overcome and stay out of the attitude of me vs. the
world that is prevalent in a number of music teachers. I know that it is easy to fall into that
mindset, and I have often fallen into it myself. I want to change that and overcome it, because
teaching is a collaborative effort and we are all on the same team.
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a) Talking with teachers outside of my subject area at both at both schools. I will ask their
opinions on how one could best collaborate with music.
b) Looking and Learning from examples set by my cooperating teachers in collaboration and
working with the other teachers of the building.
c) Ask my cooperating teachers, and others, how they best maintain a healthy relationship with
one another.
Evaluation: I will evaluate my success with this goal by;
a) Reflecting on and journaling my talks with other teachers to see if they provided valuable
insight.
b) Cataloging my experiences with other teachers and keeping a book of the ideas I gain from
my cooperating teachers to collaborate.
c) Having my cooperating teachers and others evaluate my own ideas and concepts that I
come up with for collaboration and cross-curricular activities.
Reflection: While I do not have as full of a journal of collaborative activities as I had first
anticipated, I have been given a number of collaborative ideas, many of which came from the
classroom teachers themselves, that I will be able to use quite effectively. I am very confident in
going to other teachers for advice, help and ideas, but am also comfortable with my own
curriculum and what I want to teach.
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Individual Student Information Case Studies

Elementary Case Study
Student Y is attending School Y as a 5th grade student. Student Y transferred to school Y

in January of this year, and has had a great deal of trouble adjusting to the new school. Student Y
has been found to often disregard instructions, to the point of disrespectful noncompliance.
Student Y always makes excuses when approached about these instances, and will become
distressed if pushed to participate. Examples of this distress include running out of the classroom
or raising of the voice at the authority figure asking for compliance. This student is not regularly
disruptive when doing general activities that require no large amount of participation on their
part, but has trouble staying on task when given projects or other individual work. Student Y has
had this problem with more than just their regular classroom teacher, and has been the topic of
discussion amongst various teachers on staff. Their Classroom Teacher says that non-compliance
is the main issue, and secondarily attention to tasks and general social awareness are issues as
well. This can be seen in any of the classes they attend outside of their regular classroom.
Student Y is self-conscious in some circumstances, yet at the same time loses the
consciousness when the student thinks few or no people are paying attention to them. Student Y
has a number of quirks, and, during the winter, was known to always wear a pair of snow-pants
over their regular clothing, as well as a sweatshirt (the same every day, still worn currently) and a
pair of boots. The student has transitioned into wearing more regular clothing through the
encouragement of staff, yet still uses the sweatshirt as a form of security blanket when distressed,
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or faced with an unenjoyable task. For instance, whilst preparing for a concert, the student
refused to sing, even in a group of other students, and even refused to stand still in what would
be considered proper concert position. Student Y instead insisted on pulling their sweatshirt over
their face and would remain that way unless taken out of the group singing. This eventually led
to the students exclusion from the concert, per the students choice and a lack of availability by
the parent/guardian.
Student Y's home life is, as far as can be discussed, seems to be in poverty. The student
has a parent/guardian that does not have reliable transportation, and the student uses this as a
means of excuse for not attending concerts and other non-interested school functions. The
student also, due the general lack of changes of clothing that seems to be the case, may have a
lack of resources at home allowing for the change of clothes. This is not proof, but is possibly an
indicator.
Student Y's behavior was thought to originally be simply reacting to their status as a new
student at School Y. This did, however, later prove false as the behaviors saw little improvement
after months of attendance at School Y. Student Y, upon transferring, had no previous evidence of
an I.E.P. or any other testing for any form of disability that may begin to explain any of the
behaviors exhibited. School Y eventually took it upon themselves, with permission, to test
Student Y for behavioral or other disabilities. While the results of this have not been shared with
me, the Student has been placed on an I.E.P. and is under the care of an in-class aide that has one
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other student in the class to monitor as well. This aide works cooperatively with the teacher of
the class and helps the student to stay on task and to participate when desired.
If I were to have Student Y in my classroom, I would, as the administration did, take it

upon myself to contact the parent of the student in order to ascertain any reason for their
behavior in the classroom. This would first be done as a courtesy as soon as the student was
added to my class, but following up by phone would be my next step. If possible, I would set up
a personal meeting through that phone conversation, and preferably in the home environment of
that student.
My first impression was that the student was distressed by the classroom situation and
that their may have been some reason other than obstinance for their behavior. I would
attempt to find opportunities for this student to show their interest in subjects that they enjoy,
and attempt to include portions of these in projects that I would give to this student. In truth, I
have been able to peak this student's interest in a couple of lessons, specifically involving
non-western world instruments and vocal percussion. I believe the work done with the
student in the Learning Center, as well as help from the Aide, will eventually lead to a
measure of progress for this student.
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High School Case Study
Student X is a junior currently attending a School X. Student X is a student in the music

program at School X and is fully involved in the program. Student X plays a couple of
instruments and also sings, being a member of the Meistersingers and Jazz Choir as well as the
Symphonic and Jazz Bands. They have also taken it upon themselves to play and sing with a
number of small groups as well as performing solos at the regional solo and ensemble contest, as
well as auditioning for All-State Jazz Band and All-State Band. Student X is a diligent student,
and can be found studying, practicing and otherwise attending to their schoolwork almost any
time they are not currently in class.
One of Student X's parents works on the custodial staff of School X, and therefore
Student X often stays after school. During this time, they work on homework or practice for
upcoming musical performance, using their time quite diligently. The student even has a practice
room that is unofficially designated to them, as they spend so much time there. Student X is a
student leader, setting a fine example for their peers as well as helping and encouraging without
being prompted. Student X does not come from a very strong financial background, and may be
(though the information is confidential) on a reduced lunch plan. This, up until this past
christmas, had inhibited her playing abilities due to the equipment being played on. Recently,
however, a former student of School X came by and requested that their professional model
instrument which they were not using anymore be given to a student who deserved it. Educator
X knew, without a doubt, that the instrument should go to Student X. The entire exchange was
made anonymously, so neither Student X nor the former student knew each other. The instrument
was presented, newly cleaned and with a fresh set of supplies for upkeep and maintenance. This
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instrument has allowed Student X to excel, moving leaps and bounds forward in their musical
studies. Student X recently received a Superior Plus rating at the regional solo and small
ensemble contest for a solo played on the new instrument. This student will continue to excel and
perform above and beyond the call of duty, and they are extremely perseverant.
This student is only ever prohibited by limited funds and lack of opportunities due to the
lack of funds. Due to this concern, I would find as many discreet ways as possible to help this
student to achieve what they wish in their pursuits without them have to concern themselves
with financial troubles. Setting up an anonymous fund for Student X and other students like
Student X would be a great way to allow for those extra expenses. It can be anything as
simple as having money for meals on school-related trips, or for repairs to be done to an
instrument, or providing basic supplies and books necessary for the student's musical
education. This fund could also be fueled by student-run recitals or concerts, where said
students would put on a show and accept donations at the door, or otherwise have an entrance
fee for the recital. These are all ways in which to help the student through the financial
difficulties in their life.
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Instructional Design and Implementation- Unit

Common UNIT Plan
MUSIC TEMPLATE
Teacher Candidate
Joseph Weseloh
Cooperating Teacher
Mrs. Jackie Stacey
Grade Level
10-12
Subject
Symphonic Band
Date
02/29/2015
Common Core/State Standard(s)

Rehearse, Evaluate and Refine
Evaluate and refine personal and ensemble performances, individually or in collaboration
with others.
Enduring Understanding: To express their musical ideas, musicians analyze, evaluate, and
refine their performance over time
through openness to new ideas, persistence, and the application of appropriate criteria.
Essential Question: How do musicians improve the quality of their performance?
Learning Objective(s): Students will be able to(SWBAT)

Students will be able to:
1) Play the piece Curtain Call utilizing the appropriate musicianship and skills required by the
piece and composer.
2) Use extended techniques as called for in the piece (I.E. flutter tonguing, lip slurs, etc.)
3) Understand the context of a curtain call and its place in musical theatre and other performance
venues.
4) Utilize dynamic contrast, articulation, tone, phrasing and other musical techniques to form an
ensemble sound.
Planning
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Rationale
According to the State Music Standards of South Dakota, students in grades 9-12 participating in an
instrumental ensemble should, at a profficient level, perform with expression and technical accuracy a
large and varied repertoire of instrumental literature and perform an appropriate part in an ensemble,
demonstrating well-developed ensemble skills. At an advanced level, students should perform a repertoire
which includes advanced technical and interpretive skills. With this in mind, John Wasson's Curtain
Call is a great piece to satisfy this standard. The piece has extended techniques for a number of sections
in the band, covers a variety of styles within the confines of the piece, and pushes the ensemble to
perform with a wide range of dynamic contrast, expressive qualities and with a close note to articulation,
rhythmic passages, ensemble wide intonation and playing together as a unit.
Pre-Assessment
Playing a Bb scale, to check knowledge of the key, and verbally asking about potentially difficult musical
techniques or wording in the piece.
Materials
Sheet Music for the piece Curtain Call by John Wasson
Evaluation
Audial and Visual assessment of proper playing by individual players as well as the band as a whole.
Unit Reflection
Through these past three rehearsal periods, the band has achieved a much higher level of understanding
of the piece. They are beginning to grasp how to work as a unit, and are beginning to feel the piece as a
whole work, and not just parts thrown together. There is definite need of improvement on the tempo of
the piece, dynamic contrast and some individual phrases, but overall the piece is coming together quite
well. The trumpet section was able to learn about flutter tonguing, and the band, as a whole, has learned
about hemiola and syncopation. I will be sure to tackle sections that carry vast dynamic contrast, and to
pick up the pace on the tempo to get the band up to performance speed.
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Common Lesson Plan
MUSIC TEMPLATE
Teacher Candidate
Cooperating Teacher
Grade Level
Subject
Date
Joseph Weseloh
Mrs. Jackie Stacey
10-12
Symphonic Band
03/03/2015

with others.

1) Recognize the piece Curtain Call when heard
2) Play the piece Curtain Call with rudimentary skill, stopping no more than once in a
run-through of the piece
Planning
Rationale
When first playing a piece, it is essential that the students begin to form their own interpretation
of a piece from the beginning. As such, having the students sight-read a piece of music prior to
ever hearing what it sounds like performed by someone else will begin this process of
interpretation right away. Sight reading also allows for students to engage their musical
intelligence and challenges the students and their musical knowledge and technical skill. It also
allows for the director to obtain clear and concise knowledge as to the definite problem areas that
are involved within the piece.
Pre-Assessment
Sight reading the piece will make plain the areas that need improvement in the piece.
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Assessment
Audial and Visual assessment will be utilized throughout the rehearsal process to assess the
ability of the ensemble to play techniques and the piece correctly.
Evaluation
Key Vocabulary
Curtain Call, Broadway style, flutter tongue.
Technology needed
None
Other required materials
Sheet music for Curtain Call
Accommodations
none are needed.
Lesson Plan Implementation

Lesson Opening (Hook)
Good Morning and Announcements (begin handing out new piece)
Teaching Procedures (Step-by-step instructions)

1) Have the ensemble play a Bb Scale ascending and descending. Tuning where needed
2) Quiz the ensemble on key signatures and the orders of sharps and flats
3) Complete handing-out music for Curtain Call
4)Sight read the piece Curtain Call
5) Time allowing, work over obvious major trouble spots in the piece to begin to work up piece.
Lesson Closing (Transition)
Turn the podium over to Mrs. Stacey
22 | P a g e
Reflection
The sight-reading session proved to be quite challenging for the students as well as myself. I had
not fully prepared myself for the potential trouble spots and issues that may be encountered by the band,
and was unaware that some sections would even pose a challenge. There are a number of problems that
need to be addressed, including an understanding of hemiola, syncopation and dynamic contrast. I also
need to address topics such as clarinet lip slurs and ensemble phrasing, so as not to bury the melody in
certain sections. The students grasped the concept of flutter tonguing, but the technique will need to be
reviewed at a later date.
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Common Lesson Plan
MUSIC TEMPLATE
Teacher Candidate
Cooperating Teacher
Grade Level
Subject
Date
Joseph Weseloh
Mrs. Jackie Stacey
10-12
Symphonic Band
03/06/2015

with others.

1) Play sections of Curtain Call with more obvious dynamic contrast
2) State when their instrument section has the melody or featured line in the piece.
2) Play the beginning section of Curtain Call up to the roll-off without stopping or
slowing down.
Planning
Rationale
In order for an ensemble to work together as a unit, the individual members of the ensemble must
conform to technical aspects of the piece together and in the same way. Dynamics and dynamic
contrast are ways in which this can be achieved. Making sure that sections that have the main
melody line can play said melody accurately and without slowing the tempo is also essential to
the ensemble playing as a cohesive unit.
Pre-Assessment
Playing through the section of the piece that is to be worked on in rehearsal, specifically the
beginning to the drum roll-off section.
24 | P a g e
Assessment
Evaluation
Key Vocabulary
Curtain Call, Broadway style, flutter tongue.
Technology needed
None
Accommodations
none are needed.

Good Morning and Announcements.

3) Have ensemble turn the beginning of Curtain Call
4) Work with Low Brass on melody line as needed.
5) Work with band on the trading melody line section, making sure the bells play strongly
throughout.
5) Time allowing, put section into context.
25 | P a g e
Reflection
The sight-reading session proved to be quite challenging for the students as well as myself. I
had not fully prepared myself for the potental trouble spots and issues that may be encountered by
the band, and was unaware that some sectons would even pose a challenge. There are a number of
problems that need to be addressed, including an understanding of hemiola, syncopaton and dynamic
contrast. I also need to address topics such as clarinet lip slurs and ensemble phrasing, so as not to bury
the melody in certain sectons. The students grasped the concept of futer tonguing, but the technique
will need to be reviewed at a later date.
26 | P a g e
Common Lesson Plan
MUSIC TEMPLATE
Teacher Candidate
Cooperating Teacher
Grade Level
Subject
Date
Joseph Weseloh
Mrs. Jackie Stacey
10-12
Symphonic Band
03/17/2015

with others.

1) Play sections of Curtain Call with more obvious dynamic contrast
2) State what the musical concept of hemiola is as well as syncopation
2) Play the end section of the piece Curtain Call, beginning at measure 89, without
stopping once and with minor attention to dynamics, phrasing and articulation.
Planning
Rationale
In order for an ensemble to work together as a unit, the individual members of the ensemble must
conform to technical aspects of the piece together and in the same way. Dynamics and dynamic
contrast are ways in which the ensemble can develop their own interpretation and sound. Another
way is for the members of the ensemble to all understand rhythmic concepts such as hemiola
(cross-barline phrases) and syncopation (off-beat based rhythms). These all lend themselves to
creating better musicians as well as a better ensemble as a whole.
Pre-Assessment
Playing through the section of the piece that is to be worked on in rehearsal in order to determine
trouble spots and verify other sections needed to be worked on.
27 | P a g e
Assessment
Evaluation
Key Vocabulary
Curtain Call, Broadway style, flutter tongue, syncopation, hemiola, dynamic contrast.
Technology needed
None
Accommodations
none are needed.

Good Morning, today we will be working on the end secton of curtain call.

3) Run through end section of Curtain Call
4) Rehearse hemiola shout section of Curtain Call
5) Rehearse Woodwind feature, checking for note accuracy and dynamics.
6) Time allowing, play through entire piece of Curtain Call closer to specified tempo
marking.
28 | P a g e
Reflection
The piece is fnally beginning to take the shape that I want it to. The individual sectons are becoming
less disconnected and more intertwined with the general feel of the whole piece. Atending to the
rhythmic inaccuracies in the end secton helped to give the ensemble a beter sense of cohesion with
the piece. The shout secton is much cleaner of afer the hemiola concept was discussed and
observed. The woodwind feature follows more closely the specifed dynamic marking of subito piano,
but stll will require more work to make it solid. The percussion started the rehearsal rocky, but gained
the feel for the sectons they were having trouble with near the end of our tme rehearsing. There is stll
a ways to go, but I can defnitely see the progress that has been made. We did have tme to run the
piece, and the progress made in the end secton was apparent in comparison to the middle secton of
the piece.
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Common UNIT Plan
Elementary MUSIC
Teacher Candidate
Joseph Weseloh
Cooperating Teacher
Mrs. Brenda Ingalls
Grade Level
4th Grade
Subject
General Music
Date
02/26/2015

MU:Pr5.1.4a Apply teacher-provided and collaboratively developed criteria and feedback
to evaluate accuracy and expressiveness of ensemble and personal performances.
MU:Pr6.1.4a Perform music, alone or with others, with expression and technical
accuracy, and appropriate interpretation.

Planning
30 | P a g e
Rationale
In order for a student to gain a fuller understanding of another culture, I find that is is
nigh on essential for them to delve into that culture's music. As there are a number of
students in the class with an English, Irish, Scottish or Welsh heritage in my class, I felt
that it would be very rewarding to introduce them to the genre of Celtic music. There are
a number of instruments that can be learned about in Celtic music, as well as whole
different language (Gealic, both Irish and Scottish), the periods of history and peoples
that brought about how this music is played and the various performers of this genre that
have been and still are today.
Pre-Assessment
My pre-assessment for this unit involved using a quick questionnaire given at the end of a
previous class period in order to gauge my students knowledge of this topic. The
questions were as follows.
1) Have you ever heard of Celtic music? (Yes or No)

2) Name a country that Celtic music comes from. (Scotland, Ireland, Wales, England)
3) Name an instrument used in Celtic music. (Fiddle, Tin Whistle, Flute, Bagpipes, Celtic
Harp, Dulcimer, Bodhran, Guitar)
4) Name one famous Celtic tune. (Answers may vary)
5) Name one famous Celtic group of musician (Answers may vary)
6) What activity is often performed with Celtic Music? (Dancing/Clogging)
7) What Holiday is associated most closely with Celtic Music? (Saint Patrick's Day)
31 | P a g e
I gave the questionnaire to 3 sections of 4th graders, resulting in a total of 75 students who took it.
The results are as follows.
As can be plainly seen, the students knew very litle about the subject, and so are certainly ready
and prepared to gain more knowledge of that area of music.
Post-Assessment
I gave the students the same questonnaire at the end of the unit (5 lessons) and the results
were as follows.
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This obviously shows that the students have now gained knowledge of Celtc music and its place
in the culture of the United Kingdom. Students can use this knowledge to now relate to other
cultures and genres of music, and will be able to use this knowledge to make educated
judgements on other genres.
Materials
Bodhran (or Hand drums with tippers), Recorders, Projector and computer with sound
system, Fiddle/Violin.
Evaluation
Audial and Visual assessments will be taken, and corrections will be made as needed.
Unit Reflection
33 | P a g e
This unit was extremely successful. The students found a sincere love for the various aspects of Celtic
music, including dance, the instruments played, and learning about Celtic music groups. My favorite
parts of this unit would have to be teaching the students how to play the Bodhran and the recorder ala
Tin whistle, and also having them learn a dance and dancing to fiddle music. The timing of this unit was
also fantastic due to its close proximity with Saint Patrick's Day. The students now can name multiple
instruments used in Celtic music, can dance a simple Celtic dance, know a number of musicians and
groups that perform Celtic music and have even performed a variant of it themselves.
34 | P a g e
Common Lesson Plan
MUSIC TEMPLATE
Teacher Candidate
Cooperating Teacher
Grade Level
Subject
Date
Joseph Weseloh
Mrs. Brenda Ingalls
4th Grade
General Music
02/26/2015

MU:Pr6.1.4a Perform music,
alone or with others, with expression and technical accuracy, and appropriate
interpretation.
MU:Pr6.1.4b Demonstrate performance decorum and audience etiquette appropriate for
the context, venue, and genre.
MU:Re7.1.4a Demonstrate and explain how selected music connects to and is influenced
by specific interests, experiences, purposes, or contexts.
MU:Re7.2.4a
Demonstrate and explain how responses to music are informed by the structure, the use
of the elements of music, and context (such as social and cultural).

1) Answer questions about Celtic music and its countries of origin.
35 | P a g e
2) Identify the Bodhran by sight and sound.

3) Play a Bodhran at a rudimentary level.
Planning
Rationale
When Learning the music of another culture, I can think of no better way than through the
performance of that music, and the attempt to play instruments of that culture. Tonal instruments
can be difficult to learn, as rhythmic and tonal elements must be considered in the instruction of
said instrument. As such, beginning with the percussion instrument of the Bodhran, often the
backbone of a Celtic group, sounded to me to be the best starting point.
Pre-Assessment
Taking the instrument out and asking questions (What is this called? How do I play it? Etc...)
Assessment
Audial and Visual assessment will be utilized throughout the lesson, with physical and verbal
correction happening where needed.
Evaluation
Audial and Visual assessment will be utilized throughout the lesson, with physical and verbal
correction happening where needed.
Key Vocabulary
Celtic, Scotland, Ireland, Wales, England, United Kingdom, Bodhran, Tipper, Jig.
36 | P a g e
Technology needed
None
Bodhran or Hand drums with Tippers. Chair.
Accommodations
For Student with Down Syndrome, give physical help and direction when student is playing
instrument.

Have The Chiefans playing in the background as students go to their seats.

1) Ask questions of students and give answers covering the questions of:
What countries are in the United Kingdom?
What is the music from those countries?
What instruments are used in that music?
2) Take out Bodhran, explain what it is through question and answer.
3) Demonstrate how to play the Bodhran
4) Teach all students the paintbrush technique of holding a tipper
37 | P a g e
5) Have students come up 3 at a time to play the Bodhran

Turn on The Chiefans tune again, and have the students line up at the door before
transitoning to next class.
Reflection
While the students did not have a large knowledge base of Celtic music before this lesson began,
they seemed genuinely interested in learning more. This led to the question and answer session at the
beginning of class to turn to topics such as the Scottish and Irish clans, what is tartan and why is it
important, and other questions such as that. It was really great to see them want to learn, but in the future I
will anticipate such questions more readily so as to expedite the process. The students excelled at learning
the Bodhran, and the students not playing were able to practice concert etiquette, which was also
fantastic! I was extremely proud of my student with Down Syndrome, who played the instrument all by
themselves. I will definitely be using this lesson again in the future.
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Common Lesson Plan
MUSIC TEMPLATE
Teacher Candidate
Cooperating Teacher
Grade Level
Subject
Date
Joseph Weseloh
Mrs. Brenda Ingalls
4th Grade
General Music
03/02/2015

interpretation.
MU:Re7.2.4a

1) Identify proper Bodhran playing technique.
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2) Identify a famous and highly influential group of musicians to the genre of Celtic
Music; The Chieftains.
3) Identify the Tin Whistle by sight and by sound
4) Be able to play a simple Celtic melody on the recorder
Planning
Rationale
Introducing students to virtuosic players of various genres is a great way to solidify the
importance and interest of a genre of music to a student. Due to this, I find that using videos
when a virtuosic player is not available allows the students to be exposed as a fine substitute.
After having learned how to play a rhythmic instrument of the genre, it is now time to move on
to a tonal instrument of the genre to learn. This instrument is the Tin Whistle, as recorders can be
used as a substitute, and allows for full class participation.
Pre-Assessment
Review questions with the students about the Bodhran and countries of origin for Celtic Music
and ask about tonal Celtic instruments.
Assessment
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Evaluation
Key Vocabulary
Celtic, Bodhran, Tin Whistle, The Chieftans, Recorder.
Technology needed
Projector, Computer, Speakers
Recorders, Anti-Bacterial mouthpiece spray, Tin Whistle
Accommodations
Having Aide help student with Down Syndrome place fingers over holes on Recorder correctly.

Have The Chiefans playing as students walk in.

1) Review questions about the Bodhran with students.
2) Play video of Joe John Kelly playing Bodhran
3) Play video of Chieftans, introducing the Tin Whistle
4) Show Tin Whistle to students, asking questions and answering ones given by students.
5) Pass out recorders
41 | P a g e
6) Go over basic notes with students

Have students hand instruments to Mrs. Ingalls, who will spray them and set them to dry, and
walk to door and line up afer handing over instrument.
Reflection
This lesson showed that the students retain information fairly well, only needing small prompting in
order to be reminded of the Bodhran and its uses. The students were very enthusiastic about seeing a
video of virtuoso players of the Celtic genre. Using the recorders, while not a bad idea, may prove to be
more difficult that I had first imagined. The students were making some unusual sounds with them, and
on top of it, keeping the students from playing their instruments was quite difficult. I will have to see
how teaching them a simple folk melody goes next week.
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Common Lesson Plan
MUSIC TEMPLATE
Teacher Candidate
Cooperating Teacher
Grade Level
Subject
Date
Joseph Weseloh
Mrs. Brenda Ingalls
4th Grade
General Music
03/5/2015

MU:Re7.2.4a

1) Identify a famous Celtic group, Celtic women
2) Answer questions about Celtic music and the group Celtic Women
43 | P a g e
Planning
Rationale
The use of prepared lessons and materials is extremely beneficial to both teacher and student
alike. Music Express has developed an interesting program and released an exclusive interview
and performance video with the group Celtic Woman for general music curriculum. As this
falls quite well into the unit, it stands to reason that this would be a very fine opportunity for my
students. As I am not able to make it into the classroom for this lesson, it is double important and
beneficial that this informaton is available.
Pre-Assessment
The Music Express booklet contains pre-assessment questions which will be utilized along with
questions on the Tin Whistle, Bodhran and Celtic culture.
Assessment
Audial and Visual assessment will be utilized throughout.
Evaluation
Key Vocabulary
Celtic, Celtic Woman, Bodhran, Gaelic, Fiddle, Jig, Riverdance, Tin Whistle, Scottish, Irish,
Bagpipes.
Technology needed
Projector, Computer, Speakers.
44 | P a g e

Booklets from Music Express.
Accommodations
none are needed.

Have students sit in personal space in view of projector screen.

1) Ask questions regarding Tin whistle and Bodhran.
2) Hand out Celtic Woman booklets
3) Follow instructions per the booklets, showing videos as needed
4) Ask follow up questions
Have students turn in booklets and line up at the door.
45 | P a g e
Reflection
As I was unable to be in attendance for this class period, I was only able to reflect on what my
cooperating teacher had observed. The video went over well and held the interest of some of the students
who, to this point, had been less engaged than others in the lessons. The students were fascinated to
learn of a modern group of younger people performing and playing Celtic music, putting it into a newer
perspective.
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Common Lesson Plan
MUSIC TEMPLATE
Teacher Candidate
Cooperating Teacher
Grade Level
Subject
Date
Joseph Weseloh
Mrs. Brenda Ingalls
4th Grade
General Music
03/09/2015

interpretation.
MU:Re7.2.4a

1) Play a simple Celtic melody on the recorders
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2) Perform with two Celtic instruments in a group with others

3) Answer questions about the Bagpipes pertaining to how they are played and their use
in Celtic music.
Planning
Rationale
Playing a variety of instruments in a small ensemble is an essential skill for younger musicians.
It is dictated in the State and National standards for music, and is also a fine tool for learning
about timbre, steady beat, tempo and many other ensemble based topics. The use of a tonal
instruemnt as well as a rhythmic instrument allows for some small measure of improvisation to
be used along with practiced melody.
Pre-Assessment
Students will be asked review questions on the Bodhran, Tin Whistle, and the group Celtic
Woman.
Assessment
Evaluation
Key Vocabulary
Celtic, Celtic Woman, Bodhran, Gaelic, Fiddle, Jig, Riverdance, Tin Whistle, Scottish, Irish,
Bagpipes, Improvisation, Ensemble, Etiquette.
48 | P a g e
Technology needed
None
Recorders, Handrums and Tippers, Bodhran, Anti-Bacterial mouthpiece spray.
Accommodations
Allowing student with down syndrome to play whichever instrument they choose to play for
ensemble playing, and helping where needed.

Have piece by Celtc Woman playing in background while students come in to class.

1) Ask review questions on Celtic Woman video
2) Pass out recorders
3) Teach students simple Celtic melody, The Minstrel Boy
4) Have students play in groups, three recorders and three Bodhrans, allowing Bodhrans to
improvise.
Put instruments in proper place and line up quietly at the door.
49 | P a g e
Reflection
The intent of this lesson was to have the students learn a melody on the recorder, but in
hinesight, have the students learn the song via singing and having the student play an even simpler
accompaniment on the recorder and Bodhran would have been possibly more successful. The students
had great difficulty in attempting to learn the melody, and so we made up our own three note celtic
tune that we played with in an ensemble with the Bodhrans. If I were to do this in the future, I would
certainly consider having the students learn a song singing first, and then applying instruments, to give
them a base for their learning.
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Common Lesson Plan
MUSIC TEMPLATE
Teacher Candidate
Cooperating Teacher
Grade Level
Subject
Date
Joseph Weseloh
Mrs. Brenda Ingalls
4th Grade
General Music
03/12/2015

1) Identify the fiddle and its parts
2) Answer questions about the fiddle and its use in Celtic music.
3) Dance a simple Celtic dance to the tune The Irish Washerwoman
4) Dance with varying tempo, matching the tempo of the fiddle
Planning
Rationale
There are few instruments more iconic to Celtic music than the fiddle. Celtic fiddling has given
way to many further genres of music, and so is a fitting culmination of a unit on Celtic music.
51 | P a g e
The Irish Washerwoman is also an iconic Celtic tune, and is a fine suppliment to the lesson.
Kodaly and Orff both preach of the use of movement when learning music, and so an element of
Dance is involved with this lesson. Dance is also a traditional part of Celtic music, and so will fit
in perfectly.
Pre-Assessment
Ask questions on the Tin Whistle and Bodhran.
Assessment
Evaluation
Key Vocabulary
Celtic, Bodhran, Gaelic, Fiddle, Jig, Riverdance, Tin Whistle, Scottish, Irish, Bagpipes,
Riverdance, Washerwoman.
Technology needed
None
Fiddle
Accommodations
Have aide help student with Down Syndrome who may have trouble learning dance steps.
52 | P a g e

Play a Celtc ballad on the fddle as students walk in to class.

1) Ask review questions about Celtic music
2) Introduce the fiddle and its pieces
3) Play examples of Celtic tunes on the fiddle
4) Teach the students a simple Celtic Dance
5) Have the students dance along to the tune The Irish Washerwoman and speed up tempo as
they go.
Have students bow to each other across the rows, like at a line dance, and line up at the door.
53 | P a g e
Reflection
This lesson was probably the most fun I have had thus far during my teaching candidacy! The
students loved learning the dance and about the fiddle. They were very respectful when I played for
them, and thoroughly enjoyed the competitive aspect of the dance speeding up. At the end, I had the
students clap along to the tempo I would play the Irish Washerwoman at if I were doing it in
competition, and I saw who would keep the tempo, me or them. It was a ton of fun, the students loved it
and I also had a blast! I will certainly be keeping this lesson, and unit, in my curriculum!
54 | P a g e
Management and Motivation
1. Description of classroom environmental factors you observed that affect learning.

I have found that environmental factors are many and varied, and all can have a profound
impact on the classroom. The weather is one environmental aspect that can affect the
students attitudes. If it is very sunny and warm outside, students will get increasingly
energetic and less able to stay on task as the day wears on. I there is holiday soon (I.E.
valentines day, St. Patricks day, etc) or there is going to be, or was a long weekend prior
to the day of instruction, students will also have more difficulty staying on task. If other
students are having a bad day, or are being uncooperative, that aspect can wend its way
into the other students, causing them to share that same feeling.
2. Description of individual student motivation strategies used (e.g., giving choices)
Students in the classroom are encouraged to be creative and to perform individually or in
small groups quite often, motivating them to take risks and put themselves out there.
Students are also given choices for participation, and allowed to pursue their interest
areas, as long as they remain focused on the subject matter of the day. I have also found
that giving the student the choice of participating and obeying the rules or sitting out and
not getting to enjoy the activity has been extremely useful.
3. Description of group motivation strategies used (e.g., counting backwards, voice level
barometer, silent signals).
The use of Personal Space in a counting backwords format is a good way to rearrange
the students into a personal space, open for movement activities form. The use of
counting down with fingers raised and not saying anything also helps when dealing with
a slightly rowdy classroom. I use silence for when it gets louder than a comfortable
speaking level, waiting for my students to quite down, and increasing my level of the
look if the continue to be loud. These are very useful in keeping a group going. Using
non-verbal gestures for an entire class period has also been quite effective, and rather
fun.
4. Describe verbal communication occurring in classroom interactions among students
and with the teacher.
The students raise hands to speak when answering questions, or asking them, though
there are, of course, infractions on this rule. Students often times get excited and find
themselves increasing their volume to be heard above others, which results in a too-loud
environment, and requires silence more than yelling to quite them down. Students will
also sometimes find themselves wanting to share tidbits about their life that have not
much, or nothing, to do with the subject, but during class time. This is something that can
be briefly addressed and then moved past usually, though there are times that a comment
can spark an entire tangent that sweeps the entire class with it.
5. Describe non-verbal communication occurring in classroom interactions among
students and with the teacher.
Body language and facial expressions are an enormous part of dealing with the students.
Form Kindergarten on up through high school, if the teacher crosses their arms and is
55 | P a g e
frowning, the students know that the teacher is unhappy. Likewise, if the teacher is
smiling and energetic, the students can interpret and feel that happiness and motivation as
well. Non-verbal communication also can reduce the level of ambient student noise and
talking immensely in a classroom, as the students focus on interpreting the teacher's
actions more than their own voices.
6. Implement one management technique and reflect on its effectiveness.
I have implemented active listening often in the elementary classroom. This allows me to
fully ascertain the meaning of tears or tattling that may be occurring (almost daily). Often
times, if a student has an attitude problem, it can be traced back to something someone
said earlier in the day, who they are standing by, if they got sleep the previous night, etc. I
had one student go to the office to take a nap, simply because they didn't get enough sleep
the previous night and were then crabby and extremely disruptive in my class that day.
7. Include your School-Home Communication artifact.
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Joseph M Weseloh
200 9th St. NE, Watertown, SD 57201
joseph.weseloh@wolves.northern.edu
February 9th, 2015

Dear Parents/Guardians:
I am extremely excited and privileged to say that I will be conductng my student teaching experience in
your childs classroom from February 8th untl May 8th. I am very much so looking forward to working
with Mrs. Stacey and Ms. Ingalls in their classrooms and working with your child in their educatonal
pursuits.
I am currently atending Northern State University and will be completng my degree in May with a
major in K-12 Music Educaton, Vocal and Instrumental, and a minor in Theatre. I have had the privilege
to perform and work backstage in a number of Northerns stage productons (Including The Phantom of
the Opera and Les Miserables), and have been heavily involved with many of the ensembles on campus
(Including the Chamber Singers, Vocal Jazz Ensemble, Jazz Band and Symphonic Band). I also am
extremely fond of world music instruments, and own a number of them myself. In additon to my
musical passions, I also quite enjoy hiking, traveling, science fcton and football!
I chose to pursue the career of an educator because of my passion for passing knowledge and skills on to
others. This is especially true when it comes to helping students gain a greater appreciaton and
understanding of music and how it relates to the world. I live for the lightbulb moment and love when
a student can understand and grasp what I have been teaching. I believe in a well-thought out classroom
and a cooperatve learning environment, where students help to build each other up and grow. I feel the
qualites of teamwork and cooperaton will lead to, not only a beter musical ensemble, but a beter
member of society.
Please feel free to contact me through the school ofce or through my mail
joseph.weseloh@wolves.northern.edu .I am looking forward to these next 12 weeks and getng to know
you and your child!
Sincerely,
Joseph M Weseloh
Teacher Candidate
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8. Include your Classroom Management Plan. (7 & 8 included in electronic portfolio)
Symphonic Band (9-12) Grading Plan

Students will be graded on a point scale of points. The division of those points is as follows:
Daily Participation: 400
Weekly Journals/Reflections: 60
Performances: 200
Performance reflections: 100
Composer project: 60
Concert attendance: 60
Total Points = 880
A+ = 880
A = 792-879
B = 704-791
C = 616-703
D = 528-615
F = 0-527
Daily Participation:
Daily Participation will be determined by active involvement in the classroom as per the rubric
for daily participation.
Rubric for Daily Participation
According to the rubric, all criteria need to be met in order to achieve the that is defined by those
criteria. The weight of the marks are as follows
2 = 2 points
1 = 1 point
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0 = 0 points
This allows for a total of 8 points to be gained in daily participation each day. If a student misses
a rehearsal due to any reason not outlined in school policy, the student will receive a 0 for that
day.
Cell Phones = PASS/FAIL
If a student does not have their Cell Phone in the designated pocket prior to rehearsal, or
has not spoken to the director prior to rehearsal, the student will not receive ANY daily
participation points.
Excellent (2)
Atenton to Task
and Director
Adequate (1)
Student follows all instructons given Student is reminded ,up to 2 tmes,

by the Director without need of
of instructons given by the Director
reminding.
during the course of rehearsal.
Student keeps focus on director and Student is observed engaging in
does not engage in idle conversaton conversaton when the ensemble is
whilst playing.
playing once.
Proper use of
Instrument and/or
Materials
Student has instrument assembled

properly prior to rehearsal
beginning.
Student has instrument assembled

properly at or one minute past the
beginning of rehearsal.
Student retrieves folder prior to

Student has rehearsal pencil and
rehearsal and replaces folder with all marks music when told by director.
music in their designated slot at the Does not make personal marks.
end of rehearsal.
Student retrieves folder at or one
Student has rehearsal pencil and
minute past the beginning of
marks music when told by director. rehearsal. Student places folder in
Makes personal marks.
slot at the end of rehearsal
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Needs Work (0)

Student does not follow
instructons given by
Director 3 or more
tmes.
Student is observed
engaging in
conversaton when the
ensemble is playing
more than once.
Student has instrument
assembled properly
past the one minute
mark of rehearsal
beginning.
Student doesn't have
rehearsal pencil and
does not make marks in
music.
Student retrieves folder
past the one minute
mark of rehearsal
beginning and/or does
not place it in its
designated slot at the
end.
Student demonstrates progress on
Preparaton of
Pieces to be Played pieces played AND either atended
Student demonstrates progress on

pieces played
Student demonstrates
no progress on pieces
played.
Musical
Interpretaton
Student observes markings in music
Student does not

observe musically
interpretve markings
sectonals designated by secton

leader or signed up for personal
work tme with instructor.
Student observes markings in music

As Well As those prompted by the
director
Weekly Journals/Reflections
Students will write a one paragraph (at least 5 sentences) reflection on what they experienced
with the ensemble that week. Accepted subject matter of these reflections include:
Personal musical development
Ensemble musical development,
Positive feedback on pieces played
Negative feedback on pieces played (only one sentence and cannot be directed at other
students)
General feedback on recent rehearsals/trips/performance
Specific concerns as they pertain to the band
Kudos to be given to other players/the band as a whole
These reflections will need to be dropped in the reflection box, located in the band room, by 5:00
pm on Friday. The box will only be available on Friday.
Performances
Attendance at all performances is mandatory, barring the occurrence of an emergency or
acceptable exclusion as per the Music Handbook. Refer to the music calender to find concert
dates. Students will be graded on criteria from the Daily Participation Rubric.
Performance Reflections
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Students will write a 1-2 page paper (Times New Roman, Double Spaced, 12 point font)
reflecting on the performance. This is only required for those performances deemed Major
performances in the Music Handbook and calender.
Composer Project
Students will, throughout the semester, work on a project based on a composer of their choosing.
They will be able to use any creative medium they choose, and will present their work to the
Director prior to the end-of-year concert. These projects will be put on display at the final
concert.
Concert Attendance
In addition to attending all performances of the Symphonic Winds, students will also need to
attend/perform in at least two other concerts/shows. What qualifies as a concert/show will be
determined by the Director on a case-by-case basis.
I believe this grading plan shows the level of importance I feel that participation and working as
a team has in an ensemble. My grading scale offers the opportunity for student feedback, so that
I can grow as an educator as they grow as blossoming musicians. I allow them to use different
mediums to express themselves on projects and I show the importance of attending concerts of
other types of music. I also allow for this concert attendance to be in an area of their choosing,
as to be approved by me. This falls in with my philosophy in so that I believe that not everyone
will be interested in one particular type of music, and should explore their interests. I also am a
firm believer in class time being used for class, thus the severity of my rubric and the Cell
Phone policy.
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Analysis of Student Learning

Analysis
Prior to beginning the unit on Celtic music with the 4th grade class, I administered a pre-test
(per the Elementary School Unit Plan) to all three sections of 4th grade, counting to 75 students
in all. This pre-test was completed at the end of a class period, and the questions are as follows.
1) Have you ever heard of Celtic music? (Yes or No)
2) Name a country that Celtic music comes from. (Scotland, Ireland, Wales, England)
3) Name an instrument used in Celtic music. (Fiddle, Tin Whistle, Flute, Bagpipes, Celtic
Harp, Dulcimer, Bodhran, Guitar)
4) Name one famous Celtic tune. (Answers may vary)
5) Name one famous Celtic group of musician (Answers may vary)
6) What activity is often performed with Celtic Music? (Dancing/Clogging)
7) What Holiday is associated
most closely with Celtic Music?
(Saint Patrick's Day)
The results of this the pretest
were as follows.
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Following the unit on Celtic Music, the same test was administered to the same number of
students, and the results were as follows, and a graph comparing the results is also provided.
According to this data, I would say that my instruction of the students certainly gave them
knowledge of the genre of Celtic music, as well as its place in the culture of the United
Kingdom. The students all were able to remember at least some facts about Celtic music, and
some students were even able to name groups of Celtic musicians and what it is about. I would
also say that the students found a deeper understanding of the topic as well, and I observed a
definite enjoyment in the classroom.
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Joseph Weseloh
05/03/2015
Refecton and Self Evaluaton
My music practicum was an eye opening experience to be sure. I found myself thrust into many
different positions of leadership, as well as support, and I thoroughly enjoyed it all! I was given
the opportunity to work with and conduct ensembles in the mediums of band, strings and chorus,
and I was also able to work with students in a lesson setting of various ages. I was allowed the
opportunity to share my passion of world instruments and genres of music with a younger
generation. This was refreshing to me due to the fact that they were extremely enthusiastic, and I
genuinely feel they gained a new perspective on cultures of the world. A first grade program was
successfully prepared and completed by me during my time at the elementary school, and it was
so very gratifying to see the students achieve so much, and enjoy doing it!
I would highly recommend both Mrs. Stacey and Mrs. Ingalls for future teacher candidates from
Northern State University. They have both taught me more than I ever could have comprehended
prior to my working with them. I have learned lessons on teaching music, organization,
proactivity, parent/teacher communication, ordering school materials, classroom management,
and so much more. Coming away from my practicum, I would say I feel much more prepared for
entering the field of Music Education, and I have so many tips and tricks of the trade ready to use
that I feel I can work through almost any problem. I am very grateful for my time with them and
I look forward to keeping them as contacts in my career as a music educator.
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The goals that I set for myself at the beginning of the year were completed with a level of
success, and so I wish to set myself another set of goals to keep me growing and focused on my
own development as a music educator.
In regards to my knowledge of self as an individual, I will continue to adhere to higher levels of
organization and keeping my future workspace efficient and effective. I will achieve this goal by
Cleaning, making repairs and taking stock of all music, instruments and equipment that will be
available to me. I will make a point to meet and get to know my colleagues in the music
department, and as many parents and other colleagues as may be available. This will help me by
creating resources, as well as outlets for ideas and help when necessary. I will plan and prepare
as much of my new school year as possible prior to the fact, so as to focus myself on just the
teaching portion of my job and not overwhelming myself. I will evaluate this through
maintaining a checklist of tasks I need to complete. I will also ask my colleagues to evaluate my
work, especially those colleagues who may be above me as heads of department or the like.
In regard to my knowledge of the learner, I want to become more successful at engaging students
who are lower achieving in my class without discouraging them. I will achieve this goal by
setting personal goals and standards up with those students, to give them something attainable to
strive for. I will set up student mentors if at all possible, having an older, higher achieving
student help those younger and lower achieving. I will also maintain a close connection to the
parents of those students if at all possible, gaining support at home as well as in the school. I will
evaluate this goal by having the students write reflections on their time in my class, focusing on
whether or not they feel they are successful, and what I can do as a teacher to help them with
that. I also will watch assessments and trends in attendance to see if there is anything obvious
happening there that should clue me in to how well my teaching is keeping students engaged.
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With regard to my knowledge of content, I will further my pursuit of reading techniques, such as
clefs like Alto and Tenor, and transposing instruments. I will achieve this goal by learning a new
instruments, such as the viola or alto saxophone, to put myself into a position where learning
these skills is a necessity. I will evaluate this goal through the usage of private lessons from
someone qualified to give them. This will keep me practicing, as I will have someone elses
expectations to live up to and won't let my personal workload get in the way.
In regard to my knowledge of pedagogy, I am making it a point to attend at least two separate
workshops within a year of teaching that apply specifically to music education. I will achieve
this goal through maintaining a close connection to my current university professors as well as
peers and colleagues. Through them, I can gain word of workshops available, both near and far. I
will also regularly check websites for organizations such as ACDA and NAfME to find
conferences and workshops near me. I will evaluate this goal by making use of all of my
professional days available to me at my school. If there are any left over, I will know that my
goal was not achieved.
With regard to my knowledge of self as a teacher and member of a learning community, I am
going to be sure to do a collaborative activity with staff members outside of the music or fine
arts departments at least twice a year. This can be in the subjects of P.E., Science, History,
English or any other subject not related to the fine arts. I will achieve this goal by introducing
myself to the teachers of other subject areas and spearheading the idea of collaborative projects.
I will also offer to take a good portion of the workload, though not all, so as to make the project
seem less daunting. I will evaluate this goal by having administration approve and check over
all cross-curricular projects.
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Northern State University

Joseph Matthew Weseloh

Candidate Phone Number

Northern State University

Subject/Content Area of Unit

I understand that obtaining, or attempting to obtain, a passing grade on a TWS by falsification or

Contextual Information and Learning Environment

Instructional Design and Implementation- Unit (due by week 10)

Management and Motivation

Contextual Information and Learning Environment

a) Always conferring with my cooperating teacher before implementing any variations to my

Procedure: I will accomplish this goal by;

Individual Student Information Case Studies

Student Y is attending School Y as a 5th grade student. Student Y transferred to school Y

If I were to have Student Y in my classroom, I would, as the administration did, take it

High School Case Study

Student X is a junior currently attending a School X. Student X is a student in the music

Instructional Design and Implementation- Unit

Mrs. Jackie Stacey

Common Core/State Standard(s)

Learning Objective(s): Students will be able to(SWBAT)

Common Lesson Plan

Common Core/State Standard(s)

Learning Objective(s): Students will be able to(SWBAT)

Lesson Plan Implementation

Teaching Procedures (Step-by-step instructions)

Common Lesson Plan

Common Core/State Standard(s)

Learning Objective(s): Students will be able to(SWBAT)

Lesson Plan Implementation

Teaching Procedures (Step-by-step instructions)

Common Lesson Plan

Common Core/State Standard(s)

Learning Objective(s): Students will be able to(SWBAT)

Lesson Plan Implementation

Teaching Procedures (Step-by-step instructions)

Common UNIT Plan

Mrs. Brenda Ingalls

Common Core/State Standard(s)

Learning Objective(s): Students will be able to(SWBAT)

1) Have you ever heard of Celtic music? (Yes or No)

Common Lesson Plan

Common Core/State Standard(s)

Learning Objective(s): Students will be able to(SWBAT)

2) Identify the Bodhran by sight and sound.

Lesson Plan Implementation

Teaching Procedures (Step-by-step instructions)

5) Have students come up 3 at a time to play the Bodhran

Common Lesson Plan

Common Core/State Standard(s)

Learning Objective(s): Students will be able to(SWBAT)

Lesson Plan Implementation

Teaching Procedures (Step-by-step instructions)

6) Go over basic notes with students

Common Lesson Plan

Common Core/State Standard(s)

Learning Objective(s): Students will be able to(SWBAT)

Other required materials

Lesson Plan Implementation

Teaching Procedures (Step-by-step instructions)

Common Lesson Plan

Common Core/State Standard(s)