Planning Commentary

K-12 Performing Arts
Task 1: Planning Commentary
TASK 1: PLANNING COMMENTARY

Respond to the prompts below (no more than 9 single-spaced pages, including prompts) by typing your responses within the
brackets. Do not delete or alter the prompts. Pages exceeding the maximum will not be scored.
1. Central Focus
a. Describe the central focus and purpose of the content you will teach in the learning
segment.
[The central focus of this learning segment is to introduce students to the History of
American Jazz Music. Specifically we will cover the four main genres of Jazz. Which
include Dixieland Jazz, The Swing Era and Big Band, and Bebop. The purpose of this
learning segment is for students to draw connections between the different musicians,
instruments, and musical elements within each genre. Students will learn about Jazz in
relation to music history, they will listen to, identify and analyze musical elements used in
Jazz; they will perform a Jazz song, as well as draw their own musical connections.
b. Given the central focus, describe how the standards and learning objectives within your
learning segment address creating, performing, and/or responding to
music/dance/theater by applying
knowledge/skills (e.g., tools/instruments, technical proficiencies, processes,

elements, organizational principles)
contextual understandings (e.g., social, cultural, historical, global, personal reflection)

artistic expression (e.g., interpretation, creativity, exploration/improvisation, individual
choices)
[In learning segment number one, I will apply responding to music through contextual
understandings by applying National Anchor Standard #11, which is when students relate artistic
ideas and works with societal, cultural, and historical context to deepen understanding. As well
as, National Anchor Standard #7, which is having students perceive and analyze artistic work. In
learning segment number one I will apply National Anchor Standard #11 by presenting a Prezi
on Dixieland music. In this presentation we will talk about Louis Armstrong and read the picture
book Satchmos Blues. Once we finish reading, I will have the students illustrate an
understanding of Louis childhood by having them write a journal entry connecting the story to
their lives. To apply anchor standard #7 in my lesson, I will play the first listening activity. In the
listening activity students will distinguish the instruments they hear from a Dixieland listening
example of When the Saints Go Marching In. In learning segment number two, I will apply
National Anchor Standards #4 and #10, as well as #7 and #11 again. National Anchor Standard
#4 has students select, analyze, and interpret artistic work for presentation. For this standard,
students will describe contrasting versions of When the Saints Go Marching In they will
describe these examples because later in the class we will be performing a jazz rendition of the
same song. National Anchor Standard #10 is having students synthesize and relate knowledge
and personal experiences to make art. Following the analysis, I will apply National Anchor
Standard #10 by having students play When the Saints Go Marching In on ukulele,
tambourines, bass drums, and kazoos. For National Anchor Standard #11, I will present the
historical importance of Jelly Roll Morton. For National Anchor Standard #7, students will
classify different genres of jazz by listening and comparing musical characteristics and
instruments of different clips of jazz music, they will then have to determine which examples are
classified as Dixieland Jazz. In learning segment number three, I will apply National Anchor
Standards #11 and #7. I apply National Anchor Standard #11 by having students connect the
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historical events of 1930s to the importance of the production Porgy and Bess. To apply
National Anchor Standard #7, in my lesson students will compare and contrast two different
interpretations of Gershwins Fascinating Rhythm. In learning segment number four I apply
National Anchor Standards #11, #10, and #3. National Anchor Standard #3 is having students
refine and complete artistic work. To apply standard #11, I will present a Prezi on The Swing and
Big Band Era. To apply standard #10, students will be creating a musical listening map to Glenn
Millers In the Mood students will then trade maps and peer assess each others maps. To end
this lesson and apply standard #3, the class will go over final projects. Students will have the
options to either create a Jazz genre history timeline, a Jazz musical composition and review, or
students will profile a famous Jazz musician in a google slide show. On the last day of my
learning segment I will be applying National Anchor Standards #4, #5, #6, #7, and #11. National
Anchor Standard #6 which is when students convey meaning through the presentation of artistic
work. This will be done in my last learning segment through playing our ukuleles. National
Anchor Standard #5 has students develop and refine artistic work for presentation. Anchor #5 is
proven through our ukulele assessment done in class.]
c. Explain how your plans build on each other to help students to create, perform, and/or
respond to music/dance/theater and in making connections to knowledge/skills,
contextual understandings, and artistic expression.
[Throughout my segments I made sure each lesson built on one another. I did this by planning
each day with A Known, which will be done by having an entrance question at the beginning of
every new segment, then it transitions to the Unknown, where I present the new information,
and then I finish each segment with a New Known, where the class will apply the lesson that
was taught. In segment 1, I selected a pop song that the students will already know, Sam
Smiths Im Not the Only One, if they are unfamiliar, it will also be playing as the students enter
the class. Once class has started I will then play the Postmodern Jukebox version of that same
song, this band takes modern pop songs and changes the genre to fit different styles of music
throughout history. In the first learning segment, I choose a song that highlighted Dixieland
Jazz. Students will draw connections and distinguish what made this version different than the
radio version they heard as they were entering class. Once the class has responded to the
listening activity, I will explain that this version is in the style of Dixieland Jazz. This will lead into
a quick lecture on Dixieland Jazz. In this lecture I will discuss instruments, musical
characteristics, and Louis Armstrong. During each lecture students will have definitions, dates,
and historical people to take notes on. The class will then watch a short video on Louis
Armstrong and read the book Satchmos Blues, which is about Louis Armstrongs childhood.
Building on the story, the students will then have a journal entry connecting one of the themes of
the book to their everyday lives. This segment ends with students making connections by
responding to a Dixieland listening activity of When the Saints Go Marching In. Learning
Segment 2 begins an entrance question that has students distinguish different musical
characteristics from the Dixieland version of When the Saints Go Marching In to a version of
the same song by Louis Armstrong. Students will draw connections from the previous class by
responding and analyzing different a listening of the same song. Building off their knowledge of
Dixieland Music, students will then perform the song on ukulele, bass drums, tambourine, and
kazoos. Once the song comes together, students will have a playing assessment. After
performing the Dixieland song, I will give a short lecture on Jelly Roll Mortons importance in
Jazz history. To end Learning Segment 2, I will have the students draw from their new
knowledge of Dixieland by playing a game in which students will determine from 30 second clips
if a song is Dixieland Jazz. I consider learning segment 3 as a day I created to have a fluid
transition from Dixieland to Big Band and Swing Jazz. In learning segment 3, students will take
a review quiz on Dixieland Jazz. Once everyone is finished, I will give a short lecture on George
and Ira Gershwin. We will then draw connections from history and students will formulate their
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own opinion on Porgy and Besss historical importance. Students will then respond to a clip
from Fantasia 2000s Rhapsody in Blue by examining and distinguishing the cartoons
correlation with the music. To end this segment student will complete listening activity number
two. In this listening activity, students will compare and contrast two different listening examples
of Gershwins Fascinating Rhythm. Learning segment 4 begins with a listening entrance
question, which students will respond to a version of Postmodern Jukeboxs Bad Romance.
The goal of the question is to have them decide if it is Dixieland, or not. This will be done
through observation of the video and the instruments heard. The version heard is actually swing
jazz, because there is a tap dancer in the video. I will then give a short lecture on Swing and
Big Band Jazz. During the lecture, I will have the class tell me in their own words what they
think swing was used for. The answer is dance. Once we finish, we will work in our packets
and then students will do listening activity number 3. In this listening activity, students will
respond to Glenn Millers In the Mood by creating their own listening roadmaps. Students will
then trade and follow each others maps, by doing this I want the students to constructively
criticize each others maps. Through peer assessment, students will help each other create
listening maps. At the end of this day, we will discuss what three final projects students have to
choose from. Their options are between a Jazz composition, a Jazz timeline, or a Google Slide
profiling a jazz musician. These projects will be due a week from Learning Segment 4. To wrap
up learning segment four, we will review playing When the Saints Go Marching In. In Learning
Segment 5, we will begin class by having an entrance poll that will review Swing and Big Band
Jazz; followed by the playing assessment. After the playing assessment, students will learn
about Bebop jazz. We will then do a partner scatting activity where students create a musical
conversation in scat. After the musical conversations, I will explain that one of the best scatters
of all time was Ella Fitzgerald. Students will then do a Web Quest on Ella Fitzgerald. At the end
of the period, students will watch Postmodern Jukeboxs version of Bad Blood and we will
discuss why it is considered to be Bebop Jazz.]
2. Knowledge of Students to Inform Teaching
For each of the prompts below (2ab), describe what you know about your students with
respect to the central focus of the learning segment.
Consider the variety of learners in your class who may require different strategies/support
(e.g., students with IEPs or 504 plans, English language learners, struggling readers,
underperforming students or those with gaps in academic knowledge, and/or gifted
students).
a. Prior academic learning and prerequisite skills related to the central focusCite
evidence of what students know, what they can do, and what they are still learning
to do.
[Through previous observation, assessments, and assignments I am very well informed about
my students ability to learn. I have observed my class use this Nearpod quizzing application
before, so I am providing them with the comfort of using their own technology. Within the school
each student has their own personal laptop and tablet, when assessing their knowledge from
each learning segment. All of the students understand how to use the app appropriately, and
because everything is electronic I am able to monitor their internet use, therefore, keeping them
on task. Another observation made was the students ability to play ukulele. Due to previous
ukulele assessments around 95% of the class is proficient at playing chords. This assessment
looked at rhythm, notes/chords, articulation, tone, and steady beat and posture. The remaining
5% of the class have either never taken a music course at this middle school or have
transferred from another school. I am also aware that four of my students have an English
language learner plan and 6 of my students are struggling readers. I plan on giving these
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students individualized attention and helping them with spelling and grammar when needed.
Because the class size is average, I am able to walk around and individually help my students in
need. I have noticed that many of my advanced learners enjoy helping their peers, so I plan on
taking full advantage of that as well.
b. Personal, cultural, and community assets related to the central focusWhat do you
know about your students everyday experiences, cultural and language
backgrounds and practices, and interests?
[The demographics of this Junior High School are very diverse. Of the school 41.2% are White
students, 1.4% are Black, 47.9% are Hispanic, 5.6% are Asian, .3% are Native American, .1%
are Pacific Islander, and 2.5% are two or more races. In this specific general music classroom 7
are White, 17 are Hispanic, 1 is Black, and 1 is Asian. Of the students in the school, 52.3%
come from low-income families. Thus, the students I am teaching come from a wide variety of
backgrounds. That being said, the age group of students is all the same, 7th grade. Within my
class, there are two students with IEP and or 504 plans, five language learners, and six
struggling readers. Since this class is an elective, students have chosen to be in this general
music class. This shows me that the students in my class have an interest in music. Due to
some of the language barriers, parent involvement with the language learners limited. From my
observations I have found music class to not be a priority for most parents in my district. This is
because they either they do not understand the concepts taught in music class or because it is
not considered a core class parents do not react to lower grades as deliberately as if it were a
math class. While there are some parents who are not as involved in their childs life, some
parents really care and show involvement in their childs school work. This support will help
students complete their final project. If there are students struggling I am always available to
meet and answer any questions the children may have.]
3. Supporting Students Performing Arts Learning
Respond to prompts below (3ac). To support your justifications, refer to the instructional
materials and lesson plans you have included as part of Planning
Task 1. In addition, use principles from research and/or theory to support your
justifications.
a. Justify how your understanding of your students prior academic learning and personal,
cultural, and community assets (from prompts 2ab above) guided your choice or
adaptation of learning tasks and materials. Be explicit about the connections between
the learning tasks and students prior academic learning, their assets, and
research/theory.
[Based on the knowledge of my students, I have decided to give them a choice between
three different projects for their final unit assessment. In the past I have observed through
previous projects with my cooperating teaching that the students in my class have a difficult
time being motivated to learn when given one assessment option. I believe this is what is
best for the students to understand the material most effectively. By giving the students an
option, this will have them decide what is the most effective way they personally can show
me they have an overall understanding of Jazz from the 1920s to the 1940s. This idea is
supported by William Glassers Choice Theory. In Glassers Choice Theory, he believes that
all behavior is purposeful; motivated by our incessant desire to satisfy the basic needs
woven into our genes. The choices my students will decide for their final project are
between a timeline, google slide, and composition. One other way to I plan on having my
students motivated to learn is by positive reinforcement. I will do this by providing my
students with candy for correct answers during review sessions. Eventually by the end of the
week I will no longer provide candy in hopes that my students will give me an innate
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response to my review questions. This is supported by Ivan Pavlovs Classical Conditioning

Theory. In Pavlovs Classical Conditioning Theory, it is believed to be a learning process that
occurs when two stimuli are repeatedly paired; a response that is at first elicited by the
second stimulus is eventually elicited by the first stimulus alone. In my school a goal for the
year is to incorporate multimedia within our classroom to accommodate multifaceted
learners. This can be supported by Richard Mayers Cognitive Theory of Multimedia
Learning. In Mayers Cognitive Theory of Multimedia Learning, Mayer believes that people
learn more deeply from words and pictures, rather than words alone. Within my learning
segments I apply this theory by introducing each new Jazz genre within a Prezi
presentation. The material embedded within my Prezi presentation was created to grasp my
students attention.]
b. Describe and justify why your instructional strategies and planned supports are
appropriate for the whole class, individuals, and/or groups of students with specific
learning needs.
Consider the variety of learners in your class who may require different
strategies/support (e.g., students with IEPs or 504 plans, English language learners,
struggling readers, underperforming students or those with gaps in academic
knowledge, and/or gifted students).
[Repetition is never a problem in education. I planned each learning segment to review the
previous class, and draw connections across each genre of Jazz covered. This is especially
important when working with not only language learners, but all students. This idea can be
supported by B.F. Skinners Operant Conditioning Theory. In Skinners Theory, he found
that a conditioned response was the result of constant reinforcement. I hope to do this by
having the students put definitions and concepts in their own terms. As I have stated before,
I created my Prezi presentation very intently by embedding pictures, music, videos, and
definitions that correspond with each Jazz genre. I made sure when creating this Prezi
presentations along with my listening activities to have each type of learner accommodated
with different types of media. For language learners and struggling readers in my class, I
designed lessons to correspond with pictures. For example, during listening activity number
1 in learning segment 1 day 2, instruments are listed with pictures so that students can
identify the instruments heard during a playing of When the Saints Go Marchin In. This
idea can be supported by Howard Garners Multiple Intelligences Theory. In Garners
Multiple Intelligences Theory it states that there are at least seven different ways people
understand and perceive the world. Through my observations, my native English speakers
tend to linguistically explain their understandings of musical concepts, while I have
witnessed my language learners respond best when visually connecting musical concepts to
pictures or using creative explanation such as a creating their own listening maps. From my
observations, I have found that many of the students in my classroom come from poverty,
immigrant families, and or low parent involvement. I found this to be a struggle when
connecting and motivating my students to use their emotions in a positive matter. I will
continue motivating my students by applying Abraham Maslows Theory of Hierarchy of
Needs. In Maslows Theory of Hierarchy of Needs, he describes the steps of a pyramid that
motivate human behavior. Looking at the pyramid, from the bottom to the top the concepts
described are: psychological, safety, love and belonging, esteem, and self- actualization. I
will apply this theory by providing a safe, positive environment for all of my students. This
will be done through positive reinforcement, having good rapport with my students, and
creating an environment where students have the option of using music as gateway. Thus
not only will I be looking at the class as a whole, but emphasizing my leadership role with
each individual student in my classroom.]
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c. Describe common student errors, weaknesses, or misunderstandings within your

content focus and how you will address them.
[A common weakness my students possess is fluid chord transition when playing ukulele. As I
have previously discussed, I believe constant reinforcement and repetition, supported by
Skinners Operant Conditioning Theory, will help students isolate and apply fluidity when
transitioning ukulele chords. Another error I presume my students will make is writing fragments
and run on sentences. I believe this to be an issue due to the fact that many of my students are
language learners, and are placed in low level English classes. Therefore, when creating my
final project assessment rubrics, I made sure that each rubric emphasized importance on proper
grammar and spelling. One misunderstanding my students may have is the idea of taking notes
independently. I designed my learning segments to be a small lecture-discussion format. In
Learning Segment 1 I will focus on emphasizing new musical terms by bolding the lettering,
emphasizing the importance in my speech, and asking the same question in multiples ways.
This idea can be supported by Lev Vygotskys theory on the Zone of Proximal Development.
This Theory supports the idea of scaffolding, which is building on concepts and ideas while
continually reinforcing tasks. I intend to apply this theory in hopes that students will eventually
achieve independent learning.]
4. Supporting Performing Arts Development Through Language
As you respond to prompts 4ad, consider the range of students language assets and
needswhat do students already know, what are they struggling with, and/or what is new to
them?
a. Language Function. Using information about your students language assets and
needs, identify one language function essential for students to learn the performing arts
knowledge within your central focus. Listed below are some sample language functions.
You may choose one of these or another more appropriate for your learning segment.
Analyze
Compare/contrast
Create
Describe
Evaluate
Explain
Identify
Improvise
Perform
Respond
Summarize
[A key language function essential to my central focus is for students to be able to synthesize
their learning. This is an important factor in my learning segment because students must apply
the information I provide them with to each listening activity, playing assessment, and final
project. Not only will students use the information I provide, but students will also draw from
knowledge they have previously learned in their history courses. By synthesizing their
knowledge across each jazz period, students will receive a whole understanding of Jazz music
between the 1920s to the1940s.]
b. Identify a key learning task from your plans that provides students with opportunities to
practice using the language function. Identify the lesson in which the learning task
occurs. (Give lesson/day number.)
[In lesson plan 1/day 1, students will have to synthesize their knowledge from the Dixieland
lecture to the first listening activity. In this listening activity students will synthesize their
knowledge of what instruments are heard in Dixieland to identifying the instruments sound in a
listening activity of When the Saints Go Marching In. In lesson plan 2/ day 2, students will not
only synthesize their knowledge from the Dixieland day before, but also through another
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listening activity of When the Saints Go Marching In by Louis Armstrong. Thus, students will
synthesize their knowledge of the famous cornet player, as well as their knowledge of the song.
Once we have listened to the Louis Armstrong version, we will apply the listening activity to
playing it on ukulele and percussion instruments. In lesson plan 3/day 3, students will have to
synthesize their knowledge of the 1930s to Porgy and Bess historical importance. During this
discussion I will play the clip from the movie featuring the song Summertime. After, students
will draw from their previous knowledge of African American history, the 1930s, and what they
heard musically in the song that made this so quintessential in operatic history. By lesson play
4/ day 4, students should have an understanding of jazz instruments. After I give a quick lecture
on swing jazz and instruments heard in swing jazz, students will be able to synthesize their
knowledge by creating a listening map to Glenn Millers In the Mood. In these listening maps
students will outline the melodic line, the dynamics, and the instruments heard. On this day we
specifically go over final projects where students can choose to either create a Jazz
composition, Jazz timeline, or profile a Jazz musician. Thus applying everything we have
discussed about Jazz thus far. On our last lesson 5/ day 5, students will learn about Bebop
Jazz. In this lecture we discuss scatting. We will watch and listen to a couple of examples of
scatting by Ella Fitzgerald. Students will then synthesize their knowledge of scatting to hold a
musical conversation with a partner only by scatting. Students will then complete a Web Quest
on Ella Fitzgerald and in this Web Quest students will examine her role in Bebop Jazz and her
importance in Jazz history.]
c. Additional Language Demands. Given the language function and learning task
identified above, describe the following associated language demands (written or oral)
students need to understand and/or use:
Vocabulary and/or symbols

Plus at least one of the following:
Syntax
Discourse
[An additional language demand used throughout my learning is vocabulary. Using vocabulary
that we define and discuss throughout the segments, within and outside of their packets will
help the class get and overall better understanding of Jazz in the 1920s to 1940s. In our
classroom discussions I will use both syntax and discourse as additional language demands
present within my learning segments. Specifically syntax will be used in their final projects. For
example, within the composition project, students will use vocabulary in their write ups to help
support their musical choices. In their timelines and google slides projects, students will use the
vocabulary words to help support their historical finds. By the time we get to our final projects
students should have no trouble using the vocabulary words in context to their write ups. I
believe some of the students that are language learners and low level readers will struggle
understanding how to use the vocabulary in context, so by having them define in their packets
and by me giving them many musical examples that support the syntax, I hope will help these
students get a better understanding of the vocabulary. ]
d. Language Supports. Refer to your lesson plans and instructional materials as needed
in your response to the prompt below.
Identify and describe the instructional supports (during and/or prior to the learning
task) to help students understand, develop, and use the identified language
demands (vocabulary/symbols, function, syntax, discourse).

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[I have created many language supports within my learning segments to help my students
understand the key language function, to synthesize, as well as the additional language
demands: syntax and vocabulary. To help students synthesize their learning, I will begin each
new learning segment with a familiar song in the jazz genre we discuss from the segment
before. With that, we will use the Nearpod quiz application to draw from the students new
vocabulary and discourse from the class before to come to an overall classroom consensus.
The students in the class will already know how to play ukulele, but I believe understanding the
concept of playing the off-beat, seen in learning segment 2 day 3 while playing the song When
the Saints Go Marchin In, will be a challenge for most of my class. Within that learning
segment, we will do a listening activity to Louis Armstrongs When the Saints Go Marchin In,
and by having the tune in their head, they already subconsciously feel the off-beat in the music.
I believe that by isolating and explaining this concept, students will easily be able to explain and
apply this technique to their ukulele playing skills. By explaining my thinking, I am modeling for
students how to synthesize their knowledge of ukulele to a specific Dixieland Jazz song. After
modeling for students this step by step process, I will have the students isolate and discuss their
own understanding of what I have modeled and explained to them. While they do this by patting
the down beat and clapping the off-beat, I will walk around and informally assess their
application of this concept. This step by step process is one I will later use when actually
applying to their ukulele playing skills. To help students use syntax appropriately I will introduce
each new concept with not only an explanation of the vocabularys definition, but provide
musical as well as visual understandings to accommodate the different types of learners within
my classroom. After each learning segment, I will review vocabulary and musical
characteristics that describe each genre of Jazz. I will begin each learning segment by giving
my students a textbook understanding of vocabulary, but later we will review the vocabulary, and
I will have students put the definitions into their own words. This language support will not only
show me that they have a better understanding of the concepts discussed, but will have the
students who may not have grasped the concept hear it in a different way. When creating my
learning segments, I made sure that each new music term introduced is later applied. For
example, in learning segment 4 day 5, students will apply their vocabulary learned earlier about
Swing Jazz to a listening map. By discussing the musical characteristics first, students will then
have a foundation to actively listen for those musical characteristics when creating their listening
maps.]
5. Monitoring Student Learning
In response to the prompts below, refer to the assessments you will submit as part of the
materials for Planning Task 1.
a. Describe how your planned formal and informal assessments will provide direct
evidence of students creating, performing, and/or responding to music/dance/theater by
applying knowledge/skills, contextual understandings, and artistic expression
throughout the learning segment.
[In my lesson plans I provided both formal and informal assessments that would give me a
complete understanding of my students as they respond, create, and perform music. For
instance in lesson plan 2/day 2 I plan on giving an informal assessment by playing the listening
game Is that Dixieland. In this game, students will determine if a song is Dixieland by just
listening to the song, students will not be provided with either the title or performer of the pieces.
By doing this, students will have to listen for the musical characteristics and instruments
specifically heard in Dixieland. At the end of this activity, I will poll the class to get a better
understanding if they are able to identify Dixieland Jazz. By having the class poll, I will know if a
majority of the class understands Dixieland and is ready to move on to the next genre of Jazz.
Comprehension will be clearer once I collect their packets at the end of the unit. An example of
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formal assessment I will use throughout the five learning segments is in the Nearpod quiz
application. Through this online app, I am assessing the students retention of information from
the class before with an entrance quiz. Another assessment tool I will use to understand my
students comprehension of the Jazz learning segment is through our final projects. I will give
my students options between 3 different final projects: a timeline, google slide, or a composition
project. When creating these rubrics for each of the projects, I made sure that the highest grade
per category, level 5 Above Standard, students can receive will be given if an individual
student goes above and beyond the requirement of the class. I have an expectation for the
majority of my students to receive at least a level 4 of Meets Standard on every graded
category because in class we will discuss all of the different Jazz genres in depth during the
course of the 5 learning segments. For example, each rubric covers musical characteristics of
the jazz genres listed within their projects. I believe this musical aspect is essential when
differentiating multiple genres of Jazz. Therefore by the end of the learning segments students
will be able to hear and explain different characteristics in the different genres of Jazz from the
1920s to 1940s. This will be shown in their final projects through their individual write ups.
Within these write ups students will list, describe, provide, and or create different musical
examples to help support their knowledge of different Jazz genres in the 1920s to 1940s.
b. Explain how the design or adaptation of your planned assessments allows students with
specific needs to demonstrate their learning.
Consider the variety of learners in your class who may require different
strategies/support (e.g., students with IEPs or 504 plans, English language learners,
struggling readers, underperforming students or those with gaps in academic
knowledge, and/or gifted students).
[The design of my assessments helps students with different interests and needs succeed in the
music classroom. Specifically within each rubric I have created, it guides students to be
successful when creating final projects and playing music. When I am doing playing
assessments, I do this by giving the students the option to pick their final projects. With the
instrumental playing assessment I created two different rubrics. With my language learners who
are struggling reading the chord charts and lyrics, I have created a separate assessment rubric
focusing on playing percussion instruments while accompanying singing. The other rubric is for
my intermediate to advanced learners where we focus on playing ukulele and accompanying
singing. Both rubrics have a focus on playing the off-beat when strumming or striking the
instrument. The design of my final project assessment rubric guides students to create what I
believe is to be a successful overall understanding of Jazz from the 1920s to 1940s. I believe
by giving the students an option, it will help not only my advanced learners showcase their
comprehension but also have my language learners and struggling readers have an option to be
successful as well. For example, I made it so that the students who will create a timeline have
to research as much information as they could about the different Jazz genres of the 1920s to
1940s. While students who struggle at reading and writing have the option to create their own
Jazz composition that showcases their understanding of a specific Jazz genre. After creating
the compositions, students will then have to write a short write up about what musical
characteristics and instruments were in their composition. All of these answers will be
embedded within their Jazz packets at the end of the learning segments. I also gave the option
to the students who felt they were technologically better at showcasing their understanding of
these Jazz concepts. I did this by creating the option of a google slideshow where students
shed light on a specific Jazz musician or composer in the 1920s to 1940s. I made this option
accessible to not only my advanced learners by my low level learners as well. ]

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Planning Commentary

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K-12 Performing Arts

Task 1: Planning Commentary

TASK 1: PLANNING COMMENTARY

knowledge/skills (e.g., tools/instruments, technical proficiencies, processes,

contextual understandings (e.g., social, cultural, historical, global, personal reflection)

K-12 Performing Arts

K-12 Performing Arts

K-12 Performing Arts

K-12 Performing Arts

response to my review questions. This is supported by Ivan Pavlovs Classical Conditioning

K-12 Performing Arts

c. Describe common student errors, weaknesses, or misunderstandings within your

K-12 Performing Arts

Vocabulary and/or symbols

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

K-12 Performing Arts

K-12 Performing Arts

Copyright 2015 Board of Trustees of the Leland Stanford Junior University.

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