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CONTEMPORARY TEACHER LEADERSHIP - UNIT EVALUATION

102098

Evaluation and Reconstruction of Year 8


Popular Music Unit
Assignment: Professional Task 1

Prepared for: Doonside Technology High School

Prepared by: Christian Marson of Western Sydney University

Student ID: 17512435

Date: 31/08/17

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TABLE OF CONTENTS

Contemporary Teacher Leadership - Unit Evaluation 102098 . 1

Abstract .......................................................................................................................... 3

Introduction and Background Information ...................................................................... 3

Part A: Original Unit of Work ................................................................................ 5

Comparative Table of Suggested Program Alterations ......................................... 7

Part C: Reconstructed Program ................................................................................ 10

Concept Map ..................................................................................................................... 17

Part D: Unit Evaluation Report ................................................................................. 18

References ................................................................................................................... 24

ABSTRACT

The following report will evaluate an existing six-week unit of work from Doonside

Technology High school (DTHS), establishing new recommendations for

improvements within areas that lack in-depth spectrum towards the topic focus of

popular music. The reconstructed unit be supported by current literature that adheres

towards various modifications made through justifications, identifying why and how

these new improvements will establish higher academic results. In addition, to the

new scope and sequence, a concept map will be developed to graphically present

the threshold concepts, tasks and literature within the six-weeks. Lastly, an

evaluation report for all justifications will present findings supported by current, and

relevant literature.

INTRODUCTION AND BACKGROUND INFORMATION

The reconstruction of the following unit, demonstrates an incorporation of extended

steps highlighting crucial elements with clearer, concise understanding. This unit

presented was taught at (DTHS) during terms 3-4. DTHS, a government school, is

located in Sydneys Western Suburbs and has a diverse array of students from both

English and non- English backgrounds. According to the My School (2017) website,

currently 44% of language backgrounds are other than English, and 14% are from

Indigenous backgrounds. DTHS has a current total enrolment of 689 students with

an enrolment of 322 Girls and 367 Boys under the 2016 report from (My School,

2017).

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The topic of popular music was taught to (stage 4) year 8 through my professional

practice for a duration of six-weeks. The unit uncovered many challenges, from little

guidance, to no resources affecting lesson flow as no structure to the unit was

provided. In addition, classes during these initial stages recognised a shift in lesson

content, due to a lack of student identification that was later established over 3-4

lessons. Pre-planned lessons needed immediate changes due to students

misunderstanding of concepts and content, following disinterest for particular music

examples due to a lack of diverse musical repertoire being studied.

For this particular reason, reconstructing the year 8 unit is imperative. Developing a

clearer sequence that meets the requirements of all students, and further helps

guide teachers with relevant lesson material and resource. Specifically,

demonstrating sociocultural perspectives and pedagogical theories highly regarded

to sustain new skills and knowledge essential for this particular school environment.

Furthermore, literacy and numeracy skills mentioned under the My School website

identify, DTHS only measuring at 17% achievement, compared to similar schools.

Lastly, from the current outlook of the old unit, this did not demonstrate any literacy

or numeracy ties towards pedagogy. Therefore, additional modifications will be

implemented within the new unit of work, providing new aspects with appropriate

modification for student academic improvement through the topic of popular music.

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PART A: ORIGINAL UNIT OF WORK

Doonside Technology High school/ Year 8 Music

Focus topic- Popular Music Syllabus Outcomes


-Content- based approach The following unit will contribute towards student achievement of Stage 4 Outcomes.
Students will develop an understanding of Popular music Students will achieve the following:
through identifying concepts of music and performance
based work, identifying examples through aural activities. Performance
4.1- performs in a range of styles demonstrating an understanding of Music concepts
Context 4.2-Performs Music using different forms of notation and different types of technology across a broad range of musical styles
Elvis 4.3-Performs music demonstrating solo and/or ensemble awareness
Progressive Rock
Commercial Pop Listening
Protest 4.7-Demonstrates an understanding of musical concepts through listening, observing, responding, discriminating, analysing,
Electronic music discussing and recording musical ideas.

4.8- Demonstrates an understanding of musical concepts through aural identification and the discussion of the features of a range
of repertoire.

Learning experiences Learning experiences Assessment


Performance Listening
Students learn to perform a chosen Students Listen to the chosen repertoire of In class performance task needing to be complete by the end
repertoire, indicative of the following popular songs following the styles of
styles examined through the unit of work commercial pop, rock, soul, surf rock etc. of week 6.
Aurally identifying concepts used in those
styles of music
DTHS:2016
Performance Assessment Task
Year 8, Popular Music

Students will choose a studied repertoire through the unit of work and perform in groups to
the class demonstrating studied concepts are understood.

Student Name: Date:

Students show a good balance of dynamics and expressive


techniques, chosen repertoire played well and in tune, groups work
Accomplished well together showing good musicianship and professionalism
towards performance.

Good balance of tone, students perform a complete song with


minimal mistakes, the group works efficiently together and keeps in
Satisfactory tune, with dynamics relatively well adjusted to the room.

Still developing performance work, music sometimes not always in


time, dynamics not clear, the sound is not clear from instruments,
Developing students work well together and in developing stages for performing.

Total __/20
Comments:

_____________________________________________________________________
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COMPARATIVE TABLE OF SUGGESTED PROGRAM ALTERATIONS
Areas of weakness within unit Suggested Unit Modifications Research Supporting Justifications

There is no explicit identification of threshold The scope and sequence are redesigned and The aim of the year 7-10 syllabus is provides
concepts nor any sign that there is any clear clearly incorporate with the 6 key threshold necessary skills for active engagement and
focus for threshold development throughout concepts of Music, this unit of study utilises enjoyment through performing, composing and
the unit of work. the BOSTES 2003 Music 710 syllabus and listening (BOSTES Music syllabus, 2003).
other documentation as noted in the new unit.

Music context examples do not account for The unit of work will provide a diverse range of Protocols associated with diversification
the schools diverse environment of repertoire as examples for study through the through assessment becomes an integral role
students, lacking connection with socio- topic of popular music, therefore can reflect for conduct of ethical approach, promoting
cultural demographic. across the cultural distinctions that are within cultural belonging, aligning threshold concepts
the DTHS school community. with learning outcomes and content, relevance
and cultural competence (Perso, 2012).

Minimal to no theoretical lessons are Incorporating music theory lessons and aural Music theory throughout all curriculum
understood for students to gain knowledge identification will build on students conceptual increases students repertoire awareness of
about threshold concepts that are also not knowledge. Students learn the concepts of both melody and lyrics as well developing their
implemented. Further, no literacy and music prior to the final assessment providing understanding of concepts such as pitch,
numeracy foundations are accounted for, higher-order thinking to be accomplished. rhythm, and tempo producing a deeper
not meeting the professional standards Additionally, applying literacy and numeracy understating (Bridges, 2012). Further,
required for students. through lesson content and connecting with interlining with standards 2.5 for demonstrating
concepts allows more in-depth personification knowledge and understating of concepts while
to be understood through critical reflection. implementing numeracy and literacy skills for
student development (AITSL,2017).
Project based lessons (PBL) are not The project based lessons are administered PBL provides an opportunity to build qualities of
structured. Teacher administering content when structure and scaffolding of content is critical thinking, communication, management
can therefore confuse the process of recognised. Project based tasks are tested and efficiency for students to deeply learn and
instruction as students knowledge of towards the end of the unit, where the understand the content and how it applies
concept and performance are additional scaffolded approach builds on (Larmer, Mergendoller, & Boss 2015).
underprepared. Students can misinterpret concept skills and performance development Differentiating PBL instruction is beneficial
performance key philosophies and knowledge, critical for higher-order thinking towards, providing student attainment for
appropriate program cross-curriculum using explicit teaching strategies to develop learning new pedagogies through SRL and PBL
priorities or general capabilities, that are not student (SRL). environments that link towards dynamic,
included within the scope sequence. reciprocal relationships within activities (Bender
2012).

Performance assessment task focuses on The performance assessment task is Summative assessment allows teachers to
minimal genres not accounting diverse restructured and focused on a wider variety of evaluate student learning demonstrated within
socio-cultural backgrounds of DTHS musical context. Further, providing an observation and performance through a high
students, limiting repertoire choice. Further, assessment outline will allow students to recap point value (Didicher & Fraser, 2016). Providing
the final assessment task provides no knowledge and analyse the outcomes through a diverse range of choice material allows
outline of explanation identified, except for explicit detail, this allows students to pre- student choice through group performance to
verbal identification hindering on students prepare and fulfil the outcomes of the accommodate towards project-based
differentiated abilities, understood through assessment being assessed, addressing identifications, providing evidence of
standard 2.4 know your students and how Hemietic styles of students learning. achievement to the wider community through
they learn. assessment and learning. (NESA, 2017)

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UbD is not identified through the unit of UbD framework is incorporated. Integrating Understanding by Design (UbD) frameworks
work, offering little to no framework towards backward mapping will further focus on the offers a structured guide for curriculum,
successful teachings towards the outcomes music syllabus and threshold concepts, assessment, and instruction (Mctighe &
assessed of students. This hinders on the allowing the teacher to meet an end target for Wiggins, 2012). Therefore, allowing teachers to
teacher's output of the lesson content and what students are to learn and understand by enhance purposeful thinking toward planning,
focus point towards the student experience. the end of the unit of work. This therefore, creating in depth development and deepening
presents a structured sequence for content of student learning through backward mapping
instruction to be administered effectively through three stages. Stage 1 content and
towards students knowledge and teacher understating is assessed, stage 2 and stage 3,
student success. establishing goals for all students to achieve
(Mctighe & Wiggins, 2012). Lastly, organising
content selection for effective learning and
teaching sequence aligns with professional
standard 2.2. organising content for effective
teaching sequence (AITSL, 2017).

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PART C: RECONSTRUCTED PROGRAM

S TAGE 4 U NIT OF WORK :

Title: Popular Music


Year: 8
Duration: 6 weeks_3 lessons per week
Per Lesson: 60 minutes

Focus Outcomes: 4.1, 4.7, 4.8


Life Skills Outcomes: LS.4, LS.7

Unit Description

This unit of work demonstrates a focused overview of popular music combined with
ICT features. Developing new understanding around pop music combined within a
broad context of vast genres, exploring learning experiences in performance,
composing and listening. Exploring the six concepts of music through this unit of
work with become a pivotal focus on thresholds concepts and performance. This unit
will also explore cultural pop music with examples to Aboriginal popular music as
outlined. Beginning with rock n roll based music leading into various other popular
music genres outlined will contribute to aural based lessons and discussion tasks for
higher order thinking to be achieved.

The following unit provides diverse music exploring popular music over a six-week
unit. Beginning with multiple examples of western culture pop music, focusing on 4
different examples of repertoire. This explores Rock N Roll examples from Elvis
Presley, then exploring Let it be' by the Beatles which guides students through to
Hard rock/ punk pop rock music listening and performing examples from ACDC, led
zeppelin and Green day discussing stylistic features between examples. Students
then research and examine Aboriginal cultural music by Youthi Yindi, allowing
students to identify pop features combined with cultural music. Lastly students
analyse and discuss the song Royals' from Lorde introducing the features of ICT
software Garage Band and how the revolution of technology has changed pop
culture music, students will compose and perform original material blended with
traditional forms of instrumentation chosen.
Doonside Technology High School UNIT OUTLINE Music
Year 8 Number of Weeks
Topic: 6 weeks
Popular Music
Key Concepts The importance of this learning
Pitch: Major Chords, minor chords, octave, register, range Students will develop an understanding of Popular music by researching music using ICT technologies, identifying the
Duration: Steady Pulse, divisions od beats in simple time,
concepts of music through diverse examples, performing and using ICT recording software GarageBand to compose and
standard time signatures
perform original material in groups.
Structure: Simple structures as encountered in listening and
performance activities
Tone Colour: Instruments encountered in Aural activities
Dynamics and expressive techniques: Tempi and
dynamics as heard in Aural activities
Structure: Popular Music identification

Unit context within Scope and Sequence Targeted Syllabus Outcomes


This is the second topic of the year 8 course and continues This unit contributes to students achievements of stage 4 Outcomes. Through this unit students will achieve the following.
the scope and sequence for to achieve stage six outcomes
PERFORMING
CONTEXT
Rock n Roll 4.1 Performs in a range of styles demonstrating an understanding of Music concepts.4.2 Performs Music using different
Commercial POP forms of notation and different types of technology across a broad range of musical styles. 4.3 Performs music
demonstrating solo and/or ensemble awareness.
Rock
Cultural music LISTENING
Electronic music
Life Skills Outcomes 4.7 Demonstrates an understanding of musical concepts through listening, observing, responding, discriminating,
analysing, discussing and recording musical ideas.
LS.4: Experiments in making musical sounds
4.8 Demonstrates an understanding of musical concepts through aural identification and the discussion of the features of a
LS.7: Experiences music from a variety of social, cultural and
range of repertoire.
historical contexts

Assignment General Capabilities


Group Performance Task- compose and perform pop style
Literacy Able to read and spell music notation
music using concepts studied through examples and
research. 2-minute duration using both electronic and live Numeracy Able to add music note values
instrumentation.
ICT Using search engines and GarageBand software tools
Cross Curriculum Themes
Critical thinking Able to problem solve, then justify and implement a best practice solution
Aboriginal and Torres Strait Islander pop music examples
Intercultural Understanding The importance of cultural music influence
Integrated Learning Experiences P C L Learning Experiences Evidence of Resources
Week 1 Learning
Teacher introduces the topic of Popular Music; four Students are able to explore a Class Discussion White Board
different examples are played. Students discuss as a diverse range of Popular music, Exploring Metre with different
class similarities and differences between each identifying features of common time Class practical coloured
while exploring ICT technologies. identification markers
example played
ICT research Wi-Fi access
Students listen to Elvis Presley 60s Rock N Roll, and
Stereo system
research features and history using computers
provided by teacher
Students are demonstrated 4/4 metre timing, then
experiment different tempos and features of metre as
a class clapping, tapping and stomping beats through
the Beatles, Cultural music example, and commercial
POP example.

Integrated Learning Experiences P C L Learning Experiences Evidence of Resources
Week 2 Learning
Explanation and theory lessons are introduced about Students improvise and accompany Improvisation White Board
phrasing and improvisation, students accompany music, researching POP artists Exploring with different
ACDC song using chosen instrument to improvise through ICT and demonstrate Ostinato and Riff coloured
ostinato riff using different forms of Class practical markers
Students are to research using ICT technologies their
tone colour identification of Instruments
favourite POP artist, writing three features that display
Pop genres Wi-Fi access
the genre, tempo, structure and tone colour ICT research Stereo system
understood
The teacher demonstrates what ostinato pattern and

riffs, using cultural music examples, students in
groups of three are then to demonstrate an ostinato
pattern using a riff or singular sounds that highlight
distinct features.

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Integrated Learning Experiences P C L Learning Experiences Evidence of Resources
Week 3 Learning
Students are introduced to GarageBand, teacher Students learn to operate basic Class Discussion White Board
demonstrates the functions of Loops, students then features of Garage Band and identify Garage Band with different
create a 12-bar pop track using loops in groups of 3-4, cultural blends of pop features within Class practical coloured
Aboriginal Music, further exploring identification markers
computers provided
loops creating a composition in ICT development Wi-Fi access
Students research the impact of technology on POP groups. Literacy and numeracy Cultural music Computers
music and fill out worksheet provided, Yothu Yindi explored through counting bars and understanding Garage Band
Aboriginal pop music will be identified and how they worksheet presented Automation software
blend the two features of technology and cultural Composing Stereo system
sounds.

Teacher provides demonstration of automation using
garage band, students in groups of 3-4 compose a 30-
second track using loops and automation features

Integrated Learning Experiences P C L Learning Experiences Evidence of Resources
Week 4 Learning
Teacher hands students group performance Students identify assessment task, Exploring Pitch White Board
assessment criteria. As a class students discuss the creating groups, threshold concept of Class practical with different
task, students are to have their groups chosen by the Pitch is explored with hands on identification coloured
exploration of singing octave. through singing markers
end of the lesson
PBL is explored through Performance Wi-Fi access
Theory on Pitch is identified, students will add music performance creativity, Literacy Stereo system
task composition
intervals associated, with basic notation coupled, explored through assessment criteria development
discovering octave and semi-tone features identified
with Royals by Lord discussing as a class and singing
octave features
Students begin working on performance within their
chosen groups, teacher sets the PBL lesson for
students to take control of their learning.

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Integrated Learning Experiences P C L Learning Experiences Evidence of Resources
Week 5 Learning
Theory on basic notation is further incorporated, students Numeracy and Literacy explored Class Discussion White Board
play a game in their chosen performance groups, naming, through notation adding and spelling, Exploring with different
writing, adding and learning these features. students exploring features of Notation coloured
dynamics through aural identification Dynamics and markers
Students explore the features of dynamics and
and practical elements, ICT explored expressive Wi-Fi access
expressive techniques, playing examples from Adele through Garage Band techniques Stereo system
Hello from the other side, students then explore these Class practical Computers
features through chosen instruments playing basic chords identification Garage Band
provided by teachers ICT software
Garage Band features are explored, teacher shows how

loops can be incorporated into performance assessment
task

Integrated Learning Experiences P C L Learning Experiences Evidence of Resources
Week 6 Learning
Teacher gives a demonstration of texture, showing the Texture is explored with reference to Class Discussion White Board
impact of dynamics when multiple players are involved dynamics and performance, Performance with different
through good examples and bad examples, students students assessment performance Texture identified coloured
is examined and marked, feedback Assessment task markers
then continue working on their performances
and discussion of performance Feedback Wi-Fi access
Students prepare and perform in their groups the final highlights are identified Computers
composition to the class, students not performing will charged
also comment on performance features heard. Stereo system
Last performances are completed, students are Instruments
provided their feedback and discuss in performance Mics, PA, and
additional
groups what they liked or could have changed to
improve the composition. instruments

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A SSESSMENT : G ROUP P ERFORMANCE T ASK

Context Outline
Students are engaged in a unit of work involving performance and composition
grouped tasks structured around the topic of Popular Music. Within groups of 3-4,
students compose a two-minute pop song experimenting with the ICT software
GarageBand and live instrumentation. After group performances, students will then
have a chance to individually mark each group writing comments based on the
performance.

Outcomes Assessed
A student:
4.2- Performs in a range of musical styles demonstrating and understating of
musical concepts
4.3- Performs music demonstrating solo and /or ensemble awareness
4.4- Demonstrates an understanding of musical concepts through exploring,
experimenting, improvising, arranging and composing
4.6- Experiments with different forms of technology in the composition process

Description of Activity
Students select groups of 3-4 to work with. The performance task allows students to
adapt their knowledge of ICT recording software Garage Band into performance,
students create a mix of both live instrumentation and electronic sound sources to
develop the sound. The composition must be appropriate and contain forms of pop
identity using 4/4 metre and voicings.

Criteria for Assessing


Students will need to compose a pop song with a group of 3-4 students
Compositions must include ICT technologies through GarageBand and live
instruments
Creates an interesting unique composition with concepts explored using
dynamics and expressive techniques
Groups must show cohesion through performance groups with good eye
contact towards audience
Guidelines for marking Date: ___/___/___
The following guidelines indicate where marks for each group are gained, this will be
categorized into range followed by an overall mark of for report, comments and
feedback will be noted for student achievements and where improvements can be
made for future performances.

Range

Proficient Group has composed a two-minute pop song that explores


a good collaboration among band members and musical
16-20
sections produced. Dynamics and expressive techniques
are well explored through performance creating a
balanced audio output for clear aural attainment for the
audience.

Satisfactory Group has demonstrated a good use of dynamics and


expressive techniques that are recognized through a 2-
10-15
minute composition, group members show initiative and
direction through performance leadership.

Developing Group performs composition that utilizes some instances


of dynamics and expressive techniques with developing
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sound arrangements and performance direction, minimal
detail explored through composition.

Student Name________________________________ Total: ___/20

Feedback___________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________

Comments__________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________

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CONCEPT MAP
PART D: UNIT EVALUATION REPORT
Assessing the previously taught music program reveals various pros and cons to

which need reconstruction towards developing a clearer, more concise unit. Identifying

the completed program offered no comprehensive teaching to be established,

therefore, academic improvement needed to be recognised through strong analysis

and direct content focus. Furthermore, providing a complete re-designed scope and

sequence with outcomes for assessment and assessment task and additional

resource, allow teacher/ student communication to develop and achieve higher

academic success across the curriculum.

Cultural diversity is understood within the context of the DTHSs demographic,

as a result, an expanded range of abilities needs to be identified from this stand point.

For example, DTHS students abilities vary among the context of classes, ranging from

8A to 8F identified within mandatory subject areas. Moreover, this knowledge pertains

to meeting various student needs towards providing guidance, and structured

outcomes that detail lesson direction and focus to which all students can achieve. In

support of this knowledge, implementing life the skills outcomes LS.4 and LS.7, help

identify and adapt lesson material towards incorporating appropriate metalanguage

and content (Hammel &Hourigan, 2017). Therefore, the modification allows teachers

to adjust and revise tasks to match or better help special needs students to ascertain

understating of threshold concepts.

Communication is heavily impacted through the key learning area (KLA) of

music, in fact, it can be understood, half of all mandatory music classes are being

taught by a non-music trained teacher. In addition, this position identifies that two
qualified music teachers and three non-music trained teachers develop lesson

material for all mandatory classes. Therefore, positioning a barrier between teacher

communication and threshold concept development of lessons previously taught. In

line with this point, the school is not heavily induced through ICT development,

though resources are attainable for providing dimensions that will enrich the

curriculum development, it is necessary to provide these completed outlines

throughout the unit as displayed above, as this will allow for teacher collaboration,

which will further encourage team work building skills towards lesson planning to be

conjoint. Additionally, improving the overall outcomes being assessed. In fact, this is

highly recommended through CESE, (2014) where effectively breaking down lesson

material can ensure teacher collaboration is shared achieving the best practice

across classrooms curriculum to improve student outcomes and steer away from the

silo effect (CESE, 2014).

While the previous program was successfully taught through the professional

practice, there still remained limitations to which required redesigning for perspective

and structural direction. For instance, the unit must offer a UbD framework approach

of backward mapping, this is imperative towards ensuring the design for curriculum

planning, includes templates, tools, and relevant resources to embody the process

for what is taught (Mctighe & Wiggins, 2012). Furthermore, this allows teachers to

set a clear direction for what students know, how they will understand the content,

and what students should be able to understand and take-away by the end of the

six-week unit. In fact, redesigning the unit around the three-stage backward map

design, offers a more in-depth flow of lesson material, as such, students will achieve

greater concept development and teachers will benefit from flow of content. For

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instance, the first stages of UbD allow teachers to consider goals, content standards

and curriculum expectations that can transfer meaningful lesson material, connecting

performance aspects with content for better knowledge (Mctighe & Wiggins, 2012).

Secondly, stage two distinguishes the assessment as evidence across six facets to

explain, interpret, apply and empathize perspective and self-knowledge. While stage

three through this unit will allow teachers to plan the appropriate lessons and

activities to address the final objective (CESE, 2014). Therefore, comprehending

materials, and developing a common goal with the program develops teacher

communication, direction and success to be established. Ideally, developing a

thought out and complete scope and sequence with UbD, allows teachers and

students to further develop significance across curriculum material, for example,

rearranging material for differentiated abilities to optimise in-depth learning for all

students with differentiated abilities (OECD, 2013).

For this purpose, applying UbD framework for assessment, further allows

crucial elements towards development of increasing student perception to be

established, prior to students partaking in assessment tasks. For instance,

reconstructing the context of repertoire is important for the schools demographic and

cultural distinction, towards providing a diverse range of repertoire. This ethical

approach for diversification, aligns with promoting cultural belonging for well-being,

where evidence suggests from CESE, (2014) higher levels of well-being are linked

with greater academic achievement. Through this circumstance, adapting repertoire

towards the schools cultural diversity ensures connectedness, further promoting

social and emotional learning to be achieved. The re-designed assessment unit

context combined with Indigenous cultural pop music, align to cross-curriculum

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priorities (CCP), providing the opportunity for students to engage with their cultural

music which can further, allow greater engagement with lesson material, gaining

deeper understanding and appreciation of the content identified through cultural pop

music of Aboriginal Torres Strait Islander repertoire (ACARA 2016).

Additionally, incorporation of literacy and numeracy within lessons further

caters towards students overall outcomes, that were non-existent in the previous

unit. In fact, this is essential for improving DTHS average school equivalent under

the My School website, which identified DTHS measured through the 2016 NAPLAN

results as ranking below and substantially below the schools average according to

(My School, 2017). From the data obtained, it is imperative a whole-school approach

in order to maximise the overall improvement from DTHS students to include and

apply these focus areas throughout theory lessons, allowing students to focus on not

only improving their spelling sounding notation but adding note values which identify

numeracy further raise better understating connecting outcomes of 2.5 (AITSL,

2017). Furthermore, research has identified, music education can improve cognitive

abilities through mathematics and languages, this is further identified to improve

students creativity and language development to enhance skills such as focus,

speech, and classroom management (Bolduc & Evrard, 2017). In addition, explicit

teaching approaches towards these theory lessons significantly improve the outcome

for literacy and numeracy practice, thus improving students outcomes towards

NAPLAN standardised testing and all other subject areas (OECD, 2013)

Moreover, the redesigned unit implementing PBL instructions will cater more

effectively towards the performance assessment task identified. Student self-

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motivated learning (SRL), teamwork building, and critical evaluation of literature is

identified through PBL lessons. As mentioned from through Cakici and Turkmen

(2015), PBL improves students active roles, exploring new knowledge and skills,

therefore, allowing students to pre-prepare for additional learning tasks feeling

motivated. In correlation, effective instructional leadership through PBL lessons

lends itself towards building on students engagement and commitment towards

collaborative lessons, this can further add positive effects on classroom

management, generating a lift in students performance (CESE, 2014). Additionally,

postulating high expectations towards student self-motivated learning contributes

building positive outcomes on greater achievement further identified through (CESE,

2014). Therefore, the justification for implementing PBL within the assessment task,

expands itself onto 21st-century skills, that apply towards real world influences, this is

imperative towards improving students academic skills, engagement, and interest

while further building deeper-understanding and knowledge towards performance

across real world perspectives (Cakici and Turkmen, 2015).

In correlation, implementing summative assessment allows all teachers and

students, to evaluate the comprehension of skills developed throughout the unit. In

addition, this can provide opportunities towards students to building on motivation,

offering opportunities through the performance assessment to develop a learning

environment that works for them (OECD, 2013). Furthermore, summative

assessment through this unit will allow students to be placed into their appropriate

program, which can offer students through the context range of classes and

differentiated abilities assistance to information (Rifai, 2016). The informative

approach of summative assessment also closely reflects on teachers performance

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and clarity. Therefore, providing the context outline for the performance assessment

task is imperative. Providing explicit outlined details to students that will be

assessed, further distinguishes student differentiation among learning styles for both

visual learners and verbal learners and not using a one size fits all approach

(Gordon, 2017). Redesigning the performance marking guidelines also serves

effectively towards providing explicit detail for guidelines as assessed, providing

clear comments and effective feedback towards the outcomes assessed. Effective

feedback through assessments is essential for developing students skills in self-

regulation, this helps to take control of their own learning environment for positive,

powerful influence towards student success CESE, 2014 therefore is highly

advocated towards this stage of learning.

Undoubtedly, modifying this previously existing and taught unit of work caters

towards the overall school well-being of students at DTHS. Applying these

adjustments, lends its hand towards deepening student understanding of music

threshold concepts, while providing a more in-depth scaffolded approach clarifies the

teaching steps towards the topic of popular music. For these reasons, it is evident

that these specific adjustments create higher order communication, collaboration,

and connectedness among teachers and students towards developing greater

outcomes towards performance, literacy, numeracy and music theory. From this

point of view, the supportive faculty of DTHS will greatly benefit from these

adjustments, that are supported by relevant, recent and reliable research. Therefore,

greatly elevating the topic's significance, for assisting both teacher communication

and student academic success at DTHS.

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REFERENCES

Australian Curriculum and Assessment Reporting Authority. (2016). Cross curriculum

priorities: Retrieved from https://www.acara.edu.au/curriculum/cross-curriculum-

priorities

Australian Professional Standards for Teachers, (2017) Professional standards: Retrieved

from

https://www.aitsl.edu.au/docs/defaultsource/general/australian_professional_standar

d_for_teachers_final.pdf?sfvrsn=399ae83c_2

Board of Studies, (2003). Music Years 7-10 Syllabus. Retrieved from

https://www.boardofstudies.nsw.edu.au/syllabus_sc/pdf_doc/music_710_syllabus.pd

Bolduc, J., & Evrard, M. (2017). Music Education From Birth to Five: An Examination of

Early Childhood Educators Music Teaching Practices. Research & Issues in Music

Education, 13(1), 3.

Bridges, S. L. (2012). The relationship of teacher opinions to implementing the arts in

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