1.

Rhythmic Pattern: Lesson Plan (Stage 5)

Topic area: Popular Music Stage of Learner: Year 9 - 10 Syllabus Pages: 30-32, 33-35, 40

Date: 28/08/17 Location Booked: Music Rooms Lesson Number: 2 /4

Time: 60 minutes Total Number of students: 20 Printing/preparation

Outcomes Assessment Students learn about Students learn to

Syllabus outcomes Lesson assessment - Identifying the use of - Perform a range of repertoire
5.1: Demonstrates an understanding of Informal Reporting: musical concepts in a range in groups and individually.
the musical concepts through Understanding of the of repertoire and styles - Perform musical
performance of repertoire. manipulation of characteristics of topics compositions and
5.3: Demonstrates Solo and Ensemble musical concepts in studied. arrangements both
Awareness through performance. performance. - Understanding how musical independently and within a
5.4: Demonstrates an understanding of - Understanding how concepts are used and group.
musical concepts through improvising composers have manipulated in compositions - Improvise and arrange both
and arranging the selected music for manipulated the and arrangements. individually and in groups the
study. musical concepts - Improvising and arranging styles of the topic studied.
5.7: Demonstrates understanding of within music. music in various styles, - Identify, compare and
musical concepts through analysis and periods and genres. discriminate between ways in
discussion of music. - Identifying and which musical concepts have
discriminating between ways been used and manipulated in
Life Skills outcomes in which musical concepts a broad range of repertoire.
LS.1, LS.2, LS.3, LS.4, LS.7, LS.8, LS.10 have been used and
manipulated.
Cross Curriculum themes & General capabilities Explicit subject specific concepts and skills
Prior Knowledge: Students have completed Stage 4 Obtained knowledge of Musical Concepts
music and have understanding in an instrument of Brief Knowledge of compositional skills
their choice. Chosen Instrument Knowledge – Notes, Chords.
Quality Teaching Elements (lesson focus) Highlight the appropriate areas
Intellectual Quality 1.1 Deep knowledge 1.4 Higher-order thinking
This refers to pedagogy focused on producing deep understanding of important, 1.2 Deep understanding 1.5 Metalanguage
substantive concepts, skills and ideas. Such pedagogy treats knowledge as something 1.3 Problematic 1.6 Substantive
that requires active construction and requires students to engage in higher-order knowledge communication
thinking and to communicate substantively about what they are learning.
Quality Learning Environment 2.1 Explicit quality criteria 2.4 Social Support
This refers to pedagogy that creates classrooms where students and teachers work 2.2 Engagement 2.5 Students’ self-regulation
productively in an environment clearly focused on learning. Such pedagogy sets high and 2.3 High Expectations 2.6 Student direction
explicit expectations and develops positive relationships between teacher and students
and among students.
Significance 3.1 Background 3.4 Inclusivity
This refers to pedagogy that helps make learning more meaningful and important to knowledge 3.5 Connectedness
students. Such pedagogy draws clear connections with students’ prior knowledge and 3.2 Cultural knowledge 3.6 Narrative
identities, with contexts outside of the classroom, and with multiple ways of knowing all 3.3 Knowledge
cultural perspective. integration
How the quality teaching elements you have identified are achieved within the lesson.

Teaching element Indicators of presence in the lesson

1.1: Deep Shown through the content focus on Rhythmic Patterns and composition skills including focus
Knowledge on bassline, rhythmic pattern, chord progression and melody.
2.1: Explicit Quality Shown through student objectives and reinforcement of participation among rhythmic
Criteria patterns and reflection on performance to convey use of musical concepts.
3.3: Knowledge Use of rhythmic patterns and the compositional skills among performance relevant to
Integration selected repertoire. As well as discussions on musical concepts and integration of learning
experiences.
Time Teaching and learning actions
5 Introduction: Welcome Students to class and today’s
objectives.
Objectives: Rhythmic Patterns in Popular Music.
- Understand Rhythmic Patterns
- Learn a rhythmic sequence and how it conveys musical
concepts.
- Learn Compositional Skills: Swing Rhythm, Bass Line, Chord
Progression.
Small Activity: What is Rhythm? (Explain in your books)
- Quick Class Mind Map on whiteboard from student ideas.
15 Group students in class circle. Inform students of
proceedings;
Use clear instructions “Repeat after me.”
Start rhythm activity with clapping out of swing rhythm.
Continue till most students are responding appropriately.
Mention brief comparison from this activity to prior
knowledge on rhythm.
Remediation: Count out timing (1& 2&, 3&, 4&) or ask
students struggling to clap the 4 accented beats.
20 Gain student attention and lead the class through the next
part.
Using two hands starting with left first for 2 beats then right
for 2 beats continue the swing rhythm by hitting your legs.
(REM Ex. L= 1&, R = 2&, L = 3&, R = 4&)
Reinforcement of timing can be used to ensure students are
keeping in time. (1& 2&, 3&, 4&).
(Informal questioning = Ask students what time signature this
is. 2/4, 4/4)
25 Encourage students to keep going without teacher guidance.
Teacher informs students of ‘chord progression’ part but
insist that they must continue the rhythm while teacher
teaches it.
Teacher will sing the Chord pitch of C, Am, F, G. In that Chord
progression order. (ex. I, vi, IV, V)
Students are encouraged to join as they understand it.
Teacher will signal and mention 4 bars out when to STOP.
Students will be directed to stop and in groups select their
instrument.
**5 mins: to Collect Instruments and figure out bass line
among instruments.
Teacher to write chord progression on board while students
are finding instruments. Teacher to also signify the first chord
as the tonic note. (ex. C = I)
35 Students will now have their instrument. Some students may
have figured out the bass line. For those that have not
figured it out refer them to the board and go through the
tonic note of each chord within the progression as a group
without timing. (ex. C, A, F, G)
(Informal Questioning = Ask students what notes are within
each chord and list this above the tonic in a different colour
marker. )
Once tonic notes are established add timing. Complete 4-8
Organisation Centred
T/S
Teacher: Welcome Class to today’s T/S
objectives. Start them on their small
activity as a class.
Student: Listen to objectives,
participate in small activity.
Resources: IWB/ White Board
Teacher: Set up Group. Inform them of T/S
actions to repeat teacher movements.
Student: Follow teacher’s instruction.
Look off sheet music for next part or
follow teacher instruction.
Resources: Sheet Music.
Teacher: Gain student attention and T
show next part of swing rhythm using
two hands. Use reinforcement of
timing and question the time signature.
Student: Copy movement for two hand
swing rhythm, time yourselves.
Resources: Body Movement
Teacher: Teacher insist students to try T
it without teacher guidance. Teacher
sings new part being the bass line
chords. Students encouraged to join in
the new part. Teacher will direct the
end of playing and instruct students to
find their instrument and see if they
can work out the bassline on their
instruments. Teacher writes on board
while awaiting students return to
group.
Student: Continue playing, join in next
part of singing bass line and stop when
instructed. Find your instrument.
Resources: Voice, Body Movement.
Teacher: Highlight and introduce bass T
line and encourage students to try and
play 3rds whilst staying in time.
Student: Figure out bass line, play it in
time and try adding 3rd intervals to
challenge yourselves whilst obtaining
swing rhythm.
Resources: Instruments, White Board.
 bars of this before progressing to the next step.

Extension: Students who found the notes instantly can play

the 3rd’s. Ensure that you keep in time with the swing
rhythm. They can refer to the board for notes if stuck.
(ex. C – E, A – C, F – A, G – B.)
40 Split the group in two groups: Group 1 & 2. Teacher: Divide the group and T/ S
Group 1 will continue the bass line while Group 2 attempts encourage one group to hold the bass
the rhythmic bass line. This encounters playing third intervals line and keep playing it. Whilst that is
from the tonic note. Reinforce use of two hands for those happening work with Rhythmic
students using percussive instruments. Bassline Group and the switch sides
Once students have identified the chord intervals among following same steps as above and
their instruments count Group 2 in to play in time with group teach the melody via call and response
1. through clapping and singing.
Encourage students to use instrument
Now group 2 will maintain the rhythmic bassline while Group if don’t want to sing.
1 learns the melodic phrase.
Student: Participate in either bassline
Group 1 will focus on the melody and will clap the rhythm rhythm or melody. Perform as part of a
before singing it. The group will be led by the teacher small group and ensemble.
through a call and response of the melody. The teacher will
keep leading until the students understand the phrase. Once Resources: Instruments.
this is acquired, students will play four bars together and will
be asked to listen to each other before stopping the activity
to reflecting on their practice.

**Encourage students to use instrument if don’t want to sing.

50 Teacher to instigate conversation: Teacher: Instigate Conversation on T/S
- What did we just do? (Bassline, Swing, Rhythm, Rhythmic what was just done & musical concepts
Line, Call & Response, Chord progression.) used.
- What musical concepts did we just explore? How?
(Duration: Rhythmic Patterns, Pitch: Singing Chord Student: Participate in discussion.
progression, Dynamics: Variation of loud & soft, TC: Use &
combination of instruments, Texture: Roles of instruments.) Resources: Whiteboard
55 Ask students to return their instruments and pack their Teacher: Help students return T/S
belongings up, stand behind their seats and patiently await equipment used and ensure students
the bell. are packing up and preparing
themselves for the bell.

Student: Pack up the equipment you

used, your belongings and await the
bell.

Resources:
Reflection
What have I learned about the teaching and learning process when preparing this
lesson?
Time limits for each section may vary.

How am I measuring the outcomes of this lesson?

Learning Outcome Method of measurement and recording

5.1 Informal Reporting: Reflection among performance task through discussion.
5.3 Informal: Demonstrated through performance task.
5.4 Informal: Understanding how composers have manipulated the musical
concepts within music. Through reflection & practical experience.
5.7 Informal Reporting: Reflection among performance task through discussion.

Other considerations
Complete the table blow by inserting the AISTL graduate standards that you are
demonstrating and indicates the evidence from this lesson that should comply with
the standard.

Graduate Standards Evidence within this lesson

1.5: Differentiate teaching to Performance within groups and individually followed by

meet the specific learning
needs of students across the
full range of abilities.
2.1: Content and teaching
strategies of the teaching area
3.5: Use effective classroom
communication
4.1: Support student
participation
5.1: Assess student learning
task activities that allow for extension and remediation of
learning.
Performance activity incorporates most learning
experiences and implements engaging learning through
interaction and involvement among learning.
Effective communication can be shown through the
performance activity through a range of verbal and non-
verbal cues that are relevant to performing. (Conducting
skills)
The lesson activity provides scope that is inclusive to all
students. There is remediation and extension that allows
students to challenge themselves or find a suitable
learning sequence.
Shown through informal reporting on students’ learning.

WHS
What are the key risk issues that may appear for and need to be reduced/eliminated
in this lesson? Using your syllabus and support documents as well as other WHS
policy- Outline the key WHS considerations that are to be applied in this lesson?
- Working with others (safety, duty of care, respect)
- Working in confined space (Classroom setting)
- Practical use of instruments
- Correct use of instruments
- Objects within walkways (instruments among the floor during group work)
- Noise Level
 2. Background & ICT: Lesson Plan (Stage 5)
Topic area: Popular Music Stage of Learner: Year 9 - 10 Syllabus Pages: 30 - 32, 40

Date: 01/09/17 Location Booked: Lesson Number: 3 /4

Computer Rooms
Time: 60 minutes Total Number of students: 20 Printing/preparation

Outcomes Assessment Students learn about Students learn to

Syllabus outcomes Lesson assessment - Understanding how the - Perform musical compositions
5.4: Demonstrates an understanding of Formative and musical concepts are used and arrangements both
the musical concepts through Summative and manipulated in individually and in groups
composing in the styles or genres of Assessment: compositions and characteristics of the
music selected for study. Compositional arrangements in a range of compulsory and additional
5.5: Notates own compositions, Portfolio styles, periods and genres. topics studied.
applying forms of notation appropriate - Creating compositions both - Improvise and compose
to the music selected for study. individually and in groups musical ideas both individually
5.6: Uses different forms of technology characteristic of the and in groups characteristics of
in the composition process. compulsory and additional the compulsory and additional
5.8: Demonstrates an understanding of topics studied. topics studied.
musical concepts through aural - Notating compositions using - Notate Compositional work
identification, discrimination, various forms of traditional using a range of notational
memorization and notation in the and non-traditional notation forms and technologies.
music selected for study. and technologies. - Identify, compare and
5.9: Demonstrates an understanding of - Identifying and discriminate between which
musical literacy through the discriminating between ways ways in which musical concepts
appropriate application of notation, in which musical concepts have been used and
terminology, and the interpretation have been used and manipulated in a broad range
and analysis of scores used in music manipulated. of repertoire.
selected for study. - Interpreting and analysing a
5.10: Demonstrates an understanding broad range of repertoire
of the influence and impact of characteristic of the
technology on music. compulsory and additional
topics studied.
Life Skills outcomes
LS.2, LS.3, LS.4, LS.5, LS.6, LS.8, LS.9,
LS.10
Cross Curriculum themes & General capabilities Explicit subject specific concepts and skills
Prior Knowledge: Prior Lesson practical experience and Musical Knowledge of chosen Instrument – Chords
example, completed mandatory course. Musical Concepts, Minimal use of Noteflight
Quality Teaching Elements (lesson focus) Highlight the appropriate areas
Intellectual Quality 1.1 Deep knowledge 1.4 Higher-order thinking
This refers to pedagogy focused on producing deep understanding of important, substantive 1.2 Deep understanding 1.5 Metalanguage
concepts, skills and ideas. Such pedagogy treats knowledge as something that requires active 1.3 Problematic knowledge 1.6 Substantive communication
construction and requires students to engage in higher-order thinking and to communicate
substantively about what they are learning.
Quality Learning Environment 2.1 Explicit quality criteria 2.4 Social Support
This refers to pedagogy that creates classrooms where students and teachers work productively in an 2.2 Engagement 2.5 Students’ self-regulation
environment clearly focused on learning. Such pedagogy sets high and explicit expectations and 2.3 High Expectations 2.6 Student direction
develops positive relationships between teacher and students and among students.
Significance 3.1 Background knowledge 3.4 Inclusivity
This refers to pedagogy that helps make learning more meaningful and important to students. Such 3.2 Cultural knowledge 3.5 Connectedness
pedagogy draws clear connections with students’ prior knowledge and identities, with contexts 3.3 Knowledge integration 3.6 Narrative
outside of the classroom, and with multiple ways of knowing all cultural perspective.
How the quality teaching elements you have identified are achieved within the
lesson.
Teaching element Indicators of presence in the lesson
1.4: Higher-Order This is present within this lesson through the task involving technology that supports the learning content and instigates critical
Thinking thinking and creativity through problem solving a task.
2.3: High Expectations Shown throughout the student objectives and differentiation throughout the lesson plan.
3.1: Background Prior knowledge within this lesson involves compositional skills to create their own 8-12 composition. Background knowledge is
Knowledge essential for inspiration to their composition. Copyright must be noted when assessing compositions in class. Resources are also
gathered to support differentiation and learning content for those who may be struggling.
Time Teaching and learning actions
5 Class Introduction
- Objectives for today’s class on whiteboard before lesson starts.
- Read out Notices
- Do Roll Call
- Students to complete ‘Do Now’ on board = Attempt Recap
Survey. Survey focus = “Answer questions on what we focused on
last week in terms of ‘rhythm’ and ‘compositional skills’.”
Objectives:
Expand student knowledge of Rhythm through engagement with
the composing learning experience.
- Group work in creating your own chord sequence.
- Notating your chord sequence into ‘noteflight’
10 Students will engage within a quick class activity that involves
clapping rhythms through call and response.
Students may refer to the google classroom folder to find the sheet
music for the rhythmic activity called “Rhythm Act 3.1”.
Students will complete a variety of clapping and physical
movement activities related to complex rhythmic patterns as
required within the syllabus. These may include well know riffs/
ostinatos/ basslines. The rhythmic activity sheet allows students to
sight read to these rhythms.
Remediation: Follow and use the sheet music throughout the
activity.
15 Students will form groups for the next activity. Where they will
need to create a chord sequence and one of the following options.
(Minimum of 8-12 bars.)
- Bassline
- Riff
- Ostinato
- Instrumental Solo (Improv)
Students will need to write or type these ideas down on a musical
score for implementation among notation software.
Students will be allowed to use their device for recording of any
ideas to help with notating.
** Inappropriate use of device will result in removal of device.
Teacher to check all groups progress to ensure progress.
Remediation: Students may refer to musictheory.net for assistance
with chord structures and progressions.
Extension: Students should choose another selection to compose
for. They must follow the same idea of writing down their ideas for
completion through notation software.
30 Students will need to notate their work using ‘note flight’ in pairs.
Both students must contribute to the composition this can be done
through one notating one part (e.g. chord sequence) while the
other notates the second part (e.g. ostinato). Both students should
have two lines of musical content among their compositions and
list their group within the composer section.
It is expected that students will complete the notation of the chord
sequence. This includes both the chord in the treble clef and the
bass note in the bass clef. It is also expected that the chord symbol
and label are shown above the stave.
Organisation Centred
T/S
Teacher: Class Introduction, Student Objectives. T
Student: Listen to Introduction and complete do
now.
Resources: Sentral = Class notices, Whiteboard
**Classroom Expectations in place: students
should be seated and equipped with learning
resources.
Teacher: Quick Recap = Basic Rhythms. Create T/S
rhythms that are complex and use body actions.
Student: Participate in quick rhythm activity.
Resources: Hand & body movements.
Google Classroom Folder – Rhythmic Activity
(Sheet Music).
** Noise level is to be noted when practicing.
Teacher: Instigate group work and ensure that S/ T
groups are working towards their compositions.
Make sure students are noting down what they
have done so far.
Student: Create a chord sequence first, note this
down on your staff. Create one from the list to
create after.
Resources: Instruments, Musical Score Paper.
Electronic device, Recorder on Device.
Teacher: Get students to work with noteflight in S/T
pairs. Give a quick run over how to use
Noteflight. Start students on inputting their
compositional task into the software. Assist
students who are struggling.
Student: Complete the second part of the task
by inputting your composition into noteflight.
Work with your friend to input sections. Make
sure that you include dynamic and expressive
marks and chord or lyrics text.
 You can refer to the rhythmic activity sheet: “Rhythm Act 3.1” for
an example.
Remediation: Students may refer to musictheory.net for assistance
on chord notation on both staves bring Treble and Bass Clef.
Resources: Noteflight, Instruments, Musical
Score Paper, Past Example from last lesson.
Musictheory.net

Extension: Students who have completed the chord sequence and

one compositional feature should focus on notating an extra
textural layer to the piece by adding another instrument with the
same or different textural layer.
55 Students will be advised to start saving their work. Students will Teacher: Advise students to pack up and save T/S
then need to submit their work so far within google classroom. their work. Put the room back to its orderly state
Submission link will be up on board. and leave the room sensibly once the bell has
For students with no device who have hand written their rung.
composition. They will need to take a photo and submit to the link
to google classroom before the weekend so they can receive Student: Pack up belongings, tidy room and
feedback on their work. Then paste the composition into their leave in an orderly manner.
books for safe keeping.
Resources: Google Classroom
Students will then need to pack up their belongings and put their
chairs in, await the bell patiently and leave the room in an orderly
manner.

Reflection
What have I learned about the teaching and learning process when preparing this
lesson?
Remediation is founded through the simple base of the lesson. The activity timing
may very due to students learning ability. Therefore, extension tasks that are noted
will encourage students to add more to their composition through either creating
more compositional work or by adding dynamics and expressive markings and other
score markings.

How am I measuring the outcomes of this lesson?

Learning Outcome
5.4: Demonstrates an
understanding of musical
concepts through composing
for music selected for study.
5.5: Notates own
compositions, applying forms
of notation appropriate to
selected music of study.
5.6: Uses different forms of
technology in the composition
process.
5.8: Demonstrates an
understanding of musical
concepts through aural
identification, discrimination,
memorization and notation in
the music selected for study.
5.9: Demonstrates an
understanding of musical
literacy through appropriate
application of notation,
terminology and the
Method of measurement and recording
Practice using instruments creating compositions through
graphic notation, to be inputted into traditional notation.
Practice using instruments creating compositions through
graphic notation, to be inputted into traditional notation
through ICT. (Specific Focus on rhythmic notation.)
Use of noteflight to notate the composition and for those
remediation students use of ‘musictheory.net’ to assist in
notation skills.
Rhythmic Activity involves working sight reading from sheet
music. Therefore, identifying notation for the selected
study. It also allows for memorization from the prior lesson.
Completed through the Composition Task. The task
demonstrates notation and use of terminology among their
score.
interpretation and analysis of
scores used in music selected
for study.
5.10: Demonstrates an Use of noteflight, free notating system that allows
understanding of the composers to create from anywhere as it is a website that
influence and impact of isn’t locked to a server like server based software.
technology on music.

Other considerations
Complete the table blow by inserting the AISTL graduate standards that you are
demonstrating and indicates the evidence from this lesson that should comply with
the standard.
Graduate Standards
1.2: Demonstrates knowledge &
understanding of research into how
students learn and the implications
for teaching.
2.2: Organises content into an
effective learning and teaching
sequence.
3.1: Set learning goals that provide
achievable challenges for students of
varying abilities and characteristics.
4.2: Demonstrates the capacity to
organise classroom activities and
provide clear directions
5.2: Demonstrate an understanding of
the purpose of providing timely and
appropriate feedback to student
about their learning.
Evidence within this lesson
Use of Prior Knowledge and background content from
previous lesson and previous experience with notation
software.
This is shown within the lesson through the use of
differentiation, clear and logical activities that are
relatable to curriculum requirements and reflect
understanding of the compositional content.
Shown through lesson planning with focus on ICT and
differentiation. Learning goals are built upon prior
background knowledge and experience. Learning goals
are simple and can be built by student direction.
Delivery of the lesson that conveys clear directions, well
prepared with resources and is responsive to students
learning goals/ outcomes.
Gives constructive and purposeful feedback while
assisting students in need of help. Appropriate
encouragement to students that enhances the
student’s performance and provides direction for
further development.

WHS
What are the key risk issues that may appear for and need to be reduced/eliminated
in this lesson? Using your syllabus and support documents as well as other WHS
policy- Outline the key WHS considerations that are to be applied in this lesson?
- Working with others (safety, duty of care, respect)
- Working in confined space, Objects within walkways (Classroom setting)
- Practical and correct use of instruments
- Noise Level
- Internet Restrictions
Refection on Lesson 1: Rhythmic Patterns
The first lesson drew attention in particular to a piece of popular music and the
following compositional skills explored through practical experience being bass line,
rhythmic pattern and chord progression. Through research from additional resources
and use of the NSW Syllabus and QT model. I will demonstrate the use of Deep
Knowledge, Metalanguage and explicit quality criteria in the following paragraphs
below:

Deep Knowledge
Deep Knowledge is attained throughout the lesson by the use of “deep learning goals”
as referenced from the article “nurturing deep learning” (“Nurturing Deep Learning”,
2017). Deep Learning is shown throughout the lesson with reference to the ‘starter
activity’ that engages students in deeper learning by asking them to explain what
rhythm is. Another example for deep knowledge can be shown throughout the
learning sequence when prior understanding of rhythms is integrated into the
performance activity. This is lead through teacher modelling before students are
independently asked to perform the task. This allows students to use the knowledge
already gain from prior lessons in order to construct meaning. Students will then
reflect through a class discussion on the performance activity by discussing the
interrelation of prior knowledge. They will then explain and justify the use of musical
concepts and compare the practical experience through identifying aspects of the
listening criteria. This reflection will assist in assessing the depth of student’s thinking
and knowledge on the topic of rhythm.

Metalanguage
Metalanguage is used within the lesson plan by reinforcement of the musical concepts
and the musical characteristics aligned to ‘rhythm’. This can be witnessed through the
lesson by the use of musical metalanguage like ‘swing rhythm’, ‘accented beats’, ‘time
signature’, ‘chord progression’ and ‘bassline’. The use of metalanguage within the
lesson is conveyed through the performing experience. All students will vary in
understanding the content and hence will all have differentiated ways of gaining
knowledge. Metalanguage creates a link between the learning experience,
understanding of content and the musical language. It is expected at a Stage 5 level
that students are understanding the following terms aligned to ‘rhythm’ as provided by
the NSW Syllabus. (Board of Studies NSW, 2003) These are “complex rhythmic
patterns including devices such as triplets, duplets, syncopation and unusual rhythmic
grouping.” Which can be shown through the focus song “Heart and Soul” by Hoagy
Carmichael.

Explicit Quality Criteria

Specific criteria for success provides students with direction on how they are going
and where they will go next. (Hattie, Marzano, Clarke & Wiliam, 2013) As elaborated
by Hattie and Timperley (2007) there are three questions that provide guidance for
learning students. These questions highlight the areas of learning intentions, success
criteria and feedback. Students need to know what they will be learning as witnessed
within the lesson plan through the use of student objectives that should be written on
the board. Following the idea of learning sequence students are then involved in a
small recap activity that highlights the deep knowledge within the students
understanding of rhythm. Next within the learning intention is the practical experience
that explains the depth of rhythm through demonstration. This demonstration allows
students to understand the purpose of the activity and be responsible for their learning
by co-operating and staying on task throughout the group activity. Success criteria
involves self-reflection by the student on their progress of understanding
metalanguage. This is demonstrated through a teacher led discussion that involves
students to reflect and understand the purpose of the performance activity, and its
relevance to the curriculum through a discussion. This discussion provides transparent
expectations of an explicit learning criteria that identifies ‘rhythm’ characteristics,
musical concepts and compositional skills.

Reflection on Lesson 2: Background and ICT.

The second lesson is proposed for the third sequenced lesson out of four. As required
by the assessment standard it involves the use of background knowledge and ICT for
the commencement and completion of a compositional task.

The lesson plan aims to cover all three learning experiences stated by the NSW
Syllabus on pages 30 – 32. (Board of Studies NSW, 2003) These are performing,
listening and composing. In regards to high expectations the incorporation of all three
learning experiences combined into one lesson allows students to gain a sense of
higher order thinking. In addition to higher order thinking the interaction of
technology and compositional software creates an opportunity for students to expand
their knowledge and achieve higher.

How are high expectations shown within this lesson?

Students are given the opportunity to refer to background knowledge to help
improve their mindset. As explored within the article “Great expectations: how to
help your students fulfil their potential” by Bradley Busch (Busch, 2016). Encouraging
high self-expectations among students can develop learners ‘who do not see
themselves in a positive light’. A “growth mindset” involves improvement from
students by putting in the hard effort and learning to overcome their mistakes.
Examples of “growth mindset” are shown throughout the lesson by the use of self-
reflection, and the expectation of the students to meet class regulations and meet all
workload requirements. This is conveyed through the use of the pre-test to help
student analyse their learning through a self-reflection process from last lesson. The
pre-test not only allows for students to understand their learning ability, but also
allows them to engage with differentiating learning at an ideal level for the students’
needs. In reflection of class expectations and workload requirements, high
expectations can be withdrawn from the use of student objectives on the board. This
allows students to understand the proceedings for the class and gives a holistic view
of the learning content. In explaining the lesson content, students may ask questions
and should be informed of the relevance the lesson has to background or prior
musical experiences from last lesson. In providing students with objectives, student
engagement is improved by instating learning intentions, creating availability for
self-manageable learning and gaining understanding of compositional skills.

High levels of support within a classroom provide students with a positive learning
environment. This is shown through positive relationships, differentiated learning
and explicit access to assistance through the internet. Within this lesson I have
aimed to achieve high expectations by showing the differentiation available. The aim
of differentiation is to limit classroom misbehaviour and meet a variety of students’
needs. There are multiple positive outcomes of differentiation, in particular I found
that student’s engagement improved through better teacher-student relationships
and the availability for choice. This did mean that as a teacher I could provide
specific feedback for students learning the same content at different paces. This
created a lot of individualisation but can be counted with peer mentoring from
confident students that are meeting the extension requirements, understanding of
the content and the musical concepts incorporated among the learning experience
of composing.

In trying to achieve high expectations I need to consider how I would teach students
the content and how they will learn it the best as mentioned in an article on “The
highly effectiveteacher.com” (Amaro, 2017) In particular there is this quote by
Ignacio Estrada, “If a child can’t learn the way we teach, maybe we should teach the
way we learn”. In relation to high expectations I believe that both parties the teachers
and students must have engagement, be positive and encouraging towards students
and their learning. In reference to this lesson plan, the teacher should be checking on
student groups and assisting when needed. Implementation of workload expectations
and differentiation for students will only be effective if the student wants to be better
to achieve success.

Technology can create disruptions but can also be resourceful. Within this lesson it
provides students with the opportunity to create their own ideas from personal
experiences and prior background knowledge within their pieces. Although
technology provides mainly for the learning experiences of composing and
performing. There are sites out there like “musictheory.net” (2000) that provide
assistance and specific feedback for improving theoretical content and listening that
may result poorly within students. With the advancement of technology, I believe that
implementation of such resources like “musictheory.net” can motivate a student to
want to achieve better by providing high levels of support for music in both
environments being school and home.

Although as stated by “teachingasleadership.org” high expectations are ‘something

you do, not just believe’. (“The Power of High Expectations: Closing the gap in your
classroom. Chapter 2.”, 2011) The execution of the lesson plan is valued on the
teacher belief that students will complete work. But success does not come unless
there are equal amounts of ‘Aspiration’ and ‘Expectation’ within both a teacher
pedagogy and student’s mind. This lesson emphasises on this idea that students are
self-manageable and can create their own composition with reference to composition
skills, but cannot do this without aspiration and following the workload expectation. I
believe by working on compositional work we are creating high expectations by
meeting the curriculum and unit requirements while supporting the students’ needs
for success.

References
Amaro, M. (2017). What Does It Mean To Have High Expectations For Your
Students. The Highly Effective Teacher.com. Retrieved 2 October 2017, from
http://thehighlyeffectiveteacher.com/what-does-it-mean-to-have-high-
expectations-for-your-students/
Board of Studies NSW. (2003). Music years 7-10 Syllabus (pp. 30 - 33.). Sydney: Board
of Studies NSW.
Busch, B. (2016). Great Expectations: how to help your students fulfil their
potential. The Guardian. Retrieved from
https://www.theguardian.com/teacher-network/2016/aug/31/great-
expectations-how-to-help-your-students-fulfil-their-potential
Hattie, J., & Timperly, H. (2007). The Power of Feedback. Review Of Educational
Research, 77(1), 81-112. http://dx.doi.org/10.3102/003465430298487
Hattie, J., Marzano, R., Clarke, S., & Wiliam, D. (2013). Learning Intentions and
Success Criteria. Melbourne: Catholic Education Office Melbourne. Retrieved
from http://personalisation.global2.vic.edu.au/files/2013/08/Corpus-Christi-
LISC-July-2013-2dz21eo.pdf
musictheory.net: Theory Lessons. (2000). musictheory.net. Retrieved 2 October 2017,
from https://www.musictheory.net/lessons
Nurturing Deep Learning. (2017). The Australian Society for Evidence Based Teaching.
Retrieved 2 October 2017, from
http://www.evidencebasedteaching.org.au/crash-course-evidence-based-
teaching/nurturing-deep-learning/
The Power of High Expectations: Closing the Gap in your Classroom. Chapter 2..
(2011). Teaching as Leadership Organisation. Retrieved 2 October 2017, from
http://teachingasleadership.org/sites/default/files/Related-
Readings/DCA_Ch2_2011.pdf