Jasmine Breeze - 18036116

The inclusion of all students within learning is hard to achieve from a “one size fits all”
approach. This is why new approaches need to be consider towards the planning of teaching
and learning of beginning teachers to ensure all students are provided with the opportunity
of a well-rounded education. In discussion I will discuss the ‘inclusion of all students’
through the application of the UDL framework in the planning of teaching and learning
programs for students with disabilities. Throughout my professional experience, I had the
pleasure of consoling with many students with disabilities. Although these students were
not identified, associated or labelled with ASD (Autism Spectrum Disorder) they displayed
behavioural characteristics like minimal social interaction, restricted interests, and
repetitive behaviours as witnessed throughout school-wide environments. Therefore, I have
chosen to specifically individualise the planning for this case study around students with the
Autism Spectrum Disorder.

In the subject of Music or any subject that requires a sense of creativity and
expression, teachers often face challenges with students struggling to identify or come to a
sense of expressing their own ideas and thoughts. Often we result the restriction of
creativity to various reasons like fear of embarrassment, identity formation and the ongoing
development occurring in adolescents as they face their journey of discovering who they
are. As a music educator I often found that the students with ASD showed signs of
restriction in self-expression or the presentation of musical ideas. For example, I had a
student who struggled to communicate their ideas through creativity and the idea of
expression as they presented difficulties in communication. This student conveyed
restricted and repetitive patterns of behaviour that often reflected their own interests
through a demanding nature. I often found that this student would struggle to work among
groups as they have difficulty in reading social situations, little recognition of other’s
emotions and was resistant to change. This student always had very opinionated thoughts
about his interests within individual conversations but amongst others was limited with
speech and eye contact. Although in observation of their progress and performance, I
noticed that this student preferred a particular routine, paid a lot of attention to specific
details within songs and had a particular interest to a certain style of music. This student
gained a lot from a clear and explicit schedule of the lesson proceedings and worked well in
problem solving activities. The student lacked the support from their fellow peers and has
limited means of expression. I would suggest that the student works alone in activities to
gain a deeper understanding of their own identity to motivate student creativity and
prolong progress among the communication of musical ideas.

In this particular observation I refer to the variabilities that the UDL framework
provides as mentioned by Rose & Daley (2011) and Glass, Meyer and Rose (2013). In
explanation variability is defined as “pervasive, normal, contextual and predictable”, and as
stated by Glass, Meyer and Rose (2013) “Neuroscience demonstrates that variability in how
we learn is the norm, not the exception”. Therefore, educators planning for teaching and
learning must reflect on these variabilities as the issue that appears is the needs of some
students being met but not every student. The principles of the UDL framework can be
reflected through variability as highlighted by Glass, Meyer and Rose (2013) through the
multiple means of representation, action and expression, and engagement; for variability
allows individuals to understand and connect with the meaning behind the art itself; take
action through creativity allowing for individual expression; and the valuing of art as an
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experience that engages and motivates students (Glass, Meyer and Rose, 2013).
Furthermore, in order of enhancing the students with disabilities interaction through music
the opportunity must be provided for all students to interact with the multiple means of
representation, action and expression, and engagement through a UDL approach that
utilises the guidelines of the UDL framework.

Understanding and knowing the student provides the foundation in order of

applying the basis for UDL. Firstly, educators need to identify the learning needs of the
student. For example, this student works well with problem solving and structured lessons
subsequently this should be incorporated amongst the planning of teaching and learning.
We know that this student doesn’t work well in groups. Therefore, group work could be
limited or subjected to optional. Communication is a massive learning need that needs to be
considered and can be considered through the application of assistive technologies. Another
factor is the use of scheduling and consideration of the following supportive factors like
timers, motivators and visuals. Most importantly within a music class is the provision of
support in creating a positive learning environment for all students to feel safe in expressing
their creativity in class activities. This particular student has a specific interest in the
mechanics of percussive instruments and therefore would benefit from the application of
assistive technology devices, as well as motivators and visuals to stimulate student
engagement. To support the use of technology Messinger-Willman and Marino (2010) argue
the importance of assistive technology in providing for the individual student’s
characteristics including their current skills, task, goals and objectives. Furthermore,
Hitchcock and Stahl (2013) provide a clear explicit report on the role that technology can
promote within the UDL framework. Technology is gratified for the opportunity to “provide
flexible support, adjustable learning and a productive experience to all learners” (Hitchcock
& Stahl, 2003). Developing an inclusive environment involves the use of technology by all
students with access to the resources that enrich the student’s ability to understand and
conceptualise their thinking around the curriculum outcomes and assessments. Educators
implementing the UDL framework can create an inclusive approach through the planning of
teaching and learning by adjusting and modifying lessons around the three principles to
ensure that all students including those with and without ASD have the opportunity to
succeed. Some examples of adjustments as describe by Hitchcock and Stahl (2013) are to
provide a schedule of learning goals through instructional content that allows students to
achieve curricula outcomes through the use of time as a motivator, technology as a stimulus
and other various learning tools that supports the learning activities. These learning
activities could also reflect a UbD approach through a progression of achievement in
completing an end goal like a major assessment. A ‘UbD’ approach therefore, would provide
the opportunity for deeper understanding of syllabus outcomes by continuous reflection on
assessment and feedback to promote and motivate students to regulate their own learning
or in this case creativity.

The student’s learning need of ‘communication’, must be planned accordingly to learning

activities based around the curriculum and “how all students will have access to engaging
instructional activities that will prepare them for evaluation on their knowledge of the
outcomes” (King, Williams & Warren, 2011). For example, the use of multiple means of
expression can draw on personal strengths of the individual to show mastery of content as
mentioned by King, Williams and Warren (2011). This means that students can
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communicate their ideas through various means like composition, performance and
listening experiences as referred to within the music syllabus.
Students with ASD and students without ASD can both benefit from the inclusive
environment that UDL provides as mentioned by Jennifer Katz (2013) ‘Three Block Model of
UDL’. The three block model incorporates the following factors; Social and Emotional
learning, Inclusive Instructional Practice, and Assessment for learning to provide students
with an autonomous model that emphasises differentiated processes, multiple
developmental levels of understanding, and regular feedback and assessment for all
students. As mentioned by Katz (2013) instructional pedagogies should be considered to
facilitate student’s social and academic engagement in diverse and inclusive classrooms.
The principles of the UDL framework consist of the following multiple means of
representation, expression and engagement and therefore, lead to the analysis and addition
of the UDL framework within a lesson plan dedicated for the example student.

This lesson is aimed at students completing Stage 4: Year 8 Music. The lesson focus is on
instrumental skills and the application of theoretical and practical experiences. Within the
lesson students learn about the Piano and its mechanics. This is further extended through
the application and performance of chords that will contribute to the final activity of
composing a song using assistive technology. As a music educator we should know our
students and what they are capable of in this scenario. The student with ASD has no
instrument skill of piano and therefore is gaining knowledge through the various activities
that provide an engaging sensory experience.

To make this lesson inclusive I have utilised the three principles of the UDL framework to
ensure that the particular interest and strengths of the individual are engaged and
motivated throughout the lesson. Planning this lesson involves scheduling activities that
provide and achieve various syllabus outcomes. To do this I have decided to use visual
supports to assist the learning of piano skills; this can be witnessed through worksheets, a
whiteboard diagram of ‘piano keys’ and symbols to acknowledge note lettering. To make
this experience sensory I have provided students with the option to use the piano provided
through Garageband to select specific keys. Although in completing the recognition of the
keys in C Major I have provided a worksheet that students can colour to remember each
allocated key. There is then an extension for students to test their knowledge, I found that
using musictheory.net is beneficial in upholding the engagement of student interactivity by
challenging them to complete as many questions as they can through a sensory experience
that supports student’s independent learning through personalised tests based on the
results of the beginning questions. To assist students in further developing their knowledge
of the piano keys visual supports like YouTube tutorials and interactive lessons are
implemented to encourage students to further develop an understanding of the piano
mechanics for example ‘accidentals’ and major/ minor tonality. In assistance of providing
various ways for students to acquire information and knowledge YouTube provides a
channels solely dedicated to the mechanics of particular music software like Garageband.
This is resourceful for students with ASD if they have a particular interest in the mechanics
of musical composition as videos can provide students with inspiration towards the design
of compositional techniques.
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The multiple means of expression are demonstrated through the student’s ability to
conceptualise either the ideas of others or the current knowledge and skills of the
instrument. Implementation of expression can also be witnessed through the multiple
activities among the lesson sequence that draw focus to the learning experiences of
composition, performance and listening. This lesson incorporates various assistive
technologies that all provide an insight to the student’s knowledge and ability to translate
musical ideas into their own. Although YouTube is a visual representation of information it
can also provide an expression of the student’s interest by hinting the direction and self-
regulation of the student’s creative path within the research task. In particular, the structure
and layout of the lesson schedule provides expression in itself through a progression that
allows students to continually gain knowledge through experimentation, expression and
engagement in problem solving tasks that reflect on explicit language and syllabus
outcomes relevant to the student’s holistic experience of the music syllabus, culture and
industry.

Lastly, multiple means of engagement can be witnessed within the lesson plan through the
selected stimulus for composition and performance activities. In overview of the lesson
structure we can see various ways of inquiring knowledge and demonstrating student
understanding. To increase student motivation, direction and self-regulation we need to
engage students by tapping into their interest, providing challenges and increasing
motivation through a positive inclusive environment. In aim of providing for the student
with ASD, this lesson draws focus to the mechanics of the piano and is relatable to the
expectations and requirements of the music syllabus. Although the student succeeds in the
knowledge of percussive instruments the piano can be view from the perspective of
‘percussive’ through the actions implemented to create sound. Therefore, leading into the
challenges that motivate students to understand either a different perspective, or motivate
students amongst various activities like timed personalised tests or sensory experiences that
both provide the opportunity for individual-based learning suited to the interests and needs
of the student. In this scenario, the various activities mentioned before plus the addition of
independent learning resources like scaffolded worksheets, interactive lessons with step by
step approaches and peer mentoring; all provide opportunities for the student to express
their individuality through the communication of musical ideas. This therefore can promote
student direction, regulation and independent learning when it comes to engaging with the
learning experiences of the music syllabus.
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References
Glass, D., Meyer, A., & Rose, D. (2013). Universal Design for Learning and the
Arts. Harvard Educational Review, 83(1), 98-119. doi:
10.17763/haer.83.1.33102p26478p54pw
Hitchcock, C., & Stahl, S. (2003). Assistive Technology, Universal Design,
Universal Design for Learning: Improved Learning Opportunities. Journal Of
Special Education Technology, 18(4), 45-52. doi:
10.1177/016264340301800404
Katz, J. (2013). The Three Block Model of Universal Design for Learning (UDL):
Engaging students in inclusive education. Canadian Journal Of
Education, 36(1), 153-194.
King, L., Williams, J., & Warren, S. (2011). Preparing and Supporting Teachers
for 21st Century Expectations through Universal Design for Learning. The
Delta Kappa Gamma Bulletin: Morality In Education, 53-55.
Messinger-Willman, J., & Marino, M. (2010). Universal Design for Learning and
Assistive Technology: Leadership Considerations for Promoting Inclusive
Education in Today’s Secondary Schools. NASSP Bulletin, 94(1), 5-16. doi:
10.1177/0192636510371977
 Case Study Lesson Plan: Inclusivity through UDL

Topic area: Piano Skills Stage of Learner: Stage 4: Year 8 Syllabus Pages:
Date: 14.06.18 Location Booked: G13 Lesson Number: 6/6
Time: 100 minutes Total Number of students Printing/preparation

Outcomes Assessment Students learn about Students learn to

Syllabus outcomes Lesson assessment
4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 4.12 Informal Presentation
of musical ideas from a
Life Skills outcomes couple of anonymous
LS.1, LS.2, LS.4, LS.5, LS.6, LS.7, LS.10 students.
The basics of the Piano and Use Garageband and create
creating a chord. sounds using instrument
The basics of Garageband. samples, SFX, and audio
recordings.

Cross Curriculum themes & General capabilities Explicit subject specific concepts and skills
ICT: Use of Garageband to compose musical ideas. Musical Concepts: Structure, Duration, Texture, Tone
Music Industry: Recording purposes of musical content colour.
within musical software for reproduction. Unity & Contrast.
Compositional Devices
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 Indicators of presence in the lesson

element
1.4: Higher- Students demonstrate higher order thinking by utilising the Garageband and the multiple
Order Thinking instruments within the software to create a track/ song.
2.2: Students convey engagement through their participation within compositional activity.
Engagement
3.3: Students integrate their current knowledge of musical devices to create a song from a range
Knowledge of musical instruments on Garageband.
Integration
Time Teaching and learning actions Organisation Centred
T/S
5 Introduction (Lesson Schedule - To be posted on Google Classroom and written on Teacher: Instruct T
whiteboard) students on lesson
1. Learn about the Piano plan.
(Draw Visual Piano + Letters on board + worksheet handout)
2. What are chords & how to play chords. Student: Listen for
3. Challenge Yourself on Piano Keys instructions.
(Access “musictheory.net”)
4. Creating music from simple chords through Garageband. Resources:
(Musical Example “Awolnation - SAIL”) Whiteboard
10 Piano: Chord Identification Teacher: T/S
Draw or Create a Visual Piano on the Whiteboard. Visual Piano on board.
Hand out double sided worksheet. Inform students that we will be using the keyboard Worksheet Handout
on the worksheet to discover the mechanics of the piano. Explain the Piano,
From this keyboard demonstrate the following. Letters, Accidentals,
- C major Key (all white notes) Key, Chord
- Add Note Lettering “C-C” (1 OCTAVE) construction.
- Accidentals (Sharp or Flats) used for key changes.
- Composition of a chord (3 or more notes played together at the same time.) Student: Listen and
Mention types of chords (major, minor, augmented, diminished, seventh) observe. Contribute
- Simple way of remembering chords (hand positions: 1,3&5) within chord
Ask students to use the other side of the worksheet with the hand and multiple construction through
keyboards to highlight each chord within the C major Key as well as the correct finger use of iPads.
placement for triad chords. Students can use their iPads for visual representation of
musical ideas. Resources: iPads,
- Question student understanding by asking them if I was to play a C chord what notes Whiteboard
would I play? (Ask students to come to the whiteboard to place note markers on the
notes for the selected chords)

Inform students to glue the worksheet into the books and refer to this visual chart
when in need of chord placement among the C Major Key.
35 Challenge Yourself Quiz Teacher: Optional for S
Students will be provided with some time to further challenge their understanding of students who may
the mechanics of music theory among the piano through a note identification test want to challenge
provided through the link below. themselves.

https://www.musictheory.net/exercises/keyboard/y9dyyynbynb Student: Can complete

if you like.
Notify students that the objective is to get at least 5 correct answers but students can
challenge themselves to complete as many as they can within the time frame given. Resources: Music
Theory.Net
40 Listening: Awolnation- SAIL Teacher: Play musical T/S
Inform students that the next half of the lesson we will be focusing on the use of example of what is
Garageband to compose a song using 4 chords from the C major key that we just expected.
learnt.
Resources: YouTube
Next, show an example of a song (Awolnation - SAIL) that they might know through
Apple TV. Explain the intention of showing this musical excerpt to provide an example
of how they could construct their song.
Students may refer to the structure and compositional formation of this song as a
starting point for their own composition.

https://www.youtube.com/watch?v=qPLz5oPVO8I

Activity: Students will need to research and find another song that has been covered
through the software known as Garageband. They must post the link (URL) for this
piece to the allocated post on Google Classroom and create a key for the textural
layers within this piece. (For example: Sail: S - Solo, M - Melody, B - Bassline, L- Lyrics).
45 Group/ Individual Work Garageband Dance Track/ Composition Requirements Teacher: Write S/T
Using Garageband students are to create a new song by using the instruments among Instructions on board.
the software or by recording the sound from a musical instrument within the
classroom. Some songs may be presented to the class anonymously to showcase the Student: Start working
 idea of composing musical ideas from four chords of the C Major key. on composition.

Students will need to highlight the textural layers within their composition through a Resources: iPad,
visual key that may use letters, explicit language or pictures to describe each existing Garageband,
layer. Instruments.
Students will then need to screenshot their Garageband display of the multiple
instrument tracks to support their description of each layer.

Students will be provided with 40 minutes to identify and schedule a plan to ensure
each layer and the following requirements are present within their composition. (This
schedule can be provided among submission as supporting documentation for
understanding the composition).

Song Requirements:
1 Verse (8 bars)
Four Piano Chords from the C Major key
Beat or Rhythm (or both)
Either vocals or a melody (or both)

Record progress of student work by asking students what have they done and how?
85 Reflection & Pack Up PACK UP Procedures T
Students will spend the next 5 minutes of class completing a google form that explores
the student’s intention through questions like ‘describing what you have just created’,
‘what do you like about your piece’ & ‘if you could change anything what would you
change?’
Reflection
What have I learned about the teaching and learning process when preparing this
lesson?

The progression from learning the piano and implementing this among student
composition may take longer than expected in regards to timing.

How am I measuring the outcomes of this lesson?

Learning Outcome Method of measurement and recording

4.1, 4.2, 4.3, LS.1, LS.2
4.4, 4.5, 4.6, LS.4, LS.5, LS.10
4.12, LS.6
LS.7
Demonstrated through presentation to teacher of progress
of work.
Demonstrated through the creation of their musical task.
Presentation of musical ideas.
Lesson Activity: Research Task

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 Evidence within this lesson

Standards
1.2 Through the use of visual interaction within all aspects of activities in
lesson.
1.5 Use of Garageband to create differentiation in achieving the
Composition Task set for the lesson.

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?
Classroom Safety: Space & objects in walkways.
Instrument Use: Correct Use & Volume Limit.

References (In APA)

You must list all references that you have used for the content and resources of this
lesson in this space.

Resources Attached:
You must list all the resources that you have created or found in this space.