Erin Dixon 
dixon2en@dukes.jmu.edu 
Block 1 Placement 
Oak Knoll Middle School 

Impact on Student Learning  

28​th​ February 2020 

PURPOSE 
The purpose of this project was to implement a unit that introduced, developed, and 
strengthened student understanding and application of audiation. In the first weeks at this 
placement I observed that most of the students’ musical challenges were a result of dependence 
on the piano, including: sight-reading, intonation, and trouble singing a cappella. From these 
observations I first identified the objectives and goals in which students should achieve by the 
conclusion of the unit. From these outcomes I structured the unit into 3 lesson plans (5 counting 
pre and post-assessment) and developed the procedures for both pre and post-assessment.   

UNIT OBJECTIVES 
MCI.1 The student will read and notate music, including 1. identifying, defining, and using standard 
notation for pitch, rhythm, meter, dynamics, and other elements of music; and 3. ​sight-singing 
eight-measure, stepwise melodic patterns from unison examples, using the major scale and 
maintaining a steady beat. 

● I can sight-read a short excerpt ​after​ using the audiation process twice (hand-signs, no 
humming) with no intonation or rhythmic errors in the first or second try. 
○ Forward: I can sight-read a short excerpt after using the audiation process once 
(hand-signs, no humming) with no intonation or rhythmic errors in the first try. 
○ Back: I can sight-read a short excerpt after using the audiation process two or 
more times (hand-signs, some humming) with only rhythmic errors after two or 
three tries. 
● I can apply the audiation process (hand-signs, no humming) when we sight-read a new 
piece as a class or to prepare for district assessment. 
○ Forward: I can sight-read a new piece or assessment example without audiating 
through it first (hand-signs only, no humming, straight to singing). 
○ Back: I can sight-read a new piece or assessment example after audiating 
(hand-signs, some humming) through it two to three times. 

 
 
 

MCI.3 The student will demonstrate vocal techniques and choral skills, including 1. maintaining 
proper posture for choral singing; 2. using breathing techniques that support vocal production; 3. 
demonstrating diaphragmatic breathing; 4. identifying the difference between head voice and 
chest voice; 5. strengthening vocal independence, agility, and range by singing developmentally 
appropriate vocal exercises; and 6. ​using correct intonation​. 

● I can use the audiation process no more than twice (hand-signs, no humming) to sing 
through a series of intervallic patterns, fixing any intonation errors on the second try. 
○ Forward: I can use the audiation process once (hand-signs, no humming) to sing 
through a series of intervallic patterns without any intonation errors on the first try. 
○ Back: I can use the audiation process two or more times (hand signs, some 
humming) to sing through a series of intervallic patterns, fixin most indentation 
errors on the second or third try. 

PRE-ASSESSMENT 

Overview: 
The assessment process for this project included multiple modalities and therefore multiple 
methods of assessment. Without any knowledge of audiation, student’s first partook in a ​Google 
Form​ quizzing their knowledge and reason behind the subject of learning. Following the 
completion of the quiz, students joined me individually in my cooperating teacher’s office and 
engaged in ​exercise serving to test​ their current skill set of hands-on audiation. This method of 
assessment consisted of me asking students to sing several patterns on solfege and finishing 
with a sight-reading example. The patterns students were asked to sing were as follows: ​do mi 
so​, ​so mi do​, ​do so​,​ do mi​, ​mi do​, ​mi so​, ​so do​, ​do re mi​, ​mi re do​, ​do re mi fa so​, ​so fa mi re do​. 
In all of the previous exercises students were only given the starting pitch. Each student was 
given a score of y if they sang the intervals in tune, an n if they did not, and an h (only an option 
for the sight-reading portion) if they sang either the pitches or the rhythm correctly. Since time 
was limited, the sight-reading example was kept short and simple and students were only given 
30 seconds to look it over. The example used to sight-read is as followed: 

 
 
 

Results: 

 
 
 

 
 
 

LESSON OBJECTIVES 
National Core Arts Anchor Standard #5 - Presenting: Develop and refine artistic techniques and 
work for presentation. 

● I can define what audiation is in relation to music making. 

● I can discuss the differences between the internal and external audiation processes, 
understanding that the two make up one complete process.  
● I can display each of the diatonic Kodaly hand-signs. 

Lesson One: ​2.12.20 

In this lesson the concept of audiation was introduced by ​defining the term​ in their notebooks 
and exploring its relation to everyday singing.   

Audiation: the internal process of hearing music even when there is no music present.   

Exploration first began by chanting “1 2 3 4” together in unison, switching to counting in their 

heads after four measures of chant, then returning back to chant on my cue. This experience 
resulted in everyone coming in on different numbers, showing that their internal speedometers of 
audiation weren’t lining up. Students engaged in this activity multiple times and were 
continuously surprised when they weren’t able to come back in in a strong unison. To continue 
exploration we did a similar experience with ​Mary Had a Little Lamb​. Students began singing in 
unison, switched to audiating after the first phrase (“Mary had a little lamb), then were to return to 
singing on the final “lamb”. Similar to the first experiment, we were unable to come in together, 
allowing students to begin grasping the complex process of audiation.   

Lesson Two: ​2.14.20 

This lesson began with immediately continuing our exploration of the audiation process. Rather 
than chanting “1 2 3 4” we added both pitch and solfege, chanting “do re mi fa '' while using our 
hand-signs. After we engaged in this experience a few times we reviewed our definition of 
audiation, breaking down the meaning behind the constraint of an​ ​internal​ process​. Students 
easily grasped this constraint and understood that audiation occurs inside the brain in 
collaboration with the ear, all ​inside of ​our instrument. To prompt discussion I asked “What are 
some ways we engage with our ​external instrument​?”. Discussion included topics of moving, 
clapping, tapping or dancing. From here we eventually arrived at the statement that the external 
process of audiation must include hand-signs. Once clarifying we reviewed each of the diatonic 
Kodaly hand-signs​, frequently assessing and scanning the room to ensure no student was 
confused or unclear. Then we engaged in some audiation practice that included me displaying a 
 
 

simple series of three hand-signs (do mi re) then having them echo on solfege syllables ​after 
audiating through once.   

Lesson Three: ​2.18.20 

The final lesson of this unit began with a few sight-reading excerpts. Though they were the same 
difficulty and length (VCDA Middle School Level two, eight-measures) as they usually work on, 
before singing through each excerpt we took the time to practice our audition process of thinking 
it through in its entirety (no humming) emphasizing the importance of using hand-signs. After 
students audiated through in their own time (allowed for 30 seconds, roughly) we sang through 
each excerpt continuing with the use of hand-signs. Students were so proud of how well they did 
singing on the first try and were completely blown away by how effective the audiation process 
proved for them. After a few sight-reading examples we returned to the same experiences we 
engaged with in the first lesson: chanting “1 2 3 4” and singing ​Mary Had a Little Lamb.​ It was 
really fulfilling to notice their excitement that resulted from finally coming in together and on the 
right beat. We concluded the unit by reviewing the definition, benefits, and steps of the audiation 
process and I applauded them for their hard work towards their internal musicianship. 

POST-ASSESSMENT 

Overview: 
Students engaged in the same forms of assessment they originally engaged with before the unit 
took place. Students were reminded to audiate and use their external tools (hand-signs) before 
they began the individual method of assessment. 

Results: 

 
 
 
 
 

 
 
 

REFLECTION 

Student Learning 
When observing the change in results from pre-assessment to post-assessment it is clear that 
students were able to engage, challenge, and grow in their musicianship within the audiation 
process. Evidence from pre-assessment shows that students were originally unaware of what 
audiation was, how it works in relation to internal musicianship, and how it directly affects them in 
everyday music making experiences. Though 64.5% of students initially stated that they felt 
unsteady when singing a cappella, the majority of them (54.8%) gave themselves an above 
average score of four or five when concerning their confidence singing without piano. This 
proved quite mitigating to me throughout the individual pre-assessment process because out of 
the 31 students tested, only three were able sing the sight-reading excerpt correctly even though 
the majority of students (54.8%) gave themselves an average personal score of three pertaining 
to confidence when sight-reading. Upon reviewing post-assessment scores, 83.9% of students 
shared that their exploration with audiation has allowed them feel more confident when singing a 
cappella, the majority of students (51.6) now giving themselves an above average personal score 
of four pertaining to their confidence when sight-reading. Results also showed student’s 
understanding and conception of the audiation process including the definition, why it’s 
important, and why it’s crucial to understand and use external tools (Kodaly hand-signs and 
syllables) when audiating. Not only this, but numbers were much higher throughout all aspects of 
assessment including the individual portion. In observing the ​individual post-assessment results​, 
there was not a single student who was unable to successfully complete the sight-reading. 
Roughly half of the students were able to perform the excerpt perfectly on the first try after 
audiating through twice, the other half usually forgetting to pay attention to rhythmic errors. 
During the intervallic portion, some students attempted to rush through the patterns, causing 
incorrect intonation. After reminding students to audiate before singing each pattern, students 
would do so and sing the pattern again with correct intonation 100% of the time.   
 
 

Instructional Adjustments 
When initially constructing methods of assessment and instruction, both modality and continuous 
adaptation were of the highest priority. The class I implemented the unit with is an inclusive 
classroom, a few of the students being exceptional. Before drafting any form of assessment or 
lesson plan, I got to know what method of learning works best for them and used the first four 
weeks of the block getting to know each and every student. Though it is impossible to get said 
understanding anywhere close to perfect in just four weeks, the information gathered allowed me 
to structure an assessment and implementation process that would efficiently and effectively 
relate the topics discussed to students. Students first engaged in ​visual​ assessment by taking 
the quiz, then were assessed on their ​kinesthetic​ hand-signs and intervallic patterns (​aural​) 
during individual assessment. As always, attention to pacing was critical throughout instruction in 
order to ensure students were receiving and understanding knowledge through a balance of 
modalities without confusion. Everything discussed involved some sort of visual representation 
(image/white board) and students would echo important phrases after they had already been 
repeated a few times. In addition, the importance of Kodaly hand-signs were emphasized in any 
activities or experiences that encouraged even more movement such as tapping, clapping, or 
stomping to keep the beat.   

Potential Modification 
The implementation of the audiation process is something I am extremely passionate about at 
any grade level. This unit proved incredibly effective and positive for students and I have even 
had students from other classes wondering why they were not able to engage in similar 
experiences. Because of the success of this unit, implementing it again in the future is something 
I will strive to accomplish, modifying a few aspects to grow and strengthen the instructional 
process. Beginning with assessment, it may be beneficial in the future to lengthen the amount of 
time in which the unit is covered in order to assist with pacing and have the opportunity to 
implement the assessment again in the middle of the unit. The intervallic portion of the 
assessment gathered that some students are still struggling with the audiation of specific 
intervals (ascending/descending M3, M2). Formal assessment in the middle of the unit would call 
attention to the areas in which students are struggling, allowing for lessons to better focus on the 
root of the problem. Assessment results also gathered that students were not able to grasp that 
audiation isn’t necessarily a visual process, not having to do with the visual representation or 
notation of music. Though it can be beneficial when growing these areas of musicianship, in 
future instruction the differences between the internal and external instrument could be further 
explored. I would also dive deeper into additional resources students could use to assist with 
audiation such as arpeggiating the key or problematic resources such as humming. I am 
incredibly proud of the hard work my students put towards this project, and I am certain they are 
proud of their results of a stronger musicianship accompanied by the audiation process.