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1/24/16
1
2016%Illinois%Music%Educa2on%Conference%
#imec2016
Teaching to Your Test?!?! YES!
Sarah Inendino and Erin Kozakis, presenters
Using Backward Design to Maximize Student Growth
Sarah Inendino Music Teacher, Pleasant Ridge School
Erin Kozakis Music Teacher, Prospect Elementary School
#imec2016
Learning Target #1
I can define Backward Design. Information drives instruction, so let’s get some information! Take out your phone, and follow the directions on the next slide.
**PRIOR KNOWLEDGE ALERT** What is a learning target?
It is an assessable learning goal that is in student-friendly language (i.e. what is the student supposed to know?). It can focus student learning and focus instruction.
Desired outcomes Assessment Learning
plan
What is Backward Design? • A way to plan out instruction that includes three stages:
• While Backward Design can be instrumental in planning quality instruction and assessment related to PERRA, it is a means of creating quality instruction for all teaching.
• Designing instruction starting with the end result in mind – what you want your students to know (the standards).
• Focuses on the objective, not the activity - it helps us to dig deeper, not just cover material.
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#imec2016
What is Backward Design?
“Deliberate and focused instructional design requires us as teachers and curriculum writers to make an important shift in our thinking about the nature of our job. The shift involves thinking a great deal, first, about the specific learnings sought, and the evidence of such learnings, before thinking about what we, as the teacher, will do or provide in teaching and learning activities.” (Wiggens and McTighe)
Desired outcomes Assessment Learning
plan
#imec2016
Instrumental Piece 15 Music For Children, volume 1
Page 104 Orff/ Keetman
PROCESS: 1. Rhythm reaction game 2. Sight-read the rhythm on rhythm syllables 3. Sight-sing the melody on the music staff 4. Transfer the melody to barred instruments 5. Add harmony parts
#imec2016
Marzano’s Levels of U
nderstanding
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#imec2016
I can sing and play a pentatonic song using correct pitches, rhythm, and steady tempo.
I can sing pentatonic patterns I read on the music staff.
#imec2016
The Format of Backward Design
1. Identifying the Standard unpack the standards into learning targets
2. Formative and Summative
Assessments measurable data of student growth
3. Instruction and Activities
how data can guide instruction and maximize student growth
#imec2016
Why Backward Design? “We have found that backward design helps avoid two familiar “twin sins” of planning and teaching. The first “sin” occurs more widely at the elementary and middle levels and may be labeled “activity-oriented” instruction. In this case, teacher planning is focused on activities. Often, the activities are engaging, hands-on, and kid-friendly. Those are fine qualities as long as the activities are purposefully focused on clear and important goals and if they yield appropriate evidence of learning.” (Tomlinson and McTighe, 2006)
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#imec2016
STAGE 1:
IDENTIFYING THE STANDARD
#imec2016
Unpacking a Standard I can unpack a music standard.
State Standard 26.A.2d: Read and interpret the traditional music notation of note values and letter names
Learning Targets:
I can define melody and harmony (k)
I can define “pentatonic.” (k)
I can identify the notes (solfege) in the
pentatonic scale. (k)
I can write down pentatonic melody I know well.
(s)
I can sing pentatonic patterns I read on the
music staff. (s)
I can sing a pentatonic song I know well using
correct pitch, rhythm, tone, steady tempo,
breath support, and diction. (s)
I can improvise using the notes of the
pentatonic scale. (p)
I can create a song using the notes of the
pentatonic scale. (p)
#imec2016
Web
b’s
Dep
th o
f Kno
wle
dge
CONSIDERATIONS: Verbs used in the Targets Focusing on Higher levels
When we think about identifying standards and the desired outcome of instruction, we have to think about digging deeper and striving for higher-level thinking.
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#imec2016
What Makes a Strong Learning Target?
I can write a measurable learning target.
Marzano says… 1. Written in student
friendly language 2. Measurable 3. Focused on the
objective, not the activity 4. Directly related to the
curriculum 5. Time bound 6. Fits logically into the
progression of higher learning
#imec2016
STAGE 2: ASSESSMENT
Formative and Summative Assessment
I can choose and create the most effective type of assessment for my learning target.
#imec2016
Assessment Descriptions A look at the work of Richard Stiggins
Assessment Method Description Selected response One correct answer
Constructed response/ Extended-written response
Fill in the blank Short answer essay
Performance Assessment Performance or product
Personal communication Interview, oral exam, discussion
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#imec2016
Match the Assessment to the Learning Target Type of
Target to be
Assessed
Assessment Method Selected
Response
Constructed Response/
Essay
Performance Assessment
Personal Communication ************
Place Learning Target on the top of
the Assessment
**************
Knowledge Good Match Good Match Not a Good Match Partial Match
Reasoning Partial Match Good Match Good Match Good Match
Performance Skills
Not a Good Match
Not a Good Match Good Match Partial Match
Product Not a Good Match Partial Match Good Match Not a Good
Match
#imec2016
Formative & Summative Assessment Characteristics Formative Assessments • On Going • Quick • Informs Instruction • Checklists
Formative Assessments • Exit Slips • Activities that allow for students
to show their understanding of a target
• White Boards
Summative Assessments • End of the learning experience • Assessing many different
targets
Examples: • Written test • Projects Compositions
#imec2016
Form
ativ
e A
sses
smen
t
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#imec2016
Programs to Help You Sort and Report Data • Google Classroom
• Kahoot • Schoology
• Poll Everywhere • Google Forms
#imec2016 Sum
mat
ive
Ass
essm
ent
#imec2016
Pre and Post Assessments – Why Use Them?
Allows to create groupings
Guides Instructional activities
Measures student growth
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USING TECHNOLOGY FOR PRE- and POST-ASSESSMENTS
Pre-
Asse
ssm
ent i
n Sc
hool
ogy Post-Assessm
ent in Schoology
#imec2016
Stage 3: The Learning Plan Learning Target: I can choose and create activities that specifically address the desired learning outcome.
• Activities reach the learning targets and standards (not just cover them)
• Differentiation – use the data to assist in creating learning experiences that reinforce concepts and skills
• Enrichment – use the data to assist in creating extension activities that dig deeper
#imec2016
Applying Differentiation to the UbD Framework
(Tom
linso
n an
d M
cTig
he, 2
006)
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9
#imec2016
Extensions – Go deeper, Not broader • More complicated and/ or longer
melodic patterns to sing • More complicated and/ or longer
dictations • Students create their own
pentatonic pitch patterns for others to sing
• Students play pentatonic pitch patterns on an instrument
Remediation • Small group instruction or centers • Melodic patterns that start with less
solfege options • Dictation examples that have
“landmarks” or a note written in each measure to help the student
• More dictation listenings • Help with tracking of melody during
dictation
I Can Create Extensions and Remediation for Individual Learning
#imec2016
What Can it Look Like in the Classroom? Extensions and remediation CAN take place at the same time in a whole group setting. Watch for: • Students extending by figuring out
how to place the solfege on glockenspiels
• Students helping peers track the written melody
• Students extending by using hand signals
• Students receiving “landmarks” – solfege is given at the beginning of each phrase
#imec2016
WANT TO LEARN MORE? Resources on Backward Design:
Marzano, R. J. (2007). The art and science of teaching: A comprehensive framework for effective instruction. Alexandria, VA: Association for Supervision and Curriculum Development. Orff, Carl, & Keetman, Gunild. (1958). Music for Children: Vol. 1, Pentatonic. London, England: Schott & Co. Ltd. Stiggins, R. J. (2005). Student-involved assessment for learning (4th ed.). Upper Saddle River, NJ: Merrill/Prentice Hall. Tomlinson, C. A., & McTighe, J. (2006). Integrating differentiated instruction & understanding by design: Connecting content and kids. Alexandria, VA: Association for Supervision and Curriculum Development. Webb, N. (1997). Research monograph number 6: Criteria for alignment of expectations and assessments on mathematics and science education. Washington, D.C.: CCSSO. Wiggins, G., & McTighe, J. (2005). Understanding by design (2nd ed.). Alexandria, VA: Association for Supervision and Curriculum Development.
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Future%ILMEA%Professional%Development%Dates%
#imec2016
Sing, Dance, Create and Play the General Music Classroom Way Friday, April 22, 2016- Neuqua Valley High School
Summer Learning Series
Tuesday, June 21, 2016- Southern Illinois University, Carbondale, IL
Summer Learning Series Wednesday, June 22, 2016- Bloomington ROE, Bloomington, IL
Summer Learning Series
Thursday, June 23, 2016- Grove Junior High School, Elk Grove, IL
Please check the Professional Development Page of ILMEA.org for more opportunities.
ConfPlus: View the conference schedule and give session specific feedback by downloading the ConfPlus app in your mobile app store.
[UNDERSTANDING,BY,DESIGN,TEMPLATE,2,MUSIC]! 1!!
MUSIC&AREA&(i.e.&band,&choir,&general&music):&!
CURRICULAR&TOPIC/&CONCEPT:&&!
1.&Desired&Results&Grade/&Level:&&!
!
State/&National&Goals:& State&Performance&Descriptors:&
Prior&Knowledge:&
Enduring&Understandings:& Essential&Questions:&
Students&will&know:&(learning!targets)!
Students&will&be&able&to:&(learning!targets)!
2.&Assessment&Evidence&PrePAssessment&(what!do!students!know!that!will!guide!instruction?):&&&Performance&Tasks&(summative!assessment):& & Other&Evidence&(Formative!assessment):&
&&&&&&
Proficiency&Scale&(what!does!it!look!like!to!meet!the!targets?):&&&&&&&&&Checklists:& &&&
! !
3.&Learning&Plan&Pentatonic&Song&List/&Materials:&&&&&&Whole&Group&–&Guided/&Small&Group&–&Independent&Sequence:&&&&&&Remediation:&&&&&&&&
Enrichment:&
!
BACKWARDDESIGNPLANFORCURRICULARINSTRUCTION&STUDENTGROWTH
MUSICAREA:ElementaryGeneralMusic
CURRICULARTOPIC/CONCEPT:PentatonicScale–Dobased(do,re,mi,so,la)
1.DesiredResultsGrade/Level:• 4thGrade–quarter1
State/NationalGoals:• 25.A.2c:Identifyelements&
expressivequalitiessuchastonecolor,harmony,melody,form,rhythm/meter&dynamicsinavarietyofstyles
• 26.A.2d:Readandinterpret
thetraditionalmusicnotationofnotevaluesandletternames.
StatePerformanceDescriptors:• 25A-StageD-7:Definemelody
andharmony.• 26A-StageD-5:Notatesimple
rhythmicandmelodicpatterns.
• 26A-StageD-6:Singorplayaccuratelysimplerhythmicandmelodicpatternsfromawrittenscore.
• 26B-StageD-1:Singorplaymusicthathasadifficultylevelof1(onascaleof1-6)onpitch;inrhythm;withappropriatetimbre;withasteadytempo;withgoodbreath,bow,malletorfingeringcontrol;andwithcleararticulation/diction.
• 26B-StageD-2:Improvisesimplerhythmicvariationsorsimplemelodicembellishmentsonfamiliarthemes.
• 26B-StageD-3:Createshortsongsorinstrumentalpieceswithinspecifiedguidelines.
PriorKnowledge:• so,la,&mi(canread,write,
sing,play,improvise,create,move,&listen)
• musicstaff(linesandspaces
bynumber)• abilitytoperformandread
rhythmsthatincludequarternotes,eighthnotes,halfnotes,quarterrests,halfrests,wholenotes,wholerests
EnduringUnderstandings:• Musiciansusepatternsofpitches,
rhythms,andformtocreateasong
• Ascaleisapatternofpitchesthathavethesamerelationship
• Musicnotationisawayofrepresentingsoundswehearandwanttorecreate
• Musiciansreadmusic,justlikewereadwords,toplayorsingmelodiesandrhythms.
EssentialQuestions:• Whatmakesagoodmelody?• Howdowewritedownpitches
andmelodieswehear?• Howdomusicianscreateasong?
• Howdowelearnmelodiesthatotherpeoplehavecreated?
Studentswillknow:(learningtargets)• Icandefinemelodyand
harmony.(k)• Icandefine“pentatonic.”(k)• Icanidentifythenotes
(solfege)inthepentatonicscale.(k)
Studentswillbeableto:(learningtargets)• Icanwritedownapentatonic
melodyIknowwell.(s)• IcansingpentatonicpatternsI
readonthemusicstaff.(s)• IcansingapentatonicsongI
knowwellusingcorrectpitch,rhythm,tone,steadytempo,breathsupport,anddiction.(s)
• Icanimproviseusingthenotesofthepentatonicscale.(p)
• Icancreateasongusingthenotesofthepentatonicscale.(p)
BACKWARDDESIGNPLANFORCURRICULARINSTRUCITON&STUDENTGROWTH
2.AssessmentEvidencePre-Assessment(whatdostudentsknowthatwillguideinstruction?):• Writingsolfegeofwrittenpatternsinpentatonic&singingshortpatternsinpentatonic
(flashcards)PerformanceTasks(summativeassessment): • Composeasongusingthepentatonicscale
(compositionrubric)• ImproviseinDoPentatonic(checklist)• PerformasonginDoPentatonic
(performancerubric)
OtherEvidence(Formativeassessment):• Improvisation• Flashcardsingingwithtransposition• Chainsinging(activitycourtesyofPaulWeller)• Songdictation• Songphrasemix-up• Self-assessmentusingtheMarzanoscaleof
understanding
ProficiencyScalesandRubrics(whatdoesitlookliketomeetthetargets?):Pre-testPentatonicProficiencyScalehttps://drive.google.com/file/d/0B3zs9A6Dg-Yya2lwQlUzM3g4cWc/view?usp=sharingPost-testPentatonicProficiencyScalehttps://drive.google.com/file/d/0B3zs9A6Dg-Yya0ZMRmFDdnV3VlU/view?usp=sharingCompositionRubrichttps://drive.google.com/file/d/0B3zs9A6Dg-YyT0dlbFItRHNPa0U/view?usp=sharingChecklists:ImprovisationChecklisthttps://drive.google.com/file/d/0ByO5G1-UDWEHMnNQYk8yV0hwQnc/view?usp=sharing
BACKWARDDESIGNPLANFORCURRICULARINSTRUCTION&STUDENTGROWTH
3.LearningPlanPentatonicSongList/Materials:• GreatBigHouseinNewOrleans• IdaRed,IdaBlue• Page’sTrain• DanceJosey• DetaDeta(withtheVeryLonelyFireflybyEricCarle)• WeeWillieWinkie(Thyme4aRhyme,p.24)• QueLlueva(2ndGradeGamePlan,p.109)• MelodyMice(Almedia)• FuzzyWuzzy(Calantropio)• NewWorldSymphony(isitpentatonic?)• PiecesfromtheOrffVolumes:
o Volume1–Canonexercise#1,p.91o Volume1–Instrumentalpieces#15,p.104
• MelodyFlashcards• StorybotsApp• NotesquishApp• SolfegeManipulativesInstructionalProcess:
• Preparetheconceptofpentatonicthroughactivitiesandlessonthatallowstudentstoexperiencethepentatonicscale.Usepreplanguageof“5notes.”
• Presentthepentatonicscaleusingthetunesabove,labeling“Pentatonic”as“5notes”andcomparingitto“Pentagon”as“5sides”(formativeassessmentsusedtogagestudentunderstanding)
• Practicetheconceptusingthetunesandactivitiesabove(summativeassessmentsusedtogagestudentunderstanding)
• CreateopportunitiesforGuided(Ido/wedo),Group(y’alldo),andIndependent(youdo)activities
• Createopportunitiesforthepentatonicscaletobeusedinallmodalities(sing,play,read,write,compose/create,improvise,listen,move)
Remediation:• Smallgroupinstructionorcenters• Melodicpatternsthatstartwithlesssolfege
options• Dictationexamplesthathave“landmarks”or
anotewrittenineachmeasuretohelpthestudent
• Moredictationlistenings• Helpwithtrackingofmelodyduring
dictation
Enrichment:• Morecomplicatedand/orlongermelodic
patternstosing• Morecomplicatedand/orlongerdictations• Studentscreatetheirownpentatonicpitch
patternsforotherstosing• Studentsplaypentatonicpitchpatternson
aninstrument
Icancreateasongusingthe
notesofthepentatonicscale.
IcanperformpentatonicpatternsIreadonthemusicstaff.
NAME_________________________________________________________________ CLASS_____________________
PENTATONICCOMPOSITIONDirections:Createapentatonicmelodyformeasures6–10.Writethesolfegebelowthenotesyoucompose(d,r,m,s,l).Besuretowriteyournameintheappropriatecomposer’slocation.Practicesingingorplayingtheentiresong.
™™
ComeCome
andand
lisjoin
tenus
- toin
ourour
mussing
ic,ing
--
comejoy
andful-
lis ten- to our song. mus ic- all day long.
1. 2.
™™
1. 2.
™™
ComeCome
andand
lisjoin
tenus
- toin
ourour
mussing
ic,ing
--
comejoy
andful-
lis ten- to our song. mus ic- all day long.
1. 2.
44&
Instrumental Piece 15
Orff/Keetmanb section by ___________________
&
&
˙ ˙
˙ ˙
TeachercanfillinnotesfromInstrumentalPiece15,MFCVol.1
4th Grade Pentatonic Scale Composition Rubric
Learning Target: I can create and perform a song using the notes of the
pentatonic scale
1 2 3 4
Writing the Pentatonic
Scale
Did not yet use the notes of the
Pentatonic scale.
Used at least three notes of the Pentatonic scale..
Used all of the notes in the
Pentatonic scale (do, re, mi, sol, la) and ended on do.
Used all of the notes in the
Pentatonic scale, and can transfer it to an instrument or create bordon
accompaniment.
Writing the Rhythm
Did not use a variety of notes and did not have
the correct number of beats in
a measure.
Used some of the notes (two or
less). Sometimes used the correct number of beats in
a measure.
Used a variety of notes (at least three) including quarter notes,
eighth notes, half notes, quarter rests, and half rests. Used the correct number of beats in each measure.
Used a variety of quarter notes,
eighth notes, half notes, quarter rests, half rests, dotted rhythms and sixteenth
notes. Used the correct number of
beats in a measure.
Using musical
notation (mechanics)
Music was unorganized and
not written correctly.
Some of the musical markings were present but
some were missing, or notes were not written
correctly.
Music was written correctly with a time signature,
treble clef, double bar line, and notes drawn correctly.
Music was written correctly with a time signature, treble clef, and double bar line.
Notes were drawn correctly, and had other musical
markings such as dynamics, tempo markings, etc.
Performing the
composition
Rhythms and pitches were not
performed correctly YET.
Some of the music was performed accurately, but it had several pitch and rhythm errors.
Performed music with accurate pitch
and rhythm.
Performed music with accurate
pitch, rhythm, and other expressive qualities (tone
quality, dynamics, phrasing, etc).
Down the road and a cross- the creek, Can't get a let ter- but once a week,
I da- red, I da- blue, I got stuck on I da,- too.
Great big house in New Or leans- for ty- sto ries- high.
Ev' ry- room that I've been in, filled with pump kin- pie.
Pa ge's- train runs so fast
Can't see noth in'- but the win dow- glass.
24
24
44
&##I DO/ WE DO
Learning Target: I can write down a pentatonic melody I know well.
Name:Homeroom:
Ida Red
&##
&##
Y'ALL DO- work in partners tofinish writing the melody!
Great Big House InNew Orleans
&##
&
YOU DO- Finish writing themelody by yourself! Page's Train
& ∑ ∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ ˙
4th Grade Melody Dictation
NAME_____________________________________________________________&&CLASS____________________&&
&&&
&&
&&
& ( : C :C CA :C &
K C C = &
CE: E K A &
E =K& **&
&
* A ECI H =C CC
&
* * * .)( ,* &
H:L
A
EL
A
E CAA
C: E = CHE K C H E H : EA C
!
Learning Target: I can sing pentatonic patterns
I read on the music staff.
!
I can sing a pentatonic pitch pattern using correct pitch, solfege, rhythm, steady tempo, breath support, and diction.
!
I can sing a pentatonic pitch pattern with correct pitches and solfege.
!
I can sing a pentatonic pitch pattern with correct pitches and solfege with help, or with minor mistakes.
!
Even with help, I cannot sing pentatonic pitch patterns with correct pitches and solfege YET.
!
Learning Target: I can sing pentatonic patterns
I read on the music staff.
!
I can sing with good projection a pentatonic pitch pattern using correct pitch, solfege, rhythm, steady tempo, breath support, diction, and expressive qualities (i.e. dynamics, phrasing).
!
I can sing a pentatonic pitch pattern using correct pitch, solfege, rhythm, steady tempo, breath support, and diction.
!
I can sing a pentatonic pitch pattern with correct pitches and solfege with help, or with minor mistakes.
!
Even with help, I cannot sing pentatonic pitch patterns with correct pitches and solfege YET.