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Music For EveryoneVMEA – November 2014
Berta HickoxAlice Hammel
DIFFERENTIATING ASSESSMENT FOR
ALL LEARNERS
Our literacy sequences are commonly linear, and rerouting or remediating becomes diffi cult in a general music classroom.
In every class, students begin to fall behind as they skip steps or get lost in our teaching sequences.
We commonly encounter students who are entering our classroom after other students have had years of sequenced instruction.
RATIONALE FOR “WINDING IT BACK”
We also frequently teach students who have already mastered our current, and perhaps future, goals and who are hoping for a challenge or for more diffi cult content in music class.
By ‘winding back’ or ‘winding forward’ we can accommodate the needs of all students while continuing to teach ALL students in our music classrooms.
RATIONALE FOR “WINDING IT BACK”
reading flashcardswriting with the flyswatterRhythm-Go-Roundbeat flashcardsclass set of flashcardstone/rhythm ladder or tone setrhythm rondo2-part flashcardspart-work (conducting, HS in canon, adding an
ostinato)
ACTIVITIES TO KEEP ALL THE PLATES SPINNING AT THE SAME TIME
ABACADAEA
RHYTHM RONDO
The objective: T. speaks a 4-beat rhythm pattern (duple) including quarter notes and eighth notes; individual students decode the pattern into rhythm syllables.
Queen Caroline
WINDING IT BACK – RHYTHMIC EXAMPLE
Sequential steps to achieve the objective: 1. review several rhythm patterns including the new
rhythm (verbal association)2. T. speaks 4-beat pattern on neutral syllable3. c. echoes 4-beat pattern on neutral syllable4. c. decodes 4-beat pattern in rhythm syllables
WINDING IT BACK – RHYTHMIC EXAMPLE
Steps the students have previously performed to lead up to this activity = steps to ‘wind it back’1. aural/oral patterning (neutral syllable to neutral
syllable)2. verbal association patterning (rhythm syllable to
rhythm syllable)3. duple rhymes4. speak rhyme + patsch beat - solo5. speak rhyme + point the visual – solo6. speak rhyme + show beat division – solo7. speak rhyme + show beat or beat division
WINDING IT BACK – RHYTHMIC EXAMPLE
8. speak rhyme + show beat + show beat division9. speak rhyme + tap rhythm – solo10. speak rhyme, switch between beat, beat division
and rhythm11. speak rhyme + show beat + tap rhythm - solo12. speak rhyme, patsch quarter note/beat, tap eighth
notes/beat division13. name the beat “ta” and the beat division “ta-ti”14. speak the rhyme in rhythm syllables, patsch
quarter note/beat, tap eighth notes/beat division15. speak all known rhymes in rhythm syllables16. improvise using rhythm syllables
WINDING IT BACK – RHYTHMIC EXAMPLE
Steps to ‘wind it forward’:Student improvises a 4-beat rhythm pattern (duple)
including quarter notes and eighth notes for the class or another student to decode
Student decodes a series of 4-beat rhythm patterns (duple) including quarter notes and eighth notes
Student decodes a series of 4-beat rhythm patterns (duple) including quarter notes and eighth notes while conducting a 2-pattern
WINDING IT FORWARD – RHYTHMIC EXAMPLE
The objective: Students sight sing unknown melodic patterns from a tone set containing sol and mi when s = space 3.
See Saw
WINDING IT BACK – MELODIC EXAMPLE
Sequential steps to achieve the objective:1. c. reviews the staff placement of the pitches when s
= sp. 32. T. points an unnamed but familiar song on the tone
set, c. sings the solfa and identifies the song3. T. points several known melodic patterns on the
staff , c. sings in solfa4. T. points several less familiar or unknown melodic
patterns on the staff , c. sings in solfa5. T. selects from volunteers to perform step 4
individually
WINDING IT BACK – MELODIC EXAMPLE
Steps the students have previously performed to lead up to this activity= steps to ‘wind it back’ 1. vocal exploration and pitch-matching activities 2. aural/oral patterns (neutral syllable to neutral syllable) 3. verbal association patterns (solfa to solfa) 4. songs including only sol and mi 5. high and low activities (listening and responding to
high and low pitches; stars & basket) 6. body solfa (high sounds = hands on head; low sounds
= hands on shoulders) 7. sing known songs with text and body solfa - solo 8. sing known songs using the words “high” and “low”
with body solfa. 9. name the high sound “sol” and the low sound “mi”
WINDING IT BACK – MELODIC EXAMPLE
10. sing known songs using solfa and body solfa - solo 11. hand signs for sol and mi 12. sing known songs using solfa and hand signs - solo 13. improvise using sol and mi (body solfa and/or hand signs)
- solo 14. decode 2-4 pitch patterns into solfa - solo 15. “write” solfa patterns with melodic icons 16. introduce the staff 17. read known songs from the staff when sol and mi are line
notes 18. read known songs from the staff when sol and mi are
space notes 19. Students sight sing unknown melodic patterns from the
staff when sol and mi are line notes 20. Students sight sing unknown melodic patterns from the
staff when sol and mi are space notes
WINDING IT BACK – MELODIC EXAMPLE
Diff erentiated assessment: The teacher points to patterns from the tone set that correspond with the ability levels of individual students. Students who have challenges with the task will read
patterns that are extracted from known songs that the class has previously performed with body solfa and/or hand signs.
Students of average ability will be asked to read known patterns fi rst, then will progress to more challenging patterns (i.e. patterns starting on mi or combinations of pitches that have not appeared in song literature).
Students in need of additional challenge will sing more challenging patterns such as those starting on mi or unfamiliar combinations of pitches, and may be asked to point to the tone set and sing solfa without teacher help.
DIFFERENTIATED ASSESSMENT FOR MELODIC OBJECTIVE
The objective: Student selects and reads 5 rhythm flashcards containing the new rhythm concept wise choices for self-leveling when selecting rhythm syllables match the notation correct meterappropriate and consistent temposteady beat
ASSESSMENT AND “WINDING”
Read 3 flashcards containing familiar rhythm patterns with accuracy
Read 3-5 flashcards containing rhythm patterns from previous rhythm concept
Swatting the correct rhythm pattern from a selection of 3-5 flashcards, when spoken in rhythm syllables by the teacher
Swatting the correct rhythm pattern from a selection of 3-5 flashcards, when spoken on a neutral syllable by the teacher
WINDING IT BACK
Read a series of 4 fl ashcards containing familiar rhythm patterns with accuracy
Read a series of 4 fl ashcards containing unfamiliar rhythm patterns with accuracy
Read a series of 4 fl ashcards containing unfamiliar rhythm patterns while tapping an ostinato
Choose and read (on a neutral syllable) a rhythm fl ashcard from a selection of 5 fl ashcards for a classmate
Locate and correct the error in a 4-beat rhythm when the rhythm pattern is spoken on a neutral syllable by the teacher
WINDING IT FORWARD
Sol-Mi Notation – Quarter-Eighth Notation (Presentation Stage)
A MODIFIED PARALLEL CURRICULUM FOR A FIRST GRADE GENERAL MUSIC CLASS
Non-modified or adapted curricular goals
Modified curricular goals
Adapted curricular goals
Students will decode quarter eighth patterns from chants that are well-known to them
Student will tap the rhythm with words to chants that are well-known to him
Student will derive quarter eighth patterns using popsicle sticks given as much time as necessary
Non-modified or adapted curricular goals
Modified curricular goals
Adapted curricular goals
Students will apply new rhythm syllables to chants well-known to them
Student will chant rhythms that contain quarter/eighth with other students
Student will chant using rhythm syllables at a tempo of his choosing
Non-modified or adapted curricular goals
Modified curricular goals
Adapted curricular goals
Students will sing sol-mi patterns using neutral syllables
Student will approximate higher and lower pitches following individual prompt by teachers
Student will sing sol-mi patterns using neutral syllables at a tempo of his choosing
Non-modified or adapted curricular goals
Modified curricular goals
Adapted curricular goals
Students will show higher and lower with their hands and with the use of icons
Student will show higher and lower through any modality he prefers
Student will demonstrate higher and lower using icons and/or body motions
Non-modified or adapted curricular goals
Modified curricular goals
Adapted curricular goals
Students will discover the two pitches (sol and mi) and their similarities as noted in several folk songs well-known to them
Students will sing folk songs that contain sol-mi with other students
Student will discover sol-mi in at least one folk song well-known to him
Non-modified or adapted curricular goals
Modified curricular goals
Adapted curricular goals
Students will apply new solfege syllables to chants well-known to them
Student will apply new solfege syllables to at least one chant well-known to him
The objective: The students will solfege unfamiliar patterns using only notes in the diatonic major scale (steps-no skips), and rhythms that include quarter, paired eighth, and half notes, and equivalent rests.
CHARTING STUDENT LEARNING OBJECTIVES
Pitch Matching
Sing major scale on neutral syllables, ascending
☐
Sing major scale on neutral syllables, descending
☐
Sing major scale with solfege, ascending
☐
Sing major scale with solfege, descending
☐
Sing pitches on a staff with solfege
☐
Find and sing “do” using a “do key”
☐
PITCH MATCHING STEPS
ReadingRecognize staff ☐Recognize treble and bass clefs ☐Understand line and space notes ☐Name the line in both clefs ☐
Name the space in both clefs ☐
Identify notes on lines and spaces in both clefs
☐
Recognize rhythms: half, quarter, eighth, and equivalent rests
☐
Recognize bar lines and measures ☐
Recognize time signatures 2/4, 3/4 and 4/4
☐
READING STEPS
Rhythm Readiness
Maintain steady beat ☐
Chant and clap ☐
Perform half notes and rests ☐
Perform quarter notes and rests ☐
Perform paired eighth notes ☐
RHYTHM READINESS STEPS
ELEMENTARY SCHOOL RHYTHM READING ADAPTED SEQUENCE
*Actively teach students how to think: when and how to use strategies and how to problem-solve (metacognition)
*Strategize as a class, then in smaller groups: how would you approach a sight singing exercise? Learning a new dance? Improvise in triple meter?
• This type of work wil l support common core learning in other subject areas
Overtly teach the rubric so that students can self-assess: I was able to sing the song in my head voice, sing the correct words and rhythm, and maintain the melodic contour of the song, but I cannot yet maintain good intonation, so my score on the rubric is a 4.
Challenge ALL students at their individual levels. When the student achieves the goal, raise the bar. Think l ike a solfege teacher
Reward learning, not perfection; promote eff ort, r isk, and change
FINAL THOUGHTS
Teaching Music to Students with Special Needs: A Label-Free Approach. Alice M. Hammel and Ryan M. Hourigan. Oxford University Press, 2011.
Teaching Music to Students with Autism. Alice M. Hammel and Ryan M. Hourigan. Oxford University Press, 2013.
BIBLIOGRAPHY
