How am I going to succeed in my classroom this year? (Music 20/30)

This is an assignment for EDPY 305. This details (through the midterm and final) how to be successful on the first day of school. I chose to do a Mindmap because it reflects how I best organize my thoughts, and can easily be accessed by parents.

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How am I going to succeed in my classroom this year? (Music 20/30) by Mind Map: How am I going to succeed in my classroom this year? (Music 20/30)

1. Dear parents and students: Thank you for taking the time to browse this page. The purpose of this resource is to show you as parents how I plan to encourage positive student interaction, encourage an effective, autonomous learning environment, and to teach students what they need to succeed in music. I believe that every student in my class has the capability to learn and engage in music. Music builds passion, dexterity, cognition, and the skills needed in teamwork. Through persistence, practice, and perseverance, students are able to develop the technical, social, and theoretical skills necessary to the music world. My goal is for every student in my classroom to learn these skills and to take them beyond high school and into the home and community. This will be done through a student-centered apprenticeship in that I am a resource to the students, who will be working together to create beautiful music.

2. Creating a Positive Learning Environment

2.1. It is important to establish a positive, emotionally supportive atmosphere from the moment students walk into the door on the first day of classes.

2.1.1. This sets the tone for the rest of the school year.

2.1.2. Positive encouragement to better themselves through emotionally supportive teaching. BAD: "You're really flat today. Change it." The assumption is something is wrong with the student, which is untrue for the most part. Bad example of behaviour to other students. This does not promote teamwork GOOD: "Your instrument is a little on the flat side today. You can adjust this by pushing in your mouthpiece, and it will help you play better in tune." The onus is on the instrument and the technique rather than something being wrong with the student, and helpful advice is given to help the student rather than leaving them in the dark.

2.1.3. Make an effort to compliment each section in each lesson on something. This not only shows what students are doing right, but also promotes collaboration and a positive atmosphere. Create a positive relationship with EACH student even if the student is reluctant/avoidant. Attachment Theory: Secure Resistant Avoidant Disorganized

2.2. Student seating arrangement depends heavily on what existing instrumentation there is in the classroom.

2.2.1. Students in high school come from different junior high schools, and therefore may not necessarily have a balanced array of instruments.

2.2.2. Students who would not usually associate with one another may interact within their sections. Section leads can be appointed to encourage leadership.

2.2.3. Ideal Seating Arrangements: Instrument arrangement is very important to proper acoustics, balance, and overall effect of the music. Everyone is listening to each other, across the band, and can visually communicate with the conductor.

2.3. The band room is a place to make mistakes, encourage others to better themselves, and a place to (above all else) create beautiful music.

2.3.1. We do not isolate other who make a mistake. Mistakes happen to everyone, and just because someone is unable to play a passage does not mean they are less than anyone else. Practice makes better!

2.3.2. Those who have an advanced understanding of the music can mentor and encourage others to succeed. Section leads can hold sectionals outside of class time, or organize passages that need work.

2.3.3. Everyone has the ability to contribute to the ensemble.

2.3.4. The classroom is a place to collaborate and come together.

3. Sensitivity to Student Needs

3.1. Instructional Support

3.1.1. Students are free to set up an after-class meeting with me to tackle a passage or the idea of a piece. The student may receive technical exercises and practice resources for their ability levels in order for them to get the help they need. Scales Tonguing Exercises Workbooks Pieces of Similar Difficulty Studies Long Tones Warm-up Books Etudes Rhythm Studies "Is Slow Practice Really Necessary": Students must be able to practice at home or at the school to succeed. Practicing class repertoire and exercises will encourage mastery.

3.1.2. Quality Feedback Promote positive feedback loops. Both compliment and give constructive criticism to every student in the classroom often to be able to promote a positive atmosphere, and to promote growth in music. Provide as many comments and corrections on exams/assignments as possible. On playing tests, give immediate feedback and corrections, and not just a mark out of ten.

3.1.3. Constructivism: tapping into a student's prior knowledge to build new concepts. Understanding social constructs and prior knowledge to be able to build on concepts for students in order to learn meaningful material. Learning is SOCIALLY constructed.

3.1.4. Zone of Proximal Development/Scaffolding: Students must be guided from what they can do on their own into what they are able to do with the help of a significant adult through social interaction. Lev Vygotsky

3.1.5. All questions are answered in class, and can be attempted at answering by anyone in the classroom. This promotes collaboration in the classroom rather than the instructor being the fountain of knowledge. Group work for music theory lessons. Group research projects. Students are free to explore a topic/composer of THEIR interests and that would best represent their needs. Diverse background knowledge of students concerning music history/theory.

3.1.6. Instructional Dialogue Open-ended, guiding questions Frequent feedback loops Expanding on students' answers. Collaboration in the classroom between students answering questions. Giving hints to students as to what the answer is. Answering the question, then repeating the answer, or explaining out loud the rationale behind the thought process. Expanding on the answer. Developing other ideas attached to that idea to broaden understanding.

3.2. Active listening through all sections.

3.2.1. As a conductor, I see and hear all students and may be able to pick up on individual issues either socially or within the context of a piece. Individual Strategies Technical Tuning Expression Need for Leadership Social Strategies Split students being abusive up. Conductor has the ability to be always watching the students.

4. Student Engagement

4.1. Student feedback is encouraged when it comes to picking repertoire.

4.1.1. What is liked? What is not liked? What is too hard? What is too easy? Is the instrumentation fair? Is one section not getting enough material? Is one part just filler chords rather than written music?

4.1.2. Come concert time, is this achievable? Is the piece/entire program fun, energizing, and worth the work?

4.2. Repertoire and theory assignments must be quality, challenging, engaging, and relevant to students.

4.2.1. Pop? Bach? Classical? Romantic? Marches?

4.2.2. Must be appropriate difficulty for that classroom. If repertoire is too easy, students will easily slough it off as unimportant. If the repertoire is too hard, students will not participate or think they are unable to ever achieve what I expect of them Not very many students are subjected to music theory in early years (especially those who have never taken piano lessons or private theory lessons). It is important to start from the beginning. If some students are familiar with the subject already, they can be mentors to other students during group discussions, or can help "teach" to show they understand the material, but keep them engaged. Otherwise, they may become bored and tune out.

4.3. Students must be active participants in their own learning.

4.3.1. TEDxSydney - Richard Gill - The Value of Music Education:

4.3.2. Every student will take a different concept away from the lesson.

4.3.3. Self-Determination Theory: Students crave autonomy, competence, and relatedness. Intrinsic Motivation The passion for music. The challenge of the repertoire. Working with other students. The want to be able to play independently and become a leader. Interest Learning something new. Extrinsic Motivation Rewards/Benefits Praise from others.

4.4. Frequent changes in the classroom to avoid boredon or tuning out.

4.4.1. If students are beginning to tune out, it is time to switch activities to a higher energy piece or to switch from writing to playing.

4.4.2. May also be time to stand up and do some instrument maintenance for five minutes. Bassoons can swab bocals. Brass can check their oil on their finger valves or on slides. Reeded instruments can check their reeds.

4.4.3. Take five minutes to practice ANY passage in ANY piece, then come back together.

5. Behavioural Expectations

5.1. Everything regarding behaviour can be found in the syllabus. We want to create an atmosphere of mutual respect free from embarrassment, ridicule, and harm,

5.1.1. Students may NOT: Talk to one another in a way that is unrelated to the task at hand Discriminate against other students or use hateful speech. Engage with another student is a way that is seen as threatening or harmful. If a student is asked to leave the room, they are to pack up their instrument and do so immediately. Practice or "noodle" on their instrument out of turn or when another student is addressing the class.

5.1.2. Students MAY: Talk to one another if it is related to the task, is encouraging to another student to help them succeed, or is reinforcing policies given by the instructor. Correct mistakes by other players in a positive and constructive way, Ask questions at any point in the lesson. Give other students practice tips on how to tackle a particular passage. Step out of the classroom at any time without disturbing others, and without prior permission in order to get water.

5.2. Section Leads

5.2.1. Embody mutual respect, leadership, and love for music.

5.2.2. Appointed within section and approved by the teacher.

5.2.3. Auditioned

5.2.4. Responsible for the following: Noting difficult passages within the section for the purposes of improving them. Addressing technical issues of their instrument. Scheduling purposeful sectionals with their peers in order to better their section. Taking attendance during sectionals to be given to the teacher.

5.3. Sectionals

5.3.1. All students are expected to attend all sectionals scheduled by the section leads.

5.3.2. Students are expected to practice what was mentioned in sectionals before coming to class in order to better the ensemble.

5.3.3. One day a month will be devoted to sectionals using class time.

6. Productivity

6.1. The Three Ps: Practice, practice... PRACTICE!

6.1.1. Students who wish to use the practice rooms at lunch, before school, or after school may do so as long as the room is open, unbooked, and on a first come first serve basis.

6.1.2. Section leads may organize (at their discretion) sectionals after or before school, and may sign out a practice room to do so.

6.1.3. Students are expected to practice according to their ability, but at a minimum of three hours a week. Students who require more practice time to perfect their passages on their instrument should do so. Playing tests are designed to serve as a standard of what the student should be able to play. These are specific areas that should be attainable by the student with adequate practice time.

6.1.4. Learning Self-Regulation and Organizational Habits Evaluating one's own abilities in accordance with the goals of the course or the demands of the repertoire. Learning how to set SMART goals. Specific Measurable Attainable Realistic Timely Using a practice log and journal to track progress and reflect.

6.2. The band room is a place to collaborate, listen, and share.

6.2.1. Listen to what other sections are doing in the music.

6.2.2. Always listen to what the teacher has to say to another section; the information may be pertinent to your own section.

6.2.3. Participation is important to not only personal success, but also to success of the ensemble.

6.3. Distractions are purposefully minimized.

6.3.1. Being distracted from a task means that focus, and therefore learning, drastically declines.

6.3.2. Information Processing Model Information that is not rehearsed meaningfully may be lost. Information that is not relevant to the task takes away from the brain's ability to focus on the building of schemas important to the task.

7. Multiple Modes of Information

7.1. The majority of class time will be spent through ensemble activities and playing on instruments.

7.2. One class a week will be devoted to learning musical theory (scales, chords, modes, rhythms, notation, transposition, etc.)

7.3. Every student must participate in a yearly "composer project".

7.3.1. In pairs or alone.

7.3.2. Any Format PowerPoint Verbal Presentation Drama Prezi Radio Play Essay Format

7.3.3. Approximately 15 Minutes

7.3.4. Must include biography, notable works, and influence in the music world.

7.3.5. Four total classes will be devoted to the research/presentation portion of this project. Any additional work that must be done must be done at home. If a student finishes the project early, they may use class time to practice their instrument in the band room, or use the time to finish coursework in other classes. The student MUST still come to class.

7.4. Two playing tests are given each semester.

7.4.1. May include any of the following: Scales Teacher-chosen Passages from Repertoire Sight-Reading Rhythm Patterns on a Concert Bb

7.4.2. Potential testing material will be given to the students one wee in advance so that they can prepare and practice the material for the exam.

7.4.3. Students will have two classes dedicated to testing (back to back), which will be formally announced.

7.4.4. Approximately three minutes.

7.4.5. Immediate feedback/marking.

7.5. All students MUST participate in at least one concert event.

7.5.1. Christmas Concert

7.5.2. Spring Concert

7.6. Final Exam

7.6.1. Last Day of Class

7.6.2. Will Include: Concepts from Student Composer Project Theory Concepts Information on the Repertoire

7.7. A student study-guide and sample questions will be provided after the student presentations are done (approximately three weeks in advance).