I felt that this chapter really resonated with me in terms of what I do with Recorder Karate for CP345 and Discovery 4th and 5th grade. Students are motivated to "pass" levels of songs based on how much effort they have put into practicing, whether or not they have completed a self-evalution and a peer-evaluation, and how ready they are to perform the song accurately without mistakes and with good recorder technique.
Students LOVE to receive belts, but I will never hand out belts unless all the necessary expectations have been met. Lots of students are so obsessed with getting to the next level that they take advantage of times before and after school to pass belts. I love recorder karate, too, because it helps me assess students one-on-one and allows me to provide recognition and verbal praise, and to prompt changes that need to be made in order for the students to improve. I think this definitely fits well with the ideas presented in this chapter.
Wednesday, March 17, 2010
Cooperative Learning
What Cooperative Learning Strategy did I try?
I had students in all my primary classes work in groups of four to invent a movement that demonstrated a 16 beat rhythm. This rhythm included whatever notes we were working on (in CP123 and 2nd grade the rhythm empasized was a whole note). I made sure to post a "Social Goal" and a "Brain Goal" just like David Sponheim suggested. My social goal was "Participation by all and no put downs" and my brain goal was "Show understanding of the rhythm through creative movement."
I made sure to have students stop after the first day working on these rhythms and decide with their group on a goal they would do for next time. Sharing this goal with me was their "ticket to the door" and many of my students said their goal was to work harder to incorporate everyone's good ideas. The end result was great. I filmed each group and we watched our performances so the students could self-evaluate how they did with their group and whether or not the social and brain goals were met. Here's an example video of one group!
I had students in all my primary classes work in groups of four to invent a movement that demonstrated a 16 beat rhythm. This rhythm included whatever notes we were working on (in CP123 and 2nd grade the rhythm empasized was a whole note). I made sure to post a "Social Goal" and a "Brain Goal" just like David Sponheim suggested. My social goal was "Participation by all and no put downs" and my brain goal was "Show understanding of the rhythm through creative movement."
I made sure to have students stop after the first day working on these rhythms and decide with their group on a goal they would do for next time. Sharing this goal with me was their "ticket to the door" and many of my students said their goal was to work harder to incorporate everyone's good ideas. The end result was great. I filmed each group and we watched our performances so the students could self-evaluate how they did with their group and whether or not the social and brain goals were met. Here's an example video of one group!
My case study student worked very well with his group, and all my other student enjoyed this activity as well. We work in small groups all the time, but having the social and brain goals was much more concrete and helpful in guiding them. I really enjoyed using this strategy!
I don't know that I really have any specific questions about cooperative learning other than the concern of time. I tried to think of something I could do along the lines of the cell phone debate we had in class, but that would be too much discussion and time spent on reasearch and writing types of activities, and not enough time actually making music. When things come up that might provide an interesting or insightful discussion, I will always take advantage of that--but it's not really something I plan for in my class. Any ideas how a project like that might be able to work without taking away from music-making time?
Thursday, February 4, 2010
Differentiation Part 1
Assignment: Based on student readiness, differentiate the content, process, OR product within a unit (you may want to use the Differentiation Flow Map in your planning). Explain what you did, including how you pre-assessed students and the role of formative assessment in that unit. Reflect on the impact of your instruction on your case study student as well as your other students, using the online LINKS Reflection Form.
I differentiated a formative assessment and through a rhythm game called "King of the Mountain." I played this game with my CP123 classes. I had my first graders split off into one group and gave them easier rhythms to play the game so that I could assess their readiness to play with more challenging rhythms that the 2nd and 3rd graders were using. I watched each group play the game and listened for their individual rhythm reading. It worked well for students at similar levels to help each other.
My case study student is a 3rd grader so he played the more challenging version and did very well with it. Having it be played in a smaller group instead of with the whole class also forced him to be held more accountable and he was able to concentrate more, too.
I guess my main question about differentiation is how I might differentiate some of my other assessments. When I do singing assessments or am listening to xylophone pieces, all my students are performing the same thing, and they have to do this infront of the class. I give them ample preparation and assistance to make sure they can be successful when they perform for the class, but is there something else I could try to simplify for students who are struggling without making them stand out as doing something different?
I differentiated a formative assessment and through a rhythm game called "King of the Mountain." I played this game with my CP123 classes. I had my first graders split off into one group and gave them easier rhythms to play the game so that I could assess their readiness to play with more challenging rhythms that the 2nd and 3rd graders were using. I watched each group play the game and listened for their individual rhythm reading. It worked well for students at similar levels to help each other.
My case study student is a 3rd grader so he played the more challenging version and did very well with it. Having it be played in a smaller group instead of with the whole class also forced him to be held more accountable and he was able to concentrate more, too.
I guess my main question about differentiation is how I might differentiate some of my other assessments. When I do singing assessments or am listening to xylophone pieces, all my students are performing the same thing, and they have to do this infront of the class. I give them ample preparation and assistance to make sure they can be successful when they perform for the class, but is there something else I could try to simplify for students who are struggling without making them stand out as doing something different?
Wednesday, January 6, 2010
Thinking Maps
What I learned about Thinking Maps in Links Class:
I learned how versitile thinking maps are. It really got my creative juices flowing about how I might try new things in my classroom. It also opened my eyes to see things I was already doing and to understand why they worked so well: they were thinking maps!
How I implimented the Thinking Maps:
I used thinking maps in a lesson with my CP 123 classes. We made rhythm and melodic compositions about different kinds of pie (because of Thanksgiving and pumpkin pie). I made a tree chart with columns of 2-beat rhythm combinations. We identified the number of sounds in each column and the way the sounds fit together (i.e. 1 sound was a half-note, 2 sounds were 2 quarter notes, etc.). Then, I asked students for examples of kinds of pie they liked and we figured out which column they belonged in. For example "pumpkin pie" would be 3 sounds and the rhythm is "ti-ti ta" so we put it in that column.
The Impact on My Case Study Student:
My case study student did very well with this kind of organization, and with the visual aspect of it. He's very easily distracted, so being able to look on the map, find the pies he wanted to use, and see which rhythms they were was a great way for him to do his composition with his group. I am confident he understands the process and could follow the same system with a different project. Here is my case study student and his partner's work:
I learned how versitile thinking maps are. It really got my creative juices flowing about how I might try new things in my classroom. It also opened my eyes to see things I was already doing and to understand why they worked so well: they were thinking maps!
How I implimented the Thinking Maps:
I used thinking maps in a lesson with my CP 123 classes. We made rhythm and melodic compositions about different kinds of pie (because of Thanksgiving and pumpkin pie). I made a tree chart with columns of 2-beat rhythm combinations. We identified the number of sounds in each column and the way the sounds fit together (i.e. 1 sound was a half-note, 2 sounds were 2 quarter notes, etc.). Then, I asked students for examples of kinds of pie they liked and we figured out which column they belonged in. For example "pumpkin pie" would be 3 sounds and the rhythm is "ti-ti ta" so we put it in that column.
The Impact on My Case Study Student:
My case study student did very well with this kind of organization, and with the visual aspect of it. He's very easily distracted, so being able to look on the map, find the pies he wanted to use, and see which rhythms they were was a great way for him to do his composition with his group. I am confident he understands the process and could follow the same system with a different project. Here is my case study student and his partner's work:
The Impact on Other Students:
I use this method all the time for associating words with rhythms for compositions. The organization is very effective and clear for them, and they are able to implement it well on their own. It's a great way to work cooperatively, and to get every single students idea written down and put into a rhythm, even if it doesn't end up being in their final composition. They love brainstorming and giving their own creative answer, and this is a great way to channel that into something everyone can learn from.
Conferences Reflection
1. Were you prepared for conferences?
I was definitely prepared for conferences. I had examples of student's compositions and other projects with their scores recorded separately so I would be able to show parents exactly what was going on. I also worked on updating my website prior to conferences so that I had a basic outline of the concepts we've been working on and projects we've been doing, as well as other useful information I could direct parents to.
2. What were the highlights?
I only saw two parents, but one that I did see was a mother of a student who gave me a lot of trouble as a long term sub in the spring. He has come a very long way with behavior, and I was thrilled to be able to talk to her about what a positive leader he has been in class, and to encourage his musical talent, since he's more advanced for his grade. She was very proud, and I was happy to establish a relationship with her from a very positive stand point. Where each of the two families were concerned, I enjoyed finding out more about my students' musical backgrounds and exposers. It was very eye-opening to hear about piano lessons, recorder exploration at home, and the kind of music they enjoyed playing and listening to.
3. What would you do differently?
I'd like to see more parents in the future, but I'm not sure how to make that happen more. I'd probably make a few more phone calls prior to conferences, both to share information about students who are struggling and students who are excelling.
4. What needs did you identify through conferences?
I didn't feel like any needs and changes were necessary, and were therefore not addressed. I was encouraged by the positive interactions I had.
Case Study Student Conference: I was unable to meet with my case study student's family.
I think my only question about conferences would be if anyone has other suggestions of how to draw more parents? I was frustrated that at one point, someone walked in my room simply to let their 3 year old play with the instruments and then proceeded to make awkward assumptions about me without giving me the chance to say anything. Is there a way I could have handled that situation other than kind of letting it pass, and brushing it off?
I was definitely prepared for conferences. I had examples of student's compositions and other projects with their scores recorded separately so I would be able to show parents exactly what was going on. I also worked on updating my website prior to conferences so that I had a basic outline of the concepts we've been working on and projects we've been doing, as well as other useful information I could direct parents to.
2. What were the highlights?
I only saw two parents, but one that I did see was a mother of a student who gave me a lot of trouble as a long term sub in the spring. He has come a very long way with behavior, and I was thrilled to be able to talk to her about what a positive leader he has been in class, and to encourage his musical talent, since he's more advanced for his grade. She was very proud, and I was happy to establish a relationship with her from a very positive stand point. Where each of the two families were concerned, I enjoyed finding out more about my students' musical backgrounds and exposers. It was very eye-opening to hear about piano lessons, recorder exploration at home, and the kind of music they enjoyed playing and listening to.
3. What would you do differently?
I'd like to see more parents in the future, but I'm not sure how to make that happen more. I'd probably make a few more phone calls prior to conferences, both to share information about students who are struggling and students who are excelling.
4. What needs did you identify through conferences?
I didn't feel like any needs and changes were necessary, and were therefore not addressed. I was encouraged by the positive interactions I had.
Case Study Student Conference: I was unable to meet with my case study student's family.
I think my only question about conferences would be if anyone has other suggestions of how to draw more parents? I was frustrated that at one point, someone walked in my room simply to let their 3 year old play with the instruments and then proceeded to make awkward assumptions about me without giving me the chance to say anything. Is there a way I could have handled that situation other than kind of letting it pass, and brushing it off?
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