Portfolio artefacts and Critical reflection:

Critical reflection on program and design of interactive learning experience

Link to blog site and two learning experiences:

http://haydenclarkmusiceducation.weebly.com/music-2a-instrument-and-its-repetoire.html

Part 1)

i) 2_Trial_Practical_QT Instrument and Its Repertoire

The repertoire chosen in this performance is effective in representing the topic
Instrument and Its Repertoire by demonstrating the musical capabilities of the piano. Each
piece displays the immense pitch range of the instrument using both the low, mid and high
end of the piano. The first piece effectively demonstrates the techniques which are possible
on a piano such as clusters, glissandos and pedalling as well as effectively showing the
piano's dynamic range. The other two performances display similar qualities however to a
lesser degree. This set successfully represents the topic Instrument and Its Repertoire with
its first piece however the second and third could be improved upon.

ii) Critically reflect of a program of work

The St Mary's HSC 2 Unit Music 1 Music Of Radio, Film, Television & Multimedia
program of work covers a great deal of content within the topic and accomplishes this with
a diverse application of tasks and assessments. The unit of work covers a vast amount of
content such as commercials, music of television, film, multimedia, video/film analyses and
the main figures of film, television and multimedia composers. This content is taught with a
good mix of student led discussions and comprehension activities however the pacing of
these activities could be improved as there is a large amount of student led tasks in a row
before having several comprehension or research tasks in a row. I would try to implement a
similar variety of activities but try to change types of activities more often so work doesn't
become repetitive.
The unit is scaffolded well as it teaches skills in a logical order which enables
students to apply the information they have learnt for more difficult tasks such as the viva
voces or video/film analyses later in the unit. The unit uses a very large range of examples
however I think it may try to cover too many examples rather than going into depth on a
specific few. I would find many details of this program useful in my own teaching but I
would tweak the variety in activities and try to go more in depth with fewer examples.

2) With reference to literature, how does rehearsing for perforance in a Stage 6 classroom provide
evidence of Professional Teaching Standard 1.3.1 and the Quality Teaching element of self-
regulation.Consider the following texts and others you find:

Rehearsing for performance in a stage 6 classroom demonstrates the Professional

Teaching Standard 1.3.1: Demonstrate knowledge of teaching strategies that are responsive
to the learning needs of students from diverse linguistic and socioeconomic backgrounds, as
well as the Quality Teaching Element of self-regulation. This is accomplished by
performance's variety of possible student approaches, the non-verbal nature of the tasks,
the collaboration involved in the tasks and the inclusive curriculum which are part of
performance.
Rehearsing for a performance is responsive to the diverse learning needs of students
because of the variety of methods students can apply in order to undertake and complete
the same tasks. Music students in stage 6 have very different experiences in their prior
learning, some may be taught classically, others by tablature, some taught privately or self-
taught, regardless of their prior experience performance allows all of them to participate
(Lebler, 2007). This supports the Professional Teaching Standard 1.3.1 because rehearsals
for performance doesn't require specific prior experiences which may be unavailable for
different socioeconomic backgrounds such as the cost of private lessons outside of school.
The diverse learning needs of students are further supported as musical performance at
school provides experiences in a range of musical styles such as western art music, jazz and
world music. Providing this range of possible performances allows learning experiences to
be co-designed by teachers and students based on the students needs (Lebler, 2007).
Mixon (2009) stated that the prior experiences of students profoundly affect their
learning and that these experiences are often linked to student's cultural affiliation. To
respond to this Mixon suggests providing music from sources which are meaningful to
students and present possibilities to improve performance skills while meeting other
curricular goals and that applying this practice will provide meaning and motivation for
students. This practice is responsive of student's diverse learning needs and as such
supports the Professional Teaching Standard 1.3.1.
Rehearsal for performance supports the diverse linguistic needs of students as the
act of performing displays skills which aren't language based (Carlson, Friberg, Frydn,
Granstrm, & Sundberg, 1989). While certain aspects such as teacher or student feedback
may be difficult for students of diverse linguistic backgrounds the actual performance task
itself can be completed without the need of too much verbal communication.
Crte-Real (2011) found that the rehearsal of the performing arts promoted
individual as well as group responsibility in compositional, interpretive and representational
activities at school. Within this context the performing arts can promote intercultural
dialogue through individual and collaborative means which supports the Professional
Teaching Standard 1.3.1.
Self-regulation can be characterised as when a learner can plan, execute and
evaluate learning activities while maintaining productivity (Miksza, 2015). Rehearsal for
performance is heavily reliant on the quality to which students can sustain self-regulated
practice. Miksza (2015) conducted a study which found that students who received self-
regulated instruction made significantly greater improvements in their performance
achievements than students who received controlled instruction for improvements. As
rehearsal for performance provides students with variety in how they complete tasks based
on their prior experience, students ability to self-regulate is supported as they can apply this
knowledge relying on what they already know. For example a student who has prior
knowledge playing piano by following sheet music will have the ability to self-regulate their
rehearsal based on this form of instruction as it best suits them whereas another student
may prefer to learn songs by ear or chord charts. As there is no set instruction on how
students rehearse for performance each is free to attain the same achievement by playing
to their individual strengths.
Rehearsing for performance in a stage 6 classroom demonstrates the Professional
Teaching Standard 1.3.1 and the Quality Teaching Element of self-regulation by removing
barriers which may interfere with students ability to undertake a task by providing students
with choice in how they undertake the task. By providing free instruction, methods and
outcomes to rehearsing for a performance the task is responsive to the needs of more
students.
Hayden Clark
17705484

Part 3: Link to blog site and two learning experiences:

http://haydenclarkmusiceducation.weebly.com/music-2a-instrument-and-its-repetoire.html

References:

Carlson, R., Friberg, A., Frydn, L., Granstrm, B., & Sundberg, J. (1989). Speech and music

performance: Parallels and contrasts. Contemporary Music Review, 4(1), 391-404.

http://dx.doi.org/10.1080/07494468900640441

Crte-Real, M. (2011). Music and intercultural dialogue rehearsing life performance at

school. Intercultural Education, 22(4), 317-325.

http://dx.doi.org/10.1080/14675986.2011.617424

Lebler, D. (2007). Student-as-master? Reflections on a learning innovation in popular music

pedagogy. International Journal Of Music Education, 25(3), 205-221.

http://dx.doi.org/10.1177/0255761407083575

Miksza, P. (2015). The effect of self-regulation instruction on the performance achievement,

musical self-efficacy, and practicing of advanced wind players. Psychology Of Music,

43(2), 219-243. http://dx.doi.org/10.1177/0305735613500832

Mixon, K. (2009). Engaging and Educating Students with Culturally Responsive Performing

Ensembles. Music Educators Journal, 95(4), 66-73.

http://dx.doi.org/10.1177/0027432109335479