Virtual Lesson Written Evaluation and Self-Rating

Teacher Candidate: Randalin Ward_________________________ Semester: _SP 18_______

Cooperating Teacher:___Jeanne Hoover______________________ School: __Lakeside Elementary

Effective teachers are reflective practitioners. One of the best ways to evaluate and see your skills as a
teacher is to videotape a lesson. It can help you to capitalize on your strengths and look for areas to
improve.

Directions: After the field supervisor’s first field evaluation, you should complete an analysis of your own
teaching of a lesson and submit the written analysis to your supervisor in the Canvas drop box. In videotaping,
follow the policy of the school. If written parental permission is required, be sure it is obtained for each child
before videotaping. If it is not allowed, you can complete the self-analysis using student feedback and a self-
perceived evaluation. First, write an analysis of your lesson. You should use as a basis the ten domains found
in the Virtual Lesson Self-Analysis Guidelines, but you do not have to answer every question. Second, rate
yourself on the below Pittsburg State Indicators based on your video observation or self-perceived perceptions.
Use the scale below.

Rating Scale:
N/A No opportunity provided for performance, not witnessed
1 Novice - Candidate shows awareness and beginning skills
2 Developing - Candidate skills and awareness levels are developing
3 Effective - Candidate consistently demonstrates competence with minimal assistance or prompting
4 Advanced – Candidate consistently demonstrates a high degree of competence functioning independently

I. RATING OF LESSON USING INDICATORS

Rating The Learner and Learning

3 3. Differentiates instruction appropriately for specific needs of learners
4 4. Persists in helping all students achieve success
N/A 5. Brings multiple perspectives to the discussion of content, including attention to learners’ personal,
family and community experiences and cultural norms
4 6. Designs instruction to build on learners’ prior knowledge and experiences
3 7. Displays consistency in dealing with behavior in the least disruptive manner, utilizing appropriate
positive and negative consequences
4 8. Demonstrates positive rapport with a diverse student population
N/A 9. Helps all students learn respect for the traditions and cultures of others

4 10. Uses appropriate nonverbal communication

4 11. Provides a learning environment which includes high time-on-task and active engagement.
4 12. Promotes a classroom environment that is caring and supportive to all students
3 13. Organizes and maintains the physical environment of the classroom in a pleasant and orderly
manner conducive to student learning and safety
3 14. Monitors students’ behaviors and activities in the classroom at all times
3 15. Handles multiple tasks, intrusions and distractions while maintaining the flow of the lesson
4 16. Teaches and reinforces classroom expectations, rules, routines and procedures fairly
Content
4 17. Demonstrates content area knowledge
3 18. Effectively uses multiple representations and explanations that capture key ideas in the discipline,
guides learners through learning progressions and promotes each learner’s achievement of content
standards
 2 21. Creates opportunities for students to learn and practice content language
N/A 22. Provides a real world context for lesson content
Instructional Practice
N/A 24. Creates lessons that encourage students to think creatively and critically and to solve problems
3 25. Develops clear lesson plans which include objectives, materials, activities,
adaptations/modifications and evaluation techniques based on the curriculum
4 27. Selects materials and activities consistent with the objectives of the lesson and students’ diverse
abilities resulting in appropriate adaptations and modifications
4 28. Applies the appropriate scope and sequence of objectives for teaching the curriculum (national,
state and/or local standards)
2 29. Uses available educational technologies for effective instruction
4 30. Provides opportunities for all students to successfully apply or practice knowledge and skills
learned
N/A 31. Designs assessments that align with learning objectives
4 37. Accomplishes smooth and orderly transitions between parts of the lesson
2 38. Communicates clearly to all students the objective and purpose of each lesson
4 39. Conducts class with poise, confidence and enthusiasm
3 40. Maximizes instructional learning time by working with students individually as well as in small or
whole groups
3 41. Gives clear directions
3 42. Provides focus on important points and checks for understanding
3 43. Uses a variety of effective and appropriate instructional strategies and resources
2 44. Encourages participation from all students through effective questioning strategies (e.g., equal
distribution, level variation, adequate wait time, probing and clue giving, and appropriate correctives
and feedback)
4 45. Presents lessons in a clear, logical and sequential manner
Professional Responsibility
4 45. Listens carefully to all students then responds in a professional manner
4 47. Demonstrates effective interpersonal skills
4 48. Maintains a consistently positive and professional demeanor

II. WRITTEN ANALYSIS OF LESSON

Attach or paste below your written self-analysis of the lesson using the Virtual Lesson Self-Analysis
Guidelines as a guide.

Intro- Summary of Lesson Plan

Grade: Kindergarten
Unit: St. Patrick’s Day
Objectives: pulse, long/short, same/different, fast/slow, repertoire, dramatic play, unpitched percussion
technique
Concepts: Rhythm/Form, Rhythm/Melody/Timbre, Melody/Timbre
Experience: Speak/Move/Listen, Sing/Move/Listen, Sing/Play/Listen
Stage of Learning: Imitation/Visualization, Imitation/Exploration, Imitation
Process: To begin the class period, present the “March” chart (Chart #15 from Appendix A, Game Plan
Grade K). While students are seated, point to each of the 4 black squares of “Part One.” Students will speak,
“March, march, march, march” (the quarternote pulse). Once this is steady, have students patting knees
simultaneously with alternating hands. Point to each of the 2 black rectangles of “Part Two.” Students will
speak “Sway, sway” (the halfnote pulse). Have students sway arms above head simultaneously. Play a recording
of an Irish Reel. For the first 32 beats, students do “Part One.” During the second 32 beats, students do “Part
Two.” Repeat this form until the end of the recording. Consider varying the direction of the “Sway” (side to
side, forward and back, etc.).
Following this activity, play the melody of “Michael Finnegan” on an instrument of choice. Students
then learn the words and melody, echoing two measures at a time. Introduce actions for each phrase of “Michael
Finnegan.” Have students perform the song with actions several times. Consider varying the tempo (very
slowly, very quickly, etc.).
After the final performance of “Michael Finnegan,” have students watch the music video for “This Old
Man.” Pass out unpitched percussion and review playing techniques and guidelines. On each verse, the student
with the instrument will paly the suggested number of times. For example, “This old man, he played four, x x x
x.” After playing, students pass the instrument(s) to the next student(s). Perform once with teacher’s assistance
in passing and cueing. Perform once again with teach accompaniment on the piano.
If time remains, ask students to compare the two old men (“Michael Finnegan” and “This Old Man”)
that we have sang about today.

Professional Demeanor
During this lesson, I observed that I was appropriately dressed to move and dance alongside the
kindergarteners, while still maintaining a professional aura. My posture implies confidence, as well as
approachability. When speaking to individuals as they entered the room, my comments or instructions were
brief and precise because I wanted students to be able to come and focus on music right away. When addressing
the entire class, I varied the length of my sentences. Sometimes I would even rephrase instructions into shorter
sentences so that all students might better understand them. Overall, my demeanor was pleasant and positive.
When working with younger elementary aged students, I notice that I tend to smile more. I believe this comes
from an aspect of my educational philosophy that music education should be fun! In observing my performance
within the classroom, I appear very comfortable, organized, and enthusiastic. I do not feel uncomfortable
moving around the room, getting down onto the floor, or dancing as apart of the lesson. I did not appear to
frantically search for materials, as everything I needed was at hand on the music stand, or at the computer desk.
I appeared to have genuinely enjoyed the musical experiences created in the classroom with this particular
lesson.

Classroom Management
I was pleased with the amount of control I displayed during this lesson. Because I was prepared to move
directly into the next activity, the students transitioned without outbursts or disruptions. Often students will get
very excited about a song. As a result, students will often shout, rather than sing. During this lesson, especially
as the tempo increased for “Michael Finnegan,” a group of students began to shout. I finished the verse, then
asked students if shouting was good technique for singing. They collectively responded no, and we began the
song again. The students did not require an additional reminder the remainder of the song. I believe that their
interest in the songs, dances and activities kept disruptions to a minimum as well. At some point or another,
each student participated to their fullest extent. At the end of the class period, I positively commented on one
group of students’ fantastic ability to line up quietly with their eyes forward and hands by their sides. I hoped
that a rowdy section of the line would have overhear this. When the students did not change their behavior, I
moved to that section of the line and reminded them of their classroom teacher’s expectations for lining up.
While this settled a few, several continued to chat and have their hands on each other. I asked each of the two
by name to face forward, keep hands at sides, and have voices off so that we can quietly go to the next specials
class. I did not need to move to the next level of the hierarchy after this redirection.
Lesson Construction
In following with the approach to learning created by Carl Orff for music education, I taught the
objectives in the following manner: experience, imitation, and identification. In this process, students were first
introduced to the concept to be learned simply by listening or observing an example. Next, students are guided
through imitation of the concept. In this particular lesson this included imitation of the melodies and pulse.
When the students feel relatively confident with imitation, I then label the objective. In the case of “March,”
students were just introduced to the label of quarternote and halfnote pulse after experiencing and imitating
them. As students marched about the room, I was proud of their ability to keep steady pulse in their feet while
also exploring different paths throughout the room. The only guidelines for moving around the room are to
remain safe and to keep hands off instruments. They freely guided small groups about the room. I was interested
to see different leaders emerging from the groups.
Teaching Strategies
For this particular class or kindergarteners, maintaining a brisk pace is important for managing
behaviors and keeping on task. In this lesson, the brisk nature of the songs themselves kept the students interest.
In transitioning between activities, I was very prepared to begin the next song to keep them engaged. Down
time between activities is generally when students become disinterested and begin to entertain themselves.
However, these students are very good at quietly listening when there is music being played. Knowing this, I try
to use song or music as an anticipatory set to each new activity. Feedback was provided instantaneously to
students as they participated in activities. When students were exemplary models of steady pulse, or were
singing with good technique, I commended their efforts during the activity. Even though the students have
assigned places on the music carpet, I varied my place of instruction so that all students had the opportunity to
be “in the front row.” I think that this variation helps keep students engaged while also allowing me to better
monitor each student’s progress through the activity.
Questioning and Praise
During this lesson I observed myself extending plenty of praise to students regarding their participation
and their behavior; however, I asked very few questions of the class. I would like to better engage the
kindergarteners in question/answer opportunities related to the activity. To do this, I believe that I should gain
further insight into levels of questioning appropriate for this age group. I believe that mini guided discussion
sessions could be useful for helping students make meaningful connections to music. This is a central idea in
responding to music, one of the three anchors set by the National Association for Music Education,
Directions
After introducing the song or activity to the students, I then provided them with further instructions.
These instructions were concise and directed in the positive. With this age level, I have found that when
directions include “do not,” that is often the first thing they attempt to do. I believe in the music classroom more
creativity is fostered when rules and directions include “you can/will/may,” rather than “you cannot/will
not/may not.” Keeping the directions concise provides students with a better opportunity to remember them.
When directions become to long or complicated, some may become confused or disinterested.
Evaluation
Students were continuously and informally evaluated as they progressed through the activity. I watched
for hands or feet moving to the correct pulse, I listened for students singing the correct pitches and words, and I
observed the technique at which each student played the unpitched percussion instruments. When I noticed
several students struggling to externalize any of these actions (steady pulse, singing, or playing), I would allow
the group to continue with the song, move over to that student, and demonstrate the action, make corrections,
then allow them to try again. All students were successful in imitating these actions (steady pulse, singing, or
playing), though some were more confident than others.
Classroom Atmosphere / Relationship with Students
During this lesson, the classroom had an atmosphere of excitement. Most students eagerly entered the
classroom and maintained this feeling throughout the period. Some shared a quick story about their day as the
entered the classroom. I observed that my body language remained open and nonthreatening during the class
period. This kind of positive non-verbal communication helped communicate to students that the music
classroom is a safe environment. Without this understanding, creativity would be stifled.