Contextual Factors Template

Total Number of Students in the School: 1427

School Socio-Economic Make-Up (i.e., % free and reduced lunches): 15%

Class Class Class Class Class

1 2 3 4 5

Grade Level/Subject Taught 9-12 Wind 9-12 Piano 9-12 Piano 9-12 9-12 Jazz
Ensemble Concert Band
Band

Number of Students in Classroom 39 20 18 43 17

Contextual Information: Class Clas Class Class Class Student Learning Adaptations:
s
(List the number of students identified 1 3 4 5 (Describe at least one example of a
in each class you teach and identify the 2 strategy to provide equitable
class in which you are teaching your Unit opportunities, accommodations, or
unit) Study modifications you attempted for any
student identified within each
contextual characteristic)

F: 19 F: 11 F: 7 F: 24 F: 6 Male and Female students tend to be

Gender gendered by their instruments. Women
M:20 M: 9 M: 11 M: 19 M: 11
in Brass or Men in Woodwinds get
Number of Females: made fun of often. So providing videos
and examples of successful musicians in
Number of Males:
their instrument and gender helps
students become more comfortable
with themselves.

In this regard, we really like to select

Ethnic/Cultural Make-Up music from many different regions that
depict different styles of music.
Caucasian/White: 19 7 9 22 7
African American/ Black: 9 4 3 9 7
Hispanic/Latino:
7 7 3 5 2
Asian/Pacific Islander:
4 2 3 7 1
American Indian/Alaskan Native:
0 0 0 0 0

Language Proficiency
Number of English Language
Learners (ELL):
Music itself is a complex language and
luckily, most students regardless of
language barrier can learn music by the
0 1 2 4 0 books with the pictures and aural
training. But when describing
something physical, it can be difficult to
explain what’s going on. So videos
depicting the body performing the
action are quite helpful.

Students performing below grade level

Academic Performance
Students Performing
Below Grade Level:
Student Performing
Above Grade Level:
are not permitted to attend certain
events or be enrolled in specific
ensembles. This is a KSHsAA rule and it
helps motivate students to keep grades
6 11 3 8 1 up to remain in these ensemble. For
those performing above grade level,
music provides a distinct challenge for
20 3 6 4 7 them. They use their brain in a different
way than they otherwise would.

Students with special needs are

Students with Special Needs welcome in all ensembles and their
needs do not discriminate them from
Learning Disability: 3 2 2 6 0 being in the top ensemble if they show
the musical prowess. Each student is
Emotional/Behavioral Impairment: 0 1 0 2 0 different so recording assignments give
Attention Deficit Disorder (ADD): directors a way of isolating what the
0 0 0 0 0
specific issues for each student are. In
Developmental Disability:
0 0 0 0 0 the case of special needs students, this
Intellectual Disability: helps us figure out what sort of
0 0 0 0 0 individual attention they need.
Speech/Language Impairment:
0 0 0 0 0
Autism Spectrum:
0 1 1 2 0
Gifted:
1 0 0 0 0
Blind/Visual Impairment (VI):
0 0 0 0 0
Deaf /Hearing Impairment (HI):
1 0 0 0 0
Physical Disability:
0 0 0 0 0
Other Health Impairment:
2 0 0 1 0

Military Connected Students 27 13 11 28 12 Military students make up a huge

population in my placement. The best
thing we do for them is to treat them
like our other students. Get them
caught up, help them where they need
it, but to otherwise make them a part
 of the family environment.

Contextual Factors Continued

Student Characteristics:
Describe the developmental characteristics of students in your classroom.
(Cognitive, Physical, Emotional, Social).
Cognitive:
Students here WANT to learn and get better. When given the proper avenues and the right motivation, these students
will excel with the task they are given. The Wind Ensemble is full of students who are excited about learning music
because they see what joy it brings and that since they are in the top ensemble, they have to be on top of their game.
The Concert Band struggles because they feel bottom of the barrel and motivation lacks for them. But, when given a
small bit of success, they feel good and want to keep going. The piano courses are a wide variety of learners so we are
sure to spend 1-on-1 time with every student to make sure they are on their own specific track of learning. The Jazz
Band is the top jazz ensemble and they are aware of this. This can sometimes take the edge off the focus in rehearsal
but when they dig down to learn, they excel.
Physical:
Many of the students in all of these ensembles/classes are extremely involved. Some are in multiple music
classes/ensembles, some do that on top of sports, some do theatre, some take AP classes, some work late nights.
Physically speaking, they generally are in top shape for class, but sometimes the stress gets the best of them, sleepless
nights, and the struggles of every day school leave them physically drained.
Emotional:
These students want to get better and to learn but sometimes the “everything else” gets in the way and keeps them
from it. Music isn’t as important when a family member is sick, or when a big test is coming up. Many of our students
are military and have been moved around a lot, and they don’t want to open up and be vulnerable with their peers for
fear of being pulled away again. When students do settle in, this community is like a big family, and they are at ease
around each other emotionally.
Social:
The best part about all these classes is that they are 9-12. So freshman get the opportunity to work with seniors, which
has pros and cons. Freshman get to look up to the seniors and model themselves after them. When you have an
outstanding player and person, the freshman will morph into that. If the student is not so good, the freshman will either
look to be that or revolt from that. All in all, the social aspect here is great because of the military population. You
never know when someone is going to have to move, so the students do a really great job of making sure everyone is
feeling involved and like they have a friend. Some will shy away at first for fear of having to move again, but will
eventually make friends with their peers.
 Highlight the prior knowledge and interests of students in your classroom.
Each students’ prior knowledge is different, they have entered the classroom at different stages in their lives, years,
and experience. Some take lessons, some don’t. Students have come from different elementary schools and even
different middle schools. All prior experience has to be refreshed for all students. As for interests, every student has an
extreme variance in interest. Some students want to major in music to be an educator, or a performer. Some students
just really love music. Others are in the class for an “easy A”. Whatever the students interest level, we aim to get all
students invested in the program.

Describe the implications these characteristics have on planning and instruction.

(e.g. What instructional strategies will you use to meet the unique learning needs of all your students?)
These implications make instruction difficult at times. Trying to appeal both educationally and emotionally to such a
wide variety of interests, motivations, skill levels, instrumentation, themes, etc. is no easy task. That is where concert
programing comes into play. For example, if I know my trumpet section is week, it would be in the best interest that I
not program a piece where the part is too difficult for them. Instead, I can choose a piece that still lets them shine,
while another instrument has a more difficult part. This keeps all students invested, engaged, and progressing. For
beginning fundamentals in class, every student can progress with these exercises and everyone can do them. By doing
Tone exercises, even the students with the best tone can improve, while those with less quality tone can hear the good
tone and try to mimic it. By doing articulation and rhythm exercises, the students at the upper end can refine their skills
deeper while the lower end students can use this time to practice the broad skills. These are a few ways that music
really digs down into each student to figure out things they need without exclusive 1-on-1 instruction. But, 1-on-1
instruction is incredibly useful and extra time should be given to those students who are willing.

Environmental Factors:
 Describe district, school, and classroom environmental factors impacting the quality of education for all of your
students.
The school district has a lot of different elementary schools for different economic statuses. Then, there are two
different middle schools. Then, there is one high school. This is great, but is also causes a divide for students until
they get to the high school. In a smaller school setting, most of the students grow up together from K-12. In this
case, many students don’t really get to know each other until they get to high school. Even with all of this, being a
high military population, students are hesitant to make friends not knowing if they will be moved out or not. There
is a perception that this school is “poor” because K-State is nearby. However, this is not the case; that perception is
given to them by outside people. This school is very well off and truly cares about all aspects of the students’
education. Also, being near K-State gives students a musical outlet for listening, modeling, and receiving lessons.

Describe community and family environmental factors impacting the quality of education for all of your students.
Students are very fortunate because the community is incredibly supportive of student endeavors. Within the music
program, I’ve gotten to see firsthand a lot of these parents make sure their kids are caught up with schoolwork so
they can go on the band trips. Parents also will show up to their students’ concerts and other performances. Parents
also get their students signed up for lessons from community members and college faculty from K-State.

Describe the implications these factors have on planning and instruction.

(What instructional strategies will you use to address the unique environmental factors impacting each
student?)
Knowing that students may or may not stay is big, we strive to make sure that students feel WELCOME and at HOME.
We want school to be fun and educational. The community support helps provide performance opportunities for
students and being able to sign students up for lessons helps get them ready for the next step, whether that’s
moving up ensembles, the next pieces, or college music. Being aware of what students are feeling and letting
them feel safe to express those feelings in a calm and appropriate way. What it comes down to is that students
feel safe and welcome to be vulnerable in their ensembles and classrooms.
Contextual Factors Continued

Focus Students Information

Provide information about the two focus students you selected from the class in which you will be
teaching your unit that you feel would benefit from modified instruction. You MUST choose one
student with exceptionalities or an English Language Learner as one of your focus students.
Complete the chart below referring to these students only as Student A and Student B. Do not use
proper names.

Describe this student Why did you What did you find out Based on this
using information from select this about this student? information what
the Contextual student? Address characteristics are the
Information and Student from the Contextual implications for
Learning Adaptations Information and this student’s
Student Learning instruction?
Adaptations

Student This student is male, I chose this Cognitive The biggest

A tenor sax player and is student because implications is
Academically, he
in the concert band his grades are not struggles, but it really trying to involve
because of academic and very good, his seems like he KNOWS this student in a
behavioral issues. He is family support what he needs to do. way that doesn’t
an African-American him and want Musically speaking, he make it feel like
student that is a very him to do well, is a great player and I’m calling him
good musician when he and he WANTS knows the terminology. out. I want him to
wants to be, but to be in an upper feel welcome in
emotionally he doesn’t level ensembles this ensemble, and
buy into the program. but doesn’t show Emotional to still learn even
the attitude to He struggles with his
though he has
move up. I emotions and often uses “outgrown” this
wanted to see his cellphone as an ensemble. We
how I could help escape to what’s around want him to
him shape his him. He does this during participate fully
professionalism ensemble rehearsal and with a professional
to being placed in class. There is a strict attitude, but he
the appropriate cell phone policy and it’s doesn’t see it that
ensemble. He is taken away often. When way.
he doesn’t have his
my student with
phone, he tends to draw
an exception
attention to himself by
 because of his playing out of turn or
behavior issues. making loud outbursts.
He has been written up
before for behavior.

Physical

He is physically healthy.
He exercises, eats well,
etc. But he misses a lot
of class and even when
he’s in class, he fidgets
and often isn’t active
during the rehearsal.
During Jazz Band, you
can see him grooving
and having a really good
time, since he is being
challenged.

Social

This student is
incredibly social and is
popular among his peers.
This provides a
challenge because he
isn’t ever told about his
behavior except by other
adults, until it gets bad.
Most of his friends
ignore him during
ensemble, but are
incredibly cordial with
him outside of ensemble.

Describe this student Why did you What did you find out Based on this
using information from select this about this student? information what
the Contextual student? Address characteristics are the
Information and Student from the Contextual implications for
Learning Adaptations Information and this student’s
Student Learning instruction?
Adaptations

Student This student is a female I chose this Cognitive This student works
B trumpet player in the student because extremely hard,
While she won’t tell you
concert band. She is a while she plays she’s smart, she is. She it’s just a matter of
good player but needs well, she doesn’t knows a lot about trying to break her
some improvement know how to musical style and how to anxiety shell she is
before being able to make play her instrument. in. Making her
move on to Wind improvements. I There is, however, an aware of her
ignorance problem
Ensemble. She plays in chose her issues and finding
where some of her issue
the top jazz band but is because she ways to fix them is
is that she just doesn’t
constantly on the lowest shows incredible know why her tone isn’t relatively easy,
playing part. She motivation in the the best or why certain however, when it
expressed issues with right notes don’t come out. comes to ensemble
bullying in the marching environment. I She is willing to learn practice she
band, which results in a also chose her to once she is told, reverts to old
lack of confidence in her see how her however. behaviors because
playing and a fear of performance she doesn’t want
being made fun of for it. anxiety levels to stand out and be
decrease as she Emotional made fun of. With
becomes more She is always cautious
her, it’s all about
confident in her of her surroundings. She giving her places
playing abilities. feels as though to succeed. Jazz
everyone, or a specific Band is a good
few, are going to make start to develop
fun of her for her her individualistic
mistakes. She has sound and abilities
anxiety issues due to on the trumpet.
bullying that occurred in
marching band.

Physical

This student does a

really good job of
staying in class and
working hard. However,
her physique is rather
small, and being a
female, tends to cause
issue by her male section
members. This was
apparent in marching
band, but in current
ensemble, it’s mostly
female except for jazz
band.

Social

She has many friends

and she is supported by
them. They are aware
 now of the bullying that
happened and they are
also trying to take care
of her and giving her a
platform to grow, which
is amazing to watch. Her
performance anxiety,
however, is still at a high
level. In 1-on-1
instruction, she does
very well, but in
performance, she
struggles. This is
something to work
through with good
practice.

Entry 11: Data Analysis Template

Pre-Assessment Data
Student Scores by Objective on the Pre Assessment

Tone Articulation Balance/Blen Rhythm Dynamics Overall

Student Performance
d
Score

1 1 2 2 3 3 3
2 4 3 3 3 2 3
3 5 2 3 2 1 3
4 3 3 3 3 4 3
5 2 4 2 4 3 3
6 1 4 2 4 2 3
7 2 3 2 3 1 3
8 2 2 4 3 2 2
9 2 1 5 3 3 3
10 5 5 2 4 3 4
11 3 3 1 3 3 3
12 2 2 2 3 4 2
13 1 3 3 3 2 3
14 5 3 4 4 1 4
15 3 2 4 3 2 3
16 3 3 3 4 3 3
17 2 2 2 2 3 2
18 2 4 1 2 3 2
19 3 1 2 3 2 2
20 2 2 2 3 1 2
21 1 3 2 3 3 3
22 2 3 3 3 4 3
23 3 3 3 3 1 3
24 4 4 5 4 2 4
25 3 5 4 2 2 3
26 5 3 1 2 3 3
27 2 2 2 3 2 2
28 2 3 3 4 2 3
29 2 3 4 2 1 2
30 1 2 3 2 2 2
31 1 2 2 3 3 2
32 2 2 1 3 2 2
33 3 1 2 3 3 3
34 3 2 2 3 3 3
35 2 3 3 3 2 3
36 2 5 4 2 1 3
37 3 4 2 5 2 3
38 2 3 2 4 1 2
39 4 4 3 4 2 4
40 2 3 3 3 1 3
41 3 2 4 4 3 3
Focus A 3 2 2 3 1 2
Focus B 2 2 3 4 3 3

What do these data mean for instruction during the unit?

What I found is that students have a pretty good idea of where their struggles are, and in an additional
question asked on the form, I found out that many of them didn’t understand some of the terms. So this
lead my instruction to try and define these terms by modeling and in words. Many of them weren’t
aware of their own tone and mixing it up with other terms. Overall, they felt their performance was a 3
(which is labeled as “average” by KSHSAA standards.

What do these data mean for instruction for the Focus Students
during the unit?
These focus students are more aware than their peers of what their issues are and it provided me with a
good technical framework to help them improve with it. These two students really need their growth laid
out for them so they know their end goal, knowing this is what will guide my instruction to make them
better.

Formative Assessment Data

Student Scores of Two Selected Formative Assessments
Student Formative 1 – Formative 2 –
Rate this Rehearsal Sectionals, what
did you learn?
- As they left and got We divided the students
packed up, I asked up and led a smaller group
students what they rehearsal, and asked them
thought the rehearsal what it was they learned
should get as a score. that they didn’t know
before.
1 3 Breathing
2 3 Articulation
Exercises
3 2 Breathing
4 2 Fingerings
5 3 Fingerings
6 3 Slide Positions
7 1 Tone
8 2 Parts of the Music
9 2 Finger Dexterity
10 3 Tone
11 3 Dynamics
12 4 Practice Techniques
13 4 Fingerings
14 3 Articulation
15 2 Rhythms
16 1 Dynamics
17 2 Rhythms
18 3 Notes
19 3 Dynamics
20 3 Tone
21 2 Finger Dexterity
22 2 Slide Positions
23 3 Notes
24 1 Tone
25 2 Rhythms
26 4 Tone
27 4 Rhythms
28 3 Finger Dexterity
29 2 Rhythms
30 3 Rhythms
31 1 Tone
32 2 Parts of the Music
33 3 Rhythms
34 2 Dynamics
35 2 Fingerings
36 3 Parts of the Music
37 3 Fingerings
38 2 Tone
39 2 Rhythm
40 3 Tone
41 3 Dynamics
Focus A 3 Tone
Focus B 4 Fingerings

How did the data from these formative assessments impact learning
during the unit?
This tells me what the students are learning and if they can feel their own learning. I’m hearing things
through the rehearsal but it’s nice to figure out what the students’ perception is. If they are still
individually struggling, it’s nice to get their opinion and perception on all of that. This made it so that
once we got back to full band rehearsal, we could focus on the issues that a majority of the students are
having and address individual issues as we go. With fundamental problems, we can gear our warmups
toward that so they can improve even without the “music”.
How did the data from these formative assessments impact Focus
Student Learning during the unit?
This gave me a chance to talk to these students individually and figure out how they’re feeling on a
personal level without them feeling like I’m “Calling them Out”. Also, it gave me the opportunity to figure
out where their struggles were at in terms of playing and personal life. It gave me a chance to be
personable with them and learn more about them while figuring out their technical issues.

Post-Assessment Data
Student Scores by Objective on the Post Assessment

Tone Articulatio Balance/Blen Rhythm Dynamics Overall

Student Performance
n d
Score

1 2 2 3 2 2 2
2 3 3 3 2 3 3
3 4 2 3 3 2 3
4 2 2 3 3 3 3
5 2 3 2 3 3 3
6 2 3 3 2 2 2
7 2 3 2 2 2 2
8 2 2 3 3 2 2
9 2 3 4 3 3 3
10 3 4 2 4 3 3
11 3 2 3 2 3 3
12 2 2 2 3 3 2
13 2 3 3 3 2 3
14 3 3 3 4 2 3
15 3 2 3 3 2 3
16 3 2 3 2 3 3
17 2 2 2 2 3 2
18 2 3 2 2 3 2
19 2 1 2 3 2 2
20 2 2 2 1 2 2
21 1 3 2 3 3 3
22 2 3 3 3 3 3
23 3 4 3 3 2 3
24 2 3 3 3 2 3
25 2 4 4 2 2 3
26 3 2 1 2 3 2
27 2 2 3 3 2 2
28 2 2 3 4 1 2
29 2 2 3 2 1 2
30 1 3 3 3 2 3
31 3 3 2 3 3 3
32 3 3 1 3 2 3
33 2 2 2 3 3 2
34 3 3 2 2 2 2
35 2 2 2 3 2 2
36 2 4 3 3 1 3
37 3 3 2 4 2 3
38 2 3 2 3 2 2
39 3 3 3 4 2 3
40 2 2 3 3 3 3
41 3 2 2 3 2 2
Focus A 2 2 3 3 2 2
Focus B 2 3 2 3 2 2

What does these data mean for learning during the unit?
This data does a couple different things, it’s tough to track with this data what has actually been learned.
If you just look at numbers, you’ll see that some students’ perception caused scores to go up, and some
students actually went down. So going by the numbers doesn’t really tell you. But, if you pair this with
what you’ve experience with the ensemble and the student in particular, you’ll find that a lot took place.
For many of the students, the score stayed the same or went down, which is odd because the longer you
play a piece of music, the better the score should be. However, if learning has taken place, you’ll find
that students become more and more critical of themselves the better they get. Many students will also
never give themselves a 1 or a 5 simply because they don’t feel that good or that bad about themselves
and their playing. However, this tells us that they HAVE become more critical and that their perceptions
of what is considered “good” has improved. For an example, a trumpet player that has only ever heard
middle school trumpet, may find a high school player to be a “1” quality. But, as that trumpet player
grows and begins to hear college, and even professional, level musicians, that perception will change and
that high school bar becomes a “3” and the college level becomes the new “1”. This is how a musician’s
brain is trained to be more critical of their own sound and playing. Essentially, the scores don’t
necessarily show just improvement in those areas, they may feel they’ve improved, but the bar has been
moved. For some, they’ve moved above the bar they had in their head. This information never “ends” at
the unit and is constantly expanded upon, even into adulthood.

What does these data mean for learning for the Focus Students during
the unit?
With my two focus students, I found what they needed and you can see certain scores up and some even
go down, this is because of what I previously mentioned. They have learned a new bar to set their “3” to.
Especially for the trumpet who got the opportunity to hear my playing as a model. She then understand
what a “1” tone sounded like to her, so her bar changed. While she and I both know her tone improved,
she feels that her tone is not where she wants it, hence the score. For the other student, once we
figured out where to motivate him to improve in Concert Band, it was easier for him to improve across
the skills. Once again, he listens to a lot of professional recordings of saxophone players and there is
another student who is exceptionally good at the saxophone that he has as a model. All this to say, these
assessments allowed me to figure out where these students felt they struggled and could help them
reach a new bar to set their own standard.

For future instruction, what have you learned about how students
learn and the efficacy of your instructional style? What would you
change, if anything?
I’ve learned that especially in music, it’s important to know your students on a personal level from a
personal standpoint and a technical standpoint. It’s also important to never assume your students’
content knowledge. I was amazed that some of my students didn’t know some of the things I did, so it
was a struggle to get them to my level of understanding. Once I came to that understanding, it was
easier to sequence out what I wanted them to learn before I am set to leave. When I teach these units
again, I will make sure to go over the basics and never assume they know something just because I do.
This will aid in my sequencing and more quickly uncover what my students do and don’t know.