Lesson

Plan 1: Composition Technique

Topic area: Stage of Learner: Syllabus Pages:
Music for Radio, Film, Television & 4 p. 24-29
Multimedia (Leitmotifs)
Date: Location Booked: Lesson Number:
1/10/17 Classroom 3 of 10
Time: Total Number of students: Printing/preparation
10:00am 25 - Instruments
- Edpuzzle
- Google Classroom

Outcomes Assessment Students learn about Students learn to
Syllabus outcomes
Students will be Students will learn about Create their own leitmotifs
4.1, 4.3, 4.4, 4.6, 4.7, 4.8, 4.11, informally assessed the compositional about themselves to
4.12 on their technique of leitmotifs. describe their personalities.
compositional task They will learn about what Students learn to also
that they will submit they are and when they decipher other famous
at the end of the are used in a piece of film leitmotifs that they might
lesson. music. recognise.

CCP & GCs Subject specific concepts
- ICT - Leitmotifs
- Literacy - Themes
- Motifs
- Concepts of Music
Quality Teaching Elements (lesson focus) Highlight the appropriate areas
Intellectual Quality 1.1 Deep knowledge 1.4 Higher-order thinking
This refers to pedagogy focused on producing deep understanding of 1.2 Deep 1.5 Metalanguage
important, substantive concepts, skills and ideas. Such pedagogy treats understanding 1.6 Substantive
knowledge as something that requires active construction and requires students 1.3 Problematic communication
to engage in higher-order thinking and to communicate substantively about knowledge
what they are learning.
Quality Learning Environment 2.1 Explicit quality 2.4 Social Support
This refers to pedagogy that creates classrooms where students and teachers criteria 2.5 Students self-
work productively in an environment clearly focused on learning. Such pedagogy 2.2 Engagement regulation
sets high and explicit expectations and develops positive relationships between 2.3 High Expectations 2.6 Student direction
teacher and students and among students.
Significance 3.1 Background 3.4 Inclusivity
This refers to pedagogy that helps make learning more meaningful and knowledge 3.5 Connectedness
important to students. Such pedagogy draws clear connections with students 3.2 Cultural knowledge 3.6 Narrative
prior knowledge and identities, with contexts outside of the classroom, and with 3.3 Knowledge
multiple ways of knowing all cultural perspective. integration











 Time Teaching and learning actions Organisation

0 - 5 Set Up: - Ensure students have their iPads,
books, and headphones for the
- Students enter the classroom with their iPads, books and lesson
headphones - Provide explicit instructions for
- Students are to put their iPads and books on their desks then students to put their belongings on
go get a Glockenspiel or Electronic Keyboard for the first task their table then grab a Glock or
- Students are to sit in a large circle or in an arrangement they Keyboard and sit in a massive circle
can easily see the teacher with the teacher being the main
focus


5 - 25 Performance: - Have the Glockenspiel or Keyboard
that you are demonstrating with
- Students will be mimicking a bunch of leitmotifs played by facing the students and not yourself.
the teacher. This is so they can copy what you are
- The teacher will not explicitly state what these are and the doing easily and without confusion
students must guess what character they think it is. These - Breakdown the leitmotifs and build
leitmotifs will be transposed to the key of C Major to make it upon them as students learn the
easier for the students. notes
- Leitmotifs to copy: Short and long examples: - Provide time to practice once they
o Jaws have learnt the leitmotif
o Harry Potter - Start with Jaws then Harry Potter
o Imperial March then move to Imperial March (this
- Break down the leitmotifs into sections for students to copy also depends on time and students
and learn capabilities)
- Provide note names when using Glockenspiels/Keyboards to - Dont move on until students
make it easier for students to know starting points understand and can play the parts
- Provide background knowledge what they are doing at the that you have demonstrated
end of the task. Describe how leitmotifs are a short piece of - Have students pack up their
music that is made specifically for a single character. instruments and return to their seats
Leitmotifs are used in films to help provide information to
the audience about what mood the certain character is in or
what environment they are in.
- Students are instructed to pack up their instruments in an
orderly manner.
- Have students return to the desks after packing up the
Glockenspiels and/or Keyboards

25 - 35 Listening: - Students sitting at their desks with
their iPads, books, and headphones
- Once students have returned the desks, discuss with the - Students are to participate in a quick
students that there are three main musical ideas in film discussion about Themes, Motifs and
music. These are called Themes, Motifs, and Leitmotifs Leitmotifs
- Students watch the following video about Themes, Motifs - Students are then to go on their
and Leitmotifs on Edpuzzle (questioning site): iPads to the Edpuzzle quiz and
https://edpuzzle.com/media/59a0d2edc2099341dff630e0 answer the questions about the
- Students that finish quickly can begin their prep for their video
composition task - Students write down the definitions
- Students will write down what they believe their personality of the three ideas with their musical
traits is in great detail examples
o Look on google: Personality Traits to find out more - Once students finish they begin to
information about your own personality traits write down in detail about their own
personality traits

35 - 55 Composition: - Students will be sitting at their desks
for the completion of this task.
- Once students have finished creating their definition of their - They will need their iPads,
own personality traits they are to create their own leitmotif headphones, and books
based off their personality traits - Provide explicit instructions on the
- This leitmotif must fit in the guidelines of being a short music board for the steps students need to
material. Therefore, will only be 4 bars long do for their composition to avoid
- Students will NOT use loops, they must create it with the confusion
instruments available on Garageband - Assist students that arent sure in
- They must have at least one instrument to portray their what they need to do or ideas to
leitmotif complete the task
- They are able to manipulate the tempo if they like but there - Have a selection of students to
has to be music in the whole 4 bars demonstrate their ideas to the rest
- Students will demonstrate their own leitmotifs at the end of of the class
the lesson to class. - Make sure students submit their
- Students will submit their Leitmotifs to the teacher at the work to Google Classroom to review
end of the lesson through Google Classroom for review and and provide feedback
informal evaluation


58 - 60 Pack Up: - Ensure students pack up their
belongings
- Students are to make sure they have submitted their work to - Students are ordered to leave when
Google Classroom the bell goes
- They are to pack up their things and be ready to leave when - Students leave in an orderly manner
the bell goes
- Students leave in an orderly manner

 Lesson Plan 1: Reflection

Overview Reflection:

The first lesson plan focuses on the compositional technique leitmotifs in the topic Music for
Radio, Film, Television & Multimedia. This lesson ensures that the sequence builds on the
students knowledge around leitmotifs. In addition to this, this specific lesson uses all the
learning experiences in music, whilst following the Orff model of sound before the symbol.
However, for this lesson and future lessons, a development is needed in demonstrating
Blooms Taxonomys learning as described by Anderson and Krathwol (2001). This is done by
moving through the cognitive domains of remembering and understanding (Anderson &
Krathwol, 2001). My lesson plans need more work in moving through the cognitive domains
to ensure learning is fully developed. Beginning with remembering and moving all the way
to the creating process to enable students to learn to the best of their ability (Anderson and
Krathwol, 2001). This lesson began to work on this process with a mixture of the Orff model
(sound before the symbol), however, further development is needed. Upon reflection, this
lesson is full of content and would require students to have a passion for music or eagerness
to learn.

Deep Knowledge:

The NSW DET (2003) explicitly states that deep knowledge is done by focusing on a small
number of key concepts and ideas within topics. Through this lesson, we focus on one
specific small concept of leitmotif and then begin to touch on two other small concepts of
themes and motifs. By using the three learning experiences (performing, listening, and
composing) it allows for the concept to be explored in greater depth. The learning
experiences also allow for a connection to the musical concepts such as pitch, structure and
duration. These are specifically done when learning to play the leitmotifs in the
performance section of the lesson. The content is provided in a systematic way to ensure
students solidify this knowledge. This is done by performing with instruments, discussions
through the teacher, questioning on an informative video, and applying all the knowledge
learnt to create their own music using the concept (leitmotif). By providing multiple learning
aspects such as visual, audio, practical and listening tasks allows for all students that learn in
different ways to grasp the concept. Beirne and Velsor (2012) support this claim by
illustrating that each lesson needs to use a variety of intelligence areas to cater for all the
different learning modes. Therefore, this lesson illustrates the quality teaching model of
deep knowledge. This is done by focusing on the key concept of leitmotifs, using the three
learning experiences, and providing multiple learning modes to cater for all students
learning.

Metalanguage:

Metalanguage is to explicitly name and analyse knowledge as a specialist knowledge in a
specific subject (NSW DET, 2003). Metalanguage is explored throughout this lesson to touch
on languages specifically in this topic. The metalanguage that is included in this lesson are,
leitmotifs (main concept of the lesson), themes, motifs, notes in certain leitmotifs to play
(basic notation). These concepts are discussed and provide further information in the
context of the lesson to ensure a full understanding. Berry (2010, as cited in Schleppegrell,
2013 p. 156) states that metalanguage can be conceived of as both thing (terminology) and
process (talk about language). Therefore, through this lesson the metalanguage is
demonstrated by sometimes talking about the terminology specifically and initially talking
about the language before explicitly stating the terminology. Even though this lesson
touches on metalanguage and explores some in further depth, however, I believe my lesson
could use more metalanguage. Music is very big in metalanguage and using this constantly
each lesson can allow for students to broaden and deepen their knowledge in music.

Explicit Quality Criteria:

Explicit Quality Criteria is to provide explicit criteria for the quality of work they need to
produce (NSW DET, 2003). Explicit and clear instructions were created throughout this
lesson to ensure students are aware of what they need to do and produce. I have done this
verbally and clearly to the students. However, providing a task sheet or written checklist on
the whiteboard will ensure the completion of the correct product. I have ensured that I have
provided enough time to explain the tasks and complete the tasks or further explain the
tasks if needed. Further work needs to be done through the explicit quality criteria, making
sure students have the clear instructions, the instructions are not ambiguous, and giving out
a task checklist on a sheet or whiteboard could avoid this ambiguity.




























 Lesson Plan 2: ICT

Topic area: Stage of Learner: Syllabus Pages:
Music for Radio, Film, Television & 4 p. 26-29
Multimedia (Purpose/Emotion in
Film)
Date: Location Booked: Lesson Number:
2/10/17 Classroom 4 out of 10
Time: Total Number of students: Printing/preparation
10am 25 - Laptops
- Ted Ed
- Google Classroom

Outcomes Assessment Students learn about Students learn to
Syllabus outcomes
Students will be How emotion is portrayed Create their own emotional
4.4, 4.6, 4.7, 4.10, 4.11, 4.12 assessed on the final in musical sounds to aid music to fit the emotional
compositional the direction of a film. intent of the film they have
product that they Students will draw on chosen. Learning to use
create for a film of background knowledge of background knowledge to
their own choosing. emotions and motifs to assist in their creations.
create their own
emotional music.

CCP & GCs Subject specific concepts
- ICT - Motifs
- Literacy - Concepts of Music
- Work, Employment and - Composing emotions through musical ideas
Enterprise
Quality Teaching Elements (lesson focus) Highlight the appropriate areas
Intellectual Quality 1.1 Deep knowledge 1.4 Higher-order thinking
This refers to pedagogy focused on producing deep understanding of 1.2 Deep 1.5 Metalanguage
important, substantive concepts, skills and ideas. Such pedagogy treats understanding 1.6 Substantive
knowledge as something that requires active construction and requires students 1.3 Problematic communication
to engage in higher-order thinking and to communicate substantively about knowledge
what they are learning.
Quality Learning Environment 2.1 Explicit quality 2.4 Social Support
This refers to pedagogy that creates classrooms where students and teachers criteria 2.5 Students self-
work productively in an environment clearly focused on learning. Such pedagogy 2.2 Engagement regulation
sets high and explicit expectations and develops positive relationships between 2.3 High Expectations 2.6 Student direction
teacher and students and among students.
Significance 3.1 Background 3.4 Inclusivity
This refers to pedagogy that helps make learning more meaningful and knowledge 3.5 Connectedness
important to students. Such pedagogy draws clear connections with students 3.2 Cultural knowledge 3.6 Narrative
prior knowledge and identities, with contexts outside of the classroom, and with 3.3 Knowledge
multiple ways of knowing all cultural perspective. integration










Time Teaching and learning actions Organisation

0 - 3 Set Up:
- Students are to sit at their seats
- Students enter the classroom with their iPads, books and - Ensure students have their iPads, books,
headphones and headphones for the lesson
- Students are to put their iPads and books on their desks
ready to listen to further instructions


3 - 30 Listening:
- Students are sitting at their desks
- Students are to go the link provide to them to engage in a - Students have headphones in and uses
listening task and online lesson on Ted Ed: their iPads to complete the task
o https://ed.ted.com/on/mOzq8VSp - Walk around and monitor students
- Students are to do this separately and by themselves with progress whilst they complete the task
headphones in on Ted Ed.
- Students will be answering questions based on the film - Assist students that are stuck on certain
Inception and the piece Time by Hanz Zimmer. These questions
questions ask students to think about the concepts of
music and think about the purpose/emotion of music in a
film.


30 - 58 Composition:
- Students are sitting at their desks
- Students are prompted to find their own scene that they working in pairs
want to look at - Students have headphones in when
- This scene must focus on one emotion already (eg. sad, creating their music
happy) - Ensure both students are participating in
- Students are to mute all the sounds on this film, including the composition process
dialogue. - Monitor and listen to students work as
- Students will be creating their own music to this film in they create it
Garageband that will aid the emotion in the film scene
- Students will be working in pairs to complete this task,
where one student will have the film on their iPad and the
other iPad will create the music
- Both students need to have input in the creation of the
music
- The music must fit the length of the scene whilst changing
every 8 bars in some way to keep interest
- Students are to use Apple loops for their musical ideas
- Students are to use the idea of motifs and variations for
the creation of their ideas
- Students are able to use any instruments of their
choosing, they just have to make sure the music fits the
emotion of the scene
- At the completion of the task, students are to submit
their music and film into Google Classroom for review and
feedback from the teacher
- One student will submit the music and the other will
submit the video they used. Ensure that in their
submission they identify who were the two in the pair
- Encourage students to challenge themselves by not using
 loops if they want and create their own music

Extension:

- Students that complete the task quickly can create music
that DOESNT fit the emotion of the scene and write
down the impact this had on their scene.


58 - 60 Pack Up:
- Ensure students have submitted the
- Students are to submit their work into Google Classroom, work
completed or not completed - Have students pack up their belongings
- Students are to pack up their belongings in their bags and - Instruct students to leave when it is
stand behind their desks appropriate to
- Students leave when instructed to








































 Lesson Plan 2: Reflection

Overview Reflection:

The second lesson plan focuses on the topic of Music for Film, Radio, Television and
Multimedia with a heavy use Information and Communication Technology (ICT). This lesson
allows students from the beginning to engage with music in this specific topic. However,
through this lesson only two of the learning experiences are being had due to the focus of
keeping everything on their devices. This being said, it does not mean you cannot do
performance tasks on devices, but during this lesson it did not seem fit. Unlike the first
lesson, this lesson follows a symbol before sound approach by providing information at the
beginning and applying it afterwards. Even though this is not wrong, it is more of a typical
classroom scenario and does not allow students to explore their own ideas during the
lesson. Furthermore, with this lesson, it requires the school to have the resources to be able
to complete the tasks. This means that the common average school would not be able to
complete this lesson. Therefore, making it very selective on what schools could use these
tasks for their students. With also the composition task, in a perfect scenario, providing the
students extra time in another lesson to fully complete the task would be ideal. However, as
this is only one lesson there is not enough time to fully explore their ideas.

High Expectations:

NSW DET (2003) illustrates that high expectations are achieved by communicating to the
students to take educated risks in their learning and is rewarded for taking these risks.
Even though in this lesson, an attempt to implement high expectations throughout was
demonstrated, however, an improvement is needed to ensure it is achieved in every lesson.
Rubie-Davies (2014) explains that expectations can be demonstrated through many aspects,
such as, how they group the students, the learning experiences, and how the teacher
believes the students will complete the outcomes planned. Therefore, to support this
information, having the students work in pairs, touching on at least two learning
experiences (listening and composition), and providing an extension task, the lesson
demonstrates high expectations. However, the extension task is an addition to the actual
task, by having this as the benchmark, this could demonstrate high expectations initially
instead of later in the lesson. Common perceptions from students would be This is too
hard or I cant do this when high expectations are developed (Saphier, 2016). Whilst
during the lesson I can assist the students learning by supporting them in taking risks and
having a go. High expectations need to be developed during every lesson for students to
understand it is normal to fail and take risks. During this lesson, it does provide time for
feedback to reward students taking a risk but a further development in every lesson is
needed. Finally, high expectations are through the teachers ability to be in tune with their
students and understand when or where they need support in their learning (Dudley-
Marling & Michaels, 2015). Therefore, even though this lesson can illustrate high
expectations with challenging task and well-planned feedback, the teacher needs to have
the ability to elaborate or refrain in explanations when needed. This is determined
specifically by knowing the students and how they learn as stated in the Graduate Teaching
Standards (AITSL, 2017).


















References:

AITSL. (2017). Teacher Standards. Aitsl.edu.au. Retrieved 1 October 2017, from
https://www.aitsl.edu.au/teach/standards

Anderson, L., & Krathwohl, D. (2001). A taxonomy for learning, teaching and assessing: A
revision of Blooms Taxonomy of educational objectives. New York: Longman.

Beirne, D., & Veslor, K. (2012). Engaging Students: Using the Unit in Comprehensive Lesson
Planning. R&L Education.

Dudley-Marling, C., & Michaels, S. (2015). High-Expectation Curricula. New York: Teachers
College Press.

NSW DET. (2003). Quality teaching in NSW public schools. Retrieved 25 September 2017,
from http://www.darcymoore.net/wp-content/uploads/2012/02/qt_EPSColor.pdf

Rubie-Davies, C. (2014). Becoming a High Expectation Teacher: Raising the Bar. Routledge.

Saphier, J. (2016). High Expectations Teaching: How We Persuade Students to Believe and
Act on "Smart Is Something You Can Get". Corwin Press.

Schleppegrell, M. (2013). The Role of Metalanguage in Supporting Academic Language
Development. Language Learning, 63, 153-170. http://dx.doi.org/10.1111/j.1467-
9922.2012.00742.x