Making Subject Matter Comprehensible to Students.
TPE 1:
Specific Pedagogical Skills for Subject Matter instruction
Background
information: TPE 1 has two categories since self-contained classroom
teachers are responsible for instruction in several subject areas, while
departmentalized teachers have more specialized assignments. These
categories are Subject-Specific Pedagogical Skills for Multiple Subject
Teaching Assignments (1-A), and Subject-Specific Pedagogical Skills for Single
Subject Teaching Assignments (1-B).
TPE 1B: Subject-Specific Pedagogical Skills for Single Subject Teaching assignments
Teaching Music
in a Single Subject Assignment Candidates for the Single Subject Teaching
Credential demonstrate the ability to teach the state adopted academic content
standards for students in Music (Grades 7-12). They model highly developed
aural musicianship and aural analysis skills, teach music theory and analysis
(including transcription of musical excerpts; error detection; analysis of
form, style, and compositional devices; harmonic progressions and cadences),
and can teach students to read and notate music, understand the techniques of
orchestration and have facility in transposition. Candidates model expressive
and skillful performance on a primary instrument or voice and are proficient in
keyboard skills. They use effective conducting techniques and teach students
to sight sing, sight read, improvise, compose and arrange music. Candidates use
wide knowledge of Western and non-Western works in their instruction. They help
students understand the roles of musicians, composers, and general instruments
in diverse cultures and historical periods, and identify contributions of
diverse cultural, ethnic and gender groups and well-known musicians in the
development of musical genres.
Candidates instruct students in voice, keyboard, woodwinds, brass, strings, guitar and percussion. They use a variety of instrumental, choral and ensemble rehearsal techniques and employ an understanding of developmental stages of learning in relation to music instruction.
Candidates enable students to understand aesthetic valuing in music and teach them to respond to, analyze and critique performances and works of music, including their own. They teach the connections and relationships between music and the other arts as well as between music and other academic disciplines. They inform students of career and lifelong learning opportunities available in the field of music, media and entertainment industries. Candidates use various learning approaches and can instruct students in using movement to demonstrate rhythm and expressive nuances of music. They instruct using a broad range of repertoire and literature and evaluate those materials for specific educational purposes. They use various strategies for sequencing, planning and assessing music learning in general music and performance classes including portfolio, video recording, audio recording, adjudication forms and rubrics.
Candidates instruct students in voice, keyboard, woodwinds, brass, strings, guitar and percussion. They use a variety of instrumental, choral and ensemble rehearsal techniques and employ an understanding of developmental stages of learning in relation to music instruction.
Candidates enable students to understand aesthetic valuing in music and teach them to respond to, analyze and critique performances and works of music, including their own. They teach the connections and relationships between music and the other arts as well as between music and other academic disciplines. They inform students of career and lifelong learning opportunities available in the field of music, media and entertainment industries. Candidates use various learning approaches and can instruct students in using movement to demonstrate rhythm and expressive nuances of music. They instruct using a broad range of repertoire and literature and evaluate those materials for specific educational purposes. They use various strategies for sequencing, planning and assessing music learning in general music and performance classes including portfolio, video recording, audio recording, adjudication forms and rubrics.
Artifact 1
BTSA Lesson Plan: Artifact one that represents evidence of teaching to
California Domain A, TPE 1/1B is a lesson plan that was formulated through
cycle one of my BTSA program. This
artifact represents my ability to create effective lesson plans that work with
California-mandated curriculum standards as well as making sure I represent an
enjoyable and structured daily lesson.
TPE 1A:
Subject-Specific Pedagogical Skills for Multiple
Subject Teaching Assignments
Artifact 1: BTSA Lesson Plan
Artifact one that
represents evidence of teaching to California Domain A, TPE 1 - 1B is a lesson
plan that was formulated through cycle two of my BTSA program. This lesson plan was created via utilization
of lesson plans from my National University student teaching fused with this
new school year’s updates. This artifact
represents my ability to create effective lesson plans that work with
California-mandated curriculum standards as well as making sure I represent an
enjoyable and structured daily lesson.
Artifact 2: National University USP Observation
The second artifact is a
final assessment done by Dr. Garo Mirigan at the end my student teaching at
National University. Presented is the
review for Domain A, TPE 1/1B. This
final assessment observation was done as the culmination of five months of
student teaching, mentoring, and eight formal observations over the course of
these months. During this time, I also
created detailed lesson plans assisted by the “Writing Effective Lesson Plans:
A 5-Star Approach” and the National University lesson plan format.
Artifact 3: Literature Review "Exploring the Benefits of Music-Making as Professional Development for Music Teachers"
The third artifact that I have chosen is a review of supporting literature entitled “Exploring the
Benefits of Music-Making as Professional Development for Music Teachers by Kristen Pellegrino.
This artifact is important because it highlights a very unique point that would be very beneficial not
only to the teacher but also for the students receiving the teacher experiencing this type of
Professional Development
*Click here for this Artifact*
Literature
Review
The article selected as a supporting
literature review for this document is entitled “Exploring the Benefits of
Music-Making as Professional Development for Music Teachers” from the Arts Education Policy Review Journal in
2011 by author Kristen Pellegrino.
Kristen Pellegrino is a music educator affiliated with Christopher
Newport University in Virginia.
The article discusses the importance
of a music teacher having the ability to practice and perform as a method of
professional development. It is very
often that an music educator is very overwhelmed with the work involved in
doing their job to their satisfaction and for the happiness of their students
that the teacher themselves ends up in a place where they are too tired, poor,
or simply affected by a complete lack of time in order to be able to be the
musician they need to lead a full life and give the best education to their
students. An example of the importance
of music-making is the need for stress relief, happiness, and skills related to
musicianship that can be modeled and passed on to students.
Elementary
music teachers often teach only once or twice a week for a hundred to three
hundred students. Middle school music
teachers are often worn out from the energy utilized in the numerous groups and
the changing physical attributes associated with middle school students. High school music teachers have numerous groups
as the students are at a level of competence to be involved in many school and
community events. Where is the time for
the teacher to not just have time to find inner peace for themselves and their
students but also to continue to build their skills that they can pass on to
their students?
“For music teachers, the area of
music-making and its meanings can be connected with teachers’ beliefs,
identity, well-being, social connections, and presence in teaching, and can
serve as a powerful pedagogical tool (Dolloff 2006; Dolloff 2007; Fredrickson
2006; Isbell 2006; Jorgensen 2006, 2008; Pellegrino 2010; Russell 2009; Scheib
2006; Stephens 2007; Stanley 2009) and researchers have begun to consider the
potential of music- making as a valuable professional development activity
(Fredrickson 2006; Scheib 2006; Stanley 2009; Pellegrino 2010) (Pellegrino,
2011, p. 80)”. Ms. Pellegrino makes a
point to discuss connections to positive psychology with regards to ‘complete
engagement, well-being, presence in teaching, arts and music literature
regarding “(a) holistic sense of identity; (b) music-making and well-being; (c)
the connections among music-making and job satisfaction, retention,
recruitment, and student learning; and (d) music-making linked to presence in
teaching,” (Pellegrino, 2011, p. 81) and general inclusion of examples of how
these elements have contributed to music education.
Most importantly, Ms. Pelligrino
concludes with suggestions for the incorporation of music-making as
professional development. Ms. Pelligrino
includes four suggestions as follows: “including
music-making in departmental or district wide meetings, granting professional
development credit to music teachers who make music outside of the classroom,
creating in-class reflection opportunities or action research through the
integration of music-making into music teaching, and initiating a collaborative
teacher study group that includes chamber music collaboration” (Pelligrino,
2011, p. 86).
No comments:
Post a Comment