2012 WUPA - Middle School Band

Criterion I:
Contextual Information and Learning Environment Adaptations
My practicum is at a suburban middle school that serves seventh and eighth grade students.  Of the total 599 students enrolled, 51.1% are male and 48.9% are female.  This varies only slightly from the district percentages.  District enrollment currently stands at 3,551 total students, with 50.1% being male and 49.9% being female.  Several ethnic groups are represented in the school’s student population, but I would not describe it as overwhelmingly “diverse.”  74.3% of the students are white, 11.0% are Hispanic, 6.2% are African American, and 8.5% consists of other ethnicities.  These ratios are very close to the district percentages of 73.6% white, 12.8% Hispanic, 5.9% African American, and 7.7% other.  At the middle school, 32.4% of the students are economically disadvantaged to some degree.  This is very comparable to the overall district’s 32.0%.  Students with disabilities comprise 9.4% of the total middle school population.  This is lower than the district percentage of students with disabilities: 13.1%.  The percentage of English Language Learners is 2.5% for the school and the district. 
The middle school band classroom is large and enclosed.  There is a two-tiered wooden stage toward the back of the room.  This houses most of the percussion instruments, and is where the percussionists play their instruments during rehearsals.  The floor is made of tile.  The wood and tile floor materials are not acoustically ideal for a large band ensemble; volume levels are extremely high because none of the sound is absorbed.  The director’s office, an instrument storage room, and the music library are adjoined to the main rehearsal space.  These rooms are often utilized for one-on-one instruction and administering playing exams.  There is an upright piano toward the back of the room as well.  There are several bulletin boards in the room with information about upcoming music department events, classroom expectations and consequences, and some quotes about music and character.  Students with smaller instruments have access to lockers in the band room for storage.  The director has a standard-sized podium positioned in front of the ensemble seating.  A whiteboard with pre-marked music staves is also available.  Students’ individual chairs are arranged in arc-shaped rows faced and turned inward toward the podium.
There are a total of forty-eight students in the seventh grade band class.  Twenty-eight are male and twenty are female.  Forty-two of the students are white, three are African American, and three are Hispanic.  There are no students who need special cultural considerations, have identified special needs, or are identified as at-risk students.  Because of the large class size, it is difficult to determine from observation whether students exhibit any indication of having any type of disability.  There is one student that I suspect may be delayed because of his difficulty with very simple concepts such as the musical alphabet.  (This is speculation on my part.)  It is fairly obvious that some students are more musically advanced than others (this is typical of ensembles at this grade level).  Some seem more focused and on-task than others.  By listening, I can tell that some students have a more developed tone and play with greater accuracy.  In my rehearsal unit, I will compare the participation of two different sets of two groups of students.  One group will consist of boys versus girls, and the other will consist of white students versus students of a different ethnicity.
The seventh grade students are in Piaget’s formal operational stage of development.  They are able to think beyond concrete experiences, draw their own conclusions from information given to them, and apply concepts to hypothetical situations.  Students in this stage are better able to predict outcomes of their actions.  This is the fourth and final stage in Piaget’s stages of development; however, just because the students are in this stage does not mean they have attained their full developmental potential.  Cognitive development is unique to each individual.  Implications for instruction includes giving students more opportunities to solve problems on their own.  For instance, if a musical passage contains errors related to the key signature, the director may not need to specifically describe what the students should do to fix the problem.  He/she may simply call their attention to the passage, ask them to identify what needs to be fixed, and allow them to solve the problem themselves.
According to Erikson’s Theory of Psychosocial Development, the seventh grade students are in the Identity vs. Role Confusion stage.  The students are becoming increasingly concerned with how they appear to others.  They are thinking about how they fit into their world—both the school environment and society as a whole.  Students are thinking about their abilities and how they may contribute to their roles in their environment.  Students need a safe environment in which to experiment with different identities.  The classroom instructor should be sensitive to the social, psychosocial, and physiological changes occurring at this age.  He/she should give all students the opportunity to be successful and take care to not isolate or embarrass students.
These seventh grade students come from predominantly middle- to upper-class families, and some lower/working-class families.  Community, building, and district characteristics support this (as do the aforementioned SES statistics).  The teacher must ensure that instruction is accessible to students of all SES backgrounds.  Because the class is not drastically economically diverse, it may be easier for the teacher to overlook students who are not in the majority.  Additionally, the ethnic minority groups comprise a very small percentage of this seventh grade class (although they are still represented).  The teacher must take care not to overlook the needs of these students.  To meet the needs of each student, the teacher must provide a secure environment in which all students can identify with the material being taught.  This requires the teacher to emphasize structure and develop an attitude that is both friendly and authoritative.  For example, students are allowed to talk as they retrieve and assemble their instruments and take their seats; however, as soon as the director steps onto the podium, students know to be quiet and focus on the director.
            The seventh grade students display a variety of learning styles, including visual, auditory, tactile, kinesthetic, and verbal.  Playing instruments in an ensemble setting inherently addresses many of these styles.  Students must watch the conductor and read the numerous symbols in their music during rehearsal.   This addresses visual learning.  Also, students are constantly listening to themselves and the rest of the ensemble as they play.  They also must listen to and interpret verbal cues from the director.  This addresses auditory learning.  Tactile and kinesthetic learning are addressed through playing wind and percussion instruments.  This requires a great deal of coordination and knowledge of the body.  Fingerings and rhythms require motor skills.  Air and breath support require body awareness.  Students are given opportunities to ask questions and verbally contribute their ideas to the music-making process.  This helps to incorporate verbal learning into classroom instruction.  While I have not seen evidence of gender influencing classroom instruction, I am sure that gender stereotypes are important to keep in mind in this middle school band class.  Typically, flutes, clarinets, and oboes are associated with the female gender.  Instruments such as the trombone and tuba (and even the trumpet) are often thought of as “male” instruments.  The teacher should be careful not to contribute to these stereotypes and help students realize that no instrument is limited to one gender or the other.  I noticed that in this class, there are two male students who play flute and one who plays clarinet.  Any comments that might make these individuals feel uncomfortable should be avoided.  The teacher could make the students aware of artists such as Benny Goodman who do not conform to these gender stereotypes. 

Contextual Factor
Instructional Implications
Gender: 20 females, 28 males.
·      Musical selections that appeal to both genders.
·      Avoid gender stereotypes related to certain instruments.
·      Discourage student comments that may reinforce these stereotypes.
·      Be aware of physiological/hormonal changes occurring at this age that may account for interaction between boys and girls.

Small representation of different ethnic groups.
·      Awareness of different background experiences of students.
·      Be careful not to ignore or forget these students and their needs.
·      Musical selections that students of different backgrounds can identify with.
Varying levels of musical aptitude.
·      Variety of repertoire that promotes participation for those who struggle and provides enrichment for those who are more advanced.
·      Consider opportunities for one-on-one instruction to reach those who may be behind.
·      Provide opportunities for enrichment for those who are excelling and may need to be challenged.
Students from mostly middle- to higher-SES families.
·      Take care not to assume that all students are economically secure.
·      Provide experiences that show how music is relevant to all students’ lives.  Discuss how music can benefit them in the years ahead.
·      Develop an understanding of students’ access to resources (i.e., instruments, music, money for trips, etc.).











































Criterion II:
Learning Goals and Objectives
Goal: The seventh grade students will perform “Monmouth Overture,” a grade level 2 piece by Michael Sweeney, with accurate pitch, rhythm, intonation, and expressive elements.  This aligns with the state intermediate standards: Standard 2 – Performing on instruments, alone and with others, a varied repertoire of music; Standard 5 – Reading and notating music; and Standard 7—Evaluating music and music performed.
Pre-test (diagnostic):  The students will sight read “Monmouth Overture” given visual and verbal cues from the conductor. 
Post-test:  The students will perform “Monmouth Overture” in the final spring concert, demonstrating growth in intonation, pitch and rhythmic accuracy, and application of expressive elements.  80% of students will demonstrate significant growth in all of these areas.
Note: Because the structure of this seventh grade band class is rehearsal-based, students will be playing and practicing this piece in rehearsals leading up to the concert.  Rehearsal structure, however, will often consist of focusing on individual elements or passages of the piece.  The pre-test and post-test assess the students’ ability to perform the piece in its entirety—from start to end without stopping. 
Note: The anticipated success rate for all of the following objectives is 80%.
            Subject Matter Knowledge (lower level objectives)
1.     Students will use appropriate technique in regards to playing instruments and breath support.
2.     Students will identify and explain key signatures, time signatures, and musical symbols.
Skills/Performance/Applications (middle level objectives)
1.     Students will demonstrate ability to read standard music notation, in regards to pitch, rhythm, time, articulation, and expressive elements.
2.     Students will watch, interpret, and respond to visual and verbal director cues.
3.     Students will demonstrate their knowledge of ensemble performance, including blend, sensitivity, and intonation, through their playing.
Reasoning Ability (higher level objectives)
1.     Students will monitor their own intonation and accuracy using their listening skills and musical knowledge.
2.     Students will listen critically to/analyze their own performance.
3.     Students will describe music using their own musical vocabulary.

            This lesson/rehearsal sequence aligns with Standard 2, Benchmark 1: performing accurately and independently on at least one instrument, alone and in small and large ensembles, with good posture, good playing position, and good breath, bow, or stick control.  To achieve this benchmark, I included a short pre-rehearsal lesson on posture and breath support (for percussionists, posture and playing position).  I also demonstrated on the trumpet the difference between a supported and unsupported tone.  After this lesson, I could determine their understanding of these concepts and how to implement them.  I could then devote a portion of rehearsal time (during warm-ups) to posture and breath.  These are crucial to producing a good sound.  This helped the students form good playing habits that will contribute to individual and ensemble growth.  Standard 2, Benchmark 2  (performing with expression and technical accuracy on at least one string, wind, percussion, or classroom instrument a repertoire of instrumental literature with a level of difficulty of 2, on a scale of 1 to 6) was also addressed.  “Monmouth Overture” is a grade level 2 piece.  It is challenging, yet attainable for this seventh grade ensemble.  Each student actively participates in the performance, and two of the major goals of rehearsals are to strive for technical accuracy and facilitate student expression.  . 
The rehearsal unit also addresses Standard 5, Benchmark 1: reading whole, half, quarter, eighth, sixteenth, and dotted notes and rests in 2/4, 4/4, 6/8, 3/4, 3/8, and alla breve meter signatures.  “Monmouth Overture” includes rhythms of different durations in all instrument parts.  Additionally, the several meter changes add a challenge for these seventh grade students and create opportunity for discussion of meter and time.  We went over what the numbers in the time signature mean, and did clapping exercises dealing with strong and weak beats in different meters.  I led the group in going through the piece and identifying all meter changes.  I did this mostly by asking questions of the students (i.e., “What happens in measure 64?  How is this different than the previous measure?”).  All of the meters in the piece are simple meters, so we also discussed how the quarter note remained steady, and the difference between meter change and tempo change.    Standard 5, Benchmark 3 (identifying and defining standard notation symbols for pitch, rhythm, dynamics, tempo, articulation, and expression/interpretation.) was also addressed.  Reading music is one of the primary skills enforced through this lesson/rehearsal sequence.  Gaps in this understanding are often identifiable by listening to the quality of the students’ performance.  Basic reading skills (i.e., simple rhythms and note names) were reinforced from time to time through question-asking (“Flutes, what note do you start on in this section?”).  At the beginning of this lesson/rehearsal sequence, I led the students in identifying terms that they maybe were not as familiar with (i.e., marcato).  We discussed what the terms meant and came up with adjectives to describe sounds.  I had them apply the term to a concert B flat scale (for example, students would play the scale in a marcato style).   
            Standard 7, Benchmark1—developing criteria for evaluating the quality and effectiveness of music performances and compositions and applying the criteria in personal listening and performing—was also addressed.  In the rehearsal setting, students are constantly monitoring their own success.  They are listening to their own playing and the playing of those around them, and making musical decisions based on this information.  It is my job to increase their awareness of what they hear and emphasize the importance of listening.  During rehearsals, I would sometimes stop and ask, “What did you hear?”  If they could not respond, I would say, “Let’s do it again, and this time make sure you are listening.”  This almost always yielded student responses that reflected their ability to listen and describe what they heard.  Toward the beginning of this lesson/rehearsal sequence, we had a class discussion about what constitutes a “good” musical performance.  Students were able to come up with a few criteria on their own.  I suggested a few more, and then asked them to explain how each contributed to a quality musical performance.  We identified accuracy (pitch and rhythm), time, intonation, expression, phrasing, ensemble “togetherness,” tone quality, and visual performance as areas that would determine the quality of the performance.  I kept these areas listed on the whiteboard for the rest of the rehearsals.  I wrote numbers 1 through 5 next to each category, and used this as a system for students to evaluate their individual and collective performance.  For example, I would sometimes stop the rehearsal and ask, “Based on what you heard, how would you rate our overall intonation as an ensemble?  Use your fingers to show your score from 1 to 5.  5 is the best, 1 is the worst.”  This procedure was an effective way to make sure they were constantly listening and evaluating.
I chose these objectives because I believe they are developmentally-appropriate for these seventh grade students in terms of literacy and performance.  The students will be challenged, but will ultimately experience success.  The repertoire contains concepts (such as meter changes) that will facilitate musical growth.  Additionally, the objectives steer students toward application of musical concepts through performance.  Knowledge concepts (such as reading music, using proper playing technique, and fingering notes) are reinforced, but students can focus on how to use this knowledge as they perform music as an ensemble.  As they gain more experience listening and analyzing, they can become more independent musicians. 











Criterion III:
Instructional Design and Implementation


Note:  Rehearsal of “Monmouth Overture will take place over the span of several weeks leading up to the concert.  The five-day rehearsal period I have outlined represents a sampling of the entire rehearsal sequence.  The first and final rehearsal days accurately reflect the pre-test and post-test administered. 
    The pre-test consisted of the students’ initial sight-reading of “Monmouth Overture.”  The goal of this exercise was to assess the band’s ability to sight-read, to determine what aspects of the piece would require the most work/rehearsal time, and familiarize students with the “big picture” of the piece.  Also, I was able to diagnose whether the piece was at an appropriate level for them—challenging, but attainable.  I conducted assessment by recording the read-through and analyzing it later.   Because the ensemble size is so large, individual assessment was not a practical choice.  It is difficult to listen for 48 specific individuals on a recording, and only so much information can be gathered and remembered while conducting on the podium.  Rather, I evaluated each instrument section (saxophones, trumpets, flutes, etc.) on the recording.  This way, I knew which sections specifically would need help in future rehearsals.  I devoted one entire hearing of the recording to each section, and took notes as I listened.  Afterward, I made short notes in my score about things I should be aware of in future rehearsals (i.e., rhythmic difficulties, wrong notes, etc.).  One of the assistant band directors administers weekly playing tests (a process I am not involved in) that comprise the individual assessment component of this band class.  Through this pre-test, I could evaluate individual sections and the band as a whole in their ability to sight-read and follow the conductor.  I was confident the students were ready for this pre-test because I had seen the director use a similar process as he introduced them to new pieces.
    In addition to the read-through, Day 1 consisted of a short lesson on breath support and posture.  (Throughout this rehearsal sequence, I used warm-ups to teach musical concepts and playing technique.)  One of my teaching tools included physical demonstration of appropriate posture and breathing.  Previous experiences with this age group have revealed that solely lecturing on the topic would probably not be an effective teaching method.  I used illustrations, humor, and interactive instruction to allow students to experiment with these concepts.  We concentrated on low, diaphragmatic breathing, tension-free posture, and how air and body alignment relate to tone quality.
    The warm-up on Day 2 involved helping students understand and apply the difference between staccato and legato articulations.  They played #55 and #56—simple, 16-bar tunes—as written first; then, we discussed the difference between staccato and legato style in terms of attacks, length, and releases.  I had them sing the first tune in staccato style first, using a “too” syllable.  Then, they sang the same tune in a connected, legato style, using a non-percussive “doo” syllable.  I had them hold their hand in front of their mouth as they sang so they could feel the differences in air movement between the two styles.  This helped them execute staccato and legato styles correctly as they played them on their instruments.  After the warm-up, we focused on the ‘A’ section of “Monmouth Overture” (there is some contrast between stacatto and legato styles that occurs in this section).  I isolated different parts and slowed down tempos to help students improve their accuracy.  I tried to make sure that all sections were receiving adequate attention in rehearsal.  I also referenced our earlier work in staccato and legato articulations when they played these passages.
    On Day 3, the warm-up exercises dealt with meter changes from 3/4 to 4/4 and vice versa (there are several of these in “Monmouth Overture”).  #73 and #74 in the warm-up books dealt specifically with meter changes.  Before playing these, I counted off alternating measures of 3/4 and 4/4 to give them a sense of strong and weak beats.  Then, I asked them to identify strong, or emphasized, beats.  As a group, they correctly identified the downbeat as the strongest, and beat three in 4/4 time as being strong as well.  Then, I had the percussionists play steady quarter notes (to emphasize that the beat/tempo does not change).  I had them all count quarter notes out loud as they watched for my cue (holding up either three or four fingers) in regards to the meter and listened to the steady beat played by the snare drums.  This exercise helped them to experience more success as they executed meter changes in the warm-up pieces and in “Monmouth Overture.”  After reviewing section A, we rehearsed section C (the section with the majority of the meter changes).  To help them initially, I counted the beats out loud to help them feel the transition between meters.  Eventually, they were able to execute the changes very fluidly.  To help them improve musically, I isolated parts, rehearsed at slower tempos, and reminded them of their articulations and breath support.
    The warm-up on Day 4 focused on intonation concepts.  I asked students to access their prior knowledge and share what they knew about listening and intonation.  Their answers reflected that most knew that breath support and embouchure are key components of intonation.  I asked them to listen to themselves and the rest of the band as they played, and to try to “agree” on the tone center.  I told them they would be able to hear the pitch lock in, and hear wavelengths that sounded together rather than against each other.  Students played a concert B flat major scale while the lower instruments played a tonic drone.  This way, students could tune both “horizontally” and “vertically.”  Afterward, I asked them to describe what they heard.  Several students expressed that they didn’t feel that the pitch was centered.  I asked them what they could do as independent musicians to improve this.  They said they should listen more carefully, and use proper breath support to produce their tone.  This time, I had each section play a concert B flat (the oboes started, then I added each section one at a time).  I described adjustments they could make as they played.  I heard them adjusting their air and embouchure, and they achieved a much more centered, balanced tone.  After the warm-up, we rehearsed section B for the first time.  I used techniques similar to those in prior rehearsals; I isolated parts, adjusted tempos, and addressed specific concerns such as wrong notes and rhythmic misconceptions.  Then, I led the band in a “stumble-through” of sections A, B, and C so they could experience a “macro” view of the piece and demonstrate their growth since the first read-through.
    The final rehearsal’s warm-up focused on executing gradual crescendos and decrescendos.  Students relied solely on visual director cues and gestures.  This helped me maintain eye contact with them and helped them stay alert and engaged.  As they played a concert E flat major scale, I changed pattern size and plane to communicate increases and decreases in volume.  We also had a brief discussion about the need for good breath support when playing both loud and soft.  I had them play some unison tones at a pianissimo level to demonstrate the need for good support and energy to maintain good intonation.  Next, we rehearsed “Monmouth Overture” straight through without stopping.  Before this run-through, I asked them to keep in mind everything we have rehearsed up until this point, including dynamics, intonation, and articulation.  I also asked them to play the piece as though they were performing in a concert.  I felt that a run-through was needed so that the students could experience a performance-like situation.  After playing the piece through, I addressed a few sections that needed attention (for example, a couple of clarinets had played a wrong note in section B, the percussionists were rushing in the final section, etc.).  Then, because there were other pieces that needed attention, the rehearsal moved on. 
    The rehearsal was structured in this way so that the students could focus on different music concepts and skills in the warm-ups, and could then apply them to their performance of “Monmouth Overture.”  I wanted to make sure that they were able to practice improving their musical knowledge and skills while still meeting performance requirements.  Also, I designed the rehearsal schedule so that students gained a combination “micro” and “macro” views of the piece; we spent time on smaller components (i.e., individual sections) and also periodically played the piece all the way through.  Because there were other pieces besides “Monmouth Overture” to rehearse each day, appropriate pacing was crucial.  I found that devoting time each day to a purposeful warm-up exercise was highly beneficial.  These helped the students focus and gave me concepts to reference during rehearsal.  As I designed plans for warm-ups and rehearsals, I kept in mind the need to foster students’ musical learning and growth (by using performance concepts such as breath support and intonation to enhance performance of the piece) as well as work toward performance goals (the concert).
   All learning styles in Gardiner’s Theory of Multiple Intelligences were cultivated in this series of rehearsals.  Verbal instructions and interactive discussions of musical concepts was beneficial to linguistic learners.  Mathematical learners could relate well to the counting involved in rhythm and meter—especially the meter changes.  Playing the instrument (which involves spatial awareness and coordination) and watching and responding to my conducting gestures served spatial-minded students.  Obviously, students with high aptitude in music demonstrated enthusiasm and high levels of success in the rehearsals and exercises.  Playing instruments facilitated kinesthetic learning because of the muscle coordination required.  Students who were interpersonally-inclined seemed to enjoy performing as an ensemble, sharing their thoughts and ideas with the rest of the band, and participating in discussions based on diagnosing issues.  Intrapersonal learners benefitted in the problem-solving required in rehearsal.  For instance, students were asked to critique and adjust their personal intonation.  After the series of activities, the students had expanded their knowledge of musical concepts (such as articulation and meter changes), improved their application of these skills in performance, and performed “Monmouth Overture” with greater accuracy and musicality.
    Technology I used in instruction included equipment used for recording rehearsals.  I used these recordings to assess the group and to gather information about what needed attention in future rehearsals.  I did not incorporate more because I believe technology should be used to enhance student learning—not for its own sake.  I felt that students benefitted most from hands-on music-making, musical experiences, and discussion of concepts.  I felt that the resources I used as well as the involvement of the students best accomplished my goals and rehearsal objectives.           
    Reading music directly ties into reading skills.  Students must read and interpret music notation and symbols, and simultaneously coordinate their breathing, embouchures, and bodies to produce the desired result. This recognition and realization of symbols is closely related to reading strategies.  Additionally, the class discussions promoted student ability in verbal expression of ideas.
    Although I did not use any community resources, the final concert is an opportunity for students to share their work and musical accomplishments with their family and the community.  Time constraints and the fact that I am not the head director contributed to my decision not to incorporate community resources.  I considered that bringing in a local artist to perform for the band might be a good way to use community resources.  Inviting an artist to perform with the students as a guest soloist might provide students with a unique experience also.
    Adaptations in my instruction consisted of pacing adjustment to meet student needs (either because of struggling or excelling on the part of the students).  Similarly, I adjusted tempos as needed, often slowing down difficult passages to promote student success.  Also, I provided guidance when students struggled with ideas and concepts.  For instance, I had to clarify some concepts during the warm-up lesson on meter changes.  I quickly learned the importance of isolating sections during rehearsal.  I also found that rehearsing two or three sections at a time allowed me to hone in on certain “trouble spots” while keeping more of the ensemble engaged.  Additionally, I discovered that explaining concepts in multiple ways helped pacing and student understanding.  For example, when I felt that students were not grasping the concept of a low, diaphragmatic breath, I used an interactive illustration that I saw done at a KMEA workshop.  It was very effective, and provided students with a way to actually experience good breathing—not just think about it.  Because there were no identified special-needs students or English Language Learners in this seventh grade band, I did not develop special-needs or ELL adaptations for my instruction.









Criterion IV:
Demonstration of Integration Skills
    Several content fields other than music were integrated into this rehearsal sequence.  This integration helped to enrich the curriculum across several content fields and fostered learning in students with different learning styles (according to Gardiner’s Theory of Multiple Intelligences).  These content fields included reading, language arts, mathematics, visual arts, and kinesthetic learning.
    I integrated reading skills by fostering student comprehension and fluency.   As students read music, they associate visual representations and symbols with musical meaning, including rhythms, pitch, dynamics, articulation, and so on.  Learning the new articulation concepts and their markings (staccato and legato) was similar to learning new vocabulary.  Students had the opportunity to apply these new concepts to performance. They experienced them in addition to discussing them.  The idea of assigning icons to represent sounds directly tied in with reading education.  (In reading, students are taught to assign letters and/or groups of letters to certain sounds.)  With repetition, reading music results in improved student fluency in music, which also transfers to reading skills. 
    Students experienced integration of language arts skills when they participated in classroom discussions about music concepts.  Articulating thoughts and ideas effectively comprises a large part of language arts instruction.  For example, when students were asked to listen, describe, and diagnose their intonation, several individuals raised their hands and volunteered their ideas.  Students accessed their prior knowledge about music and communication skills as they participated in discussions.  Understanding and responding to information is also a major component of the language arts curriculum.  Students responded to verbal and non-verbal director cues during rehearsals.
    The rhythmic aspects of band rehearsals promoted mathematics education in the classroom.  Through echo activities (in “The Kangaroo Hop” and the daily rhythm and pitch exercises) and the “Body Rhythm” exercise, students internalized rhythms that require basic counting skills.  Students were introduced to the ideas of grouping rhythmic building blocks, shorter duration versus longer duration, and distinguishing between different sets of rhythms (“Do we clap three times or four times?”).  Mathematic ratios were addressed; students experienced different amounts of rhythm per beat.  The effectiveness of these activities is affirmed by the fact that students practiced these mathematical concepts verbally (speaking and singing), kinesthetically (clapping, “patching,” hopping, etc.), and cognitively (applying concepts to performance).
    This rehearsal sequence provided students with the opportunity to work as a team and develop character skills and work ethic.  In the ensemble setting, students must work simultaneously as individuals and group members.  They are responsible for their own musicianship (i.e., making sure they are playing the correct notes) as well as their duties to the ensemble as a whole (i.e., blending with their section, taking care not to play too loudly or too softly).  The students share a common goal—to play the piece as accurately and musically as possible—but may approach this in different ways.  This idea of individuals contributing to a group effort can benefit students in many settings inside and outside of the classroom.  Also, as ensemble participants, the students have many individual responsibilities.  They are accountable for learning their parts, knowing the notes and their fingerings, and playing to the best of their ability.  Because each student plays an important role in the ensemble’s success, they each have some degree of ownership in the band.  This fosters the development of characteristics such as dedication, responsibility, focus, and a positive attitude. 
    The visual arts were also addressed as students watched, interpreted, and responded to conducting gestures.  Conducting is not just beating time—it is about using shape, size, and plane to communicate style, tempo, and musicality.  Likewise, the visual arts involve accessing prior knowledge while interpreting visual representations.  As students watch the conductor, each forms a unique interpretation of what they see based on their impressions and their prior knowledge and experiences.  They then play their interpretations on their instruments.  The students must reach an unspoken “agreement” about the sound that the entire ensemble will produce—just as the visual arts often involve an overarching interpretation in addition to each individual’s personal interpretation.  As the conductor, I expressed my interpretation outwardly through my gestures.  I relied on the students to come to some agreement regarding their interpretation while still approaching the task as independent musicians.
    Finally, kinesthetic learning was integrated through playing the band instruments.  Each of the different instruments requires a great deal of coordination between the mind and body.  Students simultaneously use fine and gross motor skills.  Fingering notes and controlling small embouchure muscles involve fine motor skills.  Proper breathing and support require body awareness and gross motor skills.  Percussionists use a combination of fine and gross motor skills in their physical playing as they utilize sticks and mallets.  Additionally, students must perform these physical tasks in time and according to visual cues in their music and from the conductor.  By performing all of these tasks simultaneously, and with precision and accuracy, students partake in kinesthetic learning through music.







Criterion V:
Analysis of Classroom Learning Environment
    The physical classroom, despite some flaws, cultivates a positive learning environment.  The room is large, with chairs and music stands for all of the students.  There is an elevated wooden stage that the percussionists play on.  This is also where the percussion instruments are stored; the large instruments are stored on the stage, and the smaller instruments are kept in a cabinet on the stage.  The students sit in four semi-circular rows that face in toward the director.  The percussionists usually stand, but have chairs available for when they are not playing.  This configuration directs student attention toward the director and promotes focus.  The director’s podium is tall enough to ensure that all students can see him/her clearly, and is located toward the front of the classroom.  There are a couple of bulletin boards that feature upcoming music events and student achievements, but posters and other visual aids (featuring music concepts, symbol explanations, etc.) seem to be lacking.  Also, the assistant director warned me beforehand of the band room’s acoustic flaws.  The tile floor, wooden stage, and reflective ceiling tiles do not absorb any sound, so it gets very loud.  He said a request has been put in for carpet and some sound-absorbing panels, and mentioned that ear plugs might be a good investment.  Hopefully none of the students have experienced any negative effects on their hearing.
   The classroom management plan is based on (1) respect of oneself and others, (2) respect of property, and (3) having a positive attitude.  These general expectations are used throughout the entire middle school building.  In music class, however, they translate in some specifically unique ways.  The expectations apply not only to general student behavior, but also to care of musical instruments and participation in music.  The director has a procedure for gaining the ensemble’s attention: when he steps on the podium, all talking ceases and full attention is given to the director.  (I used this procedure as well.)  This was a very effective technique; it saved time and helped maintain order and structure.  Most students are aware of and follow classroom expectations.  The percussion section tends to be disruptive fairly often.  Based on observation and experience, I have found that addressing every single behavior issue is often counterproductive.  Because of the large class size and the boisterous behavior typical of this age level, it is unrealistic to try to correct every minor behavior issue.  Rather, I addressed behavior that was exceedingly distracting to the band and interfered with music-making.  I did not allow the students to control the classroom; however, I found if I spent too much time addressing behavior such as slightly excessive talking, we would not get much accomplished in rehearsal.  I found that the “stop and wait” technique was very effective and efficient in terms of classroom management.
There is a school-wide discipline points system in place that involves administering points to the offending student (the number of points depends on the severity of the offense).  If the student acquires twenty points, he/she may face long-term suspension.  This system is designed for more severe offenses; each individual teacher handles less-extreme classroom offenses.  In the band room, specific classroom expectations are posted on the bulletin board.  I have not witnessed the director administer any consequences that require extra time or effort from the students (such as detention).  The grading policy is largely based on participation and classroom conduct; therefore, habitual misbehavior may result in the lowering of the student’s grade (this serves as the consequence).  I have seen the director discuss behavior issues privately with the disruptive individual after class.  This seems to be effective—it is more fitting for this age group and does not detract from valuable rehearsal time.  I never had any issues that required me to take this step.  I was able to resolve most issues by addressing the group.  I occasionally needed to address an individual, but this was usually accomplished by simply making eye contact.
   My goal in my instruction was to elicit full participation from all of the seventh grade students and to facilitate their musical growth over the course of the rehearsal period.  To accomplish this, I designed my rehearsals with specific musical goals in mind and adjusted my pacing to meet the needs of individuals and the group.  Individuals were motivated because they were aware of their importance in the ensemble.  I emphasized this point to them verbally several times.  Also, each individual was accountable for improving over the course of the rehearsal sequence.  This was made clear as the students and I worked together to diagnose musical issues that needed work.  I verbally and nonverbally (i.e., via eye contact) emphasized that full individual participation was essential to a quality group performance.  Also, no student wanted to feel like the “weakest link” in the ensemble.  This was more of a natural byproduct of the ensemble setting—I did not verbally communicate that any student would ever be labeled as such.  The group was motivated as they saw their improvement and began to enjoy music-making aspects of rehearsal.  I maintained a positive attitude and offered praise and encouragement as well as constructive criticism.  For example, if they showed significant improvement in a certain area, I recognized this.  I also used appropriate humor once in a while to help put them at ease in our fast-paced rehearsals.  The daily warm-up exercises also motivated the group.  They were effective tools for getting everyone focused on relevant music concepts at the beginning of class.  Effective implementation of individual and group motivation helped to create the optimal learning environment.
   Verbal communication in the band rehearsal was a vital tool in maintaining a positive learning environment.  I began each rehearsal with a positive greeting.  I encouraged students to offer their ideas, as long as they raised their hands, stayed focused on music, respected others, and offered their remarks or questions at appropriate times.  All students had the opportunity to share their knowledge and ideas during classroom discussions (for example, the discussion about intonation).  Also, I encouraged students to ask questions, as long as they were appropriate.  I would periodically ask for their input regarding the music (i.e., “This section is marked, ‘lightly.’  What could we do to make this sound ‘lighter?’”).  Personally, I made sure my directions and remarks were clear and concise.  Nonverbal communication was also a valuable tool in my instruction.  If there was excessive talking or disruptive behavior occurring, I would raise my hands to “ready” position.  A couple of times, I stepped off the podium and then stepped back on.  Both of these actions served as signals to cease all talking and focus on me.  I also used eye contact to engage students and/or indicate that they needed to modify their behavior.  This was effective as a conducting tool as well as a classroom management tool.  This encouraged a positive learning environment because I was able to manage the classroom without taking the time to correct behavior verbally.  Nonverbal communication occurred constantly during music-making as students listened to each other, watched me, and responded to visual and auditory cues.  As an ensemble, students communicated nonverbally to perform as a cohesive unit.
    As I mentioned earlier, students were encouraged to ask questions about procedures, instructions, and the music in band rehearsal.  While students needed some information from me (about concepts they were completely unfamiliar with), discussions were student-led and teacher-guided.  Because these students are in the formal operational stage of cognitive development, I could ask them questions that required them to think abstractly.  For example, when we were discussing breath support, I asked, “Do you think over-blowing into your instrument might cause the pitch to be too high or too low?”  This question forced them to apply what they knew about air management and make predictions based on this information.  I emphasized the importance of listening and being respectful of others’ thoughts by calling on a variety of students and creating many opportunities for appropriate communication among students.  Also, I used questions as a primary instruction technique.  For example, instead of saying, “Stop throwing your drumsticks,” I would say, “Do you know why I am waiting?  Do you know what the problem is?  Can you please fix it?”  This communicated to the students that I knew that they were capable of monitoring their own behavior, and it made them responsible for making good choices.  Because of where these students are in terms of development (i.e., Erickson’s “role versus identity confusion” stage), I felt it was important for me to avoid communicating to them condescendingly.   I encouraged students’ independent thinking and problem solving. Additionally, asking questions was a way for me to assess their understanding of concepts.
    I encouraged students to interact with one another in positive ways to promote a constructive learning environment.  For instance, if I saw students communicating about the music (i.e., what measure we were on, how to play a certain rhythm, etc.), I did not discourage it or label it as misbehavior.  This type of communication promotes learning and, because the class size is so large, it helps me as a teacher if students help each other with these smaller issues.  I emphasized the ideas of respect, empathy, patience, and kindness in instruction and in the examples I set forth.  I did my best to exhibit behavior that demonstrated my expectations to the students.  Any student behavior that contradicted these values was promptly addressed.  I also emphasized through my words and actions that the band is like a team, where every member contributes; therefore students should interact with each other in ways that promote positive band growth.
    I designed my instruction to cultivate the students’ development of self-motivation.  This involved providing a safe environment that welcomed interaction and participation from everyone.  I made sure that I did not verbally or non-verbally discourage students from participating appropriately in music-making and discussion.  I tried to give students time to be successful (in performance and discussion) without compromising rehearsal pacing, and offered positive encouragement.  My rehearsal technique was based on promoting learning, positive communication, focus, and fun simultaneously.  If the students have fun making music, they will be more motivated to participate.  As I mentioned earlier, I used some humor to help students be more comfortable in rehearsal.  I also found that pacing has a lot to do with student motivation.  When students perceived that they were learning and improving, they were more motivated to engage in rehearsal and put forth their best effort.  This indicated to me that I needed keep my energy level high, hold students to high standards in terms of music and behavior, deliver feedback in a positive way, and keep the learning environment fun without sacrificing intensity.  Students responded well to this approach.  Furthermore, I made sure to recognize excellent behavior or performance on the individual and group level.  This was very effective in encouraging others to follow suit.  By helping students develop into self-motivated learners and musicians, I can cultivate a learning environment that promotes constant growth and improvement.
    Classroom management, individual and group motivation, verbal and non-verbal communication, student involvement and interaction, and developing self-motivation all influenced my instruction decisions and my expectations for myself as a teacher.  I was constantly adjusting instruction to meet student needs, but kept the aforementioned ideas in mind.  I intentionally made decisions to ensure that my instruction aligned with the goal of creating the optimal learning environment.







Criterion VI:
Analysis of Assessment Procedures



   
I used general observation and my diagnostic assessment to ascertain that the students were ready to participate in this rehearsal unit.  This sequence incorporated musical concepts and skills such as breath support, posture, articulations, meter changes, intonation, and expressive elements into rehearsal of program literature.  Because the class size is so large, it was not realistic to try to gather data on each individual student during group rehearsal.  Rather, I evaluated individual sections based on perceived participation (I took notes on this immediately following rehearsal) and evaluation of the recordings.  I chose assessment methods that allowed me to best gauge ensemble progress.  Individual assessment in this class is done via weekly playing tests, which are administered by the assistant director.  Because I was spending time with the group, it was not feasible for me to partake in the individual assessment process; however, I witnessed how it was conducted and realize that it is a vital part of evaluating teaching and learning.  I had previously observed the director rehearse other program literature of comparable difficulty level, so I felt the students had the skills needed to learn “Monmouth Overture.”  Also, I had witnessed them do warm-up activities that indicated they had the knowledge base necessary to explore the music concepts outlined in my rehearsal sequence. 

My diagnostic assessment consisted of the initial sight-reading of “Monmouth Overture.”  The students performed as one large ensemble.  My goal was help them play all the way through the piece, despite imminent errors.  This allowed me to assess their ability to follow me as conductor.  I recorded this read-through, so I could assess individual sections and evaluate what concepts and passages would need the most attention.  For example, as I listened to the recording, it was very obvious that almost every section struggled with the meter changes in Section B.  I therefore made sure to spend time exploring this concept in one of the rehearsals.  Recording rehearsals also made it much easier for me to identify sections that tended to struggle and excel.  During the sight-reading, I found that counting beats out loud and calling out measure numbers was necessary for students to experience some level of success.  After the read-through, I could tell many students felt frustrated and overwhelmed.  Because of their cognitive and psychosocial characteristics, I made sure to explain that the exercise’s purpose was to give them practice sight-reading, gauge how well they were able to follow the conductor, and give them an overview of the piece we would be learning—not to damage their confidence.  I told them they shouldn’t be frustrated with their sight-reading, but should think about what will need work in coming rehearsals.   I could still sense that students were a bit overwhelmed by the experience, so I tried to establish trust and security.  As I listened to the recording, I assessed each section on their accuracy and ability to stay with me as I conducted.  This data is outlined in more detail in the attached charts.  I scored each section on pitch and rhythmic accuracy, intonation, and expression/style using a rubric.  The rubric includes numbers from one to four (one is the lowest, four is the highest).  I considered scores of three and four acceptable.  All sections struggled with musical accuracy (I completely expected this result).  Three out of eight (percussion excluded) sections demonstrated acceptable pitch accuracy.  Four out of nine demonstrated acceptable rhythmic accuracy.  Four out of eight sections played with acceptable intonation.  Three out of nine observed/performed expressive elements adequately.  This assessment helped me determine areas I would need to focus on as we proceeded in rehearsals of “Monmouth Overture.”
            The formative assessments were used to monitor student progress and introduce musical concepts that would advance students’ knowledge and performance skills.  I attribute increased student progress not only to their skill development due to repetition and concept understanding, but also to their growing level of comfort with me as a new director.  The first formative assessment yielded positive results overall (this was conducted on the same day as the diagnostic).  Students seemed to have inaccurate ideas about posture and breathing, so I addressed those first.  I emphasized that both should be comfortable and natural.  Additionally, I used an interactive illustration to help students experience a diaphragmatic breath.  As a group, students willingly participated.  Judging from my observation and their verbal feedback, most grasped the concepts, but many were unable to execute them physically.  They struggled the most with consistently applying these techniques to the rest of their performance (they tended to fall back into bad habits, which was not unexpected).  Because of this, I made note that I would need to supply them with reminders about their breath and posture throughout rehearsals.  I took notes after rehearsal about the overall group’s performance, and noted a couple of specific students who seemed to struggle more than others.  All of the students, however, willingly participated. 
The second formative assessment was also successful.  I first asked them to play a passage in a legato style to evaluate their understanding of the term.  From here, I guided them in verbally comparing staccato and legato styles, and had them practice each on different warm-up segments.  I evaluated students on their participation and accuracy in executing these styles.  I recorded the rehearsal of Section A of “Monmouth Overture,” so that I could evaluate each section’s performance as well as the effectiveness of my own rehearsal techniques.  Based on my evaluation, all sections of the ensemble demonstrated some degree of improvement by the end of the rehearsal.  Five out of eight sections (percussion is not included) scored a three or four in pitch accuracy.  Six out of nine sections demonstrated acceptable rhythmic accuracy.  Four out of eight sections scored a three or four in intonation.  Five out of nine sections demonstrated acceptable execution of expressive elements.  I addressed these issues during rehearsal, and isolated sections that were struggling.  For instance, I referenced concepts about air and breath support we had previously discussed to help the trumpet section achieve better intonation. I also had students count difficult rhythms aloud. 
The third formative assessment was designed to introduce and evaluate student understanding of meter changes (from 3/4 to 4/4, and vice versa).  I began by guiding students through meter and time concepts.  I gave students the opportunity to demonstrate their prior knowledge by asking them to explain time signature values and strong versus weak beats.  We then established some key concepts, including the fact that the steady beat (the quarter note) does not change, and that the pulse is felt on the downbeat (and on beat three in 4/4 time).  The students did some clapping and counting exercises to demonstrate they were ready to execute meter changes while playing their instruments.  I did an informal assessment of group understanding as we worked through these exercises, and tried to identify any students who might be struggling with the concept and/or performance.  I noticed three students who seemed to be struggling more than others.  As we moved into the warm-up melodies, I counted the beats out loud during the meter change the first time, and then conducted silently the second time.  Overall, the students navigated the meter change well.  Those who made a mistake were able to correct themselves and join back in with the rest of the band.  In “Monmouth Overture,” Section C features meter changes.  I led the band in rehearsal of this section.  First, I pointed the meter changes out to them.  I counted the changes out the first time they played them.  The students gained plenty of practice navigating the meter changes because I isolated sections and rehearsed these passages to improve other musical aspects (pitch, rhythm, etc.) as well.   Again, I recorded the rehearsal and assessed group and section performance of that day’s last run-through of Section C.  Six out of eight sections demonstrated acceptable pitch accuracy.  Six out of nine sections scored a seven or higher in rhythmic accuracy.  Five out of eight sections were proficient in intonation, and in expressive elements.  I noticed that students improved in all categories over the course of the rehearsal.
In the fourth formative assessment, students were evaluated on their understanding of principles of intonation and their ability to apply them.  I guided students in a discussion of how embouchure and air play a role in intonation.  I asked them questions such as, “Will over-blowing air cause the pitch to be too high or too low?”  This allowed me to assess their understanding and address possible misconceptions.  Also, we talked about what “good intonation” should sound like.  I helped them reach the conclusion that everyone should agree on a pitch, and that they should listen for the sound waves to match up.  I then had the band play some long, unison pitches.  After each tone, I asked them to assess their intonation and reach a conclusion regarding whether or not the pitch was centered.  Many students offered feedback and suggested methods for adjusting the pitch to achieve better intonation.  I assessed students based on their participation and engagement in the exercise.  About 90% were engaged.  The percussionists were a little disruptive, probably because they could not apply the intonation principles to their instruments.  I still tried to engage them in discussion, but keeping them interested was challenging.  I felt this activity would familiarize students with these concepts, give them opportunities to experiment with adjusting their intonation, and supply me with points to reference in future rehearsals.  Students rehearsed Sections A, B, and C of “Monmouth Overture” in this rehearsal as well.  I recorded this rehearsal, and assessed their improvement in pitch, rhythm, intonation, and expressive elements.  Five out of eight sections played with an acceptable level of pitch accuracy.  Seven out of nine sections demonstrated proficiency in rhythmic accuracy.  Six out of eight sections played with good intonation and made perceivable adjustments as they played.  Six out of nine sections observed and performed expressive elements at an acceptable level.  As I was leading this rehearsal, I offered reminders about listening and intonation.  I noticed that students played much more sensitively and with greater awareness of their own sound.
In the fifth formative assessment, students participated in a discussion of dynamics, crescendos, and decrescendos.  Most students demonstrated that they were familiar with this terminology.  Students raised their hands to volunteer to explain what each meant and identify indicating symbols.  Then, I warmed students up on a concert E flat major scale and conducted crescendos and decrescendos at random.  This also forced the student to stay engaged with me as the conductor.  The first couple of crescendos/decrescendos were not as successful, because some of the students were not expecting them.  As we continued the exercise, students were more unified in their dynamic changes and more attentive to my conducting.  I assessed students’ participation and awareness as best I could from observation.  I noticed only two students who did not seem to give me their full attention.  I addressed this (“Some of you are not with me.  Can I have everyone’s eyes?”), and these students corrected the behavior.  We then had a brief discussion about how breath support plays a role in dynamic change.  When I asked, one student said that he believed that less air support was required for softer notes.  I addressed this misconception.  I demonstrated by singing a quiet, unsupported note, followed by a quiet, supported one.  I explained that air still needed to be energized and the support muscles engaged.  I then asked them to play a soft, unsupported note, followed by a soft tone using correct support.  They indicated that they could tell the difference between the two, and that the latter was preferable.  I had not planned on spending as much time on this concept, but I felt it was necessary in light of student feedback. 
The summative assessment consisted of the final run-through of “Monmouth Overture.”  (As I mentioned previously, several rehearsals took place between the diagnostic and summative assessments.  The formative assessments represent a sampling of those rehearsals.)  I recorded this run-through as well as the subsequent rehearsal of “trouble spots” that needed revisiting.  I assessed the group as a whole based on nonverbal communication taking place during the run-through.  For example, I paid attention to whether or not they were looking up at me periodically, responding appropriately to my gestures, and anticipating musical changes ahead of time.  These factors determined adjustments I made as a teacher and conductor to my own methods.  While listening to the recording later on, I evaluated each section on their accuracy in terms of rhythm, pitch, intonation, and expressive elements.  While there were still a few audible performance errors, the students had improved drastically since the initial sight-reading.  Seven out of eight sections demonstrated an acceptable level of pitch accuracy.  All nine sections played with acceptable rhythmic accuracy.  Seven out of eight sections played with accurate intonation.  Seven out of nine sections played with an acceptable level of expression and musicality.  Every section improved drastically over the course of the rehearsal, which fulfilled one of my main goals.  I usually had full participation from the band; there were a few times when I needed to regain focus from some students, but no atypical situations arose that severely inhibited learning.  I monitored group participation through my own observation.  Because of the large class size, I found it was most practical to take note of any specific students who seemed consistently off-task or defiant (although there were not many in this class).  These notes are also located in the assessment charts.  The standards by which I assessed participation included:
·      The student tried his/her best (stayed engaged).
·      The student maintained proper performance attitude (was not disruptive).
·      The student was respectful of the conductor, his/her peers, and the classroom environment.
Over the course of the rehearsal sequence, only three students displayed behavior that compelled me to further evaluate their participation.  I considered this a successful rehearsal unit.  Students applied various musical concepts to actual performance.  The level of student success increased significantly as rehearsals progressed.  I am confident that continued practice in developing musical skills would lead to an increase in student ability, understanding, and performance of more advanced literature.  Assessment data is located in the assessment charts that I have attached separately.  I would periodically have the students self-assess themselves verbally by answering questions such as, “Do you think that went well?” or “What could be better?”
As stated in Criterion I, I compared two different sets of two groups of students in terms of participation in this rehearsal sequence.  (It was more appropriate and more realistic to evaluate students’ participation rather than their musical performance because of large class size and the nature of the rehearsal setting.)  These sets included: a comparison of boys and girls, and a comparison of white students and students of other ethnic backgrounds.  Please see the attached chart for this specific data.  As outlined in the chart, I found that the females were more likely to participate willingly than the males (who were more likely to be disruptive) in this rehearsal sequence.  I viewed this tendency as being consistent with the gender stereotype that boys tend to be “rowdy” and girls tend to be quieter and more compliant.  I am not suggesting that this is true in every situation or with every individual, but this seemed to be the pattern in this particular group of students.  I also compared the participation of white students with that of students of other ethnicities.  I found that students of other ethnicities tended to participate more willingly and consistently.  I concluded, however, that this outcome is probably due to the fact that there are many more white students than non-white students.  I did not notice that ethnicity played a significant role in whether or not students participated in rehearsals.  As a teacher, I need to use data to determine what factors are inhibiting student success.  If these factors are related to classroom instruction, I will need to adjust my teaching to ensure that all students are receiving the optimum classroom experience.  I found that the males especially responded positively to faster pacing and activities that provided them with opportunities to take an active role in their learning (discussions, demonstrations, etc.  All students seemed most engaged when they received a large amount of playing time.  This is an important consideration as I plan my rehearsals and develop my rehearsal technique.  Students need appropriate pacing, and respond best to clear, concise language that promotes rehearsals based on playing and active learning.
One major adaptation to my instruction was the need to account for some learning gaps in the seventh graders’ knowledge.  For example, several students struggled with meter changes cognitively and in a performance sense.  As this became clear to me, I took a little extra time for discussion and explanation of this concept.  Also, I offered support by emphasizing strong and weak beats in my counting.  During this lesson, I noticed that students needed additional practice, so I varied some of the exercises to prolong them (i.e., one group of students counted while the others played, and vice versa).   Different student personalities also created a need for varied instruction.  The large class size presented a challenge in this aspect.  Some students demonstrated higher levels of musical aptitude than others, not only with their playing ability, but also with their ability to catch on to concepts quickly.  Other students needed to be encouraged and more personally engaged without feeling like they were being singled out.  To give these students the learning experiences they needed, I would sometimes direct questions specifically toward them, make eye contact with them, offer praise, and smile.
            Several students stood out to me as having a high music aptitude and being natural leaders.  These students tended to be (but were not always) seated first or second chair in their sections.  They were consistently engaged, picked up on concepts quickly, and were able to apply these concepts to performance.  (This statement is not intended to diminish the success of other students.)  Females tended to demonstrate more focus in the rehearsals than the males; males were more likely to be disruptive.  Besides this behavioral distinction, differences between the genders were not extreme.  Members of both genders demonstrated varying levels of musical aptitude.  To account for some of the males’ behavior, I tried to engage them through eye contact, proximity, and verbal instruction.
            Assessing this seventh grade band class was fairly challenging.  First of all, the class size was very large (containing forty-eight students).  This made individual assessment in the ensemble setting extremely difficult (this is why playing tests were administered separately).  There was not time in the rehearsal to have each student play their part individually.  Rather, I encouraged students to ask questions and listened carefully for musical errors that indicated that students were struggling.  Then, based on this student feedback, I adjusted my instruction to meet student needs (i.e., isolated parts, demonstrated, adjusted tempos).  Also, because music deals with conceptual knowledge as well as performance skills, I was often monitoring student understanding, managing behavior, adjusting my own conducting technique, and assessing simultaneously.  My skills in these areas improved over the course of the rehearsal unit. The diagnostic, formative, and summative assessments are based on performance—especially how the students progressed in applying musical concepts to performance.  After careful consideration, I found that this sequential method was the most feasible way to intertwine music skill development and rehearsal/performance-based requirements.  The attached charts track the progress of each instrument section through the unit.  Additionally, student behaviors that had a major affect on the learning environment are noted.  Student assessment and progress is communicated numerically (via a number-based rubric) as well as through words, specifying any concerns or praise.

Criterion VII:
Reflection and Self-Evaluation
            I felt that the rehearsal sequence as a whole was quite successful.  Almost every student made marked improvement over the course of the activity sequence.  I noticed that success in rehearsals seemed to depend a lot on my ability to engage the students from the beginning.  This largely had to do with my energy and pacing.  Additionally, successful rehearsals tended to provide students with ample opportunities to practice new concepts and skills. 
For example, students experienced success in their final run-through of “Monmouth Overture” because they had a great amount of time to practice, and because necessary concepts were introduced at an appropriate pace.  As the teacher/conductor, I had to choose the concept I would focus on during the warm-ups, and determine how I would help students understand and apply it to their performance of their literature.  The rehearsals were progressive—each “lesson” was built upon students’ prior knowledge.  I tried to reference concepts we had previously explored in subsequent rehearsals to provide reinforcement. 
I felt that the lesson on intonation and the subsequent literature rehearsal comprised the most successful rehearsal in the sequence.  I believe this worked well partly because it tied in with the breath support/posture lesson we had done at the beginning of the unit.  (Students could relate their prior knowledge to these new concepts.)  Also, I felt I felt my teaching was stronger in this lesson than in others.  I had worked with them for several rehearsals, so I had an idea of what would need to be addressed.  I was able to engage students in the activity and keep them focused by constantly adjusting my pacing and making sure everyone was playing an active role in the exercises and rehearsals.  The students seemed to respond positively to this lesson.  They contributed to discussion, and I could hear them adjusting their playing based on my cues and their own perceptions.  In this ensemble setting, teacher and peer guidance was always available.  This created a comfortable environment that was very conducive to learning.  Because of this large-group setting, classroom management was sometimes a concern; however, I could usually redirect student focus through verbal and nonverbal communication. 
            The lesson on crescendos and decrescendos went very well.  Most students were already somewhat familiar with these concepts, so we could focus on details (i.e., ensemble “togetherness”) and explore more with the exercise.  I felt that the interactive nature of the lesson had much to do with its success.  Students had to watch me for visual cues to know whether to crescendo or decrescendo, and at what rate.  In this exercise, students practiced dynamic changes as well as functioning as an ensemble.  Looking up and partaking in nonverbal communication with the director is a major component of the music-making process.  I intentionally minimized the amount of verbal instruction I gave so that students would have to rely more on my gestures, facial expressions, breath, and other forms of nonverbal communication.  If I could tell students were not watching me, I would stop, wait, and start over.  Students figured out quickly that they needed to look up in order to be successful.  This lesson was successful because students played an active, participatory role in their own learning.
My least successful rehearsal was the first one, consisting of the initial read-through and lesson on posture and breath support.  The rehearsal was not a complete failure, but did not go as smoothly as I would have liked.  I believe a lot of the issues I encountered were at least partially a result of how I began the rehearsal.  I misjudged students’ prior knowledge of breath support and posture, and therefore had not planned on spending as much time explaining and practicing these skills.  It became clear to me fairly quickly that students were not familiar with energized posture or diaphragmatic breathing.  The illustration I used helped them to take lower breaths; however, many of them began breathing audibly.  I then addressed this by demonstrating.  I noticed that many students still held significant tension as they attempted to sit up.  I had to remind myself that breath support and posture are fairly advanced concepts for this age level.  Looking back, I should have simplified the lesson.  Instead of focusing so much on tension, I think it would have been more effective to ask students to sit up, relax their shoulders, and think about lengthening their spines.  In terms of reminding students to use good posture, I think assigning a gesture to this command would have been effective.  For example, when my hands are raised into “ready” position, students know to sit up and get ready to use proper breathing.  This would have helped me to better assess their ability over time and reinforce this concept.  The students also sensed that they were not all grasping the concept, and this created a little bit of frustration in the ensemble.  This frustration was increased after the read-through. 
While the read-through did give me valuable information (in terms of assessment), I felt that students were overwhelmed by this experience.  If I were to introduce “Monmouth Overture” to another ensemble of a comparable skill level, I think I would choose a different way to begin the rehearsal sequence.  For example, I could begin with the final section and work backwards, taking a little more time but still providing a “macro” view.  This would have given me similar information, but would have been less frustrating for the students.  Many did not have the sight-reading abilities they needed to be successful.  There were a few students who did very well, but overall I felt that the students did not gain as much from this rehearsal as I would have liked.  Again, the rehearsal was not a complete loss; students were introduced to important musical concepts and the literature they would be learning in future rehearsals.
            My confidence and positive energy are two of my teaching strengths.  The students responded appropriately to my instruction throughout the sequence, although I could definitely tell they had “warmed up” to me after the first couple of rehearsals.  Success with these students seemed to depend greatly on being able to hold their attention and engage them in the activities.  I tried to achieve a positive balance between having fun and running serious, productive rehearsals.  I could usually tell if I was drifting too far off-task by the students’ behavior—it would become difficult to direct their focus back to music.  In regards to classroom management, I tried to minimize the amount of verbal reprimands I gave by communicating nonverbally (i.e., via facial expressions, conducting gestures or lack thereof, silence).  I usually didn’t have to say much verbally.  Overall, I felt I was able to evaluate the students’ performances and behaviors accurately and elicit better results when needed. 
In relation to my initial plans for instruction, I had to adjust my pace to fit the needs of the students.  I found that giving students plenty of time to practice new skills was crucial to their success.  I also had to come up with multiple ways to teach concepts such as intonation and breath support.  This was especially true in this large class of diverse learners.  This was an aspect I struggled with slightly for the first couple of lessons.  I had to remind myself of their age and skill level, and take care not to overwhelm them with foreign information.  For example, during the first rehearsal,  I probably overwhelmed them by having them play through the entire piece without having many of the necessary tools.  (On the other hand, this assessment helped me identify the skills they were lacking.)  Over time, I gained a better sense of the students’ skill levels and how to adapt my instruction to meet their needs. 
I communicated with students and my cooperating teacher regarding learning and assessment.  Because of the limited amount of time I had with the seventh grade students, I did not have the opportunity to communicate with any parents.  My communication with students consisted of verbal and nonverbal instruction, including demonstration, explanation, question/answer, conducting gestures, eye contact, and guidance.  I interacted with students by demonstrating rhythms, articulations, and expressive elements, and addressing issues in performance and understanding.  I was able to model appropriate behavior and encourage participation.  I maintained a high energy level to promote student enthusiasm, and I encouraged them to ask appropriate questions.  I often asked students to assess their own performance.  I asked them to describe what they heard, what they liked, and what could be better.   This helped me create a more collaborative rehearsal environment, in which students had an active role in the music-making process.
After most class periods, I asked my cooperating teacher if he had any suggestions for my instruction implementation.  He offered advice on pacing, classroom management, conducting, and instruction technique.  After the first rehearsal, he expressed that I should try not to get too “wordy” when explaining concepts to the students, and give them more opportunities to experiment in performance.  I think this flaw in my instruction had a negative affect on my pacing and therefore on student interest.  I found his suggestion to be very helpful in subsequent rehearsals.  He also gave me some insight in regards to student strengths and weaknesses.  For example, he expressed that students might tend to struggle with syncopated rhythms.  I also adopted a couple of his classroom management techniques (including stepping on the podium).  Because my time in the school was so limited, I did not include information about the QPA process.
One of my professional goals would be to improve and build on my classroom management strategies.  While I did not have any major issues arise, I feel I am more comfortable with addressing behavior issues at the elementary level than at the middle school level.  I used the “stop and wait” technique several times (including stepping on and off the podium), but a few situations arose in which other ideas could have been useful.  Classroom management was sometimes challenging simply because the students had not been around each other for very long.  I had a few of their names memorized, but the large class size made it difficult to learn everyone’s name.  This did cause me to struggle somewhat with connecting with students on a personal level.  I could tell the fact that I did not know their names bothered some of them.  I did not feel that they took it personally, but my instruction would have been more effective had our relationship been more established.  I would also like to improve my rehearsal technique as it relates to this grade level.  I feel that a lot of the instrumental conducting I have done in college has focused on the expressive side of music.  In this seventh grade classroom, I sometimes struggled with knowing how “picky” to be about their sound.  I knew they were not capable of a collegiate sound, but I also wanted to hold them to high standards so they could achieve their best.  Their abilities became clearer to me over time.  I think, however, I should have a conversation with my cooperating teacher about this issue.  He would probably have some suggestions for running effective yet efficient rehearsals at this grade level.  If I could do it over again, I would have a conversation with my cooperating teacher before I began any kind of instruction.  We would discuss my role in classroom management and effective rehearsal strategies.  This would help my rehearsals run more smoothly, be more productive, and enhance the learning environment.
If I could continue teaching this seventh grade band, I would continue to incorporate musical performance skills into literature rehearsal.  I believe this would help students with overall music ability and understanding and playing technique.  The scope of my rehearsal plans was somewhat limited by the need to rehearse other pieces and my limited time with the ensemble.  I strongly believe that music education should contain aspects of theory (including aural training) and history as well as performance, so I would have liked to explore options in those areas.  To further my pedagogical knowledge, I am interested in attending professional sessions that focus on rehearsal techniques and strategies for teaching breathing and posture geared toward the middle school level.
Another of my professional goals is to improve the ways in which I relate the subject matter to this particular age group.  There were times when I felt that I was not communicating the material in the most effective or efficient way.  The content itself was appropriate, but I was constantly trying to achieve a balanced delivery.  I wanted to challenge them—not overwhelm them.  The large number of diverse learners made this increasingly difficult.  I would like to learn more about dealing with large class sizes in ensembles and how to ensure that each student is receiving the individual attention he/she needs.  I believe more personal experience in the field will help me grow as an educator.  My instruction, I felt, was effective overall.  The students made significant progress in their music skill development and literature performance, and seemed to enjoy the rehearsals.