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2016%Illinois%Music%Educa2on%Conference%

#imec2016

Teaching to Your Test?!?! YES!

Sarah Inendino and Erin Kozakis, presenters

Using Backward Design to Maximize Student Growth

Sarah Inendino Music Teacher, Pleasant Ridge School

sinendino@glenview34.org

Erin Kozakis Music Teacher, Prospect Elementary School

ekozakis@d181.org

#imec2016

Learning Target #1

I can define Backward Design. Information drives instruction, so let’s get some information! Take out your phone, and follow the directions on the next slide.

**PRIOR KNOWLEDGE ALERT** What is a learning target?

It is an assessable learning goal that is in student-friendly language (i.e. what is the student supposed to know?). It can focus student learning and focus instruction.

Desired outcomes Assessment Learning

plan

What is Backward Design? •  A way to plan out instruction that includes three stages:

•  While Backward Design can be instrumental in planning quality instruction and assessment related to PERRA, it is a means of creating quality instruction for all teaching.

•  Designing instruction starting with the end result in mind – what you want your students to know (the standards).

•  Focuses on the objective, not the activity - it helps us to dig deeper, not just cover material.

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#imec2016

What is Backward Design?

“Deliberate and focused instructional design requires us as teachers and curriculum writers to make an important shift in our thinking about the nature of our job. The shift involves thinking a great deal, first, about the specific learnings sought, and the evidence of such learnings, before thinking about what we, as the teacher, will do or provide in teaching and learning activities.” (Wiggens and McTighe)

Desired outcomes Assessment Learning

plan

#imec2016

Instrumental Piece 15 Music For Children, volume 1

Page 104 Orff/ Keetman

PROCESS: 1.  Rhythm reaction game 2.  Sight-read the rhythm on rhythm syllables 3.  Sight-sing the melody on the music staff 4.  Transfer the melody to barred instruments 5.  Add harmony parts

#imec2016

Marzano’s Levels of U

nderstanding

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#imec2016

I can sing and play a pentatonic song using correct pitches, rhythm, and steady tempo.

I can sing pentatonic patterns I read on the music staff.

#imec2016

The Format of Backward Design

1.  Identifying the Standard unpack the standards into learning targets

2.  Formative and Summative

Assessments measurable data of student growth

3.  Instruction and Activities

how data can guide instruction and maximize student growth

#imec2016

Why Backward Design? “We have found that backward design helps avoid two familiar “twin sins” of planning and teaching. The first “sin” occurs more widely at the elementary and middle levels and may be labeled “activity-oriented” instruction. In this case, teacher planning is focused on activities. Often, the activities are engaging, hands-on, and kid-friendly. Those are fine qualities as long as the activities are purposefully focused on clear and important goals and if they yield appropriate evidence of learning.” (Tomlinson and McTighe, 2006)

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STAGE 1:

IDENTIFYING THE STANDARD

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Unpacking a Standard I can unpack a music standard.

State Standard 26.A.2d: Read and interpret the traditional music notation of note values and letter names

Learning Targets:

I can define melody and harmony (k)

I can define “pentatonic.” (k)

I can identify the notes (solfege) in the

pentatonic scale. (k)

I can write down pentatonic melody I know well.

(s)

I can sing pentatonic patterns I read on the

music staff. (s)

I can sing a pentatonic song I know well using

correct pitch, rhythm, tone, steady tempo,

breath support, and diction. (s)

I can improvise using the notes of the

pentatonic scale. (p)

I can create a song using the notes of the

pentatonic scale. (p)

#imec2016

Web

b’s

Dep

th o

f Kno

wle

dge

CONSIDERATIONS: Verbs used in the Targets Focusing on Higher levels

When we think about identifying standards and the desired outcome of instruction, we have to think about digging deeper and striving for higher-level thinking.

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#imec2016

What Makes a Strong Learning Target?

I can write a measurable learning target.

Marzano says… 1.  Written in student

friendly language 2.  Measurable 3.  Focused on the

objective, not the activity 4.  Directly related to the

curriculum 5.  Time bound 6.  Fits logically into the

progression of higher learning

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STAGE 2: ASSESSMENT

Formative and Summative Assessment

I can choose and create the most effective type of assessment for my learning target.

#imec2016

Assessment Descriptions A look at the work of Richard Stiggins

Assessment Method Description Selected response One correct answer

Constructed response/ Extended-written response

Fill in the blank Short answer essay

Performance Assessment Performance or product

Personal communication Interview, oral exam, discussion

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#imec2016

Match the Assessment to the Learning Target Type of

Target to be

Assessed

Assessment Method Selected

Response

Constructed Response/

Essay

Performance Assessment

Personal Communication ************

Place Learning Target on the top of

the Assessment

**************

Knowledge Good Match Good Match Not a Good Match Partial Match

Reasoning Partial Match Good Match Good Match Good Match

Performance Skills

Not a Good Match

Not a Good Match Good Match Partial Match

Product Not a Good Match Partial Match Good Match Not a Good

Match

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Formative & Summative Assessment Characteristics Formative Assessments •  On Going •  Quick •  Informs Instruction •  Checklists

Formative Assessments •  Exit Slips •  Activities that allow for students

to show their understanding of a target

•  White Boards

Summative Assessments •  End of the learning experience •  Assessing many different

targets

Examples: •  Written test •  Projects Compositions

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Form

ativ

e A

sses

smen

t

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#imec2016

Programs to Help You Sort and Report Data •  Google Classroom

•  Kahoot •  Schoology

•  Poll Everywhere •  Google Forms

#imec2016 Sum

mat

ive

Ass

essm

ent

#imec2016

Pre and Post Assessments – Why Use Them?

Allows to create groupings

Guides Instructional activities

Measures student growth

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USING TECHNOLOGY FOR PRE- and POST-ASSESSMENTS

Pre-

Asse

ssm

ent i

n Sc

hool

ogy Post-Assessm

ent in Schoology

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Stage 3: The Learning Plan Learning Target: I can choose and create activities that specifically address the desired learning outcome.

•  Activities reach the learning targets and standards (not just cover them)

•  Differentiation – use the data to assist in creating learning experiences that reinforce concepts and skills

•  Enrichment – use the data to assist in creating extension activities that dig deeper

#imec2016

Applying Differentiation to the UbD Framework

(Tom

linso

n an

d M

cTig

he, 2

006)

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Extensions – Go deeper, Not broader •  More complicated and/ or longer

melodic patterns to sing •  More complicated and/ or longer

dictations •  Students create their own

pentatonic pitch patterns for others to sing

•  Students play pentatonic pitch patterns on an instrument

Remediation •  Small group instruction or centers •  Melodic patterns that start with less

solfege options •  Dictation examples that have

“landmarks” or a note written in each measure to help the student

•  More dictation listenings •  Help with tracking of melody during

dictation

I Can Create Extensions and Remediation for Individual Learning

#imec2016

What Can it Look Like in the Classroom? Extensions and remediation CAN take place at the same time in a whole group setting. Watch for: •  Students extending by figuring out

how to place the solfege on glockenspiels

•  Students helping peers track the written melody

•  Students extending by using hand signals

•  Students receiving “landmarks” – solfege is given at the beginning of each phrase

#imec2016

WANT TO LEARN MORE? Resources on Backward Design:

Marzano, R. J. (2007). The art and science of teaching: A comprehensive framework for effective instruction. Alexandria, VA: Association for Supervision and Curriculum Development. Orff, Carl, & Keetman, Gunild. (1958). Music for Children: Vol. 1, Pentatonic. London, England: Schott & Co. Ltd. Stiggins, R. J. (2005). Student-involved assessment for learning (4th ed.). Upper Saddle River, NJ: Merrill/Prentice Hall. Tomlinson, C. A., & McTighe, J. (2006). Integrating differentiated instruction & understanding by design: Connecting content and kids. Alexandria, VA: Association for Supervision and Curriculum Development. Webb, N. (1997). Research monograph number 6: Criteria for alignment of expectations and assessments on mathematics and science education. Washington, D.C.: CCSSO. Wiggins, G., & McTighe, J. (2005). Understanding by design (2nd ed.). Alexandria, VA: Association for Supervision and Curriculum Development.

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Future%ILMEA%Professional%Development%Dates%

#imec2016

Sing, Dance, Create and Play the General Music Classroom Way Friday, April 22, 2016- Neuqua Valley High School

Summer Learning Series

Tuesday, June 21, 2016- Southern Illinois University, Carbondale, IL

Summer Learning Series Wednesday, June 22, 2016- Bloomington ROE, Bloomington, IL

Summer Learning Series

Thursday, June 23, 2016- Grove Junior High School, Elk Grove, IL

Please check the Professional Development Page of ILMEA.org for more opportunities.

ConfPlus: View the conference schedule and give session specific feedback by downloading the ConfPlus app in your mobile app store.

[UNDERSTANDING,BY,DESIGN,TEMPLATE,2,MUSIC]! 1!!

MUSIC&AREA&(i.e.&band,&choir,&general&music):&!

CURRICULAR&TOPIC/&CONCEPT:&&!

1.&Desired&Results&Grade/&Level:&&!

!

State/&National&Goals:& State&Performance&Descriptors:&

Prior&Knowledge:&

Enduring&Understandings:& Essential&Questions:&

Students&will&know:&(learning!targets)!

Students&will&be&able&to:&(learning!targets)!

2.&Assessment&Evidence&PrePAssessment&(what!do!students!know!that!will!guide!instruction?):&&&Performance&Tasks&(summative!assessment):& & Other&Evidence&(Formative!assessment):&

&&&&&&

Proficiency&Scale&(what!does!it!look!like!to!meet!the!targets?):&&&&&&&&&Checklists:& &&&

! !

3.&Learning&Plan&Pentatonic&Song&List/&Materials:&&&&&&Whole&Group&–&Guided/&Small&Group&–&Independent&Sequence:&&&&&&Remediation:&&&&&&&&

Enrichment:&

!

BACKWARDDESIGNPLANFORCURRICULARINSTRUCTION&STUDENTGROWTH

MUSICAREA:ElementaryGeneralMusic

CURRICULARTOPIC/CONCEPT:PentatonicScale–Dobased(do,re,mi,so,la)

1.DesiredResultsGrade/Level:• 4thGrade–quarter1

State/NationalGoals:• 25.A.2c:Identifyelements&

expressivequalitiessuchastonecolor,harmony,melody,form,rhythm/meter&dynamicsinavarietyofstyles

• 26.A.2d:Readandinterpret

thetraditionalmusicnotationofnotevaluesandletternames.

StatePerformanceDescriptors:• 25A-StageD-7:Definemelody

andharmony.• 26A-StageD-5:Notatesimple

rhythmicandmelodicpatterns.

• 26A-StageD-6:Singorplayaccuratelysimplerhythmicandmelodicpatternsfromawrittenscore.

• 26B-StageD-1:Singorplaymusicthathasadifficultylevelof1(onascaleof1-6)onpitch;inrhythm;withappropriatetimbre;withasteadytempo;withgoodbreath,bow,malletorfingeringcontrol;andwithcleararticulation/diction.

• 26B-StageD-2:Improvisesimplerhythmicvariationsorsimplemelodicembellishmentsonfamiliarthemes.

• 26B-StageD-3:Createshortsongsorinstrumentalpieceswithinspecifiedguidelines.

PriorKnowledge:• so,la,&mi(canread,write,

sing,play,improvise,create,move,&listen)

• musicstaff(linesandspaces

bynumber)• abilitytoperformandread

rhythmsthatincludequarternotes,eighthnotes,halfnotes,quarterrests,halfrests,wholenotes,wholerests

EnduringUnderstandings:• Musiciansusepatternsofpitches,

rhythms,andformtocreateasong

• Ascaleisapatternofpitchesthathavethesamerelationship

• Musicnotationisawayofrepresentingsoundswehearandwanttorecreate

• Musiciansreadmusic,justlikewereadwords,toplayorsingmelodiesandrhythms.

EssentialQuestions:• Whatmakesagoodmelody?• Howdowewritedownpitches

andmelodieswehear?• Howdomusicianscreateasong?

• Howdowelearnmelodiesthatotherpeoplehavecreated?

Studentswillknow:(learningtargets)• Icandefinemelodyand

harmony.(k)• Icandefine“pentatonic.”(k)• Icanidentifythenotes

(solfege)inthepentatonicscale.(k)

Studentswillbeableto:(learningtargets)• Icanwritedownapentatonic

melodyIknowwell.(s)• IcansingpentatonicpatternsI

readonthemusicstaff.(s)• IcansingapentatonicsongI

knowwellusingcorrectpitch,rhythm,tone,steadytempo,breathsupport,anddiction.(s)

• Icanimproviseusingthenotesofthepentatonicscale.(p)

• Icancreateasongusingthenotesofthepentatonicscale.(p)

BACKWARDDESIGNPLANFORCURRICULARINSTRUCITON&STUDENTGROWTH

2.AssessmentEvidencePre-Assessment(whatdostudentsknowthatwillguideinstruction?):• Writingsolfegeofwrittenpatternsinpentatonic&singingshortpatternsinpentatonic

(flashcards)PerformanceTasks(summativeassessment): • Composeasongusingthepentatonicscale

(compositionrubric)• ImproviseinDoPentatonic(checklist)• PerformasonginDoPentatonic

(performancerubric)

OtherEvidence(Formativeassessment):• Improvisation• Flashcardsingingwithtransposition• Chainsinging(activitycourtesyofPaulWeller)• Songdictation• Songphrasemix-up• Self-assessmentusingtheMarzanoscaleof

understanding

ProficiencyScalesandRubrics(whatdoesitlookliketomeetthetargets?):Pre-testPentatonicProficiencyScalehttps://drive.google.com/file/d/0B3zs9A6Dg-Yya2lwQlUzM3g4cWc/view?usp=sharingPost-testPentatonicProficiencyScalehttps://drive.google.com/file/d/0B3zs9A6Dg-Yya0ZMRmFDdnV3VlU/view?usp=sharingCompositionRubrichttps://drive.google.com/file/d/0B3zs9A6Dg-YyT0dlbFItRHNPa0U/view?usp=sharingChecklists:ImprovisationChecklisthttps://drive.google.com/file/d/0ByO5G1-UDWEHMnNQYk8yV0hwQnc/view?usp=sharing

BACKWARDDESIGNPLANFORCURRICULARINSTRUCTION&STUDENTGROWTH

3.LearningPlanPentatonicSongList/Materials:• GreatBigHouseinNewOrleans• IdaRed,IdaBlue• Page’sTrain• DanceJosey• DetaDeta(withtheVeryLonelyFireflybyEricCarle)• WeeWillieWinkie(Thyme4aRhyme,p.24)• QueLlueva(2ndGradeGamePlan,p.109)• MelodyMice(Almedia)• FuzzyWuzzy(Calantropio)• NewWorldSymphony(isitpentatonic?)• PiecesfromtheOrffVolumes:

o Volume1–Canonexercise#1,p.91o Volume1–Instrumentalpieces#15,p.104

• MelodyFlashcards• StorybotsApp• NotesquishApp• SolfegeManipulativesInstructionalProcess:

• Preparetheconceptofpentatonicthroughactivitiesandlessonthatallowstudentstoexperiencethepentatonicscale.Usepreplanguageof“5notes.”

• Presentthepentatonicscaleusingthetunesabove,labeling“Pentatonic”as“5notes”andcomparingitto“Pentagon”as“5sides”(formativeassessmentsusedtogagestudentunderstanding)

• Practicetheconceptusingthetunesandactivitiesabove(summativeassessmentsusedtogagestudentunderstanding)

• CreateopportunitiesforGuided(Ido/wedo),Group(y’alldo),andIndependent(youdo)activities

• Createopportunitiesforthepentatonicscaletobeusedinallmodalities(sing,play,read,write,compose/create,improvise,listen,move)

Remediation:• Smallgroupinstructionorcenters• Melodicpatternsthatstartwithlesssolfege

options• Dictationexamplesthathave“landmarks”or

anotewrittenineachmeasuretohelpthestudent

• Moredictationlistenings• Helpwithtrackingofmelodyduring

dictation

Enrichment:• Morecomplicatedand/orlongermelodic

patternstosing• Morecomplicatedand/orlongerdictations• Studentscreatetheirownpentatonicpitch

patternsforotherstosing• Studentsplaypentatonicpitchpatternson

aninstrument

Icancreateasongusingthe

notesofthepentatonicscale.

IcanperformpentatonicpatternsIreadonthemusicstaff.

NAME_________________________________________________________________ CLASS_____________________

PENTATONICCOMPOSITIONDirections:Createapentatonicmelodyformeasures6–10.Writethesolfegebelowthenotesyoucompose(d,r,m,s,l).Besuretowriteyournameintheappropriatecomposer’slocation.Practicesingingorplayingtheentiresong.

™™

ComeCome

andand

lisjoin

tenus

- toin

ourour

mussing

ic,ing

--

comejoy

andful-

lis ten- to our song. mus ic- all day long.

1. 2.

™™

1. 2.

™™

ComeCome

andand

lisjoin

tenus

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mussing

ic,ing

--

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andful-

lis ten- to our song. mus ic- all day long.

1. 2.

44&

Instrumental Piece 15

Orff/Keetmanb section by ___________________

&

&

˙ ˙

˙ ˙

TeachercanfillinnotesfromInstrumentalPiece15,MFCVol.1

4th Grade  Pentatonic Scale Composition Rubric 

 Learning Target: I can create and perform a song using the notes of the 

pentatonic scale   

  1  2  3  4 

 Writing the Pentatonic 

Scale 

Did not yet use the notes of the 

Pentatonic scale. 

Used at least three notes of the Pentatonic scale.. 

Used all of the notes in the 

Pentatonic scale (do, re, mi, sol, la) and ended on do. 

Used all of the notes in the 

Pentatonic scale, and can transfer it to an instrument or create bordon 

accompaniment.   

    

Writing the Rhythm  

Did not use a variety of notes and did not have 

the correct number of beats in 

a measure. 

Used some of the notes (two or 

less). Sometimes used the correct number of beats in 

a measure. 

Used a variety of notes (at least three) including quarter notes, 

eighth notes, half notes, quarter rests, and half rests.  Used the correct number of beats in each measure.  

Used a variety of quarter notes, 

eighth notes, half notes, quarter rests, half rests, dotted rhythms and sixteenth 

notes.  Used the correct number of 

beats in a measure.  

 Using musical 

notation (mechanics) 

Music was unorganized and 

not written correctly. 

Some of the musical markings were present but 

some were missing, or notes were not written 

correctly. 

Music was written correctly with a time signature, 

treble clef, double bar line, and notes drawn correctly. 

Music was written correctly with a time signature, treble clef, and double bar line. 

Notes were drawn correctly, and had other musical 

markings such as dynamics, tempo markings, etc. 

Performing the 

composition 

Rhythms and pitches were not 

performed correctly YET. 

Some of the music was performed accurately, but it had several pitch and rhythm errors.  

Performed music with accurate pitch 

and rhythm. 

Performed music with accurate 

pitch, rhythm, and other expressive qualities (tone 

quality, dynamics, phrasing, etc). 

 

Down the road and a cross- the creek, Can't get a let ter- but once a week,

I da- red, I da- blue, I got stuck on I da,- too.

Great big house in New Or leans- for ty- sto ries- high.

Ev' ry- room that I've been in, filled with pump kin- pie.

Pa ge's- train runs so fast

Can't see noth in'- but the win dow- glass.

24

24

44

&##I DO/ WE DO

Learning Target: I can write down a pentatonic melody I know well.

Name:Homeroom:

Ida Red

&##

&##

Y'ALL DO- work in partners tofinish writing the melody!

Great Big House InNew Orleans

&##

&

YOU DO- Finish writing themelody by yourself! Page's Train

& ∑ ∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ ˙

4th Grade Melody Dictation

NAME_____________________________________________________________&&CLASS____________________&&

&&&

&&

&&

& ( : C :C CA :C &

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CE: E K A &

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&

* A ECI H =C CC

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H:L

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C: E = CHE K C H E H : EA C

!

Learning Target: I can sing pentatonic patterns

I read on the music staff.

!

I can sing a pentatonic pitch pattern using correct pitch, solfege, rhythm, steady tempo, breath support, and diction.

!

I can sing a pentatonic pitch pattern with correct pitches and solfege.

!

I can sing a pentatonic pitch pattern with correct pitches and solfege with help, or with minor mistakes.

!

Even with help, I cannot sing pentatonic pitch patterns with correct pitches and solfege YET.

!

Learning Target: I can sing pentatonic patterns

I read on the music staff.

!

I can sing with good projection a pentatonic pitch pattern using correct pitch, solfege, rhythm, steady tempo, breath support, diction, and expressive qualities (i.e. dynamics, phrasing).

!

I can sing a pentatonic pitch pattern using correct pitch, solfege, rhythm, steady tempo, breath support, and diction.

!

I can sing a pentatonic pitch pattern with correct pitches and solfege with help, or with minor mistakes.

!

Even with help, I cannot sing pentatonic pitch patterns with correct pitches and solfege YET.