Assessments used in Musical Quality lesson plans: Lesson One: Elements of Music In this lesson, a short, 5 question matching pretest is done as a pre-assessment for learning. The formative tests during activities are in the discussion of each element of music as it applies to various musical clips. Knowledge of elements can be assessed through student answers. Further formative tests on performance from teacher modeling cues: in a call and response fashion reflect student’s ability to apply elements to their own playing. Each individual is assessed based on their individual progress. Accounting for the fact that some students have played more years than others on this instrument is considered in the formative assessment. The summative performance test at the end is informal, and the teacher can compare growth since the beginning of class.
Lesson Two: Aesthetics In this lesson, a quick review of musical elements from lesson one is conducted. Students are assessed as they sing and then play the Morning Mood in their books. The written test from yesterday is repeated. Since these terms were also in the previous unit: Language of Music, students should be able to match the definitions with the terms with a high level of accuracy.
Lesson Three: Modality: Major/minor This lesson focuses on identification of modality through listening. Although a written test is not included, a listening test in which students listen and write down Major or minor when given a scale or chord listening example would be a good addition to this lesson. Formative assessment is present, however, as the teacher may call on students in several ways to see if they comprehend the difference in tonality.
Lesson Four: Practice Strategies In this lesson, students can do an informal self-assessment of their own improvement after applying the practice strategies outlined in the lesson. Again, an individual playing test could be added here as a summative assessment of performance of the scale pattern. Either teacher could listen to each in class, or have students go to another room to record their scales.
Lesson Five: Listening Activities for Ensemble In this final lesson, students are given a rubric for self-assessment of their individual scale performance. This rubric contains the same five elements of music which were presented in lesson one. In addition, teacher can do formative assessments throughout while listening to students’ creative group work, watching their responses to the ensemble activities.
My philosophy: In a large ensemble, assessment of student’s comprehension, performance and application is almost continuous. Students are assessed as they play notes or specific passages for attendance. Then, they are assessed again as music is worked through. Their comprehension is evaluated as they answer questions, work in groups, or in the questions they form themselves. This all reflects how deeply they comprehend as well, and they apply analytic thought and perform with deeper and deeper fluency. To help relate this music unit to real world purpose, I turn to Nelson (1994):
“We react to nearly everything around us with some kind of emotion, and our expressions of these responses, whether in music, poetry, painting, sculpture, architecture, photography, dance, or film, are what the fine arts are all about. A missed opportunity to develop a student's mind and personality, of which feelings are a vital part, is one that may never come again, for when they leave school, it is probably too late. Aesthetic experiences, then, are not only relevant; they are fundamental.”*
Students are and will be always under the influence of music. I often observed students at City High Middle plugging in their ipods or phones with earpieces to listen to while they traveled to their next class. Having an awareness of different components of music helps them understand any music more deeply. As they grow up, they will be exposed to music from different cultures, encounter historical allusions to composers and musical genres, and listen to music as a social experience at live concerts or private parties. The dedication and perseverance needed to develop proficiency on an instrument is a disciplinary activity which will carry over into all sorts of current and future endeavors students may have. In the workplace, during group work in other classes, at family gatherings, and upper level educational experiences all will rely on skills and activities done in band classes. In addition to individual practice, the teamwork of small and large ensembles, working in a section, and helping each other with parts are social activities which develop empathy, sensitivity and cooperation life skills.
*Nelson, R. B. (1994, 01). Aesthetics in the Band Room. Music Educators Journal, 80(4), 24.
This is the pre/post knowledge test on musical elements: Musical Quality Elements of Music: Fill in the blank with the term which you think most closely completes the sentence. Use these words to fill in blanks: Tone, Intonation, Rhythm, Technique, Musicianship
1. Observing dynamics in music is an example of _________________________.
2. Creating a clear, focused sound typical for your instrument is ___________________.
3. Listening to others in order to match pitches is _________________________.
4. Accurate note duration in a steady tempo is _______________________________.
5. Using correct fingerings/slide positions/valves smoothly with correct tongue, slur, or
sticking (percussion), and correct rhythm is _______________________________.
This is the student rubric used on the final day of my Unit Plan: