Standard 5: Application of Content
The teacher understands how to connect concepts and use differing perspectives to engage learners in critical thinking, creativity, and collaborative problem solving related to authentic local and global issues.
The teacher uses different instruction strategies to provoke thought, imaginative skill and solutions to problematic global and local situations. Since there is no set method of teaching students music globally or nationally, the teacher may introduce various methods to see which one works best for her students. This concept works best when the teacher uses a concept-based approach to instruction. For example, if the musical concept is syncopation, the teacher could have the students learn two pieces of different genres that feature syncopation. Then the teacher could have the students compare and contrast the ways in which syncopation was used in each piece. Furthermore, the teacher could also introduce the history and cultural backgrounds of those genres of music and how they influenced the different genres. The students may then participate in a composition activity, choosing one of the genres to emulate, to show that they understand the concept. While the musical concept is the same, the way it was approached was different.
I learned how to apply this standard in great detail in my elementary general music class. One method that we learned was the PLAQLE procedure for listening. Each letter in the acronym PLAQLE is a step that reinforces a musical concept that can be heard in the music: Prepare the listening event, Listen once, Activate the learners with a strategy, Question the learners with focus on the music, Listen again, Evaluate or Extend the lesson. Because this process takes a comprehensive musicianship approach by including an activity to apply the musical concept, it is effective in ways that simply listening and then questioning is not.
The courses at Ball State that have helped me achieve this standard are my music education classes (including field experience and practicum), and harp pedagogy. The different methods presented in my private lessons and ensembles also challenge me to approach the application of content differently on a personal level.
The artifact I chose to go with this INTASC Standard is a lesson plan that I taught for my LAMP project. This lesson plan exemplifies this standard because the students were spilt into teams to answer a problem and allowed to refer back to their teammates if help was needed.
The teacher uses different instruction strategies to provoke thought, imaginative skill and solutions to problematic global and local situations. Since there is no set method of teaching students music globally or nationally, the teacher may introduce various methods to see which one works best for her students. This concept works best when the teacher uses a concept-based approach to instruction. For example, if the musical concept is syncopation, the teacher could have the students learn two pieces of different genres that feature syncopation. Then the teacher could have the students compare and contrast the ways in which syncopation was used in each piece. Furthermore, the teacher could also introduce the history and cultural backgrounds of those genres of music and how they influenced the different genres. The students may then participate in a composition activity, choosing one of the genres to emulate, to show that they understand the concept. While the musical concept is the same, the way it was approached was different.
I learned how to apply this standard in great detail in my elementary general music class. One method that we learned was the PLAQLE procedure for listening. Each letter in the acronym PLAQLE is a step that reinforces a musical concept that can be heard in the music: Prepare the listening event, Listen once, Activate the learners with a strategy, Question the learners with focus on the music, Listen again, Evaluate or Extend the lesson. Because this process takes a comprehensive musicianship approach by including an activity to apply the musical concept, it is effective in ways that simply listening and then questioning is not.
The courses at Ball State that have helped me achieve this standard are my music education classes (including field experience and practicum), and harp pedagogy. The different methods presented in my private lessons and ensembles also challenge me to approach the application of content differently on a personal level.
The artifact I chose to go with this INTASC Standard is a lesson plan that I taught for my LAMP project. This lesson plan exemplifies this standard because the students were spilt into teams to answer a problem and allowed to refer back to their teammates if help was needed.
The second artifact that I chose that demonstrates INTASC Standard 5 is the following lesson plan for a fifth grade general music class. In this lesson, the students responded with the movements that my co-teacher and I modeled for them to show that they understood the musical concept of call and response. The students were then able to create their own movements to go with the words of the song. This lesson plans applies to this standard because the inclusion of movements in the classroom allows the students to creatively and collaboratively work to understand call and response form.
https://docs.google.com/document/d/1tYBwS0r7EBIf5d85FY8xqcgrK0MsS7HbrJGcdWYd1YM/edit?usp=sharing
https://docs.google.com/document/d/1tYBwS0r7EBIf5d85FY8xqcgrK0MsS7HbrJGcdWYd1YM/edit?usp=sharing