Sounding the Teaching V

We would like to express our appreciation to Principal, staff and students of Ahmad Ibrahim Secondary School, Ai Tong School, Beatty Secondary School, Compassvale Secondary School, Henry Park Primary School, Hougang Secondary School, Huamin Primary School, Innova Primary School, Maha Bodhi School, Montfort Junior School, Outram Secondary School, Pasir Ris Secondary School, Pei Hwa Secondary School, Seng Kang Secondary School, Springfield Secondary School, St Stephen’s School, Temasek Secondary School, Woodgrove Primary School, Woodlands Ring Secondary School, Xingnan Primary School, Yio Chu Kang Secondary School and Yu Neng Primary School EDITORS: Chua Siew Ling, James Lee Huan Siak, Tommy Wong and Benedict Ng DESIGN AGENCY : Garçon Design ISBN: 978-981-14-9779-7 Copyright ©2021 by Singapore Teachers’ Academy for the aRts All parts of this publication are protected by copyright. No part of it may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the Singapore Teachers’ Academy for the aRts.

sounding the teaching V TECHNOLOGY AND INCLUSION IN PEDAGOGY A Publication by the Singapore Teachers’ Academy for the aRts (STAR)

Contents Note: Information is presented differently in different articles. Titles in blue are narratives; Titles in green are posters.

PRELUDE

08

09

Clifford Chua Academy Principal Singapore Teachers’ Academy for the aRts

Chua Siew Ling Principal Master Teacher (Music) Singapore Teachers’ Academy for the aRts

Foreword

SECTION 1

Introduction

Blended Learning

14

Developing a Blended Learning Lesson Package, Using SLS, to Enhance Students’ Experience and Understanding of Timbre

23

Flipped Learning on the Recorder Marianne Woo St Stephen’s School

Joyce Teo Henry Park Primary School

30

Flipping the Ukulele Classroom to Ensure Student Readiness Eymani Helmi Yu Neng Primary School

47

Joy of Learning Through Blended Music Curriculum Jasmine Peh Pasir Ris Secondary School

39

Investigating Students’ Views and Learning Experiences Through the Asynchronous Learning Approach Wu MeiHui Ai Tong School

SECTION 2

Differentiation and Inclusion

58

Investigating the Impact of ICT Tools on the Teaching and Learning of Music Arrangement and Improvisation

67

The Impact of Differentiated Tasks on Student Motivation Gerald Teh Seng Kang Secondary School

Lee Jia Ling Ahmad Ibrahim Secondary School

76

A Study of the Effectiveness of the Music Curriculum Through Differentiated Instruction Which Harnesses Different Tools and Approaches

90

Increasing Student Engagement and Self-directed Learning in a Ukulele Ensemble Module Chew Lixian Pei Hwa Secondary School

Elliot Ong Temasek Secondary School Jasmine Low Hougang Secondary School

SECTION 3

Empowering and Motivating Learners

106

SLS and Student Engagement: Where Do They Meet in Music Learning?

Sandra Yuen Innova Primary School

115

Empowering Learners Through the Use of ICT Tools for Collaboration and Participation in Decision-making to Create a Positive Classroom Culture Ellen Wang Compassvale Secondary School

121

Tactile Experiences with Music Composition Harnessing Technology in the Primary 2 Music Classroom Chen Limin Maha Bodhi School

SECTION 4

Facilitating Music Making and New Literacies

138

Student Experience in a Maker-centric Music Classroom Zhane Tang Zhanke Montfort Junior School

160

What Are the Students’ Learning Experiences When They Are Composing Soundtracks for TikTok/Games?

Lim Jia Jing Springfield Secondary School

175

How Do Educational Apps Support the Teaching and Learning of an iPad Band Module?

Ng Ying Hui Beatty Secondary School

153

Impact of Technology-enabled P4 Music Recorder Module on Student Experience Tan Guodong Woodgrove Primary School

168

Digital Band Programme (Mobile Phones) Jolene Khoo Li Wen Woodlands Ring Secondary School

SECTION 5

Assessment

184

190

Athena Choo Xingnan Primary School

Michael Cartwright Yio Chu Kang Secondary School

198

207

Enhancing Learning with Formative Feedback Through ICT Platforms

Investigating the Use of Digital Tools in Enhancing Efficiency of Music Assessment Pang Biao Bin Huamin Primary School

In the ‘Brave New World’ of HBL: What Platform is Best for Assessment for Learning?

How Can Incorporating Self-assessment Tools and Formative Assessment Rubrics Impact Students’ Learning in Music?

Tan Xi Ling Outram Secondary School

CODA

226

Conclusion

Prelude

Foreword

08

Introduction

09

PRELUDE

SOUNDING THE TEACHING V

Foreword Clifford Chua Academy Principal Singapore Teachers’ Academy for the aRts

Over the years, our Critical Inquiry Networked Learning Community (CI NLC) has provided a self-determined and transformative form of professional learning. Music educators systematically investigate the processes and impact of their teaching practices, and through professional exchanges among themselves and with others, interrogate their assumptions and derive insights and perspectives to enhance students’ learning. Having published their findings each year, we recognise how these have fed generative conversations among music teachers, stimulating further inquiry, and increasing our collective professional learning.

8

2020 was a turbulent year, as the COVID-19 pandemic posed immense challenges to teaching and learning.

But crises also present opportunities and 22 music teachers from the CI NLC not only persevered, but also pioneered new ways of teaching, all the while, studying how their approaches have engaged students in music learning.

They explored a range of pedagogical approaches and music curriculum designs involving the use of technology to imbue and extend student-centricity and inclusion in the music classroom. I am heartened by the passion and resilience that these teachers have demonstrated in delving deep into strengthening their classroom practices, and trust that their sharing will spark further discussions and reflections on how we can advance our students’ learning in more creative and synergistic ways.

Technology will continue to augment the way we live, teach and learn.

The COVID-19 pandemic has accelerated the evolution of our educational landscape; bringing about unprecedented challenges that required teachers to adapt, explore, upskill and innovate in order to support students’ diverse learning needs.

Technology, as an enabler, has not only made this possible but has also opened up myriad possibilities through its affordances.

As shown in the 22 music teachers’ projects, digital tools offer numerous possibilities for us to expand and redefine students’ learning experiences.

When we integrate technology effectively into pedagogy, student experience through these platforms will help enable the development of new literacies and habits of learning. Many teachers have now developed new perspectives and skills that better inform how we can facilitate learning effectively in both physical and online classroom settings. Our understanding of blended learning will also continue to evolve and be enriched in the days to come.

As we navigate an uncertain and dynamic transition towards a new normalcy with an expanded palette of technology-mediated practice possibilities, it is important for us to place our learners at the heart of our lesson design, taking care to ensure that our use of technology is grounded in pedagogical reasoning and action.

Technology, as powerful as it may be, cannot fully replace the role of the teacher in connecting with students, recognising and meeting their needs. I am confident that the music fraternity will continue to cultivate a spirit of collaboration and exchange, so that we can be collectively inspired by one another’s best practices to enliven music teaching and learning.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

PRELUDE

Introduction Chua Siew Ling Principal Master Teacher (Music) Singapore Teachers’ Academy for the aRts

Why critical inquiry? We engage with critical inquiry because we are not satisfied with the status quo and hope to bring about a deeper understanding for ourselves to effect a positive change in our teaching practices. As professionals and educators, we are concerned about our artistry in our classrooms, and our impact on the young whom we teach.

Sounding the Teaching V: Technology and Inclusion in Pedagogy is a collection of 21 articles from 22 music teachers in the Critical Inquiry Networked Learning Community (CI NLC). These articles are expressions of the teachers’ spirit of inquiry. They document how the teachers re-examined their teaching practices that incorporated technology to adapt to the new contexts presented by the COVID-19 pandemic. Through their investigations, they derived fresh insights about music teaching and learning for our music teaching fraternity’s collective learning.

This e-publication is divided into five sections: blended learning; differentiation and inclusion; empowering and motivating learners; facilitating music making and new literacies; and assessment. Across the sections, we identified four areas that could strengthen our understanding about technology and inclusion for our pedagogy:

A. ON EFFECTIVE BLENDED LEARNING “Blended learning” in the context which teachers discuss here refers to the switch between Home-Based Learning

and in-school lessons during COVID-19.

Some key learning gleaned from their investigations are: ◊

◊

A blended learning curriculum could employ a constructivist approach to encourage deep learning (Joyce Teo; Zhane Tang). It could also integrate approaches such as the flipped classroom to prepare students for their in-class sessions, such as preparing them to process thoughts and content (Eymani Helmi; Marianne Woo; Jasmine Peh; Michael Cartwright).

There are both advantages and limitations of online asynchronous learning (Wu MeiHui) and teachers should be mindful that as circumstances change (i.e. as we move to a post-pandemic context), the balance between synchronous and asynchronous learning must be calibrated with caution. The considerations would include student workload, the kinds of feedback, the immediacy of feedback to students, peer learning opportunities, access and student readiness.

9

PRELUDE

SOUNDING THE TEACHING V

B. ON EMPOWERING LEARNING AND PARTICIPATION Digital tools can be harnessed to empower students and to foster an active, differentiated and inquiry-oriented approach. For example: ◊

Technological tools can provide tactile experiences such as the use of coding tools to facilitate complex musical understandings (Chen Limin; Zhane Tang). They also provide authentic learning experiences that mirror real-world contexts, increasing the understanding of the role of music in our lives (Zhane Tang; Lim Jia Jing).

◊

Video and audio features can be used to pique students’ interest, enable learning and provide useful models and teacher demos to support the completion of tasks (Athena Choo; Eymani Helmi; Sandra Yuen). Videos are more engaging and effective if they are short and in bite sizes, with keywords to help visual learners (Wu MeiHui).

10

detailed feedback in a timely fashion (Pang Biao Bin). ↪

Tools and New Ideas Explored Range of tools: ◊

They can facilitate collaborative work.

For example, in SLS, students could read the posts and submissions of peers (Sandra Yuen). There are also web tools and software to foster collaborative learning in either HomeBased Learning or in-school contexts (Ellen Wang).

Instrumental learning (e.g. AtPlayMusic Recorder App) (Tan Guodong)

◊

◊

Tools that facilitate video recordings could support peer feedback and evaluation more conveniently and allow students to analyse and evaluate their own performances and strengthen reflection (Athena Choo; Eymani Helmi; Tan Guodong; Ng Ying Hui; Tan Xi Ling).

Self-directed and collaborative learning (Student Learning Space) (Joyce Teo; Sandra Yuen)

◊

Compositional tool – Osmo Coding Jam (Chen Limin) and Scratch coding (Zhane Tang)

◊

Performing tool (Flipgrid) (Eymani Helmi; Tan Guodong)

C. ON ENHANCING ACCESS TO FEEDBACK AND ABILITY TO SELF-EVALUATE

◊

Online system to customise rubrics, document student progress and provide customised teacher feedback (through Google Forms)

◊

Teacher feedback is valued and especially needful in pure online learning environments (Sandra Yuen).

(Pang Biao Bin) ◊

Music making – Makey Makey (Zhane Tang), Incredibox (Ellen

↪

Tools such as Google Forms can be used to provide written and

Wang), iPad band (Ng Ying Hui),

TECHNOLOGY AND INCLUSION IN PEDAGOGY

PRELUDE

D. ON UNDERSTANDING STUDENT LEARNING ◊

Music technology complements/ supports the learning of music but students’ interest in music may not necessarily come from technological tools alone (Tan Guodong). The joy of learning is developed through the interactions of curriculum, pedagogy, and participation with peers (Jasmine Peh).

◊

Students’ perceived interest in lessons and their motivation to learn

during this COVID-19/blended learning period are affected by many factors (Gerald Teh).

BandLab (Wu MeiHui; Elliot Ong and Jasmine Low) ◊

◊

Live Improvisation (Novation Launchkey Mini and Ableton Live DAW) (Lee Jia Ling)

◊

For communication – WhatsApp (Ng Ying Hui; Ellen Wang)

Tools can also be used in interesting ways: ◊

SLS for digital recital (Tan Guodong)

◊

Mentimeter for collaboration

◊

Students generally appreciate choice and having tasks of different difficulties.

However, self-determined learning is a habit, an attitude and a culture that needs to be cultivated (Gerald Teh).

Students need to be sensitised to the process of decision-making for their own learning (Elliot Ong and Jasmine Low).

◊

The use of technology can lower the barrier for students’ music learning especially if they are not already privileged with more musical experiences from their backgrounds (Lee Jia Ling).

◊

In motivating students, we can design lessons that engage them in behavioural, cognitive and emotional aspects (Chew Lixian).

(Ellen Wang) ◊

TikTok and Games (as stimulus for music creation) (Lim Jia Jing)

◊

Musescore to create backing tracks (Jolene Khoo)

◊

Providing alternate grid notations to facilitate digital bands (Jolene Khoo)

◊

Transforming technological devices in our lives such as handphones as tools for music learning (Lim Jia Jing)

Gradual release of responsibility can help in enabling students and thus create a sense of inclusion when they feel they are able to participate with confidence (Lee Jia Ling). By appropriately and efficiently helping students to experience small successes and build confidence, we can empower them to self-direct their own learning with the right resources (Chew Lixian).

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Section 1

Blended Learning With disruptions to schooling due to the COVID-19 pandemic, teachers had to think out of the box to create alternate learning experiences harnessing technology. We saw a myriad of blended learning and flipped learning instruction designs.

Blended learning involves online and face-to-face instruction. It is a common feature when schools have to alternate between HomeBased Learning (HBL) and in-school lessons during the pandemic.

In flipped learning, students are required to participate in an online learning exercise before coming to class.

Joyce Teo’s study focused on designing a blended learning lesson package that hinges on a constructivist approach and one that encourages deep learning in music.

14

Marianne Woo discussed how her flipped learning on a recorder module was able to be more inclusive with the majority of students being able to attain recorder-playing competencies with online learning tools.

23

Eymani Helmi shared how she flipped her ukulele classroom, harnessing technological tools to provide closer feedback to facilitate learning which also developed students’ learning dispositions.

30

Wu MeiHui examined the impact of asynchronous learning from her students’ perspective and found advantages and disadvantages.

Hence, a blended learning approach could better cater for different learning needs.

39

Jasmine Peh found that joy of learning can also be observed in a blended music curriculum and the contributors to the joy of learning include the curriculum design, pedagogy and student interactions.

47

BLENDED LEARNING

SOUNDING THE TEACHING V

Developing a Blended Learning Lesson Package, Using SLS, to Enhance Students’ Experience and Understanding of Timbre

14

Joyce Teo

INTRODUCTION

Henry Park Primary School

This project will be targeting Primary 3 students, who have limited experiences in watching/listening to live orchestral performances. They are also predisposed to attaining their musical experiences online and enjoy listening to pop songs more than other forms of music. These students have little exposure to brass and woodwind instruments.

Musical Analysis via SLS, Discussions & Reflections

Deeper Understanding for Musical Concepts such as Timbre

One key consideration was the fact that we had a tight curriculum timeline. The topic of timbre & orchestral instruments is taught only at the end of the year, which makes learning new musical concepts like “timbre” a little rushed.

Deeper Musical Appreciation

Music Creation Activities

RESEARCH PURPOSE

LITERATURE

To develop a blended learning package, using SLS, that would benefit the Primary 3 students by enhancing both their individual and collaborative learning experiences, in terms of:

What is the blended learning process?

◊

using different modes of learning

◊

targeting a “deeper musical appreciation”, which is achieved through musical analysis via SLS, discussions and reflections that will lead them to a deeper understanding of musical concepts such as timbre.

With “deeper musical appreciation”, they can then extend their learning through music creation activities.

◊

Combines opportunities for interaction online with traditional place-based classroom methods, and requires the physical presence of both teacher and student, with some elements of student control (Banditvilai, 2016 & Friesen, 2012)

◊

Combines in-class and out-of-class learning, maximising the educational impact for students as a result. This trend means educators can focus on student understanding, rather than the delivery method itself.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

BLENDED LEARNING

Why choose blended learning over traditional classroom teaching approaches? What are the buy-ins to choosing this blended learning approach?

Here are some of the benefits/strengths of adopting this approach: 1.

2.

3.

Flexibility Learners can pace their own learning during the process and teachers can employ differentiated instructions to explore different learning approaches for the students.

Effectiveness With the multiple modes of instruction and ample resources found online, students learn better and adopt broader perspectives to deepen their own learning.

Teacher Empowerment Teacher has more time and space in the classroom to stretch students’ learning, with the use of technology to introduce new ideas or address gaps in learning.

4.

Engagement Students get a chance to be more engaged through technology as it has already become such a huge part of their daily lives.

5.

Differentiation Differentiation of instruction can be customised based on the different learning needs of the students.

There are probably more benefits of using the blended learning approach. But most importantly, I believe when this approach is used effectively, it will enhance students’ learning exponentially.

THE RESEARCH PROCESS (METHODOLOGY) My research methodology starts with data collection through a survey where I find out about students’ prior experiences and musical knowledge of orchestral instruments.

Based on the findings, I customise a blended learning plan that comprises an SLS package with face-to-face classroom lessons to engage my learners and help enhance their learning experience.

Data Collection Survey (on Prior Experiences & Musical Knowledge of Orchestral Instruments)

The Blended Learning Process SLS Package – Music Tells A Story: Peter and the Wolf (focusing on critical thinking skills & musical analysis) F2F Lessons in the Classroom to extend the learning of Timbre through Compositional activities (Soundscapes), Performance showcases, Discussions & Reflections

15

BLENDED LEARNING

SOUNDING THE TEACHING V

SURVEY FINDINGS

Where do you usually watch musical performances?

(Identifying the gap: “Why is there a need for blended learning?”)

What kind of music do you MOSTLY listen to?

(You may select more than one option.

Tick all that applies to you.)

20 65.4%

26 responses

15

17 53.8% 14 42.3%

10

11

65.4% 5 26.9% 0 Concert Hall/Theatre Online Videos (i.e. YouTube, Facebook)

16 Chinese Music

Videos In Class Shown During Music Lessons

Classical/Orchestra Music Pop Music (From Radio/YouTube/Spotify) Rock/Heavy Metal Music Spiritual Music

I observe that a large percentage of my students are influenced by pop music found on Radio/YouTube/Spotify (65.4%).

The lesson package that I will be designing will focus on broadening their musical palette, introducing them to classical/ orchestral music.

The bar graph shows a larger percentage of students (65.4%) who attain their musical experiences online via channels such as YouTube. Thus, I hope to customise the online SLS lesson to include more YouTube videos so as to engage them better.

Another survey question looked into finding out whether students have

Have you ever attended a concert before in a concert hall or theatre?

26 responses 38.5% 61.5%

Yes No

attended a concert. About 61.5% of them have attended a concert at least once. The high percentage could be attributed to the fact that many students in the school have high SES background. It is hoped that the blended learning package will allow students to extend their existing knowledge of orchestral music based on their prior experiences of attending concerts.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

Look at the picture of the instrument below. What is the instrument called?

BLENDED LEARNING

PEDAGOGY FOR THE BLENDED LEARNING PACKAGE

(This is just a survey, please do not Google the answers)

We took on a 3-step pedagogical approach to designing our blended learning package for the students.

3/30 correct responses

1.

First, we start off with developing an SLS lesson that allows students to engage in self-directed learning through guided sound explorations.

2.

Next, we build upon the knowledge they have acquired though SLS via a collaborative learning lesson back in the classroom where students will discuss, analyse music and make more musical decisions through exploration and discussions.

3.

Lastly, we lead the students to create music collaboratively, and to perform and then reflect on their compositions and learning process.

50%

15

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However, attending concerts did not translate to music appreciation.

Knowledge questions about orchestral instruments in the survey showed that 90% of the students got their answers wrong.

From the survey, we found out that despite attending concerts, students do not really know or understand what an orchestra is.

Through the blended learning package, we hope to tap on students’ existing experiences, expand their knowledge of orchestral music and extend their learning in the classroom through collaborative activities such as musical analysis discussions.

01 Self-directed Learning through Guided Sound Explorations Online Resources (via SLS)

02 Collaborative Learning through Sound Explorations & Musical Analysis (via F2F Lessons)

03 Collaborative Learning (for Assessment) through Creation, Performance & Reflection (via F2F Lessons)

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BLENDED LEARNING

SOUNDING THE TEACHING V

INTRODUCTION TO THE DEVELOPMENT OF THE SLS PACKAGE PETER AND THE WOLF

18

The Peter and the Wolf story was told in full illustration and narration but without the musical content by composer Prokofiev.

Students got to explore describing the different personalities that the various characters in the story exhibit.

The package was designed with an exploratory approach in mind. ◊

To kick-start the learning, we have an introduction to the Peter and the Wolf storyline, which consists of purely narration and graphics without any music to complement the story.

◊

The next lesson segment introduces specific orchestral instruments and their sounds, with the infusion of music vocabulary in relation to musical elements such as timbre.

◊

Students will then attempt to predict which instruments could be used to match certain characters found in Peter and the Wolf based on their sound explorations of orchestral instruments earlier.

◊

As a conclusion, students watch a YouTube video of an orchestral performance of Sergei Prokofiev’s works with the narration from the conductor himself, before reflecting on their learning experience.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

THE PETER AND THE WOLF SLS PACKAGE (FOCUSING ON SOUND EXPLORATIONS) In the narrated story component of Peter and the Wolf, I decided to use bright illustrations to capture the attention of my young learners. It is also important to me that they understand the storyline enough so as to pick out the characters found in the story later.

BLENDED LEARNING

students will then move on to predict which orchestral instrument could be used to portray the different personality that each character in Peter and the Wolf exhibits.

I chose to show Prokofiev’s work to the students only at the end of the lesson package so as not to limit their creative interpretation during the activities.

The story is then followed by an interactive thinking tool component where students will be able to list the characters and then match words that describe each character’s personality using the drag and drop feature. It was done in this manner as we found that students at a young age may not have enough vocabulary to describe the characters appropriately.

Students then learn about an Orchestra through an introductory YouTube video offering the perspective of a young boy, “George”, who is just like them.

Next, students will watch a series of carefully chosen YouTube videos that showcase both the playing and the sounds of the selected orchestral instruments, which is followed by carefully crafted MCQ choices that contain music vocabulary words to describe the sounds or timbres of the instruments when they are played.

MCQ was the medium we chose to unconsciously add music vocabulary into the minds of the students as they go about attempting the SLS lesson.

After having an idea of how each orchestral instrument sounds in the previous SLS lesson component,

Finally, students listen to Prokofiev’s composition. By this time, it is hoped that the students have already built up more musical understanding and knowledge to better appreciate his composition.

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BLENDED LEARNING

SOUNDING THE TEACHING V

Moving on, students will immediately be introduced to Sergei Prokofiev’s Peter and the Wolf and from there, they will learn how each instrument represents a specific character in the story. They will then move on to some sequencing activities and a little discussion on why each orchestral instrument was chosen.

THE PREVIOUS FACE-TO-FACE CURRICULUM Previously, the three full lessons would have still not been sufficient for students to perform and hear one another’s soundscape compositions.

We started off with reading the comic strip storyline found in the First Steps to Music Textbook which the school uses.

From there, the entire first lesson will be spent on understanding the storyline, identifying the characters in the story and acting out the story.

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It is only in the third lesson that students will individually complete a self-reflection sheet about what they have learnt in Peter and the Wolf before proceeding to split into groups to explore some soundscapes composition activity using classroom instruments with their group mates.

THE BLENDED CURRICULUM With the development of the SLS package, students can now engage in self-directed learning at home, being exposed to authentic videos

The original curriculum Lesson 1

Lesson 2

Lesson 3

F2F LESSON

F2F LESSON

F2F LESSON

Introduction to Peter and the Wolf Storyline

Sergei Prokofiev’s Peter and the Wolf & Intro to Orchestra Instruments

Timbre, Reflection on Peter and the Wolf & Short Composition Using Classroom Instruments (Collaborative Work)

◊

Comic strip storyline for Peter and the Wolf (P&W)

◊

◊

◊

Listen to Prokofiev’s

Identifying characters and

works and sequence the

describing their personas in

characters in order of their

the P&W story

appearance in the story

Acting out the story

◊

Discussion and learning

◊

Completing Peter and The Wolf reflection worksheet

◊

Applying knowledge

more about the orchestra

of timbre in short

instruments used in

composition activity using

the story

classroom instruments

TECHNOLOGY AND INCLUSION IN PEDAGOGY

BLENDED LEARNING

The blended curriculum Lesson 1

Lesson 2

Lesson 3

SLS LESSON Sound Explorations of Peter and the Wolf & Orchestral Instruments

F2F LESSON Exploration (Percussion), Creating Soundscapes (Collaborative Work)

F2F LESSON Extension, Performance & Reflection (Collaborative Work)

◊ ◊

Sound explorations on tone/timbre

percussion instruments (timbre) ◊

an unknown story about animals

instruments to match

and describing their personas

the characters in

using adjectives ◊

◊

Identification of characters in

with prediction of

the story ◊

Sound explorations on classroom Creating soundscapes for the characters in the story ◊

Sound Story Group Performance

Using classroom percussion

Introduction of Sergei

instruments to create

Prokofiev’s works:

soundscapes to match the

Peter and the Wolf

different personas of the various

Showcase ◊

Reflections (Exit Card)

characters found in the story

Students get to engage in self-directed learning via SLS

of performances and orchestral instruments. Furthermore, they get a chance to listen to the different sounds and timbres of the instruments before making their own decision about which instrument is better matched to portray the character’s personality in Peter and the Wolf. This gives them a deeper experience as compared to spoon-feeding them with Prokofiev’s work right from the start.

Lesson 2 in the blended learning package can then be used for them to explore different ways of playing classroom percussion instruments with their group mates. A new and unknown animal story could then be introduced and students can focus on

More time for exploration activities and performance showcase

creating soundscapes for the characters.

Discussions about timbre and musical analysis of choices made can create a deeper learning experience for the students.

With more time for exploration and discussion, lesson 3 could be used for extension of their collaborative performances and a final showcase of all the students’ compositions that comes together with their reflections and learnings.

I truly believe that with this blended learning package that was crafted, we saved precious classroom time that was used to broaden and deepen their musical learning experiences.

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BLENDED LEARNING

SOUNDING THE TEACHING V

CONCLUSION

Our Post-research Plans

Positives

To examine the data that can be generated once students have completed the SLS module/Blended Learning Lesson Package.

◊

Students could engage in selfdirected learning through the use of technology.

◊

Exposure to real-life performances and instrument demonstrations creates a deeper engagement in learning.

◊

More time in class for collaborative learning activities such as exploration, musical analysis and discussions.

◊

To get an indication of the knowledge students have gained through the SLS lesson module through the comparison of pre- and post-lesson survey results.

◊

To interview selected students about their opinions on this blended learning process, finding out what works for them and how much they have enjoyed this learning experience.

◊

To do a comparison of data generated by students who have gone through only the F2F lessons as compared to those who have gone through the Blended Learning Package, to see if it impacts the level of musical understanding.

Challenge Developing the SLS lesson module needs a fair bit of time and planning.

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The one challenge that we had to overcome is that we took a fair bit of time to plan and construct the SLS lesson module. However, it is definitely worth the effort in the long run.

Teaching Resources F2F Lesson Plan

P&W Worksheet

P&W Lesson

Blended Lesson

References Banditvilai, C. (2016). Enhancing students’ language skills through blended learning.

The Electronic Journal of e-Learning, 14(3), 220-229.

Friesen, N. (2012). Report: Defining blended learning. https://www.normfriesen.info/papers/Defining_Blended_Learning_NF.pdf

FLIPPED LEARNING ON THE RECORDER Marianne Woo St Stephen’s School

Introduction The recorder has been part of the music curriculum since Singapore’s independence (Stead & Lum, 2014) and continues to be one of the instruments that students learn in some schools. It is

The Issue ▶

Some students struggled to meet the success criteria for playing a simple song on the recorder. The success criteria were: ▷ Play the notes on the recorder using the correct fingering ▷ Perform the song with the correct tone ▷ Perform according to the beat and rhythm of the song

▶

Students with learning and behavioural needs were unable to focus well during the lesson since the classroom environment can be noisy

▶

Insufficient time for one-to-one coaching

▶

Little opportunity for improvisation on the recorder due to much time spent on mastering the recorder skills

typically learnt at Stage 2 (Primary 3 to 4) and in a traditional music classroom, students learn it as a class. There are usually about 35 to 40 students in a class setting. Due to the affordability of the recorder, all students will own a recorder – which is an advantage when learning as they are able to practise the instrument at home.

Questions 1.

What pedagogical approach would enable students to learn how to play the recorder effectively given the high student-teacher ratio?

Literature

24

“Flipped learning is a pedagogical approach in which direct instruction moves from the group learning space to the individual learning space, and the resulting group space is transformed into a dynamic, interactive learning environment where the educator guides students as they apply concepts and engage creatively in the subject matter.”

(Flipped Learning Network, 2014) Many advantages to the flipped classroom ▶ Differentiated instruction (Altemueller & Lindquist, 2017) ▶ Develop performance awareness, and students are better able to monitor themselves (Sever, 2017) ▶ Time in the classroom used more creatively (Herreid & Schiller, 2012) ▶ Supports inclusive learning (Altemueller & Lindquist, 2017; Lage, Platt, & Treglia, 2000)

2.

How can I tap on technology to enhance student learning?

CHALLENGES FACED AT THREE LEVELS (LO & HEW, 2017) ▶ STUDENTS ▷ Some students held a conventional view of learning ▷ Instructional videos were too long ▷ Pre-class activities were too time-consuming ▶ STAFF ▷ Teachers might not understand the value of the flipped classroom and be accustomed to this new instructional approach ▷ Preparing flipped learning materials required considerable start-up effort ▶ OPERATIONAL ▷ The student might not have internet access to view the videos at home ▷ It was difficult to ensure that students had truly watched the videos ▷ The teacher might not be able to upload the videos online

The Research Question 1.

How is the flipped learning approach effective in enabling students to learn to play a simple song on the recorder?

2.

How does flipping the recorder learning process create an inclusive learning environment for my students?

▶

Students have not learnt the recorder formally in school prior to this recorder module

The Methodology INDIVIDUAL ACTION RESEARCH “Action research is a process in which participants examine their own educational practice systematically and carefully, using the techniques of research” (Ferrance, 2000, p. 2).

SAMPLE ▶ Three classes of Primary 3 students ▶ 100 students out of a cohort of 197 students

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CONSIDERATIONS ▶ Instructional videos ▶ Selection of songs ▶ Technological platforms ▶ Feedback channels ▶ Change in music curriculum due to the Circuit Breaker

The Curriculum ▶

Period: May to July – Full Home-Based Learning (HBL) and part HBL period

▶

Student Learning Space ▷ Students are familiar with the platform

▶

Orff approach to scaffold learning of soprano recorder ▷ Learning was scaled down because of Full HBL ▷ From learning C to high D, students only learnt E, G, A and B ▷ Focus was more on blowing the tone well, fingering and playing the rhythm of the song well

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▶

▶

Adapted Flipped Learning Approach due to Full HBL ▷ For example, students did not have the opportunity to watch the video and then attend face-to-face sessions; they were learning on their own online during the Full HBL, without immediate feedback from the teacher in person.

Resources ▷ Chunking of instructional videos – videos not more than 3 minutes ▷ Repertoire consisted of songs focused on G, A and B notes ▷ Resources provided to support learning (e.g. iconic version of the score, audio tracks, musical score)

▶

Flipgrid for video submissions ▷ I filmed tutorial videos to guide them on how to access and submit their videos. ▷ Text instructions were also given which can be read out in Flipgrid.

This is to cater to the different types of learners.

▶

Multiple tools to assess students’ learning ▷ Formative assessment in the form of multiple-choice questions, polls and submission of video recordings to assess students’ learning

▶

Feedback provided (individual feedback sent directly to their parents)

Example of SLS lesson

Example of Flipgrid lesson with iconic score on the right, relating to the finger placement

27

The Findings In the final task, students were required to perform.

I used a rubric and assessed students as either exceeding expectations, meeting expectations or approaching expectations.

74% of students were able to either meet or exceed expectations.

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FINDING 1

FINDING 2

74 out of 100 students were able to meet the success criteria.

93 out of 100 students agreed that the videos and additional resources on SLS helped to guide them in their learning of the recorder.

FINDING 3

FINDING 4

50 out of 100 students knew how they could improve on their performance after watching their peers on Flipgrid.

81 out of 100 students enjoyed learning how to play the recorder through the flipped learning approach.

The Discussion

▶

▶

▶ ▶

▶

Overall, the majority of the students were able to meet the expectations of recorder playing. Students who were unable to meet expectations mentioned that they would prefer some traditional classroom learning.

The resources provided sufficient scaffolding.

Some students might not have fully understood how they could meet the success criteria.

Students enjoyed learning at home as they were able to move at their own pace. For example, they could watch the video again.

For flipped learning to be successful, STUDENTS: ▷ Need to have the technological requirements (e.g. Wi-Fi) ▷ Should be familiar with the platforms which will help them navigate their learning better ▷ Require structure in the lessons TEACHERS: ▷ Have to do a lot of preparation such as making instructional videos ▷ Should follow up and provide feedback to students as this is important

The Conclusion ▶

Flipped learning is an effective approach because it allows students to go at their own pace

▶

Scaffolding is key

▶

Technological platforms used must be familiar and easy to navigate

▶

Blended approach with flipped learning could create an inclusive learning environment for different learners

References Altemueller, L., & Lindquist, C. (2017). Flipped classroom instruction for inclusive learning. British Journal of Special Education, 44(3), 341-358. https://doi.org/10.1111/1467-8578.12177 Ferrance, E., & Northeast and Islands Regional Educational Laboratory at Brown University. (2000).

Action research. Northeast and Islands Regional Education Laboratory at Brown University.

Fulton, K. P. (2012). 10 reasons to flip. Phi Delta Kappan, 94(2), 20-24. https://doi.org/10.1177/003172171209400205 Herreid, C. F., & Schiller, N. A. (2012). Case studies and the flipped classroom. Journal of College Science Teaching, 42(5), 62-66.

King, C. (1994). Recorder Routes I Revised Edition: A guide to introducing soprano recorder in Orff classes.

Memphis Musicraft Publications.

Lage, M. J., Platt, G. J., & Treglia, M. (2000). Inverting the classroom: A gateway to creating an inclusive learning environment. The Journal of Economic Education, 31(1), 30-43. https://doi.org/10.2307/1183338 Lo, C. K., & Hew, K. F. (2017). A critical review of flipped classroom challenges in K-12 education: possible solutions and recommendations for future research. Research and Practice in Technology Enhanced Learning, 12(4), 1-22. https://doi.org/10.1186/s41039-016-0044-2 Sever, S. (2017). Students’ self-assessments regarding the effects of flip learning practice in music lessons.

Journal of Turkish Studies, 12(18), 505-522. http://dx.doi.org/10.7827/TurkishStudies.12048 Stead, E. P., & Lum, C. H. (2014). The development of the general music programme in primary and secondary schools. In J. Zubillaga-Pow & C. K. Ho (Eds.), Singapore soundscape: Musical renaissance of a global city (pp. 235-250). National Library Board.

Flipped Learning Network. (2014). The Four Pillars of F-L-I-P. https://drive.google.com/file/d/1dmpfZdH7oK06smGMOxG_HEy-ET-Hi3lF/view

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WHAT IS Flipped Learning?

FLIPPING THE UKULELE CLASSROOM TO ENSURE STUDENT READINESS

30

Eymani Helmi

Introduction

Yu Neng Primary School

Blended learning is like the Swiss Army knife of learning solutions. You have many tools at your disposal; the key is in choosing the right one – or combination of the right ones – for the task at hand.

“Flipped learning is a pedagogical approach in which direct instruction moves from the group learning space to the individual learning space, and the resulting group space is transformed into a dynamic, interactive learning environment where the educator guides students as they apply concepts and engage creatively in the subject matter.”

(Flipped Learning Network, 2014)

Defining the Study ▶

▶

Prior to COVID-19 and Full HBL, some of the teachers in my school were not keen on and comfortable with the use of SLS, especially for learning music. The traditional method of face-to-face learning of music persists and is preferred.

COVID-19 and Full HBL have proven to change our mindsets.

This is an inquiry into a Primary 5 ukulele module integrating online SLS lessons and face-to-face lessons in school. The students do not own a personal ukulele and hence only rely on the ukulele purchased by the school for the students to practise on. The idea of integrating SLS is to maximise the time in class for students to practise on their ukulele. The idea of online learning is also set according to my school’s learning dispositions – readiness, resourcefulness, reflectiveness and relatedness.

Research Question To what extent does a flipped ukulele classroom support the learning dispositions in maximising Primary 5 students’ learning of the ukulele?

Methodology ▶

▶

Quantitative Data Collection ▷ Survey was sent to all students in the two mixed-ability classes through Google Forms Qualitative Data collection ▷ Face-to-face interview with selected students

SAMPLE OF STUDENTS ▶ Two mixed-ability Primary 5 classes ▶ Students do not have a personal ukulele ▶ Not many students learn ukulele outside of school; 1 to 2 students per class learnt ukulele outside of school (max 3 chords C, F, G) ▶ All of them have access to SLS

31

About the Conduct of the Lessons ▶

▶

Students are encouraged to complete the SLS lesson conducted prior to a face-to-face lesson.

There was no deadline for the SLS lessons as they can go back to the online lessons even after the F2F lessons.

The SLS Lessons

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LESSON 1 ▶ A Short History of Ukulele ▶ Introduction to the Ukulele ▶ How to Tune Your Ukulele ▶ Fingering for the C Chord

LESSON 2 ▶ Recap: How to Hold Your Ukulele ▶ Recap: Three Ways to Strum Your Ukulele ▶ Fingering for the C Chord

LESSON 3 ▶ Basic Strumming Patterns ▶ Quiz

LESSON 4 ▶ Watch and Reflect – Students watch the video which I captured on iPad when they were performing.

They reflected on how they played. ▶ Let’s Move on to G7 Chord ▶ Let’s Move on to F Chord

LESSON 5 ▶ PowerPoint Lesson for Revision ▶ Row Row Row Your Boat ▶ F Chord ▶ Practice Time!

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Lesson 5 focuses on bridging the learning because there were some issues on chord changes and moving from one chord to another. So, the video showed them how to do it.

Enhanced by Technological Tools (Apple TV and iPad) In my face-to-face lessons, I linked my iPad to the Apple TV and used the camera function in iPad to focus on my fingers so that students could see them on the big screen. It has been very useful due to safe

distancing measures during the COVID-19 period. I could also capture videos of students practising as a group which I put on SLS for them to view and reflect.

Learning Dispositions

34

Purpose: To cultivate lifelong learners in our students. Learning dispositions are key to support the acquisition of knowledge and skills, underpinned by sound values,

so that students may learn better, self-manage better and relate to one another better.

LEARNING DISPOSITION #1

LEARNING DISPOSITION #2

READINESS

RESOURCEFULNESS

LEARNING DISPOSITION #3

LEARNING DISPOSITION #4

REFLECTIVENESS

RELATEDNESS

Students who are ready to learn will demonstrate the following: ▶ A belief that they can learn ▶ Are motivated in the learning process (e.g. active listening, attentive participation and asking questions) ▶ Exercise self-awareness (e.g. set goals to develop personal strengths and/or areas for growth)

Students who are reflective will: ▶ Demonstrate self-control ▶ Think deeply about what they have done (e.g. consider impact of their actions and how to do better the next time) ▶ Show humility to learn from others (e.g. teachers, peers and the circumstances)

Students who demonstrate resourcefulness will: ▶ Use different means (approaches and information) to do things ▶ View challenges/new situations with a positive attitude (e.g. focus on problem-solving) ▶ Apply what they have learnt or are learning in different contexts (e.g. proposing ideas and alternatives)

Students who demonstrate relatedness will: ▶ Learn collaboratively in a team (e.g. taking turns and valuing different perspectives) ▶ Be active contributors to any team by showing willingness to share ideas ▶ Be empathetic communicators to build up a team (e.g. inclusive behaviour/motivating others)

References 1. https://circleoflifetraining.com/wordpress/wp-content/uploads/2017/12/Guy-Claxton-1.pdf 2. https://www.campaign-for-learning.org.uk/Handlers/Download.ashx?IDMF=07f4cb7b-6f5f42d2-8831-842c5f189797

Findings: Quantitative Analysis THE SURVEY FINDINGS ON

READINESS

Strongly Agree

Agree

Disagree

Strongly Disagree

The ukulele lessons are very useful in preparing me for the face-to-face lessons.

26.3%

68.4%

1.8%

3.5%

I am more prepared to attend face-to-face ukulele lessons.

29.8%

56.1%

12.3%

1.8%

I know what I will be learning for the upcoming face-to-face ukulele lesson.

33.3%

61.4%

3.5%

1.8%

As a student of Yu Neng Primary School, the SLS lessons have helped me be more ready for face-to-face lessons.

28.1%

64.9%

7%

0%

I am more resourceful and always look for more lessons on ukulele.

29.8%

50.9%

15.8%

3.5%

When I cannot understand the face-to-face lesson, I can refer to the SLS lessons online.

50.9%

40.4%

5.3%

3.5%

THE SURVEY FINDINGS ON

RESOURCEFULNESS

I know where to look for resources on ukulele to enhance my learning.

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36.8%

49.1%

12.3%

1.8%

With online SLS ukulele lessons, I have ample time to reflect on my learning.

26.3%

66.7%

7%

0%

Online reflection allows me more time to practise with my teachers and friends during face-to-face lessons.

26.3%

66.7%

7%

0%

I am able to relate my learning in school to the online SLS lessons.

43.9%

50.9%

5.3%

0%

The SLS lessons have allowed me to enjoy ukulele lessons in school.

36.1%

49.1%

14%

1.8%

THE SURVEY FINDINGS ON

REFLECTIVENESS

THE SURVEY FINDINGS ON

RELATEDNESS

ANALYSIS OF SURVEY FINDINGS Among the four learning dispositions that we have, the students have shown that they are ready to learn and hence, they believe that they can

learn, are motivated to learn, and have subconsciously exercised self-awareness and set goals to develop personal strengths and/or areas for growth.

Findings: Qualitative Analysis The qualitative data was analysed and three prominent themes appear throughout the answers that were given.

THEME 1:

THEME 2:

ENVIRONMENT

MUSICAL CONTENT

With the SLS lessons, the students felt that they were able to refer to the lessons at home and learn at their own pace.

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“Yes, students can learn about music and enjoy learning it. Because there are many students in a class, face-to-face lessons would be noisy. With one person at home learning, it will be quieter and the student can focus.”

The SLS lessons deepened their understanding of the ukulele and honed their skills in playing the instrument more confidently. The SLS lessons served as a bridging tool for them as they were able to relate what they learnt in class to the SLS lessons.

“Yes, the SLS ukulele lessons are very useful. They help me to practise the chords I am not familiar with, and I watch the videos over and over again until I get the fingerings correct.”

THEME 3:

MUSICAL LEARNING

The students showed perseverance in their musical learning as they were constantly practising and reflecting on their learning in order to be better.

“The SLS ukulele lesson helps me to recap the face-to-face lessons taught and YouTube videos interest me to practise harder and improve so that I can play more songs.”

Discussion 37

POINTS OF DISCUSSION: BENEFITS ▶ Flipped learning allows the students to learn at their own pace by referring to the materials already curated and customised for them on the SLS platform. ▶ A majority of the students were more prepared to attend ukulele lessons because they knew what to expect and the SLS lessons gave them some form of prior knowledge. The students came to class with a similar level of readiness. ▶ The students were more engaged during face-to-face lessons as they had more time to practise and learn with their peers as well as perform together.

POINTS OF DISCUSSION: DRAWBACKS ▶ Unlike Full HBL, student participation dropped to 80%. It was difficult to get the whole class to complete the lesson. They did not have access to the device or their parents did not think that with the start of normal school, there would be any lessons on SLS. ▶ Although the SLS lessons were designed to briefly introduce students to the ukulele, they would have been more effective if the students had their own ukuleles at home for them to practise. The main reason for flipped learning was because I wanted them to spend more time during lessons playing the ukulele.

Teacher Reflections ▶

▶

Based on past experience, students gave feedback that they wanted more time on the ukulele in school rather than to listen to the teacher talk.

Flipping the ukulele classroom has made students look forward to music lessons because there was more hands-on time during the in-class music lessons.

Creating the first SLS lessons was easy. But creating the subsequent SLS lessons was challenging. I had to customise the lesson for each class as all classes were moving at a different pace. So, certain sections in the SLS lesson were the same but depending on the issue they had or their feedback, there might be additional information or an activity for them to complete.

Conclusion ▶

▶

In conclusion, most of the students benefited from the flipped learning approach. They are more well prepared for their face-to-face ukulele lessons. They have also built their confidence in playing on their ukulele in comparison to the previous cohort.

The students are more motivated to learn on their own and referred to the available lessons whenever they

▶

were in doubt. This has resulted in them taking ownership of their own learning.

When students are in a group setting, they work together and interact with one another through the ukulele.

The SLS lessons have prepared them well enough for them to come to class feeling confident and ready to share and offer help to others.

References Flipped Learning Network. (2014). The Four Pillars of F-L-I-P. https://drive.google.com/file/d/1dmpfZdH7oK06smGMOxG_HEy-ET-Hi3lF/view

TECHNOLOGY AND INCLUSION IN PEDAGOGY

BLENDED LEARNING

Investigating Students’ Views and Learning Experiences Through the Asynchronous Learning Approach In asynchronous learning, students enjoy the flexibility of learning the content at home, in particular, the freedom to take in the content and material at their own pace. They can view the content as many times as they like and skip or fast forward content which they already are familiar with.

Wu MeiHui Ai Tong School

BACKGROUND This inquiry is a qualitative study on the views and learning experiences of a group of Primary 6 students who have gone through five lessons of music arrangement through a Digital Audio Workstation called BandLab. During the pandemic, we saw more asynchronous learning, where independent student learning does not occur at the same time. In asynchronous learning, teachers can assign lessons to students through Learning Management Systems like the Student Learning Space (SLS) where students complete a series of learning activities at their own pace.

However, asynchronous learning poses certain limitations for students’ learning as well. Students are not able to receive immediate feedback for their work or obtain immediate replies to their questions. Also, it requires discipline on the students’ part to sit through the content and material for the learning to be meaningful.

CONTEXT In view of the situation, we engaged some help to create a series of selfguided videos for students to navigate BandLab so that they could do their music arrangement. Each video was approximately 15 minutes. In each video, the instructor starts by introducing aspects of music technology, and then moves into the application of music knowledge in BandLab. The instructor provides a detailed explanation and guides to how students should approach their assignment. Subsequent videos aim to build on the previous content to ensure progressive learning.

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BLENDED LEARNING

40

SOUNDING THE TEACHING V

LEARNING OUTCOMES

◊

◊

Understand music production using modern technology

Interview

◊

Understand the history of music recording

◊

Create a music arrangement by using different tracks and layering techniques

◊

Edit the music arrangement by adjusting sound effects and learning basic music-mixing techniques

Before the interview sessions, the terms “asynchronous learning” and “blended learning” were briefly explained to students to provide some prior knowledge to the interview questions. The interview questions revolve around these four main stems: 1.

Do you find learning and making music through the asynchronous learning approach useful and meaningful?

2.

Do you learn well through self-guided videos and online content?

3.

The asynchronous learning approach requires self-discipline on the students’ part to sit through the learning content.

What is your view?

4.

Do you find this learning approach better than the inclass sessions?

PURPOSE OF THIS STUDY In this study, I wish to find out how students viewed this learning approach and their learning experiences from the module.

METHODOLOGY Interviews were conducted with 2 groups of Primary 6 students from the same class: ◊

1 interview with 2 students

1 interview with 5 students

TECHNOLOGY AND INCLUSION IN PEDAGOGY

FINDINGS This study found the following themes that illustrate students’ views and experience of the BandLab lessons.

The advantages of asynchronous learning BETTER CONCENTRATION Students feel that they are able to concentrate better as there are fewer interruptions and distractions to their learning. In class, there were times when the teacher had to spend some time managing classroom discipline, and as a result, curriculum time was lost and there was a delay in students’ learning. In the comfort of their own homes, students found themselves able to work better because they felt calm and at ease.

Don’t have other classmates who will interrupt (the lesson)… we can do it in the comfort of our home and we can focus better.

In class, it’s always noisy and there’s a ruckus… some boys like to mess around and it is very hard to concentrate.

At home, there is no one disturbing you, and you can find your own music style.

It’s fun to make music in class and with Mdm Wu. While at home, we miss the teachers, but we also want quiet time. We can hear the music that we make.

At home, my family members don’t interrupt me when I am on the computer.

BLENDED LEARNING

If you want to make music in your own style, I suggest you find a place where you feel comfortable in and calm.

Personally, I work better alone.

EASY ACCESSIBILITY Students also mentioned that most online learning content had few to no time restrictions. They were able to access the learning material at their own preferred time. They enjoyed the freedom of being able to review videos when the need arose. The learning videos and tools were also easily accessible and no cost was involved.

Students also recognised that there were students who were shy and may prefer this learning mode because they were able to communicate and ask questions through messaging and typing instead of face-to-face interactions with the teacher.

This programme is free.

For shy people, it will be better, because they don’t get to talk a lot during class time, I think they are better with typing.

In real life, some people are like shy to ask questions, especially if they do not know the instructor.

You can do any time, like when you are free.

Sometimes when you don’t understand, you can rewatch the video… and don’t have to irritate the teacher.

Cos lesson time is very limited.

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BLENDED LEARNING

42

SOUNDING THE TEACHING V

ENRICHED LEARNING When learning online, students could find out new information or clarify doubts in an instant by searching on Google or YouTube for answers. They were able to look for examples and more guided tutorials to supplement their learning.

When I’m doing BandLab, I can search for ideas on YouTube and when I found Dance Monkey, it was very fun to (recreate) it on my own.

When I need to use BandLab, my mum has to unlock the computer for me. So after I am done with the music work, I can quickly go and search and listen to more songs and videos.

EXTENDED LEARNING With BandLab, students were able to hear and explore musical sounds that were not easily available in the music classrooms.

Also, they were able to use the tool for

other purposes such as creating their playlist for study or relaxing music.

In BandLab, we can get to explore many other sounds… like orchestra music.

For me, I like BandLab because I can make my own study music, piece music together, then hear my own music while studying.

All the instruments are there. If you do it live, then many instruments cannot be found in school.

Can mix and match the instruments… and create your own song.

Limitations of asynchronous learning LACK OF IMMEDIATE FEEDBACK Students mentioned that in asynchronous

TECHNOLOGY AND INCLUSION IN PEDAGOGY

learning, they were not able to get instant feedback from their teachers and peers.

They had to wait for teachers to respond to their queries or feedback for their work.

If (the learning) is online, you can message the teacher, but sometimes they don’t read on the spot, then it takes very long (to get a reply), and it will delay you from progressing.

In class, you can have mixed (music) styles with your friends.

If you don’t understand the question, you can’t ask the teacher directly.

Online… there is less interaction with teachers and friends… and fewer ideas.

Sometimes it’s a bit annoying, like you want (to receive feedback) fast, you get impatient.

In class, you can work as a team and it’s easier to communicate.

LACK OF PEER LEARNING OPPORTUNITIES In the traditional classroom, students were able to share their ideas with one another easily. However, the asynchronous learning approach did not allow that to happen easily unless there was a specific platform for students to communicate with one another online.

Level of engagement Level of engagement is dependent on selfdiscipline level, interest in subject and competency in ICT tools.

BLENDED LEARNING

SELF-DISCIPLINE Online learning requires selfdiscipline and motivation. The students interviewed were able to point out that there may be times when they found it hard to focus especially if the content was dry and there was too much information to absorb and understand.

INTEREST IN SUBJECT When asked for possible reasons not to be engaged fully in asynchronous learning, students mentioned that the level of engagement is largely dependent on their interest in the subject. Students who were less interested tend to spend less time working on the assignments or may submit a piece of work with lower quality. On the other hand, some students were more interested in creating their music online compared to real-life music making. One of the students mentioned that a particular classmate showed enthusiasm in the music assignment due to his keen interest in computer games.

It could be that he enjoyed learning in this way and thus showed more interest in online learning as compared to classroom learning.

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BLENDED LEARNING

SOUNDING THE TEACHING V

He (another student) is more of a computer person, and he plays a lot of games, so when it comes to online work, he is more interested.

(Music) interest can be built up in class, then when you go home to do the learning online, you’ll be more interested.

Some people don’t like music, so they rush through online work.

Music is relaxing… no academic stress, so I can do it for long hours…

It depends on the person… whether you like music or not.

Sometimes the video is very laggy, got technical issues.

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COMPETENCY IN ICT The level of engagement also depended on competency in ICT tools. One of the pitfalls in asynchronous learning, as pointed out by students, would be the technical issues and software glitches that they faced while learning.

They had to deal with these issues without the help of their teachers and peers. And if they could not resolve these issues, it might end up delaying their learning, and as a result, decreasing their motivation to learn.

Also, as they are young, the use of computers or laptops at home required their parents’ permission and supervision. Thus, it might not be fruitful for the learners if they were unable to reach their learning goals in time.

At home, my family members don’t interrupt me when I am on the computer.

Sometimes you have to pause the video and then switch to BandLab, then you get mixed up, so it would be good if we can play the video in the same window as BandLab. Although I’m impatient, while waiting for teacher to reply, I can try to work on something else… like fix up my own music first… or make another set of songs.

You need to have the perseverance to do it.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

BLENDED LEARNING

REFLECTIONS

Readiness and ownership

Asynchronous learning approach has its advantages and disadvantages

Much of the readiness in online learning is dependent on the ownership of learning. When there is ownership of learning, the learner is motivated, engaged and self-directed. It means they can monitor their progress and are able to reflect on their learning based on mastery of content.

In this study, I have found that the asynchronous learning approach had its advantages and disadvantages.

While it allowed students to concentrate better, access learning, enrich and extend their learning, there was a lack of immediate feedback and peer learning opportunities.

Asynchronous learning had appealed to certain groups of learners relating to their learning preference and topic.

For example, one student, who usually showed minimal interest during music lessons, became highly motivated in completing music assignments in the BandLab lessons.

Blended learning approach caters for different learning interests In the interviews, students mentioned frequently how a blend of learning approaches would be more impactful for their learning. In class, they preferred to work with others collaboratively, such as sharing ideas and presenting their work to others.

On the other hand, they also like how the online platform allowed them to access learning material at their own time and learning pace. Thus, a blended learning approach would cater to different learning preferences.

◊

The level of interest in the subject and the student’s level of competency in IT skills affect the motivation to learn online.

◊

The relevance of learning content and the presentation style does affect the level of engagement.

◊

Students need to have good routines and habits, and to be able to access the IT tools without much difficulty, to be able to engage in self-directed learning.

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BLENDED LEARNING

SOUNDING THE TEACHING V

Preferred types of videos 46

Content Bite-sized Short

Presentation Colours Pictures Keywords/ guiding words

In the interviews, students also provided some suggestions as to how the videos could be better tailored for their learning.

They generally like watching videos as a form of learning. The videos could be more engaging and effective if they were short and in bite sizes.

In terms of presentation styles, they would much prefer to watch videos that were colourful and loaded with pictures.

Also, keywords or guiding words were crucial in helping visual learners to learn better.

Students are highly cognisant of their learning styles and preferences From my observation, the students in this study showed that they were highly aware of their learning styles and preferences.

They could list out the benefits and pitfalls of the asynchronous learning approach without much assistance or

prompting. Although a couple of them like asynchronous learning more than in-class lessons, the majority of them felt that they learnt best through the blended learning approach. In class, they could get instructions from teachers, ask questions and get guidance from their peers for the learning tasks. At home, they could proceed to do the tasks online at their own pace and during their preferred time, without the distractions of others.

CONCLUSION The observations in this study allowed me to understand how students viewed asynchronous learning and they gave me a glimpse of how blended learning could be a more effective learning approach for our primary students. After all, music can be taught using different modes. The varied modes to engage our students through an active process and a musical experience could be more inclusive in reaching different learners, regardless of musical literacy and background.

JOY OF LEARNING THROUGH BLENDED MUSIC CURRICULUM Jasmine Peh Pasir Ris Secondary School

The Joy of Learning At the Schools Work Plan Seminar in 2018, former Education Minister, Mr Ong Ye Kung, mentioned that there are several thrusts under the “Learn for Life” movement. He highlighted one of the thrusts during his speech, that is, the need to have better balance between rigour and joy of learning in school education. He mentioned that our students are clearly doing well based on PISA scores over the years. However, based on OECD data, our students are spending longer hours on studies. In providing a holistic education for our learners, schools are encouraged to also focus on self-discovery, curiosity and growth in the classroom.

The joy of learning is much discussed in our Singapore context. However, it is a broad notion. Literature pertaining to this topic is still somewhat a challenge to uncover at this moment.

When students are asked, “what is the joy of learning to you”, there are varied responses. Here is a word cloud of contributions by student participants of this study and me.

Based on the word cloud, here is a summary of what the joy of learning is to us: Extension of learning, with experience and exposure, gathered from the classroom For example: ▶

Developing an interest in a topic

▶

Learning a new skill independently

▶

Teaching another individual or group with passion

Literature BLENDED LEARNING ▶ “A combination of digital and face-toface (F2F) education in a seamless and complementary way, in order to develop and support learning” (Boelens, De Wever, & Voet, 2017; Graham, 2006) ▶ Enable curriculum flexibility (Boelens, De Wever, & Voet, 2017) ▶ Allow educators to make choices and alternatives that were once unavailable (Carlsen, Holmberg, Neghina, & Owusu-Boampong, 2016) ▶ There are different models of blended learning (Christensen, Horn & Staker, 2013). Our student participants experienced the “Flipped Classroom”.

Purpose of Study Reflect and examine how the joy of learning in blended music curriculum is developed.

FLIPPED CLASSROOM ▶ A mix of learning from home via a digital learning space and F2F teacher-guided sessions ▶ Students utilise information from virtual and F2F platforms to work on their tasks (Bergmann & Sams, 2012) ▶ More autonomy given to students in managing learning through the digital learning space (Santos & Serpa, 2020) ▶ The Flipped Classroom model allows teachers to use classroom time to do more than just the delivery of traditional lessons.

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Inquiry Questions 1.

What were the specific enablers to the development of joy of learning?

2.

What were the activities conducted during the blended music curriculum?

3.

What were the implications for a blended music curriculum towards the development of joy of learning?

Methodology DATA COLLECTION ▶ Study was conducted during Term 3 ▶ Observations and reflections completed by myself after every music lesson ▶ Interview sessions with student participants PARTICIPANTS ▶ 10 Secondary 2 students from Lower Secondary Music (Express Stream) ▶ Music teacher

The Curriculum (The Covers Project) collaborated with classmates to arrange a song cover with singing and instruments such as the ukulele and cajon.

Prior to the Songwriting Project, the students have experienced the following: ▶

▶

Played instruments and understood the role of each instrument in a band (i.e. voice, keyboard, electric guitar, bass guitar, drum kit) Before the Circuit Breaker, students

▶

During the Circuit Breaker, the lessons shifted to individual song cover arrangements on Digital Audio Workstation BandLab.

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Findings Through the interviews, observations and reflections, three key themes emerged as enablers to the development of joy of learning: ▶

Curriculum “Curriculum” refers to the content taught in this term (i.e. Songwriting Project) The theme is derived from participants’ responses

▶

Peers “Peers” refer to the classmates in the music class The theme is derived from participants’ responses

▶

Pedagogy “Pedagogy” refers to the teaching method practised The theme is derived from my observations and reflections

THEME ONE: CURRICULUM The activities noted in “Theme One: Curriculum” included: ▶

▶

Fundamentals to writing a popular song ▷ understanding the role of lyrics, hook, groove, melody, harmony, percussion ▷ writing with literary devices (e.g. rhymes, repetition, personification, simile, onomatopoeia) ▷ groove ideas (e.g. on the keyboard, drum patterns) Music making experiences ▷ rapping along with lyrics ▷ melodic dictation ▷ identifying the note values/ pitches of students’ song (done individually)

Students composed their songs on BandLab. STUDENTS’ RESPONSES ON THE THEME OF CURRICULUM (All names given below are pseudonyms.)

SANCHE I enjoyed the music lessons.

Mostly because it’s like a break from the usual academic study.

It’s fun to play and write music.

MAG I enjoyed the music lessons so far, music helps me [relieve stress].

[Writing] music can help me express my feelings and it makes me happier.

NISHA What makes me happy during music lessons is actually [the opportunity to learn an instrument] that I didn’t know. I [didn’t know how to play the piano. After going through the lessons], I know quite a bit about it.

CLARA The topic [taught during music] matters [to me]. Songwriting [is] interesting. I [know of] singers who compose their own song, but I don’t know where they get their inspirations from… Through this songwriting project, I [am able to gather my inspirations] and know the basics [of composing a song]. In the future, if we want [to write songs], we can refer to these experiences or we can ask you.

LAUREN I wanted to learn how to play [the ukulele and piano]… after learning [to read and play] the chords in class… I was able to [play] the songs I wanted to learn, at home.

ASH [The lesson on “Groove Ideas” on SLS had taught me] to be more creative on creating drumbeat patterns… I tried a lot of [drumming] patterns at home.

Most of the responses exhibited independent learning and extension of learning to other songs.

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ASH Being able to work with friends…

It’s different from working on subjects like Maths or Science.

In music, you get to hear opinions and suggestions [from them].

Working with friends is [enjoyable].

THEME TWO: PEERS Conversation with student ANNE The part that I [find challenging] is to think about the [rhythmic pattern] for my song.

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MS JASMINE Has this issue been clarified?

ANNE Yes, it has been clarified.

MS JASMINE Was it with me or your friend?

ANNE I clarified it with Eriska.

STUDENTS’ RESPONSES ON THE THEME OF PEERS MAG [Friends] helped to lighten the mood. [Especially when they demonstrated how they practised the chords], it is fun and enjoyable.

NISHA I enjoyed learning with friends.

Because they can give me opinions on the chord [progressions] we use [in our songs] and how to [improve] on it.

These responses exhibited the joy of learning through interacting with peers on some segments during the project.

THEME THREE: PEDAGOGY The encounter happened during the week when Secondary 2 students were back at school after a week of Home-Based Learning (HBL). During the HBL week, my students were expected to complete an assignment on rhyming words through the SLS portal. The assignment was designed to allow students to explore possible rhyming words for their song.

In the week when students were in class, I had intended to teach them to rap along with their song. When I was waiting for the class, Genevieve was one of the first students to arrive.

She told me she was having issues completing her HBL assignment.

She was having difficulty writing her lyrics and was not able to submit it on time. I thought she needed a little guidance. When I told her that I would help her, she felt better.

When more students arrived, many of them shared the same sentiment as Genevieve. My students told me it was a challenging assignment. One of them commented, “Cher, the music assignment felt like an English essay!”

Upon hearing my students’ feedback, I was puzzled. Because it was a music lesson after all! I told myself I needed to assure the group of students that it was a fun activity.

As the students settled down in the music room, I turned on BandLab. I typed in a set of lyrics I created on the spot that went like this: Welcome to the class, Where we make our memories last.

I’m sure the things we learn, Will turn into talent.

The students were impressed because they thought they were supposed to write long sentences. The demonstration assured them that it was not so difficult after all.

The next part was the turning point.

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I started to rap along with the “Drum Machine” in BandLab. When I started to rap, there were some students who started laughing. Some were clapping, some were very excited.

“Teacher, you are very pro!”

So, through this experience, the students realised that it was not a difficult task to do. At the same time, I managed to show them how to rap along with their lyrics.

Then, I saw that students were writing their own set of lyrics very quickly, and they were rapping along with the “Drum Machine” in BandLab. I was pleased.

Discussion In summary, the themes that have been found to enable joy of learning are as follows: Theme One: Curriculum The lesson activities have promoted independent learning and extension of learning.

Theme Two: Peers The responses by students exhibited the joy of learning, mainly through the example of interacting with their peers.

Theme Three: Pedagogy The flipped classroom experience had allowed the teacher the opportunity to understand students’ needs and interests after every HBL session.

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▶

▶

▶

Among the three emergent themes, Curriculum was the most easily observed from the student responses.

A possible reason for this was that students were able to relate to the content.

Pedagogy matters: the flipped classroom had the students process thoughts and content prior to the face-to-face lesson. Students came prepared with questions. For example, we have seen above that students understood their struggles with lyric writing, and they were therefore ready to learn in that lesson.

The theme on Peers supports the need for music participation as a social activity (Levy & Byrd, 2011; MacDonald, Bryne, & Carlton, 2006).

IMPLICATIONS ▶ There could be exploration of other blended learning models in the music curriculum. The Flex, Station Rotation, Lab Rotation, Individual Rotation, Flipped Classroom, Individual, A La Carte and Enriched Virtual (Christensen, Horn, & Staker, 2013) are some possible models. ▶ The findings reflected that students learn best when they are engaged in the music making process. Hence, musical activities should be at the core of the Lower Secondary Music curriculum. ▶ Provide opportunities for discussions as part of the learning process especially since peer interactions contribute to the joy of learning.

LIMITATIONS ▶ Not possible to detail the lived experiences of students outside the classroom ▶ Limited time frame of conducting the study ▶ Data collected was only from one school and one class FUTURE RESEARCH ▶ I would like to involve more participants and collaborate with other researchers (i.e. involving more classes and streams). ▶ I could compare various music programmes with teachers from other schools. ▶ I could study the role of “teacher” and “friendship groups” in different situations and contexts to determine if a similar conclusion can be found.

Conclusion Through this study, I hope I have created a greater awareness of the use of blended learning in the music curriculum.

Indeed, the development of the joy of learning through blended learning in music is possible.

While technology has provided many benefits, it is important to weigh the cost and benefits of such implementation, taking into consideration other aspects of the musical activity.

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References Boelens, R., De Wever, B., & Voet, M. (2017). Four key challenges to the design of blended learning: A systematic literature review. Educational Research Review, 22, 1-18.

Bergmann, J., & Sams, A. (2012). Flip your classroom: Reach every student in every class every day.

International Society for Technology in Education.

Carlsen, A., Holmberg, C., Neghina, C., & Owusu-Boampong, A. (2016). Closing the gap: Opportunities for distance education to benefit adult learners in higher education. UNESCO Institute for Lifelong Learning.

Christensen, C. M., Horn, M. B., & Staker, H. (2013). Is K-12 blended learning disruptive?: An introduction to the theory of hybrids. Clayton Christensen Institute for Disruptive Innovation.

Levy, D. L., & Byrd, D. C. (2011). Why can’t we be friends? Using music to teach social justice. Journal of the Scholarship of Teaching and Learning, 11(2), 64-75.

MacDonald, R., Byrne, C., & Carlton, L. (2006). Creativity and flow in musical composition: An empirical investigation. Psychology of Music, 34(3), 292-306.

Santos, A. I., & Serpa, S. (2020). Flipped classroom for an active learning. Journal of Education and E-Learning Research, 7(2), 167-173.

Section 2

Differentiation and Inclusion Differentiation begins with a respect for diversity and variability of student voice, and a belief in supporting differing learning needs, interests and levels of readiness, so that students are suitably supported and challenged. This section features four inquiry journeys from teachers who focused on different aspects of differentiation in their practice to achieve inclusion in their music lessons.

Lee Jia Ling’s research illustrates how a digital music curriculum focusing on arrangement and improvisation, when scaffolded with Gradual Release of Responsibility (GRR), can enable students, regardless of their musical entry levels and experiences, to participate on equal terms.

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Gerald Teh’s research reminds us that differentiated tasks do not necessarily increase student motivation to complete them, and a differentiated approach needs to consider the nuances of students’ learning contexts and practices.

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Elliot Ong and Jasmine Low’s narrative research walked us through their experience in designing and implementing a keyboard curriculum using Differentiated Instruction (DI) with the support

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of a DAW.

Chew Lixian’s research gives prominence to student empowerment in the DI approach by examining student engagement (behavioural, cognitive and emotional) that spurs self-directed learning with the support of technological tools.

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DIFFERENTIATION AND INCLUSION

SOUNDING THE TEACHING V

Investigating the Impact of ICT Tools on the Teaching and Learning of Music Arrangement and Improvisation Lee Jia Ling

INTRODUCTION

Ahmad Ibrahim Secondary School

In my music lesson module on music arrangement and improvisation, students use the Novation Launchkey Mini controller together with the Ableton Live software for arrangement of tracks and live improvisation. Ableton Live is a leading Digital Audio Workstation (DAW) interface that is widely used by DJs as it allows for live improvisation.

When I started this module in 2017, I found it particularly interesting that: ◊

Not all arrangements/ performances by our music students in the Enhanced Music Programme (EMP) and Music Preparatory Course (MPC) were good. Occasionally, there were clashes in pitches and tempo during performances or combinations of loops that were not musically sound.

◊

On the other hand, there were good arrangements and performances put up by students with no involvement in music CCAs or music programmes in school, or any form of knowledge in music theory acquired outside of school.

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Therefore, I decided to investigate the impact of ICT tools on the teaching and learning of music arrangement and improvisation. How does the use of ICT tools lower the barrier for participation as well as level the playing field for most students who have no *prior musical knowledge? *Prior musical knowledge refers to any form of instrumental ability, involvement in music CCAs or music programmes in the school, and/or any form of knowledge in music theory.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

INQUIRY QUESTION What is the impact of ICT tools on the teaching and learning of music arrangement and improvisation?

METHODOLOGY Data collection through: ◊

Questionnaire

◊

Performances

◊

Reflection Notes

CURRICULUM Well-scaffolded learning materials are crucial in the teaching and learning process of ICT platforms. Students can quickly get overwhelmed and lose interest easily. I incorporated the following model at multiple points in my teaching, always ensuring that clear demonstration for any task is done first, followed by guided instruction and collaboration by mirroring my actions or watching their peer(s) try their hand at the task under my close guidance, and eventually the students

Fig 1: Gradual Release of Responsibility Instructional Framework (Fisher & Frey, 2013)

DIFFERENTIATION AND INCLUSION

take charge and apply the learning to their own projects (Fig 1).

Specific teaching materials/ strategies/actions To introduce the Ableton Live software, I worked through a checklist step by step with the students. However, I found that it was very hard for me to monitor the students’ individual progress via this checklist. To improve my monitoring, I got students to label and annotate on the project interface together and elaborated on each of the functions on this hardcopy (Fig 2). This was effective as by looking at each student’s copy, I was able to tell if they understood each function and labelled and/or elaborated the functions accurately.

I also taught form (e.g. binary, ternary, rondo) to the students so that they could sectionalise their performance and decide how they would like the flow of their music to be. I provided exemplars by playing past students’ performances on the screen and wrote out the flow of the structure with them on the board (Fig 3).

With this, they were able to experience

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DIFFERENTIATION AND INCLUSION

SOUNDING THE TEACHING V

Fig 2: Annotations on Project Interface

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Fig 3: Drawing out the “flow” of a student’s music

how they could design the structure for their own projects.

In order to ensure that all students were able to understand and use the interface, I provided specific teaching instructions and strategies or actions to guide all students during the lessons. I provided standard instructions for Ableton (e.g. opening up the Ableton project from

a thumb drive, how to authorise the software, how to install expansion sound packs, where to look for sounds in the Library). I found that students required reminders over the weeks on where to find their sounds, and that the software interface might not be easy for them to navigate. To resolve this, I took screenshots and gave instructions for them to follow each lesson with ease (Fig 4).

TECHNOLOGY AND INCLUSION IN PEDAGOGY

DIFFERENTIATION AND INCLUSION

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Fig 4: Instructions to provide guidance

DIFFERENTIATION AND INCLUSION

I also set up instructions on how to use the MIDI controller on the screen at the front of the classroom because students are prone to forget as well (Fig 5).

SOUNDING THE TEACHING V

to continue their improvisation like a true performer.

FINDINGS Questionnaire

Fig 5: Instructions on the screen

APPROACH TAKEN FOR FACILITATING IMPROVISATION Past student videos 62

Sharing past students’ videos allowed them to have a realistic expectation of what they need to accomplish.

Students were required to put up a performance lasting a minimum of 1 minute on the MIDI controller with the loops that they have prepared.

Students were free to improvise in any way they wanted, as long as they were able to show fluency with the MIDI controller and software interface. The challenge in this task was to improvise live and carry on with the performance regardless of mistakes.

Live demonstrations Students appreciated the teacher’s demonstrations, which helped ease student anxiety about performing.

Students also learnt that it was fine to make mistakes as long as they were able

The questionnaire was administered prior to the commencement of the module, after the initial introduction and screening of past students’ works and my live demonstration. In general, students were concerned about their ability to create a good arrangement and pull off the live improvisation well.

Question: What are some of your concerns regarding this performance when you first heard about the task during the first lesson?

The students’ responses reflected some feelings of panic and anxiety…

I was concerned that I would mess up mid-performance, I would not be able to make a good performance.

Not being able to complete/ understand stuff.

Can I make a good sound?

If I am able to play it smoothly.

Mess up and make careless mistakes.

I wasn’t sure if I would be able to compose a nice-sounding song at the end.

I’m afraid that my mind will just go blank.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

... as well as insecurity about using the software and MIDI controller: That the performance will not turn out great.

DIFFERENTIATION AND INCLUSION

Opportunity for Differentiation ◊

For higher-ability students already familiar with DAWs, sampling and arranging, it was useful to allow them to use the loops they created, and/or record their samples for use in the project.

For example, an MPC student produced his loops in FL Studio (a DAW he was familiar with) and imported them into Ableton for use in the live improvisation performance.

◊

Interestingly, non-MPC students also requested to import their preferred loops into the projects for use during their final performance. This can be done, but without the Live aspect. The project has to be set at the tempo which the imported audio is at. They also requested to learn about MIDI input, which is not compulsory for the performance.

This reflects students’ initiative in stretching their own learning in this module.

I was worried that I wouldn’t be able to make a good enough performance in terms of the sound and stage presence.

I thought that I would not be able to do a good performance.

Will I be able to do it properly?

I was concerned that I would not be able to make a good sound/melody.

I’m scared I’ll miss a beat.

It sounds kind of complex and confusing, so I hope that I will be able to do well for the live performance, as well as be able to do a track of everyone’s expectation.

I may not be able to finish in time.

How to use the application?

Observations My observations throughout this study were expected and yet surprising in some areas. Some students can lack interest in generic music modules, but yet the technology used in this module piqued their interest. Many students were excited to use the software and Launchkey, while a number of them even exceeded expectations and performed beyond the basic requirements for the assessment.

Performance and Reflection Notes After the conclusion of the project, students were asked to write their reflections. The figure below shows the guiding questions for the reflection notes. Not every student responded to all of the questions in the reflection prompts; they were not required to do so.

Overall, students mainly felt they were disadvantaged due to: ◊

Lack of understanding of musical terminology

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DIFFERENTIATION AND INCLUSION

01

◊

Lack of understanding of elements of music

With prior musical knowledge*, neutral (10%)

◊

Lack of aural skills in identifying if loops chosen were appropriate

… I was neither advantaged nor disadvantaged. Even though I have some musical knowledge, it did not give me the upper hand as Ms Lee went through things like tempo and melodies and pairing them with the beats as well.

In my analysis of the responses, I found 5 distinct categories of students, derived from the Reflection responses of 30 students. *Note: Prior musical knowledge refers to any form of instrumental ability, involvement in music CCA or music programme in the school, and/or any form of knowledge in music theory.

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SOUNDING THE TEACHING V

I feel like I was not advantaged or disadvantaged by my existing musical knowledge as the Ableton software is so much different from what I am used to…

Before this project started, I didn’t know what to expect but felt like I was slightly advantaged as I have some musical knowledge. But it was only in the process where I realised that it wasn’t as easy as I thought it would be, there were so many different sounds to pick from, which made me feel overwhelmed…

02

With prior musical knowledge*, yet disadvantaged (10%) I felt that I am at a disadvantage as even though I had musical knowledge, I am always playing the piano, and so I only had piano knowledge and not much knowledge about creating music in software.

I was not really advantaged nor disadvantaged by my musical knowledge. My creativity was mostly bound because I had to use the live loops and I can’t improvise live.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

03

With prior musical knowledge*, advantage (16%) Some musical decisions I made were to make use of multiple layers to add texture. Texture is vital in ensuring your music stands out from others. Texture makes music more interesting and enjoyable to listen to. The layers I used include beats, melody, harmony and FX. I felt advantaged with my prior musical knowledge as I am already familiar with terms such as tempo and texture. Not only that, but I also have a little experience in digital music so I was able to easily get the hang of the buttons although I struggled at first. This allowed me to easily complete my song.

04

Without prior musical knowledge*, not disadvantaged (23%) … I did not feel disadvantaged because of my lack of music knowledge. Ms Lee helped us to learn everything that was needed so I did not feel disadvantaged.

I did not feel that I was disadvantaged because of my lack of musical knowledge as the notes that were given were quite detailed and suitable for people who did not know anything about music to understand. To be honest, I do not think that this project needs any musical knowledge for it to be done.

I did not feel that I was at a disadvantage as many other classmates also did not have music backgrounds.

DIFFERENTIATION AND INCLUSION

I feel that I was not advantaged or disadvantaged because of my lack of musical knowledge. I think that all of the students did not know how to use the software; we all had the opportunity to learn about it. Even students who are more musically inclined had certain problems they could not solve, so I feel that I was not disadvantaged. … I feel that with or without music knowledge, it does not affect the project. My partner A is full of music knowledge but she struggles a lot.

On the other hand, B and C have no prior music knowledge and they are really very good at selecting nice music and their sample was perfect and simple.

05

Without prior musical knowledge*, disadvantaged (36%) I feel that I am disadvantaged because of my lack of musical knowledge. As I do not know most musical terms, it made it difficult to search for melodies and beats that sound nice together as I had to consider the beat per minute (BPM), rhythm and others. The topic about musical terms like timbre, tempo and others helped a lot as it allowed me to understand the beats and melodies I chose.

I feel that I was disadvantaged because of my lack of musical knowledge.

I am not familiar with all these musical terms, I was always lost and had many difficulties when choosing all the beats, melodies and preparing for the performances. I think that content like teaching musical terms such as tempo and others helped me to understand more clearly, for example ‘how does tempo affect what the beat sounds like?’.

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DIFFERENTIATION AND INCLUSION

DISCUSSION

CONCLUSION

Interestingly, students’ opinion of being disadvantaged could be their assumption due to the absence of students with prior musical knowledge around them.

ICT tools can have a positive impact on the teaching and learning of music arrangement and improvisation if the module is well scaffolded and sufficient support is provided for the students.

Students mainly felt they were not at a disadvantage if they also saw students with prior musical knowledge around them struggle with the project as much as they did.

Based on the feedback from students’ reflection notes, many found the barrier for participation lowered in learning arranging and improvisatory techniques.

Furthermore, some students with prior musical knowledge even felt disadvantaged as they witnessed many other classmates progress better than them.

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SOUNDING THE TEACHING V

I found that while ICT tools in my music curriculum helped include students of different musical knowledge and experience in my music classroom, it was also as important to scaffold teaching and learning materials to help students overcome their challenges.

The teacher guiding us to find sounds was certainly helpful and it allowed us to explore more sounds. She also taught us how to use the machine to work on… further into the performance, she guided us, even more, to ensure smooth progress throughout the preparation. … the thing that helped me most was the demonstrations from Ms Lee because I learnt through observing and she also gave me more inspiration to do my project.

This module was challenging for many, but all of them overcame the challenges due to technological affordances and ICT tools like Digital Audio Workstations (DAWs) that did not require them to possess prior musical knowledge if the scaffolding was done right. Students even shared that they did not find having a music background imperative for this project, since the relevant content was covered in class. This reinforces the notion that with the right scaffolding and ICT tools, inclusion in music education through arranging and improvisation can be achieved.

The use of ICT tools also allowed opportunities for differentiation within the class for higher-ability students who were able to create their own loops or record their own samples for use in the project.

In future studies, I am also interested to explore how technology can impact the teaching and learning of other musical skill sets like composition and performance.

References Fisher, D., & Frey, N. (2013). Gradual Release of Responsibility Instructional Framework. IRA E-ssentials, pp. 1-8.

THE IMPACT OF DIFFERENTIATED TASKS ON STUDENT MOTIVATION Gerald Teh Seng Kang Secondary School

Introduction PROBLEM During the Full Home-Based Learning (FHBL) period, I was concerned about the student submission rate of homework and other tasks. I became more concerned when we received the news during the Circuit Breaker that HBL might continue

Literature Review WHAT IS DI? ▶ DI is providing students with a choice of alternative learning approaches through differentiation of the content, process and/or product in a lesson.

Students choose how they learn most effectively and comfortably (Tomlinson, 1995).

for a longer time. Thus, I looked towards Differentiated Instruction (DI) through differentiated tasks (DT) as a way to increase student motivation to complete and submit assignment tasks in the blended learning period.

WHY DI? ▶ Adopting DI should improve the growth, motivation and efficiency of learning for students with the increasing diversity of student learning profiles (Tomlinson, 1995), which are believed to be important factors affecting the work completion and submission rate of students.

Methodology The study was conducted with one Express and one Normal (Academic) Class. ▶ Since students demonstrated a strong inertia in completing their work if they thought that the task was too tedious or challenging, the completion and submission of a “task” was selected to be the differentiated element. ▶ Presenting students with more manageable tasks was hypothesised to result in an improvement in completion rate. The impact of

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The Task ▶

▶

Over the 7- to 8-week period, students were to learn about soundscapes and sample-based compositions, and complete activities which develop the necessary skills for the creation of an original soundscape/sample-based composition on the theme of “Home”. ▷ Sketch visual representations or graphic notation of selected sounds. ▷ Use basic audio manipulation functions in a Digital Audio Workstation (DAW). ▷ Work with sound-sampling techniques.

The activities acted as checkpoints for students to demonstrate their understanding and for a teacher to provide feedback.

▶

differentiated tasks on student learning and work submission would be observed, and its effectiveness gauged through the data collection steps.

The overall workflow is illustrated in Figure 1.

Figure 1: Overall workflow

▶

Students were to work on the activity during the remaining lesson time and continue till completion as homework for the week.

TASK LEVELS ▶ Tasks were designed to cater for different levels of readiness. Students could choose from 3 levels (Table 1). ▷ Level 1 – These were simplified tasks that required students to exercise understandings of the basic musical concepts or skills that were covered in the lesson. ▷ Level 2 – This level aims to push students outside of their comfort zones, requiring them to apply some prior knowledge from past music lessons and experiences. ▷ Level 3 - This level invites more experimentation. Students who chose these tasks also received recognition and encouragement from the teacher and peers.

DATA COLLECTION

01

02

03

04

TEACHER JOURNALING

SURVEY

STUDENT JOURNALING/ INTERVIEW

HOMEWORK SUBMISSION RATE

The teacher will record down observations regarding DI and its perceived effectiveness.

Students are made to answer a series of questions for the teacher to get a better understanding of what they think and feel.

Students will provide personal opinions and comments on the lesson and any activities.

The teacher analyses the work submission rate to determine any changes/improvements.

Two sections: Quantitative – 8 questions on 4-point scale; Qualitataive – 3 open-ended questions Figure 2

TABLE 1

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TASKS FOR COMPLETION

LEVEL 1

LEVEL 2

LEVEL 3

SOUND SAMPLING

Select 1 symbol and record 1 sound that you think the symbol represents.

Select 2 symbols and record 2 sounds that you think the symbols represent.

Select 3 symbols and record 3 sounds that you think the symbols represent.

GRAPHIC NOTATION/ REPRESENTATION OF SOUNDS

Identify 2 sounds heard in the clip.

Draw and label them.

Identify 3 sounds heard in the clip.

Draw and label them.

Identify 3 sounds heard in the clip and draw them in the sequence and manner in which they appear.

DAW (FAMILIARISATION & SAMPLE MANIPULATION)

Use a provided sound sample to create an accompaniment beat.

Create a simple 2-sound alternating rhythm using 2 of the provided samples.

Create a rhythmic groove using the samples provided.

CREATE A SOUND-SAMPLE/ SOUNDSCAPE COMPOSITION

Create a 15-second composition with 2 sampled sounds.

Explain your musical decisions.

Create a 20-second composition with 3 sampled sounds.

Demonstrate some sound manipulation.

Explain your musical decisions.

Create a 20-second composition with 4 sampled sounds.

Demonstrate DAW sound manipulation.

Explain your musical decisions.

Findings TEACHER JOURNALING Observing and attempting to determine the effectiveness of differentiated tasks and its impact on improving student motivation during and after a lesson was uncertain.

SURVEY FINDINGS ▶ Through the survey conducted in week 4, it was observed that a slight majority of students liked the idea of having differentiated tasks.

▶

▶

Table 2 shows the responses of students being asked how they felt about the differentiated tasks.

▶

Number of respondents is 293.

▶

It was observed that a larger number of students felt they benefited from the differentiated tasks as compared to those who felt they did not. From the results shown in Table 2, this sense of benefit is inferred from the majority vote indicating that students felt work was manageable enough (40.2%), as well as their feeling that work was being pitched at a level that they were more confident of completing (63.5%).

▶

It was interesting to note, however, that a significant number of students were not convinced of the advantages or disadvantages of having a choice in their tasks.

▶

As shown in Table 3, when asked how the tasks impacted their motivation to remember to do work, and if it brought about an improved perception of music and music lessons, just 24.2% of students felt positively impacted while a majority felt that it did not help or felt no change.

WEEK 1 ▷ Some students were confused and sceptical at being given a choice of 3 tasks. ▷ Students did not show any clear preference or aversion to the choice of tasks. ▷ Some students exhibited excitement at the idea of being challenged with the level 3 tasks.

▶

WEEK 3 ▷ Only 70% of students were timely in their submission of work from weeks 1 and 2. ▷ The submission rate was lower than the 80% during the FHBL period.

▶

WEEK 4 ▷ Administered Survey

▶

WEEK 5 ▷ Students were given more lesson time to complete their work. ▷ The learning gap between students who completed work and those who did not began to widen.

Students began to lag behind and become disengaged.

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▶

WEEK 6-7 ▷ The deadline for the final project submission had to be extended to cater for students who were behind in their work submissions.

TABLE 2 – RESPONSES FROM SURVEY QUESTIONS PART 1 The Differentiated Tasks...

DISAGREED

NEUTRAL

AGREED

Are different from normal homework

11.6% (34)

38.9% (114)

49.5% 145

Make work manageable enough for me to complete

21.2% (62)

38.6% (113)

40.2% (118)

Let me choose a level that I am more confident I can complete

8.5% (25)

28% (82)

63.5% (186)

Encourage me to complete my work

23.5% (69)

42.7% (125)

33.8% (99)

Are still too difficult to complete

36.9% (108)

44% (129)

19.1% (56)

Should revert to “Normal” single tasks

38.6% (113)

37.9% (111)

23.5% (69)

TABLE 3 – RESPONSES FROM SURVEY QUESTIONS PART 2 DISAGREE

NO CHANGE

AGREE

DT make me more willing to remember to complete my work

23.2% (68)

56.7% (166)

20.1% (59)

DT make music lessons seem more manageable

26.6% (78)

49.2% (144)

24.2% (71)

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▶

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Figure 3

Using thematic coding on the qualitative responses provided by students (Gibbs, 2007), I gathered that there were 4 main sentiments that students had towards the lessons (Figure 3): ▷ 56% had no comments or were satisfied with the current music lessons. ▷ 20% felt tasks required adjustment: ⬦ 6% indicated that there was not enough instruction. ⬦ 14% mentioned that instructions were too detailed and draggy. ▷ 18% were upset that they could not play instruments and interact live with classmates to create music. ▷ 6% wanted only specific lessons or to be required to perform fewer tasks or none at all.

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STUDENT JOURNAL From student journaling by 2 students, 4 main points were echoed: ▶ Having differentiated tasks was a good idea but students may require more extrinsic motivation to encourage them to attempt the higher levels. ▶ The task descriptions, instructions and expectations were made sufficiently clear. ▶ More teacher demonstrations and sample works were welcome mainly for their informative and entertainment value. ▶ Instant feedback provided in SLS lessons during HBL was helpful. ▶ The process and outcome of the 8 weeks of lessons were enjoyable.

STUDENT INTERVIEW Through the 4 student interviews, the response was largely against having differentiated tasks. ▶ Two students disliked having a choice due to the pressure of taking charge of their learning.

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▶

▶

One student felt that he did not want to be held responsible for his choice and preferred others to simply tell him what to do.

The one who preferred the differentiated tasks liked it for the challenge.

Did you prefer having a choice of task level?

Why?

STUDENT A

No

I feel bad choosing the level 1 task. I feel pressured to choose the level 3 task because I know I can do it. It makes me feel stressed so I’d prefer to not have a choice.

STUDENT B

No

I am too lazy to choose. I’d rather you choose for me.

STUDENT C

Yes

I like the challenge.

STUDENT D

No

I don’t like to get low marks. Level 1 makes me feel like I am lousy.

HOMEWORK SUBMISSION RATE Overall, a drop of submission rate was observed.

Secondary 1 E Class: ▶ Pre-DI (Term 2): 100% (2 Assignments) ▶ With DI (Term 3): 60% (4 Assignments) Secondary 1 N(A) Class: ▶ Pre-DI (Term 2): 80% (2 Assignments) ▶ With DI (Term 3): 64% (4 Assignments)

Possible factors contributing to poorer submission rate: ▶ Students may not have been used to submitting assignments or tasks for music every week. The sudden increase may have resulted in students being overwhelmed. ▶ Students may have faced difficulties, limitations and constraints during HBL and were struggling to adapt. ▶ The collective HBL workload across all subjects may have overwhelmed students.

Conclusion ▶

Students’ perceived interest in lessons and their motivation to learn during this COVID-19/blended learning period are affected by various factors.

▶

A slight majority of students preferred having a choice and appreciated having tasks of different difficulties.

However, there was no obvious impact on student motivation, based on the task submission rate, overall student feedback and teacher observations obtained during the period of study.

▶

It was unexpected that some students felt pressured when given a choice.

This informs us that while we expect that it is beneficial to give students the autonomy to choose their learning styles in the practice of DI, it is necessary to establish it in the right context. Students with little experience with or confidence in making decisions may find making a choice intimidating or overwhelming. Further, the differentiation of tasks by levels likely exacerbated their fear of being judged for their decision. Such students need to grow more accustomed to the idea of taking charge of their own learning.

They should also be taught how to adopt a growth mindset (Dweck, 2008) so that they are less influenced by how they think they are perceived by peers in their choices.

▶

While it is easy to focus on the level of difficulty in the differentiation of tasks, DI could span across an entire module with different representations of content, differentiating the process and product so that the module is more effective.

MOVING FORWARD ▶ Moving forward, I believe that there is value in having differentiated tasks seeing how it has positively affected a number of students. However, more thought has to be put into using the DI approach. ▶

▶

I believe that the findings reflect concerns that students have due to the uncertainty brought about by both HBL and the attempts at including DI. It might have helped if more time was spent explaining the intentions and benefits behind DI to students such that they can be more convinced about the tasks, and reassured that they would not be judged for their choice.

I intend to continue adapting lessons to include differentiation and expect to see it improve student motivation to learn as students become more familiar and comfortable with the concept of taking charge of their learning.

References Dweck, C. (2008). Mindset. Ballantine.

Gibbs, G. R. (2007). Thematic coding and categorizing. In Analyzing qualitative data (pp. 38-55). SAGE Publications, Ltd. Tomlinson, C. A. (1995). How to differentiate instruction in academically diverse classrooms. Association for Supervision and Curriculum Development.

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DIFFERENTIATION AND INCLUSION

SOUNDING THE TEACHING V

A Study of the Effectiveness of the Music Curriculum Through Differentiated Instruction Which Harnesses Different Tools and Approaches Elliot Ong

INTRODUCTION

Temasek Secondary School Jasmine Low

This article provides an account of our collaborative journey in our inquiry into designing and implementing Differentiated Instruction (DI) in our music classrooms.

Hougang Secondary School

What does DI mean to us? ◊

Teacher’s proactive response to a learner’s needs with the aim of providing all students with optimal learning possibilities (Tomlinson & Moon, 2013)

◊

Student-centred

◊

The flexibility of content, process and product

◊

Joy of Learning

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↪

Self-regulated learners

↪

Lifelong learners

This is what Tomlinson will consider as an organic and dynamic classroom (Tomlinson, 2017).

For this module, the 3 elements of differentiation that we modified/ differentiated were the content, process and product. ◊

In differentiating content, we delivered concepts and skills in various formats such as pictures, video tutorials, explanatory notes and teachers’ demonstrations in class.

We felt that it would help students to explore different ways to learn and understand their individual learning styles.

◊

Next, we differentiated the process in which students make sense of the concepts and/or skills. We gave them progressive assessments on BandLab once every fortnight, with flexible submission time.

It helped both students and teachers assess what they did and did not understand (like a formative assessment) and to monitor their progress. Time was also given to students to digest the information that they were provided with.

◊

Lastly, we differentiated the products by providing students with choices of songs, tempo and accompaniment patterns. The tempo

How does DI look like in our classrooms?

In our classrooms, lessons employ a mixture of teacher-led activities and DI based on students’ learning needs and progress. It is an ongoing collaborative process between students and teachers in understanding how they learn effectively.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

and accompaniment patterns ranged in complexity levels based on each student’s perception of his/her readiness level.

CURRENT SITUATION From our observations and understanding of our schools, we noted the difference in students’ learning profiles and prior knowledge of music. Coming from different primary schools, given different exposures and experiences, we saw a need to create a safe and conducive learning environment that will support students’ different learning needs and interest levels.

Common Curriculum ◊ Possibility of wider range of profiles and prior knowledge ◊ Seeking to create an appropriate and engaging curriculum

DIFFERENTIATION AND INCLUSION

Secondary [TMS] would be going into common curriculum through the Full Subject-Based Banding initiative in 2021.

Hence, this research was highly relevant to the needs of both our schools.

OUR CURRICULUM Our curriculum spanned from Term 3 Week 1 to Term 3 Week 10 and consisted of a mixture of Home-Based Learning (HBL) and classroom instruction. Through these 10 weeks, the students were exposed to different technological tools such as BandLab and Student Learning Space (SLS).

Our study involved 6 Secondary 1 classes from each school with 1 hour of lesson per week. During the process, data was collected and analysed to support the research.

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Methodology Data Collection: ◊ Pre-assessment ◊ Post-survey ◊ Video documentation ◊ Interviews with selected students Data Analysis: ◊ Quantitative: Results from assessment & survey ◊ Qualitative: Thematic analysis and semi-structured interviews ◊ Observations and weekly reflections from teachers

Contexts ◊ Mixed-stream Secondary 1 classes at Hougang Secondary [HSS] ◊ Common Curriculum in 2021 at Temasek Secondary [TMS]

We decided upon using DI by utilising different tools and approaches to engage our students. This was intended to give students opportunities to learn independently and become selfdirected learners. With the eventual implementation of the common curriculum, we saw the possibility of a wider range of profiles and prior knowledge within a music classroom and we sought to create a more appropriate and engaging curriculum.

Hougang Secondary School [HSS] had already embarked on mixed-stream Secondary 1 classes while Temasek

Our curriculum objectives: 1.

Identify the notes on the keyboard.

2.

Play various chord progressions commonly used in pop songs.

DIFFERENTIATION AND INCLUSION

SOUNDING THE TEACHING V

3.

Accompany a melody track with chordal comping patterns.

4.

Record and perform a 4-chord accompaniment to a song and pattern of their choice on BandLab.

Here is an overview of our curriculum.

We intended for a good balance between digital self-directed learning and classroom instruction. Highlighted in green are the assessments which served as checkpoints for students’ learning and understanding. It was also a platform for teachers to monitor their progress and provide constructive feedback.

The BandLab assessments were created in such a way that it progressively led to the recording and performing of a 4-chord pop song. ◊

Assessment 1: Students to record a 4-chord accompaniment, given 1 basic pattern, with their choice of tempo.

◊

Assessment 2: Students to choose their accompaniment pattern and tempo with the same 4-chord progression.

◊

Assessment 3: Students to choose 1 out of 4 songs, playing their chosen accompaniment pattern and tempo.

CURRICULUM PLAN

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WEEK 1 (Classroom Instruction)

1.

2.

3.

4.

Introduction to Keyboard Module Introduction to BandLab How to use the Keyboard Printout Keyboard exploration

WEEK 2 (HBL)

1.

2.

3.

4.

SLS – Pre-module Assessment Teaching the basics of keyboard Finding the C and G chords Sign up and log in to BandLab

WEEK 3 (Classroom Instruction)

1.

2.

3.

4.

5.

Exploration of Piano Keyboard Finding major and minor chords Adding Am and F on the keyboard Practise changing chords on the piano keyboard Recap on how to access and submit assignment

WEEK 4 (HBL)

1.

2.

3.

4.

Recap the notes of the chords C, G, Am and F Log in to BandLab to access melodic track Setting appropriate tempo and finding notes on the typing keyboard Assessment 1: Recording of a 4-chord (C-G-Am-F) backing track

WEEK 5 (Classroom Instruction)

1.

2.

3.

4.

Brief review and feedback of Assessment 1 How different chord progressions are used in music Accompaniment Patterns Briefing on Assessment 2

WEEK 6 (Classroom Instruction)

1.

2.

Recap the notes of the chords C, G, Am and F Choose and practise different accompaniment patterns with melody backing track on the keyboard Assessment 2: Recording of a 4-chord (C-G-Am-F) backing track – Choosing an accompaniment pattern of suitable level and tempo: 60/80/100

3.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

DIFFERENTIATION AND INCLUSION

WEEK 7 (Classroom Instruction)

1.

2.

3.

Brief review and feedback of Assessment 2 Choice of songs and chord pattern suitable for their arrangement Practise chosen accompaniment patterns with melody backing track on the keyboard

WEEK 8 (Classroom Instruction)

1.

2.

Recap the notes of the chords C, G, Am and F Choose and practise different accompaniment patterns with melody backing track Assessment 3: Recording of a 4-chord song based on their choice of song

WEEK 9 (Classroom Instruction)

1.

2.

3.

Brief review and feedback of Assessment 3 Practise chosen accompaniment patterns with melody backing track on the keyboard Monitor students’ progress

WEEK 10 (Classroom Instruction)

1.

2.

3.

Brief review of module Showcase of students’ works Conduct post-module survey

3.

◊

Yellow (0-3 marks): Little or no knowledge of the keyboard

◊

Green (4-7 marks): Some knowledge of notes on the keyboard and may not know many chords

◊

How Can We Begin to Differentiate Content?

Pink (8-10 marks): Proficient in their knowledge of the keyboard and chords

Pre-module Assessment

According to Gregory and Chapman (2013), a pre-assessment determines what the students know and how we can provide better learning opportunities based on the results. We then matched these findings with appropriate activities by differentiating our content for our students.

Before we started on the keyboard module, we did a pre-module assessment on SLS with our students. It consisted of identification of notes and chords and questions on chord tones, with images shown. This assessment helped us to understand if our students had prior knowledge or experience with learning the keyboard. We categorised the range of results into 3 categories:

We found out that in HSS, the majority of the students had little or no prior knowledge and experience on the keyboard while TMS had a higher percentage of students who had at least some knowledge of chords and experience on the keyboard. This survey served as a reference point for assessing our students’ progress and the impact of our curriculum.

We can differentiate by pre-assessing student skills and understandings, then matching learners with appropriate activities (Gold-Wein, n.d.).

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DIFFERENTIATION AND INCLUSION

SOUNDING THE TEACHING V

HSS Pre-module Assessment

TMS Pre-module Assessment

10.28% 28.07%

19.60%

29.38%

70.09% 42.54%

Some Knowledge

Proficient

Little or No

*Figures are rounded to two decimal places. Hence, they do not add up exactly to 100%.

HSS Learning Preference 150

100

50

Al

on e F D em T on ea st ch ra e r ti ’s on G Re se ar H ch Ex p th lo e ra Ke ti yb on o a of rd

es ot

ng W or E

-

C

-

B

G

ki

ro

D

-

up

ct Pi -

A

N

ur

W or

es

o de Vi -

k

0

TMS Learning Preference 150

100

50

Al ng ki

W or -

D Fem T on ea st ch ra e r t i 's on G Re se ar H ch Ex p th lo e ra Ke ti yb on o a of rd

e on

es ot N E

ro G C

-

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D

ur

W or

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TECHNOLOGY AND INCLUSION IN PEDAGOGY

Pre-module Learning Preferences In the same survey, we also got students to indicate their preferences of modes of learning so that we could better understand and respond to their needs. They were given the freedom to choose multiple options.

From the results, we could see that both schools had similar trends in their learning preferences. The top few preferences were teacher’s demonstrations, exploration of the keyboard, videos and group work.

From this indication, we worked towards students’ preferences to support and motivate them to do better.

DIFFERENTIATION AND INCLUSION

TEACHING RESOURCES TO SUPPORT DIFFERENTIATED LEARNING PACE To cater to various learning needs and preferences, we created a variety of resources, ranging from pictures to videos, notes to audio clips and exploration time to live demonstrations. As much as possible, we tried to cater to the more popular learning preferences to give a positive learning experience during HBL and classroom instruction.

All of these resources were parked into the SLS platform for the ease of access and reference should students require them during revision and practice.

Students from both schools were encouraged to refer to the resources during classroom time and at their own pace, according to their learning needs.

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DIFFERENTIATION AND INCLUSION

FINDINGS Assessment Results – BandLab

SOUNDING THE TEACHING V

they were unable to follow the pulse or were unmotivated to complete the assessment(s).

Note: Improvement scores only reflect students’ progress on BandLab assessments, not the progress of playing skills on the physical keyboard.

Post-module Survey (Students’ Perception)

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As mentioned earlier, the students were given 3 BandLab assessments as reference checkpoints for their learning. From the overall submissions Assessment 1 (A1) to Assessment 3 (A3), we recorded the results of the students and noticed an upward trend in the percentage of students scoring A and B (as seen in the slide above).

We attributed this improvement to more scaffolding of assessments through differentiated content and process.

We also found out that BandLab is a good platform for students to practise and apply the skills learnt in class, as they listened to and practised with the recording tracks provided.

Content knowledge was reinforced through familiarisation of the geography of the keyboard.

At the end of the keyboard module, we did a post-survey on Google Forms.

We got the students to rate their selfperceived proficiency level, before and after the 8 to 10 weeks of learning.

This time, we matched the results of the same 3 categories to the pre-assessment.

Making comparisons between the preassessment and post-survey, we noted:

HSS: ◊

Yellow (Little or no knowledge): Decreased by 53.11%

◊

Green (Some knowledge): Increased by 8.07%

◊

Pink (Proficient): Increased by 45.06%

16.98%

27.67%

55.34%

Additionally, students also used BandLab as an alternative platform to make music at their own pace.

Proficient (88 out of 159)

However, we noted that several students showed no improvements on their BandLab assessments as

Some Knowledge (44 out of 159) Little or No (27 out of 159)

TECHNOLOGY AND INCLUSION IN PEDAGOGY

TMS: ◊

Yellow (Little or no knowledge): Decreased by 20.22%

◊

Green (Some knowledge): Decreased by 18.46%

◊

Pink (Proficient): Increased by 38.68%

DIFFERENTIATION AND INCLUSION

◊

Freedom of choice represented the students’ preferences for having a choice in their preferred accompaniment patterns and song choice.

◊

Students’ positive responses towards the guidance provided by their teacher represented the rapport that the teacher has with the students.

7.85%

THEME

CODES

FREQUENCY (TMS)

FREQUENCY (HSS)

PRACTICAL/ SKILLS

Physical keyboard to play, sense of accomplishment

89

89

FREEDOM OF CHOICE

Choice and variety of accompaniment patterns and songs

122

51

TEACHER RAPPORT

Guidance provided by the teacher

62

25

24.08% 68.06%

Proficient (130 out of 191) Some Knowledge (46 out of 191) Little or No (15 out of 191)

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Note: The post-survey proficiency levels were perceived by students themselves.

The results showed that the students recognised that some progress was made.

Figures are rounded to two decimal places.

Hence, they do not add up exactly to 100%.

Students’ Overall Experience

From the responses, we observed that most of the students had had a positive experience with the keyboard module.

This shows that there was a positive learning environment created and they were more likely to make an effort in their learning to succeed.

One of the questions posed in the postsurvey was to rate their overall experience during the module. An open coding of their responses was conducted. Students’ reasons for their enjoyment of the module were summarised into 3 themes that appeared the most:

INTERVIEW

1.

Prior knowledge of keyboard

◊

2.

Their self-perceived level of progress

3.

Overall experience

4.

Stream

Practical/Skills represented both the students’ enjoyment of having the physical keyboard to play and their sense of achievement in being able to progress in their keyboard playing skills.

From the post-survey, we selected students for a Zoom interview based on a few factors:

DIFFERENTIATION AND INCLUSION

SOUNDING THE TEACHING V

Wah then suddenly the assignment got the song that I can play then very good!

Peer interactions and guidance were helpful (HSS):

The purpose of the interview was to get a clearer understanding of the impact of DI on our keyboard curriculum.

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Interview Questions ◊ What do you remember most from your lessons? ◊ Describe a good experience. ◊ Describe a challenge/difficulty. ◊ What did you learn most about keyboard? ◊ How do you find the resources provided? ◊ What makes you say so? ◊ How do you think we can improve your instrumental experience?

Interview Responses The resources were useful: I kept on practising first, without the recording. Then once I’m used to it, I will play the record track.

They were very useful. They helped me understand much more.

Students enjoyed the freedom of choice: When I did learn (different patterns), I found it really interesting.

I enjoyed playing with the keyboard in lesson with my partner.

Good experience… To practise the chords with everyone else.

Having a physical instrument to play was fun: The chords are quite fun, like the fingering and position are quite memorable.

I can get to touch the piano.

Classroom practices were too noisy: Because our class very noisy lah, then a bit disruptive.

Sometimes I couldn’t really focus when people keep using… It’s hard to explain, there’s a lot of sounds going on in class.

Instructions were unclear: We had to change chords and sometimes I will get mixed up with all the chords and play them wrongly. And that was the confusing part for me.

Having one lesson on just instructions how to use the particular resources.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

Teachers’ Observations and Reflections Based on our weekly observations, reflections and discussions, we have noticed some similarities. Firstly, we felt that play-along videos and audio clips to pop songs encouraged musicking experiences. These were based on our classroom observations of students’ dynamics (increase in the level of attention and excitement) and in-class feedback that they enjoyed it and wanted more.

Next, students were also observed to have accessed the video resources provided on SLS and made use of them during classroom time to complete their self-practices and assessments. Visual and audio cues helped track their progress and gave them a sense of rhythm and pulse.

This showed us that the students are capable of self-directed learning when resources are easily accessible and well scaffolded. Even though it was timeconsuming to prepare the resources, it encouraged us, as teachers, to continuously learn about how our students learn and cater for their learning needs.

Technological Tools We chose SLS and BandLab as our technological tools to support our teaching and learning in our curriculum. As SLS was one of the main platforms used during HBL, we decided to leverage this opportunity to explore further as students were familiar with the interface. We felt that our SLS lessons were well scaffolded, as the students were able to grasp the concepts and demonstrate their understanding in class. The SLS platform was designed effectively to track and grade our students’ progress and submissions.

BandLab was chosen as a technological

DIFFERENTIATION AND INCLUSION

tool to complement SLS and classroom teaching, as it is free online software which both students and teachers were able to access without the hassle of downloading.

BandLab is also great as an introduction to Digital Audio Workstation (DAW) as students explore its functions on their own.

Furthermore, the user-friendly interface allows easy grading so students are able to get instantaneous feedback on their assessments. However, there were some limitations that we noted. BandLab required the use of Desktop with the latest Chrome browser. Students who lost their password were able to do a self-reset via their email.

However, there were some cases in which students could neither log in to BandLab nor their email accounts. As freeware, there were multiple occasions that BandLab was unable to support multiple logins simultaneously. Despite the difficulties, students had positive learning experiences.

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Students’ Learning Many similarities were observed in both schools in terms of students’ learning.

In general, high classroom engagement levels were seen during classroom instruction.

We also noted that most students who completed their SLS and BandLab assessments were able to follow and progress during classroom instruction. Vice versa, students who did not complete their online assessments, struggled to follow and their progress was hindered.

DIFFERENTIATION AND INCLUSION

SOUNDING THE TEACHING V

SCHOOL-BASED OBSERVATIONS

HSS

Students were able to follow teacher’s instructions during lessons.

However, they were unable to progress as much as they did not complete their SLS assignments i.e. watch videos or their BandLab assignments.

HSS

Students who made the effort to complete their assignments were able to follow and catch up with lesson content easily. As a result, progress was hindered. Many instructions still had to be done during lessons.

TMS

Students were generally engaged during the lessons. Teacher had to give several warnings to the students for them to realise the seriousness of the lessons and how it would affect their progress if they did not complete their work.

TMS

Students had to be constantly reminded of the chords they were playing and had to be closely monitored in order for the students to work with the right mindset.

TMS

Giving classroom time to complete their assignments helped those who did not have access to a computer. But it was at the expense of those who completed their work.

Had to improvise to allow other students to be motivated to do something in class.

HSS

Allocated one day as consultation day to help students who struggled or did not complete their work.

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Both schools could not follow the EXACT same lesson plan/lesson pace as the prior knowledge of our students was too varied. The disparity in student profiles was too wide. TMS would find HSS lessons a bit too slow while HSS would find TMS lessons too fast.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

DIFFERENTIATION AND INCLUSION

CONCLUSION

Changes in Curriculum Resources and Plan We noted that some changes needed to be made from our initial plans. During the first 7 to 8 weeks of the curriculum, students were not allowed to stay back to seek consultation from the teacher or get internet support from the school.

This meant that chasing students for their submissions was difficult.

As an organic and dynamic classroom, we constantly monitored the progress of our students. Our intended timeline and pacing of lessons were tweaked, factoring in more classroom time for teacher’s live demonstrations on the keyboard and BandLab, individual scaffolding and practice time for students.

We saw the benefits of visual aids and felt the need to create more for the students to better assist in their learning.

We noted that TMS was moving at a slightly faster pace. The reason for this could be the difference in prior knowledge.

As more classroom time was dedicated to allow students to submit their assessments in class, we improvised materials to engage those who completed their work. This provided exploration time on the physical keyboard as well as allowed students to improve on their coordination.

Firstly, having multiple approaches (i.e. what students learn and how they learn), while differentiating the 3 elements in the music classroom, encourages our students to achieve a higher level of progress. According to Tomlinson (2017), the approaches are purposefully crafted to encourage all students to work towards an established learning goal. One size does not fit all.

Next, students need to be sensitised to the idea of having choices in the classroom. From our conversations with our students, we noted that there were few to no opportunities to make decisions on their learning. Through our surveys and interviews, we realised that when given the freedom of choice (Schraw, Flowerday, & Lehman, 2001), students develop “intrinsic motivation when presented with choices, increasing their situational interests”.

Hence, we saw the importance of giving our students a voice in the classroom.

We also concluded from our research that technological tools serve as a supporting tool for DI. And the use of technology does not negate the need for fundamental instrumental skills to be taught. We toggled between a digital keyboard and instrumental keyboard and it was hard to draw a link between these two as students were still unfamiliar with either. Hence, other aspects of instrumental playing can be improved through more physical instrumental explorations whenever possible. However, we also do have to take into account that the curriculum was planned with the ideal situation that students would diligently complete their work or access the resources. Many of them did not. Hence, how technological tools could support instrumental learning better is a question that could be delved deeper.

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DIFFERENTIATION AND INCLUSION

SOUNDING THE TEACHING V

Possible Changes

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Here are some possible changes that could be made based on our reflections and student feedback. ◊

Due to logistical limitations, students from HSS were sharing the keyboard in pairs. It led to an unintentional peer interaction that students enjoyed. Through the feedback provided, this arrangement encouraged collaborative learning and peer teaching. It motivated them in their learning and gave them a greater sense of achievement.

◊

Formative assessment has been ongoing in different modes such as the teacher’s observations and grading and feedback from BandLab. A possible improvement could be adding quizzes and self-evaluation forms to weekly lessons.

◊

We would like to explore more technological tools that can support us in our teaching and students’ learning, e.g. Yousician, Synthesia.

◊

A possible extension to this module would be a summative assessment on students’ practical skills on the physical keyboard since these could not be assessed through the BandLab submissions. For example, HSS conducted a physical keyboard proficiency test as an extension to the 10 weeks of keyboard learning. It was surprising that most students were able to play the 4 chords proficiently and in two different progressions even though they did not do well on the BandLab assessments.

Hence, a multi-faceted summative assessment will help us to better determine the effectiveness of students’ learning in the curriculum.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

Why We Chose to Collaborate As both our schools were moving into mixed-stream classes and a common curriculum by the start of 2021, we had a common concern. Hence, we were motivated to collaborate in order to deepen our understanding of DI. Additionally, we were drawn in by the idea of having a larger sample size that might provide us with the enhanced possibilities for DI as more needs are being learnt and strived to be met. We then began our journey!

Our Discoveries After working with each other, we noticed several factors that brought about our successful collaboration. An important factor that we discovered is our values and beliefs in seeing ourselves as facilitators in our classrooms, who encourage our students to do well. We were not afraid to try new ideas and

DIFFERENTIATION AND INCLUSION

encourage our students to do the same.

We want music learning to be relevant to the students and would bring real-life context into the classroom. A surprising find that we noticed were similar trends in the students’ preferred learning preferences. The COVID-19 situation also made us realise the importance of using technological tools in teaching and learning, and how important it is to be digitally literate in the 21st-century classroom. This project further proved that learning needs and progress are not necessarily defined by streams. For students to learn, we should encourage them to be excellent and to celebrate small victories. Hence, with our positive expectations, it will influence positive performances in our students (Pygmalion Effect). This is not the end of our journey in seeking to understand, improve and create new learning opportunities for ourselves and our students. We continue to believe that it is always a work-inprogress and would like to encourage everyone out there to do so too!

References Gold-Wein, A. (n.d.). Differentiated instruction: All students can successfully learn. Retrieved from https://azrielicreativelearning.weebly.com/content.html Gregory, G. H., & Chapman, C. (2013). Differentiated instructional strategies professional learning guide: One size doesn’t fit all (3rd ed.). Corwin, a SAGE Company.

Schraw, G., Flowerday, T., & Lehman, S. (2001). Increasing situational interest in the classroom.

Educational Psychology Review, 13, 211-224.

Tomlinson, C. A. (2017). How to differentiate instruction in academically diverse classrooms (3rd ed.).

Association for Supervision and Curriculum Development.

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INCREASING STUDENT ENGAGEMENT AND SELF-DIRECTED LEARNING IN A UKULELE ENSEMBLE MODULE Chew Lixian Pei Hwa Secondary School

Introduction/ Setting the Context

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Students trying to play along to a ukulele play-along video of Jason Mraz’s I’m Yours.

All Secondary 2 students learn to play the ukulele in Term 1 (70-minute period, 10 weeks). By the end of the term, students: ▶ Learn the basic 4 chords (C, F, Am, G) commonly used in pop songs, and 3 to 4 songs ▶ Perform 3 songs as part of their group assessment in a class performance setting

Operational Definitions STUDENT ENGAGEMENT Student engagement is the amount of time and effort invested in participating and learning in activities. I focus on three dimensions as discussed by Chapman (2003), Natriello (1984), Pintrich and De Groot (1990), and Skinner and Belmont (1993): ▶ Behavioural – Observable behaviours like participation and time on task ▶ Cognitive – Students’ investment in learning, perseverance in the face of challenges, and the use of deep rather than superficial strategies, as well as self-regulation – the extent to which students demonstrate control

▶

over their learning actions Emotional – Affective aspects like feelings of belonging, enjoyment and attachment

SELF-DIRECTED LEARNING Having autonomy within the Differentiated Instruction (DI) process and letting students take charge of their own learning DIFFERENTIATED INSTRUCTION Designing activities to cater to the varied needs of the students taking into account student readiness, interest and learning profiles

Identifying Gaps (Teacher Observations Prior to CI project) There were diverse needs and different engagement levels in a typical music classroom due to various factors: ▶ Diverse music backgrounds and interest levels ▶ Varied difficulties every individual faced when learning an instrument and/or song ▶ More vocal and motivated students who want to have a say in the songs they learn and perform for assessment Students seem unable to properly conduct and lead one another in group rehearsals. The lack of ability to self-reflect and self-assess their performance during the rehearsals often leads to ineffective

group rehearsals, and in some cases, frustration.

Students showed quite a high resistance to a previous teaching approach as the structures designed for learning (chord progression in a table delineating which word/syllable to change chord, whether to play upstrokes or downstrokes for a particular word/syllable) could be quite restrictive and in some ways unintuitive.

Students had little voice in the songs they wanted to learn, which might have translated to low student engagement levels. They questioned why a song was chosen and not another, and lamented that they preferred another strumming pattern to the prescribed strumming pattern for the song.

Students seem unable to conduct effective group practices: ↪ Need to empower students and inculcate selfdirected learning to facilitate students’ ability to self-assess and improve performance

Diverse needs and engagement levels: ↪ Need for DI to cater to the spectrum of students’ needs

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Methodology Objectives To examine factors positively and negatively affecting student engagement and self-directedness in the music classroom: ▶ What did students enjoy about the ukulele module that engaged them in learning? ▶ What teaching strategies and lesson activities can encourage self-directed learning in students? ▶ How do students experience different teaching strategies/lesson activities? ▶ How do we measure student engagement levels/extent of selfdirected learning in students?

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Teaching Approach In the previous year, I had used a more formal approach where I would determine the content of the lesson (chords to learn, pieces to practise and master). The content was delivered through a frontal teaching approach.

There were designated set pieces with structured scaffolding and breakdown of chords and strumming pattern aligned to the lyrics of the song.

Conducted study on two Secondary 2 classes with 36 and 39 students respectively.

FIELD OBSERVATIONS Students’ behaviour and class progress were observed through video recordings taken in class and analysed every week.

FOCUS GROUP INTERVIEWS Interviewed groups of students of varying abilities, assessment results and interest levels after completion of the module.

PEER AND SELF-FEEDBACK Analysis of students’ feedback given through peer and self-critiquing via the Student Learning Space (SLS) e-platform.

However, some students felt that it was restrictive and counterintuitive especially for students who were more adept at playing by ear.

This year, there was “restructuring” of the curriculum design: ▶ Differentiated approach to lesson strategies to cater to different learning needs and preferences ▶ Increase empowerment in students ▷ Provide more autonomy for students to have a choice in the songs they learn for assessment ▷ Lead sheet provided instead of detailed scaffolding aligning song lyric to chord progressions

Quick overview of approach this year ▶ Worksheets on chord fingerings for basic 4 chords ▶ 3 set pieces: Happy Birthday Song, I’m Yours, Counting Stars ▶ Weekly warm-up tuning in exercises to practie changing chords and strumming patterns ▶ Play-along videos ▶ Printing of ukulele chord chart for students to refer to (if their song choice uses chords not taught in class)

1. Introduction to different styles of strumming patterns and allowing students to choose instead of prescribing a set strumming pattern

2. Provision of lead sheet with chord progressions and allowing students to choose their own songs for assessment

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SCAFFOLDING PROCESS AND TIMELINE OF UKULELE MODULE 1. Worksheet and Introduction video to chord fingerings (Week 1-2) This was similar to the previous year.

2.

Play-along video (Week 3 onwards) Play-along videos were used as a guide rather than just worksheets.

This is an additional feature this year

so that students can practise their ukulele to play along with the videos at their own pace.

5.

3.

Week 6 of module Students played along to the video and changed strumming pattern upon teacher’s instruction.

I would use drumsticks to guide the students and to gesture to them the strumming pattern.

Provision of ukulele chord diagrams Students could use this to play a wider variety of songs that are not in the 4-chord structure.

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4.

Whiteboard warm-ups (Week 4/5 onwards) These warm-ups were intended to familiarise students with the strumming of the chords and to develop confidence in playing.

We went according to these levels as a routine: 1. Simple chord changes: Easy chord changes for warm-up 2. Acquiring C-G chord changes: Targeting chord change between G and C, which is more challenging 3. Pop song chord progressions: Eight downstrokes followed by the chord progression of the song

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FEEDBACK PROCESS (TEACHER FEEDBACK) To the entire class ▶ Going through expectations of assessment using rubrics To individuals ▶ During the whiteboard warm-up activity ▷ chord fingering, accuracy in chord changing, strumming patterns

▶

During the class play-along video session as a tune-in activity ▷ chord fingering, accuracy in chord changing, strumming patterns To groups ▶ During group practices ▶ During group recording (for uploading on SLS)

ASSESSMENT RUBRICS Sometime in the middle of the term, I went through the Assessment Rubrics so that students would have a clearer understanding of the expectations for them.

FIVE ASSESSMENT OBJECTIVES: 1. Chord Knowledge 2. Strumming Pattern (ability to play different patterns and consistency in strumming) 3. Tempo (steady beats) 4. Singing (audible/in pitch) 5. Effort (group dynamics and effectiveness)

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FEEDBACK PROCESS (PEER FEEDBACK THROUGH SLS) In preparation for the class performance, students have to self-record two of their assessment pieces and upload their video recordings on SLS for peer review and self-critique.

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In the same week, they have to self-critique their videos (and peer critique) on SLS.

ARTEFACT 1 (SELF-CRITIQUING) The students seem to be very clear about the assessment criteria. They drew reference to the rubric to show

if the success criteria were met and demonstrated that they had assimilated the expectations of them for assessment.

STUDENT X

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ARTEFACT 2 (PEER CRITIQUING) Students were able to give quality critique because they were briefed on the rubrics and the checkpoints were written on the STUDENT Y

Criteria written on whiteboard

whiteboard as a second reminder before they went on to rehearse and record in their groups separately.

Findings Gleaned from Focus Group Conversations Gathered from 17 students from different groups (different gender, different CCAs, different music interests and backgrounds) Questions: 1. On a scale of 1 to 10, how much did you enjoy ukulele lessons?

2.

3.

Why did you enjoy ukulele lessons, and why not?

Rank the effectiveness of the different strategies* used in class.

*Different teaching strategies: • Worksheet (with PowerPoint slides of chord fingerings) • Play-along videos • Warm-up exercises (on whiteboard) • Co-creation of rubrics • Self-recording of group video • Peer and self-critiquing of group videos on SLS

QUESTION: DID YOU ENJOY UKULELE LESSONS? WHY/WHY NOT? Average enjoyment score: 7/10 100 Yes, I enjoyed ukulele lessons: ▶ ▶ ▶ ▶ ▶

Prior musical experience (1) Learnt something new (3) Sense of achievement (5) Group dynamics and friendship (11) Autonomy in song choices (3)

No, I did not enjoy ukulele lessons: ▶ ▶ ▶ ▶ ▶

Challenges in learning the instrument (5) Difficulties faced in achieving assessment objectives (4) Preference for other instruments (2) Not enough time to master the songs (1) Songs taught are outdated (1)

The question was asked to understand the factors affecting students’ motivation in their learning. I used thematic analysis for this question and from the data, 11 of the students cited “working with my friends/my group” as the top factor in

their enjoyment of the ukulele module.

This was not so surprising as, throughout the term, I observed that students were engrossed in their group work and there was little need for prompting and guidance to get things going. Initially, I was a bit wary that they might end up wasting time in their friendship groups, but they have proven me wrong by having fewer off-task behaviours during group practice. Some groups even brought in their loudspeakers so that they could practise with the song.

On the flip side, a number of students mentioned that challenges in learning the instrument and difficulties faced in achieving assessment objectives (like singing and playing the ukulele at the same time) affected their enjoyment of the lessons. While facing challenges and difficulties during the course of learning a new instrument is inevitable, I think that moving forward, I could try to ensure that all students experience small successes and achievement so they do not feel so daunted by the final assessment requirements.

QUESTION: RANK THE EFFECTIVENESS OF THE DIFFERENT STRATEGIES USED IN CLASS Referring to the legend below, if a student ranked “235461”, it meant that he/she felt “play-along videos” was the most effective, followed by “warm-up exercises”, “self-recording of group video’’, “rubrics on whiteboard’’, “self-critiquing on SLS” and finally, “worksheet” was the least effective.

Legend: 1.

Worksheet (PowerPoint slides of the fingering) 2.

Play-along videos (on YouTube) 3.

Warm-up exercises (chord progression written on whiteboard, teacher changes strumming pattern on command) 4.

Rubrics on whiteboard 5.

Self-recording of group video (before live assessment) 6.

Self-critiquing on SLS

Observations: ▶ Based on the 17 students’ responses, there are no other observable trends of ranking. It suggests that differentiated teaching strategies are catering for the different and diverse needs of the students. ▶ If I examine the mode (central tendency of data) of occurrence, 6 of them listed warm-up exercises as the most effective, 5 of them listed play-along videos as the second most effective, and 5 others listed

play-along videos as the third most effective. Hence, warm-up exercises and play-along videos stood out as effective strategies.

As I probed the students in the focus group discussion, they mentioned: ▶ “Play-along was useful.” [5 students] ▶ “Self-critiquing was useful, can see the mistakes. But I did not watch videos of other groups.” [3 students] ▶ “(Warm-ups) Useful. Let you familiarise with the beats and different strumming patterns, and warm up the fingers.” [3 students] ▶ “Video on fingering was not as useful and teacher [needed to] explain everything [in the video] again.” ▶ Effectiveness of peer critique depended on: ▷ Quality of video uploaded ▷ Readiness of the group receiving feedback to accept the critique ▷ Standards of the groups (gaps for the groups and the effort they put in) ▷ A student mentioned, “we usually do self-reflection, we do not usually reflect on others”, and did not see the point of peer critique OTHER FINDINGS Average assessment grade: 18.6 out of 20 For me, it was a relatively successful curriculum design.

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Discussion The teaching approach offers differentiation in that students could follow the pop song at their own pace.

An adequate amount of scaffolding is crucial at the beginning stages to empower students to eventually be able to engage in self-directed learning during group practice: 1. Ability to read lead sheet and learn new songs independently 2. Critique their own playing and skills 3. Know how to improve as a group I observed that different lesson activities and teaching strategies contributed to the success of the module. Music play-along videos do increase engagement levels in students.

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There is an overall increase in student engagement and self-directedness in students’ learning as: ▶ There were fewer discipline issues and off-task behaviours in class.

The majority of the students were engrossed with following the chord changes on the screen/whiteboard.

(Behavioural Engagement) ▶ 80% of the groups chose to learn songs of their choice, and more than 70% self-learnt songs that had chords not taught in curriculum.

(Cognitive Engagement) Giving students autonomy on song choices offered students a sense of empowerment to take charge of their own learning as it can be seen that: ▶ Many students stayed back voluntarily in the afternoons to practise with their group mates and the level of engagement was higher. (Affective & Cognitive Engagement)

Self-recording of group performance for self-critiquing was useful in empowering students to take charge of their learning and practise in their respective groups.

Students were better able to express themselves using musical terms and identify areas for improvement in their playing. ▶ Observed through conversations and quality of responses of peer and selfcritiques posted on SLS (Behavioural Engagement) There was evident progress in the majority of students in terms of ukulele playing.

There was increased confidence and enjoyment across groups during class performance. ▶ Observed in the readiness of students during class performance. In the past, groups could take up to 20 minutes just to go through 3 excerpts. This time, almost all the groups were very fast and they could finish their assessment within 5 minutes because they were adequately prepared.

(Behavioural, Cognitive, Affective Engagement) LIMITATIONS ▶ The sample size might be small in analysing the effectiveness of the items (different lesson activities and strategies) in the ukulele module ▶ Findings might not be representative of the general student cohort as the study was carried out on 2 Express classes. However, most of the activities (apart from the uploading of videos into SLS) were also conducted for N(A)/N(T) classes and I have also observed an increase in engagement levels in these classes.

Conclusion “If children can’t LEARN the way we TEACH, we should TEACH the way they LEARN.” From this project, I gained a better understanding of how my students relate to the different teaching strategies and lesson activities conducted in my ukulele classes. I think my biggest takeaway is that as teachers, we must understand student motivation to design lessons that will engage them not only on a behavioural element but also on a cognitive and emotional one. In addition, by appropriately and efficiently helping them experience small successes and gain confidence, we can empower them to self-direct their learning with the right resources.

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References Chapman, E. (2003). Assessing student engagement rates. ERIC Digest, ED482269. Retrieved from https://files.eric.ed.gov/fulltext/ED482269.pdf Fredricks, J. A., Blumenfield, P. C., & Paris, A. H. (2004). School engagement: Potential of the concept, state of the evidence. Review of Educational Research, 74(1), 59-109.

Natriello, G. (1984). Problems in the evaluation of students and student disengagement from secondary schools. Journal of Research and Development in Education, 17, 14-24.

Pintrich, P. R., & De Groot, E. V. (1990). Motivational and self-regulated learning components of classroom academic performance. Journal of Educational Psychology, 82(1), 33-40.

Skinner, E. A., & Belmont, M. J. (1993). Motivation in the classroom: Reciprocal effects of teacher behaviour and student engagement across the school year. Journal of Educational Psychology, 85(4), 571-581.

Tomlinson, C. A., & Strickland, C. A. (2005). Differentiation in practice: A resource guide for differentiating curriculum, grades 9-12. Association for Supervision and Curriculum Development.

Video Tomlinson, C. A. (2018). Differentiating instruction: What, why, & how [Video]. DI Asia Conference 2018.

Retrieved from www.diasia.academy/webinar-cat

Section 3

Empowering and Motivating Learners During the pandemic, the need for Home-Based Learning has raised a critical question about how music making can be facilitated outside of class. This section presents three inquiry projects that harness technological tools to lower the barriers for students’ musical participation, motivate students and empower their musical voice.

Sandra Yuen’s research throws light on how students can be musically engaged through the SLS platform.

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Ellen Wang’s research shares how she has used web-based tools to foster student collaboration and empower their decision-making in

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music as they create their songs over both face-to-face and homebased learning contexts.

Chen Limin’s research used tactile ICT tools to motivate and develop compositional thinking in Primary 2 students to empower them to create music.

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EMPOWERING AND MOTIVATING LEARNERS

SOUNDING THE TEACHING V

SLS and Student Engagement: Where Do They Meet in Music Learning?

Sandra Yuen

RESEARCH QUESTION

Innova Primary School

How can SLS be leveraged to enhance student engagement in music learning at the Upper Primary level? ◊

Which SLS features do the students like?

◊

How do these features facilitate student engagement?

LITERATURE REVIEW 106

RATIONALE The Student Learning Space (SLS) offers a space for students to engage in selfdirected and collaborative learning. It not only has a repository of online lessons that teachers can tap on, it has a variety of features to enhance student learning for both blended learning and selfdirected learning environments.

Acknowledging the potential of SLS, and taking cognisance of the advocated music learning processes that involve listening, creating and performing, this project seeks to investigate how SLS can be leveraged to facilitate the engagement of Upper Primary students in the teaching and learning of music.

Tomlinson (2014) proposed three catalysts for student motivation: (i) student’s personal relationship with the school and school adults; (ii) affiliation and sense of worth with other students; and (iii) student’s perception of the relevance of the content and learning, and self-efficacy.

Tomlinson (2016) had also suggested that student agency is an essential aspect of student engagement, and this is enabled when a teacher responds to his/ her students’ work. Three dimensions of student engagement were proposed: behavioural, emotional and cognitive (Fredricks, Blumenfeld, & Paris, 2004, as cited in Fredricks et al., 2011). ◊

Behavioural engagement is linked to the student’s participation in a range of activities, including academic and social activities, and is believed to affect the student’s academic achievements (Connell & Wellborn, 1990; Finn, 1989, as cited in Fredricks et al., 2011).

TECHNOLOGY AND INCLUSION IN PEDAGOGY

EMPOWERING AND MOTIVATING LEARNERS

◊

Emotional engagement is about the student’s responses to his/her environment. A positive engagement is believed to influence the student’s willingness to work (Connell & Wellborn, 1990; Finn, 1989, as cited in Fredricks et al., 2011).

The pre- and post-Full Home-Based Learning (FHBL) lessons involved a blend of face-to-face interactions and activities on SLS, while lessons during the Full HBL period comprised SLS lessons and a Zoom lesson for each class.

◊

Cognitive engagement refers to the student’s “level of investment in learning”, including his/her willingness to put in the necessary effort to achieve mastery of knowledge and skills (Fredricks, Blumenfeld, & Paris, 2004, as cited in Fredricks et al., 2011).

Blended and online learning comprised the following experiences: ◊ Music listening ◊ Responding to music via thinking routines, quizzes and free responses ◊ Reflection of learning

Student engagement requires that students see the relevance and importance of the content that they are learning, and the tasks that they are asked to do (Jackson & Zmuda, 2014).

METHODOLOGY Setting This study took place in a neighbourhood co-ed school in the northern part of Singapore, from March to August 2020.

Participants 76 students from three Primary 6 classes of mixed abilities and profiles

Three Phases PHASE

MODE OF LEARNING

Pre-Circuit Breaker

Blended learning

Full Home-Based Learning

Online learning + 1 Zoom lesson involving SLS

Post-Circuit Breaker

Blended learning

The learning experiences for both the blended and online lessons were largely similar in that they mostly included music listening and responding via the thinking routines, quizzes, and reflection.

A culminating project involved a creating task. The difference between the blended and online learning was in the discussions and teacher’s feedback. In the purely online lessons, the teacher responded to the students’ posts in the freeresponse sections (e.g. thinking routines) individually. The blended learning during the pre- and post-Full HBL period allowed for class discussions, and the teacher’s feedback was immediate. For example, the teacher would facilitate class discussions about the music and provide feedback after the students had posted their observations based on the thinking routine.

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EMPOWERING AND MOTIVATING LEARNERS

LESSON PREVIEW The lessons would usually begin with a listening activity to activate learning, often via a video or audio clip. This would be followed by a quiz or thinking routine for students to respond to the listening activity. Class discussions, information texts or video clips would also be used to deepen learning and understanding of the content. When there was insufficient time in class, students would be able to complete the work at home. The teacher often highlighted good examples of students’ responses from the previous week’s assignment.

SOUNDING THE TEACHING V

During the Full HBL period, music learning continued weekly through the lessons that were assigned on SLS. Besides quizzes involving multiple-choice questions, the thinking routines and free-response questions were also regularly used. The students’ entries in those questions provided an opportunity for the teacher to respond to their posts individually.

The teacher’s comments focused on an acknowledgement of efforts, affirmation for good responses and suggestions for improvement.

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DATA COLLECTION A questionnaire adapted from the Australasian Survey of Student Engagement (Australian Council for Educational Research, n.d.) was administered at the end of the study to gather student perception of their experience involving the use of SLS. The questions were organised around six categories, of which three categories focused on the cognitive, behavioural and emotional dimensions of student engagement, as suggested by Fredricks et al. (2011). The other categories were about the relevance of the content, usefulness of the teacher’s feedback, and the extent to which they understood the lessons on SLS. The teacher’s lesson reflection was also used to provide insights into the students’ engagement during the period of the study.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

◊

◊ ◊

A questionnaire adapted from the Australasian Survey of Student Engagement (Australian Council for Educational Research, n.d.) was administered to gather student perception of their experience involving the use of SLS in their music learning.

72 students participated in the questionnaire.

Teacher’s lesson reflection provided insights on the students’ responses in class during the pre- and post-CB periods.

EMPOWERING AND MOTIVATING LEARNERS

Student response to the emotional dimension of student engagement (Qn 6, 11)

QUESTION

AGREE & STRONGLY AGREE

I enjoy using SLS in music lessons.

88% (63)

My music learning experience using SLS has been good.

88% (63)

Of the 76 participants, 72 responded to the questionnaire.

The emotional dimension of student engagement also received a positive rating at 88% for both the sense of enjoyment and good learning experiences using SLS for music learning.

Student response to the cognitive dimension of student engagement (Qn 3, 5)

Student response to the behavioural dimension of student engagement (Qn 8, 10)

FINDINGS

QUESTION

AGREE & STRONGLY AGREE

I put in effort to complete my SLS music assignments.

86% (62)

I have made changes to improve my work as a result of my teacher’s feedback on SLS.

89% (64)

The table indicates a high level of engagement in the cognitive dimension.

From the findings, students showed that they were willing to put in effort in their learning, and they were willing to take feedback and make improvements to their work.

QUESTION

AGREE & STRONGLY AGREE

I am able to stay focused when completing my music assignments on SLS.

81% (58)

I am able to complete the music assignments on SLS.

82% (59)

More than three-quarters of the students indicated that they felt engaged in the behavioural dimension.

This is in terms of their ability to stay focused, and to complete their music assignments on SLS.

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EMPOWERING AND MOTIVATING LEARNERS

SOUNDING THE TEACHING V

Student response about the relevance of SLS to their learning (Qn 2, 7)

QUESTION

AGREE & STRONGLY AGREE

The activities on SLS have helped me improve in my music learning.

85% (61)

SLS has been useful in helping me in my music learning.

86% (62)

QUESTION

AGREE & STRONGLY AGREE

The feedback that my teacher gives me on SLS has been useful (e.g. HearThink-Wonder, jingles project).

94% (68)

The majority of the students felt that the SLS activities had been helpful for their music learning.

Most students felt that the teacher’s feedback via the SLS platform had been useful.

Student response about their understanding from the SLS lessons (Qn 1, 9)

The students rated their preferences for the SLS features that had been used in the lesson.

I understand the information presented on SLS (e.g. video and audio clips, explanations).

93% (67)

I understand what is going on in my SLS music lessons and assignments.

90% (65)

Which of the following features did you like when completing your SLS assignment?

70 53

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More than 90% of the students were able to understand and follow the lessons on SLS.

35

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QUESTION

AGREE & STRONGLY AGREE

Number of Students

110

Students’ perception of the usefulness of the teacher’s feedback via the SLS platform (Qn 4)

SLS Features

TECHNOLOGY AND INCLUSION IN PEDAGOGY

The top three features that they liked were the video clips (86%), the audio clips (65%) and the quizzes (49%). The openended free-response questions were the least popular.

Students’ preferred activities during online learning (in order of preference) 1.

Jingle creating project

2.

Watching video performances

3.

Listening to audio recordings

4.

Thinking routines (Hear-Think-Wonder)

When asked to describe an activity that they had enjoyed, the jingle creating project was most frequently cited.

Reasons included the sense of fun when they were listening to jingle examples from the internet, their seniors and peers.

The opportunity to be creative was also valued. Listening to audio recordings and watching video clips were the next most popular activities. The students found some of the videos interesting and said that it had helped them learn. A few students indicated that they liked the thinking routine, Hear-Think-Wonder.

FINDINGS: TEACHER OBSERVATION From the teacher’s reflection notes Students responded positively to the video clips: “The discussion about the two jingles (video clips) was lively. They were tickled by the latter advertisement (on the video).

I get the sense that they are interested in the topic.” (T2W2)

EMPOWERING AND MOTIVATING LEARNERS

“They were intrigued by the jingles of their seniors… I get the feeling that the videos also worked very well to give them ideas and get started on their jingles. Strange, but it seems to work better than the commercial ones. They really got started on the writing of the text during the time allocated.” (T3W3) Students responded positively to the audio clips: “It was a great idea to play them the audio – it forced them to listen and not be influenced by what they see. I could see their attempts to include details of what they heard using the elements as a guide… They liked the music and some even moved to the upbeat parts of the music. It got them really interested.”

(T3W2) “The children were thrilled with the listening activity. We listened first, then we watched the video. They really enjoyed it.” (T3W5)

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EMPOWERING AND MOTIVATING LEARNERS

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From the teacher’s lesson reflection notes, it was observed that the students responded positively to the different videos and audio clips that were shared.

The teacher wrote about the lively class discussion after watching two jingle videos. The students were tickled by one of the videos. She also noticed that they were intrigued by the jingles of their seniors. That seemed to have had a positive impact in helping them start on their jingle creating. The audio clips forced the students to use their aural skills and to listen attentively. The teacher noticed their attempts to include details in the music. She also noticed how some of them started moving to the upbeat sections of the piece. When she subsequently showed the video of the music that they had listened to earlier, their response showed a sense of enjoyment. From the teacher’s perspective about the students’ listening skills, she felt that they were making progress and were beginning to notice more details in the music. This weekly routine, especially during the Full HBL period, created a sense of community because students could read one another’s posts and her responses to each person.

Students responded positively to the thinking routines “Some posted rather good questions in the HTW.” (T2W2) “They showed interest when we were going through the questions that their classmates had posted. They responded well to the listening and discussion of the Pizza Hut jingle.” (T2W2) “There was a positive note in the students’ responses in their SLS assignment during the FHBL period. There were examples of students who had gone to check out more information on their own. Some questions that they posted on

SOUNDING THE TEACHING V

SLS also hinted at a sense of curiosity and interest.

There were occasions when some students also commented on their friends’ posts. The individualised feedback to each student was noted to have helped strengthen the teacher-student relationship. While the teacher felt herself getting to know the students better as individuals, the students’ entries in subsequent lessons would at times include ideas and suggestions that the teacher had made earlier.

Power of models “They said that they did not know how to write the jingle. The reference and explicit discussion of the Milo jingle seemed to provide some guidance. Nine students submitted by the time the lesson ended.

Some modelled after the Milo jingle, and some wrote original jingles.” (T3W4)

TECHNOLOGY AND INCLUSION IN PEDAGOGY

Some of the students’ submissions of their projects showed evidence of them using the works of their seniors as models for their own creations. For instance, the rhyming pattern structures of two jingles resembled those created by their seniors.

EMPOWERING AND MOTIVATING LEARNERS

DISCUSSION: TEACHER’S REFLECTION ◊

DISCUSSION: QUESTIONNAIRE ◊

◊

◊

Students enjoyed the activities on SLS, the top three being the video, audio and quizzes.

They liked being able to read their peers’ posts and performance submissions.

Students were willing to put in effort to complete their SLS assignments and to improve on their work.

The findings from the questionnaire indicated that the students enjoyed the activities on SLS. They especially liked the video and audio clips, and the quizzes.

It was observed that students’ interest was piqued by the different videos.

It was also evident that some of the excerpts became models or references in the students’ creating projects.

A possible reason for the effectiveness of the videos was the relevance of the videos to the tasks that the students had to complete. For example, they watched different commercial jingles and jingle compositions by their seniors. These provided useful ideas for their jingle creation. Additionally, they could relate to the topics of the jingle.

Æ◊ ◊

The video and audio features had helped to pique the students’ interest, enabled learning, and provided useful models to support completion of their task.

The thinking routines provided opportunities for individual expression and peer learning.

The “Teacher’s Comment” feature facilitated enhanced learning, especially during FHBL.

While the results of the questionnaire showed that students preferred the quizzes to the thinking routines, it was observed that the thinking routines provided more opportunities for peer learning and student voice. The students had shown keen interest to read one another’s posts. The teacher felt that the students’ entries in the thinking routines had helped her know them better, and had allowed her to hear from everyone. The students also indicated their willingness to complete and fine-tune assignments.

This was evident in the number of drafts that some students made during their creation of the jingles. During the Full HBL period, teacher-student communication was mainly via SLS. The teacher would respond to students’ entries and provide affirmation and suggestions. The students indicated in the questionnaire that they had benefited from the teacher’s feedback via the SLS platform.

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CONCLUSION The findings concurred with the literature review. It indicated that SLS features can be effectively leveraged to support student engagement.

Video and audio clips can serve as powerful tools to facilitate joyful learning and engagement. Using content that is relevant and relatable to students would enhance the effectiveness of these resources.

Students value the opportunity to read the posts and submissions of their peers.

They are curious about what others have written. They also learn from one another.

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Similarly, the teacher’s feedback is valued, and that is especially needful in the context of purely online learning environments. It not only provided information for students to move forward, but it also communicated that their posts, or contributions, were important and valued. This exchange helps to promote student agency. However, face-to-face interaction is still needful. The live lessons had enabled robust discussions which were not evident in the purely online

SOUNDING THE TEACHING V

lessons. This is possible when students feel safe and supported, and where every member is valued and respected.

Finally, this study had only made use of the Acquisition template on SLS. It would be interesting to observe how the other templates such as the Discussion, Collaboration, and Inquiry lesson templates may be effectively used to promote student engagement and student learning.

Future studies can examine how the other SLS lesson templates (Collaborative and Inquiry lesson templates) can optimally facilitate student motivation and engagement. It would also be interesting to examine the correlation between watching videos and student engagement.

References Australian Council for Educational Research. (n.d.). Australasian Survey of Student Engagement (AUSSE). Retrieved from https://www.acer.org/files/AUSSE_2011_SEQ.pdf Fredricks, J., McColskey, W., Meli, J., Mordica, J., Montrosse, B., & Mooney, K. (2011). Measuring student engagement in upper elementary through high school: a description of 21 instruments.

(Issues & Answers Report, REL 2011-No. 098). U.S. Department of Education, Institute of Education Sciences, National Center for Education Evaluation and Regional Assistance, Regional Educational Laboratory Southeast. Retrieved from http://ies.ed.gov/ncee/edlabs.

Jackson, R. & Zmuda, A. (2014). Four (secret) keys to student engagement. Educational Leadership, 72(1), 18-24.

Tomlinson, C.A. (2014). Releasing the will to learn. Educational Leadership, 72(1), 86-87.

Tomlinson, C.A. (2016). Beyond grades and “gotchas”. Educational Leadership, 73(7), 89-90.

EMPOWERING LEARNERS THROUGH THE USE OF ICT TOOLS FOR COLLABORATION AND PARTICIPATION IN DECISION-MAKING TO CREATE A POSITIVE CLASSROOM CULTURE Ellen Wang Compassvale Secondary School

Introduction PURPOSE OF INQUIRY To capitalise on the use of ICT tools due to the availability of technology affordances for collaboration ▶ To foster students’ ownership ▶ To ensure as many students’ voices will be heard/reflected

Inquiry Topic Empowering learners through the use of ICT tools for collaboration and participation in decision-making to create a positive classroom culture RESEARCH QUESTION What is the impact of using ICT tools on collaboration and responsible decision-

Methodology ▶ ▶

1 Normal (Academic) class Survey via Google Forms: ▷ 8 questions using a 4-point scale (1 Strongly Agree, 2 Agree, 3 Disagree, 4 Strongly Disagree) ▷ 3 open-ended questions

DEFINING THE ISSUE The issue at hand which I identified was that during group work, there is a lack of diversity in ideas when using the traditional method of brainstorming, where students will bounce off ideas verbally within the group that they are in and then select an idea from within the group.

making on empowering learners to create a positive classroom culture?

The 2 types of ICT tools that I used in this research ▶ Mentimeter – for collaboration purposes ▶ Incredibox – for creation of backing tracks with existing loops.

Curriculum Part 1: Use of Mentimeter Students did various activities to learn the rhyme Timothy Fish and notate the rhythm and lyrics on their music journals.

Students brainstormed for themes for new lyrics based on the rhythm of Timothy Fish in groups.

Groups key in their themes into Mentimeter.

Students submitted the new set of lyrics as WA1.

Teacher provided pointers for students to be mindful of the number of syllables of a word to match the given rhythm.

Student chose a theme on Mentimeter, but not necessarily the theme that the group has come up with.

FIG 1: BRAINSTORMING USING MENTIMETER

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FIG 2: SAMPLES OF LYRIC WRITING

Curriculum Part 2: Use of Incredibox

The Incredibox is a web-based application that allows the user to perform and record a passage of music through live Each group worked in pairs to explore Incredibox (using Surface Pros that were provided).

The groups were given the option of recording the backing tracks or doing live performance of the backing tracks by having a member clicking and selecting the loops for WA3.

Students explored Incredibox during HBL and used WhatsApp/ set up Zoom for discussion.

interaction with loops. One can add or remove layers of loops by clicking on and dragging icons.

Back in class, the pairs within the same group had to agree on the same version and loops based on assessment criteria.

Students were introduced to the recording function which allowed them to email the recorded version for practice at home and to the teacher for feedback.

Students were introduced to basic musical forms to add interest to their performances.

Groups practised the chosen backing track with 4 loops (minimum), with the lyrics that they have crafted for WA1.

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Quantitative Findings FOSTER COLLABORATION First, let us take a look at whether the 2 tools used, Mentimeter and Incredibox, have fostered collaboration for group work during lessons.

A large majority of students (82%) agreed/ strongly agreed that Mentimeter was effective in fostering collaboration, while the result was exactly 82% for Incredibox as well.

The use of Mentimeter has fostered collaboration during lessons

The use of Incredibox has fostered collaboration during lessons

3%

3% 20%

15%

15%

38%

62%

118

44%

S t ro ng ly Ag re e

Agree

Disa g re e

Strongly Disagree

INTEREST As for whether the two tools have increased students’ interest in lessons, Incredibox fared better, with 82% of students indicating they had become more interested in lessons after using it.

However, this disparity in results is not a significant cause for concern as the tasks were different. Incredibox has an engaging interface and students could produce a tangible end-product out of it. Mentimeter was used more for brainstorming.

The use of Mentimeter has made me more interested in Music lessons

The use of Incredibox has made me more interested in Music lessons

13%

5% 18%

13%

15%

49% 33%

54%

S t ro ng ly Ag re e

Agree

Disa g re e

Strongly Disagree

PARTICIPATION More than 70% of the students felt that they have participated in decision-making.

Through the use of Mentimeter, I have provided my views during group discussions

Through the use of Incredibox, I have provided my views during group discussions

8% 5%

18%

10% 26%

20%

59%

54%

S t ron gly A gre e

A gre e

Di s agree

St rongly Disa gre e

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RECEPTION TO IDEAS/SUGGESTIONS 85% of the students agreed that they were receptive towards group members’ ideas/suggestions, which reflected collaboration among them.

SEEKING TO IMPROVE 69% of the students continuously sought to improve the sounds based on the assessment criteria. Though the result is low compared to the results before, it was comparable to the result of WA3 where 50% of the students achieved an A grade.

I am open to my group members’ ideas/suggestions

I continuously seek to refine the sounds based on the requirements of the project

8%

8%

7%

26% 23%

49% 36%

S t ron gly A gre e

43%

A gre e

Di s agree

St rongly Disa gre e

Qualitative Findings WHAT DIFFICULTIES DID YOUR GROUP FACE WHEN USING INCREDIBOX? ▶ “Finding suitable loops to match the lyrics/words.” ▶ “Deciding on which version/loops to use.” ▶ “Too many loops.” ▶ “Forgot what loops the group has chosen.” ▶ “Had to test each loop to see whether it is suitable.” ▶ “Laggy due to mass usage.” ▶ “Communication with group mates.” ▶ “No difficulty.”

DECISIONS THAT THE GROUP HAD TO MAKE: ▶ “Find words appropriate to the theme chosen.” ▶ “Which version of the Incredibox to use?” ▶ “Which loops to use?” ▶ “Changing the loops.”

▶ ▶ ▶

“Choose correct loops according to WA3 criteria.”

“Do recording many times.”

“How to start the loops chosen?”

REASONS FOR MAKING THE DECISIONS: ▶ “To fit the lyrics.” ▶ “To fit the loops to the song.” ▶ “Found better loops.” ▶ “Certain versions have loops that have beats that fit the lyrics.” ▶ “To ensure the piece is good enough to be able to present at the end of the day.” ▶ “Strive for our best in what we do (to have the best loops/backing track).” ▶ “For WA3 grade; to save the group from failing and to get a good grade.” ▶ “The teacher said nooooo.” ▶ “To avoid confusion and arguments; listen to group members’ views to ensure no one was being left out.”

Observations and Conclusion ▶

▶

Technological tools can support interaction and participation, hence increasing engagement. ▷ Mentimeter focuses on getting students’ views and aids in brainstorming ▷ Incredibox is an app where students find loops to come up with a backing track for their lyrics Students were generally engaged in discussions using Incredibox.

They took the task seriously to the extent of being insecure when they

▶

had to decide on the final loops for recording and performance for WA3.

The qualitative findings have allowed me to understand the issues that the students faced when using the app, even though I thought it would be a straightforward app for Secondary 1 students to use.

Empowering students in decisionmaking had been made possible as the project enabled students to understand the creative and musical processes with the help of ICT tools.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

EMPOWERING AND MOTIVATING LEARNERS

Tactile Experiences with Music Composition Harnessing Technology in the Primary 2 Music Classroom Chen Limin

INTRODUCTION

Maha Bodhi School

Conventional music composition is challenging for students as it involves understanding many complex musical rules, instrumental timbre, among others. However, with technology, many of these challenges can be overcome to help students compose.

This study investigates the incorporation of music technology in our Lower Primary Music curriculum with an easy and fun-to-use technological application called Osmo Coding Jam.

self-perception of their own abilities in certain domains. ◊

The expectancy-value theory by Jacquelynne Eccles (1983) and her colleagues Expectancy-value theory suggests that student motivation results from two mutual factors: ↪

INQUIRY TOPIC My critical inquiry aims to examine the approach of using tactile coding blocks to engage Lower Primary students in developing compositional thinking, and how the module impacts students’ motivation in music learning.

LITERATURE REVIEW Motivation is a crucial factor in affecting the effectiveness of student learning and academic achievement.

To understand and to measure students’ motivation, my research is underpinned by the following: ◊

The self-efficacy theory by Albert Bandura (1977, 1995, 1997) Self-efficacy refers to the students’

↪

Task values Task values refer to how an individual perceives a task in terms of: ⬦

Intrinsic value on how enjoyable the task is

⬦

Attainment value on how important the task is

⬦

Utility value on usefulness of the task

⬦

Cost, like loss of time, overly high effort or stress

Expectancy Expectancy refers to the children’s beliefs on how well they will do on upcoming tasks

Self-efficacy, intrinsic value, attainment value, utility value, cost and expectancy form the 6 different motivational measures that contribute to human desires and motivation to strive for success in their work.

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EMPOWERING AND MOTIVATING LEARNERS

SOUNDING THE TEACHING V

Task (a) Self-efficacy

(bi) Intrinsic Value

(c) Expectancy

MOTIVATION (bii) Attainment Value

(biv) Cost

(biii) Utility Value

Students work individually to create their digital music composition using Osmo Coding Jam on iPads aligned to MOE Music Syllabus Stage 1 LO2 ii (composing a rhythmic ostinato rhythm to a melody) through self-directed learning, guided with teacher’s facilitation.

Using Osmo Coding Jam, students compose 2 bars of melodic, harmonic and rhythmic layers in 4/4 time.

Method Mixed-methods study with the following data collection:

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QR code McPherson’s questionnaire

With these 6 motivational measures, McPherson and others (2008) developed 15 questions for a motivational study to compare students’ motivation to study music as compared to other school subjects in eight different countries.

◊

Pre- and post-module questionnaires ↪

Consist of 15 questions based on a motivational study developed by McPherson and others (2008)

↪

Categorised according to the six motivational measures

↪

Conducted using Google Forms

↪

Questions scored on a 5-point Likert scale

METHODOLOGY Context ◊

Six Primary 2 classes of 28 to 30 students

◊

1-hour music lesson, once a week, carried out across 7 lessons or approximately 2 months

◊

Students are of mixed ability and have no prior knowledge of music composition

◊

Digital music composition results

◊

Feedback from students to understand student learning and experiences QR code for pre-module questionnaire

QR code for post-module questionnaire

TECHNOLOGY AND INCLUSION IN PEDAGOGY

EMPOWERING AND MOTIVATING LEARNERS

CURRICULUM & IMPLEMENTATION

OUTLINE OF LESSON ACTIVITIES

LESSON

◊ ◊

2

◊

OUTLINE OF LESSON ACTIVITIES

LESSON

◊ ◊ ◊

1

◊

Setting routines Introduction to Osmo Coding Jam Students use the app for the first time through informal learning, guided with teacher facilitation

Lesson 1 In the first lesson, routines were set.

Students queued according to their register numbers to collect the tools. After returning to their places, the students counted that all the blocks were present before setting up the iPads on the white bases with the red reflectors.

In the same lesson, students learnt to log into their profiles according to their classes and use the application for the first time on their own. At the end of each lesson, students conducted a wipe-down before they left the music room.

3

Going through the guidebook Going through the feature “Studio” on how to create their digital music composition Students continue with game practices and music composition in “Studio”

Students use the app to continue with game practices and improve on their music compositions in “Studio” through informal learning guided with teacher facilitation

Lesson 2 and 3 In the second lesson, worksheets that provided visual instructions on how to navigate the various features in Osmo Coding Jam were given to students (see QR code for guidebook). There are two main features in Osmo Coding Jam; Practice Mode and Studio Mode. ◊

Practice Mode contains skill-building exercises where students acquired the basic usage of coding blocks in a scaffolded manner.

◊

In Studio Mode, students created compositions of 3 musical layers in an open-ended manner.

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SOUNDING THE TEACHING V

Students could make personal selections on the type of characters they wanted to perform for each layer and deliberated on their own block arrangement or the musical flow of each layer.

Students could also make changes to the tonality of their compositions and add customised chord progressions.

Their studio works were then submitted anonymously to a cloud space called JamTV where users could view one another’s compositions.

Students then continued lessons 2 and 3 by alternating between Practice and Studio modes on their own.

QR code for more information about Osmo Coding Jam

QR Code for guidebook

Lesson 4 124

OUTLINE OF LESSON ACTIVITIES

LESSON

◊

4a

◊

Discussion of some students’ music compositions in “Studio” by comparing and contrasting Eliciting responses from students on the elements of a good musical composition

In lesson 4, classroom discussions were conducted to compare and contrast students’ studio compositions. This was to elicit responses from students on what constitutes a good musical composition on Osmo Coding Jam.

OUTLINE OF LESSON ACTIVITIES

LESSON

◊

4b

◊

Understand musical layers with classroom discussions and listening activities Understand 4/4 time in music compositions with clapping activities

In the same lesson, the teacher discussed with the students and consolidated the understanding of the following concepts: 1.

There should be 3 musical layers; melody, harmony and rhythm in their music composition.

2.

The tactile blocks are always structured in 4/4 time.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

EMPOWERING AND MOTIVATING LEARNERS

OUTLINE OF LESSON ACTIVITIES

LESSON

◊

Students use the app to continue with game practices and improve on their music compositions in “Studio” through informal learning with teacher facilitation

◊ ◊

Reviewing the rubrics Benchmarking some students’ music compositions Students use the app to continue with game practices and improve on their music compositions in “Studio” through informal learning guided with teacher facilitation

5

◊

6

Lesson 5 and 6 In lesson 5, students alternated between the Practice and Studio modes on their own.

In lesson 6, the rubrics were shared, then we sampled and assessed some of the students’ compositions according to texture, arrangement and structure as per the rubrics.

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OSMO CODING JAM MUSIC COMPOSITION RUBRICS L02 (ii)) Students should be able to compose rhythmic ostinati of at least 2 bars to accompany a melodic piece.

Competent 8-9, Developing 5-7, Emergent 1-4

3

2

1

TEXTURE

Student is able to create a music composition made up of 3 different musical layers; the melody, harmony and rhythm.

Student is able to create a music composition made up of 2 different musical layers.

Student is able to create a music composition made up of only 1 type of musical layer.

ARRANGEMENT

Student is able to organise musical patterns well and blend the musical layers nicely to create a cohesive and pleasant sounding music composition.

Student is able to organise some of the musical patterns well and blend some of the musical layers nicely.

Student is not able to organise musical patterns well and did not blend the musical layers nicely.

Student is able to create a clear 8 beats-long musical composition.

Student creates a clear 4 beats-long musical composition.

Student is unable to create a clear 8 beats-long musical composition.

STRUCTURE

EMPOWERING AND MOTIVATING LEARNERS

SOUNDING THE TEACHING V

OUTLINE OF LESSON ACTIVITIES

LESSON

◊

7

126

Students refer to teacher’s feedback and do their last touch-up to improve on their music composition in “Studio” through informal learning with teacher facilitation

Lesson 7 In the final lesson, students refer to my feedback on their last studio work and improve their music compositions before the final submission.

STUDENT A

Great selection of your characters and some good musical arrangements! √ All 3 musical layers are present. Create longer 8 beats layers. Great progress.

STUDENT B

I love the musical arrangement of your musical layers! Very catchy! √ However, the melody layer is missing. Keep the musical layers to 8 beats long. Great progress!

STUDENT C

√ 3 different musical layers √ 8 bars structure :) Great selection of characters! Improve on the musical arrangement within each layer for a better sense of musical direction. Very good!

STUDENT D

Very promising musical arrangement! The composition is well blended.

However, the harmony layer is missing and the layers are too long.

Keep the musical layers to 8 beats long. Great start!

STUDENT E

Very catchy musical arrangement! The composition is very interesting.

However, the harmony layer is missing and the layers are too long.

Keep the musical layers to 8 beats long. Great start!

STUDENT F

Good composition, Student F! Well done! :) √ 3 different musical layers √ Good arrangement. Your musical arrangement blends very well! Create longer 8 beats harmony (witch) and rhythmic (red robot) layers. You can also work on fine-tuning the musical arrangement of your composition.

STUDENT G

√ 3 different musical layers √ Good arrangement I love the selection of your characters and the tuneful musical arrangements. :) Keep the musical layers to 8 beats long. Great composition!

STUDENT H

Great selection of characters! Very interesting! :) Keep the musical layers to 8 beats long. Fine-tune the musical arrangement of your composition.

STUDENT I

Good composition! Well done! :) √ 3 different musical layers √ Good arrangement √ 8 bars structure The 8 bars structure is very clear. You can work on fine-tuning the musical arrangement of your layers, especially your melody (blue caveman) to make it sound more obvious above the harmony (green scientist).

TECHNOLOGY AND INCLUSION IN PEDAGOGY

FINDINGS

EMPOWERING AND MOTIVATING LEARNERS

statistically significant, the p-value needs to be less than or equal to 0.5.

Pre-/PostMotivational Measures A total of 148 sets of pre- and postmodule questionnaires were collected.

These are the findings.

Table 1 compares the mean scores between the pre- and post-motivational measures. For results to be considered

Looking at the results, there is a significant increase in self-efficacy and cost, and a significant decrease in expectancy. Thus, I will be sharing more findings with regard to these 3 motivational measures. *When p-value ≤ 0.5, the results are considered to be statistically significant.

P2 MOTIVATIONAL MEASURES

n=148

Pre-test

Mean

SD

3.99

1.01

SELF-EFFICACY Post-test

4.20

1.07

Pre-test

4.24

0.73

INTRINSIC VALUE Post-test

4.19

0.90

Pre-test

3.82

0.94

Post-test

3.85

0.99

Pre-test

3.95

0.90

Post-test

3.94

0.94

Pre-test

3.59

0.77

Post-test

3.69

0.85

Pre-test

4.03

0.89

Post-test

3.84

0.93

ATTAINMENT VALUE

UTILITY VALUE

COST

EXPECTANCY Table 1. Paired sample T-tests between pre- and post-module motivational measures

t-value

p-value

1.98

0.05*

127

-0.61

0.54

0.33

0.74

-0.12

0.91

1.20

0.23*

-2.00

0.05*

EMPOWERING AND MOTIVATING LEARNERS

SOUNDING THE TEACHING V

P2 n=148

QUESTION

Question 1 Self-Efficacy: How confident are/were you that you can use an iPad app to compose an interesting piece of music?

Pre-test Post-test

Mean

SD

3.99

1.01

4.20

In the questionnaire, results from Question 1 measures the child’s confidence level and self-efficacy when using the iPad to compose music. Note the significant increase in self-efficacy.

t-value

p-value

-1.98

0.05*

1.07

In terms of how challenging or how easy composing music on iPads was, Questions 10, 11 and 13 indicated the significant increase in cost.

P2 128

n=148

QUESTIONS

Question 10 Cost: To what extent do you think using an iPad app to compose music might be/was challenging?

Question 11 Cost: To what extent do you think using an iPad app to compose music might be/was easy?

Question 13 Cost: Compared with other musical activities you normally do at school, such as singing and listening, how easy do you think using an iPad app to compose music will be/was?

Pre-test

Mean

SD

3.46

1.37

Post-test

3.34

1.37

Pre-test

3.70

1.27

Post-test

3.95

1.11

Pre-test

3.70

1.21

Post-test

4.04

1.14

t-value

p-value

-0.87

0.38*

1.96

0.05*

2.52

0.01*

TECHNOLOGY AND INCLUSION IN PEDAGOGY

EMPOWERING AND MOTIVATING LEARNERS

P2 n=148

QUESTION

Pre-test

Question 15 Expectancy: How hard do you think you will try/tried to use an iPad app to compose music?

Post-test

Mean

SD

4.03

1.21

3.59*

t-value

p-value

-3.09

0.00

1.37

However, looking at Expectancy, results from Question 15 show that there is a significant decrease in expectancy.

Grading of Students’ Digital Music Composition Students did better at picking the right characters for a balanced texture in composition, while more guidance could be given to improve the arrangement and structure of their compositions (Graph 1).

129

100

94

70

71

67

76

42 32 22 11

6

1

Texture

Arrangement 1 (E me rge nt)

Graph 1: Gradings of Students’ Digital Music Composition

Structure 2 (Dev e lop ing)

3 (Comp et e nt)

Overall Grade

EMPOWERING AND MOTIVATING LEARNERS

Student Feedback

DISCUSSION

These are some of the students’ feedback.

While the majority of the students expressed that they enjoyed the module, some of them were able to reflect further by sharing the limitations of the application.

Factors Contributing to Compositional Thinking - Strengths

I enjoyed it a little bit but I like normal music class.

I think Osmo Coding Jam is a good app, I would like to explore new app too but I am still not so confident.

I enjoyed that Osmo Coding Jam added the Studio and without it, it will be a bit less fun. I disliked that they didn’t add more satisfying sounds. It will be nice if you add more sounds. ;) 130

SOUNDING THE TEACHING V

I enjoyed the fact that it is a bit challenging but very fun.

I enjoy it very much because it is fun and easy, but I don’t like it because we have to use likes to get to difficult levels.

The technological tool, Osmo Coding Jam, has many inherent strengths that can help students develop compositional thinking.

What is important is how the teacher uses this tool and how the teacher scaffolds the composing lessons.

The tool makes composing music much easier. Building musical layers by sequencing musical patterns block by block, beat by beat, develops students’ compositional thinking. The use of blocks enables students to visualise musical patterns kinaesthetically by attaching the blocks a unit at a time until a musical layer is constructed. This replaces the demands of writing music notations while empowering students to be creative in experimenting the countless permutations of patterns they can create until they achieve their preferred sound.

This tool also has appealing animations and images that visually engage students.

They also function as graphic notations.

These notations illustrate musical pitch or rhythm, and at the same time show

TECHNOLOGY AND INCLUSION IN PEDAGOGY

EMPOWERING AND MOTIVATING LEARNERS

how various instruments are being played by different characters and how all three characters perform together to form a complete composition.

Lastly, characters in the application perform either the melody, harmony or rhythmic layers. They are further grouped according to unique themes such as tribal or sci-fi sounds, exemplifying the musical concepts of texture, timbre and genre.

As different characters perform with different instruments and dynamics, some harmony or rhythmic characters may be too loud and overpowering for softer-sounding melodies.

Suggestions Vary lesson activities to develop or reinforce diverse musical skills according to various musical layers Bring attention to melody from early on in the module and include activities such as replicating favourite melodies

Areas for Improvement

More effective questioning and class discussions for students to explain their choices Collaborative learning and peer feedback to gain ideas from one another’s work

Based on the students’ composition grading and my observation of their weekly work, the following are the common problems in students’ compositions. ◊

First, there is a lack of regular phrasing in some compositions. A group of compositions had irregular phrasing of 12 beats. Some had extensively long layers that never stopped due to the excessive use of number, repeat and subroutine blocks. The lack of regular phrasing hence results in a poor sense of musical direction in those compositions.

◊

Second, as students can manipulate the sounds freely, it resulted in some poorly arranged musical layers. For example, some musical layers had no melodic shaping or sense of climax, while some ended with high and short notes, with no sense of conclusion.

◊

Third, the combination of the different sounds from the characters is unable to blend well when mixed.

More timely feedback about students’ composition

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Further develop students’ compositional thinking Augment students’ awareness of their musical arrangements

To address the limitations, the following are what I felt I could have done more: ◊

To provide more varied lesson activities in developing musical skills, focusing on melodies from the early part of the module to develop their ears for good arrangement

◊

To work on more effective questioning and class discussions for students to explain their choices in certain arrangements or characters

EMPOWERING AND MOTIVATING LEARNERS

SOUNDING THE TEACHING V

P2 MOTIVATIONAL MEASURES

n=148

Pre-test

Mean

SD

3.99

1.01

SELF-EFFICACY Post-test

4.20*

1.07

Pre-test

4.24

0.73

INTRINSIC VALUE Post-test

4.19

0.90

Pre-test

3.82

0.94

Post-test

3.85

0.99

Pre-test

3.95

0.90

Post-test

3.94

0.94

Pre-test

3.59

0.77

Post-test

3.69*

0.85

Pre-test

4.03

0.89

Post-test

3.84*

0.93

ATTAINMENT VALUE

t-value

p-value

1.98

0.05

-0.61

0.54

0.33

0.74

-0.12

0.91

1.20

0.23

-2.00

0.05

132

UTILITY VALUE

COST

EXPECTANCY

↪

The study investigated the motivational changes of Primary 2 students after experiencing digital musical composition activity.

↪

Based on the statistical findings, as a whole, there are 3 motivational measures that have changed significantly.

SIGNIFICANT INCREASE Self-efficacy Cost

SIGNIFICANT DECREASE Expectancy

TECHNOLOGY AND INCLUSION IN PEDAGOGY

EMPOWERING AND MOTIVATING LEARNERS

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◊

To provide more opportunities for collaborative learning and peer feedback

◊

To give more timely feedback about their compositions

From the statistical findings, the data surprised me as I thought the postquestionnaire result would show a unanimous positive increase in all 6 motivational measures. However, only 2 out of 6 motivational measures – self-efficacy and cost – achieved a significant increase while expectancy experienced a significant decrease.

So, what might have resulted in a significant increase in self-efficacy?

I felt that: ◊

The Osmo Coding Jam provided a mastery experience through

scaffolding and increasing task difficulty. The students share great excitement among themselves when they complete each level and unlock new characters and this mastery experience helps motivate students as they experience success steadily. ◊

The vicarious experience reaffirms students’ good work and provides their peers with musical ideas on how to improve their work.

◊

For verbal persuasion, the use of feedback helps to tell students what they have done correctly to encourage them positively.

◊

For boosting the emotional state of the students, good routines established and reinforced in the class contributed to the conducive environment for self-efficacy.

EMPOWERING AND MOTIVATING LEARNERS

SOUNDING THE TEACHING V

P2 n=148

QUESTIONS

Question 10 Cost: To what extent do you think using an iPad app to compose music might be/was challenging?

Question 11 Cost: To what extent do you think using an iPad app to compose music might be/was easy?

Question 13 Cost: Compared with other musical activities you normally do at school, such as singing and listening, how easy do you think using an iPad app to compose music will be/was?

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Mean

SD

3.46

1.37

Pre-test Post-test

3.34

1.37

Pre-test

3.70

1.27

Post-test

3.95

1.11

Pre-test

3.70

1.21

Post-test

4.04

For the significant increase in cost or the effort, as seen in the results for questions 11 and 13, the students felt that it was much easier and less challenging to compose music using Osmo Coding Jam. This further reinforces how easy the technological tool is for Primary 2 students.

t-value

p-value

-0.87

0.38

1.96

0.05

2.52

0.01

1.14

might have taken the definition of hard as the opposite of easy or perhaps the students did not understand the question.

With hindsight, rephrasing the question would perhaps help to measure this motivational measure more accurately.

The significant decrease in expectancy might be due to the word “hard” used in question 15. Despite giving explanations when conducting questionnaires, students

There is also a group of weaker students who did their work very slowly and took very little initiative in asking for help.

These students might benefit better from pair work.

P2 N=148

QUESTION

Question 15 Expectancy: How hard do you think you will try/tried to use an iPad app to compose music?

Pre-test Post-test

Mean

SD

4.03

1.21

3.59

1.37

t-value

p-value

-3.09

0.00

TECHNOLOGY AND INCLUSION IN PEDAGOGY

EMPOWERING AND MOTIVATING LEARNERS

CONCLUSION students experience success in creating complex-sounding music composition through a structured process using tactile blocks that would have been challenging in a normal music classroom setting.

The music curriculum involving the music technological application tool, Osmo Coding Jam, has enabled our Primary 2 students to develop compositional thinking and have fun creating music through a game-like experience with tactile blocks. It comprises simple processes that help students develop musicality by engaging students through kinaesthetic play.

Students also develop greater motivation and confidence in music creation as

There is a need to balance teacher’s facilitation and students’ self-directed learning which includes providing space for the students to develop their creativity. Moving forward, through incorporating cooperative learning strategies and opportunities for discussions, students could gain ideas from each other and help one another.

All these working in tandem can then enable an experience for success in music composing for Lower Primary students in Music Lesson.

References Bandura, A. (1977). Self-efficacy: Toward a unifying theory of behaviour change. Psychological Review, 84(2), 191-215.

Bandura, A. (1995). Self-efficacy in changing societies. Cambridge University Press.

Bandura, A. (1997). Self-efficacy: The exercise of control. W. H. Freeman.

Eccles, J. S., Adler, T. F., Futterman, R., Goff, S. B., Kaczala, C. M., Meece, J. L., & Midgley, C. (1983).

Expectancies, values, and academic behaviours, In J. T. Spence (Ed.), Achievement and achievement motives: Psychological and sociological approaches (pp. 75-146). W. H. Freeman.

McPherson, G., Hentschke, L., Juvonen, A., Gonzalez, P., Portowitz, A., Leung, B. W., Xie, J., & Seog, M. (2008). Children’s motivation to study music: Evidence and perspectives from eight countries. Presentation at the 28th World Conference of the International Society of Music Education, Bologna, Italy.

Pajares, F. (1996). Self-efficacy beliefs in academic settings. Review of Educational Research, 66(4), 543-578.

Wigfield, A., & Eccles, J. S. (2000). Expectancy-value theory of achievement motivation. Contemporary Educational Psychology, 25(1), 68-81.

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Section 4

Facilitating Music Making and New Literacies With technological tools, teachers can explore new ways to facilitate music making, which in turn can engage students in new forms of literacies for the music classroom, intentionally or unintentionally.

This section discusses five different ways in which teachers have used technological tools for music making, creating new learning experiences for their students.

Zhane Tang Zhanke shared how his curriculum was maker-centric to cater for the boy-centric education in his school, and the integration of design thinking and computational thinking anchored on experiential learning, implemented through a combination of structure and unstructured play, provided an authentic learning experience that mirrors real-world projects for his students.

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Tan Guodong explored how he harnessed different technologies in his Primary 4 recorder lessons, from using an app, to harnessing the SLS and Flipgrid as platforms for students’ performance recitals, giving the concept of “recital” a new meaning and experience for students.

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Lim Jia Jing leveraged the technologies which students interact with, specifically TikTok and video games, as a stimulus for students’ music creative work and to help them see the role of music in the context of their digital lives, and be more curious about music technology.

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Jolene Khoo Li Wen shared how she harnessed technological tools to engage students in digital band, and how alternative notations (or

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alternate literacies) could help students in the process.

Ng Ying Hui implemented an iPad band module that harnesses informal learning and technological tools. She discussed the pros and cons of the different educational apps to enhance the effectiveness of her pedagogy and create a more inclusive music classroom.

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FACILITATING MUSIC MAKING AND NEW LITERACIES

SOUNDING THE TEACHING V

Student Experience in a Maker-centric Music Classroom Zhane Tang Zhanke

BACKGROUND

Montfort Junior School

Established since 1916, Montfort Junior School is one of the few schools in Singapore that is more than a century old.

We are a Catholic, all-boys’ school, which is why we have to adopt a school-wide approach to boy-centric education (BCE).

We found that boys are more kinaesthetic, more visual, more active. So, BCE helps us to be more effective teachers in an allboys environment.

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Also, the school has been a Lead School for Maker Education for North Zone schools since 2020.

CONTEXT So, with the school’s direction towards a maker-centric school, I had to reflect on my curriculum, how to infuse making into the music curriculum. It is a very broad and bold movement. But through many discussions and research, I decided to use a micro-controller called Makey Makey.

◊ ◊ ◊

Infuse “making” into music curriculum Usage of a micro-controller “Makey Makey” Create a curriculum package with a combination of making, coding and music concepts, and music performance

We procured the equipment and my big task was to create the curriculum package which encompasses a combination of making, coding and music concepts, and music performance.

Then the next questions were: ◊

What pedagogy to use?

◊

How to teach the lessons?

◊

How to scaffold?

BACKGROUND With the questions in mind, I started a trial curriculum with a class, about 40 NTIL (Non-Tamil Indian Language) boys who were exempted from Mother Tongue in 2019 Semester 1.

And since there were no resources, no pedagogy and approaches in the fraternity for this type of specialised lesson, I had to do some research on what strategies to use. I had free rein to explore during this time.

Initially, it felt overwhelming, as everything was unstructured; make first or music concepts first; code first or music concept first? Lots of questions, lots of trial and error.

And from there, I created a set of pedagogy to follow and used the June holidays to craft out a fusion curriculum.

I talked to my School Leaders on what I needed. With that, I officially commenced the Makey Makey curriculum in 2019 Semester 2.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

INQUIRY ◊

◊

FACILITATING MUSIC MAKING AND NEW LITERACIES

APPROACHES FOR MAKER EDUCATION

What are the students’ learning experience in this maker-centric music curriculum?

Structured

How did this programme benefit the students in terms of musical outcome?

Making is teacherinitiated. Level of student directness depends on the type of experience planned by the teachers.

MONTFORT’S MAKER EDUCATION Anchored on the theories of: ◊

Constructivism (Jean Piaget)

◊

Constructionism (Seymour Papert)

Teacher decides what the student is to make and how to make it.

Student exercises some choice in the design process.

CONSTRUCTIVISM ◊

Learning is an active process

◊

Good relationship between instructor and learner

◊

Collaboration among learners

◊

The importance of context

◊

Selection, scope and sequencing

◊

Knowledge as an integrated whole

◊

Engaging and challenging the learner

CONSTRUCTIONISM ◊

Connected with experiential learning and builds on Piaget's theory of constructivism

◊

Key additional component – learning happens most effectively when students are active in making tangible objects in the real world

These two theories go hand-in-hand to deliver an effective makers curriculum and is relevant to music teaching especially since they are anchored on experiential learning.

Making is supervised by the teacher, and the teacher intervenes when the student experiences difficulties.

SemiStructured

Unstructured Play

Student may decide what he/ she is to make and how to make it. Teacher may provide some guidance at this step.

Making is studentinitiated and student-directed.

Making is supervised by the teacher, and teacher intervenes when the student experiences difficulties.

Making is used to deliver learning outcomes determined by the teacher.

Making is used to deliver learning outcomes determined by the teacher.

With the theories sorted out, Montfort’s Maker Education is conducted in three approaches. The structured and semistructured programme is conducted mostly during curriculum time, and the unstructured programme is conducted after school. The Makey Makey curriculum is a combination of all three approaches.

Integrating Maker Education into music lessons When deciding whether to integrate makers and music, I have three principles to follow: ◊

That the integration has to be natural and not fused for the sake of fusion.

Student decides what to make and how to make it.

Teacher does not intervene with the decisions made by the student.

Teacher provides guidance only when necessary Making is used to deliver outcomes determined by the student.

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FACILITATING MUSIC MAKING AND NEW LITERACIES

◊

There must be an intended outcome for the music curriculum.

◊

This curriculum must cover the learning outcomes in the music syllabus. It must add value to have a musical outcome, otherwise there is no point in integration at all.

What is Makey Makey?

Makey Makey is a micro-controller (Fig 1), that is designed to connect with everyday objects. As long as the material can conduct electricity, it can be hooked up. It extends as a keyboard or mouse input signal. It works with any program or web page that accepts keyboard and mouse signals.

SOUNDING THE TEACHING V

What is Scratch Coding?

Scratch coding is a block-based visual programming language primarily targeted at children. Children can create their programs using a block-like interface which functions as codes.

The Scratch programming language simplifies coding for children.

Intended Outcomes for Music Curriculum Primary 5 boys will: •

Harness knowledge of musical scales and to form basic chords.

•

Work collaboratively in groups of five to make their instruments with Makey Makey.

•

Use scratch coding to customise the notes that their instrument can play.

•

Perform a song from the Indicative Repertoire of our music syllabus, using a combination of singing and instrumental accompaniment, for our non-teaching staff.

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Fig 1: Makey Makey micro-controller

Fig 2: Examples of Scratch Coding

TECHNOLOGY AND INCLUSION IN PEDAGOGY

Makey Makey Curriculum

FACILITATING MUSIC MAKING AND NEW LITERACIES

Design Thinking Pedagogy and Computational Thinking

With only 1 Music period allocated for our Semester 3 syllabus, I proposed to the school that we should combine both Art and Music lessons. After going through an initial discussion with the Art ST, we felt it was a win-win situation.

She would be in charge of the Art domain, I would be in charge of the Coding and Music domain.

The boys received the best of both worlds during their lesson with us.

Makey Makey Curriculum Key characteristics ◊ Interdisciplinary Curriculum between Art and Music (3 periods) ◊ Combination of Structured, Semi-structured and Unstructured Play ◊ Anchored on Design Thinking Pedagogy and Computational Thinking ◊ Integration of Inquiry-Based Learning, Orff Approach and Problem-Based Solving

The curriculum had a combination of structured, semi-structured and unstructured approach. There were taught tutorials and self-practice time.

The main pedagogy used for this curriculum was design thinking and computational thinking which run concurrently, with the integration of inquiry-based learning, Orff instruments and problem-based learning.

Design Thinking (DT) – a 5-step process

DEFINE

Firstly, we define the problem. We determined that the students are not having enough interaction with the non-teaching staff in the school.

EMPATHISE

Next, students choose a non-teaching staff member, then they interview them to find out their preferences, their hobby, what they like to eat, what songs they like, which instruments they prefer.

IDEATE

Once the interview is conducted, the students come back to the drawing board and start designing their projects. This is also where most of the inquiry-based learning occurs, where the teachers will probe, bounce ideas back and forth with the students on what is feasible, what is not feasible.

PROTOTYPE

Once their blueprint is approved, students start to build their product, and this is where most of the troubleshooting happens.

They do coding, they build the circuits, they map their song to the codes, find out if the buttons are working etc. This involves computational thinking and problembased learning.

TEST

Lastly, they perform and rehearse with their product (customised instrument) before going out for their actual performance.

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FACILITATING MUSIC MAKING AND NEW LITERACIES

Computational Thinking (CT) – a 4-step process

DECOMPOSITION

Breaking down a complex problem or system into smaller, more manageable parts

PATTERN RECOGNITION

Looking for similarities among and within problems

ABSTRACTION

Focusing on the important information only, ignoring irrelevant detail

ALGORITHM

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Developing a step-by-step solution to the problem, or the rules to follow to solve the problem

I found that the CT process could also apply to music learning. For example, when breaking down a complex piece, the students look for similarities in the musical pieces, then focus on what the musical element/concept is, and through practice, develop their solution to play the musical piece. So, CT resonated a lot with me as a music educator.

SOUNDING THE TEACHING V

CURRICULUM STRUCTURE: MAKEY MAKEY CURRICULUM The curriculum is implemented over 10 weeks. We started by introducing design thinking, then we taught students the Makey Makey micro-controller and how to code musical scales and chords.

From there, I uploaded the Indicative Repertoire and assigned a coding assignment for the boys. It was a flipped approach where they tried out the codes at home. Once they returned to the classroom, I went through more concepts like circuits and materials. Then, I had students make a basic 4-chord instrument, just using the chip and wires.

Week 5 is when we start the interviews.

The boys would spend about 30 minutes to go around interviewing the non-teaching staff. They would then brainstorm and do a rough sketch of their project ideas.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

At that point, because everyone was doing different songs, I used the following week to go through how to play their selected songs on Orff instruments. With that, they would be able to draw reference back to the Orff instruments when designing their customised instruments.

I then gave them 2-3 weeks to make or code, and rehearse their product.

Then, it would be the assessment and showcase in week 10.

The thing about making is that it is a little complicated. If you want the quality of work to get better, it is important to implement and continue with the exploration process. With that, I introduced the self-directed programme after school.

UNSTRUCTURED PLAY: SELF-DIRECTED EXPLORATION AFTER SCHOOL PROGRAMME ◊

◊

◊ ◊

Students come to the makersʼ space (Tinkershop) with their own project ideas after school (Not restricted to musical instruments) Students learn the essentials during curriculum, and now they are applying what they have learnt and build something out of their own “blueprint” Emphasis on Exploration, Making and Problem-Solving Adult supervision when handling sharp tools, saw blades and machinery

FACILITATING MUSIC MAKING AND NEW LITERACIES

The unstructured play approach emphasised the importance of exploration, making and problemsolving. Our students come into the makers’ space (we call it Tinkershop) in Montfort, and they build their project out of their blueprint. This blueprint will not be restricted to musical instruments.

The intention is quite simple. I equip students with the relevant skills to explore and show me what they want to create. The whole afternoon would be self-directed, with minimal guidance from me. However, there would be adult supervision whenever students handle sharp tools.

SCAFFOLDING IN SCRATCH CODE In introducing Scratch, I told the boys, “Imagine you just woke up from bed.

From your bed, give the computer instructions on how to make a peanut butter sandwich.”

Usually, the boys would say, “pick up the sandwich, apply the peanut butter” and so on. But they assumed that the computer could walk to the kitchen, locate the bread and open the jar.

Students needed to be specific: there must be a starting point, a finishing line, and if any steps were skipped, the computer could not process what they wanted correctly.

So, from the example, once they were able to relate that they needed to be very specific in their coding, and all processes must be linked to one another, I could move on to teach them how to code for music.

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SOUNDING THE TEACHING V

Examples of Coding These are the block-based codes that the students can use for music.

Block-based Codes for Music

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Block-based Codes for C Major Chord

Block-based Codes for C Major Scale

You can see how I formed a scale and a chord with the codes.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

FACILITATING MUSIC MAKING AND NEW LITERACIES

Final Project Outcome

Interview

◊

Students build their project according to non-teaching staff’s preference.

◊

Students perform for non-teaching staff and establish a good rapport.

◊

Students learn through the process of making, incorporating both music and maker education.

There was much excitement in the interviews. For example, one group who interviewed the Principal shared, “WE JUST WENT INTO THE PRINCIPAL’S OFFICE!!!!!!” They were so excited to share with me about our Principal’s interview, and what he likes to do.

OBSERVING THE STUDENT EXPERIENCE

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Brainstorming and Planning The brainstorming took place right after the interview. The students would use the iPads to do research and to do their rough sketching.

FACILITATING MUSIC MAKING AND NEW LITERACIES

SOUNDING THE TEACHING V

Testing the Codes Students then tested their basic circuit.

They came up with ideas to use coins, paper, notes to clip their cables and organise their circuits.

They did troubleshooting.

Students’ Work-in-Progress Here are some examples: 146

Coding and Troubleshooting

Nasi Lemak Piano

The coding was done as an individual task so that I could formatively assess each student’s level of understanding in terms of the code and musical elements.

Just one glance at this product, and you can tell what the non-teaching staff likes.

The boys used aluminium foil as their conductive triggers for this product.

Dog-themed Piano

TECHNOLOGY AND INCLUSION IN PEDAGOGY

One group identified that a non-teaching staff member likes dogs. So, the boys created a dog-themed piano. They used conductive clay to mould the keys into a bone-shaped button. And they prepared the song with their laptop.

Football + Rugby Guitar

FACILITATING MUSIC MAKING AND NEW LITERACIES

and Vice-Principals. Their interactive projects showed a variety of ideas and effort to explore different possibilities on their part.

We also observed a sense of ownership.

For example, we had a group that built a huge controller which they wanted to use to play Mario. I asked them why it was big and if it was ergonomic. They said, “Teacher, this is a Lebron James Brand Product, not found anywhere else! So, we want it big, to show off the brand!”

OBSERVING POST-MODULE FINDINGS Feedback from Senior Teacher Then we have a staff member who likes rugby, soccer and cycling. So the plan was to create a cycling track, and a soccer/ rugby field combination. As seen, the keys are actually the Rugby and Soccer Ball.

Pineapple Train Piano

“This is the first time the Music and Art departments collaborated through this Makey Makey Project. I personally like this project very much as students got a chance to apply their art and music skills together in a meaningful way.

Interdisciplinary learning like this makes learning more authentic and it helps students to see the connection between different subjects. I hope to see more of such collaboration in future.”

– Mrs Amy Khoo, ST (Art)

Student Feedback

Yet another group created a Pineapple Train Piano as the staff member they interviewed enjoyed pineapples and trains. They boys tried very hard to accommodate the staff member’s preference.

Unstructured Play Products Students also participated in a minisymposium, where they showcased their work to their Form Teacher, our Principal

A survey was conducted through SLS focusing on: ◊

Student experiences

◊

Whether they enjoyed the lessons

◊

Their self-confidence

From the response, 100% of students knew what was expected, and they stated that they liked the new approach to learning.

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SOUNDING THE TEACHING V

Poll 1:

Poll 3:

Were the objectives of this project clearly presented to you at the start of this module? (Design thinking, the problem identified, what you need to do for the term)

Do you reflect on what you have learnt and think about what went well and what didn’t?

1% 4%

17% 36%

59%

83%

Ye s

148

Mo stly

Ye s

Sometimes

Mostly

No

Poll 2:

Poll 4:

The Makey Makey curriculum is an interdisciplinary approach between art and music. With regard to Music lessons, do you enjoy learning the different musical concepts in this type of specialised lessons?

There were musical concepts taught during the Makey Makey project. Do you have a better understanding of these concepts? (What is a scale, how to form a chord, the different notes for the chords, etc.)

2%

23% 34%

64%

77%

Ye s

Mo stly

Yes, I understand the concepts taught I understand most of the concepts taught

Often, our students would need to do some self-thinking to have a better understanding/outcome. 95% of my students did their reflection while progressing through this project. The majority of students also understood the concepts taught.

I understand a few of the concepts taught

I had to check whether we provided the necessary help for the boys. So, this was to identify who were the ones that did not receive sufficient support and for us to work on providing better assistance in future.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

FACILITATING MUSIC MAKING AND NEW LITERACIES

Poll 5: With 2 teachers (Art and Music) in the classroom, were the teachers able to provide you with the appropriate help you need?

1%

11%

88%

Ye s

S omet i me s

Mo s t ly

No

Poll 6: Mr Zhane taught you how to code, and how to link your codes to have a musical outcome. Are you confident enough to write your own codes and play/perform music with your codes?

6%

39% 55%

Yes, I am confident I am somewhat confident No, I am not confident at all

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On their confidence level, 55% of students were confident that they were able to perform and make music with codes while another 39% were somewhat confident. This could be due to the exposure of performing with their instruments. Perhaps I could look into more platforms for the students to do more showcases and performances with their products.

On their curiosity levels, about half of the cohort would like to go into the Tinkershop and make their projects.

About 46% were somewhat curious.

As long as students have that spark of curiosity, I could conduct more in-depth lessons and they would be motivated to focus on the task.

FACILITATING MUSIC MAKING AND NEW LITERACIES

SOUNDING THE TEACHING V

Poll 7:

Poll 9:

After going through this lesson, are you curious about what other products you can make with the Makey Makey?

Are you proud of your customised instrument?

1%

5%

6%

49%

46%

Yes, I am very curious about what I can make with the Makey Makey.

I would like to go to the Tinkershop and make something with the Makey Makey

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29% 64%

Yes, I am proud of my project Yes, I am quite proud of my project I am somewhat proud of my project I am not proud of my project at all

I am somewhat curious about what I can make with the Makey Makey No, I am not curious at all

Poll 8:

Poll 10:

Did you enjoy the Makey Makey project?

Do you feel good performing with your own customised instrument?

1% 3%

2%

12%

46%

49%

87%

Yes

S o metimes

Ye s

Sometimes

Mo s t ly

No

Mostly

No

TECHNOLOGY AND INCLUSION IN PEDAGOGY

On whether they enjoyed the entire experience, 99% of our boys from the Primary 5 cohort enjoyed themselves during this module.

About 93% of the cohort were proud of the products they made and about 95% felt good that they performed with their customised instruments. While these numbers are really encouraging, I am keen to explore how I can boost their confidence levels. Based on the boys’ responses, they have that tinge of insecurity when performing by themselves without teacher guidance, and that is fine, because this will take time. Moving ahead, I will source for more platforms for students to showcase their work.

How have you benefited from this Makey Makey module?

From the open-ended responses, most of the comments were code + music, design thinking, mingle with non-teaching staff, working together. The one thing that struck me was this particular comment, “to know what you are doing”. I think it is really important in this module for the students to have a direction, a goal to work towards to achieve the outcome.

I learnt how to make a prototype by interviewing our non-teaching staff and asking them what they like and we input it for our project and we make designs out of the questions we ask them.

FACILITATING MUSIC MAKING AND NEW LITERACIES

I learnt how to play music in coding.

I learn how to code properly and I learnt that Makey Makey is very interesting.

How to be creative and doing the coding for the songs.

I learnt how to code and know what’s Makey Makey in a clearer perspective.

I’ve learnt how to work together in a team and more efficiently.

I learnt about design thinking and how to code.

Coding, how to link my codes to have a musical outcome.

I have learnt to communicate with my teammates and try to solve problems with others better.

The learning points are to understand and to know what you are doing.

I have learnt to brainstorm how to code and design for the non-teaching staff.

Learning in-depth coding; how to use Makey Makey.

How to make a circuit.

Learning how to work together as a team and learning how to plan out a solution for a problem.

I have learnt that we should have more interactive time with the nonteaching staff and not just our teachers or friends.

I have learnt how to code and play the music for the nonteaching staff.

I have learnt how to use method (D.E.I.PT) and also coding.

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SOUNDING THE TEACHING V

DISCUSSION

CONCLUSION

◊

Both teachers provided clear expectations for this curriculum, and students knew what to do throughout the curriculum.

◊

The integrated curriculum between Art and Music has benefited the students.

They learnt musical concepts (e.g. chords) differently through this specialised curriculum.

They enjoyed themselves in this curriculum.

Through the inquiry, I have set out to examine my students’ learning experience in the maker-centric music curriculum and where their learning had taken place in terms of musical outcomes (e.g. music concepts, music performance). But observing students’ experience and their feedback, I felt the curriculum had given them a learning experience that involved skills such as inquiring and problemsolving, and developed dispositions such as empathy and a sense of curiosity.

◊

We realised that reflection must be conducted in a more structured manner, for students to have a better understanding of the concept.

◊

Students’ confidence level could be better. This might be due to the lack of performance exposure.

We will look into creating more platforms for students to showcase their work.

So, all in all, I felt I embarked on a huge curriculum. There was a lot of management, whether it was logistic in nature, changing the way I managed students’ projects during the different approaches and guiding students towards completion, or panicking together with them. I must say it had been challenging and draining. But eventually, as I reflect on what we went through together as teacher and students, the photos, their faces, the sense of accomplishment they felt, the sparkle in their eyes, I feel that these will continue to keep me going.

IMPACT OF TECHNOLOGY-ENABLED P4 MUSIC RECORDER MODULE ON STUDENT EXPERIENCE Introduction

Tan Guodong Woodgrove Primary School

With many technological tools that are available in the market, it has become a challenge for music teachers to identify suitable tools that benefit

Issue ▶

▶

While the expansion of technologies into the music classroom has been studied in great depth, there is a lack of published literature regarding the use of digital technologies by students learning in individual settings (Waddell & Williamon, 2019).

COVID-19 has also heightened the need for technological tools to facilitate the teaching and learning of music.

students’ learning of music in our educational context.

My inquiry project investigates how music technology can be used to enhance recorder music learning, leading to effective performance.

Research Question ▶

▶

How does the P4 Music Recorder module, which is enhanced with music technology, impact Primary 4 students’ experiences in learning?

What is the experience of using this music technology for formative/ self-assessment?

Music Technology Platforms

154

▶ ▶ ▶

AtPlayMusic Recorder App Student Learning Space (SLS) Flipgrid

▶

Parental consent is sought for video recording and photographs of lessons as well as the implementation of surveys for the class under study.

All other classes run the recorder programme as usual while infusing ICT into their lessons without the video recording and survey.

Methodology ▶

Purchase of AtPlayMusic Recorder App. The free version is only limited to the notes B, A, G. We bought the app so that it could be used to facilitate the learning of songs involving the notes on the C major scale.

▶

Curriculum ▶ ▶

P4 Music Recorder Programme is new to the school.

A new Scheme-of-Work (SOW) is crafted and the programme lasts one

▶

and a half terms.

Teachers exercise discretion in infusing technology into the recorder lessons.

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Fig 1: Snapshot of Plan

EXAMPLES OF SLS LESSONS Students learnt to play E and D notes, revised B, A and G notes and are hence able to play Old MacDonald Had a Farm (Fig 2).

Students learnt B, A and G notes before the Circuit Breaker and revised the notes during Home-Based Learning (Fig 3).

Fig 2: SLS Lesson Example 1

Fig 3: SLS Lesson Example 2

Students also completed a self-reflection task in each of these SLS lessons.

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FLIPGRID Students uploaded performance videos on Flipgrid (Fig 4) and gave one another constructive feedback. Grids were created for each class.

showcasing their performances on a platform we called “Busking” (Fig 5) which we created in Flipgrid. Students went to find scores of other pieces to play on the recorder by themselves.

Students were given the opportunity to go beyond what they have learnt by

A session was also opened up for students to perform in a digital music recital on SLS (Fig 6).

Fig 4: Performing on Flipgrid

Fig 5: “Busking” on Flipgrid

Fig 6: Digital Music Recital

PROGRAMME OUTLINE (ALL INVOLVED TECHNOLOGY) TOPICS

RESOURCES

Introduction – how to hold the recorder, blowing techniques

AtPlayMusic Recorder App

B, A, G notes

We intended the AtPlayMusic Recorder App to be used throughout the recorder programme but face-to-face lessons were disrupted due to the pandemic and we stopped using the app around the third week.

ACTIVITY

RESOURCE

AtPlayMusic Recorder App, SLS

Assessment

SLS, Flipgrid

Songs involving B, A, G notes

AtPlayMusic Recorder App, SLS, song sheets

Improvisation

SLS, Flipgrid

D, E notes

SLS, song sheets

Songs involving B, A, G, D and E notes

Extension

SLS, Flipgrid

SLS, YouTube

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Findings SURVEY Administered a survey in the class (33 students) STRONGLY AGREE

AGREE

DISAGREE

STRONGLY DISAGREE

I can play the recorder confidently.

10

22

1

0

The HBL recorder lessons have successfully guided me to master my recorder techniques.

14

18

1

0

I have a chance to improvise using the recorder.

16

16

1

0

The ICT-based recorder lessons are enjoyable.

18

14

1

0

I look forward to learning more songs using the recorder.

20

8

5

0

I look forward to performing on the recorder if I am given the opportunity.

8

11

11

3

I learn the concepts of rhythm and tempo well through this recorder programme.

11

20

1

1

STATEMENT

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Other comments

The recorder lessons are very fun!

During HBL, I get to learn many things also.

It was fun!

INTERVIEW Despite the very positive results, I wanted to find out if it was ICT alone that motivated students to pick up learning the recorder better. Here are some responses from student interviews.

STUDENT A The technology does support the learning of recorder. However, it is not the main reason why I like the recorder. The learning of the instrument itself is interesting and it is fun to learn something new. The AtPlayMusic Recorder App is a good recommendation for beginners who are trying to learn the recorder. It teaches the techniques to blow. The Flipgrid is good as I can listen to my own performance to perfect my playing. There are some free apps available that I can use too.

Conclusion Due to COVID-19, the programme involving music technology had been adjusted while aligning with the learning outcomes. Technological tools were used to enhance the development of technical and musical skills, in addition to enabling students to network and communicate with one another.

I found that technological tools (SLS and Flipgrid) have stretched students’ experiences in music and, in my curriculum context, allowed them to discover new ways of performing (digital music recital on SLS). This has also motivated some students to go beyond the class requirements to continue to make music.

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STUDENT B The interest in recorder is picked up from YouTube channel as well as the recital which gives the inspiration.

The technology is not the only tool that gives me the interest. However, the music in the app is interesting.

Overall, it is the programme itself that keeps me motivated.

As seen from student interviews, I also found that while music technology complements the learning of music, students’ interest in music may not necessarily come from the technological tools alone.

Reference

Discussion From the quantitative survey, most students responded positively to the ICTbased recorder programme.

14 students did not look forward to performing due to anxiety and stage fright.

Waddell, G., & Williamon, A. (2019). Technology use and attitudes in music learning. Frontiers in ICT. https://doi.org/10.3389/fict.2019.00011

FACILITATING MUSIC MAKING AND NEW LITERACIES

SOUNDING THE TEACHING V

What Are the Students’ Learning Experiences When They Are Composing Soundtracks for TikTok/Games?

Lim Jia Jing

INTRODUCTION

INQUIRY QUESTION

Springfield Secondary School

This inquiry investigates two different projects which students engage in for their music lessons.

The two projects are designed to interest students through something that is trending in their lives, and at the same time let them understand and learn music making.

The projects are:

What are the students’ learning experiences when they are composing soundtracks for TikTok and Games?

◊

Students doing Project TikTok were required to submit a 1-minute video and music that goes with it.

a.

◊

Students doing Project Game Design will submit a brief description of the game and 2 soundtracks that complement it.

160

b.

Project TikTok TikTok started in China as a video-sharing networking service which took the world by storm.

Both teenagers and adults use this app.

PROJECT TASK

◊

Project Game Design Gaming is essential among today’s generation and it is now so convenient with the availability of various mobile platforms.

Theme

Assignment

• •

◊

◊ ◊

Understand the trending games and TikTok Understand BandLab and its functions Understand GarageBand and its functions The platforms/apps for video editing

PROJECT TIKTOK

PROJECT GAME DESIGN

School

Any Genre

1-minute video 1-minute soundtrack (Own composition)

• •

Brief description of the game 2 soundtracks (Total 1 minute, own composition)

TECHNOLOGY AND INCLUSION IN PEDAGOGY

FACILITATING MUSIC MAKING AND NEW LITERACIES

Schedule

Data Collection

Each of my music lessons is 70 minutes.

The first 3 weeks mainly introduced the students to the project and allowed them to get accustomed to their work. This is followed by one-to-one consultations throughout the 6-7 weeks. The consultations help students to find ways to get inspiration and creativity by looking at existing works and see what kind of style they could imitate. Once September arrives, I would start to have the students film their work and get ready to submit into a Flipgrid channel (each class will have their Flipgrid). I gave them 3 weeks so that there would be no hiccups in the process especially when uploading onto Flipgrid.

Before the project, I did a pre-survey to find out what are the students’ thoughts and views regarding music technology.

After the project, a post-survey is conducted to find out students’ views about the project.

ICT Tools ◊

Phone/iPad

◊

Using their phone

◊

Android: BandLab

◊

iPhone: GarageBand

METHODOLOGY

◊

iPad: GarageBand

Target Group

◊

Any other apps they are comfortable with

◊

106 Express Students

◊

76 N(A) Students

◊

38 N(T) Students

This project is carried out by the entire Secondary 2 cohort.

Students could use their phone or borrow the school’s iPad. They could choose whether to use GarageBand, BandLab or any other apps they are more comfortable with.

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FINDINGS

SOUNDING THE TEACHING V

Question 2 – Why is music technology important or not important?

Pre-survey Question 1 – Do you think music technology is important in today’s context?

EX P – N=99 4%

Students have a variety of reasons why music technology is important. The 5 major categories are emotions, careers, impact, learning and practicality.

EMOTIONS Music lets us relax, lightens the mood and can cure anxiety or depression.

96%

We can express our feelings with songs.

Relieves stress or cheers us up when we listen to songs.

CAREERS N(A) – N=63

6.3%

Music plays a huge part in people’s lives.

Many people make a living off music, such as musicians.

It allows musicians to explore in the industry.

162

IMPACT 93.7% Without music technology, music will not sound as rich and impactful.

N( T) – N=34

Without music, society lacks entertainment and the hype from the music.

Musicians can unite people who love music through music technology.

8.8%

LEARNING Learn new song culture.

91.2%

To make new and catchy songs to listen to.

Learning music becomes more fun and meaningful.

Ye s No

Most of the students felt that music technology is important.

We get exposed to new skills.

PRACTICALITY We don’t have to waste money to buy expensive instruments.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

Question 3 – Have you heard of GarageBand before?

EX P – N=99

FACILITATING MUSIC MAKING AND NEW LITERACIES

Question 4 – Have you heard of BandLab before?

EXP – N=99

10.1%

37.4% 62.6% 89.9%

N(A) – N=63

N(A) – N=63

14.3%

14.3%

85.7%

85.7%

N( T) – N=34

N(T) – N=34

11.8% 32.4%

67.6% 88.2%

Ye s

Ye s

No

No

Most of the students have heard of GarageBand before, but surprisingly, not a lot of them have heard of BandLab.

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FACILITATING MUSIC MAKING AND NEW LITERACIES

SOUNDING THE TEACHING V

Question 5 – Would you want to learn more about music technology?

EX P – N=99

OBSERVATIONS ◊

Surprising participation from students after implementing the “music technology” project when they previously refused to do work.

◊

Most students could learn and explore on their own, with little hand-holding.

◊

Some students required frequent reminders to stay on task.

◊

There were a variety of works from simple to more complex compositions.

13.1%

17.2% 69.7%

N(A) – N=63

23.8%

SAMPLES OF WORK DONE

BY STUDENTS

11.1%

65.1%

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Project Game Design.

Adventure MMO inspired.

Done by a student from an Express class 1st soundtrack: Intro Music (Home page)

N( T) – N=34

17.6%

14.7% 67.7%

Ye s No Maybe, see what is t he t e c hno l o g y f irst

Most of them said that they might want to learn more about music technology. With the benefit of hindsight, I should have just given them only “yes” and “no” choices.

Project Game Design.

Adventure MMO inspired.

Done by the same student from an Express class 2nd soundtrack: Boss Battle

In one example of the Project Game Design, a student had a game in mind and was inspired by Adventure MMO. The first soundtrack was for the introduction to the game as the player first enters and his second soundtrack was envisioned to be more epic and powerful. He divided the second soundtrack into two parts.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

FACILITATING MUSIC MAKING AND NEW LITERACIES

And in the final part, he intended for the soundtrack to loop back to the first in case the player did not succeed within the timing.

POST-SURVEY – WHAT ARE THE STUDENTS’ THOUGHTS AFTER ALL OF THESE?

165

After the project finished, I did a postsurvey to find out about the students’ views regarding music technology. Most of them understood music technology through TikTok and game design.

Did the use of TikTok or Game Design help you understand the world of music technology more?

N=176 80

67 (38.1%)

70 60

60 (34.1%) 40 (22.7%)

50 40 30 20 Project TikTok Before & After Covid: School Edition

In an example of Project TikTok, a Normal (Academic) student involved her family members in the filming, which I found heart-warming.

10 5

3 (1.7%) 1

6 (3.4%) 2

3

4

5

FACILITATING MUSIC MAKING AND NEW LITERACIES

Which part of this entire project is the best/nicest for you?

MUSIC MAKING MUSIC EDITING FINAL PRODUCT FREEDOM

166

◊ ◊ ◊

Trying out different music combinations.

Learning new ways to create music.

The build-up from nothing to something gives me the drive to keep going.

◊ ◊ ◊ ◊

The distortion effects.

The video filming and editing process.

Music designing.

Getting to make music and adding effects for the sound.

◊

The build-up from nothing to something gives me the drive to keep going.

The end product of the song.

Producing the music from scratch.

◊ ◊ ◊ ◊

Creating your own music and game idea.

I enjoyed doing the research on beats and melodies found in games.

SOUNDING THE TEACHING V

REFLECTION – WHAT CAN I DO BETTER? What I have learnt… ◊

Going through this project alone for Term 3 and 4 has made me reflect on my project and teaching. I have learnt not to draw conclusions too quickly when students are distracted in their music making process as they might have their own problems before my lesson and I do not want to give them more stress.

◊

Students would try to test their boundaries and go onto mobile games/TikTok with the excuse of understanding the process more. For me, there is a difference between researching and playing. I could tell if students were huddled together and playing with their friends. I would then need to lay the consequences for my students if they were not on task.

◊

What I would wish to change is the task of Project Game Design. I would get different video gaming footages of different game genres and have students pick 2 contrasting genres and make a soundtrack based on the videos. This is to aid students who prefer “visual” learning and a way to focus on the project at hand. I would also take the students through the thinking process.

◊

We teachers have a constant pushand-pull with students regarding their phone usage. Harnessing their phones for music lessons could help them see how music can take place everywhere and in their hands literally. I would need to consider what new classroom routines are needed with these tools.

Most of the students found that music making, music editing, listening to the final product and the freedom of choosing their style and project to be the nicest for them.

Are you more curious about music technologies after going through this project?

58.5% of students felt that they are more curious about music technologies after the project while 41.5% did not. This was a much larger proportion than in the presurvey where between 13.1% and 23.8% of students indicated they wanted to learn about music technology.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

FACILITATING MUSIC MAKING AND NEW LITERACIES

To students, music is purely for listening and not so much of “doing” and “learning”.

How can we change that?

Finding topics that are relatable to their everyday lives. Even if it means that the teacher has to do a bit more research on the trends in that year.

With phones and iPads, what are the new classroom routines and rapport among one another?

Using technology allows students to experience music even without expensive instruments. Music can happen everywhere, even in their own hands, literally.

167

CONCLUSION Designing and implementing a curriculum that harnessed new technologies such as TikTok and video games, which are not often associated with education, was very intimidating for me. For example, the fear of students using phones to do other stuff and being distracted was quite overwhelming.

There were days where I questioned whether this project was a good idea but when I heard and saw the students’ work and their behaviour in class, I realised that it was all worthwhile. Students responded positively.

They enjoyed the process of music making, music editing, listening and autonomy. Their works demonstrated creativity and many became curious about music technology. With some routines and management, students could be entrusted with the responsibility of learning. I feel that if the students could feel our sincerity in the lessons we prepare for them, the students, too, will return that sincerity in the works they create.

DIGITAL BAND PROGRAMME (MOBILE PHONES) Jolene Khoo Li Wen Woodlands Ring Secondary School

Inquiry Question How are students experiencing playing music together as a digital band? ▶ How positive is the experience for my students? ▶ What did my students learn from the module? ▶ Does this activity promote continuous music making beyond the classroom?

168

Is this your first time playing instruments on your phone?

Project Overview 30 responses

Performance of Coldplay and The Chainsmokers’ Something Just Like This using handphones. Music is entirely performed by the students.

43.3%

56.7%

Ye s No

Background, Context and Methodology CONTEXT AND PROFILE OF STUDENTS ▶ Secondary 2 Normal (Technical) ▶ Class size: 30 students ▶ Class profile: Obliging and wellbehaved students, generally quiet,

▶

a mixture of motivated and passive learners No student with music background apart from 1 Band student (trumpeter)

Methodology ▶

Observation of students’ responses during lesson ▷ Whether students are attentive/ participative ▷ Whether students are experiencing significant

difficulties or success Whether students are listening to the music as they play ▷ Whether students have learnt their parts Student survey ▷

▶

Curriculum SN

LESSON OVERVIEW

1

Class discussion about the project and choice of songs

2

Learning basic drum beats and purpose of drums: Dancing Queen

3

Learning the keyboard, guitar: Introduction and Verse

4

Learning the melody, clapping rhythm: Verse

5

Learning the chorus with drums and bass guitar

6

Putting the entire song together

OVERVIEW We had six lessons for this project, which started with the students discussing what they would like to include in their performance and the choice of songs.

We also learnt more about drums, as this is an instrument I have not covered much previously.

Then, we used the next few lessons to learn the song Something Just Like This, learning the intro, then the verse, then the chorus.

Apps Used

169

RESOURCES a. Musescore ▶ To produce a backing track to help students synchronise their playing. ▶ Speed can be easily adjusted during the lesson to suit the students’ learning pace. ▶ The volume of a particular instrument can be adjusted and increased to guide students when learning how to play it.

170

Fig 1: Introduction Slides

Fig 2: Verse 1C Handclaps

b.

Slides The grid notation which also shows the beat, and the keyboard chart to guide students on the notes to play.

c.

Notation Handouts The handout is a condensed version of the score. ▶ Students preferred the grid notation to this system. ▶ Grid notation guides them more precisely on which beats to play.

Piano Intro

Fig 3: Notation (Type 1)

171

Fig 4: Notation (Type 2)

On the first lesson, I presented 2 types of notation to the students and asked them which they preferred, and which would help them play better.

The notation in Fig 3 showed the intervals of the notes, which I thought might help them visualise the notes and play more accurately, especially for students playing

the piano. However, the whole class said they preferred the grid system (Fig 4), as it helped them follow the beats better. Perhaps due to the nature of the instruments, the students did not value visualising the note intervals as much.

They valued being able to play in time more. A system showing note intervals might be more useful for them if they are singing.

Teacher Observation

breaks was a “reward” if they demonstrated that they had learnt well. They appreciated the trust and did their best. It was a win-win situation because I did not have to keep checking if they were on task with their phones. Each break was limited to 5 minutes. And I needed to be firm when “time was up”. I also encouraged them to rest their eyes.

Some students would close their eyes too.

PEDAGOGY a. Bite-sized Learning with Opportunity for Success I allowed students to suggest songs.

I picked a song from their list and taught the song in parts: ▶ 2-4 bars each time ▶ Introduce 1 instrument at a time I also deliberately kept the parts simple for students as they tended to get discouraged easily if it is too difficult. The parts had to be matched to where they are at, with a bit of challenge, to create an opportunity for success and to develop their self-esteem and interest through the music making. For higher-ability students, I assigned them to play the melody, the most challenging part.

172

b.

Management I allowed students to take a break where they could use their phones (with restrictions) if they wished.

It helped them to focus a lot more and not secretly use their phones for other purposes while we were practising as a class. But taking

c.

Importance of Cues ▶ Teach students to listen out for cues (e.g. bass guitar enters after hearing four notes on the snare drum) ▶ Provide visual cues ▶ Continue to cue students in by counting the beats until they are familiar and independent enough to play on their own Despite providing the visual cues, most students relied on aural skills and memory. They were mostly very accurate with their entrances, even for syncopated rhythms.

Student Feedback What was your main learning from the module?

(You may select more than 1 option) 30 responses Understanding pop band...

18

Playing in time

15

50%

Listening more closely and...

15

50%

Values: Respect, Responsibility, Resilience

7

23.3%

Teamwork and cooperation

20 0

▶ ▶ ▶ ▶

▶ ▶ ▶ ▶

60%

96.6% of students enjoyed the lessons.

56.7% of students found the task challenging.

100% of students found the lesson pacing good.

60% of students were motivated to continue playing instruments on their phones.

70% found the slides/notations easy to follow.

80% of students found the colour coding of the notation useful.

53.3% found the use of the backing track easy to follow along.

Most felt that they learnt teamwork and cooperation through this module.

5

10

15

66.7% 20

25

MOST CHALLENGING MOMENT (COMMON COMMENTS FROM STUDENTS) ▶ “Learning the instruments at first.” ▶ “Knowing when to start playing.” ▶ “Following the chords.” ▶ “Changing the notes on the piano.” ▶ “Playing according to the timing.”

MOST ENJOYABLE MOMENT (COMMON COMMENTS FROM STUDENTS) ▶ “Playing the instruments together.” ▶ “Listening to our playing.” ▶ “When I play well.” ▶ “Everything!” ▶ “It’s my first time playing an instrument on the phone.”

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Discussion WHAT I WOULD DO BETTER ▶ Increase students’ motivation to continue playing instruments beyond the lessons (e.g. from 60% to 90%). ▶ Improve on my notation and audio guide. ▶ Consider play-along videos from Solfeg.io, Little Kids Rock, Musical Futures.

INCREASE STUDENTS’ MOTIVATION TO CONTINUE PLAYING INSTRUMENTS ▶ Upload tutorial videos of their favourite songs, with varying difficulty levels, on SLS. ▶ Provide students with the backing track to encourage self-practice.

HOW CAN I IMPROVE ON MY NOTATION AND AUDIO GUIDE?

▶

▶

▶

▶

The visual notation could move together with the music instead of being stagnant like on the worksheet.

Only 53.3% of the students said that the use of the backing track was helpful. This could be because the students found it a challenge to play in time with the backing track because they had to keep going and the music was not going to stop when they made a mistake.

Another challenge was that whenever I was standing in front of the class trying to point to the notation slides, I could not walk around to check if they were playing correctly.

One way was to create a visual guide that moves along with the backing track.

ADDITIONALLY, ▶ Provide amplifiers/mini speakers for students to attach their phones, so that their playing is more audible. ▶ Programme extension: Encourage students to create their beats using the instruments of their choice.

Conclusion My curriculum design had required me to manage the teaching of different digital instruments to the students, while still keeping the class engaged. Overall, I am glad that the students had a positive experience, although I wish for more of them to feel more motivated to play the

digital instruments beyond the classroom.

With the use of technological resources and alternative ways to represent notation as audio and visual guides, I feel that the programme was able to engage different types of learners and suit their various learning styles.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

FACILITATING MUSIC MAKING AND NEW LITERACIES

How Do Educational Apps Support the Teaching and Learning of an iPad Band Module?

Ng Ying Hui

INTRODUCTION

INQUIRY QUESTION

Beatty Secondary School

As a music educator, I always believe that the fun element of jamming encourages joy of learning. Through the music making experimentation and exploration process, the discovery of something new often provides students with a sense of achievement and creates strong bonds among them.

How do educational apps support the teaching and learning of an iPad band module?

Furthermore, Lucy Green’s (2008) informal learning research revealed that when students are given authority to choose and self-match themselves with a task of a suitable difficulty level, it would fuel their motivation to succeed and the overall positive learning experience would enhance students’ confidence and self-esteem, making them feel more like “proper” musicians than amateur learners.

METHODOLOGY Target Audience ◊

Secondary 2 Express, Normal (Academic) and Normal (Technical)

◊

Varied music backgrounds

◊

Common prior knowledge ↪ Sec 1 STOMP Percussion Module and Guitar Playing Module ↪ Basics of GarageBand

175

Duration

Hence, I designed an iPad band module that is influenced by the principles of informal learning. Educational apps were harnessed to support the process.

◊

10 to 13 weeks including Home-Based Learning (affected by COVID-19)

◊

1-hour lesson/week

◊

In groups of five, students create and perform their arrangement of a pop song cover using virtual instruments found in the GarageBand app.

◊

Optional afternoon consultations available for groups that needed extra practice

◊

Students explore ways to include in their arrangement melodic, rhythmic and harmonic layers, with an option to add other effects.

Data Collection: ◊ Teacher observation ◊ Student survey

FACILITATING MUSIC MAKING AND NEW LITERACIES

SOUNDING THE TEACHING V

PEDAGOGICAL PRINCIPLES

experiment with music making according to their own pace and musical preferences)

How to deliver the iPad band module effectively The pedagogical principles of this inquiry project are grounded largely on Lucy Green’s informal learning. Students are given the choice to work in friendship groups and select the pop song cover that they wish to arrange. Using a holistic learning approach integrating listening, arranging, improvisation and performing, students go through a series of music making experiences involving selfteaching and peer-directed learning.

Principle Five ◊

Integration of listening, performing and improvising (Holistic learning that develops musical skills with an emphasis on creativity)

OVERVIEW OF GARAGEBAND APP

INFORMAL LEARNING PRINCIPLES (GREEN, 2008) Principle One: 176

◊

Students choose music that they identify with. (Hence, empowering students’ voices and embracing diverse musical identities)

Principle Two ◊

Students learn by listening and copying recordings. (Hence, the focus is on aural learning where students are given the autonomy to replay recordings, e.g. YouTube music tutorials, purposefully to choose the part of the music to work on)

Principle Three ◊

Students play and learn alongside friends. (Hence, learners feel safe and motivated to complete the project task)

Principle Four ◊

Idiosyncratic and haphazard way of learning (Students explore and

I chose GarageBand as it would help to level the playing field greatly, especially for students without formal music training. The presence of live loops, a wide variety of virtual instruments, smart instruments with “autoplay” function and a full-range keyboard with note labels, makes it fun and easy for students to engage in meaningful music making, even if they have never played on acoustic instruments.

A review of GarageBand features is provided by Mallery (2012).

OVERVIEW OF CLASSROOM APP The Classroom app allows us to see an overview of what is on our students’ iPad screens. It also gives teachers the control to lock students in a specific app, navigate them to a certain web page, view

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their screens and hide any irrelevant apps, mute their iPads’ audio sounds and lock their devices.

Watch video here: https://www.opal2.moe.edu.sg/app/ learner/detail/digitalcontent/854fe71eb18c-4c8a-9f00-4da268849ea5

OVERVIEW OF PAGES APP Pages is a word processor app that can create attractive-looking digital journals.

I use this app to monitor and remember the students’ weekly progress. This is especially useful as I teach the entire cohort of students. The app allows me to customise the journal to suit my needs. In addition, it allows students to insert their rehearsal videos or audio tracks, and I can view these directly from the app, without the need to open a separate browser.

1. GARAGEBAND (execution) ◊ Provides a platform for all students to engage in musical performances collaboratively with a wide range of virtual instruments 2. CLASSROOM (management) ◊ Allows teachers to have control over students’ iPad screens → discouraging off-task behavior and helps students focus on learning more effectively 3. PAGES (documentation) ◊ Keeping a digital journal record → allows both students and teacher to monitor weekly project planning and rehearsal progress more closely

FACILITATING MUSIC MAKING AND NEW LITERACIES

PROCESS Watch this video to find out more about the process of implementing the iPad band module: https://www.opal2.moe.edu.sg/app/ learner/detail/digitalcontent/95cbb54f1f7c-40cb-b9c8-14fb61fd8512

Week 1 & 2: “What’s in a Name?”: Introduction to basic functions in GarageBand

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In Week 1-2, students were introduced to the basic functions of GarageBand through an activity called “What’s in a name” (Wardrobe, 2019) where they explored adding layers and recorded their spoken names with the GarageBand Sampler.

Week 3: “Smart Instruments”: Playing along to moving chords video! (harmonic layer)

Photo was taken prior to the COVID-19 outbreak

SOUNDING THE TEACHING V

In Week 3-4, through the Experience – Concept – Application approach (STAR, 2020, p. 48), students learnt how to create the harmonic and rhythmic layers for their project by playing along to a video with moving chords using “smart instruments” as well as grooving along to pop songs by learning basic drum beats on the acoustic drum or electronic drum set found on GarageBand.

Week 4: Basic Drum Patterns: Grooving along to music with beats! (rhythmic layer)

TECHNOLOGY AND INCLUSION IN PEDAGOGY

Week 5: Getting Started…

FACILITATING MUSIC MAKING AND NEW LITERACIES

keyboardist and drummer. The roles were assigned based on our interests and ability to play the instruments.”

(4 March 2020) “Although it was difficult for all of us to figure out our chords as we have no music background, with the help of YouTube and the worksheet that was given out, we managed to find chords that are suitable for the song... After a lot of trial and error, we found that the guitar was too soft to be heard and the sound of the drums was too overpowering. Thus, one of the drummers switched to being a guitarist to balance out.” (11 March 2020)

In Week 5, students formed their iPad band groups and decided on their roles (group leader, resource manager, recorder, timekeeper and presenter). They were also briefed on their task expectations, checklist, and how to update their journal on Pages and set up iPad band station with audio splitters and speaker.

In the journals, they were asked to respond to: “What has our group achieved? (Refer to checklist) Now, how do we feel? What are some challenges we faced? What help do we need from the teacher? You may include any other remarks/reminders for our group.”

Week 6-7: Planning and Experimenting with musical ideas!

In week 6-7, students discussed in groups to decide and experiment with their song choices.

They did aural listening and analysis of works, followed by rehearsals to experiment with their musical ideas.

Week 8-9: Rehearsals

Here are excerpts from a group’s journal: “At first we were torn between many songs but in the end, we decided to choose Shut Up and Dance by Walk the Moon which our group member has kindly printed out for all of us. After choosing the song, we analysed what instruments are needed to play the song. Everyone had their turn to try out each of the instrument roles – guitarist,

Photo was taken prior to the COVID-19 outbreak

In week 8-9, rehearsal and feedback sessions were conducted. Students reviewed their iPad band performance progress and made further refinements.

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FACILITATING MUSIC MAKING AND NEW LITERACIES

HBL: “Music Producer, Songwriter and Arrangement with SLS and BandLab”

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iPad Band Performances

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Unfortunately, the Circuit Breaker kicked in midway through the module. In order not to deviate too far from students’ iPad band experience, I adapted lessons from the MOE SLS Library, where students continued to learn more about music arrangement on BandLab.

When school reopened after the mid-year holidays, students spent about 2 weeks to recap and rehearse before they put up their performances.

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EVALUATION AND DISCUSSION In this section, I discuss the pros and cons of the 3 apps from the perspectives of the teacher (myself) and the students through the survey results.

GarageBand App TEACHER PERSPECTIVE PROS

CONS

◊

Approachable and intuitive interface encourages playful exploration at the core of music making; suitable especially for beginners.

◊

Wide array of virtual instruments, loops and sound samples are great experiential learning tools for music jamming and arrangement projects.

◊

“Smart” instruments level the playing field greatly, especially for students without knowledge of instrumental skills by lowering the barrier of participation, and as a result, increases self-esteem and confidence level.

◊

Holistic learning experience is facilitated when bonds with friends are strengthened through collaboration, musicianship skills (e.g. aural training) are improved, which motivates selfdirected learning (e.g. watch YouTube video tutorials to pick up new skills).

◊

Playing virtual instruments on a touchscreen can never fully replace the responsive physical feel of acoustic musical instruments.

◊

REMARKS

*STUDENT PERSPECTIVE

Digital divide → Students with iPad/ iPhone at home will have more opportunities to practise and improve their musical ideas as compared to students without access to these devices.

◊

User-friendly → Play with ease, not requiring much instrumental skills (31)

◊

Convenience → portable, easy to bring around (11)

◊

Efficiency → immediate sounds with auto-play functions (5)

◊

Accessibility → a variety of instrument sounds are available (3)

◊

Price → Cheaper than buying multiple acoustic instruments (2)

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◊

Artificial sounds → playing virtual instruments lacks authenticity (9)

◊

Inconvenience → playing is hindered by the relatively small iPad screen size (6)

◊

Missed opportunity → not much in-depth instrumental technique skills gained, gets boring after a while (5)

◊

Technical issues → limited volume projection (2)

◊

Digital divide → unable to practise at home (1)

52.8% of the 55 iPad band groups indicated that they would prefer to perform a pop song cover using acoustic instruments rather than iPad GarageBand. *The number of iPad bands who responded out of 55 is in brackets.

FACILITATING MUSIC MAKING AND NEW LITERACIES

SOUNDING THE TEACHING V

Pages App TEACHER PERSPECTIVE PROS

CONS

*STUDENT PERSPECTIVE

◊

Attractive and professional-looking templates and graphics that supported the creation of a weekly journal

◊

Easy page layout with images for learners to navigate easily

◊

Ability to insert audio and video clips → kept track of rehearsal learning progress; facilitate assessment for learning

◊

Digital journals → minimised the issue of misplacing or losing documents easily

◊

Difficulty in getting students to update journals diligently (i.e. little motivation to write and lack of time to complete within lesson time)

◊

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Quality of journals was often not up to expectation → journal writing not seen as a priority or writing is hindered by language ability (e.g. lack of vocabulary to express their thoughts)

◊

Digital divide → groups which did not have iPhone or iPad at home often relied on hardcopy journal instead

◊

Weekly collation of students’ journals through “AirDrop” → too overwhelming and disorganised

◊

Stay organised → kept track of weekly discussion and planning process (12)

◊

Reflected on music making process → more aware of mistakes and improvements made (2)

◊

Did not view the importance, relevance and usefulness of having a journal (6)

◊

Took a lot of effort in updating journal weekly, needs prompting from the teacher for reminders (6)

◊

Other preferred modes of planning and discussion (e.g. talking, WhatsApp, video/ audio recording) (2)

◊

Little progress each week → not much content to include in journal weekly (1)

* The number of iPad bands who responded out of 55 is in brackets.

The [iPad band] journal was useful in helping our band to keep track of our weekly rehearsal process.

(N=55)

20

32.7% 18

15

5 0

13

16.4%

10 7.3%

23.6%

9

20% 11

4

1 Strongly DISAGREE

2

3

4

5 Strongly AGREE

From the students’ perspective, 43.6% of the 55 iPad bands strongly/agreed with the usefulness of having an iPad band journal while a rather significant 56.4% of them strongly/disagreed or were neutral towards it.

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Classroom App TEACHER PERSPECTIVE PROS

◊

Classroom management app → greatly reduced students’ distractions, enabling them to focus on learning the task

◊

Useful and applicable features for iPad band module

◊

Launched and locked students’ iPad into a single app (GarageBand) ↪

◊

Muted student’s iPad (effective noise control during jamming) ↪

CONS

Viewed student’s screen directly on teacher’s device (check in on progress)

Locked student’s iPad screen (to get attention more effectively)

◊

Only worked when both Bluetooth and Wi-Fi are enabled → would not have control over students’ iPad screens once they disable Bluetooth or Wi-Fi

◊

Students were able to toggle with the app settings to disconnect themselves from the teacher’s device

◊

Audio sound from students’ iPad band speaker (dual function Bluetooth and wired) got interrupted easily when the Bluetooth on students’ iPads was switched on

Difficulties encountered: Students could prevent the locking of iPads.

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REFLECTION – MITIGATING THE CHALLENGES After a conversation with a learning specialist from Apple during a 2-week iPad Learning Experience pilot programme at our school where I learnt more about the apps after I have conducted the module, here are the further insights.

a. Overcoming classroom management through Classroom App

SOUNDING THE TEACHING V

deny the teacher’s permission to lock their iPads or view their screens as the prompts would have been disabled.

Also, students would no longer be able to leave a “class” on the app easily as the action would trigger a notification on the teacher’s device which in turn would give the teacher the authority to continue to keep students in “class”.

b. Overcoming limitation of digital divide through Pages App On the use of Pages, I learnt that organising journals could be done more efficiently by using the “collaborate” mode and sharing the document with students via iCloud Drive where live updates could be captured. This would reduce the problem of receiving multiple journals weekly via AirDrop.

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Mobile Device Management could be used to help enforce restrictions on students’ devices to improve classroom management.

For instance, here are some restrictions that could be set on a student’s device to overcome the challenges which I encountered previously. When Wi-Fi power was forced on, students would no longer be able to disconnect their devices from the teacher’s “classroom” app monitoring system.

Furthermore, they would not be able to

Did you know? ◊ You do not need an Apple device to create an Apple ID! ◊ Pages app is accessible through a web browser!

I was also surprised to discover that one did not need an Apple device to create an Apple ID and that Pages app is accessible through a web browser!

This would overcome the limitation of the digital divide, where students without an Apple device could still work and edit the journal on Pages back at home. Using any internet browser, students could log in to iCloud.com with an Apple ID which could be created easily.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

c. Strengthening student reflection There is a need to emphasise to students the significance and rationale of having a digital iPad band journal so that students can see the usefulness of it.

To motivate students to use their journals more diligently, perhaps some helpful learning resources could be included in the journal (e.g. drum pattern tutorials, iPad band performance video exemplar) to increase the practicality.

Also, redesigning the template of the journal to provide a simple, guided writing layout with specific prompting questions (e.g. MTV routines: 3-2-1, KWL, hear think wonder) might be helpful for students too.

Lastly, perhaps the frequency of journal updates can be done biweekly instead of weekly to give students adequate time to update and consolidate their learning.

CONCLUSION The whole project experience was fun, valuable, satisfying yet stressful. But it was all worthwhile!

FACILITATING MUSIC MAKING AND NEW LITERACIES

Inclusive Classroom Firstly, no matter what music module we embark on, we should always strive to embrace the diverse musical profiles of our students by including differentiated learning that plays to their strengths. This would facilitate the creation of a safe learning environment where students feel at ease during music creation and performance in an inclusive classroom.

We could be more aware of how digital devices could be used to support music teaching and learning, to increase the effectiveness of our pedagogy, in my case, the harnessing of informal learning for iPad band.

Finding a Balance With students of diverse interests, we should also be mindful of the balance between teaching ICT music and acoustic live instruments. We should be mindful not to overuse digital devices, especially so with the implementation of personal learning devices starting in 2021. Digital devices or apps should be used to complement the overall music teaching and learning, but not entirely replace some of their musical learning such as the learning of acoustic instruments.

References Green, L. (2008). Music, informal learning and the school: A new classroom pedagogy. Ashgate Publishing Ltd. Singapore Teachers’ Academy for the aRts. (2020). Providing a rich music learning experience.

Ministry of Education.

Mallery, S. (2012). Hands-on review: GarageBand on the new iPad. https://www.bhphotovideo.com/explora/pro-audio/hands-on-review/hands-on-review-garagebandon-the-new-ipad Wardrobe, K. (2019). Free lesson plan: GarageBand for iPad – what’s in a name?. https://midnightmusic.com.au/2019/06/free-lesson-plan-garageband-for-ipad-whats-in-a-name/

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Section 5

Assessment This section examines four assessment practices that have positively impacted students’ learning in the context of digitally enabled classrooms.

Athena Choo illustrated how she applied six steps of formative assessment and harnessed technological tools to provide closer feedback to students, which enabled them to learn the recorder during Home-Based Learning.

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Michael Cartwright explored two digital platforms and shared his considerations about the platform that was more suitable for assessment for learning.

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Pang Biao Bin harnessed digital tools to enhance the efficiency of his assessment feedback.

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Tan Xi Ling’s inquiry demonstrates that by developing students’ ability to self-assess, we are empowering their student voice and developing their confidence to direct their learning.

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ENHANCING LEARNING WITH FORMATIVE FEEDBACK THROUGH ICT PLATFORMS Athena Choo

Background

Xingnan Primary School

Due to the COVID-19 pandemic, recorder learning was interrupted for Primary 4 students. Students went into Full HomeBased Learning without face-to-face guidance from the teacher as they learnt the recorder.

Inquiry Question How does formative assessment and feedback by the teacher through the use of Google Classroom, Flipgrid and SLS help students to enhance their music learning beyond the classroom?

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Overview of Curriculum and Assessment Here is the process:

Entering into Full HBL mode without the introduction of Recorder Faceto-Face

Use of teacher’s video demonstration through the SLS platform

Students use Flipgrid to record their learning and teacher to provide feedback

Students learn from the feedback given and make changes to their recorder playing

Overview of Assessment Approach I adopted the six steps of rigorous formative assessment from PowerSchool (n.d.).

STEP 1: STUDENT ENGAGEMENT The first step is an introduction to recorder through a teaching video which was uploaded onto SLS. The video was based on the song Lenggang Kangkung.

Students learnt the first two notes – G and E – on the recorder and would play these notes where they occur in the song.

STEP 2: FORMATIVELY ASSESS Students uploaded their videos on Flipgrid which will show them playing the two notes on the recorder and singing at the parts of the song where they were not playing.

STEP 3: TEACHER’S ANALYSIS OF STUDENTS’ PERFORMANCE The teacher analysed the students’ performance and provided feedback.

For example, the teacher could provide a video of herself demonstrating how the recorder could be played more accurately (e.g. covering the holes) as a form of feedback.

STEP 4: STUDENT’S SELF-ANALYSIS & STEP 5: CORRECTIVE INSTRUCTION Students analysed the feedback by the teacher and learnt from it to correct their playing.

STEP 6: REASSESSMENT The teacher reassessed the second video uploaded by the students and provided feedback through the Flipgrid.

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Observation Observations were made for both videos which students submitted.

Students share their video on Flipgrid

Teacher provides feedback via Google Classroom or Flipgrid comment

Students share their second video on Flipgrid

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FIRST DATA COLLECTION Through the SLS Poll Function, students responded to the questions: a. Did you have fun learning the recorder through video demonstrations?

48.6% of students enjoy learning through the video demonstration by the teacher.

22.3% of students prefer face-to-face guidance.

100%

75%

10

50% 6

12

15

5 6

37

17

25% 6 0%

Class A

9

Class B

7

Class C

Yes – like the video demo Prefer to have face-to-face guidance I had fun, but it is not easy to learn this way

22

Total

b.

What kind of feedback do you prefer from your teacher to improve your recorder playing?

The kinds of feedback students prefer vary within each class. There are slight differences in preferences across classes.

100% 11 75% 11

8 7 7

50%

7

5

6 25%

7

7

26

13

31

7

21

3 7

10

9

7

Class A

Class B

15

14 24

31

0% Class C

Total

Not voted Zoom/Google Meet direct feedback Comment on Flipgrid Feedback on paper Face-to-face feedback Google Classroom private comment

Note: Face-to-face feedback only took place after school reopened.

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Focus Group Discussion (Students’ Experience) ▶

SECOND DATA COLLECTION This was held when school reopened.

Sample size: 10 pupils from 3 different classes were invited for the Focus Group Discussion.

▶

3 separate Focus Group Discussions were held due to Safe Management Measures.

INTERVIEW QUESTION 1 1.

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What was the experience like – learning the recorder without face-toface guidance from the teacher?

Did you enjoy it? ▶ “I enjoy learning the recorder through the video demonstration as I can always play back the video whenever I’m not sure how to play the parts.” – Student A, 4F

THEME

▶

“I find learning through video a little hard as the teacher is not here to guide me. Sometimes I need help, but I don’t know who to turn to.” – Student C, 4B “I like the videos created by the teacher! Although I miss face-toface guidance from her, but I feel that this way works well too!”

– Student D, 4B “The video demonstration allows me to learn from my teacher although she is not near me.

I like to learn this way!”

– Student B, 4B

Through thematic coding and analysis on the first question, the following themes were found:

EXAMPLES

FREQUENCY OF OCCURRENCE

SATISFACTION

• • •

Enjoy learning Fun learning this way I’m glad I can follow

15

LEVEL OF DIFFICULTY

• •

Not easy to learn It is easy to play back

2

OPPORTUNITY TO LEARN

• • • •

Able to play back Learn from the teacher and peers Watch together with my parents Watch other videos

13

INTERVIEW QUESTION 2

2.

Did the feedback given by the teacher help you in learning the recorder?

Could you provide an example? ▶ “Yes, it definitely helped! I know I can play well, the feedback given by the teacher made me feel happy when she praised me!”

– Student A, 4F ▶ “I like the video feedback given by the teacher and my friends. I like to know my videos got views!”

– Student C, 4B ▶ “My teacher gave me feedback

THEME

▶

Through thematic coding and analysis on the second question, the following themes were found:

EXAMPLES

FREQUENCY OF OCCURRENCE

MODE OF FEEDBACK

• • •

Video feedback Comments from teacher Learn from my peers

USEFULNESS OF FEEDBACK

• •

The feedback helped a lot!

Good to have feedback to learn

7

MOTIVATION

• • • •

Excited to try again Learn from my friends I like to get the views and likes I want to do better next time

15

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Conclusion ▶

▶

through a Flipgrid comment video demonstration. She showed me how to cover the holes properly.

I learnt from that.”

– Student B, 4B “Finding out how to improve when the teacher showed me the correct way of playing makes me excited to try again and do my best!” – Student D, 4B

With the use of SLS and video resources, students have managed to learn the recorder through video demonstrations and feedback from the teacher as can be seen in their progress made in recorder playing, and their responses in the survey and focus group discussion.

Varied formative assessment feedback through technological affordances such as SLS, Google

Classroom and Flipgrid have helped different students in their learning.

MOVING FORWARD ▶ Moving towards blended learning, teachers could consider using different technological tools to provide a variety of means for formative assessment feedback to cater for different learners. ▶ Students will also learn how to be more self-directed, which is aligned with our school’s student outcomes.

References PowerSchool. (n.d.).

Six steps for rigorous formative assessment. https://www.powerschool. com/infographic/ six-steps-rigorousformative-assessment/.

IN THE ‘BRAVE NEW WORLD’ OF HBL: WHAT PLATFORM IS BEST FOR ASSESSMENT FOR LEARNING? Michael Cartwright Yio Chu Kang Secondary School

Context TERM 3 ▶ Alternate weeks of school-based learning and HBL ▶ Full lessons in school

THE CURRICULUM ▶ Secondary 2: Indian Classical Music, its elements and raga improvisation ▶ Secondary 1: Chinese Classical Music, its elements, history, performance on a piano keyboard

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Inquiry Question How do Showbie and SLS compare with each other in facilitating assessment for learning?

Methodology ▶

▶

▶ ▶

Narrative analysis: Responding to our shared story as the narrative of Term 3 unfolded with all its twists and turns Inductive approach: Concerned with the generation of new theory emerging from the data Questions and surveys for students Reflective journaling: Responding to the unfolding narrative, I quickly became part of that narrative. Responding to the stories that students were telling me determined the shape of the narrative.

Introduction to the Platforms

I started with some assumptions about the platforms/practical methodology of how the research was going to be conducted but as I let the narrative flow and listened to the stories that the students were telling me and that I was experiencing, the way I taught the classes took on a direction of its own.

A similar lesson was posted on SLS and Showbie for different Sec 1 and 2 classes.

The study took place over 3 weeks.

SHOWBIE FEATURE

SHOWBIE LESSON

Music Lesson No. 2, looking at Tala and Laya Three ways of submitting worksheet online on Showbie: 1. Entering answers into the Comments box 2. Downloading the worksheet and typing into it and then uploading it again 3. Writing it on a piece of paper, taking a photo of the answers and then uploading the photo

Portal contains videos for lessons to check out and worksheets have QR codes and direct links.

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SHOWBIE FEATURE

Comments box: Students go on Showbie and create a comment box on the worksheet to submit answers.

This was the most popular mode of submission.

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SHOWBIE FEATURE

Writing it on a piece of paper and uploading: Teacher is able to annotate and mark on the images of written submissions with different colours.

SLS LESSON

Same content; Music Lesson No. 2, looking at Tala and Laya SLS FEATURE You are able to see a visual thumbnail of the video on SLS rather than a hyperlink on Showbie, which is a little more visually appealing. Sidebar contains scaffolded steps demonstrating what beat and meter are to aid in students’ understanding.

SLS FEATURE

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The students’ answers to the worksheet are posted directly onto the Comments box. The advantage is that the teacher

is able to look at all the class’ answers together quite easily and save time.

SLS FEATURE Students were writing a lot more on SLS than on Showbie.

This was not an expected result as I thought they would answer more on Showbie. The story that the students seemed to be telling me is that it is easier to answer on SLS. .

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Findings & Discussion ISSUE OF GIVING FEEDBACK A couple of weeks into this, I soon realised I was getting severely behind on my marking because if I gave each class 1 piece of work per class a week, I was giving myself 429 pieces of marking/ reading and it was too much.

So, I thought of adjusting the rate of work assigned. However, if I were to assign work once every two weeks, it would still be 200+ assignments a week for me to mark.

If I were to assign 1 piece of work every three weeks, I would not be keeping my finger on the pulse of the class.

Also, while I love the ease of Showbie, especially being able to “hand mark”

with different coloured inks, as a tool for Assessment for Learning, however, it caused me to feel overwhelmed with marking and pressured to give feedback without due reflection on my part. It is not optimised for the efficient marking of work, affecting the quality of feedback I give to my students.

SLS and MCQ came to my rescue: it was self-marking and easier to get an overall view of how the class was progressing.

I could give verbal feedback to the whole class during the lesson and individual feedback either in person or via the platform, where appropriate.

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ISSUE OF QUALITY OF STUDENTS’ WORK Some students were completing worksheets very quickly and mostly giving wrong, baffling answers and I thought, “What’s going on with the story here”?

Surely this could not be due to lack of prior knowledge or having slept through 6 years of primary music classes.

I thought some students had convinced themselves that they could “reason” or guess the correct answer without putting in any effort or the students’ goal was to finish the task rather than learning on this platform.

To address the situation of students aiming to finish tasks quickly rather than learning effectively, I had to move to the flipped classroom to provide feedback to the students effectively. This was not a conscious choice but was a consequence of online learning. Initially,

the lessons were prepared in advance but were only shared on the day of the lesson. Now, the lessons were uploaded after the preceding lesson, sometimes immediately, and the students had 5 to 6 days to review the lesson before the next class. I would then use the class time to go through the answers with students who had already attempted the lessons and give feedback. For students who had not completed the lesson or were stuck on certain points, I would use the time to get over any issues they had to complete the lesson on time. Once social distancing is over and there are a lot more group performances happening, I think I would quite easily integrate that into the system.

So, this was one of the big revelations.

I initially thought that the flipped classroom was one of the options, but I am now convinced that it is a necessity that goes hand in hand with HBL and getting lessons up online.

STUDENTS’ OPINIONS ON PLATFORMS AND MCQ SLS: ▶ Students love SLS for organising and ease of monitoring of their own work ▶ Any problems were quickly fixed ▶ Would be a winner for the students if it was developed as an app

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Showbie: ▶ A winner for easy uploads, particularly audio ▶ I notice better-quality recordings from Showbie and WhatsApp ▶ Students like the fact it’s an app which makes uploading from mobile devices so much easier

QUESTION DESIGN The majority of students felt that they could learn just as much with multiplechoice questions (MCQ) as opposed to short answer/essay. This resonated with my own experience in learning when I was working with multiple-choice questions.

I am now considering how I could incorporate more higher-order learning questions into MCQ. I could:

▶

From our school polling, we noticed that a fair percentage of students still preferred to use phones/mobile devices over the family laptop/ desktop (sense of ownership?)

WhatsApp is useful to have as an “if all else fails backup”. No username, no password, no privacy? There is also now end-to-end encryption.

A student commented: “I chose WhatsApp because it is easier to submit any work given and it is a common app. Maybe some of them may have issues uploading in Showbie and SLS like me. I am having some issues uploading in Showbie and SLS.”

▶

▶

Explicitly make it clear that the MCQs were also there to prompt, not just recall research Progressively give questions that require more investigation

Some students chose to do their own research despite me giving them perfectly adequate resources to use. I needed to check for understanding to counteract the “copy and paste” practice of students.

Moving Forward STUDENT LEARNING MANAGEMENT ▶ SLS is the winner for its self-marking function. Assessment for learning is not about marking; it is about giving quality feedback. Hence, if I could have technology to take care of the marking, I could focus on the feedback. ▶ It would have been useful if there was a class chat function at the point of study. Students like the organised layout: “The reason why I chose SLS is that it is more organised. I can see more work clearly; it is easier to submit my work and, most importantly, it clearly states my incomplete work or pending work.” – Student G ▶ In assessing for learning in the context of HBL, it was more effective to adopt a flipped classroom approach using the monitor function

▶

▶

on SLS. Although the flipped classroom was not the original goal of this study, I became more aware of the need for the approach to facilitate feedback in teaching-learning.

Should I keep using multiple platforms? It was more convenient for students to find and access content if lessons were consolidated on one platform.

"I feel like it is more efficient to use one application to post everything as it is easier for the students just to focus on one application and not many.” – Student X I also found that multiple-choice questions have the potential for developing higher-level and critical thinking if they could be designed to prompt research and ordered to progressively lead to more investigation.

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INVESTIGATING THE USE OF DIGITAL TOOLS IN ENHANCING EFFICIENCY OF MUSIC ASSESSMENT Pang Biao Bin Huamin Primary School

PURPOSE To explore using digital tools to effectively capture and monitor students’ progress in playing instruments.

Research Question How can the use of digital tools* lead to an effective and efficient way of assessing students in music making? *Digital tools include Google Forms, Microsoft Excel and Microsoft Word.

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Literature Review “Assessment is integral to the learning process and helps children become selfdirected learners. As such, we design assessments with clarity of purpose, to provide our learners and us with feedback to address learning gaps and improve teaching practices.” (Singapore Curriculum Philosophy, Para 7)

“The ability to visually and audibly assess a student and provide instant feedback cannot be understated. However, technology can allow the teacher to reach and support students that may feel overlooked, and with large class sizes and busy schedules, this can easily happen.”

(The Royal Conservatory, 2018)

“Because music teachers serve so many students, it is necessary to have some way of collecting and tracking data quickly…”

(Dunbar, 2018).

“Technology can be very helpful in your collection of data… It also provides a method for the teacher to offer personalised [sic] feedback about a student’s performance.” (Hamlin, 2017)

199

How the investigation was carried out In my Primary 5 class of 23 students, 1. I made use of Google Forms to assess students on their playing of a song on resonator bells.

2. I viewed the responses on Google Forms and exported the results to a Microsoft Excel sheet.

3. I extracted the data from the Excel sheet and created individual student reports on Microsoft Word.

4. I printed out and distributed the individual student reports to students, allowing them to have prompt feedback on their playing skills by the next lesson.

5.

I recorded the process taken and compared it to the usual manner of assessing the students through conventional class lists and rubrics checklist.

Students are assessed on their playing skills. ▶ Students are being assessed on their playing of Old MacDonald Had a Farm on the resonator bells. ▶ They learnt to play the song over a span of two lessons and were assessed by the third and fourth lesson. ▶ One lesson lasts half an hour.

Evaluation Rubrics

TABLE 1: INSTRUMENTAL (RESONATOR BELLS) COMPETENT (3)

DEVELOPING (2)

BEGINNING (1)

TONE

Tone quality is clear and consistent throughout

Tone quality is quite consistent

There is a fair bit of tone quality

TEMPO

Tempo is accurate and consistent throughout

Tempo is quite accurate and consistent

Tempo is fairly accurate and consistent

RHYTHM

Accurate rhythms throughout

Rhythms are accurate most of the time

Rhythms are fairly accurate

MELODY

All notes are struck accurately throughout

Most notes are struck accurately

Some notes are struck accurately

TECHNIQUE

Perform confidently with alternating hands throughout

Perform quite confidently with two mallets

Perform with some confidence using one mallet

SCORE

200

TOTAL SCORE Scoring System: Attainment Level 1 – 5 to 7 Attainment Level 2 – 8 to 10 Attainment Level 3 – 11 to 13 Attainment Level 4 – 14 to 15 Table 1 is the evaluation rubrics used for assessing the students.

Students are assessed in five areas: tone, tempo, rhythm, melody and technique.

For example, for “Competent”, they will score 3 points, “Developing”, 2 points and “Beginning” 1 point. The points will then be added up to see the attainment level of the student.

TABLE 2: LEVEL OF ATTAINMENT

LEVEL 1

LEVEL 2

LEVEL 3

LEVEL 4

You are able to vaguely recognise the notes of Old MacDonald Had a Farm and attempted to hit a few right notes on the resonator bells.

You are able to play at least one correct phrase of Old MacDonald Had a Farm on the resonator bells.

You are able to play the song Old MacDonald Had a Farm with the most accurate notes and are fluent with using the mallets alternately.

You are able to play the whole song Old MacDonald Had a Farm on the resonator bells perfectly and with no obvious mistakes.

(Teacher’s note: At level 3, student should be able to play the song on the resonator bells with a certain accuracy and hit each note correctly, with alternating hands for different notes.)

(Teacher’s note: At level 4, student should be able to play the whole song confidently and with the correct rhythm, producing sounds which are consistent, alternating left and right hands when playing.)

(Teacher’s note: At level 1, student should just be concerned with finding the right notes to play and making out some correct notes in the process. The tune of Old MacDonald Had a Farm is barely recognisable.)

(Teacher’s note: At level 2, student should be able to play at least one phrase of the song correctly, and with most correct notes being played.

The tune of Old MacDonald Had a Farm is almost recognisable.)

Table 2 illustrates a student’s level of attainment from 1 to 4. It is aligned with my school’s use of learning progression to assess which level students are at. At each level, the teacher’s note describes what the students should be able to do at that level.

Ultimately, the students should progress to level 4, where they are able to play the whole song Old MacDonald Had a Farm on the resonator bells perfectly and with no obvious mistakes.

201

Process STEP 1:

RESULTS ARE CAPTURED ON GOOGLE FORMS

202

I went around with an iPad to individual students and keyed in my observations on each student’s playing in Google Forms, which I have created to assess students.

I would input the class, the date and the name, and gave them a score based on the rubrics, which are the five different areas – tone, tempo, rhythm, melody and technique.

I also input my comments. As some common comments would be repeated, I have already entered some of these as presets which I could then select in Google Forms, instead of typing them out.

The final output would show the attainment level, overall results, and the level they were at.

STEP 2:

RESULTS ARE EXPORTED TO MICROSOFT EXCEL 203

STEP 3:

RESULTS ARE MAIL-MERGED TO GENERATE INDIVIDUAL STUDENT PROGRESS REPORT

204

First, I created a template where I would mail-merge the data.

Then I matched the fields in the database to the fields in the individual description on the template.

I mail-merged all the data to the template in Microsoft Word, thereby generating reports for each individual student.

It took less than 5 minutes to generate the report.

STEP 4:

STUDENTS ARE GIVEN THEIR INDIVIDUAL PROGRESS REPORT

Students were then given their individual progress reports.

They would read the comments given to them.

Findings 205

STUDENT COMMENTS On how they felt when they received their results:

▶

“I feel happy. I realised that I needed more practice. I feel OK about my results.”

“I’m unhappy with my results. I feel that I can do better. I should practise more.”

▶

With the progress report, students could read the comments on their performance.

They have something to refer to as they work on improving their playing.

TEACHER OBSERVATION ▶ Significant time was reduced when making use of Google Forms to collect students’ assessment data as compared to printing out individual forms and writing

▶

individual comments to record students’ progress.

Since most of the comments are common across different students, the teacher assessor could pre-enter these comments into Google Forms and choose the appropriate one(s) for the students.

The time spent on importing the data and merging the individual reports was significantly lesser than if the teacher investigator were to type out all the comments by himself. The time difference would only be larger had there been more students.

Overall, using digital tools greatly increases the effectiveness and efficiency of assessing the students, giving them timely and meaningful feedback.

Discussion ▶

▶

206

Having the assessments done digitally allows music teachers to make reference to students’ previous progress and track their progress over time as all the data is being stored electronically, i.e. can create individual class records.

Digital assessments also mean that the teacher can give timely feedback so that students could bring their learning forward.

▶

Written feedback may deliver a more serious tone to the receiver, and it is visible as compared to verbal feedback. It can also be more detailed, as that would encourage students to take extra effort to work on it. Sometimes, students might forget verbal feedback, as it could be regarded as a passing remark or if the remark is too lengthy.

Conclusion Teachers can harness Google Forms to provide efficient and customised reports to students, who in turn receive timely written feedback to improve on their learning.

References Dunbar, L. (2018). Using technology to assess in the music classroom. General Music Today, 32(1), 38-40. https://doi.org/10.1177/1048371318796832 Hamlin, P. (2017). Music assessment strategies. The Music Educator Blog, SmartMusic. https://www.smartmusic.com/blog/music-assessment-strategies The Royal Conservatory. (2018). The important role of technology in music education. https://rcmusic.com/about-us/news/the-important-role-of-technology-in-music-educatio

TECHNOLOGY AND INCLUSION IN PEDAGOGY

ASSESSMENT

How Can Incorporating Self-assessment Tools and Formative Assessment Rubrics Impact Students’ Learning in Music?

Tan Xi Ling

BACKGROUND

My personal belief:

Outram Secondary School

This critical inquiry project serves to investigate how the use of selfassessment tools can help learners to be more involved in their own learning, and how it would inform me about my teaching.

◊

Teaching is the entire process of how a teacher creates a student’s learning experience. This goes beyond lesson preparation and includes designing intended outcomes in their learning, and other ad-hoc processes such as encouraging students and helping them to improve.

◊

Teaching should be a deliberate process, with learning experiences designed intentionally.

CONTEXTS & DEFINITIONS Operational definitions:

SELF-ASSESSMENT Students to be involved in the process of analysing and evaluating their own performances.

FORMATIVE ASSESSMENT Feedback for students to check on their understanding and using it to improve their performances.

MUSIC TEACHING The process of developing the musical domain in learners’ brains.

MUSIC LEARNING Students' experiences in learning and applying skills and concepts in music.

CURRENT OBSERVATIONS IN TEACHING I have four observations that made me reflect on my teaching and the need to integrate more assessment tools into lessons.

1.

Most of my students are generally low-progress learners.

Many of them struggle with content learning due to their lack of competencies. Hence, students may have low motivation and experience disengagement in tasks as they may find the tasks too difficult for them.

207

ASSESSMENT

SOUNDING THE TEACHING V

2.

3.

4.

208

Those students with higher readiness are not sufficiently stretched in class, feel unchallenged and hence also start to show disengagement when the task is too simple for them, i.e. we are unable to reach the learners’ Zone of Proximal Development (Vygotsky, 1978).

Limitations to learning During lessons, students are often cooperative with instructions, but I feel that lessons are usually very teacher-directed. Students do what they are told. Our limited once-a-week interactions made it difficult for me to enable students to be intrinsically motivated by this mode of teaching.

Lack of a platform for students to ask questions and raise doubts I realised that usually only the loudest voices are heard in the classrooms in didactic teaching. While collaborative learning and group tasks allow for inclass discussion, I felt that I lacked in hearing the student voices about what they feel/think about their learning.

4.

I have a growing interest in learning about assessment strategies and formative assessment tools in the classroom.

LITERATURE REVIEW To understand more about formative assessment (FA) and self-assessment, I have read a few articles and here is my literature review.

I’ve learnt that self-assessment is more formative in nature, rather than summative. It allows students to be involved in the process of learning.

Students take responsibility for their learning and are involved in reflecting, analysing, synthesising and evaluating their performances.

In this article, the author also believed that students have much to say about what and how they are learning. Hence, self-assessment is one means of allowing them to articulate their learning process.

RESEARCH MOTIVATION 1.

Increased awareness among teachers about the use of assessment tools.

2.

Greater shift to accommodate opportunities for students to be involved in selfassessment.

3.

To increase emphasis on Differentiated Instruction & Assessment Literacies.

National Institute of Education (2008)

TECHNOLOGY AND INCLUSION IN PEDAGOGY

ASSESSMENT

PURPOSE OF RESEARCH ◊ To find out how incorporating selfassessment tools and formative assessment (FA) rubrics would impact students’ learning in music. ◊ To find out about students’ learning: ↪ What my students want to learn about in music lessons ↪ Difficulties/challenges faced during music lessons ↪ Difficulties/challenges faced when learning a skill ↪ Which parts of a lesson they enjoyed most

Other considerations:

English Language Institute of Singapore (2018)

“Formative assessment (FA) offers great promise as the next best hope in stimulating gains in student achievement. An extensive research base has validated the efficacy of FA practices, establishing the possibility of significant learning gains when FA is effectively integrated into teachers’ classroom practices… The results of the studies demonstrated that integrating FA with instruction might well have great impact on student engagement and learning outcomes.”

◊

Finding a platform to hear students’ voices?

◊

How to teach students to selfassess? (Release of responsibility from teacher to students)

◊

Whether my students are ready to self-assess?

◊

How to align my expectations as a teacher and students’ interpretation of their skill level?

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ASSESSMENT

SOUNDING THE TEACHING V

METHODOLOGY

◊

In the process of this inquiry, the autoethnographic approach is the main methodology.

I used three areas to get a better understanding of my teaching.

OBSERVATIONS ◊

◊

◊

210

↪

To aurally recognise sections in a song (Verse or Chorus)

↪

To perform drumset grooves on both real and virtual drumsets to a song

Students had to understand: ↪

Song structure

↪

Parts of the drumset and how they sound like (the different tones)

STUDENTS’ REFLECTIONS

↪

Self-assessment questionnaire (questions and checklists) at the end of every lesson

Learning the coordination on the drumset with their bodies (Right/ Left hand, using foot-stamping)

↪

Performing it to a song

Implementation of assessment tools (self-assessment and formative assessment rubrics) into lessons Student participation rate for lessons

◊

Students’ reflections and feedback on SLS lessons

◊

Difficulties faced during learning

◊

Usefulness of lesson resources on learning

POST-QUESTIONNAIRE Likert scale and free-response questions ◊

Effectiveness of assessing themselves

◊

Assessing awareness of students’ strengths

◊

Impact on learning activities on students’ intrinsic motivation for music

EXECUTION – CURRICULUM & DURATION ◊

◊

Learning Outcome:

Topic: Pop Style Drumming Grooves This is one of the sub-modules before students form an iPad band for their summative task

The project was carried out in Term 3 – where students engage in blended learning.

HBL – SLS 1 Watch/Listen & Clap

Face-to-Face Sessions Video + Drumsticks Uptown Funk

HBL – SLS 2 Video Clap-along – Uptown Funk

Face-to-Face Sessions Video + iPad Drums Uptown Funk + Other Songs

TECHNOLOGY AND INCLUSION IN PEDAGOGY

There were two modes of lessons: ◊

First, it was Home-Based Learning (HBL), where they attended SLS lessons.

◊

Then they came back to school for the face-to-face classroom sessions where they were engaged in classroom musicking sessions.

In designing the learning experiences: ◊

◊

Design SLS lessons for sections that students could learn at home on their own Plan lessons that would connect what they learn, and create the musical experiences in the faceto-face sessions

ASSESSMENT

◊

Safe-distancing measures when conducting the face-to-face lessons

FIRST HBL LESSON ON SLS In this lesson, students learn about different parts of a drumset and how they sound.

I found some online videos that allow students to go through some beat counting.

For example, the demo is at: https://www. youtube.com/watch?v=RMIkvpn8G8A Using a simple notation tool, I designed the beats notation chart for them to tap and clap along.

Here are some snapshots of the SLS lessons: 211

ASSESSMENT

SOUNDING THE TEACHING V

After watching and tapping with the beats, I tried to create a home-based musicking session for them just to practise this basic groove and coordination. They can then apply the concept of performing Bass/Snare beats by simulating the body coordination of foot and clap, along with a pop song The Reason (https://www. youtube.com/watch?v=yw9_WBg3n4A).

SECOND HBL LESSON ON SLS In the second lesson, I wanted students to learn about other drumset tones and experience the coordination required when playing the drums. Using a simple grid notation, I tried to create another play-along session where students had to watch videos to play along with the grid.

212

SELF-ASSESSMENT There was a “Reflection” section designed at the end of the HBL SLS lessons to incorporate a self-assessment tool. This is to allow for student voices to be heard.

Students had to: 1.

Rate their level of learning, whether they could follow or not

2.

Provide feedback about the lessons

TECHNOLOGY AND INCLUSION IN PEDAGOGY

FACE-TO-FACE LESSON

ASSESSMENT

in the music learning and performance.

They then use the iPad drumset to explore the other parts of drumsets aurally. This allows them to try out faster grooves and fills, which they may not have acquired the physical ability to do so within a short period of time. The use of a virtual drumset helps create a safe environment for them to be comfortable with exploring different sounds.

FORMATIVE ASSESSMENT RUBRICS

When students returned to school for face-to-face sessions, I focused on the musicking experiences to help them practise their skills.

Using the current resource, they played with drumsticks, hitting the chairs in front of them. This helps them simulate the basic beats of Bass/Snare and Hi-hat on a real drumset to provide some authenticity

Another tool that I used was the Formative Assessment (FA) Rubrics.

The rubrics were created based on the Learning Outcomes intended for the module.

Each student would own one rubrics sheet to self-assess at the end of every lesson. Students are to highlight with a given colour code, according to what they can do on the continuum, guided by the descriptors for each category.

213

For this topic, I selected four criteria: posture & coordination, rhythm (beats), improvisation and listening skills.

CRITERIA

DEVELOPING

ACHIEVEMENT

Perform (Posture & Coordination)

I sit with the correct posture on the chair/drumset with drumsticks.

I am able to identify the correct parts on my body. ◊ Right Leg (Kick) ◊ Left Hand (Snare) ◊ Right Hand (Hi-hat)

I am able to play with the right coordination on my body to demonstrate basic drum set grooves steadily (with my drumsticks).

I am able to demonstrate and coordinate basic drum beats correctly and steadily throughout a verse and chorus without a break.

Rhythm

I am able to play bass + snare on the correct beats of a pop song.

I am able to play bass + snare + hi-hat on the correct beats of a pop song.

I am able to play bass + snare + hi-hat on the correct beats of a pop song consistently for Verse or Chorus of a song with some help.

I am able to play bass + snare + hi-hat on the correct beats of a pop song consistently for Verse or Chorus of a song independently.

ASSESSMENT

SOUNDING THE TEACHING V

CRITERIA

DEVELOPING

Creativity/ Improvisation

I know how to play i.

Single hi-hat beats & ii.

Double hi-hat beats For either verse/ chorus of the song.

Listening

214

I can identify the 1st beat of the bar (Down beat).

ACHIEVEMENT I know how to use the crash cymbal to indicate a new section of the song (Verse/Chorus).

I know how to use the crash cymbal to end a fast song on its climax.

I know how to use the crash cymbal at the right cycles of the groove.

I know when to increase the hi-hat beats during the chorus of a song to give more energy.

I tried to combine the use of open and closed hi-hat to add colours to the pitch.

I know how to combine the use of open and closed hihat consistently for a song.

I tried using the tomtoms as fill-ins in between sections.

I know when to use the tom-toms as fillins just before a new section of a song.

I know how to create my own fill-ins before entering a new section of a song.

I am able to identify different sounds of a bass/snare and hi-hat.

I am able to match the beats and play what I heard to a drums-only groove.

I am able to listen and match the beats and write what I heard out on a groove chart.

I am able to identify how the different sounds fit into the beats.

I can write my own groove chart.

FINDINGS Let us look at the FA Rubrics completed by the students. These are rubrics from the Secondary 2 Normal (Academic) class. I noticed that most of the skills are attained only when they are back in school – indicated by the blue/purple highlights and markings.

TECHNOLOGY AND INCLUSION IN PEDAGOGY

ASSESSMENT

These are the rubrics from another class, Secondary 2 Express. On a closer look, this class has more yellowgreen highlights, indicating that they have attained a certain level during their SLS Home-Based Learning.

215

ASSESSMENT

SOUNDING THE TEACHING V

For the self-assessment questions, here are some snapshots.

Song 2: Uptown Funk song Responses for “I managed to keep up the tempo with Stomp-&-Clap for the song” (N(A) Class) I managed to keep up the tempo with Stomp-&-Clap for the song:

216

(Express Class) I managed to keep up the tempo with Stomp-&-Clap for the song:

20 15

20 13

15

12

10

14

10

7

5

5

5

2

0

7 0

0 Yes!

For more than half of the song!

No...

Not voted

Responses for “I managed to keep up with the groove for more than half a song” (N(A) Class) I managed to keep up with the groove for more than half a song: 20 15 10 5

(Express Class) I managed to keep up with the groove for more than half a song: 20

16

15 9

10

6 3

0

11

10

5 0

Yes!

More than half the song...

No...

Not voted

4 1

TECHNOLOGY AND INCLUSION IN PEDAGOGY

ASSESSMENT

Generally, the students were able to keep to the musicking tasks on SLS. They were then able to apply the beats and groove to a song.

Responses for “I could keep up with the Drumless Version” (N(A) Class) I could keep up with the drumless version

(Express Class) I could keep up with the drumless version

20

20

15

15

10

12

11

10

8

5

16

6

5

3

0

3

1

0 Yes!

Well...for more than half a song

No...

Not voted

Students articulated through their responses that they found the drumless version more challenging for them.

Responses for “I was able to identify the different sections and did the body percussion parts correctly… (I think!)”

(N(A) Class) I was able to identify the different sections and did the body percussion parts correctly…

(I think!)

(Express Class) I was able to identify the different sections and did the body percussion parts correctly…

(I think!)

20

20 15

15 10 5

9

20

15

11

11

10 3

0

8

5 0

0 Clap only (Opening)

Stomp on every beat (Build-up)

Stomp & Clap (Verse + Chorus)

Not voted

? ??

217

ASSESSMENT

SOUNDING THE TEACHING V

“Share.... What were some of your difficulties/“Aha” moments when going through the body percussion parts?”

Within the SLS lessons during HomeBased Learning, students shared some reflections. Some common threads that I have identified were that students found:

To my pleasant surprise, I saw students asking several questions based on these common themes:

A) DIFFICULTIES IN LEARNING BODY COORDINATION

WANTING TO IMPROVE SKILL LEVEL:

◊ ◊ ◊ ◊ ◊

218

After watching the videos and listening: What is ONE QUESTION you have about the drumset and would like to learn more?

◊

◊ ◊

I often have difficulties in identifying when to clap or stomp.

I tend to have a weird muscle reflex when I cannot coordinate.

I lost track of my stomping and clapping.

Trying to remember to either clap or stomp, or both.

Didn’t manage to get the stomp and clap together but slowly managed to after some practice.

My feet couldn’t coordinate well with my hands so it was really difficult to do it at first and it is difficult to keep up with the song too.

Clapping and stomping at the same time.

When I am supposed to clap, I clap and stomp instead and vice versa for stomp.

B) DIFFICULTIES IN KEEPING TEMPO ◊ ◊ ◊ ◊ ◊ ◊

Keeping up with the tempo.

Keeping the tempo.

Keeping up with the rhythm.

Following the tempo throughout the whole song.

The timing of when to clap I guess but after a while it’s okay already.

My brain started whizzing and messed up the tempo. Before I knew it, I was stomping and clapping at the same time.

◊ ◊ ◊ ◊

◊ ◊ ◊ ◊

How do you know what to play and make it look so easy?

How to improve?

How do you improve your hand-to-foot coordination?

Like specifically how do you hold the sticks properly as people tend to not understand how the sticks are wielded?

What can I do to improve?

How can you do so many things at one time? Isn’t it hard to multitask?

Must you be fast to play the drums?

How to play it with no stops in between, as in to play smoothly?

QUESTIONS TO UNDERSTAND MUSICAL FEATURES: ◊ ◊ ◊ ◊ ◊ ◊ ◊

Does the drumset have to be applied in all songs?

Which part of the drumset would be used the most in songs?

How do you properly use all of the drum parts?

Are we really going to play the drum set?

I learnt the basics of the drum and I want to try the drum myself?

What other rhythms are there to play on the drumset?

How to add the crashes into the beat of the drum?

OTHER QUESTIONS: And they were also able to identify other difficulties such as “pain” when trying to stomp their feet at home.

◊ ◊ ◊

Why are there so many cymbal-looking things?

Why is it like this?

What are the types of drumset? And practise more often?

TECHNOLOGY AND INCLUSION IN PEDAGOGY

OVERALL EFFECTIVENESS ON ASSESSMENT TOOLS At the end of the process, the students mostly agreed that the use of FA Rubrics helped them to understand their progress for the term (Fig 1).

Most of them also had a better idea/ greater awareness of how they have Fig 1 The use of Formative Rubrics has helped me to understand my progress for this term.

ASSESSMENT

progressed musically (Fig 2).

Most students also indicated that they feel proud of their growth and their understanding of the topic (Fig 3).

They were also able to identify two key areas that they wanted to improve on – these are based on the four criteria in the FA Rubrics (Fig 4).

Fig 3 I am proud of how I have grown over the past few weeks to gain understanding of the Drum grooves in music.

3.7% 3.7%

6.1%

9.8% 25.6%

84.1%

67.1%

219

Strongly Agree

Disagree

Strongly Agree

Disagree

Agree

Strongly Disagree

Agree

Strongly Disagree

Fig 2 I have a better idea of how I have progressed this term.

1%

Fig 4 Identify two key areas that you want to continue working on.

70.7%

60

2.7% 18.3%

64.6%

58

50

53

52.4%

40 30

43

37.8% 31

20

78%

10

st e Sk nin ill g s

Li

C p r re ov at is ivi at ty io / n Im

hm yt

Strongly Disagree

Rh

Disagree

Pe

Strongly Agree Agree

rf or Co m o r (P o di st na u t i re / on )

0

ASSESSMENT

SOUNDING THE TEACHING V

They were also able to suggest ways to work on their areas for growth.

More practice.

Many suggested “to practise more” and to “ask” for help. It suggests that there are proactive ways that they are taking instead of waiting for teachers to close the gaps in subsequent lessons.

Students are taking greater ownership of their learning.

If I don’t know how to do, I can consult a teacher or friend.

Share how you are going to work on the areas chosen above?

Practise more on making different rhythms and maybe listen to more rhythms to get inspiration.

Do more listening practices and try to play the drum differently.

Play more drums at home.

220

Just practise more and eventually I will get it.

By paying more attention.

Keep practising.

Listen to more drum music.

Practise.

Ask friends.

Try to be more creative.

As this was the end of the skills module before they split into iPad band groups, I wanted to check in on their readiness to receive their next performance task.

The students indicated relatively high readiness to work with their peers (Fig 5).

Overall, most of them enjoyed the SLS lessons during their HBL (Fig 6).

They also enjoyed the package of blended learning (both Home-Based Learning and facilitated musicking activities in school) (Fig 7).

Fig 5 I feel more prepared to receive my next music task now that I know my strengths and weaknesses.

2.4%

Continue practising.

15.9%

Learn how to play the notes in cohesion and unity.

I can listen to the different parts of the song, try to make a cover of my favourite song and try to add some twists to it.

11%

70.7%

By practising.

Practise lots.

Strongly Agree

Disagree

Agree

Strongly Disagree

TECHNOLOGY AND INCLUSION IN PEDAGOGY

ASSESSMENT

Fig 6 I enjoy the HBL activities for this term for Drum Grooves.

Fig 7 I enjoy the Drum Grooves music activities for this term on the whole.

40

40

35

39%

40.2%

35

30

32

33

30

25

30.5%

15

10

2.4%

5

2

0 1

I also asked the students for general feedback on the lessons.

It turns out that they were quite encouraging!

Feedback on module: I wish to tell my Music Teachers that...

I really enjoy this music topic.

I saw some improvements.

Y’all did great :)

2

3

0%

0%

4

5

I would work hard to get my goals.

I wish to tell my music teachers that it was comfortable when we were provided chairs to sit on and used our drumstick to drum.

I enjoy having a music lesson with Ms Tan. Not applicable.

Thank you for teaching us new things.

Drum Grooves was a good pick.

Not much, just keep doing what you’re doing!

Nil.

I want more drum lessons.

It was really fun learning a new skill.

Thank you for teaching us this interesting topic.

I liked the drum lessons.

It’s very interactive and fun.

Thank you for teaching me how to drum!

This unit is very interesting.

The music lessons were very fun and interesting.

I wish to tell my music teacher that this is fun.

I need to practise a little more.

25

21

15

15 0%

25.6%

20

18.3%

10 0

36

25

20

5

43.9%

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gained constructive feedback about the lesson, and realised that lowerprogress students generally indicated achievement attained after faceto-face sessions. It suggests to me that these students may need more scaffolding, both on SLS or in the classroom.

I wish we had more time to play the songs/drums.

It’s great. Keep going whatever you are doing :) OK. Nice job.

LIMITATIONS OF RESEARCH I learn a lot from the lesson.

‘CATCHMENT’ You should let everyone try a real drumset so they know how it feels to play real drums.

◊

Not all students attempted HomeBased Learning due to other needs

ALIGNMENT OF EXPECTATIONS

KEY LEARNING AND OBSERVATIONS ◊

From this inquiry process, here are my key learning points and observations.

Teacher and students’ interpretation of competency levels may not be fully aligned

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•

There was student engagement.

Most students enjoyed the lessons and most of the classes have good participation and completion rate for Music on SLS.

DURATION WINDOW ◊

◊

•

From their responses, I gathered that there was greater sense of pride and ownership.

•

The self-assessment and reflection questions also provided a platform for student voices to be heard.

•

Through the use of FA Rubrics, students took the responsibility to analyse and identify their competency level and areas for growth.

•

In the earlier responses shared, they also showed increased readiness for higher-level skills to challenge themselves compared to before.

•

Through their responses, I also

Need a longer period of time to observe patterns when using assessment tools A longer time period is needed to observe the effectiveness of ↪ using assessment tools ↪ teaching practices

As the duration is short, there are some limitations to the research conducted.

•

As some students did not respond to the self-assessment questions, I was unable to address all students’ needs.

These students may not be able to readily access the SLS lessons.

•

In executing the FA Rubrics and self-assessment tools, there could be a misalignment in expectations, from a teacher’s perception and the students’ interpretation of “what is achieved” at that level.

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•

•

To have a more informed observation, a longer period of time may be needed to observe student learning patterns when using assessment tools.

The assessment tools could also be used across other topics to enhance the inquiry on the teaching and learning process.

CONCLUSION From the inquiry process and findings, I am reminded of Singapore’s Curriculum Philosophy that as teachers, “We believe that every child wants to and can learn”.

While I used to wonder if students would be ready for higher-order tasks,

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I realise that they are capable of that, with sufficient scaffolding from the teacher.

I have learnt how much potential incorporating assessment into lessons can have on students’ learning as they can analyse and evaluate their own performance. As a teacher and facilitator, I strive to continue to increase assessment literacies, to listen to the student voice, and use these tools (e.g. FA Rubrics) to help students learn and gain confidence in their learning.

Moving forward, I feel the need to sustain the practice of using assessment tools to encourage self-assessment by students, and to ensure that the ongoing process will help both my students and I, as a teacher, to be informed about their learning.

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References English Language Institute of Singapore. (2018). Assessment that impacts learning. https://academyofsingaporeteachers.moe.edu.sg/docs/librariesprovider2/resouces-docs/elisresearch-digests-doc/elis-research-digest-vol-6-issue-1.pdf National Institute of Education. (2008). A for Assessment. https://singteach.nie.edu.sg/issue10-voices01/ Vygotsky, L.S. (1978). Mind in society: The development of higher mental processes.

Harvard University Press.

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Conclusion

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Conclusion The rich findings discussed in this issue can provide us collective wisdom as we navigate through the changing contexts for education. We conclude with the following key propositions that music teachers could consider for integrating technology into music teaching to promote inclusion and cater for diversity.

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Focus on developing the musical child with new literacies to navigate in volatile contexts ▶ Develop broader music literacy skills such as including new ways of listening, creating and performing music (e.g. new possibilities for sounds, collaborations in music making) ▶ Deepen music learning through drawing knowledge from the creative music process ▶ Develop learning dispositions for collaborative and self-directed learning

TECHNOLOGY AND INCLUSION IN PEDAGOGY

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Give attention to feedback to develop the expressive child ▶ Consider the longer-term learning horizon, providing feedback that is more sustainable and beneficial for the child in the long run ▶ Consider timely, multiple and differentiated forms and modalities of feedback ▶ Equip students with assessment ability to evaluate themselves

To promote inclusion and engagement ▶ Provide equitable opportunities for students to participate ▶ Balance learning in and out of school to give access to diverse learners and to enrich their learning experience while ensuring their well-being ▶ Harness technology for differentiation ▶ Harness technology for developing an inquiring mind

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