Sounding the Teaching VII: Imagining Possibilities in Changing Times 2023LIVE
sounding the teaching VII
Imagining Possibilities in Changing Times
A Publication by the Singapore Teachers’ Academy for the aRts (STAR)
We would like to express our appreciation to Principal, staff and students of Canberra Primary School, Casuarina Primary School, Catholic High School, CHIJ Secondary School, Chongzheng Primary School, Dazhong Primary School, East Spring Primary School, Fengshan Primary School, Fernvale Primary School, Pasir Ris Primary School, Paya Lebar Methodist Girls’ School (Primary), Paya Lebar Methodist Girls’ School (Secondary), Punggol Cove Primary School, Rivervale Primary School, River Valley Primary School, Shuqun Primary School, South View Primary School, St. Andrew’s Junior School, St. Andrew’s Secondary School, St. Gabriel’s Primary School, West Grove Primary School, West View Primary School, Yangzheng Primary School, Yio Chu Kang Secondary School, Yishun Primary School
A Publication by the Singapore Teachers’ Academy for the aRts (STAR)
Foreword
How Tiered Assignments in a Differentiated Classroom Impact Lesson Effectiveness and Students’ Engagement
Choy Yong En, Carene and Tan Wei Da South View Primary School
How a Pop Band Programme Enhances Social and Emotional Learning in At-Risk Primary School Students
Ang Chea Ing Allen Losey and Welzl Valentin Xin Wei Fengshan Primary School
Investigating Songwriting as a Strategy to Improve the Mental Well-being in Students by Developing a Positive Self-concept and Regulating Emotions
Ng Eng Kee
Paya Lebar Methodist Girls’ School (Secondary)
Use of “Praise Question Polish” (PQP) in Promoting a Positive Learning Environment Where Students Can Hone their SEL Competencies
Lee Lufang Charmian and Leong Yahui West View Primary School
Developing Social and Emotional Competencies through Collaborative Music
Creation
Chan Jia Min, Carmen St. Andrew’s Secondary School
Students’ Responses to Flipped Learning in Music Composition
Lee Oon Kee Yishun Primary School
Engaging Students in Creation with Flat Tan Wui Ling East Spring Primary School
Investigating the Impact of Differentiated Assessment Tasks on Students’ Enjoyment and Confidence in Cajon Performance
Tan Yi Han and Ang Hui Qian Iris Rivervale Primary School
Claire Tan
Tang-Chew
Differentiation Using Tiered Assignments in the Lower Primary Music Classroom
Goh Wan Yu and She Ai Ling
River Valley Primary School and Shuqun Primary School
Chang
Lee Hui Min Grace Casuarina Primary School
Introducing Gamification and Blended Learning to Influence Students’ Motivation in Playing the Ukulele
Lee Hui Yi Sharon Canberra Primary School
The Effectiveness of GarageBand as a Digital Tool to Facilitate Better Understanding of Musical Layers and Arrangements in Music Improvisation
Cindy Lim and Jessica Leong
Paya Lebar Methodist Girls’ School (Primary)
Inquiry-Based Learning: Engaging and Motivating Primary 6 Students to Learn and Appreciate Music from Different Cultures
Li Cong Yangzheng Primary School
Authentic Learning through Student Construction of Real-World Scenarios in Composition Assignments
Michael William Cartwright
Yio Chu Kang Secondary School
Supporting
Alexandria Kirsten Tobias Fernvale Primary School
Dazhong Primary School SECTION
Creating an Inclusive Lower Primary Music Classroom by Enhancing Students’ Learning Experience with the Use of Scratch Programming
Dawn Kuah
Clifford Chua Academy Principal
Chua Siew Ling Principal Master Teacher (Music)
Foreword Introduction
While the past three years of the COVID-19 pandemic imposed constraints on our classrooms, they also provided greater impetus for creativity and opportunities for transformation. As we transition into the endemic phase, we find new norms and a confluence of global insecurities due to geopolitical, social, economic, and cultural shifts. In addition, our classrooms are increasingly diverse, with the introduction of Full Subject-Based Banding, and the revised primary and lower secondary music syllabus which will be implemented for all stages by 2024. In short, we find ourselves in changing times.
To navigate these changing times, we need strong teacher-leaders who can model the dispositions of effective change leaders; adaptability to capitalise on opportunities for change, creativity to drive innovation and knowledge creation,2 and criticality to drive social change through addressing the tensions between ideals and realities.3 The Critical Inquiry Networked Learning Community (CI NLC) is a platform that allows teachers to exercise these dispositions in leading innovation to enhance teaching and learning in the music classroom. Through the 2022 Music CI NLC, 33 music teachers continued to sharpen their pedagogical knowledge in various SkillsFuture for Educators (SFEd) domains. Twenty-six of these teachers have contributed articles to our e-publication.
Following the rapid rise in the use of technology during the pandemic, teachers continued to explore creative ways to harness technological affordances to expand educational possibilities. Through the pandemic, we also retained the heart of teaching in seeking to include and involve students in their own learning. In recognising the importance of facilitating inclusivity for all students, teachers investigated various ways to employ tools for Differentiated Instruction and Inquiry-Based Learning to engage heterogenous learners, as well as strategies to support students with Special Educational Needs. Teachers also examined how Assessment Literacy and Social and Emotional Learning could be facilitated in a studentcentric manner. Together, these explorations culminate in a valuable, collective pedagogical resource that can spark transformative possibilities for the rest of the fraternity.
Through these CI projects, our music teachers have demonstrated agency in taking ownership of their own professional learning as pedagogical leaders. I would like to thank all contributors for their dedication to innovating change to enhance quality musical experiences for our students. I would also like to thank their school leaders for their unreserved support. May Sounding the Teaching VII embolden and invigorate all readers to be active change agents in their music classrooms and strengthen our collective professional knowledge as a community.
F.,
B., & Suteu, I. (2017). Adaptive thinking for design leadership. Coaching adaptive capabilities to empower next visionary leaders. The Design Journal, 20 (sup1), S4183–S4196. https://doi.org/10.1080/14606925.2017.1352917 OECD (2010). The OECD Innovation Strategy: Getting a Head Start on Tomorrow. OECD Publishing. https://doi.org/10.1787/9789264083479-en
Giroux, H. A. (2004). Critical pedagogy and the postmodern/modern divide: Towards a pedagogy of democratization. Teacher Education Quarterly, 31(1), 31–47. https://www.jstor.com/stable/23478412
The theme ‘Imagining Possibilities in Changing Times’ was conceived to encourage teachers to explore innovations in their respective changing classroom contexts such as when transiting out of the COVID-19 pandemic or embarking on the Full Subject-Based Banding initiative to engage heterogeneous classes. Teachers also apply their understandings in the areas of SkillsFuture for Educators in creative works that are driven by the different needs and challenges they are facing.
The issue opens with a section on social and emotional learning to give emphasis to the emotional aspects of learning even as we pursue learning outcomes and objectives. We outline some of the key explorations of possibilities and learning in the map on the next page.
Clifford Chua Academy Principal Singapore Teachers’ Academy for the aRts
Chua Siew Ling Principal Master Teacher (Music) Singapore Teachers’ Academy for the aRts
Galli,
Pino,
Imagining Possibilities in Changing Times
DIFFERENTIATED INSTRUCTION
| Increasing students’ risk appetite by motivating students and developing growth mindsets helps students respond to tiered tasks better.
| The design of tiered tasks can tap into students’ interests to increase student engagement.
SOCIAL AND EMOTIONAL LEARNING
| Building positive relationships in the music-making experience helps develop confidence in students.
| Protocols such as ‘Praise Question Polish’ (PQP), when used as a routine, can help foster a positive learning culture.
| Songwriting is a musical process that can develop students’ well-being in addition to their music competencies.
ASSESSMENT FOR LEARNING
| Students provide more detailed and focused peer feedback when there is greater ownership, accessibility, and visibility.
| Students provide more specific feedback and evaluation when they can point to specific timestamps in recorded videos and refer to checklists.
| Patchwork assessment (a series of tasks that leads to cumulative knowledge) can enable greater student motivation and engagement.
| Learner-centred assessment, where tools and strategies are developed for students’ experiential learning, empowers students to be self-directed.
We celebrate the efforts and the new insights offered by all contributors to this publication as these contributions help strengthen our collective professional knowledge as educators.
| Giving choices to students in how they can present their learning positively impacts their learning experiences.
E-PEDAGOGY
4
| Technological tools provide alternative notations and ways to understand and experience musical processes.
| Teachers can customise instructions and provide different feedback channels in flipped learning as different learners respond differently in flipped learning.
| Gamification fosters assessment as learning, caters for diverse learners, allows students to see progress, and promotes self-directed learning.
5
INQUIRY-BASED LEARNING (IBL)
| IBL can be facilitated with technological tools to empower students, leading to high-quality work.
| IBL can be used to motivate students to appreciate music from other parts of the world as well as music unknown to themselves.
| IBL can be designed to provide authentic learning experiences to engage, motivate and empower students.
6
SUPPORTING STUDENTS WITH SPECIAL EDUCATION NEEDS
| Existing frameworks and principles such as Universal Design for Learning and the Ecological Framework can support the planning of an inclusive classroom.
| Barriers to learning can be reduced with increased student autonomy and ownership.
Social and Emotional Learning
Social and Emotional Learning
Social and Emotional Learning (SEL) deserves first attention as it supports the other kinds of teaching and learning approaches that will be discussed in the following sections.
Here, teachers share their stories of how they nurture SEL competencies in students through music-making strategies and other routines. In doing so, they provide positive learning experiences that develop the well-being and learning capabilities of their students.
10 Ang Chea Ing Allen Losey and Welzl Valentin Xin Wei use autoethnography to take us through their roles as teachers in a music programme that enables at-risk students to build positive relationships with their peers, and develop self-confidence.
20 Lee Lufang Charmian and Leong Yahui focus on language use and its contribution to the development of relationship management. Their project demonstrates how the strategy of using the “Praise Question Polish” (PQP) protocol as a routine is useful in building a positive learning culture.
28 Ng Eng Kee’s project shows how songwriting can be facilitated to nurture students’ well-being in addition to developing their music competencies.
36 Chan Jia Min, Carmen shares interesting interdisciplinary strategies and detailed investigation of student experiences which highlight the importance of being intentional in encouraging SEL in music lessons.
How a Pop Band Programme Enhances Social and Emotional Learning in At-Risk
Primary School Students
*Pseudonyms are used to protect the identities of the students in this story
The following paper is presented in the form of a story since we have used autoethnography (Ellis, 2004) as our inquiry approach. The research, which is qualitative in nature, “seeks to describe and systematically analyse personal experience in order to understand” backgrounds and experiences (Ellis, Adams & Bochner, 2011). Data from this research was obtained from transcriptions of video recordings, personal reflections, and journaling after each session, over the course of eight months. A narrative analysis was conducted to understand the chronology of the events and the changes taking place. Triangulations were done through audio recordings and transcriptions of interviews with School Leaders (SLs), the Year Head (YH), and the Assistant Year Head (AYH). The episodes reported here are the key examples of how a Pop Band Programme can enhance Social Emotional Learning in at-risk students.
Intro
A passage or section preceding the theme or lyrics
*“I” refers to Allen
walk into the library on Monday and Friday mornings at Fengshan Primary School, you will be in for a big surprise. Picture this. The librarian has her noise cancelling headphones on – and for good reason, as the serenity is broken by what appears to be a noise concert. The space is filled with a cacophony of loud sounds: bangs from the electric drum kit, incoherent chords from keyboards and ukuleles, jangling sounds from a tambourine and an egg shaker, and the jarring bars of xylophones and metallophones as they vie to be heard above it all. Adding to the mix are some students singing into microphones as they attempt to hear how they sound over the speakers.
How did I get myself into the centre of all this “madness”?
The library. A place of knowledge and wonder filled with books, peace, and serenity. However, if you happen to
It’s all thanks to a pop band programme called “Drum it up”, the brainchild of Ms Tan CH (YH), Matthias Chua (HOD aesthetics), and I. The objective of this programme is to entice at-risk students with long term absenteeism and/or behavioural issues to come to school on a regular basis. Apart from giving them the opportunity to learn a new instrument, we include activities such as regular check-ins, personal reflections, and sharing sessions with the
students so that they are engaged in social emotional learning (SEL) at the same time.
SEL can be divided into three broad categories, namely Self, Social, and Responsible decision making (in alignment with Character and Citizenship Education intent). As Dr Scott Edgar, author of Music Education and Social Emotional Learning: The Heart of Teaching Music posits, “Many of the elements of these components interweave – they are not mutually exclusive. Instructions in one component often leads to success in multiple” (Edgar, 2017, p. 12).
Seven selected students from each level (Primary 5 and Primary 6) joined the pop band programme after some persuasion from the YH and the AYH. We met regularly on Monday and Friday mornings from 7.45am
to 8.15am. Two factors were taken into consideration in deciding on this timing: 1) It could not take place after school as we did not want the students to only turn up for the programme after missing an entire day of lessons. 2) We want to encourage the children to come to school regularly and punctually.
Hence, the early start.
A verbal social contract was drawn up with the participating students. Firstly, they had to maintain an attendance of at least 80%. Secondly, they should not demonstrate disruptive behaviours in class, otherwise students on the wait-list would replace them.
With pure faith and determination, I knew that my co-conspirator/music teacher, Welzl Valentin, my (P5 and P6) students, and I, would get there. Our students would perform their cover of the song “At My Worst” by Pink Sweat$ as a pop band.
Could we really do it?
Other teachers and even the students themselves had their doubts. Playing an instrument requires skill, patience, time, and self-discipline, all of which the students lacked. The students had never played together as a band. I had never done this with students before, though I have had experience singing in the “Friends in Concert” (FIC) performance with my band – which is made up of very talented music teachers.
Allen Losey and Welzl
Valentin
Xin Wei Fengshan Primary School
How would this group of at-risk students, with a high absenteeism rate and/or behavioural issues, come together and pull off a performance for Teachers’ Day, with COVID still looming in the background? We had previously failed to be ready in time for the International Friendship Day showcase. Would we fail again?
This is our story.
Hook
A section or musical passage found in pop songs to draw listeners in
The P5 and P6 students were seated in two groups outside the glass doors of the library. They were rowdy, talkative, and excited. They did not know each other. Many of the students did not know me
either as I had only joined the school six months prior. I recognised only one of them, as he had literally given me headaches with his squealing, screaming and rude behaviour during our music lessons in the previous semester.
I walked closer to the door of the library, feeling as if I had a cloak of invisibility on. The students’ bantering continued. Oh my! Do I let this go or do I set the tone right? I decided to address it. I spoke briefly and firmly, setting out my expectations on appropriate behaviour. Then, I smiled sweetly and welcomed them – though I am not sure if they heard me at all.
Due to safe distancing measures, I could only have one level (P5 or P6) with me at a time. Hence, Valentin was quickly roped in to work with the other level. I took the P6s, while he took the P5s.
I walked them into the library and showed them the band setup. I was careful to set my hook right – in the form of an electric drum kit. I played on it and threw in some drum fills which ‘wowed’ them. After that, everyone took turns to play a simple pop rhythm on the bass and snare. (I had intentionally left out the hi-hat as that requires a lot more coordination than what I felt they were ready for.)
By choosing a simple common rhythm that they would have heard many times before in pop songs, I increased their chances of success and instant gratification. Ta-da! As it turned out, many of them did get it perfect right at the onset. You could see the sparkles in their eyes and imagine their thought bubbles, “Hey, I can do this!”
However, on occasion, when someone played less accurately, the rest would laugh.
Me: “I don’t think it is nice to laugh at your friends when they make a mistake. We are here to uplift and support each other in this programme, so let’s be nice and encourage one another. Don’t worry XX (child’s name). Keep going, try it one more time.” They needed quite a few reminders, and a few stern stares from me over many sessions before they put a stop to such behaviour.
When the students were slightly successful in playing the pop rhythm, I would praise them. “Wow, what a fantastic job! Keep it up, you can do it! Everyone, let’s clap for XX!” While waiting for their turns, I also got everyone to chant the rhythm and play it on their bodies to support the student who was playing on the drum kit, as well as to familiarise themselves with the rhythm.
Over the next few sessions, everyone had the chance to learn some basic skills on each of the instruments. I wanted to see which instrument each student had more of an inclination towards, and how quickly they were able to pick up the skills required to play it. But it was left totally up to them to decide which instrument they wanted to play. My goal was to win them over so that they themselves would want to come for the “fun” programme that had been carefully planned and curated for them.
These students started coming to school early and more regularly. For those who did not turn up, I would make it a point to seek them out on days that they came to school to try to find out what happened. I would also tell them that the band had missed them, that they were very important to the band, and that I would like to see them at the next practice.
First verse
The first section of a song that typically repeats and features a new set of lyrics on each repetition
Zedd, a small, sturdily built P6 boy, was rude to me when we first met. He did not greet me, and his mannerisms mirrored those of a little thug. Zedd came from a complicated family and ran away from home often. He would loiter around the neighbourhood after school, in different areas until late, before heading home to sleep.
Due to family issues, his attendance was irregular, and his attitude was bad. Emotionally, he was guarded and did not
want to share when we had our group reflection/sharing sessions. Instead, he made funny noises, meowing like a cat, or whining like a baby. Sometimes he simply brushed it all off, saying that he had nothing to share.
He chose the drum kit as his instrument of choice. (Actually, the drum kit was everyone’s first choice, but as there is only one drummer in a band, compromises had to be made. These were made by the students themselves).
Rhythmically, Zedd was very strong, and he was aware of that. He could miss practice sessions and still be able to catch up very quickly at the next session.
As video recordings of the initial stages show, while I was busy teaching different groups of students on their chosen instruments, Zedd would be banging on the drum kit as hard as he could. At other times, he would be distracted and impatient while waiting for his turn, or be up to some kind of mischief. If his buddy was sitting on the drum stool, he would take hold one of the drum sticks and pretend that it was a ‘sword’.
He would pull his ‘sword’ from the side of his body, then raise it in the air to fight an unseen monster. He would even try to get the ukulele players’ attention to show them his ‘sword’-fighting skills.
Though there was an upward trend in participation for most of the students in the programme by this time, Zedd’s attendance continued to fluctuate.
I was starting to worry that I would not be able to get through to him.
Pre-chorus
Dominantly used to bridge the verse and a chorus, usually comprised of either a different chord progression and/or a unique melody to the verse and chorus; a turning point
“I” refers to Allen
Chorus
Section of a song that is repeated, and which embodies the overall lyrical message of the song
“I” refers to Allen
May. It was the mid-year examination period for the P6s. As I was walking towards the music room, I saw Zedd strolling into the school with his PE attire tucked out untidily, without a care in the world. It was 8.12am and the exam had already begun. He was late.
“Don’t you have exams today?”
“Erm… Yes?”
“You know you are late?”
“Yes?”
“It’s not too late. Come, run with me. I’ll take you to class. Come! Quick!”
We ran to the lift and took it up to the fourth level where his class was situated. I asked his P6 teacher, “It’s not too late, right? He can still sit for the paper?”
Zedd was quickly ushered to his seat, and given his exam scripts to work on.
Zedd’s attitude towards me changed after the exam episode. I guess he could sense that I cared, and that I really wanted him to succeed. He would greet me when he saw me along the corridor. He would come up to me to say, “Hi, (tea)cher” if he saw me at the canteen. In our regular music classes, I would brag about Zedd’s drumming: “You may not know it, but Zedd is a very good drummer. He plays really well in my “Drum It Up” programme.” Zedd would beam with pride whenever I said that. During these times he would be the attentive student, the role model. At times, he would even help me to keep his friends quiet.
Zedd started coming to school more regularly. He also began to open up to me and the P6 group. He shared about his special needs brother at home whom he was often tasked to take care of. This brother would get Zedd into trouble by saying things that were untrue. Zedd’s mom would then punish him, which Zedd felt was unfair. As a consequence, Zedd preferred to loiter outside with his “friends” and only go home late at night when everyone had already gone to bed.
As he shared, we could only listen to him, and empathise with him. Some things are out of our control. A few weeks later, at another reflection/sharing session, I received a beautiful surprise. Another student, Finn, shared that he had visited Zedd at his home and that they spent time together playing. This kind gesture by Finn moved me
beyond words. He had taken the initiative to build a stronger friendship with Zedd after understanding Zedd’s home environment.
While trying to put the song together, everyone realised how important the role of a drummer was. He sets the tempo of the song with his first initial clicks, and if he breaks down in the middle of the song, the whole band falls apart. Zedd was determined to get his part right. He was focused, he listened to others, and he kept the tempo going.
During one practice, I noticed that Zedd was experimenting with different fills and beats. Seeing that he was capable and ready, I taught him a drum fill and a cymbal roll to use in his playing. When he heard his peers clapping for him, he smiled from ear to ear. He knew that he was the best drummer!
“Everyone, look at me so that I know you are all ready and I can start. Look at me, ok?”
“Why aren’t you starting?”
“‘Cos they (are) not looking at me”
When he had everyone’s attention and the room was silent, he started the clicks and off they went, playing their cover version of the song as best as they could (with mistakes no doubt, but with lots of heart).
ALLEN
ALLEN
ZEDD
ZEDD
I am not sure if Zedd realised how much he had changed over the months. When we did our reflection, he said that he knew that he was rude before. Over these eight months, he showed resilience, leadership, and growth in his character and attitude. For these and more, I am very proud of him.
Second verse
A repeated section of a song that typically features a new set of lyrics upon each repetition
Then there was Amy. She was a P5 student who transferred into Fengshan Primary School in the middle of her P3 year. During her early days in the school, I noticed her learning bad habits from her peers. Once reserved and quiet, she quickly turned into a child who spoke out of turn for fun.
Now in P5, Amy was no better. She had fairly little support at home, and was prone to fluctuating temperaments. On some days she would come for the session full of energy and in a playful mood. On other days she would enter the room without a word and sit in a corner.
But one aspect of Amy worth praising was her awareness of her strength. Given a choice among the drums, vocals, keyboards and the ukulele, she murmured, “I think I want the ukulele.”
“I also think you’d be good on the ukulele. Great minds think alike! You picked up the skills on the ukulele quite quickly. It’s a good choice.” A slow smile spread across her face when she heard those words from me.
Pre-chorus
Dominantly used to bridge the verse and a chorus, usually comprised of either a different chord progression and/or a unique melody to the verse and chorus; a turning point
“Are you all ready? We’ll be doing a midpoint check,” I said.
“What’s a midpoint check?” the students asked.
“It’s for us to show a little of what we’ve been doing. We’ll be showcasing what we have been practicing to our P6 friends in the other room.”
“Huh?” The students looked at me in dismay. I took that as a good sign. They were nervous and clearly wanted to do their best. “It’s all right if we are not ready. We’ll watch the P6s and move on from there, ok?” I did my best to ensure that the space created in the “Drum It Up” programme would continue to be a safe one for the students to express themselves without fear of failure or humiliation.
Unexpectedly, the midpoint check which was just a session for the two groups of students to come together, ended up being a turning point for Amy. After watching the P6s’ midpoint performance, she was inspired. She realised that there was so much she could achieve if she put her mind to it.
Chorus
A section of a song that is repeated, and which embodies the overall lyrical message of the song
From then on, Amy would approach me to ask if I could open up the music room for her to practice on her own during her recess breaks. I had never seen in her demonstrate such levels of selfdirectedness and confidence in striving to be better. There were some days where I was not able to support her during her extra practices. However she would still take the time to sit in front of the mirror to watch herself, and correct herself.
Nowadays, she walks up to me and greets me. She also likes to tell me about her day. I believe that there may be a lack of any other figure at home to provide her with a listening ear. So whenever I can, I will take the time to listen to, and talk to her.
“There’ll be a video up for our “Drum It Up” group later. It’s going to be awesome!” I said when I bumped into a few of the pupils in school on Teacher’s Day. “Noooooo, can you not put it up? I’m scared,” they said.
I showed them the stop sign in music (a clenched fist) as I wanted to address their concerns. But because we were not in a music setting, they did not realise that my clenched fist was a signal for them to stop their conversation. Some of them, including Amy, fist-bumped me. I was taken aback and quickly did a rethink of how to respond.
“It’s gonna be great. Trust me. Trust your abilities.” I waved at them, and walked off towards the staff room.
Bridge
Contrasting section that prepares for the return of the original material section
As COVID became a part of our lives and safe distancing measures were lifted, the two groups of students were able to come together for rehearsals. Everyone had an instrument and a different part to play. To build better friendships across levels, we also played games together. What better way to break the ice than through games where they need to interact with one another?
Magically, after playing several rounds of “Hunter, Fire and Earthquake”, with lots of running, screaming and laughter, they sounded more coherent as a band. They shared a common tempo, a common goal, a common love for the music, and genuine care and support for each other. Most importantly, they now knew that the sum of everyone’s part was greater than the whole.
Chorus
A section of a song that is repeated, and which embodies the overall lyrical message of the song
Initially, I had to take the lead in conducting the playing through loud counting, clapping, and by flailing my arms to cue the students to join in. As with all new players, when a mistake occurred, they would stop and restart from the beginning. With lots of starts and stops came lots of frustrations as well. To help them to sense the flow of their song, I had to join in the playing. But with each passing week, as the group was able to perform their parts more fluently, I backed off more and more, leaving them to make their own creative and artistic choices in the way they wanted to present their song.
They were all gearing up to do the audio and video recording for Teachers’ Day.
“I” refers to Valentin
“I” refers to Allen
They were excited and worried at the same time. We had our outfits planned, our recording schedule planned, and the filming date set. But as Murphy’s law dictates, “Anything that can go wrong, will go wrong”. And so it did. Just as we were about to record, our mixer stopped working. One of the singers came down with COVID. Zedd’s mom refused to send him to school, for fear that he would run away again.
We had to make quick adjustments on how we were going to do the recording, and different people had to step in to sing and play the different parts. I had intended to film the students, but they were so selfconscious about how they would look in the videos, that their actions and movements became stiff and artificial. We took lots of photos as backup. With Matthias’s quick action in sending the mixer for repairs, we got it back just in time for our recording.
Valentin and I had to scramble to put the audio and video together in one weekend, for the presentation to be ready for the Teachers’ Day showcase.
Did we manage to pull it off?
“How did you feel when you saw your video being played during Teachers’ Day?”
“I feel (felt) shy.”
“Because?”
“My face (was) all over the video... I feel (felt) happy because people is (were) proud of me”.
“Who was proud of you?”
My AYH observed that it was “really a good platform for at-risk pupils as they gained motivation as well as selfconfidence, both of which are lacking in a lot of these children. It was also a very natural platform for them to befriend other peers as some of them have relationship issues with their friends”.
Valentin and I are truly humbled by this journey. We had not foreseen how this simple pop band programme would be able to enrich, engage, and empower our students and impact the way they see themselves.
Please click here to watch the students’ video presentation.
better – be it through their music learning or in other academic, emotional, and physical areas – for teaching is ultimately heart work.
We close with a sharing from another student, “I enjoyed coming to this programme because it’s you, Mrs Losey.”
While sharing, Zedd had a megawatt smile plastered on his face.
The changes in these at-risk students did not go unnoticed.
“My classmates, my teacher, my principals, and all of my teachers that I know.” YES! WE DID! AND WE DID IT ALL
TOGETHER!
Outro
Provides closure through a short and distinctive section at the end of a pop song
Said my Principal, “I saw the impact of the programme, especially in the children coming to school and wanting to come to school, and putting in the effort to learn the instruments... it helped them to see that they can be successful in something.”
Over eight months, these at-risk children have demonstrated increased SEL: greater self-awareness and self-discipline, social awareness and bonding together as a band, and making responsible decisions to come to school and be an active contributing participant of the band. They have learnt to articulate their emotions and feelings better. They have learnt to listen, to compromise, to care for themselves, and to support others. They have gained confidence, self-esteem, and self-pride.
We teachers have learnt that at the heart of it all, it is about knowing our students. As there are only a few music teachers for each school, we usually teach many classes. While we nurture the teacher-student relationship through music, we should also make time to know our students better. After all, it is in knowing them that we can support them
“Music acts like a magic key, to which the most tightly closed heart opens."
~ Maria Von Trapp
We could not have done this without the support of our school leaders and colleagues at Fengshan Primary School, who helped us in one way or another. As the saying goes, “it takes a village to raise a child”.
Special thanks to Alwin Tien who shared his reflections and thoughts with us for the sessions that he came to observe.
References
• Edgar, S. N. (2017). Music education and social emotional learning: The heart of teaching music GIA Publications, Inc. Ellis, C. (2004). The ethnographic I: A methodological novel about autoethnography. AltaMira Press.
• Ellis, C., Adams, T. E., & Bochner, A. P. (2011). Autoethnography: An overview. Forum: Qualitative Social Research 12(1), Art. 10, http://nbn-resolving.de/urn:nbn:de:0114-fqs1101108.
ALLEN
ZEDD
Use of “Praise Question Polish” (PQP) in Promoting a Positive Learning Environment Where Students Can Hone their SEL Competencies
Introduction
Many of the younger students have difficulty communicating effectively, especially while doing group work. During the COVID-19 pandemic, these students faced more challenges concerning relationship management due to limited face-to-face interactions with their peers.
Inquiry Question
How can the use of structured feedback in the “Praise Question Polish” (PQP) format promote a positive learning environment while honing students’ SEL (Social and Emotional Learning) competencies, in particular, relationship management?
Methodology
Case study approach
| Allows exploration of general interest through observations made (Lee, 2013).
| Can be exploratory in nature whereby description, narrative accounts, and causal explanations can lead to the development of the hypotheses (Yin, 1989).
Target Audience
Two classes of Primary 2 students were observed: 2C (23 students) and 2D (26 students). Two students from each class were selected to be observed closely. They were selected based on the teachers’ observations that these students seemed to be struggling with building relationships with others, carrying out group work, and being engaged in learning. All the students
were observed throughout the study, which lasted for five weeks.
The four selected students who were studied closely:
Student B (Class 2C)
| Tends to shout in class, and is easily distracted
| Unable to follow class instructions at times
| Poor choice of words to friends
| Lacks empathy, self-centred
| Has emotional outbursts at times
| Has anger management issues
Student C (Class 2C)
| Tends to be distracted in class
| Unable to follow class instructions at times
| Prefers to do her own things
| Misunderstands her friends, leading to emotional outbursts at times
| Has anger management issues
Student S (Class 2D)
| Limited knowledge of the English language
| Uncomfortable with change
| Strong-willed
| Poor interpersonal skills, very few friends
| Distracted, can be disruptive in class
| Not SEN diagnosed
Student K (Class 2D)
| Introverted
| Poor social skills
| Dislikes group work
| Not SEN diagnosed
Data Collection
Data and information were collected through teacher observations and audio recordings during lessons. The interactions between students were observed.
Duration
This was a five-week study of two music classes.
Pedagogical Frame
With reference to the Ministry of Education’s website on Social and Emotional Learning, under “Socio-emotional learning (SEL) and school culture”, when SEL is taught in a caring, supportive and safe school environment, students’ school experiences will be enriched through:
| Building positive relationships with their teachers and peers.
| Learning and practising their social skills.
Language is a tool in the development of a child’s ability to participate effectively as a member of their community (Lave & Wenger, 1991). Specifically, when it comes to language education, the purposes and processes of language stretch beyond defined linguistic competencies (Mercer et al., 2018). For instance, developing socio-cultural competencies and socioemotional competencies is necessary for students as it allows them to use language appropriately for interaction and in building positive relationships. To do this, students need to have some self-awareness, openness to others, and tolerance. They need relationship management skills too.
Pedagogical Tool
During the course of the study, variations of the PQP slides were used in discussions as a guide for students to refer to as they
provided feedback on each other’s performance. For example, students learnt how to say “what I like” about a group’s performance and provide reasons using the sentence starter “I like… because…”. Students also learnt how to ask questions such as “how did you come up with the performance?” using the sentence starter provided. It was observed that lower primary pupils enjoyed asking, “who was the leader?” as they were interested in finding out who the leaders in the group were.
For Lower Primary
For Upper Primary
Lee Lufang Charmian and Leong Yahui West View Primary School
FOR CLASS 2C
Week 1 Week 2 Week 3 Week 4 Week 5
| In groups, create and perform a rhythmic ostinato to accompany a song in triple meter “The More We Get Together”.
| Introduce PQP feedback structure.
| Focus on using “Praise” in PQP to provide feedback after every group’s performance.
| In groups, create and perform “The More We Get Together” in different languages, with different expressions and a rhythmic ostinato.
| Use PQP to provide feedback after every group’s performance.
| In groups, create and perform action(s) to accompany the song “Selamat Hari Raya” in 4/4 meter.
| Groups can perform the song with different dynamics and tempo.
| Use PQP to provide feedback after every group’s performance.
| In groups, create and perform “West View’s Birthday Song” in 4/4 meter with different expressions and dynamics.
| Create a rhythmic ostinato and some actions to accompany the song.
| Use PQP to provide feedback after every group’s performance.
FOR CLASS 2D
| In friendship groups, create and perform a rhythmic ostinato to accompany a song in triple meter, “The More We Get Together”.
| Introduce feedback structure, and PQP.
| Focus on using “Praise” in PQP to provide feedback after every group’s performance.
| In friendship groups, create and perform a rhythmic ostinato to accompany a song in triple meter, “Come Let’s Dance”.
| Use PQP to provide feedback after every group’s performance.
| In friendship groups, create and lead the class in action(s) to accompany a song in 4/4, “Everybody Do This”.
| Use PQP to provide feedback for every group’s choice of actions.
| In friendship groups, create and perform action(s) to accompany a song in 4/4, “Selamat Hari Raya”.
| Use PQP to provide feedback after every group’s performance.
OBSERVATIONS OF STUDENTS B AND C, AND CLASS 2D
Week 1 | The students’ relationship management skills were observed. Some worked well in groups, some did not. Students B and C were unhappy doing group work.
| Some groups had no idea what to do. Some students were distracted.
| Student B was unhappy when a student he did not like joined his group.
| Student C did her own thing during group work.
Week 2 | After the teacher went through ways of working well in a group, the students learnt how to interact with one another and how to carry out group work.
| The students could teach one another how to sing in different languages. Student B taught his Malay friend how to sing in Chinese.
| Before the performance, Student B was observed giving his peers performance advice, and reminding them about singing dynamics.
| Student C worked well with her group members and was on task.
| After group performances, and using PQP for feedback, groups that received praise were proud of themselves.
Week 3 | PQP enabled the students to feel good about themselves and be more motivated to carry out group work.
| The students started to be more on task when doing group work and they were able to communicate better with one another and build on their social skills.
| Student B was able to work well with his group members. He contributed enthusiastically during group work.
| Students were enthusiastic about practising PQP.
Week 4 | The students were engaged in group work. Students B and C were active contributors.
| The students performed for each other. One representative per group readily volunteered to “Praise", "Question”, or “Polish” as feedback. This helped to create a conducive and positive environment for learning.
| Group performers were receptive towards the feedback given.
Week 5 | The students enjoyed creating and practising for their performance.
| The students were engaged.
| The performers and the audience need to learn to pay attention when feedback is being given. The performers need to stand properly while they are receiving and responding to feedback.
OBSERVATIONS OF STUDENTS S AND K AND CLASS 2D
Week 1 | The students were not used to giving verbal feedback. Usually, in class, only a few pupils would volunteer to speak.
| After the lesson, groups that were praised felt proud of themselves.
| Student S did not work well with his group members. He was moving and walking around during the group discussion. He did not join in the presentation, but was aware of PQP discussions in class.
| Student K did not look for anyone to form a group with. The teacher assigned him to one but during group work, he did not contribute. He followed what his group members did during the showcase. The group was praised for a job well done.
Week 2 | Students were more familiar with the feedback structure. However, most were restless during the showcase and feedback segment.
| Student S argued with his group members during group work. After that he sat alone and refused to take part in the remaining lessons. He was aware of the PQP discussions in class.
| Student K took the initiative to join a group, and took part in the discussions. He tried his best to perform with his group members. He gained confidence and felt proud of himself after being praised by his peers.
Week 3 | Most students went straight to "Polish" while providing feedback. Although they realised that most of the feedback given was similar, the audience failed to recognise that the feedback could apply to their own group performance as well. E.g.: too soft, need to sing louder.
| Student S was selected to create an action for the whole class to follow. He felt proud of himself thereafter. With encouragement from the teacher, he was willing to join a group for group work. However, he quarrelled with one of the group members. After that he decided to sit out, and did not take part in the presentation.
| Student K tried to look for a group. A classmate paired up with him. Student S joined this group as well. Student K was quiet, behaving more like an observer. He did not manage to contribute as the group spent quite a lot of time quarrelling with Student S. He volunteered to provide feedback for another group during the performance segment.
Student B started Week 1 unhappy with his group members. However, by Week 2, he was teaching his peers and working amicably with his group members. He was able to teach his friend from a different culture some Chinese words. In the weeks to come, Student B continued to be a motivated contributor during music lessons. The PQP structure worked for him as he was motivated by praise.
At the start, Student C was unhappy with group work and preferred to do her own things during music lessons. In subsequent weeks, she learnt how to work with her group members, and eventually become a willing participant. By Week 5, she had
become an active contributor during group work. She enjoyed being praised and this motivated her to participate during group work, and to perform with her peers.
It is not evident that the PQP strategy supported Student S’s interactions with his peers. He argued frequently with his group members and refused to take part in the activities. However, as observed in Week 3, PQP can be a powerful strategy to motivate young students to participate in a class activity as they know that there will be a component where they will be praised. Student S was given an opportunity to lead the class during the teaching segment, and was praised in front of the class. This made
OBSERVATIONS OF STUDENTS S AND K AND CLASS 2D
Week 4 | The students appeared to suffer fatigue from the PQP lesson structure (learning – group work – perform with PQP). Hence many were not enthusiastic during the lesson.
| Student S was angry and refused to take part after one of his classmates asked why he was not wearing his school shorts (he had worn the wrong pair of shorts to school). The teacher assigned him a group but instead of working with his group members, he walked around during the group discussion.
| Student K remained seated. He did not look for anyone to form a group. The teacher assigned him a group. He tried to work with his group.
Week 5 | With constant practice, the students were more receptive to using PQP in class. This time, they were more ready to dish out praise.
| Even without being shown the sentence starters, the students were able to use appropriate words to praise their peers.
| Student S managed to work things out with his group members during discussion. He volunteered to share during the PQP segment after the performances. His feedback for most groups was that their actions were too slow. During his group’s performance, he did not follow his group's actions and music. When given the feedback that he needed to work together with his group members, he replied, “No, I want it fast."
| Student K was assigned to a group as he did not take the initiative to look for one. He followed what one of his group members suggested, but was unhappy with the moves. He did not know how to express his feelings.
| Encouraged by the teacher, Student K tried to use the sentence starter from PQP – "perhaps you can..." – to give suggestions to his group members. He was able to use the sentence starter to suggest a suitable movement. He even managed to tell his group members why he wanted a different move. "Because walking alone is too boring,” he explained.
him desire to be part of a group since he wanted to experience the positive feeling again.
Student S took part in the group discussions during Weeks 4 and 5, even though he was observed to be off-task during the group presentation. He volunteered to provide feedback but his suggestions were limited to his personal preferences. This feedback strategy offered minimal improvement in Student S’s behaviour during the five weeks of study. He could be more motivated to participate actively during music lessons if this feedback approach is used consistently over a longer period of time.
Student K gained confidence after his group received praise as a result of the PQP strategy. He was observed to take
the initiative to join a group and make an effort to contribute during group work for subsequent classes. This had not been observed in previous music lessons. The PQP sentence structures helped him gain confidence to raise his hand and offer feedback to his peers.
During Weeks 4 and 5, Student K was encouraged to use PQP sentence starters to convey his suggestions during group work. He accomplished this by beginning with a “Praise” comment for his group member’s effort, and ending with a “Polish” comment to suggest how something could be done better. It was noticed that the group members readily accepted his feedback. This implied that the “Praise” part had helped to encourage the other students in his group to be more receptive towards feedback.
Discussion
Throughout the study, it was observed that students were very willing to acknowledge and applaud their classmates. This helped to foster a positive learning environment. Students who were praised were eager to “reciprocate” by offering similarly positive feedback to another groups.
The PQP strategy is effective in helping students to speak up and gain confidence when expressing themselves. It helps students communicate better, and improves their ability to manage relationships.
Most students who initially had difficulties communicating and working in groups showed improvement. The students were enthusiastic about raising their hands and providing feedback for another group. The positive classroom environment was conducive in supporting students to communicate with one another and hone their relationship management skills.
However, while many students benefited from this strategy, the PQP strategy was not effective for Student S because of the language barrier. Due to his poor command of the English language, it was difficult for Student S to understand what was going on during lessons. As Student S had difficulty understanding English, the concept of receiving and giving feedback in English was foreign and meaningless to him.
However, for the rest of the students who had a working command of the English language, engaging in PQP during rehearsals and practice sessions let them compliment their peers and explain how they could enhance their performances. The exchange of feedback not only helped students to feel good about themselves, it also taught them how to improve together as a class.
It was noted that 2C students remained in the same group for the whole five weeks while 2D students changed their group members every week. This presented different sets of friendship and relationship management issues as the 2D students had to adjust to working with new friends and new behaviours. The students in 2C experienced fewer issues because the group members were accustomed to one another’s working style and behaviour.
Stability is critical in a lower primary classroom as it allows students time to adjust to routines and practise their skills in a fixed environment. The students still have the option to switch groups and they may request for a change. Changing groups can also give students a sense of control over their learning environment, in that they are able to select their own group members and hone their capacity for responsible decision-making (which is an SEL competency).
PQP takes up a considerable amount of time. The teacher facilitating the process has to be engaging because students may become bored with the structure. However, the PQP strategy is very suitable for postperformance evaluation. If a teacher and the students providing feedback are unable to hold the attention of the class, other methods of giving feedback can be adopted, such as “Parking Lot” where students write their comments on Post-it notes or the “Interaction Thinking Tool” (ITT) on SLS, Padlet, Flipgrid, and other tools.
There is a need to develop students’ ability to pay attention when groups are giving comments to other groups, since the feedback will apply to them as well. Teachers can explore the possibility of having students conduct PQP between groups independently, thus reducing wait time and increasing efficiency.
Limitations / Challenges
Only five weeks were allotted for the lessons. It is recommended that the study takes place over a longer period of time so that there can be more observations made to note if (i) there will an increased effectiveness in the use of PQP over a longer period of time, and (ii) whether there will be greater changes in the students’ behaviour and their engagement level when it comes to learning. As for the groupings of students, there can be more uniformity between the two classes as to whether students are placed in pre-assigned groups or given the choice to form their own friendship groups. There can also be further research on how PQP can be used as a reflective tool for self-improvement in group work.
Conclusion
PQP is an effective strategy to promote a positive learning environment through relationship management. The students were
able to provide meaningful feedback and their peers were observed to be receptive of the suggestions given. In addition, PQP can also be used to frame how ideas might be expressed during group discussions. This helps to improve relationships among students.
PQP can also be used as a personal reflection tool for post-performance dialogues. Time is needed for students to practise using PQP so that they can hone their SEL competencies as they work in groups and reflect independently to refine their music performances. Teachers can actively facilitate the use of PQP in the music classroom in order to create a positive learning environment for their students.
Acknowledgements
We would like to thank our school leaders, Eddie Foo, Eugene Lee, Suhaila, and Patricia Chong for their support in our critical inquiry project.
References
• Lave, J., & Wenger, E. (1991). Situated learning: Legitimate peripheral participation. Cambridge University Press.
• Lee, L. C. (2013). Creativity in music education: Group music making activities for primary one pupils (MT3.S55 Lee) [Master’s thesis, National Institute of Education]. http://hdl.handle.net/10497/8062
• Mercer, S., Maclntyre, P., Gregersen, T., & Talbot, K. (2018). Positive language education: Combining positive education and language education Theory and Practice of Second Language Acquisition, 4(2), 11–31. https://www.journals.us.edu.pl/index.php/TAPSLA/article/view/7011
• Ministry of Education (23 September 2022). Social and emotional learning https://www.moe.gov.sg/education-in-sg/our-programmes/social-and-emotional-learning
• Yin, R. (1984). Case study research. Sage Publications.
Investigating Songwriting as a Strategy to Improve Mental Well-being in Students
by Developing a Positive Self-concept and Regulating Emotions
Introduction
Schools in Singapore are taking steps to improve the mental health of their students, from making counselling – and good counsel – more readily available, to getting youths to keep an eye on their friends and peers who might need help (Neo, Yip, & Goh, 2022).
This action research is a baby step taken by me to try to understand how music teachers can support this effort to improve the mental well-being of our students.
Self-concept is the image we have of ourselves (Cherry, 2022). Positive selfconcept is a growing belief about oneself that helps a person cope successfully with life events, and then make a positive impact on the lives of others. Emotional regulation brings about an awareness and understanding of one’s emotions and their impact on behaviour, and the ability to manage those emotions in a positive way.
I want to understand if songwriting can be used as a tool or coping strategy to help students build a positive image of themselves and to handle their own emotions. This is because songwriting provides specific benefits in activating the part of the brain that is associated with emotion processing and regulation. It can also help uncover difficult memories and emotions (Lowe, 2021). Additionally,
writing and songwriting can increase students’ self-esteem and self-expression.
Traditionally, songwriting is used in music therapy as an intervention strategy. While music teachers are not trained in music therapy, I seek to understand whether songwriting can be used as a tool for self-expression to develop a positive selfconcept and regulate emotions, thereby improving students’ well-being. I am also interested to learn the extent of the benefits of songwriting as perceived by the students.
My research questions are as follows:
| Does songwriting help to develop students’ positive self-concept?
| To what extent does songwriting bring about emotional regulation?
| To what extent does songwriting benefit the students?
For this the action research, I will limit myself to finding out how students’ selfconcept is developed to handle their own emotions, and exclude the measurement of its positive impact on the lives of others.
Methodology
Target Audience
For this action research project, I have chosen to work with two Full Subject-Based Banded Secondary 2 classes. Each class has a mix of students who have private music lessons, who are in music CCAs (co-
curricular activities), or who receive music lessons as part of the school’s curriculum.
Earlier in 2022, we engaged a professional music therapist to conduct a series of workshops on songwriting. A few of the students who participated in this project would have attended these songwriting workshops which took place in the first semester.
Data Collection
As part of the critical inquiry project, the students completed a post-project survey questionnaire. The survey results constitute the bulk of data collected. The quantitative parts of the questionnaire used a 5-point Likert scale for students to rate their perception, from Strongly Disagree to Strongly Agree.
There were also open-ended questions in the questionnaire. After collecting the data, I conducted a thematic analysis to identify, analyse and report repeated patterns. I followed the sixphase methodology outline by Braun and Clarke (2008) as follows:
| Phase 1: Familiarising yourself with the data
| Phase 2: Generating initial codes
| Phase 3: Searching for themes
| Phase 4: Reviewing themes
| Phase 5: Defining and naming themes
| Phase 6: Producing a report
Duration
The songwriting module for all Secondary 2 students took place in the second semester of the year.
Process / Curriculum Outline
examine why people write songs – for self-expression, storytelling, etc., and are introduced to the different elements of a song. Using a chord generator (https://www.onemotion.com/chordplayer/), students are introduced to vocal improvisation. After this, they learn about the structures of a pop song and instrumentation.
Students appreciate how lyrics are written differently for different contexts. They also learn literary skills in lyric-writing, and how to replace the lyrics of a song they have chosen.
Students learn how to write lyrics.
Data Collected
Survey Questions
Students learn how to create melody.
Students record and upload their songs in Google Classroom.
75% of students agreed or strongly agreed with the statement that songwriting is a challenging experience. Two main reasons emerged from those who agreed with the statement. Firstly, songwriting required many different musical skills. Secondly, songwriting was a new experience for the students.
Ng Eng Kee
Paya Lebar Methodist Girls’ School (Secondary)
Students
Open-ended question: “Why is songwriting a challenging experience?”
| Theme: Songwriting requires many different musical skills.
• “Even though things are planned out and I have a vision for my song, I don’t have the knowledge of handling musical instruments the way I want them to sound.”
• “You need to produce everything yourself, from the lyrics to the instrumentation and the melody.”
• “It was hard to find the correct lyrics and chords for the song.”
| Theme: Songwriting is a new experience for students.
• “I have never written a song and making lyrics and melody are difficult, especially when I feel that it is difficult to get inspiration.”
• “As someone who does not know a lot about creating music from scratch, it’s something new I must learn and master.”
• “Because I haven’t done it before.”
• “It is new to me, and I have no musical background.”
• “I have not written a song before.”
2. Songwriting gives me an opportunity to reflect on my life experiences.
50% of the students felt that songwriting gave them an opportunity to reflect on their life experiences. Many of them were reminded of their struggles and many of them thought about their social support network as they engaged themselves in songwriting.
Open-ended question: “What kinds of life experiences do you reflect on when you are engaged in songwriting?”
| Theme: Students are reminded of their struggles.
• “My childhood, how I’m pressured to meet expectations.”
• “Finding the light in dark situations.”
• “Growing up, my struggles, my high points and my low points.”
• “Bad life experiences and how I overcame them.”
| Theme: Students think about their social support network.
• “I realised that all those times when I felt that I was alone, there was always someone who was understanding me.”
• “My school life and family.”
• “I think about my past and my friendships.”
• “Friendship and studies.”
3. Songwriting helps me build a positive self-concept of myself.
Only 27% of the respondents agreed that songwriting helped them build a positive self-concept of themselves. Of those who agreed with the statement, two themes surfaced. Songwriting enabled them to be more self-aware, and songwriting fostered positive thoughts.
Open-ended question: “How does songwriting build a positive self-concept of yourself?”
| Theme: Songwriting enables me to be more self-aware.
• “It helps me to know that I can, and I can write a song.”
• “Songwriting helps me to see that there is still a way out and that I can find solutions to my problems, helping me to improve myself further.”
• “It makes me realise that I am strong, and I can realise my self-worth.”
| Theme: Songwriting helps me see what strengths I have and how I overcome weaknesses.
• “Songwriting fosters positive thoughts.”
• “When I write about myself, having a cheerful melody makes me think of positive words and affirmations not only for myself but for others as well.”
• “It makes me feel happy when I think of the positive moments I have experienced.”
• “It makes me think about the positive side of life.”
I wish I had had the foresight to ask the students why they did not think that songwriting helped them build a positive self-concept of themselves. Their responses would probably help to shed new light on the design of my task or the way I deliver my lessons.
4. Songwriting allows me to express my thoughts and feelings.
About 54% of the students agreed or strongly agreed that songwriting had allowed them to express their thoughts and feelings. One key reason was that songwriting helped them to process their emotions.
Open-ended question: “How does songwriting allow you to express your thoughts and feelings?”
| Theme: Songwriting helps to process emotions.
• “I can put my stress and sadness into the lyrics and creation of melody.”
• “I can write how I feel without having to worry about people judging me.”
• “Songwriting expresses my thoughts because it’s like writing a poem that uses words to describe my feelings.”
• “It helps me express what I think about and what I want to say.
• “Idk (abbreviation of the phrase “I don’t know”). It can show my anger and frustration.”
5. Songwriting helps me to regulate my emotions, thoughts, and feelings.
reflecting on them, and understand why I think or feel like that.”
• “Songwriting allows me to organise my thoughts in the lyrics.”
Likewise, I wish I had an additional question to probe why the students did not think that songwriting helped them to regulate their emotions, thoughts, and feelings.
6. Songwriting is a meaningful way to develop mental well-being.
Only 33% of the students agreed or strongly agreed that songwriting helped them to regulate their emotions, thoughts, and feelings. Of those who agreed, two themes came to the fore. Songwriting was a stress reliever, and songwriting provided a space for reflection.
Open-ended question: Why do you agree that songwriting helps you to regulate your emotions, thoughts, and feelings?
| Theme: Songwriting is a stress reliever.
• “It can help me feel more relaxed.”
• “It distracts me from all the negative thoughts.”
• “You can write out what you feel to get it off your mind.”
• “It helps me to feel happier.”
• “I can share my thoughts and emotions with others to make them feel less alone during their most difficult times.”
| Theme: Songwriting provides a space for reflection.
• “Songwriting allows me to write out my feelings and thoughts while
38% of the respondents thought that songwriting was a meaningful way to develop mental well-being. Upon closer examination, two themes were highlighted. Firstly, they felt that songwriting was an avenue for self-expression. Secondly, the students felt that songwriting was therapeutic.
Open-ended question: “Why is songwriting a meaningful way to develop your mental well-being?”
| Theme: Songwriting is an avenue for self-expression.
• “It is as if writing a song is having someone to talk to.”
• “Songwriting helps us to reflect and share how we feel with people.”
• “Instead of bottling our feelings up, we can write them down to vent our anger or frustration.”
• “We get to express what we want without actually saying it directly.”
• “It allows me to think carefully about myself.”
| Theme: Songwriting is therapeutic.
• “We can use writing as therapy to help to relieve stress instead of bottling it up.”
• “It helps me to overcome mental challenges by summarising them and putting closure to them after finishing the song.”
• “It helps me to relax.”
• “I can get thoughts off my mind, and it helps me to remember things.”
• “Music can heal.”
• “It gives me a break from academics.”
7. Songwriting is an enjoyable experience.
Open-ended question: “In what way is songwriting an enjoyable experience?”
| Theme: Songwriting provides a space for students to be creative.
• “I can experiment with different melodies, tunes and lyrics so it’s kind of cool to learn all this new stuff.”
• “Songwriting is fun when you can unleash your creativity but it’s very annoying when the instrumental does not go according to your imagination.”
| Theme: Songwriting provides an opportunity for social interaction.
• “I can do it with my friends.”
• “I can laugh and enjoy when writing songs with my group mates.”
• “I get to spend time with my friends.”
• “I can work with my friends to come up with something new.”
• “I like spending time with my songwriting partner.”
Students’ Works
Only 32% of students enjoyed the experience of writing a song. Those who found it enjoyable pointed to the fact that songwriting provided a space for them to be creative. Songwriting also offered them an opportunity for social interaction.
The lyricist of this song seems to think that her dream world can never be a reality in her life because her dream world exists only in fiction.
SONG 2 Own Path
This tells the story of a girl who has encountered setbacks but vows to “come back strong and greater”. She is determined to chase after her dream, rather than follow the predetermined plan or submit to societal pressure.
While students listen to music regularly, it does not naturally mean that they are motivated to write and record songs. From the preliminary findings, students faced a range of difficulties in creating their song due to inexperience and the demand for multiple musical skills. However, many of them found creative solutions to these problems.
In a class of 38, it is a challenge to provide each individual student with undivided attention to resolve all the issues they are facing. Hence, a Google Classroom of resources was created as self-help toolkit for the students, and the songwriting project deadline was extended. With a longer timeline, the students had more time to explore the Google Classroom, and gather feedback from their peers and teacher regarding the songs that they were writing.
Several themes for how students experienced songwriting emerged from this research. They are generally positive, including:
SONG 3
Together In This Journey
In this song, the songwriter expresses her yearning for someone to be by her side as she journeys through life. The mood of the song is generally upbeat, signifying her optimism and hope.
Discussion
The students did not possess the same ability in and inclination towards songwriting.
enables students to be more self-aware.
is an avenue for self-expression.
Songwriting provides a space for students to be creative.
manage them. The songs illustrate positive development in the students’ self-concept.
A few students reported that they used songwriting to vent their frustrations in life. This suggests that the students required guidance on using songwriting to promote a positive state. The study could be more in-depth if there were questions to probe why the students disagreed with some of the statements.
Conclusion
Songwriting is a stress reliever.
The tune of Song 1: “Background Guy”, is tinted with melancholy, projecting a rather pessimistic outlook towards life. The student songwriter explained that she was trying to express ‘the phase in her life when she was sad’. However, she reflected that the song which she wrote had indeed encouraged her. In Song 2: “Own Path” on the other hand, the upbeat tune and lyrics painted a picture of a student songwriter who wanted to have the autonomy to make her own decisions even if she made mistakes along the way. The student songwriter of Song 3: “Together In This Journey”, wrote a cheerful melody to express her yearnings, and in her own words, her ‘aspirations’. In all three songs, the students revealed an awareness of their emotional states, and an ability to
This action research addressed the benefits of songwriting in developing students’ positive self-concept. Songwriting can facilitate students’ social-emotional competencies through regulating emotions, offer therapeutic benefits, and provide a vehicle for self-expression, selfdiscovery, and overcoming challenges.
While teachers may not be equipped to provide music therapy to students, they can still use songwriting to build mental well-being and SEL competencies in students. This action research is an effort on my part to enhance my understanding of how I can use songwriting more effectively to engage our youth.
Acknowledgment
I would like to thank my students who participated in this action research project. They were the same students who took part in my first action research project on “Exploring the Benefits of Music Improvisation”.
References
• Braun, V. & Clarke, V. (2008). Using thematic analysis in psychology. Qualitative Research in Psychology, 3(2), 77–101. https://doi.org/10.1191/1478088706qp063oa
• Cherry, K, (2022, November). What Is Self-Concept? Verywellmind https://www.verywellmind.com/what-is-self-concept-2795865
• Lowe, D. (2021, August). Harmonic Changes Therapy Service. Songwriting in Music Therapy https://www.harmonicchanges.com/post/songwriting-in-music-therapy
• Neo, C. C., Yip, C. & Goh, C. T. (2022, May) CNA Insider. ‘It’s really about normalising mental health’: What schools are doing so students seek help https://www.channelnewsasia.com/cna-insider/ mental-health-what-schools-doing-help-students-2655911
Songwriting
Songwriting helps to process emotions.
Songwriting is therapeutic.
Songwriting provides a space for reflection.
Songwriting provides a space for reflection.
Songwriting fosters positive thoughts.
Songwriting
Developing Social and Emotional Competencies through Collaborative Music Creation
Introduction
As music teachers, our aim is to make the music classroom a safe space for students to voice their thoughts and opinions. “Music educators are in a prime position to help students become socially and emotionally competent while at the same time develop excellent musicianship” (Edgar, 2017, p. 5). I strongly believe that music is a social activity as the essential processes of music constitute human interactions. This is supported in John Blacking’s research where he states that “music cannot be transmitted or have meaning without associations between people” (Blacking, 2000, p. 44). This is also supported by Edgar’s (2017) powerful quote that “Music is Social, Music is Emotional” (p. 5). Edgar believes that for every child to be successful in the music classroom, teachers need to be aware of the whole student. I believe a successful lesson can only happen when students are emotionally ready to learn. Therefore, it is important for teachers to put in the effort to understand their students and build a strong rapport with them.
One area of concern highlighted in my yearly review with the music team is that students learn about musical elements and develop musical skills through a teacher-directed approach. This project aims to focus on students' reflection and enable them to develop a voice in expressing their views on how they feel about music. This research will explore the interventions a music teacher can plan, design, and execute to achieve the above goals.
Research Topic
This critical inquiry will investigate social and emotional well-being and how students can develop social and emotional competencies in the music classroom in the lower secondary music Full Subject-Based Banding classroom through the creation of a music soundtrack using a Digital Audio Workstation (DAW) for a chosen stimulus.
Inquiry Question
How are students developing relationship management and responsible decision-making through their collaborative music project?
METHODOLOGY
Location of learning Music classroom, Art Gallery, SLS (Student Learning Space)
Data Sources | Students’ reflections of their learning experience
| Students’ performance tasks
| Students’ write-ups for their performance tasks
| Teachers’ observations and reflection
Art Gallery Visit
(Cross-disciplinary Appreciation)
In collaboration with the Art department, the module included Differentiated Instruction based on student interest where students were given the autonomy to decide on the chosen stimulus for their music. The differentiated instruction based on student interest aimed to encourage responsible decision-making among the students.
The experience enabled students to engage their critical thinking and communication skills as they asked questions about the artworks and tried to interpret them during the gallery visit. These skills are important in developing the students’ social and emotional competencies.
For example:
1. There was a group of students asking questions such as, “Why is there a boy curling up in a foetal position?” Upon further probing, they realised that there were four smaller artworks surrounding that photo, each depicting an animal being tied. They then interpreted: “The boy looks trapped in his own body; that’s why he is curling himself up.”
2. Students asked questions such as “Why is there no colour in this art work? Why is the boy holding an avocado?” The artworks evoked curiosity and encouraged them to communicate and listen to each person’s interpretation of an artwork.
SLS Package to Facilitate Self-Directed Learning and Differentiated Instruction
As part of the objective to develop students’ social and emotional competencies, an SLS Lesson Package was designed with the intention of encouraging self-directed learning. The lesson package enabled the use of a blended approach for this module.
The teacher conducted the weekly lessons synchronously. In an asynchronous setting after the lesson, students answered the questions embedded in the SLS lessons at their own time and pace. For example, students could access the information on SLS if they needed more time to follow the instructional videos and refer to certain instructions asynchronously. This encouraged the students to better manage the learning progress according to their needs.
Chan Jia Min, Carmen
St Andrew’s Secondary School
Students having a discussion over the artwork during their Gallery Visit.
Students taking photos of their favourite artworks in the Art Gallery.
The above images are examples of how different mediums (videos, images, articles) differentiate content based on learner profiles.
In class, the teacher conducted a live demonstration (synchronous) for the class. Students who required more practice on GarageBand to familiarise themselves with its features could refer to the video demonstration on SLS outside of curriculum time.
Pros and Cons of the SLS package
Pros:
The SLS portal enables teachers to | Curate video tutorials | Add content in various forms (Passages, Pictures, Videos)
| Create various types of questionnaires (MCQ, Fill-in-the blanks, free-responses)
There is a variety of resources that caters to different students’ learning needs. It is readily available and easy to access, enabling students to refer to the resources in their own time and at their own pace.
Cons:
During the feedback session in class, some students’ shared that there was a lot of information to download in the SLS package. I also observed that some students would scroll through the SLS pages quickly so as to ‘complete’ the assignment.
Assessment
Peer Evaluation
This is an example of the assessment rubrics, which was given to students to refer to as they worked on their project.
LEARNING OUTCOMES
Students should be able to:
Compose or arrange excerpts of music comprising at least three musical elements including melody, harmony and rhythm.
Create a short excerpt of music of more than 30 seconds to a given stimulus (Task 1: Video. Task 2: Artwork/Photo/ Poem).
EVIDENCE OF LEARNING
Apply appropriate tempo (bpm) suitable for the chosen stimulus. Excellent attempt at selecting the appropriate tempo marking for the chosen stimulus.
Music composition is very in sync with the stimulus.
There is an attempt at selecting the appropriate tempo marking for the chosen stimulus. (Follows the guided tempo instead of paying close attention to the image/ movements of the video).
Music composition is somewhat in sync with the stimulus.
Communicate ideas through music composition with reference to elements and concepts.
Communicate skills in music composition with reference to elements and concepts.
Communicate welldeveloped musical ideas through the effective use of elements of music (e.g., form/structure, dynamics).
Demonstrate that choice of audio loops (instruments) is appropriate and entirely effective in communicating the musical ideas(s).
Create parts that give a clear sense of musical direction.
Communicate adequately developed musical ideas through the effective use of elements of music (e.g., form/structure, dynamics).
Demonstrate that choice of audio loops (instruments) is mostly appropriate and satisfactorily effective in communicating the musical ideas(s).
Create parts that give a general sense of musical direction.
Weak attempt at selecting the appropriate tempo marking for the chosen stimulus.
Music composition is not in sync with the stimulus.
Communicate developing musical ideas through the effective use of elements of music (e.g., form/structure, dynamics).
Demonstrate that choice of audio Ioops (instruments) is fairly appropriate and effective in communicating the musical ideas(s).
Create parts that give some sense of musical direction.
LEARNING OUTCOMES
Students should be able to:
Compose or arrange excerpts of music comprising at least three musical elements including melody, harmony and rhythm.
Create a short excerpt of music of more than 30 seconds to a given stimulus (Task 1: Video. Task 2: Artwork/ Photo/Poem).
ATTAINMENT DESCRIPTORS
EVIDENCE OF LEARNING
Apply appropriate techniques in music technology to generate and manipulate sound sources to enhance the impact of stimulus.
Show effective exploration and experimentation with sound sources/ samples or sound manipulation techniques.
Record and/or sequence the parts accurately.
All parts can be clearly heard in the mix and dynamic levels are appropriately balanced.
Generate a good quality, well-edited and coherent composition.
Reflect and discuss the composition process and reasons for the musical decisions made in the composition.
Provide an accurate and thoughtful reflection on the compositional process.
Make strong connections to the given stimulus/context.
Show exploration and experimentation with sound sources/ samples or sound manipulation techniques.
Record and/or sequence the parts mostly accurately.
All parts can be clearly heard in the mix and dynamic levels are generally balanced.
Generate a mostly good quality and coherent composition.
Provide a generally accurate and thoughtful reflection on the compositional process.
Make satisfactory connections to the given stimulus/ context.
Make some attempt to explore and experiment with sound sources/ samples/sound manipulation techniques.
Make some attempt to record and/or sequence parts.
At least one part can be heard clearly in the mix and dynamic levels are somewhat balanced.
Make some attempt to generate a coherent composition.
Make some attempt to reflect on the compositional process.
Make some attempt to connect with the given stimulus/ context.
Gallery Walk
Students were to critique their friends’ works during the last week of the module. Through a gallery walk, the students listened to their friends’ works and assigned them a grade based on the rubric descriptors. However, this process had to be reviewed because the students were not executing the plan properly. Some were just listening to the music or chatting with their friends after listening to only one or two works, instead of going round to listen to all the works.
Perhaps the rubrics for students will have to be simplified so that it is not too daunting for them to use.
We decided to use a voting system (for their top three favourites) to generate interest among the students and motivate them to listen to their friends’ works. Students were given stickers to cast their votes. The teacher would facilitate the class discussion on why they had chosen a particular work as their favourite.
In general, the students enjoyed the gallery walk as they could view their friends’
compositions. They were generally proud of their work and happy when they were given stickers. But there was a group of students who did not actively participate. Often, these were students who did not have their iPads with them. There were also students who tried to “buy” votes from their friends. We will review the gallery walk and peer assessment in our next run of the module.
Findings
Qualitative data was collated through student reflections, teacher observation, and students’ work.
Students’ Work Write-Up submission: Putting the image, the QR code to the music, and the write-up all on one document eases the marking process for the teacher as it eliminates the need to toggle between the images, the music, and the write-up on different platforms.
| The above is a sample of a G3 student’s work. In the write-up, students had to apply their learning by using the music vocabulary given in the SLS lesson. This promoted self-awareness and responsible decision-making skills when students were tasked to reflect and record their thinking processes. The write-up required students to explain their musical decisions (why they did what they did) for the music.
| During the Work-In-Progress stage, we sifted out the better works, like the sample above, to show the class. This was to enable the students to get a sense of the success criteria when they saw their peers’ work being used as exemplars. This promoted self-awareness when students realised the quality of work that could be achieved.
It was observed that there was an increase in student motivation. Some students wanted to improve on their existing writeup upon reviewing their classmates’ work, as they had become more aware of the standard that a fellow classmate could achieve. However, we also had students who became less motivated and found it too difficult to achieve the same level of work as their peers. In such situations, the teacher’s rapport with students is important in encouraging students to try their best. I hope to continue guiding students to reach their fullest potential.
Teacher Observations
There were three main observations on the students’ pair dynamics:
1. Some pairs worked individually on their iPads.
2. Some students worked together by going through the lesson at the same pace, and completing the questions together.
3. Some students worked on one iPad together first, to get the answer.
Student Reflections through the Questionnaire
I gathered three main themes from students’ reflections:
Musical Decisions
Example 3
Student readiness
Being prepared for lessons
Meeting deadlines
Management | Teamwork | Moral Support
| Cooperation
| Agree to Disagree
| Showing gratitude
Theme 1: Responsible Decision-Making
Majority of the students demonstrated responsible decision-making in their work. There were sufficient resources and enough time given to students. This enabled them to select the right choice of tempo and genre of music for their composition. The students understood how emotions and mood led to the choice of tempo and genre that determined their music. Word banks, exercises on the SLS package, and exemplars helped to guide students in their write-up.
Most students were able to:
| identify and overcome their problems (e.g., better communication, patience, disagree to agree)
| articulate their strengths and weaknesses
| share their interests with their friends
Some students demonstrated responsible decision-making. They:
| negotiated and selected their preferred stimulus
| discussed and selected the most appropriate genre for the music
| decided who with and how they would execute the project
| encouraged each other to complete their tasks and to strive for excellence
Students’ responses:
“My partner is very good with music. He chose a fast loop pack because the picture looks violent. The picture consists of an open body showing internal organs.”
“The stimulus we chose was task one, where the story in the video is very emo. Hence, we took the ‘chill’ loop pack as it sounds emo when we remove the drums from the background.”
4
“Me and my partner chose both the Chinese traditional and EDM loops. Since the picture we had chosen for the project gave out a totalitarian feel to the city, as there was a dictator in the middle.”
“We decided to use a dynamic, fast-paced piece. The genre we picked is rock. We played with the FX and we want to emphasise the rhythm and stress of the car chase scene. We chose rock as it is normally action-filled and sounds exciting. the dynamics are loud and fast.”
In general, responsible decision making was made possible as a sufficient timeline of 10 weeks encouraged students to develop an understanding of the module at a deeper level. The specially curated resources on SLS provided a platform for students to revisit the content and instructions, thus contributing to the success criteria.
Student A and Student B decided to work on the music together. Their conversations included which genre to pick for the stimulus and how they could save their work. Example
Students were excited to share the chemistry they had when the videos played were in sync. Such experiences, while seemingly trivial, were affective ones that increased student motivation in learning.
Example 1
Student A and Student B were having some disagreements on the FX effect created in their music. They later sought their teacher’s advice and this helped them to have a clearer understanding of the function of the FX effect on their music.
Example 2
A pair of students decided to divide the work, where Student A would control the video stimulus while student B would focus on the musical composition using GarageBand.
Theme 2: Self-Management
Most students demonstrated responsible decision-making through their work. However, the data analysis showed that students lacked self-management skills. A small percentage of students were unable to fully benefit from the learning as they were not prepared for the lessons, despite repeated reminders.
Some students had issues with: | managing deadlines | managing their relationship with their partners | attending lessons with learning materials prepared | managing work while having to train for competitions | absence of partners
Students’ responses:
“I found he was uncooperative and would not pay attention or help even if I tried to tell him.”
The students’ responses showed that there was a lack of proper planning among them despite having all the resources uploaded online and reminders given weekly. There was also a lack of communication between partners.
Theme 3: Relationship Management
Students could add a short explanation. The three themes below were derived from the findings:
Agree to Disagree
Positive influence/ motivation
Gratitude/ Appreciation
| Partners not working well
| Arguments due to different ideas
| Learn to negotiate
| Trust is important
| Good chemistry and communication
| Constructive feedback
| Patient, helpful, grateful for supportive friends
| Students enjoy working with their friend/partner
“One challenge… my partner forgot to bring his iPad most of the time. That forced us both to work on my iPad. Another challenge was our time management, as we procrastinated finishing the climax of the soundtrack.”
“Disruptive, and sometimes forget what to do.”
“A challenge is that I did not charge my iPad.”
“We disagreed over who would bring the iPad but we resolved it as we saw how trivial it was and agreed it was something we could do with minimal effort.”
“He is not here because of COVID.”
| Using GarageBand to create music was fun for most students
The design of the module was successful to a large extent when the participants were emotionally ready to learn. The learning environment provided a safe place for students to voice their thoughts and opinions.
As the module was designed such that students were required to work closely with their partners, results showed that communication and negotiation were key skills to develop. This was highlighted by the students through their reflections regarding their learning process. Students felt safe to voice their opinions due to the rapport they had with their partner (their friend).
Agree to Disagree
“Yes. Once we argued about what instrument to use. We compromised and chose a completely different instrument.”
“We fought over picking a matching instrument for the transition. So we asked someone else for their opinion.”
“I improved on negotiating and finding common ground with my partner. Communication is key to being able to understand your partner.”
“Communication. We didn’t agree with each other for the music choices at first, but we learnt how to agree with each other as we worked more on the project.”
Positive Influence/ Motivation Gratitude and Appreciation
“I enjoyed working on this project. It also helped me improve my coordination skills with my friend.”
“I enjoy working on this project as it tests the chemistry between me and my partner. Also, we can both bring our musical tastes together to combine and make a music video of our own.”
“Yes I did enjoy. Especially when my friend trusted that I could do the important parts! I love it as I get to enhance my creativeness in creating my music.”
“I was able to bond with a friend and was also able to work with my friend on a project. That is not something you get to do every day.”
Some students mentioned experiencing disagreements in the initial stage and managing to resolve them towards the end of the module as they had a common goal. For example, most students demonstrated negotiation skills during the project when they decided to split the tasks so that they could get work done more efficiently. In contrast, there was a smaller group of students like Student C and Student D who waited for each other to initiate work to be done. Ultimately, both ended up procrastinating and had disagreements, resulting in the submission of poor-quality work.
Conclusion
“For being able to... understand my ideas.”
“I would like to thank my partner for staying by my side... and supporting me.”
“Thank you for teaching me how to better use the GarageBand app.”
“I thank my partner for sharing different ideas for the music.”
“I would like to thank my partner for assisting me when I was in doubt.”
“I would like to thank my partner for giving me some feedback on the arrangement of the music.”
“I would like to praise my partner for staying up at night to finish the project.”
This project was designed to encourage students to engage their understanding of emotions through conversations with their partners. The findings show that students value a good working relationship with their friends, and enjoy the process of learning together. Although the students were still lacking in self-management skills, they found making and keeping friends especially important, as their friends play many important roles in their lives (American Academy of Pediatrics (2004)). Moving forward, I hope to revisit this module and focus more on helping my students hone their self-management skills.
References
• American Academy of Pediatrics. (2004). Caring for your School-Age Child: Ages 5-12 Schor, E. L., Ed. New York: Bantam.
• Blacking, J. (1995). How musical is man? University of Washington Press.
• Edgar, S. N. (2017). Music education and social emotional learning, the heart of teaching music GIA Publications.
• Jones, S. M., & Doolittle, E J. (2017). Social and emotional learning: Introducing the issue. The Future of Children, 27(1), 3–11. https://www.jstor.org/stable/44219018
SECTION 2
Assessment for Learning
Assessment for Learning
This section presents investigations into different assessment practices. These showcase various possibilities where teachers can involve learners in the assessment process, understand learners better, and also broaden our assessment strategies.
48 Claire Tan’s findings bring about a deeper understanding of how the feedback process can involve various forms of interactions (student-student, student-teacher). She also shares how the process can be encouraged and enhanced when leveraging technology.
54 Rena Lee shares how students can give peer feedback in video-recorded performances, and discusses students’ views about how this process can improve their learning.
58 Tang-Chew Pei Xi’s inquiry reveals what motivates students and what teachers perceive as authentic tasks. These include students seeing that they can make connections between the task and their daily lives, pacing and monitoring their learning, feeling empowered, seeing the value of the task, and feeling confident about succeeding in it.
64 Chang Guang Rong Titus shares the flow of his songwriting module and assessment lens. His project findings show the limitations of assessment tools when interfaced with less linear creative processes such as songwriting.
Improving the Quality of Student Feedback in Songwriting
Introduction
After running the songwriting module for a few years, I wanted to see how the quality of the songs could be improved. One method I tried was using peer feedback as an alternative source of assessment for the songwriters. Peer feedback affords students an alternative perspective of their work that is different from their teacher’s. Receiving and learning from feedback is an important skill which will stand students in good stead in the future. Additionally, being open to feedback allows students to work better in teams as they improve on their work and work processes, and avoid repeating mistakes. The process of providing peer feedback also offers the “giver” opportunities to think through the assessment rubrics, which in turn can help them address similar issues or strengths in their own work.
The peer feedback that students provided varied in quality, and many were not useful sources of information for improvement. Some of the options I tried out in 2021 included platforms through which peer feedback was commonly elicited such as Padlet and Flipgrid, as well as scheduled peer feedback sessions. During class discussions, students’ comments were generally vague, e.g., “nice”, “they sang well”, “it’s very good”. Teacher facilitation was required to draw out more constructive comments. With peer feedback, some students were more receptive, discussing with those providing feedback and learning to accept or come to a compromise regarding specific details in their songs.
The peer feedback could be sorted into four categories:
| Identification of strengths or weaknesses in the work according to the requirements of the task
| Descriptions of how students felt about the work (emotional response)
| Strategies / instructions on how to improve the work (constructive criticism)
| Restatement of the descriptors in the rubrics
Objective
The objective of this critical inquiry is to consider how students can be encouraged to give more constructive criticism, and be able to identify strengths or weaknesses in the work.
Methodology
A qualitative study of students’ feedback.
Data Collection
| Consolidation of student feedback from Google Sheets
| Analysis and classification into three main categories
Target Audience
| Secondary 2 students
| Two full classes (between 30 and 36 students per class)
| Express stream students
| Generally good command of English
| Familiar with Google Workspace
Duration
| 10 to 12 weeks
| Peer feedback sessions were scheduled after the completion of lyrics, and before the final draft was due for submission
Overview of Tool
Google Sheets
Google Sheets is familiar to students as it is part of the Google Workspace tools that they use for their lessons. Furthermore, Google Sheets is also used as a progress chart for the students and their teacher to update each week. Students refer to this for feedback from the teacher on their progress, and for suggestions on how to improve.
PROCESS / CURRICULUM OUTLINE
Week Activity Assessment
1 – 3 | What is a song?
| Lyrics: Characteristics of lyrics (link to what they learn in Literature)
| Teaching word stress, meter and word painting
4 | Complete lyrics
| Present lyrics in chosen meter
5 | Teaching chords (link to guitar module)
| Exploring BandLab to input chords
| Common chord progressions from songs played during the guitar module
6 | Setting words to music
| Finding the natural contour of the lyrics
| Learning about chord tones, passing notes, and neighbour notes
| Fitting the words over a chord progression
7 – 8 | Learning about features of verse, bridge, chorus and word rhyme
| Continue setting words to music
Class discussion on the quality and appropriateness of the lyrics written
Class A: Peer Feedback 1 (hard copy)
Teacher demonstrates the process of providing feedback:
| Listen to the song and refer to the BandLab project and lyrics
| Identify which criterion in the rubrics is addressed and state the strengths and weaknesses
| Gather suggested solutions
| Write them out in the space below each criterion
| Allocate groups for peer feedback
Claire Tan
Catholic High School
PROCESS / CURRICULUM OUTLINE
9 – 10 | Refining the song
| Adding instrumental sections
| Recording the singing into the Digital Audio Workstation (DAW)
Class A: Peer Feedback 2
| Similar process as Peer Feedback 1, but to key feedback into Google Sheets instead of using the hard copy
Class B: Only one feedback session, with feedback keyed directly into Google Sheets. Teacher demo was the same as the one done with Class A
Data Collected
Issues Faced During the First Peer Feedback Session (hard copy) Issue 1. Students in Class A were given hard copies of the rubrics to note down their comments on their assigned group’s song. There were 36 students in Class A, divided into 18 groups. The teacher demonstrated how to use the form to provide feedback, then got the students to carry on with the task. However, when the hard copies were collected, it was noted that very few students had provided any comments, let alone constructive criticism. Most simply chose to give a mark from the rubrics.
| Out of 18 feedback forms completed:
• Nine gave a mark without any comment.
• The rest indicated a mark and at least one comment.
• When comments were given,
they explained their choice of mark, but did not provide information on what could be done to improve the song.
| The comments were divided into three general categories:
• Comments that described how the song made them feel, or that complimented something about the song.
• Comments that described something that was present in the song which matched a descriptor in the rubrics.
• Repeated phrases from the rubrics.
Observations From the Second Peer Feedback Session (Google Sheets)
Observation 1. Every group in Class A provided comments for the same assigned group’s song from Peer Feedback Session 1. Many put down at least two comments, usually an emotive/affirming comment, and an identification comment.
“… give a feeling of happiness”
“… very touched”
“Good mood portrayal”
“… not bad”
“Beat was very catchy”
“Never heard of the melody before”
“Rhythm uneven”
“Bland tonality”
“… noisy background noise”
“Melody and harmony are not very nice”
“BandLab sounds repetitive”
“Your drum choice shows a lot of creativity. It was very original”
Observation 2. Instead of repeating the descriptors in the rubrics, comments picked out musical details in the song. In some cases, there was constructive advice on what to do for improvement. Some examples of the comments from Class A’s Peer Feedback 2 session:
Repeating phrases in the rubrics
“Some inconsistencies in expressiveness”
“… sound well-blended”
“Rhythm tracks provided little support”
“… generally respectful”
“Assuming the third track is melody, it is mostly filled with chords towards the end, not much development. Chords are ok albeit basic, why are there just random notes for the chords track? Drum machine is on beat but some parts are not on time, record voice.”
“The lyrics are sensitive. Drum beat is groovy and improves the flow of the song, catchy rhythm. Confidence is shown when performing the song. There are no chords. Rewrite the lyrics maybe?”
“Sounds good. Lyrics are mostly respectful, but a bit soft. Melody seems a bit off for your audio. Rhythm seems good and memorable. Melody may not be that harmonised. But a good attempt. Not bad.”
“Melody was nice, and the performance was confident. Would have been better if the listener could differentiate between the verse and the chorus.”
Observation 3. Another class, Class B, also completed a peer feedback session on Google Sheets. This class did not have the session with the hard copy feedback form. They completed their session after observing
their teacher demonstrate how to assess the song using the rubrics and provide comments for improvement. Class B has 32 students, divided into 20 groups.
12 (31.6%) 17 (44.7%) 3 (7.9%) 6 (15.8%)
Observation 4. Most of the comments from Class B were relevant and accurate. However, there was one that simply copied the descriptors from the highest standard in the rubrics. When presented to the class, the discrepancy between the actual work and the comments provided turned out to be a good learning moment for the students. The ensuing discussion on the purpose of feedback and the consequences of inaccurate feedback brought home the importance of providing accurate comments which the receiving group could use to improve their work.
Discussion
The students seemed to provide better quality and more feedback on digital platforms such as Google Sheets as compared to the hard copy form. This could be due to Google Sheets being more visible to everyone. Peer pressure could also play a role as every student could see how much, how quickly, and how well their classmates were doing in the peer feedback session.
Another possible reason could be the platform’s accessibility. Since the Google Sheets that each class used was one that they had been referring to since the start of the module, students were familiar with the platform. The teacher had also been giving feedback via Google Sheets, so they were used to receiving feedback on this platform.
Role-modelling the feedback process was an important activity to do before the students started on their own. Based on Class B’s comments, some of the observations made and constructive criticism provided were similar to the ones brought up during the teacher demonstration.
Challenges and Limitations
One of the challenges that I faced was getting students motivated and committed to helping each other in the songwriting process. I found that some students preferred to focus on their own work only instead of spending time to provide feedback for others. They would offer brief
Examples of student comments that copied descriptions from the rubrics:
“Original composition, with some nice melodic moments”
“Melody harmonised well with the chords consistently throughout the song.”
“Bass and/or chord tracks provide a clear rhythm. Rhythm track provided some support to the song, though it could be quite static.”
comments, then return to their own songs. Some possible reasons for this behaviour are that they did not think the receiving group would act on their feedback, that providing feedback took too much time, or that they did not want to jeopardise their friendship.
Furthermore, some students had to be encouraged to believe that their feedback was worthwhile and useful. It is possible that these students thought that they were not good at the subject, and that their classmates’ work was better than theirs. However, there is always value in what anyone has to say as everyone comes in with different life experiences, no matter how homogeneous the student population is.
The question “Why don’t they want to give better feedback?” is paired with the question “Why don’t they want to use the feedback given?”. In cases where good feedback was given (accurate identification, affirming strengths, constructive criticism), some groups still chose not to use the feedback for improvement. Was it because of time, lack of clarity,
“Backing tracks are well-balanced and well-aligned."
“Vocal
“Instrumental sections help to create contrast and flow.”
difference in opinion, pride, or sloth? This is something to explore in the future.
Conclusion
It was gratifying to see that the students were able to give detailed and focused feedback using an online platform (Google Sheets in 2022, Padlet in 2021) as compared to hard copy forms. One of the reasons for this could be peer pressure when they saw their fellow classmates doing so. Other reasons could be the deliberate scheduling of the peer feedback sessions as part of the songwriting process, or even the convenience and accessibility of the digital platform.
For future iterations of this study, it would be interesting to explore strategies that can motivate students to give feedback, find out why students may not want to give good feedback, and address these reasons.
Acknowledgements
Chee Ee Sin for her support and for being a valuable sounding board during the process.
tracks could be louder."
Enabling and Enhancing Learning through ICT Platforms with
Formative
Checklist as Feedback
Introduction
For years, St Andrew’s Junior School has been implementing an ICT programme for Stage 2 (Primary 3 to Primary 4) students where each student uses a device for schoolwork. Students are taught ICT skills during curriculum time, and use ICT tools in learning during English, Mathematics, Science, and Mother Tongue lessons. They are also well-versed in the use of SLS (Student Learning Space).
We have been using ICT tools such as Chrome Music Lab for music making as well. Last year, we started to use video recordings to enable students to review their ukulele playing. They were also able to share their video recordings with their classmates on Padlet.
A checklist was developed to help students reflect on their own performances. The checklist scaffolds students’ learning with a list of items to guide their progress and assessment. Peer review was also encouraged. Students found that giving and receiving feedback was beneficial to them as improvements could be more targeted. This year, we decided to use Flip instead of Padlet as the latter imposes limitations on the size of videos that can be uploaded.
Pre-Inquiry findings
The 2021 batch of P4 students who did video recordings of their performances and used the checklist found that watching playbacks of their performances was beneficial in improving their
performances. They also found the checklist useful for self-assessment to improve on their performances.
Inquiry Question
How do the use of technology (Flip) and a checklist help to scaffold students’ learning of the ukulele?
Methodology
This is a qualitative research.
Target Audience
Small sample size of one class of 40 P4 students of mixed-ability. They have been learning to play the ukulele since they were in P3.
Data Collection
| Narratives and interviews from eight students.
| Checklists and videos of students’ performances (in Flip) as evidence of student learning. These were examined to determine whether students used the checklists correctly.
Duration
Two one-hour lessons.
Pedagogical Frame
Assessment
Using a checklist, students learn how to assess themselves and their peers in a structured way. The categories in the checklist guide them on what to look out for.
Students learn how to play chords C, Am, F and G on the ukulele
Students learn how to play the song with teacher guidance and YouTube resources
Students use Flip to record their ukulele performance (Round 1)
Students assess their learning and their peers’ performances using a checklist
Process / Curriculum Outline
Students sign up for a free account on Flip using their teacher’s code. They can then upload their own videos and view their classmates’ videos.
Findings
Observations
Issues Faced During Lessons
Issue 1. When students paired up, classroom noise was considerable and some students could not record their performances properly. For the second lesson, changes were made to improve the environment.
Issue 2. Students found it difficult to hear the video playbacks due to classroom noise. In the next round, headphones were provided to aid their listening.
Students assess their learning using a checklist
Students to assess their peer using a checklist
Students use Flip to record their ukulele performances (Round 2) Refinement of process
Students’ Responses to the App
Observation 1. Students enjoyed using the app. They used special features such filters and “breaking news”-type banners in their videos. Special features added a fun element to app use. During my informal observations, I saw students smiling and laughing happily as they watched their own videos and those of their friends.
Students’ Works
The students and their peers assessed their recorded performances similarly. If they had differences in their assessment, they would have a conversation to discuss it. Below are three examples where students were paired up to provide feedback for each other.
Students use the feedback to improve on their own performance
Feedback received from students via teacher interviewing students
This pair gave similar feedback for each other. No timestamps were referred to, since both had suggested that each other’s performance was excellent.
Rena Lee
St Andrew’s Junior School
The feedback for this pairing had more differences and referred to specific timestamps in the video. However, one student did not indicate any specific timestamps for the chord change.
The next pair also referred to specific timestamps in the video in their feedback for each other. One of them added an additional comment for his partner as well.
Discussion
These are the teacher’s perspectives:
| The students’ video recordings of themselves allowed them to improve on the accuracy of their selfassessment. They were able to be more specific in their feedback.
| Students were more engaged when they were required to specify timestamps in the video recordings for self- and peer-assessment.
| Some students found it difficult to accurately use timestamps to identify areas for improvement. This will require them to have follow-up training.
These are the students’ perspectives:
| The students found the use of ICT (Flip) helpful when they wanted to review their performances.
| The checklist had clear categories which guided students on what to look out for when assessing themselves.
| Students found feedback about their performances useful when it was specific and included time stamps. Based on these, they could make improvements on their next performance.
| Students found the checklist useful. They were guided by the rubrics and could give themselves/their peers appropriate feedback.
Conclusion
How has the use of technology (Flip) and a checklist helped to scaffold students’ learning on ukulele music creation?
The use of technology (Flip) was helpful in aiding students’ review of their performances, as the timestamps and specific feedback enabled them to make improvements on their next performance. The checklist enabled students to know what to look out for when assessing themselves, and guided them to give appropriate feedback. The process has also helped develop students’ assessment literacy as they were involved in the assessment process and were guided to be able to do so effectively through the tools used.
Acknowledgments
| Lim Jin Yong and Shaun Kok, ICT staff at St Andrew’s Junior School for their ICT support.
| Patsy Neo, Principal, and Kimberly Teo, SH Aesthetics, for their support.
References
• Boucher, M., Creech, A., & Dubé, F. (2019). Video feedback and the self-evaluation of college-level guitarists during individual practice. Psychology of Music 49(2), 159–176. https://doi.org/10.1177/0305735619842374
• Concina, E. (2019). The role of metacognitive skills in music learning and performing: Theoretical features and educational implications. Frontiers in Psychology, 10. https://doi.org/10.3389/fpsyg.2019.01583
How does Patchwork Assessment increase Students’ Engagement
and Motivation?
Core elements of patchwork texts include:
| Multiple patches
| Patches are paced over a course
| Patches feed into a final integrative piece of assessment
Introduction
This research is based on the music assessment that we crafted for the school’s Primary 6 students. The assessment requires students to create a verse or chorus of a song using Hookpad, an online musical sketchpad.
We first carried out this assessment in 2021. Based on reviews with teachers, we noted that the bulk of the lesson was spent resolving logistical issues such as the distribution and collection of iPads, as well as resetting passwords. Teachers also mentioned that due to time constraints, students were unable to provide feedback
With this revised version of the assessment, we hoped to find out if patchwork assessment could better engage and motivate students to complete their assessments.
Methodology
Target Audience
| Our research is a questionnaire study administered to 40 P6 students of mixed ability.
| Students already have prior knowledge of rhythmic composition using BandLab, which they learnt when they were in P5.
Data Collection
In order to gather more information on the students' expectations for success in a task in relation to the value of task completion, we crafted a questionnaire which included the following types of questions:
| Closed-ended questions
| Scale-rating questions
| Open-ended questions
Pedagogical Frame
Patchwork Assessment
Patchwork assessment is a form of assessment for learning whereby the assessment comprises a series of tasks that requires students to accumulate knowledge and add on new knowledge in each patch as they form a comprehensive understanding of what they are learning. As such, it is considered a form of authentic assessment.
This assessment approach focuses on how the patches flow into each other, as well as the aspect of collaboration. Students provide and receive feedback from teachers and peers. With the feedback received, students make revisions to their work and produce a final product (Trevelyan & Wilson, 2011).
Expectancy-Value-Cost Model of Motivation
A student’s expectation of success for a task is closely related to their motivation (Eccles, 1983), and motivation is influenced in part by the cost of engaging in an activity (Barron and Hulleman, 2015). We took these factors into consideration in our critical inquiry.
for their peers. Hence they mainly relied on their teacher’s feedback when refining their work. It was also observed that students lacked the motivation to complete their work from home, and required numerous reminders to do so.
After a review of the challenges faced, the team decided to adopt the patchwork approach in crafting our assessment. In order to deepen students’ understanding of the learning goals and help them make connections across topics, the team dissected the assessment into smaller tasks, created more scaffolded and authentic learning experiences, and included opportunities for students to be involved.
Introduction and Brainstorming
Lyrics Writing Brief on the assignment and deciding on the theme and message
Lyrics Writing Plan and write a verse and chorus with teacher’s and peers’ feedback
Hands-on Application
Composition
Hands-on application on the functions available on Hookpad
Planning chord progression and melody. First draft with teacher’s and peers’ feedback
Tang-Chew Pei Xi
Figure 1. Core elements of patchwork texts.
(Trevelyan & Wilson, 2011, p.9)
Process / Curriculum Outline
2 | Introduce the assignment to the class.
| Go through the Task Checklist and rubrics with the class.
| Grade sample works together as a class.
| Review and discuss the elements of music that are important in song composition using the “Claim Support Question” process.
| In their groups, students discuss the theme, message and style of their song.
10 | Introduction to lyrics writing (metaphors and similes).
| Plan and write a verse with teacher’s and peers’ feedback.
| Plan and write a chorus with teacher’s and peers’ feedback.
| Log in to Hookpad using students’ iCON account and address log-in issues.
| Introduction to the functions available on Hookpad.
| Students are guided on how to insert chord progressions, how to insert notes, and how to save their works.
| Plan chord progression and melody with teacher’s and peers’ feedback. | Insert chord progression and melody into Hookpad.
Data Collected through Survey
QUESTIONS
1 Students’ understanding of the assignment 100% of respondents indicated that they understood what they had to do for the assignment.
2 Students’ understanding on the standards and expectations of the assignment 97.5% of respondents indicated that crafting a rubric together as a class and grading sample works helped them understand the standards and expectations of the assignment.
3 Support and scaffoldings provided 90% of respondents indicated that the thinking routine helped to scaffold their thinking process and that support was provided by the teacher.
4 Difficulty level of the assignment 85% of respondents indicated that the difficulty level of the assignment was manageable.
5 Usefulness of feedback 82.5% of respondents indicated that the feedback they received helped them improve their final work. Thus, they felt more confident in sharing their work upon completion.
QUANTITATIVE SURVEY QUESTIONS RELATED TO VALUE OF TASK
1 Students’ intrinsic motivation in completing the task 90% of respondents indicated that they were motivated to complete the task because their composition reflected their feelings and they got to create a memorable piece of work with their peers.
2 Students’ perspective on the relevance of the task 97.5% of respondents indicated that they could apply what they had learnt to this assignment and that they had gained a clearer view of how the series of tasks led up to the final piece of work. They also indicated that the tool used was relevant to what composers used to compose.
A mixture of close-ended and open-ended questions were asked to gather information in the following areas.
QUANTITATIVE SURVEY QUESTIONS RELATED TO VALUE OF TASK
3 Students’ perspective on the level of empowerment of the task 57% of respondents felt empowered because the tasks gave them an opportunity to voice their opinions and experience success as the tasks were manageable. They also had the option to work on a theme that they could relate to.
4 Level of positive relationship 65% of respondents indicated that their peers’ feedback gave them confidence. They were also able to forge stronger friendships with their peers while working on their compositions.
QUANTITATIVE SURVEY QUESTIONS RELATED TO COST OF TASK
1 Students’ perspective on the effort and time needed for the task 22.5% of respondents indicated that they were not motivated to try out the composing tool because their priorities were to complete their homework and revise for the PSLE (Primary School Leaving Examination).
In their answers to the open-ended questions, students said that it would be more manageable if everything could be done in school, with the teacher around to help solve the technical issues, so that they could complete their work on time.
2 Students’ loss of valued alternative 5% of respondents indicated that they could make better use the time to revise for their PSLE.
3 Quality of feedback 20% of respondents indicated that the feedback they got from their peers was not constructive.
Through their answers to the open-ended questions, a few students mentioned that the feedback they had received was either not constructive, or that they did not receive any feedback from their peers. This resulted in them only receiving their teachers’ feedback. Hence they revised their work solely based on the teacher’s feedback, and that affected how they felt about their composition.
Discussion
Based on the survey, a majority of the students found that the music assignment was well-scaffolded. The scaffoldings provided them with the required content knowledge and skills to complete the
The survey findings also showed that the students’ motivation in completing the assignment was related to the authenticity of the task. Having choice and control over the theme and who they could work with gave them a certain level of empowerment. It was also shown that students valued the task because they saw relevance to their personal lives. They also valued their work more because of the positive relationships formed amongst themselves during the process of creating it.
While a majority of the students had positive responses to the assignment, some expressed that they were neither engaged nor motivated to complete it due to the non-constructive feedback received. This in turn raised the perceived cost of the task. In order to keep it low, the team will look into how we can weave in opportunities to help students build their capacity for giving constructive feedback, and better support them in resolving logistical issues.
Limitations / Challenges
Time was a factor that affected the progress of data collection for this critical inquiry. The teachers had to complete the activities related to the assessment within the 30-minute lesson, while also addressing logistical issues faced by students whenever digital devices were used. Additionally, in order for students to continue working on
their assignments from home, we might need to re-investigate the timeline of this assignment. Bringing the assignment earlier in the year might solve the problem of parents being reluctant to give students access to their digital devices after school.
Conclusion
Through this critical inquiry, we have learnt that students can be more engaged and motivated to complete an assignment when it is crafted in the form of a patchwork assessment.
| Students are able to pace and monitor their learning through a reasonable timeline.
| Through the series of patches, students are able to weave their learning together, forming a final piece of work.
| Students feel empowered in the process because they have a choice of theme and partner to work with. Through peer assessment, students feel empowered because their opinions are valued by their peers.
| Students feel confident to share their work because of positive and constructive feedback that helps improve their work.
| The knowledge acquired through the series of patches allows students to see the relevance and coherence between what they have learnt and how songs can be composed in real-life situations.
assignment. The difficulty level of the task was also kept manageable. Peers’ and teachers’ feedback played a part in raising the students’ level of confidence in their work. This could result in a high expectancy value, and possibly lead to higher levels of motivation in our students.
References
• Barron, K. E., & Hulleman, C. S. (2015). Expectancy-value-cost model of motivation. In J. D. Wright (Ed.), International Encyclopedia of Social and Behavioural Sciences (pp. 503–509). https://doi.org/10.1016/B978-0-08-097086-8.26099-6
• Eccles, J. (1983). Expectancies, values and academic behaviors. In J. T. Spence (Ed.), Achievement and achievement motives: Psychological and sociological approaches (pp. 75–146). Free man. Trevelyan, R. & Wilson, A. (2012). Using patchwork texts in assessment: Clarifying and categorising choices in their use. Assessment & Evaluation in Higher Education, 37(4), 487–498, https://doi.org/10.1080/02602938.2010.547928
Learner-Centred Assessment in Lower Secondary Music
Introduction
In CHIJ Secondary, we believe that all students have the ability to respond to and express themselves through music. The songwriting module is a platform to empower them with the 21st century competencies (e.g., resilience, selfdirected learning, critical and inventive thinking) while achieving the musical aims of the module. The diverse learning needs of students, coupled with the challenging processes of songwriting, warrant effective strategies to engage and motivate students. Hence it is timely to review the strategies that have been used to cater to learners’ needs since the implementation of songwriting for Secondary 2 students in 2020.
Inquiry question
To what extent does LearnerCentred Assessment (LCA) increase confidence amongst students in the songwriting module?
Methodology
Target Audience
| Form Class (Sec 2) of 36 student participants
| Generally endearing and eager to learn. Nonetheless, some lack drive and motivation in their learning
| Prior knowledge of music notations, rhythmic notations, chords, and pop song structure
Data Collection
| Pre- and post-surveys
| Students’ works
Term 2 Actions taken
Week 1 | Administer pre-survey questions
| Explanation of lesson overview for lyrics-writing and checklist for lyrics
Week 4 | Video recording of students working on lyrics as a class and in pairs
Week 1 | Explanation of lesson overview for melody-writing and checklist for melody
Week 5 | Video recording of students working on melody as a class and in groups
Week 10 | Administer post-survey questions
| Submission of student’s work
3 | Analysis of survey results
Pedagogical Frame
Learner-Centred Assessment LCA, a form of Assessment for Learning (AfL), taps on students’ work and input as a rich resource to facilitate teaching and learning. Students are the centre of LCA because tools (e.g., checklist, overview, assessment rubrics) and strategies
(teacher demonstration, class discussion, group discussion, student evaluation) are developed for experiential learning, empowering them as self-directed learners. Through the processes of LCA, students’ motivation and engagement improve. LCA also provides opportunities for students to taste success and gain greater confidence in the process.
William & Thompson (2007) Framework for Formative Assessment
There are two dimensions in William and Thompson’s (2007) framework for formative assessment. The first dimension constitutes the following three key processes in teaching, learning, and checking for understanding. They focus on eliciting,
Term 2
interpreting, and using information to make decisions about the next steps in instruction or learning to reach the objectives of the module. The second dimension involves the three agents in the classroom referred to as teacher, peer, and learner. All students are both learners and peers, and the inclusion of both roles reiterates that the students might help each other as well as themselves in the processes. The teacher, in turn, can support students’ motivation and skills to take an active part in the processes as instructional resources for one another, as well as to become self-regulated learners. The interactions between the teachers and students support learning during all three key processes.
| Introduction to Songwriting and checklist for lyrics
| Assessment outline, module objectives and overview of lessons
| Elements of a song
| Elements of a manuscript score
Week 3 | Classroom teaching: Lyrics consideration with reference to the checklist
Weeks 4 & 5
Weeks 6 & 7
Term 3 Weeks 1 & 2
Weeks 3 – 5
| Classroom teaching: Lyrics consideration with reference to the checklist
| Teacher demonstration with class
| Peers/pair discussion
| Class review with feedback based on checklist
| Submission of drafts with feedback
| Final submission on Google Classroom
| Checklist for Melody
| Overview of lessons
| Classroom teaching: Music consideration (melody and harmony)
| Melody consideration with reference to the checklist
| Teacher demonstration with class
| Group discussion
| Class review with feedback based on checklist
| Consultation
| Submission of manuscript
Weeks 6 – 10
| Review of manuscript
| Video recording of song composition (not included in the scope of the project)
Data Collected
Pre-Survey
Pre-Survey Questions
5-point Likert scale Question
1. I find lyrics-writing and melodywriting challenging
Open-ended Questions
1. What are some words that come to mind when you think about songwriting?
2. Share some reasons for your responses based on “I find lyrics-writing and melody-writing challenging”.
Pre-Survey Findings
Figure 1 shows the words that majority of the students associated with “creativity” and “writing of lyrics and melody”. We see that they initially felt intimidated about writing their own song as words like “challenging”, “tedious”, “difficult”, and “tough” were surfaced.
Based on students’ responses to the pre-survey question “I find lyrics-writing & melody-writing challenging”, there were more students who agreed that songwriting was challenging. We can see from Figure 2 that 15 students rated this 4 and 5, agreeing that lyrics-writing (the bars in blue) was challenging. We also see the same number (15 students) for melodywriting, which is indicated in orange.
Based on their responses, students cited a lack of confidence and interest, and inadequate language and music competency as reasons for their perception of songwriting as challenging.
For instance, some students associated lyrics-writing with English or Literature, while many felt that their lack of music background was a hurdle that made melody-writing challenging.
Students’ responses to the pre-survey questions
“I have absolutely no inspiration or intention to write lyrics and music.”
“I’m not a musical and creative kind of person and it’s not that interesting to me.”
“I viewed writing lyrics like creative writing, something I am not good at.”
“I’m not too good at vocabulary and finding the right words” “My English is not that good hence I have difficulty writing the lyrics.”
Confidence/ interest
“I don’t have music background. As such I find myself lost most of the time.”
“It wasn’t easy but because I have a music background it was not as hard as I thought it would be.”
“I have no music background and I don’t find it interesting.”
Language competency
Music competency
Figure 1: Students’ thoughts on songwriting before the module was conducted
Figure 2: Graph showing challenge level perceived by students for lyrics-writing and melody-writing
Post-Survey Findings
In considering “How far do students understand the learning outcomes of songwriting?”, the results in Figure 3 show that a high percentage (94%) of the class understood the Learning Objectives (LO)
of lyrics-writing (blue bars) and 83% of the class understood the LOs of melodywriting (orange bars). This is crucial as Williams and Williams (2011) highlighted the importance of clear goals in enhancing learners’ self-esteem and competency.
OF UNDERSTANDING OF LOs
Figure 3: Graph showing the extent of understanding of LOs of songwriting
Using different group compositions as resources to review and learn songwriting techniques
Group discussion on writing melody using the checklist
Teacher demonstration on how to write melody using the checklist
Crafting of lyrics as a pair using the checklist
Crafting of lyrics as a class using the checklist
4: Graph showing the number of responses of student enjoyment and
From Figure 4, it can be seen that students gained more confidence when the teacher demonstrated the steps, as illustrated by the orange bar with the highest number of 26 responses. This shows that guidance and transference of knowledge from the teacher is central in a student-centric approach such as LCA. We can also infer that the students enjoyed classroom activities in a bigger setting such as in groups and as a class, as indicated by the highest number of 29 responses shown in the blue bars of “Group discussion on writing melody using the checklist” and “Crafting of lyrics as a class using the checklist”.
Teacher’s Feedback on Students’ Works
Written feedback was given on the manuscript as shown in Figure 5, and general feedback was verbally provided to the entire class. Students also had the opportunity to seek clarifications on their manuscripts so as to improve on them.
Discussion
The survey results and students’ works demonstrate that LCA can impact students’ confidence positively. Secondary data from Williams and Williams (2011) includes insights and strategies on how the key ingredients (i.e., students, teacher, content, processes/methods, and environment) can work in tandem to contribute to student motivation and confidence, and support student engagement and learning. The teaching and learning tools (e.g., checklists, overview, manuscript rubrics) need to be purposefully and meaningfully implemented to promote active learning. The AfL framework by William and Thompson (2007) provides an effective structure that supports student-centric learning.
Limitations / Challenges
| Students with a stronger musical foundation may find the checklist restrictive. For instance, some enquired if they could use other chords or key signatures in their song compositions.
| Some students preferred to create the melody before writing the lyrics.
| Some students also provided feedback that it would be easier to approach songwriting “freely” rather than following the rules of having harmony or nonharmony notes in any particular chord.
Conclusion
The process of learning in this inquiry project has been meaningful and enriching, especially in how students gained greater confidence and motivation to complete their songwriting tasks by tapping on LCA. I find group discussions and the use of students’ works as resources very powerful. They empower the students to do their best as there is an element of competition to see which group’s composition is the best. Hence, it facilitates students’ involvement in their own learning while enjoying the songwriting process.
Figure 5:
Sample of teacher’s feedback on a student’s manuscript
Figure
SECTION 3
Social and Emotional Learning
Differentiated Instruction
While Differentiated Instruction (DI) approaches are often used with the intent to increase the engagement and motivation of students, these results may not always occur. This section discusses how DI can be designed and used in different curricular contexts.
72 Goh Wan Yu and She Ai Ling demonstrate how they tiered assignments and discuss how students responded to them. Their findings elucidate the importance of unleashing students’ risk appetite and raise questions about how teachers can motivate students and develop growth mindsets.
82 Choy Yong En, Carene and Tan Wei Da discuss the benefits of tiered assignments in increasing student engagement and how they designed the DI approach by tapping into students’ interest in the selection of the tasks.
90 Tan Yi Han and Ang Hui Qian Iris discuss how giving students choices in the way they present their learning can impact their learning experiences.
Differentiation Using Tiered Assignments in the Lower Primary Music Classroom
Introduction
As music teachers, our assignments are usually a “one-size-fits-all” approach targeted at the general masses. These assignments may not truly reflect each student’s musical ability and understanding. Our students have diverse learning needs and rates of progress. This means that at times, students may find the assignments too challenging or too easy.
Our aim is to investigate the experience of using tiered assignments for teachers and students at the lower primary level. We shortlisted some possible Differentiated Instruction (DI) strategies, assessing their suitability and effectiveness, before deciding to use tiered assignments.
Tiered assignments is a DI strategy which allows students to do well at their own readiness level while focusing on the same understanding. Students are able to work within their Zone of Proximal Development (Vygotsky, 1978) when the tiered assignment is pegged to their readiness level. Vygotsky suggested offering learning challenges suited to the child’s readiness level in order to create an optimal learning environment for them.
We will uncover how tiered assignments, our chosen DI strategy, helps students in achieving their best musical ability.
Inquiry Question
How do tiered assignments help lower primary students achieve their musical ability?
Methodology
Target Audience
| Two Primary 1 and two Primary 2 classes from different schools were involved in the study.
| P1 classes had 29 students while P2 classes had 27 students.
| Teachers decided on their readiness levels and grouped them using the following methods:
• P1 students were assessed through a Kahoot! game. A total of two quizzes were conducted: listening, and note recognition of 1-bar rhythms for crotchets, crotchet rests, and quavers.
• P2 students were grouped based on their P1 assessment data and results obtained from the “Guess the Note” game (note recognition).
• The grouping for the tiered assignments in the table below:
Wan Yu conducted the research lessons with her P1 classes and Ai Ling conducted the research lessons with her P2 classes.
GROUPING FOR THE TIERED ASSIGNMENTS
Data Collection
| Students’ survey (Quantitative)
| Teacher’s observation during and after study
| Students’ interview (Qualitative)
| Students’ works (Written & Performance Videos)
Process / Curriculum Outline
Duration
| P1: five weeks, one-hour lesson/week
| P2: four weeks, one-hour lesson/week
The P1 students were tasked to create a rhythmic phrase using crotchets, quavers, and crotchet rests.
LEARNING OUTCOMES (P1)
1 Imitate rhythmic patterns using voice, body percussion and instruments
2 Recognise and identify note values (crotchet, quavers, crotchet rest)
3 Create and perform rhythmic patterns as a class
4 Listen and identify rhythmic patterns (on Kahoot!)
5 Create and perform rhythmic patterns (tiered assignment)
Tier 1: Create a 1-bar rhythm using notation. Perform using body percussion
Tier 2: Create a 2-bar rhythm using notation. Perform using body percussion
Tier 3: Add dynamics to Tier 2 rhythm
The tasks for the different tiers as well as the dynamic terms are presented on the activity sheet for the students as reference. One bar constitutes the first row of four circles; two bars as two rows of eight circles. This is where students, in groups, will create their own rhythm.
Class B Teacher assigns tiered task that is appropriate for the group
Class A Teacher profiles students in groups according to similar readiness level/ability: Low Progress (LP), Middle Progress (MP), High Progress (HP) Students choose their own task (student’s choice)
Goh Wan Yu River Valley Primary School
She Ai Ling Shuqun Primary School
LEARNING OUTCOMES (P2)
1 Imitate rhythmic patterns using voice, body percussion and instruments
2 Recognise and identify note values (crotchet, quavers, crotchet rest)
3 Create rhythmic phrase of 1 and/or 2 bars to “Naughty Pussy Cat” (tiered assignment)
4 Play rhythmic phrase(s) on non-pitched percussion instruments/using body percussion/using rhythmic names
P2 students were tasked to create a new rhythmic pattern for the song “Naughty Pussy Cat” using crotchet, quaver, semiquaver, and crotchet rest (they learnt the song a few months before). They were also given a task card containing instructions pertaining to the task, and rhythmic cards (with crotchet, quaver, semiquaver, crotchet rest) to create their rhythm.
Tier 1: Create a 1-bar rhythmic pattern for “Naughty Pussy Cat” using rhythmic cards.
Tier 2: Create a 2-bar rhythmic pattern for “Naughty Pussy Cat” using rhythmic cards. Performance mode: percussion instruments/body percussion.
Tier 3: Create two layers of 2-bar rhythmic patterns and perform using one of three performance modes: percussion instruments/body percussion/chanting.
Students were to discuss on the mode to be used, and create a distinct sound between Layers 1 and 2.
Data Collected
Students’ Survey
GIVEN A CHANCE TO DO THE TASK AGAIN, WILL YOU CHOOSE
GIVEN A CHANCE TO DO
Although Class A had autonomy to choose their task, five students rated the creation task difficult as compared to three students in Class B. Twenty-one students in Class B felt that the task assigned to them was easy. Should they be given a chance to try again, 12 students in Class A would attempt a more difficult task as compared to nine students from Class B. Overall, more students would
choose a more difficult task if they were to do it again. Interestingly, there were 19 Class B students who wanted to have autonomy over choosing their creation task if given a chance to. Students might either have been curious about the experience of choosing their own task, or been unsatisfied with the teacher’s task allocation.
GIVEN A CHANCE TO DO THE TASK AGAIN, WILL YOU CHOOSE THE SAME TASK OR AN EASIER/MORE DIFFICULT TASK?
Teacher’s Observation
GIVEN A CHANCE TO DO THE TASK AGAIN, WHO WILL DECIDE WHICH TASK TO CHOOSE?
P1. Tier 1 groups completed the task very quickly and spent their time practising it. Tier 3 groups spent a long time discussing their task. The rhythms created by the LP group were simpler and easier to perform as compared to those by the MP and the HP groups. MP students who chose Tier 3 stuck to one dynamic throughout. HP students who chose Tier 3 used multiple dynamics and ended up confusing themselves.
P2. Tier 2 groups were able to complete their creation task within the given time frame. The Tier 3 group was also able
to complete their task within the time frame. However, this group experienced conflict as one member wanted to level down to Tier 2 while the rest disagreed. For Class A, some of the students’ written work had additional details such as animal names to match the note values and type of body percussion used. Students in this class made an effort to add interest to their performance by using more than one performance mode i.e., they performed using body percussion and instruments instead of using instruments only.
Although Class A had autonomy in their choice of task, six students rated the creation task as difficult compared to five students in Class B. Nine students in Class B felt that the task assigned to them was easy. This did not deter 15 Class A students from opting for the next level of tiered activity
should they attempt the task again. On the other hand, 13 students in Class B wanted to be assigned an easier task if given a chance to do it again. More than 60% of the students in both Class A and Class B wanted to be able to choose their task.
P1. In P1 Class B, one LP group was assigned Tier 1, two MP groups were assigned Tier 2, and two HP groups were assigned Tier 3 tasks. The Tier 1 group completed the assignment very quickly. They were asked by the teacher if they could try Tier 2 as well. The progression of tiers helped these students to cope better than if they were to jump straight to Tier 2. They were also able to perform Tier 2 rhythms that they created. Tier 2 groups took some time to complete the
assignment. A lot of time was spent on discussion. They did not have much time to rehearse their composition before their performance. Tier 3 groups used a lot of crotchet rests but could not keep a steady beat. The dynamics used were also unrealistic, for instance, placing one dynamic above almost every circle.
P2. In P2 Class B, one LP group was assigned Tier 1, three MP groups were assigned Tier 2, and three HP groups
Class A: Number of groups who chose the task
Class B: Number of groups who were assigned tasks according to their readiness level
were assigned Tier 3 tasks. The Tier 1 group completed the task with confidence. They were able to perform their creation with ease. When asked if they wanted to move up to Tier 2, some members needed time to consider, while others preferred to remain in Tier 1. Tier 2 groups were able to complete the creation task within the given time frame, though they needed more time to rehearse their composition. All the Tier 3 groups were unable to complete their creation task within the given time frame. When asked, students mentioned that each of them had a good creation in mind but they were unable to decide on an “ideal” creation as a group.
Students’ Interview (Open-Ended)
Students’ Interview Class A
P1. A Tier 1 group wanted to finish the task quickly. They were confused between Tiers 1 and 2 so they decided to choose the easier one. Tier 3 groups wanted to give each member a chance to suggest an idea so two bars would be better. Someone in the group made all the decisions and did not give the others a chance to contribute their opinions. Some students had music background and wanted to do something more challenging. Students discussed together when it was challenging, and kept on trying.
P2. There were mixed sentiments from the Tier 2 groups. Two groups wanted to remain in Tier 2, one group wanted to level up, and one group would level down if given a chance to do it again. One group found the task difficult because of group member issues during the rehearsal. This group cited “trying to play as a team” as their challenge. Another group mentioned that the creation part was easy but playing “tikka-tikka” was
difficult. Standing in front of the class was “challenging”. Interestingly, despite their initial conflict, the only Tier 3 group found the task manageable and would level up in the future. Most groups enjoyed playing on the percussion instruments during the rehearsal and performance segments.
Students’ Interview Class B
P1. The Tier 1 group found the task easy and would like to try Tier 2. Tier 2 groups found it manageable but preferred to remain in Tier 2. One of the Tier 3 groups found it challenging as one member dominated the discussion and was very bossy. They had to report the behaviour to the teacher several times during the process. The other group had no problems working together to complete the task.
P2. A Tier 1 group found the task easy but would remain in Tier 1. The Tier 2 groups found it manageable but chose to remain in their own tier as well. One of the Tier 3 groups found it challenging as the group members quarrelled during the task. They would appreciate more time to rehearse. One member of the group said that the task was easy as “I can create my own rhythm” but would remain in Tier 3. Another Tier 3 group found it challenging due to the lack of time to rehearse. One member said, “I spent too much time thinking about what rhythm to create. Ended up with no time but I will still choose Tier 3 as I like the challenge.” Groups mentioned that they enjoyed using the rhythm cards during the creation task. They also enjoyed singing and performing together with their friends.
Students’ Works
(Left) P2 Class A: Tier 2 MP Group. This group found the task difficult because playing “tikka-tikka” was difficult. This group included animal names to match the note values in their written work.
(Right) P2 Class B: Tier 3 HP Group. This group faced member conflicts during the task. They also spent too much time thinking about rhythm names to use for each layer, resulting in insufficient time to complete their creation task.
P1 Class A: Tier 3 HP Group (multiple dynamics were used and then removed after the teacher’s feedback).
P1 Class B: Tier 2 MP Group.
P1 students performing their rhythm using body percussion.
P2 students rehearsing their created rhythm during group practice. A Task Card and rhythm cards were used to guide groups in their creation tasks.
Discussion
Teacher’s Reflection
We wanted to think about how tiered assignments could help students improve their musical ability. Hence we needed to review our profiling method and task difficulty, and compare the perceived musical ability of students by both teacher and students.
Teacher’s Profiling
P1. P1 students come in with diverse backgrounds, and observations during dayto-day lessons shaped my understanding of their readiness levels. In order to standardise and be fair across the two classes, students’ readiness levels were determined by their Kahoot! quiz scores. In the quiz, the students were tasked to listen and identify the 1-bar rhythm played on two levels. The Level 1 listening extract had crotchets and quavers only. The Level 2 listening extract consisted of crotchets, quavers, and crotchet rests. Based on the results, I grouped the students into their respective HP, MP, LP groups. I felt that the students surprised me with their work.
P2. As this was my second year taking these two classes, student profiling was decided based on last year’s P1 assessment
P2. Based on the collected data and findings, I felt that the Tier 3 task was overwhelming for the students as it required them to perform two layers of 2-bar rhythms concurrently. That could also be the reason why they overthought the creation process and had difficulty rehearsing their creations together. A lot of scaffolding was needed during the rehearsals as students had to be certain of their own parts in order to play them together as a group. In contrast, Tier 1 and Tier 2 tasks were manageable. I found that the Tier 1 task was too easy and may consider adding additional elements to make it slightly more challenging in the future.
they surprised me with six groups opting for Tier 2 and only one group being “brave” enough to attempt Tier 3. Although the students were given a choice to select their task, only 26% of them rated the creation task as easy. There were more students in Class B (33%) who rated the creation task as easy. The HP groups in Class B experienced member conflicts and overthought their creation process. These were stumbling blocks in their journey to achieving their desired musical ability.
data. To affirm my decision, the students were asked to identify and recognise note values through a game of “Guess the Note”. In groups, students went through a deck of cards with different note values. They took turns to name the note and clap its duration when the card was opened. Profiling is a trial-and-error process, and through my observations, coupled with the students’ work and performances, I realised that there were some students in the MP group who had the potential to attempt the creation task meant for the HP group.
Difficulty of Task
P1. Based on students’ interviews, survey results and my observations, I felt that the students were not ready to apply dynamics to their compositions. That may be the reason why their work showed different dynamics for each beat. The students also struggled with performing as a group. However with more time and feedback, they performed better. I felt that I had to facilitate and intervene more when it came to group performances, but not so much for the creation process. Although the students may not be ready to perform 2-bar rhythms in groups, they performed with varied tempos within the group, displaying inner hearing of the crotchet rests. Reciting the rhythmic syllables together (ta, ti-ti) before they started performing helped as well.
Perceived
Musical Abilities
P1. Based on the survey results, more than 50% of the students from Class A felt that the assignment was easy. I think that is why most groups chose to do the Tier 3 task. This is true to an extent as the students found it easy to create a 2-bar rhythm. However, they did not show an understanding of the use of dynamics in their task. Hence, they might have overestimated their musical abilities in this case. Class A had more students who were willing to choose difficult tasks. My theory is that the P1 students came with no fear of failure. They were more open to trying out new things without giving much thought beforehand, demonstrating a greater risk appetite as compared to the P2 Class A students.
P2. Both classes underestimated their musical ability in this differentiated creation task. Students from Class A chose to err on the safer side when selecting their tiered task. I expected students to choose their task according to their readiness levels but
Survey findings showed that there were more Class B students in both levels who did not intend to level up, and were happy to remain in their assigned tiers or even level down. Could the teacher’s decision to choose the assignment have caused students to play it safe and choose within their means? This is something that we can explore further.
Conclusion
We defined music ability as the students’ ability to complete both creation and performing tasks. Tiered assignments resulted in higher student engagement and gave students the opportunity to level up on tasks they had chosen or been assigned to. Moving forward, we shall continue exploring the use of tiered assignments with flexible groupings based on interest or learning profiles. It would be interesting to see if student-initiated flexible groupings can lead to better group dynamics and prompt task completion. Properly done, tiered assignments can be a very effective method to meet the needs of all our students through varying levels of tasks.
References
A P2 group rehearsing their created rhythm during group practice. This group is using both percussion instruments and body percussion as their intended performance modes.
How Tiered Assignments in a Differentiated Classroom Impact Lesson Effectiveness and Students’ Engagement
Choy Yong En, Carene and Tan Wei Da
Introduction
There has been more emphasis on Differentiated Instruction (DI) and Blended Learning (BL) in recent years as we address students’ diverse learning needs, as well as their backgrounds and experiences in music.
Our teachers have been exploring ways we can use DI strategies in our lessons, and here, we examine the impact of DI lessons on our students' learning experiences.
Inquiry Questions
| How are our students responding to tiered assignments in a differentiated classroom?
| Does having tiered assignments contribute to a positive learning experience for our students?
| Are tiered assignments beneficial (positive lesson engagement/lesson objectives met) for the students?
Literature Review
| According to Tomlinson (2017), differentiated instruction is defined as a teacher’s planned and adaptive response to content, process, and product to meet the diverse learning needs of all students, where we maximise students’ progress towards achieving specific learning outcomes.
| As every student is different, this can be achieved by using multiple pathways
in our teaching and learning so that students of different abilities, interests, and learning profiles can experience equally appropriate ways to learn.
| In our research, we will be differentiating according to students’ readiness and interest. We will be using tiered assignments as our instructional strategy.
| With tiered assignments, students learn at the level they can manage. This coincides with Vygotsky’s Zone of Proximal Development, which states that students learn best when they are learning slightly beyond their current ability level.
Methodology
Mixed-method Action Research
| Pre/Post-Lesson Survey.
| Video recordings of lessons and students’ performances.
| Post-Lesson Questionnaire (administered to three students from each class; total of 15 students).
Target Audience
| Five classes of Primary 4 mixed-ability students (total of 156 students).
| Students have little or no experience playing as an ensemble. They usually play the same instrument as a class.
| Students were taught how to read notes on the staff in P3.
Duration
| 3 – 4 weeks, one-hour lesson/week
Is a teacher’s planned and adaptive response to diverse needs of learners
– 9 | Collate all data for data analysis Pre- and ongoing assessment
RAFTS, Graphic Organisers, Scaffolded Reading, Cubing, Think-Tac-Toe, Learning Contracts, Tiering , Learning/Interest Centres, Independent Studies, Intelligence Preferences, Orbitals, Complex Instructions, 4MAT, Webquests & Web Inquiry etc. According to students
Through a variety of instructional strategies such as...
Conduct Pre-Lesson Survey
Conduct Pre-Lesson Survey
| Conduct Post-Lesson Survey | Selected students to complete Student Questionnaire
Process / Curriculum Outline
Lesson Outline
This is the design map for our lesson package. For our research, we are only focusing on lessons one to three of the lesson package.
LESSON LESSON FLOW
Lesson 1 – Introduction
Learning Outcomes
Students will be able to:
| Recite “Bonefish, Bluebird” with accurate rhythm
| Perform ostinato (speech/body percussion, etc) to the poem
“Bonefish, Bluebird”
Activity 1: Learn the poem “Bonefish, Bluebird” (Class)
| Introduce the poem rhythmically by echoing – 1 line/2 lines/whole poem, and/or chanting
| Introduce body percussion to the poem
Activity 2: Creating Layers to Poem
| Recall ostinato, pulse and rhythm (taught in P3)
| Perform the chosen section of "Bonefish, Bluebird"
Activity 1: Introduction
| Recall concepts discussed in Lesson 1
| Recall rhythms used using speech or body percussion
| Introduce the sections and the instruments involved
Activity 2: Music Ensemble – Individual/Pair
| In their selected sections, students choose and practise the set of scores (self-perceived ability)
| Encourage students to get help from classmates
| Teacher to facilitate students’ practice
Activity 3: Music Ensemble – Group/Class
| Students from the same section perform as a group before playing as a class
| Teachers/students provide feedback and/or suggestions
| Play as a class
| Discuss how to make the class performance a better performance (in terms of layers, dynamics, etc)
Post-Assessment Survey
| Questions related to student engagement and lesson effectiveness
Sample of Tiered Task
| Students choose and attempt a tiered task according to their self-perceived readiness level
| Students are provided with visuals (similar to the colours of boomwhackers and resonator bells) to show pitch and rhythm
| Students can switch to other scores freely
M1 & M2: Notes are repeated, moving in a stepwise movement
M3 & M4:
Alternating notes, skips and/or leaps in melody
Melody
LESSON LESSON FLOW
Sample of Tiered Task (cont.)
Data Collected
Pre/Post-Survey Findings
There was an increase in the postsurvey’s mean rating score for all items of the questionnaire. This shows that infusing DI strategies in our music lessons improves students’ engagement, as well as lesson effectiveness.
Results from the pre-assessment survey, where we learnt the students’ choice of section and self-perceived confidence level, helped us plan for the next lesson and provided us with data to anticipate which students might need more help with scaffolding as they went about completing their tasks.
I am eager to participate in the music lesson.
3 I put in effort to learn in class.
4 I was focused in the lesson. 3.71 3.92 5 The lessons were engaging and interesting for me.
Student Engagement
I participated actively during the lesson.
I am able to make music together with my classmates.
MO1 & MO3: Stepwise movement. MO2: Repeated notes
B1, B2 & B3: Plays bourdon with different rhythm
P2 & P3: Uses percussion instrument of their choice
Post-Lesson Questionnaire
The post-lesson questionnaire was conducted after Lesson 3, when the students had completed the class performance. We chose 15 students, three from each class. The students were randomly selected.
Questionnaire Findings
| 11 out of 15 students mentioned that they enjoyed playing and performing music together with their classmates.
| 8 out of 15 students indicated that giving students a choice led to a positive learning experience.
| 13 out of 15 students indicated that they were more confident playing instruments and playing as an ensemble.
Observations
| Students were motivated to complete the tasks assigned to them. Students were very engaged in their activities, when they could learn at their own pace.
| Students helped each other. Those with a music background helped their friends with the rhythm of the piece.
| Students made an effort to explore the different scores to decide on one that they preferred.
| Students were focused when all the sections were combined, and they were playing as a class. They were counting in or watching for instructions to start or stop.
Discussion
The findings from the surveys and student questionnaires indicated that students were more engaged when they learnt according to their readiness level and their interests. For next year's lessons, we might want to spend more time getting the students to learn parts from other sections as well so that they can experience all the different layers of the score.
Limitations/Challenges
| Lesson disruption due to exams. If we were to implement this lesson package again next year, we would plan our scheme of work in such a way that the lessons can be conducted every week so that students are better able to retain what was taught in the previous lessons.
| Data collection was slow and had a low completion rate when students were asked to complete the survey outside of music lessons. To ensure that all students did their pre/post surveys, teachers got them to complete the survey during lesson time.
Conclusion
Implementing these DI lessons enabled us to observe the increase in students’ engagement and enjoyment during music
lessons. Being able to facilitate students’ learning on a needs basis allowed targeted guidance for them. We were able to provide individualised feedback to the students as they carried out their tasks, and the students were given time to work on the feedback given.
Using tiered assignments resulted in students being more engaged and interested. Tasks given to the students were designed according to their selfperceived readiness level. Students were given a choice to select the score that they preferred. They were able to manage better with tiered assignments and were more successful in completing their tasks.
As a result they were more motivated to learn and to make music. In addition, it was rewarding to see that with the introduction of tiered assignments, students who were usually distracted during lessons became motivated and participated in class activities. When students were given choices, they were successful at determining their own readiness level and more motivated to try subsequent activities.
Moving forward, our team would like to explore how we can continue to apply tiered assignments and/or other DI strategies for a different lesson objective.
Students trying out the score they chose
Students engaged during the lesson
Students’ Works
Investigating the Impact of Differentiated Assessment Tasks on Students’
Enjoyment and Confidence in Cajon Performance
Introduction
The cajon was introduced to our school’s music scheme of work in 2021. As music teachers who have only taught cajon for a year, we are curious about the ways in which we can leverage students’ learning profile (working independently or in groups) to plan differentiated cajon assessment tasks for them. Through this critical inquiry, we want to investigate if differentiated assessment
tasks have an impact on students’ enjoyment and confidence in their cajon performance.
Inquiry Questions
1. What is the impact of differentiated assessment tasks on students’ enjoyment and confidence in cajon performance?
2. Do students want to be given a choice in the way they demonstrate their learning of the cajon?
1. KEY ELEMENTS OF DIFFERENTIATION
Tools for High-Quality Differentiated Instruction: An ASCD Action Tool by Strickland (2007)
| Levelled or topical readers
| Books on tape
| Highlighted text
| Varied topics for research
| Independent study options
| Interest centres
| Optional minilessons on a specific topic or skill
| Compacting the curriculum
We decided to differentiate the process of students’ learning based on the bolded points
| Online readings at varied levels of difficulty
| Demonstrations
| Opportunity to work alone, in pairs, or in small groups
| Group roles when in small groups
| Literature circle roles
| Varied journal prompts
| Choice of review activities
| Supportive technology
| Amount or kind of teacher help available
| Various types of graphic organisers and supporting documents (vocabulary, formulas, key dates, etc.)
| Homework options (“Do this section if you need more practice on…” or “Do this section if you feel ready for a challenge”)
| Product options that respond to varied interests or learning profiles
| Varied timeline or check-in points
| Varied criteria for success (e.g., from novice to professional)
2. STRATEGIES FOR DIFFERENTIATING PROCESS
Strategies For Differentiating Process (Tomlinson & Strickland, 2005)
Student Characteristics Strategy
Readiness
| Varied audiences (e.g., in age, background knowledge, size, etc.)
| Varied roles in a performance assessment
| Some choice of questions on tests and quizzes
| Use tiered activities (activities with different levels of difficulty, but focused on the same key learning goals)
| Make task directions more detailed and specific for some learners and more open for others
| Provide resource materials at varied levels of readability and sophistication
| Provide small-group discussions at varied levels of complexity and focused on a variety of skills
| Use both like-readiness and mixed-readiness work groups
| Use a variety of criteria for success, based on whole-class requirements as well as individual student readiness needs
| Provide materials in the primary language of second language learners
| Provide readiness-based homework assignments
| Vary the pacing of student work
Interest | Use interest-based work groups and discussion groups
| Use both like-interest and mixed-interest work groups
| Allow students to specialise in aspects of a topic that they find interesting and to share their findings with others
| Design tasks that require multiple interests for successful completion
| Encourage students to design or participate in the design of some tasks
Learning Profile | Allow multiple options for how students express learning
| Encourage students to work together or independently
| Balance competitive, collegial, and independent work arrangements
| Develop activities that seek multiple perspectives on topics and issues
Ang Hui
Principle 1: Pre- and ongoing assessment
Principle 2: Clear learning goals
Methodology
Target Audience
| One Primary 5 class of 37 students
| One Primary 6 class of 37 Students
| Readiness: No prior experience in playing the cajon, but with previous exposure to music concepts such as beats and rhythm
Data Collection
| Pre- and Post-Survey: Quantitative and Qualitative
Duration
| 11 Weeks, 30 minutes/lesson
| Pre-survey: One lesson
| Lesson implementation and completion of assessment task: 10 lessons
Pedagogical Frame
For this project, we used three guidelines to help us plan the differentiated assessment tasks.
We used strategies for differentiating process guidelines to identify the appropriate approach in planning our differentiated assessment tasks. As our pre-survey showed that most students were at the same level of readiness, and since we had a fixed learning outcome (students are able to showcase three playing techniques on the cajon while playing the chorus of the song “Best Day of My Life”), we decided to differentiate the assessment tasks based on their learning profiles.
3. SIX GUIDING PRINCIPLES OF DIFFERENTIATED INSTRUCTIONS
Pre-assessment: Check if students have heard of or played the cajon before.
Formative: During lessons.
Summative: Final submission through SLS (Student Learning Space).
Success Criteria:
| Communicated to students at the start of the lesson module. The same rubric is placed in SLS for students to refer to for the entire duration of their learning.
| Video recordings of the assessment task are placed in SLS as model examples for students.
Principle 3: Appropriate degree of challenge Assessment Tasks: During lessons.
| Tasks are set based on students’ prior knowledge: understanding of beats and rhythm, and experience with the cajon.
| Achievable and within the Zone of Proximal Development (not too easy or too challenging).
| Leverage on students’ capability to use ICT tools (video recording, SLS, Padlet).
Principle 4: Respectful tasks
The tasks stimulate authentic music making experiences for the students. For example, jamming with their peers outside school, and learning how to record and video their own performance. The tasks encourage students to reflect on their learning experiences, such as enjoyment and confidence in performing, and to be mindful of their learning.
3. SIX GUIDING PRINCIPLES OF DIFFERENTIATED INSTRUCTIONS
Principle 5: Flexibility
Principle 6: Building community
Based on the Formative Assessment (midpoint of the project), students are given an option to change the assessment task based on their readiness and comfort level towards the task that they have chosen.
Students are supportive to their peers throughout the project (e.g., being on task, assisting each other in recording, figuring out how to solve technical difficulties). Providing autonomy to students’ learning through the choice of assessment tasks and feedback in the post-survey.
Overview of Tools / Apps
For group work and lesson package
Process / Curriculum Outline
1 | Complete pre-survey
| Introduce the cajon and the lesson objective
| Introduce and explain the three differentiated assessment tasks on SLS as well as the rubrics
2 | Handling of the cajon
| Cajon playing posture and exploration
3 | Introduce and practice the three playing tones for cajon
4 – 5 | Recap beat and rhythm
| Introduce the song “Best Day of My Life”
| Demonstrate and practice playing the chorus of the song on cajon
6 | Reintroduce and explain the three differentiated assessment tasks on SLS as well as the rubrics
| Students go through SLS and make a choice of activity
Diagnostic (Pre-survey)
For survey and collection of data
Formative assessment on posture
Formative assessment on performing the three tones on the cajon
Formative assessment
Self-assessment
7 – 10 |
Provided by Ponnusamy (n.d.)
RUBRICS
Competent (3) Developing (2) Beginning (1)
Tempo Play in time accurately throughout Play in time accurately most of the time
Play in time fairly accurately sometimes
Rhythm Accurate rhythms throughout Rhythms are accurate most of the time Rhythms are fairly accurate
Technique Use of three different sounds (Bass, Slap and High Slap) in performance
Use of two different sounds (Bass, Slap and/or High Slap) in performance
Use of one sound (Bass, Slap or High Slap) in performance
Student choice
For our second research question, we sought to find out if students wanted to be given a choice in how they could demonstrate their learning of the cajon. It was interesting that in our pre-survey, students indicated that they did not want to be given a choice on how they could demonstrate their learning. However, this perception changed later, with the mean rating increasing from 2.49 to 3.51 as shown in the tables below.
Student enjoyment of their chosen task
For the qualitative question in the post-survey, we checked if the students enjoyed their chosen task.
Findings
Pre-and Post-Surveys
Overall impact on students’ enjoyment and confidence
For our first research question, we wanted to investigate the impact of differentiated assessment tasks on students’ enjoyment and confidence in cajon performance. We conducted pre- and post-quantitative survey questionnaires asking students to rate their opinions on a 5-point Likert scale (strongly disagree, disagree, neutral, agree and strongly agree) based on the questions “I enjoy performing the cajon” and “I am confident in performing the cajon”.
Our mean ratings on a 5-point Likert scale for the impact of differentiated assessment tasks on students’ enjoyment in cajon performance are as shown on the right.
According to the survey result, there was an increase in the mean rating for the number of students who enjoyed performing the cajon, from 2.81 to 3.69.
I
I
Below is the impact of differentiated assessment tasks on students’ confidence in cajon performance.
I
I am confident in performing the
Again, there was an increment in the mean rating, from 2.35 to 3.49.
I
I like that I am given a choice on how I can demonstrate my learning of the cajon
Based on the post-survey result, students also expressed that they were more confident in demonstrating their learning of the cajon when they were given a choice, with a mean rating of 3.49, as shown below.
Out of 74 students who participated in the survey, 53 students (71.6%) indicated that they enjoyed their chosen task. Based on our thematic coding of the open-ended responses, we listed the themes that emerged from the data for students who enjoyed their chosen task. The numbers beside the themes indicate the frequency with which each code appeared.
ENJOY (53 STUDENTS)
Able to play with friends (27)
“I enjoy that I get to do it with my friends”, “Playing with friends”
Playing the cajon (18)
“I enjoyed playing with the cajon”, “I get to enjoy playing the cajon”
It is fun (6)
“It is fun as I have a mini band”
The music (2)
“I enjoy doing the middle part of the song”
Recording video (2)
“I enjoyed recording the videos”
I feel confident because I am given a choice on how I can demonstrate my learning of the cajon
Choice of task (1)
“I enjoyed that we had a choice to do a solo, duet or do it with a group”
The data showed that 27 students (slightly more than half of them) enjoyed the chosen task because they were able to play with their friends. There were 18 students (slightly more than one-third of them) who enjoyed the activity because of the instrument. The rest enjoyed the chosen task because they found the experience fun, due to the choice of music and the task of video recording, and because they had a choice in the activity.
Seven (9.5%) students indicated that they did not enjoy the chosen task. The reasons given were that they felt that it was embarrassing, they disliked being recorded, the process was troublesome, their hands hurt after playing the cajon, and that it was not fun.
There were also 14 students who gave nil responses.
DID NOT ENJOY (7 STUDENTS)
Embarrassing (2)
Do not like being recorded (1)
Troublesome (1)
Hand hurts (1)
Not fun (2)
Discussion of the Data
Quantitative data from the surveys showed that the differentiated assessment tasks positively impacted students’ confidence and enjoyment in their cajon performance. The students also appreciated being given a choice on how they could demonstrate their learning. The shift towards a more positive trend in the post quantitative survey indicated that students were open and receptive to these new learning
experiences. This was further supported in the qualitative data where 72% of the students indicated that they enjoyed their chosen task.
The qualitative data also suggested that we could incorporate more collaborative activities and instrumental modules into our music curriculum to promote the joy of learning. Though factors such as choice of music and choice of task were not the most stated reasons, we can take these into consideration when planning our lessons. As we design our future lessons, we will also keep in mind emotional challenges such as shyness, and address incorrect playing techniques that could result in the students hurting their hands when playing the cajon.
From the quantitative and qualitative data, we can infer that the students were mindful learners who could reflect and express their enjoyment and confidence in their cajon performances. In addition, they were able to support their opinions with reasons as to why they did or did not enjoy the tasks. Furthermore, they were active participants who appreciated the opportunity to make their own choices and determine the best learning experiences for themselves.
Limitations / Challenges
As with every project, there were limitations and challenges. We acknowledge our small sample size and the fact that the students came from two different level classes (P5 & P6).
Our challenges included time constraints as the lessons were only 30 minutes long and students’ learning was segmented. There was insufficient time to engage in deep learning and to complete the video recording tasks within the limited time frame.
We also faced difficulties in the recording process as we could not have different groups of students recording at the same time. Hence we will need to devise ways to engage the students and make the recording process more efficient.
Bearing in mind the limitations and challenges mentioned, we recommend the following for future research:
| Increase the sample size by including more classes. Additionally, although the results were similar between the two different levels, we could keep the research to one level to ensure greater consistency.
| Do a longitudinal study to see if there are differences amongst different cohorts of students, for more conclusive results.
| Include focus group discussions or interviews to gain better understanding of students’ enjoyment in the chosen task, as well as how to build confidence towards their chosen tasks.
| Increase the number of lessons and provide students with more time to complete the task, to address time constraints.
| Engage another teacher to help students record in a separate room to overcome difficulties faced in the recording process. We could also get students to record at different time slots – such as during recess, or treat the recording in front of the class as a performance, or get students to complete the survey while waiting for their turn to record.
| Design the 11-week cajon lesson plan with DI based on students’ interests, for
example, by letting students choose the songs they would like to perform.
Conclusion
With diverse learners in our classrooms, DI offers students a varied learning experience that caters to their learning profile, readiness and interest.
As educators, we need to step out of our comfort zone and explore the possibilities of adopting DI in the teaching and learning of music. By leveraging on students’ learning profiles and following DI guidelines and strategies, we can plan differentiated cajon assessment tasks to help students gain enjoyment and confidence.
Although there were challenges and constraints during the implementation of the project, our findings have shown that differentiated assessment tasks have a positive impact on students’ learning, enjoyment and confidence in cajon performances.
Through this research, we hope that we have shed some light on the challenges of DI in music assessment, and provided insights on ways to approach DI in music education.
Acknowledgements
We would like to express our appreciation to the Aesthetics department in Rivervale Primary School for their guidance and feedback towards the critical inquiry project.
References
• Ponnusamy, L. D. (n.d.). Explanatory notes for DI, unpublished handout, NIE.
• Strickland, C. A. (2011). Key elements of differentiated instruction Association for Supervision & Curriculum Development. https://pdo.ascd.org/LMSCourses/PD11OC115M/media/DI-Intro_M4_Reading_Key_Elements.pdf
• Tomlinson, C. A., & Strickland, C. A. (2005). Differentiation in practice: A resource guide for differentiating curriculum, grades 9-12 Association for Supervision & Curriculum Development.
NIL RESPONSES (14 STUDENTS)
e-Pedagogy
This section presents different innovations from teachers in harnessing technology to enhance peer interactions, teacher-student interactions, and interactions with content to give rise to active learning.
124 Cindy Lim and Jessica Leong harness technology to facilitate a whole-class ensemble’s creative performance. They show how technology is used to create an experiential learning process that facilitates musical understanding. SECTION 4
100 Lee Oon Kee’s e-pedagogical approach involves using tools to increase students’ understanding of music composition, such as through alternative notation and software. His project provides useful insights about flipped learning and its impact on different learners.
106 Lee Hui Yi Sharon innovates her curriculum by incorporating gamification to increase student motivation. She discusses gamification as a form of ‘assessment as learning’ that gives visibility to progress and promotes self-directed learning.
118 Tan Wui Ling shares an interesting use of notation software at the primary level for cognitive, behavioural and emotional engagement. This project illustrates the importance of thinking creatively about how technology can be capitalised to enhance student learning.
Students’ Responses to Flipped Learning in Music Composition
Introduction
Music teachers for upper primary levels grapple with the issue of short lesson durations each week. This means there is not much time dedicated to the subject in any curriculum year. Hence, ways to enhance, shorten or even replace instructional directions which occupy a significant part of the lesson have been actively explored and tried out for the purpose of allowing more time to widen students’ musical experiences and exposure. It is on this basis that the study of students’ responses to flipped learning is being formulated and tested to see how it can be implemented to yield optimised results and benefit all students.
Inquiry Question
How do different profiles of students respond to flipped learning in music composition?
Methodology
This research involves a mixed-methods approach to compare students’ learning experiences between two classes, and between different groups of students according to their level of readiness.
Target Audience
| Two classes of middle progress Primary 6 students were chosen because they were the closest representation of the whole cohort. Class A had 39 students, Class B had 38 students.
| Within these classes, there was a mix of Higher Progress (HP), Middle Progress (MP), and Lower Progress (LP) students.
| The standard for both classes was similar, so findings from both approaches could be compared and analysed.
| A list for each class was created to divide the students into HP, MP and LP categories in terms of their musical aptitude. This categorisation was done by considering their P6 academic entry result as well as a survey on their music background. Students within the top 10% of the group were considered HP, while the lowest 10% were considered LP. The rest of the students were considered MP. MP students with music background were classified as musically HP because they would be able to understand and grasp concepts better than those without any music background.
| This categorisation was not made known to the students, and only used for the teacher’s record, for the purpose of data analysis.
Data Collection
Mixed approaches were used to collect qualitative and quantitative data:
| Teacher’s observations and records during hands-on sessions (based on the amount of time spent and type of facilitation required, the teacher recorded whether each student required only ‘minimal guidance’ or had to be ‘heavily guided’. Students who needed no help or who made simpler mistakes were regarded as needing ‘minimal guidance’, while students who needed help with conceptual mistakes were grouped under ‘heavily guided’.)
| Post-project survey with Class A for their opinions about the flipped learning approach.
Duration
The study was conducted in Term 2 of 2022 for:
| 10 weeks, half-hour lesson/week
| Class A went through two SLS lessons using a flipped approach for the instructional part
| Class B went through the same instructional part in face-to-face mode
Pedagogical Frame
Flipped Classroom
Model
This project draws inspiration from Jonathan Bergmann and Aaron Sams’ concept of the flipped classroom, which was first published in their book Flip Your Classroom: Reach Every Student in Every Class Every Day (2012). In traditional learning, lower levels of learning such as remembering and understanding (Bloom’s Taxonomy) happen in class, while students work on activities that involve higher levels of learning outside the classroom. However, in the flipped classroom model, students can finish the lower level of cognitive work before class. Hence when they come to class, they are able to engage in higher cognitive levels of learning with their teacher and their peers.
This approach helps save valuable time by allowing curriculum hours to be used for higher levels of learning and applying the concepts learned for greater understanding.
Student Learning Space (SLS)
SLS was utilised as the instructional platform for the flipped approach. Lessons with instructional videos were created and assigned to the students in Class A for them to learn how to use the Time Unit Box System (TUBS) song sheet to compose their song, as well as how to transfer their composition into the Flat application for musical notation of the song and instant playback.
Flat
Flat is an easy-to-use music notation editor on the iOS platform. It allows users to create, edit, playback, print and export sheet music and tabs. As it is cloud-based, users can also edit scores within a web browser and collaborate in real time across devices with friends and colleagues. For this study, the free version of the Flat application on iPad was used. No registration or setting up of accounts was required.
/ CURRICULUM OUTLINE
1 0 – 1 week
2 2 – 4 weeks
3 0 – 1 week
Students learn how to compose using the TUBS song sheet
Hands-on session to compose using TUBS (data collection via teacher’s observation)
Students learn how to key in the song they composed using TUBS into the Flat application on iPad
Class A: Flipped approach through SLS lesson
Class B: Face-to-face lesson
Both classes: Face-to-face lesson
Class A: Flipped approach through SLS lesson
Class B: Face-to-face lesson 4 2 – 4 weeks
Hands-on session to key in the song and listen to instant playbacks of their own composition
(data collection via teacher’s observation)
Both classes: Face-to-face lesson
Lee Oon Kee
Yishun Primary School
Data Collected
Post-Survey (Only Class A for their feedback on flipped learning approach)
Post-Survey Questions
1. I like to learn through flipped learning. (Y/N, why?)
2. I can understand the content in the tutorial video. (Y/N, why?)
3. I can apply what I’ve learned in the tutorial video to my own composition. (Y/N, why?)
4. I have enough time (one week) to learn from the tutorial video. (Y/N, why?)
5. How I hope the flipped learning can be improved.
POST-SURVEY FINDINGS
1. I like to learn through flipped learning. (Y/N, why?)
Yes (30) No (9)
| “Save us more time to learn other things”
| “I can repeat to watch many times”
| “I get to use SLS at home”
| “I can understand the topic first before go to school”
| “I have no time”
| “The video is too long”
| “When I compose in class, I’ve forgotten what I learnt from the video”
2. I can understand the content in the tutorial video (Y/N, why?)
Yes (35) No (4)
| “I think it is quite okay”
| “Not difficult to understand”
| “Teacher use Math concept to explain, easier to understand”
| “When teacher mentioned LEGO blocks, I can understand because I love LEGO”
| “I have no music background”
| “It is too complicated”
| “I don’t learn instrument”
| “I like music but I don’t have any proper music training”
3. I can apply what I’ve learned in the tutorial video to my own composition. (Y/N, why?)
Yes (28) No (11)
| “I just follow what I learn from the video”
| “I do according to what I think is right, but some parts later I realise I understand wrongly”
4. I have enough time (one week) to learn from the tutorial video. (Y/N, why?)
Yes (21) No (18)
| “I should have enough time if I plan my work well”
| “Because I can split the video into a few parts and learn it at different time”
| “I have many tuitions”
| “I wasted too much time playing mobile games”
| “There are many other homework and revision that I need to do”
| “Maybe two weeks will be better”
5. How I hope the flipped learning can be improved.
| “Give us more time”
| “More examples”
| “Let us learn a bit, then do the worksheet, then learn a bit more, then do the rest”
| “If can ask teacher questions before doing the worksheet will be better”
| “I don’t understand, so I cannot do”
| “I need teacher to explain more”
| “There are too many information to remember”
Observations
An example of a HP student’s work in Class A where flipped learning was used.
Discussion
Discussion of Teacher’s Observation: There are four steps in this project. Steps 1 and 3 were instructional sessions where the students learnt how to compose using the TUBS song sheet, and how to transfer their songs into the iPad application. From the table shown on page 108, Class A, which used the flipped on page 108, saved on two lessons for Steps 1 and 3, as compared to Class B, where a lesson was spent on each step.
However, for the hands-on sessions (Steps 2 and 4), Class A required a total of four lessons for each step, whereas Class B needed only two and three lessons respectively for each step. As both classes have a similar number and profile of
students, the difference in the number of lessons spent on Steps 2 and 4 should not be attributed to the differences in the number and profile of students.
The main difference in the number of students that needed more guidance or had to be heavily guided is found in the MP groups of both classes. There were 19 out of 24 (79%) who needed to be heavily guided in Class A, compared to seven out of 19 (37%) for Class B. A similar situation was observed during Step 4. In both classes, almost all HP students did not require guidance, and almost all LP students had to be heavily guided. Hence, the difference in the instructional approach did not extensively influence the end result for LP and HP students.
Findings from both Survey and Observation:
| MP and LP students benefitted more from face-to-face teaching. One possible reason for this is that teachers could respond to their specific doubts or misconceptions more quickly.
| Students had their own assumptions on how well they learnt versus what they actually learnt (based on students’ responses from post-survey).
| Not all students accessed and completed all the tutorial videos, hence they were unprepared when given the composing task.
| Retention of memory on the knowledge learnt affected how the students performed when they attended their hands-on sessions.
Conclusion
| Flipped learning benefits students who are more ‘ready to learn’ (with the right attitude and ability). These students include the majority of HP students, and some MP students.
| Different profiles of students respond differently, therefore instructions for students with different abilities can be customised to cater to their needs.
| Effective feedback channels can be established to allow students to clarify or ask questions during flipped lessons instead of waiting till the next lesson.
| In maximising the learning experience for students of different abilities, the flipped learning approach helps save time for students who are more ready to learn, allowing them to explore and learn more.
Acknowledgements
| Mr Chan Weng Yew Marvin, Principal
| Mr Sadanandhan s/o Palani Anandan, Vice Principal 1
| Mr Nicholas Tan Yew Lee, Vice Principal 2
| Mr Sahir bin Mohamed Tauhid, HOD CCE
Screenshot of a composition done on the Flat application according to the song sheet shown beside it.
Introducing Gamification and Blended Learning to Influence Students’ Motivation in Playing
the Ukulele
Introduction
Motivation is the willingness and desire of a student to learn. It is the invisible force teachers want their students to harness to achieve their goals of reaching their potential.
My research purpose measures how the use of e-pedagogy can influence students’ motivation in playing the ukulele and motivate them towards self-directed learning with the use of their personal learning devices.
Hypothesis
Gamification and blended learning will increase students’ motivation in playing the ukulele.
Inquiry Question
To what extent can gamification and blended learning motivate my students’ learning in playing the ukulele?
Methodology
Mixed-methods study
Target Audience
| 39 Primary 4 students (mixed ability)
| Three out of 40 students own a ukulele
| None of the students know how to play or tune a ukulele
| All students have an iPad, their personal learning device (PLD), and can access SLS (Student Learning Space)
Data Collection
| Pre- and post-module questionnaires
| Face-to-face interviews with selected students. Students are selected based on their responses to post-module questionnaires
The two main pedagogical principles guiding this research are the ARCS Model of Motivation, and Gamification. The definition of motivation is grounded by the above-mentioned principles.
ARCS Model of Motivation
The first part of my research is based on the ARCS Model of Motivation by Keller (1983), which is based on the idea that there are four aspects that are crucial for students to be motivated to learn.
Gamification
Gamification means to apply game elements into a non-game context to encourage a specific behaviour. I aim to use gamification to motivate my students’ learning in playing the ukulele.
Some elements of a gamified learning experience include:
| Having a storyline with a character profile.
1. Attention
| Stimulating the students with a storyline or interesting visuals to attract their attention.
| Preparing a variety of learning tools to meet various students’ needs and getting them engaged during lessons.
2. Relevance
| Students must be able to relate their learning to their past, present or future knowledge in the learning path.
| Clear objectives and suitable content must be presented to match students’ learning abilities (e.g., songs that are familiar to the students).
| Visible progress of the students’ learning for self-monitoring.
| Rewards and incentives to excite the students to want to learn more about the ukulele.
As mentioned previously in the ARCS model, visual appeal and frequent feedback also capture students’ attention and boost their confidence and satisfaction.
These are the four key features in the principles of gamification.
1. Storytelling
| A storyline for easy adaptation to students’ learning, which they can connect with and root for.
| Students are attracted to the story and eager to explore further.
3. Confidence
| Creating opportunities for students is predominant for them to gain confidence in learning and performing.
| Guided tutorials and informing students about learning and performance assessments help to prepare them better.
| Timely feedback serves as ‘assessment as learning’.
4. Satisfaction
| Students will be satisfied with their own learning if they see themselves progressing where they can apply the knowledge gained, leading to selfdirected learning.
2. Rewards and Incentives
| Appropriate rewards and incentives encourage students to learn without judgement as there is a balance between intrinsic and extrinsic motivation.
| Students can retry their learning level to get rewards. This encourages productive struggles.
Lee Hui Yi Sharon Canberra
ARCS Model of Motivation
3. Visible Progress
| A learning pathway helps to facilitate motivation and learning. Visible progress in the learning path acts as a self-monitoring tool in learning.
4. Frequent Feedback
| Increases students’ engagement as they instantly know their level of understanding.
| Students are aware of their learning standards and develop strategies to review their learning.
Overview of Tools / Apps
ChordVentures
ChordVentures is a game in which students learn how to play ukulele chords and strum the right chords at the right time. The application determines the accuracy
of their playing and provides real-time analysis and feedback. It has a storyline and students can learn the different chords through videos and games.
ClassCraft
ClassCraft is an educational roleplaying game that teachers and students play together in the classroom. It allows students to create their own avatars. Teachers can award points to the students when they meet expectations in class.
Process / Curriculum Outline
Here is an overview of my lessons. Following every in-class session, there is a supplementary postlesson revision and reflection which students complete at home via SLS.
Lesson Procedures
1 | Setting routines
| Introduction of ukulele
| Strumming (open strings)
| Students receive a ‘cardboard ukulele’ to practise fingering
2 | Strumming drills (steady beat)
| Introduce C and Am Chord
| Listen and play songs with two chords
3 | Changing of chords – C and Am
| Playing the song – "Ho Hey"
| Introduce ChordVentures
| Students to bring iPad from Lesson 4 onwards
4 | Introduce F chord
| Changing of different chords
| Song – "Best Day of My Life"
| ChordVentures – Pair work
5 | ChordVentures – Mastering three chords
| Sing the two songs and practise as a whole group
| Introduce ClassCraft
Lesson Procedures
6 | Introduce G Chord
| Chords drills
| Songs with C, G, Am, F
| ChordVentures in class
| New song – "Try Everything"
7 | Practising of all songs together as a class
| ChordVentures – Pair work
| Groups to choose one song to perform in class
8 – 9 | Practising of all songs as a class
| Class – Group performance
| Teacher’s feedback on group playing
| Post-survey and discussions
10 | Follow up interviews and discussions
To save time, setting up a routine to distribute and return the ukuleles was very important. Students were awarded with points from the beginning of SLS Lesson 1. However, this was not shared with them until I introduced ClassCraft, from which they could see their points.
How Technological Tools are Used to Support Learning
In Lesson 3, I introduced ChordVentures to the class and guided them on its application. Students were asked to bring along their PLDs to use in class for the next lesson.
In Lesson 4, after going through and revising the chords in class, students could start their adventure on ChordVentures. They were assigned a partner to explore this application together. This allowed for peer learning and checking of the ukulele chords that they were playing.
At the end of each lesson, students had five minutes to discuss and share their learning and challenges with each other. I would be walking around the music room to help students who were facing technical issues, and to observe students’ interaction and learning.
In Lesson 5, I introduced ClassCraft and revealed the points that I had been adding to their accounts. Students were shocked and excited at the same time. They were curious and eager to know their position on the leaderboard.
From Lessons 6 to 9, students practised to perfect their playing before choosing a song to perform in class. There were four groups with four different songs. Before getting into the smaller groups, all students would play through the four songs as a class. This helped them to revise the chords as well as choose the song that they were most confident to perform in front of their classmates.
Data Collected
Key Observations of Applications in Enabling Learning
ChordVentures
| Clear goals setting for the students, with mastery of one chord per chapter.
| Practice session with chord chart suitable for visual learners.
| Stars awarded when students got it right.
| Badges to unlock the next level via mastery of preceding content.
| Visible progress through increasing complexity captured students’ attention and increased their desire to master the instrument.
| Instant feedback after playing every chapter, with videos replayed for students who were struggling to retry and relearn.
With the instructional scaffolding within the application, students could enjoy learning without judgement. This boosted their confidence in learning to play the ukulele.
Furthermore, students were also satisfied to see themselves progressing through the visible learning path in ChordVentures. Based on the ARCS Model of Motivation, it was evident that students were actively engaged in learning through the application.
ClassCraft
| Avatar customisation where students get to choose their own character.
| Leaderboard with rewards and incentives for students to fight for.
| Classroom management tools such as random name picker and volume meter to create excitement and maintain class order at the same time.
Students enjoyed the friendly competition in class and wanted to get more points to replace the leader on the leaderboard. Such competition motivated the students to work on their accuracy when playing the ukulele.
With the students getting curious about the special rewards and incentives that they
could get for the next level, a majority of them strove to achieve and complete all the tasks given. This allowed them to gain full experience points and helped them level up more quickly. Based on the principles of gamification, the storyline from ClassCraft and the rewards given motivated the students and encouraged them to make every effort to gain experience points.
Strum along session in the application
Stars were awarded after completing each level
Chord chart for visual learners
Visible learning path
An overview of a student’s profile
Class list with students’ respective levels and points
These are examples of the experience points awarded to the students after they complete a task. We can change or edit the criteria to suit the lesson.
Survey Findings
Here are some of the survey results for the pre- and post-questionnaires. I used the 5-point Likert scale consisting of five response options.
Confidence in learning ukulele. When asked about their confidence level in learning the
ukulele by themselves through SLS, many students were not confident. The main reason was that they did not have experience in learning an instrument through SLS and were thus uncertain of the procedure. However, after this module, the students’ confidence level increased from a mean rating of 2.87 to 4.44. With appropriate guidance, they were motivated to learn new knowledge.
Influence of gamification. Even without knowing the term ‘gamification’ during the pre-questionnaire, students felt that it would influence them to learn the ukulele. Perhaps the word ‘game’ attracted their attention. After the module, there was an increase in the mean rating from 3.49 to 4.51 in this category. Students welcomed the idea of gamification.
3. Do you think the use of gamification and blended learning will influence you to learn the ukulele?
1. How confident are you that you can learn to play the ukulele through blended learning (SLS) by yourself?
1. How confident are you that you can learn to play the ukulele through blended learning (SLS) by yourself?
Confidence in performing ukulele. Most of the students were unsure or neutral when it came to how confident they were to perform in front of their classmates. They were willing to perform only if their friends were performing together with them. However, after the module, they were more confident to perform in front of the class. There was an increase in the mean rating here, from 2.56 to 4.36.
Motivation of Gamification and Blended Learning. More than half of the class thought that gamification, together with blended learning, motivated them in learning to play the ukulele.
However, a few students shared that these factors made no difference for them. During the interview, they also said that learning the instrument was too painful for them. Their fingers hurt and they were not keen to explore the ukulele further.
About one-quarter of the class preferred ClassCraft, but a higher percentage of the students found that ChordVentures motivated them the most in learning to play the ukulele. ChordVentures was more popular as the graphics and stages were attractive for the students. Hence, they were more motivated to learn with this application.
6. Do you think gamification and blended learning have motivated you in learning to play the ukulele?
39 Responses
7. Which application do you think motivated you the most in learning to play the ukulele?
5. How confident are you to perform the ukulele in front of your classmates?
5. How confident are you to perform the ukulele in front of your classmates?
Interviews
Below are some of the responses from the students during their one-on-one face-to-face interview session. Students were selected based on their post-survey answers as well as their sharing during the class discussion. I selected eight students who elaborated more on their learning and challenges in playing the ukulele.
Learning Challenges
| “I enjoy learning new instruments and it is fun. I like it when I can sing and play the ukulele at the same time.”
| “I find it exciting to learn something new.”
| “I love playing the ukulele because it is small and easy to handle. I bought one so I can use ChordVentures at home. It helps me to correct my mistakes and perfect the G chord."
| “It is easy to play the ukulele with the video in ChordVentures. It is like Candy Crush; I can see the stars and it motivates me to learn it well to get all three stars.”
| “The chord chart is very useful. I can check the sound against ChordVentures.”
Observations
Below are some observations I made during the entire duration of the module.
Students’ Response to ChordVentures and ClassCraft
| Students loved the applications and a majority of them were more attentive in class. They were less distracted and more encouraging towards their peers in learning the ukulele.
| They remembered to bring their ukulele and iPad for music lessons, whereas previously, many did not even remember to bring their music books.
| More students bought a ukulele for self-directed learning and explored ChordVentures at home at their own pace. Towards the end of the 10th lesson, 16 students owned a ukulele, up from only three at the start of the module.
| “Playing chord G is very difficult, it makes my fingers painful and my progress is slow.”
| “I do not have a ukulele at home, so I am very slow and have very little points in ClassCraft.”
| “No challenges after I bought a ukulele to learn. I can play better now.”
| “It is very hard to tune the ukulele. I take a long time to get it right. Sometimes, I get my parents to help me.”
| “The class is very noisy, so I must go out of the music room to play my ukulele.”
| Students were motivated to learn as they could see themselves improving through timely feedback from ChordVentures, as well as peer feedback.
| It boosted their confidence level so they were more willing to perform in front of their classmates.
Discussions
Students who faced difficulties and made repeated errors in playing the G chord were prompted to keep trying. After multiple failed attempts, ChordVentures would prompt a tutorial video showing them how to position their fingers to achieve the correct fingering.
Students demonstrated remarkable resilience through watching and retrying. They were motivated to make the corrections on their own. This is often not the case in the traditional classroom where the teacher
corrects the child. It was surprising to note such intrinsic motivation especially in students who had previously shown a reluctance to participate in music lessons.
After experiencing ChordVentures, there was an increased interest in music lessons. This was reflected in the actions taken by students. Before coming to class, they would search for songs to play on their own using chords they were familiar with. This was the first time I noted such behaviour from the classes I have taught, that students were motivated to continue their learning and apply skills learnt, at home.
The above observation further affirms the hypothesis that gamification and blended learning increases students’ motivation in playing the ukulele. This is in line with the ARCS Model of Motivation and Principles of Gamification.
Teacher’s Observations
| The process of learning different chords is faster and more accurate after the introduction of ChordVentures.
| The teacher becomes the facilitator as the application helps students acquire knowledge faster than through traditional teaching methods.
| ClassCraft is exciting to students as they can challenge one another to get to the top of the leaderboard.
| Students work harmoniously in groups for their performances as they want to top the leaderboard under “Team Points”.
Teaching Challenges
However, there were also some challenges along the way.
| ClassCraft is limited to the teachers assigning the points. Hence, it takes a longer time for the partner or another teacher to observe and add the points in the platform.
| The music room is too small for all the students to learn with their iPad at the same time. Since not everyone has a ukulele at home, they can only use ChordVentures with the instrument in school.
| As all the students start strumming their ukulele, ChordVentures is unable to pick up the correct sound immediately. Therefore, students need to be in a quieter place, or be further away from one another when playing their ukulele using the application.
Conclusion
To conclude, gamification and blended learning do increase students’ motivation and confidence in learning, especially when they can see visible progress in their learning path through the application. Once the students are more confident in doing a task, this intrinsic motivation will grow, promoting self-directed learning.
Gamification also accommodates different learning styles, bringing a higher level of engagement as it caters to auditory, kinesthetic and visual learners through songs, videos on fingering position and a visual learning path. The hands-on experience is also suitable for most students.
Finally, it is crucial for students to have instantaneous feedback. This helps students to affirm their learning as it acts as ‘assessment as learning’. Students can selfregulate their own learning according to their pace, and this promotes self-directed questioning and learning.
References
• ARCS Model of Motivational Design Theories (n.d.). Learning Theories. https://www.learning-theories.com/kellers-arcs-model-of-motivational-design.html
• Keller, J. M. (1987). Development and use of the ARCS model of motivational design. Journal of Instructional Development, 10(3), 2–10.
• MOE Educational Technology Division, Technologies for Learning Branch (2021, September 30). What Is Gamification of Learning? Gamification of Learning. https://sites.google.com/moe.edu.sg/lg21/guide/what-is-gamification-of-learning
Engaging Students in Creation with Flat
Introduction
All along, for creation in music lessons, students are asked to create rhythms, or do improvisation of melody or harmony. They hardly get a chance to experience creating both melody and harmony.
When I found out about Flat.io, I liked that it allows students to compose with ease even though they may not have much music background. Firstly, it shows the notation on the staff, which is something relatable to the students, and different from other music creating software such as BandLab. Secondly, it allows the students to play back their creations and decide what they want to change or what they would like to keep.
Therefore, I thought of using Flat.io to give students the experience of writing both melody and harmony. In doing so I also hoped to develop their listening skills in harmonising. Moreover this would also allow me to gain insight on how ICT tools can help engage pupils in this area.
Inquiry Question
How does notation software engage students in creating?
Students’ engagement, according to The Glossary of Education Reform (2016), refers to the degree of attention, curiosity, interest, and passion that students show when they are learning. There are three types of engagement, namely Cognitive, Behavioural and Emotional.
With cognitive engagement, students are actively interested. The process of learning is important to them and they make an effort to move towards success, tapping into executive functioning skills like
working memory and cognitive memory. They will try to remember what is to be done, or how to complete certain tasks.
With behavioural engagement, students strive for excellence through personal challenges. They make learning meaningful and purposeful. Through these processes, they become curious and seek their own solutions for problems that they may come across. This helps them develop independence and perseverance to cope with failures and overcome challenges.
With emotional engagement, it is intrinsic motivation that makes students want to succeed. It allows them to connect with people, teachers and friends because the safe environment encourages them to take risks and learn from one another.
Methodology
This qualitative case study examines students’ composition processes over eight hour-long lessons in Term 2. Data collection methods will include observations by the teacher, and a post-survey.
These lessons were conducted with my Primary 4 High Progress class. Out of the 36 students, only one has private music lessons at home. The rest do not have any music background that can help them with their projects.
Pedagogical Frame
e-Pedagogy, the practice of teaching with technology for active learning, is one of the areas of SkillsFuture for Educators (SFEd). It creates a participatory, connected and reflective classroom that nurtures the future-ready learner. One of the four elements of e-Pedagogy is how learning
activities pull together intended learning outcomes meaningfully. With present technology, learning processes are greatly enhanced. There are online applications or websites that allow students to do music composition. I looked through a few and found Flat.io, with its ease of use and convenience, the most suitable for this programme’s learning outcomes.
Overview of Tools / Apps
I used the Free Trial version of Flat.io. For education accounts, the teacher can link up to the students’ accounts by sharing a link. Students need to create their own accounts using the school email address given. A screenshot of Flat.io is shown below.
PROCESS / CURRICULUM OUTLINE
1 | Introduction to Flat.io
| Create accounts
| Link to Teacher’s account
| Basic functions
2 | Create harmony line for the first 4 bars
| Exploration
3 | Create melodic line for the first 4 bars
• Using mainly crotchets and quavers
• Keeping the tempo given (80)
| Use mainly the first 5 notes from harmony chord in F clef (suggested)
4 | Harmony Chords – use 2 or 3 notes instead
| Add on 4 more bars if they are ready
5 | Melodic line for Bars 5 to 8
| Check for rhythmic patterns
6 | Check for clashing notes that do not harmonise
• In melodic lines alone
• Aligned notes in Treble and Bass clef
7 | Create ending part using more minims or whole notes
| Check for harmonising notes
8 | Check for harmonising notes
| Overall
The teacher reviewed the students’ works every week and tried to give bite-sized feedback, focusing on one or two areas for them to relook or edit. In class, feedback was given on the spot. After class, feedback was typed out in the comment section by the teacher. Students were able to view this once they logged in again.
Data Collected
Post-Survey
The post-survey was conducted for 33 students out of 36 (there were three absentees).
Significant observations from the data
| A high percentage of students enjoyed using Flat.io to compose, and was proud of their work.
| Most of them would also like to showcase their creations to their friends and family. About two-thirds of them would like to compose more in the future.
| The learning pace was welcomed by the students as they got to adjust to their individual abilities.
| Music elements have been reinforced through these eight lessons.
The following open-ended questions were asked:
| Do you find it meaningful to learn composing? What do you think you can use the song for?
| Which prior knowledge did you use for this project?
| What learning points/new knowledge did you gain through this project?
| Describe some of the problems/challenges you had. How did you overcome them?
Making it meaningful
From the post-surveys, students reflected that they found learning how to compose a meaningful experience. They learnt that it was not easy, and realised the amount of effort it took to compose a complete song.
Some of them had even thought about how they would use their songs. They said they could listen to their own song for relaxation, and use the song as background music for games and celebrations. This demonstrates that the task was meaningful and purposeful – a part of behavioural engagement that motivated the students to accomplish their task.
Learning Points
The students were able to write out learning points as shown below:
| How chord progressions work
| How melodies harmonise with a chord
| How to identify rhythmic patterns
| How to listen for clashing notes
| How to conclude a song
Observations
Active Participation
I noticed that the students were all very on-task. I did not see them wandering to other websites. Some took their own initiative to write down notes in their notebooks. They were focused and loved exploring the functions available. Being IT-savvy, some even found new functions that could help them in one way or another. They would always ask me to take a look at their work in class. However it was difficult for me to review all their work within the one-hour session. Therefore, I had to review their work after lessons.
Focus
As I reviewed the students’ weekly submissions, I found that most of them had followed my weekly tasks in order to produce a complete piece of work. Flat.io allows the teacher to view previous versions of submitted work. The progress report of every piece submitted recorded the scaffolding given each week.
The students exhibited examples of cognitive engagement by being actively involved and focused in taking ownership of their own learning and making the effort to complete their work and attain their goals.
Ownership
The students took pride in their work. They liked their friends to listen to their work in class. Through listening to each other’s works, they bounced ideas off one another. It helped to inspire them too. Close to the end of this eight-week module, some asked how they could keep a copy of their work. Though they were shy to do so at first, when I asked for works to be showcased to the class, many students were interested to volunteer theirs. Developing such independence and perseverance is a form of behavioural engagement.
Enthusiasm
The students were always excited to go to the lab. While lining up, they would ask if we would be going to the computer lab or the music room. Some would ask what the new task for that lesson was as they were eager to know what was coming up. When they saw their friends using new functions, they tried to find out what these were from their friends. Some students took the initiative and made use of ‘new’ functions to ‘solve’ their problems. For example, they used the ‘display keyboard’ function to check the notes on the staff because they were not able to read notes from the staff.
Throughout the sessions, I saw an increase in the students’ sense of empowerment. They were intrinsically motivated to complete the tasks. They hoped to have more Flat.io lessons in order to continue with their work. Most of them did more than what was required. My plan was for them to create melody and harmony for eight bars. However, they exceeded my expectations and came up with 12 or 16 bars instead.
Though there may be overlapping of types of engagement in certain observations, I would categorise the above observations under emotional engagement as the intrinsic motivation was strong. I believe the safe environment created in the music classroom and the computer lab allowed students to connect with and learn from one another better.
Discussion
Challenges Students Met
Some students had difficulty logging in from home. Initially, I thought being able to log on to Flat.io from home would allow them more time to explore the website. However, it did not work out as expected. Therefore, most of the composition was done in school.
Only one student had private piano lessons. The rest of the class was not
familiar with music notes and staff. Working with these was daunting for them at first. However, the students showed perseverance and managed to get used to it, with some guidance from the teacher and help from their friends.
Challenges Teacher Met
Flat.io is not a free website. I had to make use of the free trial period of 90 days and create an educator account to link to the students. After this trial period, the teachers/school will look at the possibility of signing up for a subscription. There are a few types of subscriptions available. Our school will choose the most suitable one for our programme in the following year, if necessary.
Students are unable to sign up as they are underage. However, they can log in if the teacher has created a ‘classroom’ with an educator account.
I reviewed all the students’ work weekly to see if they were able to complete that week’s task. It was challenging to look at more than 30 works every week. Initially, when their work consisted only of four bars, it was easier. When the number of bars increased, it took me a few days to review all their work. This had to be done before the following week’s lesson so that feedback was ready for the students.
It was not easy for students to comprehend the musical terms and notes, especially when the letter note was not shown on the staff. Therefore, I tried to keep my feedback as simple as possible and only highlighted one or two areas to be edited. If their work was generally fine, I would just offer words of encouragement to keep them going.
It was more effective when I could give them feedback face-to-face in the computer lab. I could point to the staff on their screen and direct them to check certain notes immediately.
In the future, I would consider the following:
Small Group Discussions: To create more opportunities for students to share and discuss ideas with one another. It would also allow students to enhance their selfdirected learning experience and motivate them to produce better quality music pieces.
Music Journal: To encourage students to take down notes and use them as a form of reference to navigate through the website. The teacher can also get students to make their thinking more visible when doing their reflection during discussions. It could also serve as a checkpoint for students to consolidate their learning.
Record Tutorials: I would consider recording tutorials for each specific task and making them available on platforms like Padlet or SLS for students to refer to if unsure. This would be similar to a flipped classroom and blended learning style.
Platform for showcase: Showcasing the students’ work will further enhance their sense of ownership and satisfaction. It would also allow parents and other teachers to enjoy the students’ creations.
Differentiated Tasks: The tasks/endproduct could be adjusted according to the dynamics and ability of the class. Teachers who wish to try it out could also consider doing this as pair-work to allow for more collaboration among students.
Possible Extension: I thought of stretching the project further by getting the students to put in simple lyrics. However, that would take another two to three weeks at least,
with scaffolding. Due to time constraints, I have put that idea aside for now.
Conclusion
The students’ high engagement level was definitely encouraging. It gave me great satisfaction to see them intrinsically motivated, focused on completing tasks, and enjoying the empowerment achieved! The students built on existing knowledge to construct new connections and meaning every week. It was amazing to see the progress they made each time. Moreover, the safe environment allowed students to share ideas and discoveries freely with one another. They were open to their teacher’s feedback and comments, and were very willing to work on them. In addition, there was a strong sense of ownership displayed in class. The students were excited to show their teacher and peers their work. They were proud to show their close friends the progress they had made in class too. On one occasion, I overheard a student comment on his own work, “So satisfying!”
Acknowledgements
I would like to acknowledge the following people who were instrumental in my CI journey.
My school leaders for allowing me to take part in Critical Inquiry 2022:
| Mr Wong Kin Mun
| Ms Neo Aik Seo
| Ms Jasmine Ng
My Level Head and Reporting Officer, for encouraging me and helping me along the way:
| Mdm Syaza Mohd Sallehuddin
| Mr Jacky Choo Yew Teck
The Effectiveness of GarageBand as a Digital Tool to Facilitate Better Understanding of Musical Layers and Arrangements in Music Improvisation
Introduction
In the current world we live in, technology is part and parcel of our daily lives. It has changed how we communicate with others and how information can be found at our fingertips. In fact, without technology, people seem to be at a loss. Today, in education, we leverage technology to support the teaching and learning of music. Thoughtfully integrated, it can transform how music is taught and learnt, and offer rich insights into real-world practices.
This research aims to gauge the effectiveness of GarageBand as a digital tool in facilitating better understanding of musical layers and arrangement in music improvisation.
Background of Our Curriculum
As part of our Primary 4 Local Module, our students learn the song “I Like the Flowers” and identify the different layers in it, such as the rhythm, beat, melody and bass. Through this song, they learn about the concept of notes, chords and ostinato. In this module, they break into groups to compose new lyrics based on a local theme to fit the song’s melody. They then decide on the different ostinato layers to accompany their newly composed
song on actual instruments. Finally, each group performs their final product and the class chooses the group’s work that they want to use for their class performance. This will then be uploaded onto “Classics Online”, the Aesthetics department’s online showcase platform where it fits nicely into the National Day Edition. All classes will put up their class performances on this platform during the National Day week.
This is a video of a performance that was recorded for our “Classics Online” National Day Edition
Inquiry Questions
| How will the use of GarageBand enhance the learning of musical layers and arrangement?
| How will students be able to apply their knowledge, using GarageBand, to make music collaboratively?
Methodology
Mixed methods study.
Target Audience
| One P4 class of 41 students
| One-hour music lesson each week
| No prior knowledge of GarageBand
Data Collection
| Teacher’s observations of students’ interaction and work
| Audio clips of students’ performance
| Survey
| Interview
Teaching Considerations
| Students’ prior knowledge of musical layers
• We have to make sure that the students know what chords, layers and ostinato are
| Teachers’ knowledge of and ability to use GarageBand
| Time constraints
• Giving out the same iPad to the student fully charged
• Wiping down and keeping the iPads
| Technical constraints
• iPads not updated or not working
Lesson 1 (Experience)
Lesson 2 (Concept)
Lesson 3 (Application)
Lesson 4 (Application)
Curriculum Outline
The table below shows our initial curriculum outline, using the ExperienceConcept-Application (ECA) framework.
However, after Lesson 4, we realised that the lessons so far had taken six weeks instead of four as initially planned. At this point, the students were getting bored with “I Like the Flowers” as the module had been stretched too long.
Hence, we decided to modify our curriculum outline by introducing another song from the indicative repertoire, “Make Courtesy Our Way of Life”. Students would create an arrangement of this song with GarageBand. We felt that if this module needed to be extended, it would be better to continue with a new song to keep things fresh so students would not feel too bored.
| Learn “I Like The Flowers” | Experience playing the different layers
| Learn the concepts of melodic, rhythmic ostinato, chords and layers
| Lyrics improvisation in groups
| Group performance on physical instruments
| Incorporate into “Classics Online” – National Day Edition (Aesthetics department online showcase platform)
Lesson 5 | Teaching the functions of GarageBand
Lesson 6 | Students perform their preferred layers and instruments as a class, using GarageBand instruments
Lessons 7 – 8 | Students record and create layers to accompany a pre-recorded melody of the song
Cindy Lim and Jessica Leong
Paya Lebar Methodist Girls’ School (Primary)
This is our revised curriculum outline:
Lesson 1 (Experience) | Learn “I Like The Flowers” | Experience playing the different layers
Lesson 2 (Concept) | Learn the concepts of melodic, rhythmic ostinato, chords and layers
Lesson 3 (Application) | Lyrics improvisation in groups
Lesson 4 (Application) | Group performance on physical instruments | Incorporate into “Classics Online” – National Day Edition (Aesthetics department online showcase platform)
Lesson 4a | Learn “Make Courtesy Our Way Of Life”
Lesson 5 | Teaching the functions of GarageBand
Lesson 6 | Students perform their preferred layers and instruments as a class, using GarageBand instruments
Lessons 7–8 | Students record and create layers to accompany a pre-recorded melody of the song
Process and Observations
Lesson 6: Students Performing the Song as a Class
| Students were given three layers to choose from: bass, chords, and the rhythmic ostinato layers.
| Students played their chosen layer using instruments of their choice on GarageBand.
| The melody layer was pre-recorded and played from the teacher’s iPad, while the students accompanied it.
| The three layers were recorded separately for a rough gauge of students’ progress, before they played together as a class.
Chords Layer
| Most of the students were able to play the chords in time.
Rhythmic Ostinato Layer
| Students had problems playing a suitable pattern on the drums with the melody.
| However, they were able to play the acoustic drums in time with the melody.
Bass Layer
| Initially, the students had problems with the bass as the sound produced was very soft. They were using the Liverpool bass and did not know where to press on the screen to create an optimal sound. The teacher had to troubleshoot this problem. A different bass (Picked Bass) was used as it produced a louder sound and the students were taught to press on the lowest string.
Combining All Layers As A Class
| When we put all the layers together in the class performance, it sounded coordinated and most of the students were able to keep time. From the videos, we could see that all the students were highly engaged.
Lessons 7 and 8: Recording and Creating Layers on GarageBand
| In Lessons 7 and 8, the teacher prerecorded the melody of “Make Courtesy Our Way of Life” and used AirDrop to share it to the students’ iPads.
| The students then created layers to accompany this pre-recorded melody and record it on GarageBand.
| The following are some examples of students’ works from this lesson.
*Note:
Picked Bass
Lowest String
Anna’s Work
This student was able to create a variety of layers and instruments. She also tried to experiment with some Chinese instruments and added in a harmony line. However, some parts were not in sync with the beat.
Clara’s Work
This student added in many layers and used instruments without considering whether they went well together. Even though the loops and drums fit quite well, there were some layers – like the strings layer – that were not in sync and did not follow the beat.
Data Collected
Bella’s Work
This student attempted to create an introduction. Since she had some drumming background, she was able to use that knowledge to play on the acoustic drums in the app. The layers were mostly in time.
Survey
Through a survey on Google Forms, 41 students were asked about their experience of using GarageBand.
Survey Questions
Enjoyment of GarageBand to Record/Create Layers
Based on the data, 90.2% (adding 46.3% for level 3 and 43.9% for level 4) of the students enjoyed using GarageBand to create and record layers. We expected this outcome as using the iPad was a novelty during Music lessons.
Interview Questions
Seven students were interviewed face-toface to gather specific examples of their responses.
1. How do you feel after learning how to use GarageBand?
2. How much do you enjoy using GarageBand to record/create the layers to accompany the melody of “Make Courtesy Our Way of Life”? Why?
3. What do you like about recording and creating the layers to accompany the song?
Ease of Using GarageBand to Arrange a Song
“I feel proud that I managed to learn it in such a short time!”
“I feel accomplished because I managed to learn a new app called GarageBand.”
“I enjoy using GarageBand to record and create layers very much!”
“I like the whole process of creating and recording the song.”
“I feel that I can create more music after learning GarageBand.”
“I like GarageBand because we can use iPad during Music lessons.”
“There are many different digital instruments that we can use to play.”
With this question, we wanted to find out how easy it was to use GarageBand to arrange a song. There were 80.5% of students who indicated levels 3 and 4 on the scale. This meant that a majority of the students found GarageBand easy to use. Actually, we expected more students to find the app difficult to use (i.e., level 2 on the scale) because during the teaching of
“It was mostly easy to use. But making all the layers to match in time was difficult.”
Interview Responses
using GarageBand if they wanted to. Students also enjoyed it because of the novelty factor of using the iPad for music lessons, and because there were many different virtual instruments that they could use to play.
“It was so hard and I kept making mistakes, but after much effort, I finally succeeded. Phew!”
GarageBand, there were many students who had difficulty figuring out the functions of the app.
Interview Questions
1. Did you have any difficulty while doing the tasks?
2. How did you overcome it?
Interview Responses
When interviewed, a majority of the students commented that they felt accomplished and were proud to learn a new music making skill. With this new skill, they felt empowered to create more music On a scale of 1–4, rate how easy it was to use GarageBand to
“Practicing more on GarageBand makes it easier to use.”
“I played it many, many times. I memorised all the chords, so it was easier to record.”
“I overcame my difficulties by asking my friends for help.”
Learnt a new skill
Novelty factor
Students remarked that they experienced success after they had more time to interact with the app. We think it was also because as lessons went on, the better ones were
Difficulties Faced in Using GarageBand to Record/Create Layers
able to help their friends. Hence, even though the students experienced difficulties initially, once they mastered the basic functions, they found GarageBand easy to use.
When using GarageBand to record/create layers, what were the top two tasks you had difficulty with?
Learning to use the functions of...
Creating a track
Choosing an instrument
Recording in time to the music
Adding a suitable loop
I had no difficulty with the tasks
Accidentally starting earlier than...
Starting before the rest of the class...
So, what were the two tasks that students had the most difficulty with? From the survey results, they were: (i) recording in time to the music, and (ii) learning to use the functions of GarageBand.
“It is scary because what if I make mistake? Then I have to start all over again!”
Interview Question
What were some of the tasks you had difficulty with?
Interview Responses
“I did not understand how it was possible to record in sync.”
“I cannot remember the chords. I need to keep looking at the chords while I press on it.”
Their responses revealed that they had difficulty recording in time to the beat, and ensuring that all the layers were in sync to the beat.
We expected this because a lot of hand-eye coordination is required when recording a
track. The students struggled with having to look at the chords on the music score, then locating the right point to press on the screen, and doing all this in time to the beat. However, this is a challenge that can be overcome through practice, and by being more familiar with the app.
Enjoyment of Using GarageBand to Perform as a Class
“If I could save my file and keep working on it at home, I will be more familiar with using GarageBand.”
“I took a long time to learn how to use the functions of GarageBand.”
“Making all the layers match.”
“I had many difficulties. The biggest one was recording the chords on the piano. I had to press it in time to the beat.”
We also wanted to find out how much students enjoyed using GarageBand to perform the song as a class. 78% (adding 34.1% who indicated level 3 with 43.9% who indicated level 4) enjoyed it. This was slightly lower than students’ enjoyment of using GarageBand to record their music layers. We think this is because it was more difficult to play in time as a class, and it required more practice.
Interview Question
What do you like about using GarageBand to perform the song together as a class?
Interview Responses
“It was easy because we played it many times together as a group before we played together as a class.”
“My friend beside me helped me. Even though I was a little lost, I could still follow for most of the song.”
“It was easy to play together as a class because we are seated with those playing the same thing.”
“I like how each layer managed to play in time with the melody.”
Those who had experienced difficulties performing on their own were able to follow along most of the time because they were seated with friends who were playing the same layer as them. Thus they were not too lost. Many students also agreed that they were able to accomplish the task because there were numerous opportunities for them to practise and keep trying.
Performing Using Actual vs. Virtual Instruments
Earlier in the year, you did a group activity improvising the song “I Like The Flowers” and performed it in a group using actual instruments. Do you prefer performing using actual instruments, or using the virtual instruments on GarageBand?
The majority (68.3%) of students preferred virtual instruments. Of course, there was also quite a number who preferred the actual instruments. We were curious about their preferences and probed them further about their choices through student interviews.
Interview Question
Do you prefer performing using actual instruments or physical instruments? Why?
Interview Responses of Students Who Prefer Virtual Instruments
“The sound that virtual instruments produce are very real!”
“We
can try out different instruments that we normally do not use. Like the Er Hu, Guzheng and Pipa.”
“Interesting to hear how virtual instruments sound like the real one.”
“If I cannot afford to buy an instrument, I can still play digital instruments!”
“Virtual instruments are easier to play than the real instrument.”
Interview Responses of Students Who Prefer Actual Instruments
“Virtual instruments are fun to play… but it’s not the real deal!”
“Actual instruments are good because you can touch and feel the real thing, not just the fake one!”
The interview responses highlighted that GarageBand was quite an equitable tool to use. It enabled students to make music regardless of their musical background. Students who had difficulty playing actual instruments appreciated that making music could be as simple as tapping the screen.
Furthermore, they had a wider variety of instruments to choose from and try out, such as Chinese instruments like the Er Hu, the Guzheng and the Pipa.
Students who preferred the actual instruments liked being able to touch and feel the instruments. This gave them a more authentic music making experience.
Learning Points from Teachers’ Observations
Technical and Time Constraints
For this module to be successful, we had to ensure that the iPads were booked earlier in the year, to avoid clashes with other school
events or departments that also wanted to use the iPads. We also needed to ensure that the same iPads were being used every week, as students would be working on this project over a few weeks.
Along the way, we encountered many technical difficulties, like the iPads and the GarageBand app not being upgraded to the latest version. As a result, many students were unable to work on their project that particular week, resulting in a delay in our curriculum. We need to ensure that the ICT Teaching Assistant is able to get the iPads and GarageBand ready in time for the module.
Initially we had difficulty collecting students’ works from the iPads. Going through every iPad to look at each student’s work was cumbersome and time consuming. Thankfully, Apple has the AirDrop function. We taught the students how to AirDrop their work onto the teacher’s iPad, hence saving us a lot of time and hassle.
Conclusion
In conclusion, we found GarageBand to be an effective digital tool in the teaching of musical layers and arrangement. It enhanced the learning experience by:
| Equipping students with a new musicmaking skill which they could experience success with.
| Providing equity in allowing students to make and create music, regardless of their musical background, and even if they did not own an instrument.
“Playing a ukulele digitally will not hurt your fingers!”
“GarageBand is free!”
Inquiry-Based Learning
Social and Emotional Learning
Inquiry-Based learning (IBL) is underpinned by a constructivist paradigm that allows students to take on a more active role in their learning by uncovering understandings. Teachers support this through a gradual release of responsibility by playing various roles such as coach, motivator, facilitator, and consultant to enable students to become more self-directed. This section presents three different possibilities of IBL in music lessons.
138 Lee Hui Min Grace’s project uses technological tools to enhance the inquiry process for students and empower them to take charge of their learning. Her project provides evidence of this through the high quality of the students’ group performances and the level of understanding demonstrated when they are empowered.
146 Li Cong’s findings reveal how inquiry-based learning can engage and motivate students in appreciating music from different parts of the world. Students appreciate being able to make decisions and they demonstrate a wide breadth of learning through this approach.
160 Michael William Cartwright shares how authentic learning experiences can be designed to engage, motivate, and empower students.
How Do Inquiry-Based Learning Strategies
Increase Students’ Engagement in Music Lessons?
Introduction
My music department has been focusing on Differentiated Instruction (DI) and e-Pedagogy for a few years. This year, I wanted to look at how Inquiry-Based Learning (IBL) strategies can enhance our Primary 6 students’ Samba Music module. I also used ICT tools to enhance my students’ journey in IBL.
Inquiry Question
How do IBL strategies increase students’ engagement in music lessons?
Methodology
This is a narrative study.
Target Audience
| 77 P6 students (three classes)
| Mixed readiness levels
| Have ICT background
| Trained in music foundation, proficient in the ukulele and the recorder
Data Collection
| Observation:
- Half-hour lessons were observed over a 10-week period
- Teacher’s reflections and suggestions for improvement after each lesson
- Students’ feedback
| Pre- and Post-Surveys:
Engage Students are engaged with a challenging situation, prior knowledge is activated, questions are provoked.
Evaluate Students reflect on their knowledge and the learning process, assessment.
Explore Students investigate the phenomenon, prior knowledge is challenged, ideas are created. 5E INSTRUCTIONAL MODEL
Elaborate Students apply their knowledge towards new situations, knowledge is deepened and extended.
(Bybee & Landes, 1990)
Explain Students explain the phenomenon, new knowledge is gained and applied.
Harness the interactivity and multimodal features of digital technologies to differentiate the nature of content, learning processes and products of learning to meet the needs of all students.
Use multimodal representations of abstract concepts for students to discern patterns and infer generalisations.
Allow learners to collectively improve their ideas over time by sharing, building on, organising, and synthesising their knowledge and understandings.
Analyse learning and process data to provide students targeted feedback and resources.
KEY APPLICATIONS OF TECHNOLOGY
are design guidelines for optimising the pedagogical affordances of technology to amplify and deepen learning
- Students’ engagement in music class
- Students’ level of inquiry
Topic: Samba Music Module
Through this module, the P6 students will:
1. Be introduced to samba music by observing and inquiring about a samba performance video.
2. Research the history, instruments, and musical forms of samba music using a Google Site curated by the teacher.
3. Refer to rhythms from the “Rio” samba piece and create a samba group performance.
4. Use the digital platform Seesaw to document their journey (journal), from gathering research to recording their group rehearsals.
Pedagogical Frame
KAT (Key Applications of Technology) Framework
I referred to the Ministry of Education's (MOE’s) KAT Framework to ensure that our ICT tools to facilitate IBL were used meaningfully in line with the following objectives:
Learning Together: Students are engaged in collaborative learning by documenting their group research in an online journal (Seesaw).
Personalisation: Students learn at their own pace using iPads every lesson, deciding on their direction and working towards the end goal, which is to create a samba music performance.
Scaffolding: The use of Google Jamboard, Padlet, and a curated Google site to assist the students’ IBL journey.
Integrate automated supports for students to make sense of and regulate learning activities, group knowledge and articulate their reflection through multiple modes.
Foster student agency by giving choice in the learning goals, process and pace through digital resources.
Embed digital scaffolds to support thinking and guide interactions between students, teachers and content.
Inquiry-Based Learning
I referred to the 5E Instructional Model (Bybee & Landes, 1990) as a guide when crafting the IBL lessons. I also took reference from Scott (2007) who mentioned that the inquiry process provides opportunities for students to develop and demonstrate their ability to:
1. Understand complexities of music appropriate to their background and experience.
2. Apply these experiences in the formulation and exploration of musical problems independent of teacher-directed instruction.
3. Reflect on their work by sharing their musical processes and products with teachers and peers.
With these references and guides in mind, I set out to reinvent our Samba music module.
Lee Hui Min Grace
Casuarina Primary School
1. What can you infer from this table? (e.g., dynamics, performers etc.)
2. What made you curious / want to know more about Samba after watching this video? (How, what, why)
Kaseh:
Performers were in sync and there were music patterns
I want to know what the instruments are called
Kaseh: Whistle is to alert the performers for their turn
Saad:
The music is very loud and the beat is in sync
Why music loud?
Who created the music?
Nyla: The performers followed the leader’s lead
Nyla: What is the name of the instruments?
Process Engage
As mentioned by Short and Burke, it is “imperative that students are involved in the process of creating questions from which problems for investigation will ultimately emerge” (Short & Burke, 1997, p. 37). Therefore, to start off their samba ensemble performance journey, the students were shown a video featuring a group of students performing as a samba ensemble. They were then given two guiding questions to form observations and questions from the performance (Figure 1.1).
As you can see from the Google Jamboard screenshot from my lower readiness class, in Figure 1.1 above, the students’ responses were very brief. Some were unable to form observations despite the guiding questions.
I went back to the drawing board. This time, I started my lesson by telling the students to observe me. The questions came pouring in. The students were very detailed, down to the colour of my hair and the material of my chain.
“How much is your brown pouch? Why are you wearing a pouch?”
Nona: The performers were in sync and they're all confident and they are also repeating the beat over and over again Aman: There music patterns
I really want to know what kind of song or music they are forming? The whistle lead the other musicians
Nona:
“You have brown hair. Why do you have brown hair? How did you get your hair brown? Is your brown hair natural?”
“Why is your microphone chain gold and metal unlike the other teachers who used a black fabric strap?”
I told them to employ the same methods they used in observing me, and to be as elaborate as possible, as they watched the samba performance video again. As seen in the Padlet screenshot (Figure 1.2) and some of their responses below, the questions and observations were much more specific and detailed.
“Why did they slow down in the middle?”
“How do they organise the performers so that they do the performance in sequence and how are they in sync so well?
Group 1
Catherine: Who was using the whistle, the auntie at the front or Why were they clapping at the end tho
Rafael: One of the instruments is a whistle
How do they organise the performers so that they do the performance in sequence and how they in sync so well
Aqil: What instrument that the kids use down the stairs to the left and right?
Group 2
Yu Hsin: The band stop for a few seconds then continue the song
Group 3
Muhammad: The instruments are very sequenced and the performers know when to play their instruments
Aahil: Why aren't all of the performers on the stage
Syaza: In the middle of the song the band became silent for awhile
Clariss: I like how the music of the instruments is combined
Why did they slow down in the middle?
These responses were from the same middle readiness class who submitted their responses as seen in Figure 1.1. Students observed the musical patterns more closely and paid attention to the dynamics and tempo as well.
Explore
After writing their observations and questions, the students then set out to explore samba music, and tried to find some answers to their questions. According to Scott (2007), teachers are “ultimately accountable for ensuring that students explore questions that will extend their musical understanding” (p. 36).
Group 4
Aydan: Everyone is following the whistle
Why are they following the whistle
Why two boys wearing blue while the others wearing black
How long is the performance
Why they shout in the end
Group 5
Instruments noticed:Maracas, whistle, triangle
Yu Xuan:
The dude with the smaller drums caught my attention.
Somehow the girl with two gigantic drums drawn my attention as it is special and the drum is also pretty loud
Emir: The entire band is following the rhythm of the whistle
The deep drum with the white stick got my attention as the sound is very different from the other drums and is very loud! Why is loud?
As such, I created a Google Site containing links to various websites (Figure 1.3) that the students could explore. Through this, I was able to guide the students to suitable websites, as some pages on samba music contain images that are unsuitable for 12 year olds. For example, as part of their culture, dancers at the parades are often skimpily dressed.
Through the Google Site, students were encouraged to be self-directed learners and given the autonomy to decide what they wanted to explore and discover during each lesson. I also provided them with options on how to start their exploration.
“At a specific part the maracas all become quiet and only the drums are playing.”
Figure 1.1 Students’ names have been changed
Figure 1.2
Malavika:
Explain
These are some examples of the students’ journals in Seesaw (Figures 1.6 and 1.7).
I provided each group with 10 pages, thinking that they could use a new page for each lesson. However, some preferred to fill up one page with their findings, while others preferred to categorise them into the different sections (e.g., instruments).
Elaborate
After getting the answers to their questions and learning more about samba music and its culture, they moved on to create a samba music performance through group discussions and practices. The students were given the freedom to explore all the instruments in the music room, and decide which instruments’ tone and timbre would best fit the samba instruments which they had learnt about.
They referred to video guides on the Google Site to learn the rhythms of the different instruments before coming together to play as a group. At this stage, they were free to use as many iPads as they wanted, as it could be difficult for them to learn different rhythms and instruments with just two iPads per group.
Teachers must “find a balance… as authority figures and teachers as
facilitators monitoring the progress and providing constructive feedback to assist students” (Scott, 2007, p. 36).
With only half an hour with them each week, it was challenging for me to visit all the groups’ practices in one lesson. The use of online journaling allowed me to view their progress in a more conducive manner from my computer and phone, and I was able to give the feedback to the groups the following lesson before they resumed their practice. I repeated this process every week.
Evaluate
The students then moved on to the evaluation stage, where they performed their samba piece to the class and reflected on their performance on Padlet (Figures 1.8 and 1.9). After the performances, I uploaded all the performance videos on Google Drive. They then viewed their performances before posting their reflections on Padlet using the “2 Stars, 1 Wish” technique.
Most of the students’ reflections could be broken down into three parts: teamwork, rhythm, and performance etiquette. Regarding teamwork, most students felt that they were able to play together. Some felt that their rhythms were accurate while some felt fewer mistakes could be made. When it came to performance etiquette, some thought that they could be livelier, and felt that with more time in each lesson, they could be more confident and groove better like their seniors, whose samba performance they had watched in the hall.
Figure 1.4: They could explore the history, instruments, and musical styles of samba music. A link to their Padlet enquiries was also provided.
Figure 1.5: Students collaborating to research on Samba Music
Figure 1.6
Figure 1.7
Figure 1.8
Figure 1.9
SURVEY FINDINGS
QUESTION
I am able to retain information that I have learnt in music class.
I am able to brainstorm ideas in music class.
I am able to ask questions in music class.
I stay on task throughout music class.
I participate actively in music class.
I am able to create a music performance.
Data Collected
Pre- and Post-Survey
There was an increase in the mean ratings for all the items. After the module, the students felt that they were able to brainstorm better musical ideas and retain information. The students also felt that they were engaged throughout the module.
Despite it being challenging for them, most students enjoyed the module. Some wanted to explore more instruments as they only had time to master one or two instruments. Some preferred to work alone and this might have contributed to them being unable to create a music performance as a group. Overall, the module was very well received by the students. Some of them even wanted to create a samba ensemble performance for their graduation concert.
Student Observations
Student Quotes
“Music is one of the only classes I truly enjoy, and I don’t really like it when we have only half an hour a week for music.”
Teacher Observations Inquiry Level
It was evident that students had difficulties crafting musical observations and questions. The observations were vague and the questions did not contain many musical terms. The students needed more guidance in using music vocabulary and putting more thought when observing the performance video. Through the journaling method, I was able to reflect and improve on pedagogical practices to guide students on their journey of inquiry.
Self-Directed Learning
Self-directed learning and intrinsic motivation were evident in music lessons. I could see the students taking charge of their learning. Some students also went home to plan their performance as they were unable to complete their planning due to the short music lesson period.
Special Educational Needs Students
Students with special educational needs enjoyed collaborating with their peers through music. It was heartwarming to see the students guiding their peers to ensure that the group could play well together.
Challenges
The students had some difficulties analysing music performance videos at the beginning. They knew the musical terms but needed to be guided how to use them. Moving forward, I will start the inquiry process with other levels for students to gain more experience in IBL. I will also add more in-depth music analysis activities in my music classes.
The half-hour music lessons were also a challenge. Students often lamented that they wanted more time for music making. Online journaling helped them to remember where they left off each lesson, enabling them to get straight to work the next lesson.
This research only involved three out of the seven P6 classes. Some students were not included as they did not manage to complete the pre-survey.
Conclusion
“It was hard memorising the instrument’s rhythm but it was still fun.”
“Samba
music is a different type of music that I have not experienced before and it is nice.”
“I had fun and my teacher explained very clearly.”
“I don’t really like working in a group, I prefer working alone.”
“I enjoyed this module because it is fun working in a group.”
ICT Tools As Facilitation
The use of ICT tools helped students to document evidence of learning and research. Students often had to toggle between recording their video rehearsals and their research, hence having an online journal made it easier for them to refer to their work, as compared to paper journals.
As seen from the findings, IBL strategies did increase students’ engagement in music lessons. This module enhanced students’ self-directed learning as well, with the teacher as the facilitator of learning. The various modes of learning kept the students engaged as they toggled between ICT tools and music instruments.
Acknowledgements
|
Casuarina Primary School’s Music Department
References
• Bybee, R., & Landes, N. M. (1990). Science for life and living: An elementary school science program from biological sciences curriculum study. The American Biology Teacher 52(2), 92–98. https://doi.org/10.2307/4449042
• Scott, S. (2007). Multiple perspectives for inquiry-based music education. Canadian Music Educator 49(2), 35–38.
• Short, K. G., & Burke, C. (1996). Examining our beliefs and practices through inquiry. Language Arts , 73(2), 97–104.
Inquiry-Based Learning: Engaging and Motivating P6 Students to Learn and Appreciate Music from Different Cultures
Li Cong Yangzheng Primary School
Introduction
Four years ago, my school embarked on a Making Thinking Visible project for our Aesthetics Professional Learning Circle. At that time, I introduced the "See (Hear) –Think – Wonder" visible thinking routine when going through certain pieces of music with my students. I also tried the "pumping" questioning technique to instil critical and higher-order thinking when teaching and reinforcing music concepts, in the hope of fostering depth in my students’ musical knowledge. However these were met with little success.
How could I encourage my students to go beyond giving standard responses? How should I guide them to be more critical in their thinking, and proactive in their musical learning?
In line with building thinking skills as one of the core competencies in our students, I explored the idea of using Inquiry-Based Learning (IBL) to develop strategies and adapt existing resources such as the Student Learning Space (SLS) lesson packages to promote inquisitiveness and self-directed learning in my students.
There were questions to consider, of course. When implementing the flipped classroom (due to limited curriculum time, breadth of the subject, and student diversity), how could I nurture students’ voices in learning while cultivating them to ask meaningful questions to build on one another’s musical interests and knowledge? At the primary school level,
how could I better help my students apply their musical skills and knowledge towards greater complexity? How would I assess their musical learning individually?
These will all be answered here, in my first attempt at using IBL with my Primary 6 classes to better engage and motivate students to learn and appreciate music from different cultures. Follow me as I take you through my observations and findings on how this approach has impacted my students’ learning.
Pedagogical Frame
Inquiry-Based Learning (IBL)
My research builds on the constructivist theory which advocates that students learn better as they build new understandings and knowledge through experience and social interactions (Piaget, 1971).
The IBL approach emphasises that students should not be taught bald facts, but go on an experiential journey to actively question and seek understanding to make meaning of the things they learn (Dewey, 1997). Music teachers can use Networked-Learning Communities to work towards accomplished competencies for IBL, which is also one of the areas of SkillsFuture for Educators (SFEd).
Four Phases of Inquiry
In his YouTube video, Spencer (2017) explains four of the five of Pedaste et al.’s (2015) IBL framework. It begins with Orientation, which is often a form of discussion to get students started. From there, it moves on to Conceptualisation, where students generate questions and begin to form a hypothesis.
This leads to Investigation, where students explore, experiment and interpret data in a way that is flexible and dynamic. Students then finalise their learning and questions, forming a Conclusion about their inquiry. The four phases can be illustrated as seen in the diagram on the right.
Four Levels of Inquiry
Spencer also illustrates the four levels of inquiry on a spectrum – from teacher-centred to student-centred –as defined by Banchi and Bell (2008).
Level 1 is Confirmation Inquiry, where the teacher reinforces prior knowledge. Level 2 is Structured Inquiry, where students follow the process set by the teacher. Level 3 is Guided Inquiry, where the teacher provides the research questions, but students own the experimentation process. Level 4 is Open/True Inquiry, where students formulate their own questions, design their own investigations, collect their own information, and share their findings.
Open and inquisitive learning motivates students intrinsically. It develops critical thinking to the fullest potential as students are driven by their own curiosity and interests to find out about a particular subject (Brown, 2003).
In addition, IBL has demonstrated its effectiveness in delivering a more worldly
level of understanding of culture in general music lessons. This is because it provides students with a collaborative learning environment which allows them to delve deeper through questions that are both relevant to their interest and inspired by the topic (Hayes, 2013).
Rather than focusing solely on activities for students to acquire requisite skills and knowledge, the emphasis is on how students interact to draw connections and deepen their musical ways of knowing (Scott, 2007).
Inquiry Question
What is the impact of IBL on students’ engagement and motivation in their learning and appreciation of music from different parts of the world?
Methodology
Target Audience
My main considerations in choosing my target group were:
1. My school’s emphasis on developing students’ critical thinking skills
2. Students’ profile and readiness
3. The topics to be covered
Musicals and Musical Films Local Orchestral Music
Music of China
Music of Japan and Korea
Music of India
Music of Australasia
Music of the Caribbean
I decided on two P6 classes, adopting a guided-to-open inquiry method where I used two visible thinking routines as the basis for my students’ inquiry:
| “What We Already Know – What We Want To Find Out” was used to kickstart the group project.
| “See (Hear) – Think – Wonder” was used to facilitate students’ sharing of their appreciation of the pieces for their respective cultures.
Data Collection
The study was carried out as an action research using both qualitative and quantitative methods. The students were given a choice of group members, topic, and areas they wanted to focus on.
The following were observed, thematically coded and analysed:
| Students at work – inquiry process and participation during lessons
| Students’ work – presentation slides and reflection sheets
| Students’ feedback – responses to questionnaire survey and interview
Duration
The activities spanned more than a semester, with the various phases of IBL as outlined below. The phases were
not linear but flexible, dynamic and cyclical, especially when students worked to “Inquire & Investigate” about their respective topics.
Outline of Phases
In the Orientation phase, I ran through general music concepts and asked openended questions about the role of music using a local Chinese New Year song as an example. I then got students to submit two topics from the textbook, plus the names of three classmates they wanted to work with, and three whom they did not want to be grouped together with. Forming sociograms based on the data gathered, I allocated groups of three to four students with mixed abilities, and assigned them their respective topics.
By the end of the Conceptualisation phase, the students had settled into their groups, designated their own leaders and roles, and agreed on the general direction of their project. I got them to document their work using Google Slides so I could monitor their progress. In the Investigation phase, students were encouraged to share their findings with their group members, and given the flexibility to adjust the focus of their project.
All these culminated in the Conclusion phase where students presented about their respective cultures in groups. The rest
of the class did peer assessment of the presentations and reflected on what they had learnt from their peers’ presentations. These were recorded on video. At the end of the group project, I reviewed students’ presentations and reflection sheets, and conducted a questionnaire-based survey to find out how students felt about the whole experience.
Data Collected
Observations
Below are some snapshots of my students at work in class.
Group Discussions During Lessons
Observation 1. The picture at the top right of Figure 2.2 shows a group at the Investigation phase, working on the music of China. This group eventually did their presentation on Chinese orchestral works and instruments while another group with the same topic shared on the different types of Chinese opera.
Students’ Presentations In Class
Observation 2. The bottom left picture of Figure 2.2 shows a group at the Conclusion phase, covering the music of Japan. This group focused on contemporary Japanese anime and spiritual music. Another group which had the same topic shared on traditional Japanese kabuki music and instruments.
Western Orchestral Music Western Operas
Figure 2.1: Activities Timeline.
Figure 2.2: Students At Work.
Students’ Works
Observation 3. Apart from observing students during lessons, I also reviewed their group presentations and individual reflection sheets to analyse their learning. I was amazed by the amount of knowledge the students were able to pick up within the semester.
Below is an example of a student’s reflection on the topic of Musicals and Musical Films presented by her classmates. The breadth of coverage by the presenting group and the depth of critical thinking demonstrated by the individual student were far more than I had expected, or
would have been covered by teaching standard textbook material.
I conducted a thematic coding of students’ presentations (Figure 2.5) to find out about their learning. The themes which emerged were: Basic Music Content, Higher-Order Musical Thinking, and Presentation Skills.
Under Basic Music Content, all the groups shared about the cultural and geographical background, musicians, genres and native instruments of their respective regions. This was rich sharing that most students found interesting and could relate to.
For Higher-Order Musical Thinking, every group attempted to share about music concepts and the “See (Hear) – Think – Wonder” analyses of their pieces. This was challenging for some students. I understand this as they were only at the primary school level and I had not taught them all the music concepts from the various cultures. I told my students that there was no right nor wrong as the purpose of the “See (Hear) – Think – Wonder” exercise was to open their minds when listening to their favourite songs and help them learn about the ways in which people may perceive and interpret music. The aim of this exercise was more to sensitise students to the application and exploration of sounds in the music of various cultures, rather than give them a hard and fast assessment of music concepts, which was not required at their level.
As for Presentation Skills, students demonstrated that they were able to assess their peers based on the confidence of speakers, layout of presentations, choice of music shared, and cohesiveness of team members.
Below is a comparison of the presentation outlines of two groups covering the music of the Caribbean. Although the topic is the same, one group already knew the musical background and wanted to find out more about its contemporary uses and performances, while the other group knew about the style of music but wanted to find out more about its background and origins.
To enrich students’ learning, I consolidated the presentation slides and parked them by topic in SLS for them to refer to in their own time.
Figure 2.4: An example of a student’s reflection on the topic of Musicals and Musical Films.
Figure 2.5: A thematic coding of students’ presentations.
Figure 2.6: A comparison of the presentation outlines of two groups covering the music of the Caribbean.
Figure 2.3: Students’ Works.
Post-Learning Survey
In addition to observing students during lessons and going through their work, I also conducted a survey to ascertain my findings. Questions were crafted to find out more about engagement and motivation, and students’ responses were tabulated.
Forced-Choice Questions
I used a 5-point Likert scale with 1 point for “Strongly Disagree” and 5 points for “Strongly Agree (SA)”. I am glad that all of the mean ratings hovered around 4, which is “Agree (A)”.
Quantitative Analysis 1.
With a highest overall percentage of 81% for SA/A and mean rating of 4.29, I could conclude that most students liked being able to make decisions about their own learning.
Close behind, with the second highest overall percentage of 79% for SA/A and a mean rating of 4.08, was that students felt they learnt more as they tried to gather information to answer queries about their project.
Quantitative Analysis 2.
While students were highly motivated when
QUANTITIVE ANALYSIS I
| “I like to be able to make decisions about my own project, such as choosing my team members, topic or area of focus.”
| “I learn more as I try to gather information to answer the queries about my project.”
| “I get to know different ideas about the topic from my team members which may not be the same as mine.”
| “I feel that working as a team makes me adjust myself so as to be more connected with the rest of my classmates.”
| “I have learnt additional things such as communication, problem-solving and social skills.”
QUANTITIVE ANALYSIS II
| “I can apply the critical thinking skills I have learnt when I listen to different kinds of music.”
| “I realise that there is a lot more to music than I initially thought as I work through my project.”
| “I have a better awareness and appreciation of the different
| “I
| “I
my musical knowledge with my classmates.”
ANALYSIS
think that listening to the findings of others is also an important way for me to broaden my musical knowledge.”
“I find it more fun to learn about the different aspects of music from gathering information myself and from my classmates.”
they were able to make decisions about their own learning, they were not as compelled when it came to thinking critically on their own. This could be seen from the lowest mean rating of 3.59 when students were asked if they would continue to find out more about the different music traditions and genres on their own in the future. This garnered only 53% of SA/A responses, the lowest score overall.
Quantitative Analysis 3.
Equally surprising was that students did not show a very high preference towards the IBL approach. This was reflected in the second lowest mean
rating of 3.63 as only 56% chose SA/A to indicate that they were more keen to learn about music when this method was used to conduct lessons.
Even then, it was heartening to know that students remained motivated to learn despite the challenges faced, as evidenced by the higher mean rating of 3.79 and 65% SA/A for this statement.
Ranking Questions
Quantitative Analysis 4.
For further insight, I examined how students ranked the factors which contributed towards their learning, from the “most important” (5 points) to the “least
QUANTITIVE ANALYSIS IV
the most important (5) to the least (1), rank the factors which contributed towards your learning.
of topic and areas of focus
QUANTITIVE ANALYSIS V
From the most greatest (5) to the least (1), rank the challenges you encountered during your project.
Asking questions and brainstorming ideas for the project
Gathering information, going through and breaking it down to understand it
Getting equal contribution and cooperation from my team members
Feeling awkward or nervous in having to speak up
Lacking access to or skills in information technology
important” (1 point). The highest combined overall weighted score for the two classes was 278 for “choice of topic and areas of focus”. This was also the most important factor for both 6C and 6D.
The second highest (260 points) went to “choice of team members”. Again, this was unanimous for both 6C and 6D. For 6C it had just a one-point difference from their topchoice factor, with 141 points.
When it came to the third highest (204 points) for “gathering and processing the information”, there was a difference in ranking between the two classes. 6C ranked this third highest, giving it 121 points. However, 6D ranked it last, giving it only 83 points. It should be noted that this was very close to the fourth ranking (84 points) factor, "use of information, communication and technological tools" and the third ranking (88 points) one, “cross-sharing of ideas with one another”.
We have to be mindful when comparing data because students’ preferences differ
Overall 6C/6D
270 142/128
throughout the classes. Hence this analysis gives us a good idea of student preferences across different classes.
Quantitative Analysis 5.
I examined how students ranked the challenges they encountered during the project in a similar way to gain better understanding of their engagement and motivation. As before, the “greatest” is given 5 points and the “least” gets 1 point.
The most challenging factor for both classes was “asking questions and brainstorming ideas for the project”. This led with the highest combined overall weighted score of 270.
The rest of the factors lagged far behind with overall points of 239, 233 and 228. While “gathering information, going through and breaking it down to understand it” ranked second overall, 6C ranked “getting equal contribution and cooperation from team members” second whereas 6D ranked “feeling awkward or nervous in having to speak up” second.
Contrary to expectation, “lacking access to or skills in information technology” lagged way behind for both classes. This was not a major concern for students.
Open-Ended Questions
I closed the questionnaire with three openended questions so as to gather points which I might have missed when crafting the survey.
Qualitative Analysis 1.
One challenge which stood out from the rest was “asking questions and brainstorming ideas for the project”. Initially I thought that this would apply only to the Conceptualisation phase. However, as I went through my students’ responses to the open-ended questions at the end of the survey, I found that I could not really draw the line there. As it turned out, the conceptualising, investigating and concluding phases were cyclical, requiring
For example, “Asking questions as the members of the group have covered most of the questions I have in mind” could be a challenge that students had to undergo throughout the whole inquiry process. Similarly, with information gathering and choosing content to present.
Another was “Make the content of our slides and getting the attention when we share…” which seemed like part of the conclusion phase, but could also entail conceptualisation and decisionmaking in preparation for the presentation.
I feel that students may be used to being “spoonfed” information, thus having to do everything by themselves would naturally be tedious, requiring more time and effort on their part. Yet, it is by going through the entire inquiry process that students learn the most.
QUALITATIVE ANALYSIS I
“Asking questions as the members of the group have covered most of the questions I have in mind.”
“... part where we have to do at home on our own.”
“... gather information and look for pictures and videos.”
“Making the slides as it took a while to find information.”
“... very hard to find stuff.” “... finding resources for the presentation.”
“Research as it was hard to verify some information.”
“... information gathering as some searched were out of the topic.”
“... find a good song as I took a while to find a song that was relevant.”
“... choose what to include as there was a wide diversity of information...”
“Choosing the content as there are many things I want to present.”
“Choosing music.”
“Hear-Think-Wonder.”
“... reflect about what we have learnt because I forgot some parts.” students to make decisions along the way and to repeat the cycle as they navigated through their project.
“Make the content of our slides and getting the attention when we share...”
QUALITATIVE ANALYSIS II
Which part of the lesson did you enjoy? Why?
Assess & Present
“... where my friends and I were sharing information with one another. We had the opportunity to break down all the information and organise them.”
“When we watched others’ interesting presentations.”
“When I got to present my song so others can hear what a good song it is. I hope we could be able to present longer though.”
“I like all the humour and all the nice music.”
“The presentation part as we could learn from each other! Moreover, we could improve our skills such as communication.”
“Listening to music found by classmates as I can... relax for a while.”
Qualitative Analysis 2.
As discussed, the drop in students' motivation level might be attributed to the sheer time and effort required to work through the whole inquiry process.
While a number of students found “getting the attention when we share” challenging due to various factors ranging from personal disposition to audio-visual equipment and time constraints, a good majority of them enjoyed the conclusion phase the most as it gave them the opportunity to present their own findings as well as learn from other groups. One student liked having the opportunity to break down the information gathered and organise it with fellow team members. Another liked that others could hear the music they had chosen. Some enjoyed simply sitting back to watch or relax for a while. It is noteworthy that students’ learning did not stop even as they took in their classmates’ findings. This is what makes the IBL approach very efficient.
Qualitative Analysis 3.
Among the joys and challenges that the students surfaced, I am heartened most by what they would do differently moving
1. Asking questions and brainstorming ideas for the project, and 2. Gathering information, going through and breaking it down to understand it were the two top challenges from the “Inquire & Investigate” part of the IBL approach.
wide and I only had 30 minutes of face-to-face time with the students per week. However, except for one group in each class which submitted their work late, the rest of the 18 groups rose to the occasion: all presented their parts at the stipulated times.
forward to improve themselves, such as asking more questions to clarify doubts, finding information more efficiently, including more background information for audiences to understand better, speaking more loudly, making witty jokes, ensuring that team members can contribute better by helping them out, and not giving up. These, I believe, are attributes which will benefit all students in their learning even beyond the music classroom.
Discussion
Based on the findings, my students seemed pretty engaged and well-organised. In the questionnaire responses, students gave feedback that they had found:
1. Choice of topic and areas of focus, and
2. Choice of team members to be the two top ranking factors which contributed towards their learning. It bodes well that they would renege on neither topic nor group members whom they themselves had chosen.
Yet, the whole process was far from what I had anticipated it to be. As gathered from students’ responses, on the whole:
Despite the challenges students said they encountered, they were often hyped up and energetic during music lessons, buzzing with noise, unpredictable findings, and charging around in all directions. Even though I repeated my instructions many times and tried to scaffold or suggest improvements on their Google Slides, my comments or editing would simply get deleted and students would carry on in their own merry way. After two tedious weeks of round-the-clock surveillance of their Google Slides, I resorted to printing out hard copies with general handwritten comments every week. Even then, I could not guarantee that the students would act on my notes.
To be honest, it was a rather chaotic and daunting experience for me as the research topics were
As shared, the overall coverage of each presentation exceeded my instructions and covered a far wider range of material than what was found in the textbook. The students had amassed a lot of information and could not bear to discard any part of their hard work. When asked to decide on one piece to present, they were torn between choosing their own songs and their team members’. In the end, they presented all the information they had.
Students’ motivation stemmed from being able to probe topics of interest to themselves, as well as the level of peer support. Both of these acted as intrinsic catalysts to spur their learning. This translated into increased engagement where even less enthusiastic students were observed to have either contributed towards the information or learnt through presenting their team members’ findings.
QUALITATIVE ANALYSIS III
What is one aspect that you would do differently moving forward? How?
Inquire & Investigate
“... ask more questions. For me, I was little afraid to clarify my doubts, so I just let it be...”
Assess & Present
“... include more background information about the music we presented so that viewers could understand more about it.”
“... gather better information.” “... think about the amount of information.”
“Try to look for more details, pictures and videos.”
“Find the source.”
“... make the information presented short and simple.”
Teamwork & Others
“... make sure all members are contributing by helping them out.”
“... do zoom calls with my teammates.”
“Taking notes of the lesson.”
“... try to be more confident.” “The amount of time given to do the project.”
“... find information more efficiently.” “... speak even louder and make witty jokes.”
“... never give up.”
While the process was tedious and required much time and effort from the students, majority of them found their learning enriched and felt that they learnt more along the way. From their presentations and reflections, it can be seen that a much wider scope of every topic was covered by the students, compared to the materials provided in the textbook.
Reflection on Challenges
The main challenge I faced was lack of time for my students to fully appreciate one another’s works. While the students had spent considerable effort on the inquiry and investigation part of their respective group projects, I could only afford each group 15 minutes of presentation time. Given that each class had about 10 groups, just the presentations alone took up the bulk of our time, spanning five weeks. This was excluding examinations and school events or holidays. Hence presentations were often rushed, without time for a question-andanswer session or a proper wrap-up by me. Digesting the vast amount of information presented was also not easy for the students.
One critical piece of feedback that I received from subsequent independent focus group discussions was that students found the lessons long drawn as much of their time centred on research, presentations and surveys.
Also, while they were given their choice of topics in the Orientation phase, as well as in areas of focus for the Conceptualisation and Investigation phases, they ultimately had to sit through frontal presentations of all the topics shared in the Conclusion phase. In focusing on the first three phases of IBL, I had overlooked that the Conclusion phase was equally vital, especially when the students were sharing on totally different topics.
Perhaps I could have had students share in the form of a gallery walk whereby three or four presenting groups set up booths during each 30-minute lesson, with audiences choosing the booth they want to visit. This could allow for more personalised, interactive and engaging sharing. Both presenters and audiences would have more time to explore the topics with one another. In addition, this mode of sharing would better sustain students’ interest compared to frontal presentation, and eliminate factors such as information overload or presenters’ proximity (which might undermine both the presenters’ and audiences’ learning experiences).
The two weeks saved could be used for handson performing activities instead. Students could vote for the topic they would like to explore playing music to, while I facilitate accordingly. The additional time could also be used to close up learning gaps observed through the feedback process and allow me to more explicitly link applicable music concepts from the music syllabus to students’ chosen repertoire. Based on the latter, I would have a better idea of my students’ interests and be able to research accordingly on how to better teach applicable music concepts at their level.
I could also start the P5 students on some of the topics or thinking routines using Confirmation or Structured Inquiry first, so that asking questions would not be challenging to them.
For primary school students, factors like time and readiness need to be judiciously considered. Guidelines could be fixed earlier to ensure that collaborative learning parameters are in place. Proper procedures in terms of feedback could be implemented so that students can follow up independently and then feedforward to close their learning gaps. Students could also be guided to provide feedback to one another.
The above preparatory work, as well as proper planning of the scope and scale of the project in relation to existing school structures like timetables and allocated time, would ensure that the IBL approach is in line with the optimal use of the 30-minute weekly music lessons.
Conclusion
To summarise, these are the key characteristics of IBL: firstly, the teacher is a guide on the side, empowering students to ask questions; secondly, students rely on themselves to solve problems and find the answers; and thirdly, the process may seem messy, but students learn more quickly.
So how were my P6 students engaged and motivated when IBL was used in their learning of music from different cultures?
From my observations, IBL adequately covered all five dimensions of meaningful learning as students tapped on their prior knowledge and extended it through hands-on, experiential inquiry and investigation. The collaborative and self-directed aspects of the process hastened the speed of learning despite it being seemingly messy. Most importantly, because some of the students were culture bearers, the ability to select repertoire of interest to themselves and their peers made for
authentic learning. It also demonstrated their ability to make connections between respective cultures and the real world.
Despite challenges, my students’ musical learning was evident from the quality of work produced. This can be attributed to the IBL approach which spurred them to complete their project with (largely) self-directed engagement and motivation, even in the face of constraints and difficulties which might have clouded their enjoyment of the process. These learning dispositions, honed by the IBL approach, will benefit them beyond the music classroom, and also serve a reminder to myself as an educator to constantly inquire, investigate and improve so as to be a good role model for my students.
This is also in line with the Ministry of Education’s latest drive to prepare our students to connect, collaborate, and create in order to become futureready students who are open-minded, curious and collaborative in learning; resilient, adaptable and courageous in navigating new frontiers and changing circumstances; and creative in designing tomorrow’s solutions to tomorrow’s challenges.
Acknowledgements
| I would like to express my heartfelt thanks to my Principal, Mrs Lim-Foo Boon Ching for her endorsement and support, without which my Critical Inquiry project would not have been possible.
| I would also like to put on record my appreciation to the students of Primary 6C and 6D of the 2022 cohort who walked this experimental journey with me, amazed me with their resourcefulness, and from whom I have learnt a lot.
References
• Banchi, H., & Bell, R. (2008). The many levels of inquiry. Science and Children 46(2), 26–29. https://www.jstor.org/stable/43174976
• Brown, K. L. (2003). From teacher-centered to learner-centered curriculum: Improving learning in diverse classrooms. Education 124 (1), 49–54. https://link.gale.com/apps/doc/A108911203/AONE?u=mlin_b_bumml&sid=bookmark-AONE&xid=f4903567
• Dewey, J. (1997). How we think . Dover Publications.
• Hayes, D. (2013). Joyful Teaching and Learning in the Primary School Learning Matters.
• Pedaste, M., Mäeots, M., Siiman, L. A., de Jong, T., van Riesen, S. A. N., Kamp, E. T., Manoli, C. C., Zacharia, Z. C., & Tsourlidaki, E. (2015). Phases of inquiry-based learning: Definitions and the inquiry cycle. Educational Research Review , 14, 47–61. https://doi. org/10.1016/j.edurev.2015.02.003
• Piaget, J. (1971). Psychology and epistemology: Towards a theory of knowledge Grossman.
• Scott, S. (2007). Multiple perspectives for inquiry-based music education. Musicien Educateur Au Canada 49(2), 35–38.
• Spencer, J. (2017, December 5). What is Inquiry-Based Learning? [Video]. YouTube. https://www.youtube.com/watch?v=QlwkerwaV2E
Figure 2.7: Students’ Presentations.
Authentic Learning through Student Construction of Real-World Scenarios in Composition Assignments
Introduction
My investigation into authentic learning through composition assignments started in 2022. In a previous iteration of this composition unit (Cartwright, 2022), I gave students a choice of 10 different authentic tasks to choose from, to compose a piece of music. The feedback from the students was that they found this provision of choice relevant and valuable. Students completed the assignment individually. I aided those who were struggling (either due to skill level, motivation or creative thinking) primarily through setting up peer tutoring networks. For this year’s iteration of this unit, I wanted to deepen the Inquiry-Based Learning (IBL)/ Character and Citizenship Education aspect of the task by asking students to create their own authentic tasks, and further leverage on peer tutoring by having the students complete the task in small groups.
Inquiry Question
How do my students experience authentic learning through student construction of real-world scenarios in composition assignments?
Methodology
This is the second cycle of an action research that commenced in 2022. In this cycle, I have used reflections and surveys.
Target Audience
| One Express class
| One Normal (Academic) class
Data Collection
| Teacher lesson reflections
| Student surveys
Duration | Term 3, 2022
Pedagogical Frame
IBL (Inquiry-Based Learning)
“IBL in music advocates authentic music learning experiences that develop 21st century skills such as critical thinking, problem-solving, collaboration, communication, and creativity. The approach focuses on music-making and develops the students’ musical knowledge and skills through placing students’ observations, questions, and responses at the centre of the learning experience.” (STAR-Post (Music), Jan 2020, p.14).
PAL (Peer-Assisted Learning)
“Peer-assisted learning – an instructional arrangement where peers help each other to gain knowledge and skill through active help and support – entails individuals sharing knowledge until it becomes a common possession.” (Topping & Ehly, 2001).
Peer-assisted learning (PAL) often leads to meaningful gains in music achievement, student engagement, self-concept, and motivation to learn (Alexander & Dorrow, 1983; Darrow, Gibbs, & Wedel, 2005; Goodrich, 2007; Johnson, 2011; Johnson, 2013).
PAL is also a way for teachers to create a community of learners where the “open
WEEK
flow of ideas”, the “faith in the individual and the collective”, and the use of “critical reflection to evaluate problems” are all cultivated aspects of student experience... these aspects of PAL also help to promote the ideals of democracy in education. (Apple & Beane, 1995; Johnson, 2015, p.35).
PROCESS / CURRICULUM OUTLINE
1 | Students complete Lessons 1–3 from an online keyboard course (https://jamzone. musicwill.org/lessons/intro-to-the-keyboard/). The course covers keyboard orientation, basic chords, play-along tracks and video tutorials for independent learning.
| Students deep dive straight into the virtual keyboard using the GarageBand App on the iPad.
| At the end of the lesson, the teacher conducts a quiz on the keyboard layout using the ‘cold calling’ strategy, along with a name randomiser, to select students to perform in front of the class
2 | Students revise the keyboard layout.
| They complete a lesson on Bruno Mars’ “Uptown Funk” (https://jamzone.musicwill.org/ lessons/style-uptown-funk-mars-ronson-feat-bruno-mars/).
| Students practise the lesson as a class, with time for personal practice (approximately 10 minutes). Students are then cold called to perform a section of the song along with the teacher in front of the class.
| The aim is to get every student in the class to perform, if possible. It is important that the students have the expectation that they WILL perform in front of the class, to encourage them to practice.
| Suggested IBL work: Lessons 6 to 17 on musicwill.org
3 | The students are introduced to “Glory” by John Legend, and engage in a short class play-a-long using virtual instruments on GarageBand.
- Common and John Legend Perform ‘Glory’ From 'Selma' | The New York Times
| The teacher demonstrates how to record the piano part (8 bars) on GarageBand.
| Students learn how to add a bass part, and the importance of matching the notes that the bass is playing to the chords of the piano.
| Students record a virtual drum part. No loops or pre-recorded drummers are allowed for this task.
| Students submit their recordings as part of AfL (Assessment for Learning).
Michael Cartwright
Yio Chu Kang Secondary School
4 | Consultation time, and reteaching the recording process is provided as necessary.
| Students are given time to complete and then share their AfL task with the class.
5 | Students create a 30-second advertisement by recording their voice using the iPad (this is used as part of AfL).
| Students are introduced to loops for the first time as an option to use for their advertisement.
| Students have the option of watching a video of the teacher walking them through the process on Showbie, or diving straight into the task.
6 | Consultations and ‘cold calling’ to monitor student progress.
| Students are given time to complete and submit the 30-second advertisement.
7 | Through SLS (Student Learning Space), students are directed to MySkillsFuture to investigate careers related to composing for advertisements.
| The teacher emphasises that music can play a role in all careers, not just the music industry specific ones. For example: online advertising/websites, creating ambience in the workplace.
/ CURRICULUM OUTLINE
Data Collected
In the previous iteration of this unit, I had to invest a fair amount of lesson time during the AfL task motivating students to work, suggesting a particular job assignment for them to complete, and then as the more highly motivated students completed their work, directing these students to assist others through peer tutoring.
With the changes made in this iteration I was hoping to engage all students more through the student creation of an authentic task, and to see evidence of peer tutoring from the start of the assignment.
Observations
Issue 1: Time
The timing of the project, and the need to streamline and create shorter deadlines. I would have liked to have done the initial two AfL tasks in Term 2 and started Term 3 with the Jingle, giving more time for the groups to complete the Assessment of Learning. Circumstances prevented me from achieving this so I had to squeeze everything into Term 3.
Issue 2: Students setting and meeting their own objectives
To an extent, through the details that they put into it, the job assignment or poster could be regarded as rubrics that the students set for themselves (though it being an AfL task, I had my own over-arching rubric to assess all). Some students set parameters such as length and then failed to meet their own requirements!
For example, the “composition must be two minutes long” but the composition I received was only 40 seconds long. Some of their interpretations of what a particular genre (that they had specified) sounded like were also fodder for further conversations.
Issue 3: Delayed decision making
Some students kept discussing idea after idea without coming to a firm decision and moving forward with the project. With a couple of the groups, I had to push the group leader to come to a firm decision and get started.
Students’ Responses
There were two key areas that I was interested in getting student responses on.
1. How they felt about working collaboratively in a group on the assignment.
2. Evidence of peer-assisted learning.
FEEDBACK FROM THE EXPRESS CLASS
“I would like to work in a group as different people have different views of things and can be interesting at times.”
“I like to work in the group as I know my teammates know things I do not know. Sometimes I do not know how to do things in GarageBand but my teammates helped me.”
“We can collate our music tastes and come up with one that we all agree with and some people are good in drums and I am good in piano so we can combine that and do together.”
“It tends to make better work as in a group we can evaluate our peers’ work and to push each other to create better work.”
“Because when we need help there will be people helping and you are not alone.”
FEEDBACK FROM THE NORMAL (ACADEMIC) CLASS
“I like to work in groups because I can talk about other people's perspectives of the project.”
“I like working in groups because they can come up with different ideas for music.”
“I like working in a group as I can talk to my friends and share our opinions and we can have a lot of options from each other.”
“We can work more efficiently as a group and get things done faster, we also get the time to check for mistakes and improve our product quality overall. Working as a group also means that you can strengthen ties and relationships with your friends, thus killing two birds with one stone.”
“I like working in a group so I can ask my team members for help.”
Discussion
Asking the students to create their own job descriptions added a whole new dimension to the existing project. Rather than choosing from options that I had written from my point of view, the students had to engage in discussion, negotiate, and create the job description for themselves. This also had the added benefit of giving me insight into what was engaging and important to them. It also allowed me to fulfil aspects of my personal philosophy of education as inspired by John Dewey (1916): | Empower students to follow their own interests.
| When possible, build flexibility into the course, such as providing several topic options or methods to solve a problem, giving students a sense of control.
I am not only creating ‘authentic tasks’ in this reiteration, I am also facilitating the students’ in a creation of their own. This reminds me of another quote from Dewey, and one thing I find inspiring about this is that he wrote it over 100 years ago!
“As students grow mature, they will perceive problems of interest which may be pursued for the sake of discovery, independent of the original direct interest…” (Dewey, 1916, p.126)
From the above, I am convinced that peerassisted learning works. Where previously I had to provide most of the assistance to students in need myself and very little time could be spent assisting students who had technical or skill set problems, this time around, I was more concerned with social interactions and group dynamics as students were engaged in their task thanks to the enthusiasm of their peers in the group. I also became the second option for students who sought advice as they turned first to their peers within their own group, and then later across groups for help. Furthermore I was able to facilitate cross-group collaboration by recommending individuals whom the class could consult. This gave me the opportunity to publicly praise students who I observed doing good work.
Limitations / Challenges
Having to cram this unit into one term was a big challenge. I would have liked to spend more time with the students, helping them to develop their GarageBand skills with recording and mixing. Another opportunity for IBL arose from this challenge: through Showbie, I shared some video links to tutorials on mixing and editing that students could access in their own time. It was necessary to point out that mixing and editing is an essential part of the recording process as some students think that the recording marks the end of the process and don’t listen carefully enough to their own work to realise that the balance of parts (for example) is an issue.
Despite issues such as the ‘free rider problem’, the benefits of group work in the music class far outweighed the challenges. The classes clearly enjoyed working together, and peer tutoring would occur under the right conditions. I feel that these conditions are largely social in nature. Earlier in the year, I spent nearly half a lesson having a discussion with the class about group work, leadership, and the ‘free rider problem’. This is time worth investing as I feel that it makes for better group dynamics as the year progresses.
Delayed decision making was a challenge for some groups, which needed my assistance to come to a firm decision and move on with the assignment. In the future I will spend some time talking to the whole class about this, just as I did with the ‘free-rider problem’.
Many real-world problems are solved in teams. By constructing an activity that includes this aspect, students have the chance to build their communication skills. (ABLConnect, n.d.)
Conclusion
I am loving the ‘authentic learning experience’ journey, and it is something that I will continue to actively co-construct with my students. The next step will be for me to explore co-construction of rubrics with students for AfL tasks.
My journey with the common curriculum starts in 2023, and will be a vital component of that journey. I will also be continuing my deep dive into leveraging this approach with my students. One of the unexpected outcomes from this task is that the standard of work produced by the N(A) students is at least comparable, if not higher than that of the Express class. I surmise that this might boil down to group dynamics and how effectively they work together.
References
• ABLConnect (n.d.). Make real-world connections to course material https://ablconnect.harvard.edu/make-real-world-connections-course-material
• Cartwright, M. (2022). Authentic learning through real-world scenarios in composition assignments. In STAR (Ed.), Sounding the Teaching VI: Imagining Possibilities , p. 208–218. STAR.
• Dewey, J. (1916). Democracy and education: An Introduction to the philosophy of education . Macmillan. Johnson, E. (2015). Peer-teaching in the secondary music ensemble. Journal of Education and Training Studies 3(5), 35–42. https://doi.org/10.111114/jets.v3i5.906
(Academic) class.
SECTION 6
Social and Emotional Learning
Special Education Needs
We close this issue with a section on special education needs. Understanding different kinds of needs and how we can approach them helps us develop the best strategies to build an inclusive and safe learning environment for all.
168 Alexandria Kirsten Tobias’ vignettes reveal useful and creative approaches that help students with ASD (Autism Spectrum Disorder) and ADHD (Attention Deficit Hyperactivity Disorder).
174 Dawn Kuah demonstrates how principles of Universal Design for Learning can be used in the planning of an inclusive music classroom by using Scratch (a visual programming language and website) as an ICT platform to engage students.
Supporting My Students with SEN in Their Music Learning
Introduction
I started my inclusive classroom journey last year and wanted to continue my learning and growth in this area as my students with Special Educational Needs (SEN) continually inspire me to look for ways to support them in class. A student in my form class last year was diagnosed with Autism Spectrum Disorder (ASD) and it was inspiring to see his classmates help and support him. Many of them wanted to be his buddy and to help him along the way. Even when he had meltdowns and started crying, his classmates were there to calm him down or cheer him up. If my students can adapt and find ways to help their friend, so can I. When the teacher role models such behaviour, it affirms the students who are helping their classmate. It also allows other students to follow what they see, thus building a positive and nurturing inclusive classroom culture.
The MOE (Ministry of Education) music syllabus is developed on the premise that "all children are musical and have the innate ability to listen, sing, dance, play and express themselves musically". Clearly, inclusion is built into the MOE syllabus, and in line with MOE’s emphasis on SEN support through SkillsFuture for Educators.
In an online lecture hosted by STAR in 2021, Dr Sheila Scott, associate music professor from Brandon University, discussed the terms ‘Equity’ versus ‘Equality’ in education. ‘Equality’ involves completing a task in the same way, while ‘Equity’ embraces inclusion and fairness – instructions are diversified so all students can have fair access to achievement levels that are appropriate to each individual (Scott, 2020).
Special Education Needs –ASD and ADHD
This study examines two particular Special Education Needs – Autism Spectrum Disorder (ASD), and Attention Deficit Hyperactivity Disorder (ADHD). The definitions of these conditions are as follows:
ASD is a lifelong neurodevelopmental condition. It is characterised by:
1. Persistent impairment in reciprocal social communication and social interaction.
2. Restricted, repetitive patterns of behaviour, interests, or activities.
3. Symptoms of ASD from early childhood and limitations or impairment in day-to-day functioning. Local prevalence rates are not known exactly but there are at least 400 new cases diagnosed annually in Singapore (NUH, 2022a).
ADHD is a neurodevelopmental disorder characterised by deficits in attention, concentration, activity level, and impulse control. Symptoms are usually present in early childhood but may only significantly impair the child when they enter school. ADHD cannot be ‘outgrown’ but children can adjust well to school and adult life if they receive early intervention (NUH, 2022b).
Methodology
Case Studies
I focused on two case studies (two students). One student was in Primary 1 (Student A) and the other was in Primary 3 (Student B). Student A had resonator bell lessons while Student B had cajon and ukulele lessons.
Student A Suspected ASD and ADHD
STUDENT PROFILES
| Disorganised, loses things easily
| Often uses his outside voice to prove his point
| Does not like to be left out
| Prefers to talk to and help adults and yearns for attention
| Echolia (very good memory)
Student B Diagnosed with ASD
Profile of Student A
| Loves animals, picture books, stories
| Responds well to scripts
| Retreats to imagination easily
| Afraid of failure/intimidated by challenges
Student A is suspected to have ASD and ADHD.
Student A was in my form class this year, thus I was able to spend a bit more time with him. Using the ecological framework, I was better able to understand his background, and identify strategies to help with his learning dispositions.
Profile of Student B
Student B is diagnosed with ASD. Student B was in my form class last year, hence I was familiar with his profile and background. I had meetings with the Senior Teacher (ST) for SEN, Allied Educator for Learning and Behavioural Support (Allied Educator Team), as well as his parents, to better understand the strategies that they have used and how effective these were for him in school.
Data Collection
| Weekly video recordings | Observation
Duration
| Case Study for A: 4 – 6 weeks, 1-hour lesson/week
| Case Study for B: 10 – 12 weeks, 1-hour lesson/week
Pedagogical Frame
Ecological Framework
The Ecological Framework (Poon & Khaw, 2007) helped me to identify the key underlying causes and maintaining factors of the students’ difficulties. There are five factors that make up the ecological framework, namely student, peer, teacher, curriculum, and physical environment/ external factors.
Universal Design for Learning
The Universal Design for Learning (UDL) framework (CAST, 2018) helped to enhance the teaching in class for my students with SEN. The UDL is a framework to improve and optimise teaching and learning for all people based on scientific insights into how humans learn. It provides multiple means of engagement, representation, and action and expression. For my research, I focused on Self-regulation (under engagement) and Perception and Comprehension (under representation).
Overview of Tools
Student A
| Resonator Bell module – Behaviour Chart
| Resonator Bell module – Coloured resonator bell paper guides
Student B
| Ukulele module – Personalised stickers
Stickers helped to tell a story and improve recognition of chord fingering
| Cajon module – Post-it notes
Post-it notes were used to identify ‘Bass’ and ‘Snare’ sounds
Student A’s Resonator Bell Journey
We were learning the song “Bow Wow Wow” on the resonator bells. I wanted to activate Student A’s background knowledge and highlight the patterns in the song for him so that it would be easier for him to recognise the notes and play the song with more ease. The song uses the notes do, mi, and so in the third line of the song.
Student A had a bit of difficulty with this as the notes were not next to each other. I asked the students in the class to pick up the do, mi and so keys on the resonator bell and put them together. I then asked them to observe if this looked like something they had seen before in real life. I gave them a hint: it was something that they could see on the way to school every morning. Our school
is close to a big traffic junction and many students walk to school. Thus they are familiar with the environment around the school, and were able to tell me that the colours of do, mi and so looked like a traffic light.
This traffic light strategy was inspired by Sobol’s (2017) use of universal colours and signs, in which the use of universal colours such as red, yellow and green helped to activate students’ background/existing knowledge. This helped not only Student A, but also his classmates, to link ideas together and to play the song without much difficulty.
Another strategy used was for the mi, re and do notes. I asked the students to think of a popular fast food restaurant chain, and they came up with McDonald’s. Making this connection helped Student A to identify and cluster the notes together comfortably and recognise patterns from the colours he saw. The class supported him by singing the notes and scripts to help him practise and perform.
I also created a behaviour chart for Student A in order to help him improve his learning dispositions. The chart had four different behavioural targets that we wanted him to meet.
I chose four behavioural targets as my school’s ST for SEN had advised me to try three or four behavioural targets at a time.
Instead of circling the smileys on the chart, I crossed them out when Student A misbehaved. As a result he would try to behave better because he wanted to ‘protect’ his smileys. This worked most of the time.
Once, I took away his resonator bells because he did not follow the rules in class. He was very upset and started to shout. I realised he thought he was being left out as he was the only one in class without an instrument. To manage this situation, I left the resonator bells with him but closed the cover of the resonator bells box. He was only allowed to open the cover and take the resonator bells out to play after a time-out.
I found that it was important be selective of the words I used with Student A. He did not like the words "sit out" but was fine when I used the words "time out". After talking to his parents, I learnt that this was a strategy his kindergarten teacher had used, hence he was comfortable with it and understood its purpose.
Student B’s Cajon and Ukulele Journey
Student B was also from my form class. Previous discussions with my fellow Form Teacher, ST for SEN and Allied Educator Team helped me understand his background better, including how he responded to strategies like the scripts that his parents used at home. We tried to follow the routines his parents and form teachers had set for him as much as possible, so that the consistency would help him to feel more at ease in class.
Student B’s lessons included a cajon and ukulele module in school. For this module we had a vendor to do the teaching so I was able to spend a bit more time with him during these lessons than in a normal classroom setting.
Using the UDL framework (under representation), I tried to provide him with options for comprehension by guiding the information processing and visualisation of the rhythms being played during the lesson.
In the beginning, I helped him to identify the bass and slap sounds with Post-it notes pasted on his cajon. We wrote a ‘B’ for bass and an ‘S’ for snare on the Post-its.
A behaviour chart for Student A.
It worked for a while but he did not like the feel of the sticky notes, and peeled them off. I told him he had to distinguish the sounds on his own, otherwise I would have to put them back on the cajon. He then tried his best to remember the locations on the cajon for the different sounds.
The first song that the students learnt on the cajon was “Dance Monkey”. This (below) was the visual support provided by the instructor. She also verbalised the counting for the students by chanting, “Bass, Snare, Rest, Snare” as they played.
the chords was not clear. This was because his thumb was always shifting, making it difficult for him to press on the correct strings with ease. Therefore, I pasted a green sticker on the ukulele to serve as a visual guide for where his thumb should be positioned.
In addition, I used a simplified diagram (compared to the usual chord diagrams) and created a story for him to remember where the chords should be and what fingering to use. This was because he was having difficulty finding the chords and using the correct fingering for each chord.
remove them through trialling different strategies. For example, the selection of material is important in helping to provide scaffolding and encourage small successes for the students. Linkages between concepts should be clearly highlighted and repeated so that students are able to make connections easily. With these they will be able to apply what they have learnt, and feel a sense of achievement as they complete their work.
For Student B however, the “Bass, Snare, Rest, Snare” script did not work. He had difficulty with the length of the rest, and played the second snare late. This was because he was too dependent on listening to the verbal cues. I suggested to him to express the rest with a movement so that he would be able to come in on time for the second snare. After trying this method he was able to come in on time not only for
this song, but also for the next song that the class learned.
In addition, his buddy also used the same technique for herself while practising so that she could remind him during this lesson and the next. One of his other buddies added that “It really helps!” and that the movement I taught Student B had also helped her to come in on time when playing the cajon.
The ukulele module was taught over the course of a few weeks. Using the UDL framework (under representation), I tried to provide options for perception by customising the display of information for Student B using stickers. Under the UDL framework (comprehension), I tried to activate Student B’s background knowledge and to maximise the transfer of knowledge of the chords and positioning through storytelling and mnemonic devices.
During the class’s first practice on the ukulele, I taught them that hand positioning was important as it could help them when placing their fingers for more difficult chords. However, I realised that the sound Student B was producing when he played
However, when we started playing the songs, he did not know when to change chords. Initially I had seated him in the front row, hoping that it would be easier for him to follow, and to see if he could manage without his buddy. When I realised he was not changing his chords, I asked him to sit with his buddy instead. She sat opposite him so that he could mirror her playing. He was then able to follow the timing of the chord changes more easily.
Conclusion
The UDL framework challenged me to think of different ways to support students with SEN, as well as help other students. In future projects, I would take note of student feedback, particularly from the buddies/ classmates who assisted their friends with SEN through the lessons.
Based on knowledge from the Ecological Framework, we can better understand the barriers to learning so that we can help
References
It is also important to note that a community of support is important. I am grateful that Students A and B had supportive classmates. I also have support from fellow colleagues, FTs, AEDs, LT SEN, and the music fraternity who continually help me to understand and support my students. As we come together and share our experiences, we are able to discuss different strategies and apply what we believe is best for our students.
What works for one student may not for the other, hence this is a journey that involves constant trialling, re-trialling, and change. However as long as we are able to recognise every student’s distinctive learning style, and are intentional in our approach towards helping them, we will be one step closer to creating an inclusive classroom for all students.
Acknowledgements
| I would like to thank Mdm Suriati bte Suradi and Mdm Jessica Chaw for their guidance in creating the inclusive classroom. I would also like to thank my school for supporting my inclusive classroom research.
• CAST (2018). Universal Design for Learning guidelines version 2.2. http://udlguidelines.cast.org
• NUH (2022a), Health Information, ASD (Children). https://www.nuh.com.sg/Health-Information/Diseases-Conditions/Pages/Autism(Children).aspx
• NUH (2022b), Health Information, ADHD. https://www.nuh.com.sg/Health-Information/Diseases-Conditions/Pages/AttentionDeficit-Hyperactivity-Disorder-(ADHD).aspx
• Poon, KK. & Khaw, J. (2007) Supporting students with special needs in mainstream schools: An introduction. Pearson/Prentice Hall Scott, S. (2021). Inclusive education by Sheila Scott [video presentation]. Retrieved from STAR video repository: https://vimeo. com/512912747/6750f4e9ab
• Sobol, S. E. (2017). An attitude and approach for teaching music to special learners (3rd Edition) . Rowman and Littlefield
Creating an Inclusive Lower Primary Music Classroom by Enhancing Students’ Learning Experience with the Use of Scratch Programming
| Conduct post-survey and compare results with pre-survey
| Conduct pre-survey prior to the lessons
| Prepare lesson packages
| Familiarise students with ICT tool (ie. Scratch Programming) that will be used in upcoming lessons
| Gather feedback on how to improve
| Reflections by teachers
| Execute the lesson package (SLS)
| Gather evidence of learning
| Learn from one another through social interactions and exchange of musical decisions and ideas, collaborative learning
Introduction
As lower primary level music teachers, we believe it is important to create an inclusive music learning experience so as to increase engagement for all students, including those with Special Education Needs (SEN). Hence the team of music teachers at my school set out to investigate how we could create an inclusive music classroom using programming tools such as Scratch to enhance music learning for students with SEN. Using Inquiry-Based learning (IBL) with technology like Scratch, teachers can design lessons for students to develop not just musical skills, but also social and communication skills. We have also observed that students face challenges when they
come together to collaborate. Therefore, these lessons also aim to develop their skills as collaborative learners.
Inquiry Questions
1. How can an inclusive music classroom be created using the Scratch programming platform and Inquiry-Based Learning (IBL) approaches to enhance students’ learning experiences?
2. How do students (including students with SEN) respond to Scratch programming as a learning tool?
Methodology
Target Audience
A mixed-method design was adopted to collect and analyse both quantitative (closed-ended) and qualitative (open-ended) data.
| Target group: Primary 2 students from seven MIxed Ability classes.
| Sample size: 185 students.
| Prior to this, students had four weeks of music-making activities. Students embarked on Scratch programming over the next 10 weeks. Students composed a song on the theme of “Saving Animals”. Music teachers then observed how students responded to Scratch programming.
Data Collection
The process involved three stages; presurveys, implementation, and post-surveys. The data collection occurred during weekly 60-minute music lessons, from Term 3 till the early half of Term 4.
Sources of data:
| Photos of students’ works and their reflections which were posted on Padlet
| Observations and feedback from three music teachers
| Video recordings of students’ works
| Pre- and Post-surveys
| Samples of animations created using Scratch
Pedagogical Frame
Believing that every child has the right to quality education and learning, and that every child wants to and can learn, we seek to engage all students, inclusive of students with special needs, in a mainstream music class. In this study, we aim to deepen our understanding of Music Pedagogical Content Knowledge (PCK) and pedagogical understanding to establish an inclusive lower
primary music classroom, incorporating modification and accommodation strategies into lesson planning as part of the Universal Design for Learning (UDL) approach to successfully accommodate students with SEN.
Lee and Chang (2021) found that music technology could be harnessed to improve the social interactions of students with SEN as well as their motivation to participate with their mainstream peers. The UDL approach and guidelines support flexible conditions and ensure access and participation by all students, without lowering expectations or standards.
Students with disabilities have the capacity to participate in music experiences at different levels of engagement. The IBL approach will allow them to take ownership of their learning and help enhance their learning experience. In addition, they will have the opportunity to explore a topic using technology such as Scratch, while building critical thinking and communication skills.
Overview of Tools
Humble (2021) found that the use of programming in technology like Scratch (a programming tool that teaches coding) can be understood in five main perceived affordances in terms of 1) Play, 2) Discovery, 3) Adaptation, 4) Control, and 5) Freedom –all of which can be related to both student motivation and subject content. By engaging with programming technology through creation of play and using technology for discovery, learning becomes joyful and fun. In the process, teachers and students have opportunities to discover creative musicmaking through the use of technology.
Dawn Kuah
Dazhong Primary School
1 1 – 2 Lesson objective Success Criteria
1. Teacher demonstrates how to use Scratch and familiarise students with the interface
2. Students set up their accounts for Scratch
2 3 – 5
1. Students use SLS to create four lines of lyrics on how to save/ protect endangered animals based on the song “Naughty Kitty Cat”
2. Students sing and record their song in Scratch
3 6 – 8 (in their pairs)
1. Students sing and record their song on how to save endangered animals using Scratch
2. Students save and upload their tracks on Padlet for peer responses
4 9 – 10 (Padlet reflections)
1. Students share musical decisions and ideas about their song
2. Students critique other groups’ songs using assessment rubrics (i.e., checklist)
I am able to…
1. Explore and access Scratch with ease
2. Understand the task requirements
I am able to…
1. Investigate and learn about an endangered animal with my peer
2. Create four lines of lyrics on how to save the endangered animal
3. Work with my peer to sing and record our song using Scratch
I am able to…
1. Sing and record a four-line song using Scratch
2. Save and upload my recording on Padlet
Discussion and Findings Using Universal Design for Learning
MULTIPLE MEANS OF PRESENTATION
MULTIPLE MEANS OF ENGAGEMENT
MULTIPLE MEANS OF EXPRESSION
Modification strategies Accommodation strategies Students communicate their musical ideas and decisions using technology:
Materials modified for students with SEN:
I am able to…
1. Collaborate with my peer and discuss musical decisions/ideas about our song
2. Critique other group’s songs
Pre- and post-surveys were conducted after music teachers adapted the questionnaire to make it more inclusive by incorporating smiley faces and words highlighted in colours (as recommended in UDL) to support students with SEN in answering the surveys. This was an intentional move by the teachers to be inclusive. On page 177, is a sample of the pre-survey with coloured highlights for students with SEN. The pre-survey for students without SEN was in black and white.
| Sharing on slides: survey on soft copy is highlighted in different colours
| Worksheets crafted by teachers for students with SEN are printed in colour, with words highlighted and numbered
In SLS lessons, teachers work together to design an inclusive lesson experience for students:
| Reduce barriers of learning by giving students the autonomy to choose their improvised lyrics
| Prepare four-line lyrics in multiple choice format to help students with SEN in making their choices
| Using technology to help engage all students, including those with SEN –Scratch programming with voice function
| Students pair up to sing their song creation into Scratch –a coding software with voice and animation function
| Students take turns to type on the Chromebook that they are sharing. They discuss their ideas and transfer their creations onto worksheets
| Students upload their creations onto Padlet
| Students’ feedback and responses are shared using Padlet
Students’ Discussion in SLS
After their teacher’s discussion on Animal Conservation/Saving of Animals/Protecting Animals and Appreciation of Animals, IBL was used to structure students’ discussion on these topics.
1. Students planned, discussed and created a song in pairs/groups to share the message of saving and protecting animals, and did their own investigations.
2. Students adapted the tune of “Naughty Kitty Cat”* to compose their song (they have had prior experience in improvising a song) on three animals that are going extinct: shark, polar bear, and elephant). *“Naughty Kitty Cat” is the song “Naughty Pussy Cat" which the students learnt as “Naughty Kitty Cat”
3. Teachers introduced students to the Scratch programming platform, where students could choose their team’s favourite animal. Students designed their animated picture and their song composition. They could share their musical ideas and collaborate with their friends here as well.
4. On Padlet, students reflected on how they collaborated and communicated with their friends.
INQUIRY-BASED LEARNING
Ask – In class, students brainstormed about three animals that are going extinct, and why we need to save them
Investigate – In SLS, students worked in pairs to find ways to protect the animals
Create – Students clicked on given options of words to go with the tune of “Naughty Kitty Cat”
Discuss – Students discussed their musical ideas and made their decisions before singing into the Scratch programme
Reflect – This was done in Padlet (SLS –reflection/collaboration), where students had uploaded their Scratch music programming creations, and discussed their song compositions with the class
As a pair, students discussed which animals they wanted to save. Students planned and investigated. They then created their own song adapted from the tune of ‘Naughty Kitty Cat’.
Students typed out their lyrics, sang and recorded their improvised lyrics into Scratch. They then saved their newly created song with their selected animation.
The students then did their reflections in Padlet. They shared what they had learnt and how Scratch programming helped them to develop and share their musical ideas.
Data Collected
Students discussed musical ideas and they designed their animation using Scratch.
I pay attention to my friends when they are talking about their ideas
Pre-Survey vs Post-Survey
Pre-Survey Post-Survey
Observations on how students responded to Scratch programming, and students’ learning experiences.
Findings
| There was a strong positive trend from the post-data analysis for students’ learning experience.
| Over 80% of students could learn to use technology to make decisions, discuss
musical ideas, and create music with their peers.
| Students with SEN were helped and supported by their peers.
How do you work with your friends?
(Students’ responses on the use of technology like Scratch to enhance their learning experiences)
“I like working with friends because it is fun and we can learn together.”
“I like working with my friends because I can learn teamwork.”
“I like working with my friends because they remind us through our conversations, on what to do or not do when using technology.”
“I like working with my friends because I had a lot of fun creating music on Scratch”
“I like working together because we can come up with new things.”
“I like working with my friends because we have lots of fun creating our song.”
“I like working with my friends because I want to share and communicate with my friend.”
“I like working with my friends because it is fun and we share ideas with each other.”
“I like working with my friends because I learnt to be more engaged in my learning.”
“I like working with my friends because I had a lot of fun creating music on Scratch.”
“I like working with my friends because I like teaching my friend how to type properly.”
“I like working with my friends because I like to learn technology with my friend.”
“I like working with my friends because we get inspired together.”
Discussion
Using Scratch Programming Technology with UDL Guidelines
Following UDL guidelines (multiple means of expressions), students got to communicate their musical ideas and decisions using technology. They paired up to sing their song creation into Scratch and enjoyed expressing themselves with their voices together with their friends. Students with SEN also had the opportunity to express themselves through the use of voice recording (for their song creation) as they discussed, collaborated, and worked with their peers. All the students reflected and responded positively to the survey using technology. Overall, it can be seen that employing technology enhanced the activities for students in the inclusive class; their social interactions and participation were significantly improved.
| The results indicated that most students, including those with SEN, had positive social interactions, engagement and communication with their peers.
| Based on pre- and post-surveys conducted for the whole P2 level, we found that students’ cooperation and communication were effectively improved through music technology activities.
| 96.2% of students shared that they paid attention when their friends were talking about their ideas.
Using IBL to Plan, Investigate, Create, Discuss and Reflect, Students were Able to:
| Explore the material, ask questions, and share ideas. Students enjoyed teaming up with their friends to share ideas. They also liked having guided learning from teachers (using inclusive modified strategies) to create their improvised lyrics in Scratch.
| Memorise facts and material. Students learnt by doing and responding to one another. This allowed them to build
knowledge through exploration, experience, and discussion.
| Enhance the learning process by exploring topics independently in SLS. As they did their research on saving animals from extinction, students built critical thinking and communication skills by discussing and sharing ideas with their friends. Their social interaction improved.
| Take ownership of their learning. Students could explore the topic by themselves. This gave them an increased sense of ownership over their learning.
Limitations / Challenges
Challenges that we faced included limited time for the project due to administrative reasons (Monday and Friday classes were affected due to public holidays or events). We stretched our project for another two weeks, to early Term 4, to further support students in using Scratch. As students were in lower primary, another challenge we faced was in scoping and pitching the lessons at an appropriate level for them. This was especially so when teaching them how to use Scratch. It was also challenging to ascertain if the improvement in students’ learning experience was affected by limitations of technology, or UDL.
Conclusion
1. Using the UDL approach helped create an inclusive music classroom for all my students.
a) UDL strategies used included the modification of materials for students with SEN:
| Sharing on slides: survey highlighted in colour on soft copy.
| Teacher-crafted worksheets for students with SEN: printed in colour, with words highlighted and numbered. This helped them to be further engaged.
b) In SLS lessons, music teachers worked together to intentionally design an inclusive lesson experience for students, reducing barriers of learning by giving students the autonomy to choose their lyrics through multiple choice questions. Music teachers prepared four-line lyrics in multiple choice format in order to ease the process for students with SEN.
2. Using the IBL approach, students were able to:
| Plan, Investigate, Create, Discuss, and Reflect
It was heartening to observe students being engaged as they learnt to explore the material, ask questions, and share ideas with their friends. This creation module gave students an increased sense of ownership over their learning.
3. The use of Scratch programming helped enhance students’ learning experiences. It also helped improve students’ engagement in music, their social interaction skills, as well as their sense of cooperation and their communication abilities.
4. Employing technology enhanced class activities. The social interactions and participation of students in the inclusive class was significantly improved, and students said that they enjoyed making music and sharing musical ideas with friends.
5. Sustainability of project: This project was part of our Learning For Life collaboration, with an Applied Learning Programme focus. We music teachers found it interesting and feel that more can be done on learning with Scratch. In particular, further research can be done to uncover how UDL principles can be utilised in planning for an inclusive music classroom, using Scratch as an ICT platform to engage students with SEN.
References • Humble, N. (2021). Teacher observations of programming affordances for K-12 mathematics and technology. Education and Information Technologies, 27 , 4887–4904. https://doi.org/10.1007/s10639-021-10811-w Lee, L. & Chang, H. (2021). Music technology as a means for fostering young children’s social interactions in an inclusive class. Applied System Innovation 4(4), 93. https://doi.org/10.3390/asi4040093
