Understanding Primary Music BEd Semester 2 Session 2: Explore aspects of effective practice Reflecting on planning for learning Create an extended composition

Learning objectives: 1. Understand aspects of effective practice in teaching music including modelling, scaffolding and the us of musical sound 2. Be able to evaluate planning to be able identify aspects that are important in supporting effective learning 3. Understand how to scaffold the composition process composition to enable learners to achieve success 4. Be able to create and evaluate an extended composition

The features of effective practice 1 a clear focus for the learning developed through all activities clear, small steps in learning teacher spent less time talking, making more use of musical sound e.g. modelling high expectations for all challenging pupils to improve the quality of their work through questioning, explaining or modelling what was needed (Ofsted, 2009 and 2012)

active listening to pupils’ music making to facilitate identification of areas for development allowing sufficient time for pupils to engage with practical activities well structured practical music-making activities that facilitated achievement of success (scaffolding) a ‘joined up’ approach to musical learning (Ofsted, 2009 and 2012) The features of effective practice 2

Case study of effective practice: Scaffolding and modelling Composing a Tudor Fanfare Observation focus Identify how the teacher uses: - scaffolding to enable the pupils to achieve success - musical sound in the form of modelling to enhance the learning

Scaffolding in music Scaffolding of music activities can be carried out by limiting the choices available. The aim is to enable the children to achieve success in the activity. Pentatonic scale – provides children with freedom to compose using tuned percussion without the possibility of notes clashing For the key of C major the pentatonic scale is: C D E G A Plainsong notes - scaffold the compositing by always ensuring a pleasing melody: D E F G A

Purposes of modelling to illustrate musical conventions and processes; to demonstrate how to develop and improve skills; to build confidence and inspire children to demonstrate and raise expectations of what can be achieved. (DfES, 2006) Reflect on these points in relation to the modelling of the process of creating a composition based on the story: The Enormous Turnip

Reviewing your lesson plans Is the context you chose for the lesson engaging? Was there a clear focus for the learning developed through each of the activities? Could you identify clear small steps in learning? Were the practical music-making activities well structured? Was there a joined- up approach to musical learning?

Progression in developing understanding of notation for rhythm Scaffold understanding of rhythm patterns using words/phrases in a particular context to represent rhythm patterns e.g. mini beasts Represent sounds using dots, where spacing indicates duration Use standard notation to represent different rhythm patterns

Developing an ostinato In the context of minibeasts develop notation for rhythm patterns Create a rhythm pattern based on minibeast names to form an ostinato that lasts 2 bars (4 beats per bar) Practice playing this on a range of untuned percussion instruments and accompany with a drone beating out a steady beat Create another rhythm pattern and split the group into two to play these at the same time, with the drone to keep the beat

Progression in developing understanding of notation for pitch SCAFFOLDING: Coloured dots to represent notes on colour coded chime bars Progression in learning notation: Coloured dots all in a line Colour coded dots on a stave in the correct places Use of stave without colour coding

C D E F G A B C

Building a composition: Things to think about Before you start decide on the mood or idea you want to depict in the composition. Features that can be included: - Pentatonic scale: CDEGA for key of C - Drone: repetition of a note throughout part of all of the piece (can be either one note or two notes played together) - Ostinato: a short repeated pattern rhythm on unturned percussion or melody on tuned percussion How will the piece start / end? How will you structure it? Will you repeat or develop any musical ideas? Will there be a climax?

Examples of stimuli for composition A poem – written by teacher or child A children’s story A collection of instruments A child’s painting / a famous painting Story boards A piece of music An object brought in by a pupil Film composing-for-television-and- film/11123.html ze/music/popular_music/film_music1.sh tml

The Enormous Turnip Phrases for ostinato There’s a / great / big / turnip At the / bottom / of the / field Groups for ostinato: shake / scrape / tap metal / tap wood Characters – create music to depict one character per group (include a melody): Farmer; Wife; Girl; Mouse RONDO structure to depict events OSTINATO between each character Pushing and pulling of turnip (no success) - Farmer, Wife, Girl The mouse came up and pulled it out

Composition activity: Composing from children’s stories Choose a children’s story and create a piece of music to depict the story Think about the structure e.g. rondo ABACA Include melodies and an ostinato in the piece Record your developing ideas using notation e.g. graphic Make an audio recording to help you evaluate your developing composition

Improving compositions: encouraging children to talk about music Talking about music facilitates evaluating and improving of compositions Role of the teacher: - Modeling talking about music - Facilitating talk through open questioning - Scaffolding discussion by supporting through providing necessary vocabulary

Question types to support evaluation of composition (Major and Cottle, 2010) What is happening? How will you…? How might it have…? How could you do this differently? How do you feel about…? What do you think…? / What is your opinion? What do you think the problem is? What could you do to solve this problem? Why did you do that?

Independent Study Access the suggested web-links to support the development of your teaching in music – See Web- based resources to support your teaching Read the excerpts from books and activity ideas, available as PDFs on the learning network. Access the self-study Power Point: Removing barriers to learning in music

Resources Word document available on the Learning Network: Composition: Development and assessment Excerpts from books available as PDFs on the learning network: Hallam, S. and Rogers (2010) Creativity, in Hallam, S. and Creech, A. (Eds) Music Education in the 21st Century in the United Kingdom : achievements, analysis and aspirations, London: Institute of Education. Mills, J. (2009) Music in the Primary School (3 rd Ed), Oxford: Oxford University Press. (Chapter 7 Planning curriculum music, pages) Pound, L. and Harrison, C. (2003) Supporting Musical Development in the Early Years, Buckingham: OUP. (Chapter 6, Intervention and Support)

Scaffolding composition of a song: Plainsong A plainsong can be used to scaffold the compositing by limiting the notes that can be used: D E F G A This creates a pleasing melody whatever the note order, however this type of scaffold does not facilitate more than one tuned instrument playing at once Activity idea: Compose a plainsong melody to accompany a poem

What can you see? I can see the pattern of the waves on the sea What can you hear? I can hear the seagulls when they’re flying near What can you smell? I can smell the salt that’s hiding in a shell What can you feel? I can feel the stones moving under my heel What can you taste? I can taste my ice-cream, couldn’t bear to let it waste