1. Music Session Part II January 24th, 2011

2. Active Participation! Attentive Listening! Having Fun Music Making! Recognize our personal strengths and interests in music Work collaboratively together to support the learning of others Tribes agreements E-Communication Free

3. Learning Goal We are exploring the Revised Music Curriculum, our musical strengths and interests through a variety of resources and strategies

4. Success Criteria I can: - understand the terminology in the Music Curriculum feel comfortable making music (singing/recorder/Orff) - find resources to support my teaching - identify my strengths and next steps

7. Pease porridge hot, Pease porridge cold, Pease porridge in the pot, Nine days old. Some like it hot, Some like it cold, Some like it in the pot, Nine days old.

8. Pease porridge hot, Pease porridge cold, Pease porridge in the pot, Nine days old. Some like it hot, Some like it cold, Some like it in the pot, Nine days old.

9. Pease porridge hot, Pease porridge cold, Pease porridge in the pot, Nine days old. Some like it hot, Some like it cold, Some like it in the pot, Nine days old.

10. Pease porridge hot, Pease porridge cold, Pease porridge in the pot, Nine days old. Some like it hot, Some like it cold, Some like it in the pot, Nine days old.

12. Differentiation Where do you see aspects of differentiated instruction in this activity?

14. Expectations Addressed Grade 3: C1. Creating and Performing C1.1 sing, in tune, unison songs, and/or play accompaniments C1.2 apply the elements of music when composing to create a specific effect C1.3 create musical compositions for specific purposes and audiences C1.4 use the tools and techniques of musicianship in musical performances If time today.... C2. Reflecting, Responding and Analysing C2.3 identify and give examples of their strengths and areas for growth as performers, creators, interpreters, and audience members

29. Expectations Addressed Grade 3: C1. Creating and Performing C1.2 apply the elements of music when composing to create a specific effect C1.3 create musical compositions for specific purposes and audiences If time today.... C2. Reflecting, Responding and Analysing C2.1 express detailed personal responses C2.2 identify the elements used C2.3 identify and give examples of their strengths and areas for growth as performers, creators, interpreters, and audience members

30. The Creative Process

31. This is your big chance to be creative!

32. Challenging/Inspiring Introduce challenge Provide models, learning goals Define parameters

33. Imagining and Generating Teacher observes, listens, prompts with questions, and provides choices

34. Planning and Focusing Provide resources for students Ask questions and/or model planning strategies Structures planning and provides choices

35. Exploring and Experimenting Provide reference charts of the elements, techniques etc. Provides time to practise Continues to reinforce application of planning/focusing work

36. Producing Preliminary Work Asks questions about meaning and intended audience Provides descriptive feedback Encourages students communicate ideas, make connections, and apply knowledge and skills

37. Revising and Refining Observes and provides descriptive feedback Encourage students to look for alternatives Provides time and opportunities for reflection and revision

38. Presenting, Performing, and Sharing Promotes student talk about Music Ensures that students have an appropriate audience Helps structure sharing for students Is supportive

39. Reflecting and Evaluating Links evaluation to criteria Provides a variety of methods of evaluation Provides descriptive feedback Evaluates based upon evidence collected over time

42. Break

47. www.wordle.net Discoveries

48. Questions www.wordle.net

49. PD Needs www.wordle.net

51. GPS

53. Primary GPS Instruction and Evaluation

54. Primary/Junior Tracking

55. Junior Evaluation

56. Intermediate Evaluation

59. Choose 1 Vocal and 1 Recorder task to teach to the group

60. Lunch

62. “Elemental music is never only music, but an integration of movement, language....one is involved not as a listener, but as a participant.” Carl Orff

64. http://www.curriculum.org/arts/movin g.shtml

65. curriculum.org

66. Sound Before Symbol “Practice with reading and writing music always has more relevance to the child if the notation is embedded within real music rather than presented in isolated exercise” “A burning desire to write down the music one hears can be a tremendous motivator for children to become familiar with the process of writing notation” Montgomery, Amanda. Teaching Towards Musical Understanding: A Handbook for the Elementary Grades

67. Step 1 – Aural, kinesthetic, and oral Step 2 – Label Step 3 – Reinforce Step 4 – Create Montgomery, Amanda. Teaching Towards Musical Understanding: A Handbook for the Elementary Grades

75. Monthly ArtSpark! network meetings BWW Arts Portal Sharepoint Power of Literacy Through The Arts- January 26th YRDSB Arts Consultant Team support! York Region Opportunities

76. York Region ArtSpark! Network

80. Provincial Opportunities ARTSECO Professional Learning Module (PLM) OMEA’s Think Literacy Music 1-6 CODE’s Arts At The Heart OMEA’s Creative Process Poster Subject Association Lessons/Course Profiles 57 Arts webcasts (curriculum.org) EDU funding for professional learning CODE/OMEA/OSEA conferences fall 2011