Ashley Hall's Professional Education Portfolio

K-12 Certified Music Educator

Substandard E

PMST Standard 2, INSTRUCTIONAL DESIGN AND ASSESSMENT

Facilitation of learning and achievement of all students (in accordance with the SBE Universal Education Vision and Principles), including the ability to:

e. Differentiate instruction in an environment that facilitates each student’s learning and access to an equitable education;

This standard addresses the teacher’s ability to differentiate instruction and adjust the learning environment as to make student’s access to equitable education top priority. The the music classroom, differentiated instructions is a must, otherwise the students become bored and worn down by the same rehearsal styles day in and day out. Things I have done during my rehearsals to differentiate instruction have included;

  • Instrumental sectionals: Pulling out one or more group of students by section and working with them on a specific section of music or musical technique. In older student groups, “section leaders” can be given the responsibility of leading sectionals.
  • Focusing on individual sections during rehearsals: Designing a lesson plan or plans that focus on the participation of one or more sections during the rehearsal.
  • Silent rehearsals: Minimal to no talking during a rehearsal time to heighten students awareness of the music (best with semi-polished to polished pieces of music).
  • Dark rehearsals: Much the same idea as silent rehearsals; sometimes, students can become so familiar with a piece they find they’ve memorized it. In minimal to no-lit rooms, run through the music. Students must really focus on what they’re playing, what sounds they hear, and how they balance (from loosing one of their senses).
  • Seating arrangements: Get students refocuses and more alter of their surrounds by changing up where they’ve been sitting for weeks on end. Also helpful is you wish to move talkative students to new seats without singling them out, or to move students as to better monitor their playing technique.
  • Run-through rehearsals: I always try and make sure that I give the students a chance to run through the music we’ve spent the rehearsal working on to give them the opportunity to put all the elements we’ve corrected into the big picture. However, it’s important to remember to spend a day or two just running through all the concert selections. Not only is it good for the director (where are all the pieces musically, what still needs work, etc), but it’s good for the students (for the same reasons — what do I need to practice? How much time do I need to devote to this?).

There are many other rehearsal options and innovations out there, but these are the ones I try and utilize at least once a semester.

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