COURSE: POST GRADUATE CERTIFICATE IN EDUCATION INTERNATIONAL

ASSIGNMENT INFORMATION

Full /Part Assignment

Date of Assignment Issued 17/08/2023

Date of Assignment Due 17/08/2023

Assignment IV by

TO BE FILLED BY THE FACULTY

Faculty Name

Email ID

TO BE FILLED BY THE STUDENT

Student Name Aylin Maria Aguila Boza

Student ID PN1085561

Email ID aylinaguila95@gmail.com

Turnitin ID 32333767

Turnitin Enrolment Key PGCEi321

Course / Module Module 2: Theories and Principles, Teaching and Learning

Date Submitted 17/08/2023

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Learner Declaration1

I, Aylin Maria Aguila Boza, hereby confirm that this assignment is my own work and not
copied or plagiarized. It has not previously been submitted as part of any assessment for this
qualification. All the sources, from which information has been obtained for this assignment,
have been referenced as per Harvard Referencing format. I further confirm that I have read
and understood the TAITO Education’s rules and regulations about plagiarism and copying
and agree to be bound by them.

Learner Signature :
Learner Name : Aylin Maria Aguila Boza

1
This is only a specimen student declaration. Kindly ensure to digitally sign the declaration in your
LMS prior to submission of your assignment. Please fill in all the required areas.

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Module 7502 Theories and Principles, Teaching and Learning

Code &
Title

Module Learning Outcomes

LO1 Identify and critically discuss a range of educational theories, principles and pedagogical
approaches in relation to education, teaching and learning

LO2 Critically evaluate personal educational practices, synthesising relevant theories and
considering implications for practice in your own professional environment

LO3 Evidence planning, delivery and critical evaluation of innovative teaching, learning and
assessment strategies

Assessment type Marks Marks Assessment type Marks Marks

1 Awarded 2 Awarded

Essay 100 Presentation 100

2000 words
2500 words
Achievement of 30 Achievement of 30
Learning Learning
Outcomes Outcomes

Literature and 30 Literature and 30

Evidence Evidence

Argument, 30 Argument, 30
Analysis and Analysis and
Synthesis Synthesis

Communication, 10 Communication, 10
Referencing and Referencing and
Presentation Presentation

Cumulative 60% 40%

Score

PASS / MERIT / DISTINCTION

Summative
Feedback:

Overall Feedback on
current work with
emphasis on how
the student can
further improve in
future.

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Internal Verification Report

Internal Verification Done By Date

Assignment Brief

Assessors Decision

TurnitIn Report Snapshot:

Table of Content
Section 1 Introduction and Context

Section 2 Outline of Unit

Section 3 Underpinning theories

Section 4 Methodology

Section 5 Case Students

Section 6 Description of Findings

Section 7 Analysis and Interpretation of Findings

Section 8 Conclusion and Recommendations

References

Appendixes 1 to 15

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Examine how various learning theories and principles impact the design of a music
curriculum, leading to enhanced music learning and practice for key stage 3, year 7
students.

Section 1 Introduction and Context

Education involves acquiring and adapting knowledge, skills, techniques, beliefs, attitudes,
and behaviors (Schunk, 2012). This essay delves into the influence of various learning
theories and inquiry-based learning strategies on the curriculum structure, enhancing music
learning and practice in grade 2 students in an international school. A comprehensive
understanding of the "International Baccalaureate (IB) Curriculum. Primary Years
Programme (PYP)" (Appendix 1) is essential for designing a well-structured scheme of work
aligned with curriculum standards (Appendix 2) and the school's mission and vision
(Appendix 3). By providing a complete learning experience, students can develop their
abilities to their fullest potential.

The primary aim of my research is to critically analyze and assess the potential benefits that
the theories of constructivism, behaviorism, and cognitivism can offer in music education.
This exploration aims to evaluate how inquiry-based learning techniques impact student
progress and the creation of educational programs that promote originality, logical analysis,
and inquisitiveness. This approach focuses on the needs of individual students and
encourages them to explore and express themselves, leading to a stronger connection with
music and lifelong learning. Implementing assessments is vital for curriculum development,
allowing us to gauge strategy effectiveness, identify areas for improvement, and ensure
learning objectives are met.
Through a combination of qualitative and quantitative research methodologies to assess
students, this study aims to provide valuable perspectives for enhancing music education and
understanding how different learning theories impact curriculum development. Assessment
data is securely stored, anonymized, and maintained with the consent of students and parents,
adhering to ethical considerations and the Data Confidentiality provisions outlined in the
School's Child Protection and Safeguarding Policy
Section 2 Outline of Unit

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The unit plan consists of five weeks of 50-minute lessons with a group of grade 2 students
dedicated to refining their musical abilities through recorder performance. (Appendix 4) The
main goal is to master playing the introductory notes for beginners -BAG- with proper
technique, breath control, and achieving a smooth sound. In addition, the curriculum guides
students on performing and creating harmonious melodies, applying musical terms, and
cultivating proficiency in identifying and labeling diverse musical notes. The unit
incorporates active listening, interactive discussions, and essential questions to foster inquiry
and critical thinking. It culminates with a summative assessment based on the performance of
a small musical piece, allowing students to demonstrate their performing and technique
skills.

To meet contemporary demands, music educators must understand various learning theories,
exhibit self-awareness regarding how their learning style influences teaching, and remain
sensitive to the contexts in which teaching occurs (Isbell, 2012). This module is based on the
principles of collaborative learning, project-based approaches, and strategies that promote
active listening.
Assessing student learning involves using formative and summative assessments to monitor
progress and identify areas for improvement (Appendix 5). Following each performance,
feedback is provided, enabling the evaluation of students to identify areas for improvement
and guide effective instructional adjustments. This method provides an opportunity to
integrate peer and self-assessment, as Chappuis (2015) suggested, but also ensures a
comprehensive understanding of individual and collective strengths and areas for
improvement. The summative assessment, conducted at the unit's conclusion, evaluates
students' overall performance by having them perform the entire musical piece in small
ensembles of three students. (Appendix 6)

Section 3 Underpinning theories

In music education, various theories play a role in shaping the curriculum and learning
activities, leading to an effective learning process for students and a well-structured unit plan.
Constructivism (Appendix 7) is a theory that deals with the nature of knowledge and
learning, encompassing the process of acquiring knowledge and how individuals understand
it. According to constructivism, learning is best achieved through hands-on experiences that
are meaningful and connected to real-world contexts. This approach to teaching emphasises
providing learners with opportunities to explore patterns, raise questions, and develop their
strategies and ideas. In a constructivist classroom, students are considered a community of
learners, actively engaged in activities, discussions, interpretations, justifications, and
reflections. (Fosnot, 2013). Constructivism has gained considerable significance in music
education, with a growing focus on adopting constructivist practice. (Shively, 2015). In my
classroom, I have incorporated this theory through several essential aspects. I emphasise
inquiry-based learning, allowing students to explore musical concepts independently,

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encouraging them to ask questions, identify patterns, and actively build their understanding of
concepts.
Cognitivism (Appendix 8) is a learning theory that highlights the significance of mental
activities like thinking, remembering, perceiving, interpreting, reasoning, and problem-
solving. It suggests that individuals can learn through active engagement and rational
thought. This theory focuses on how knowledge is acquired, processed, and stored in the
mind. (Clark 2018, p. 176). In the context of the music classroom, cognitivism manifests
through diverse approaches. Activities like active listening strategies prompt students to
engage their cognitive faculties in perceiving musical elements. Exploring historical contexts
and musical techniques encourages students to employ cognitive skills to form connections
and enhance comprehension. In analysing music pieces, cognitive processes aid in
interpreting intentions, identifying motifs, and grasping structural components. Moreover,
aligning assessment tasks with various cognitive levels encourages critical thinking and
creativity, fostering comprehensive evaluation and growth in students' learning outcomes.
Behaviourism (Appendix 9) highlights the significance of outcomes in shaping behaviour,
emphasizing that responses reinforced are more likely to be repeated. Behaviourists strive to
propose successful approaches for enhancing connections between stimuli and responses.
These methods might involve employing instructional cues, affording chances for practice,
and reinforcing wanted behaviours. (Ertmer & Newby, 2013). Behaviourism is employed in
the music class through positive reinforcement, motivating students to practice and enhance
their musical abilities consistently. This approach fosters skill development by rewarding
desired behaviours and encouraging their repetition.

In conclusion, learning theories seek to comprehend how knowledge is acquired and skills are
developed, exploring the impact of educational systems on learning perspectives (O'Neill &
Senyshyn 2011, p. 5). In the music classroom, these theories synergize to cultivate active
engagement, critical thinking, and skill enhancement. Constructivism fosters hands-on
understanding, cognitivism structures deep comprehension, and behaviourism creates a
positive environment. These integrated theories create a holistic learning atmosphere that
nurtures comprehensive development.

Section 4 Methodology

Integrating qualitative and quantitative methods in research allows for the generation of new
questions and theories, which are then tested and refined through a back-and-forth process

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between the two approaches. This iterative approach enhances research understanding and
advancement. (Jacobs, Kawanaka & Stigler, 1999).
I employed a comprehensive research approach in the unit plan,
combining qualitative and quantitative research methods to gather data. By incorporating
both approaches, I aim to acquire a more profound and intricate comprehension of the
effectiveness of the instructional strategies and learning experiences provided to the Year 7
students.
Qualitative research in music education is a valuable approach that explores the subjective
experiences and emotions of students, teachers, and musicians. Through interviews,
observations, and case studies, it provides deeper insights into musical engagement, teaching
methods, and personal development. Additionally, it examines cultural and social influences
on musical practices. (Appendix 10). On the other hand, quantitative research is a systematic
and data-driven approach that employs statistical analysis to investigate various aspects of
musical learning and performance. By utilizing quantitative research, I incorporated
standardized assessments and quizzes throughout the unit to measure students' progress and
learning outcomes in a quantifiable manner. (Appendix 11)
Assessment in teaching involves objectively measuring students' knowledge and skills to
assign fair grades and identify appropriate learning experiences to enhance their learning.
Precise assessments benefit students and teachers by providing valuable feedback to evaluate
past instructional strategies and inform future approaches. (Asmus 1999, p. 19).
Different assessment methods are used in the music classroom to evaluate students' progress
and musical abilities. Summative assessments are frequently conducted to assess students'
knowledge and identify their level of understanding at a particular point in time (Garrison &
Ehringhaus, 2007). Formative assessments are ongoing and offer immediate feedback to
guide instruction. Peer and self-assessments involve students giving feedback on their peers'
performances and reflecting on their progress.
Assessments play a pivotal role in evaluating the curriculum development and gauging the
success of the applied methodology in the unit plan, offering insights into both learning
outcomes and the effectiveness of the instructional approach.

Section 5 Case Students

Three students, identified as Student A, B, and C, based on their performance in the

summative assessment held at the conclusion of the unit, were selected to represent different
levels of understanding, ranging from low, medium, to high ability. By including students

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with varying proficiency levels, this research aims to provide a comprehensive analysis of the
impact of the unit on students with diverse learning capabilities.
Student A has excelled in understanding music concepts, as reflected in their assessment
performance. Their effortless articulation of music elements and associated terms, along with
their adept identification of musical features during active listening, demonstrates an
advanced grasp. Their command of musical concepts and analytical skills underscores their
dedication and enthusiasm for exploring Minuet in G's intricacies.
Student B has shown medium-level development. While they displayed a good grasp of
certain aspects during the listening assessment, such as the musical era and performing
forces, they encountered difficulties memorizing the keywords associated with the music
elements. Despite this challenge, Student B's commitment to improvement was evident as
they actively participated in the lessons and discussions.
Student C faced challenges in staying engaged during assessments and lessons. To address
this, strategies based on cognitivism and constructivism were applied in the classroom such
as the design of activities encouraging active participation and hands-on experiences
fostering an environment where they could construct knowledge through interactions with the
musical content. Moreover, utilizing cognitive strategies, I broke down complex concepts
into smaller parts, helping Student C grasp foundational knowledge before tackling more
challenging aspects. Their interest in the subject increased through guided discussions and
collaborative activities, leading to a noticeable improvement.

Appendix 12

Section 6 Description of Findings

Lesson 1: We focused on learning how to describe the elements of music in the piece "Minuet
in G", using the cognitivism theory to promote critical thinking. Student A did well; they
could identify and remember most music elements' definitions and keywords. Student B did a
good job describing the melody and tempo. However, Student B needed help remembering
performing forces and tonality. Student C found it hard to recognize and remember the
concepts. To help Student C, I used the constructivism method. We listened to the music
together and talked about what we heard using simpler words. Overall, the students
responded positively to the class delivery, showing increased engagement and enthusiasm for
the music concepts explored. (Appendix 13)

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Lesson 2 "Understanding of the musical context of Minuet in G and the importance of Johan
Sebastian Bach as a composer": In line with constructivist principles, I designed activities
that prompted students to build upon their existing understanding by utilizing interactive
videos to boost engagement. Student A, with prior knowledge of the composer, actively
contributed to discussions. Student B grasped Bach's life and music style via videos and
examples. Even Student C, who initially struggled and displayed challenging behaviour,
gained basic information about Bach by the lesson's end. This marked a significant
improvement in content retention and understanding, accompanied by a notable positive shift
in behaviour. (Appendix 14)
In Lesson 3, the learning objective focused on introducing the Baroque Era and its musical
characteristics. To achieve this, I incorporated activities aligned with the cognitivism theory.
For instance, I presented a timeline of vital Baroque composers and their notable works,
encouraging students to analyse the evolution of musical styles over the era. I also utilized
audio clips of compositions to engage auditory learning. Student A actively participated in
these discussions, drawing parallels between Baroque and contemporary music. Student B
successfully identified the distinct traits of Baroque compositions. However, Student C
struggled to retain the information which may have been influenced by the complexity of the
content or other external factors such as distractions, personal challenges, or prior knowledge
gaps. To address this, I provided visual aids depicting musical structures and used mnemonic
devices to aid Student C's memory. (Appendix 15)

Section 7 Analysis and Interpretation of Findings

Constructivist learning focuses on student-centred education, involving students in active

learning by connecting new knowledge to existing understanding and refining skills. This
approach leads to independent musicians who engage in various musical roles through
analytical questioning and problem-solving (Scott, 2011). Incorporating collaborative
learning also nurtures a sense of community, allowing for productive discussions and
reflective student interactions.

Behaviourism operates on the premise that external forces impact human behaviour. In a
behaviourist context, the teacher assumes control of the classroom and decision-making,
endeavouring to shape students who adopt a passive stance, reacting to instructions rather
than actively making personal choices. (Isbell, 2012) Utilising behaviourism in a music

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classroom can lead to increased student engagement and skill development as favourable
reinforcement. It encourages regular practice and reinforces desired behaviours.

Educators can use cognitivism in a music class to create an environment that fosters active
engagement, critical thinking, and a deeper understanding of music. Students benefit from a
structured approach to learning that supports their cognitive development and enhances their
musical abilities by promoting problem-solving, developing critical listening skills, and
enhancing musical understanding. (Clark, 2018). The unit plan demonstrates cognitivism
through active listening strategies that engage students' cognitive abilities, encouraging
critical thinking, deepening comprehension, and honing analytical skills as they interpret
musical elements and historical context, benefiting their understanding of the piece.

In summary, the integration of diverse theories into the curriculum has created a student-
centred learning environment that promotes exploration, critical thinking, and a deeper
understanding of music concepts. This approach has resulted in significant improvements in
the curriculum, as evident from the discussions on "Minuet in G," where students have
analysed structure, composers, and melodies with the added insights from their peers. The
incorporation of Inquiry-Based Learning (IBL) strategies has further enriched the music
course by encouraging independent research, collaborative projects, and self-directed
learning. The positive impact is reflected in students' progress and achievements in
assessments.

Section 8 Conclusion and Recommendations

This research examined how various learning theories impacted the design of a music
curriculum, leading to enhanced music learning and practice for students and offering
essential perspectives to improve the teacher's professional growth and teaching methods.
Exploring educational theories has led to a more profound comprehension of student learning
and the varied strategies that aid their education.

Behaviourism's emphasis on rewards and consequences allowed to establish structured

practice routines, reinforcing consistent musical engagement among students. Incorporating
constructivist principles and designing activities that encouraged students to build upon their
prior knowledge, fostered connections and deeper comprehension. Cognitivism, which
centres on mental processes, guided the integration of analytical listening and problem-
solving tasks, fostering critical thinking skills.

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The integration of these learning theories into the curriculum has greatly benefited students,
enhancing their engagement, motivation, and understanding of music. This positive impact is
evident in improved assessment results as students confidently apply analytical and critical
thinking skills. Their communication skills have also flourished, as seen in their enhanced
expression and discussions. This success underscores the value of integrating diverse learning
theories.

Additionally, this experience has broadened my pedagogical perspective, emphasizing the

importance of adapting instruction to diverse learning styles and tailoring approaches to
become more versatile. I intend to refine in my future courses my teaching methods with
constructivism, cognitivism, and behaviourism, encouraging exploration, understanding, and
positive behaviours. Additionally, Inquiry-Based Learning has inspired me to further student-
driven exploration and critical thinking. This journey has inspired greater adaptability as an
educator, addressing individual needs through diverse learning experiences and ongoing
professional development. This enrichment in my teaching benefits student learning and my
personal growth, empowering impactful educational experiences for diverse needs and
student success.

References:

 Asmus, E. P. (1999). Music assessment concepts: A discussion of assessment

concepts and models for student assessment introduces this special focus issue. Music
educators journal, 86(2).
 Chappuis, J. (2015) Seven Strategies of Assessment for Learning. 2nd Ed. Boston:
Pearson.
 Clark, K. R. (2018). Learning theories: cognitivism. Radiologic technology, 90(2).
 Ertmer, P. A., & Newby, T. J. (2013). Behaviorism, cognitivism, constructivism:
Comparing critical features from an instructional design perspective.
 Fosnot, C. T. (2013). Constructivism: Theory, perspectives, and practice. Teachers
College Press.
 Garrison, C., & Ehringhaus, M. (2007). Formative and summative assessments in the
classroom.
 Isbell, D. (2012). Learning theories: Insights for music educators. General Music
Today, 25(2).

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 Jacobs, J. K., Kawanaka, T., & Stigler, J. W. (1999). Integrating qualitative and
quantitative approaches to the analysis of video data on classroom
teaching. International Journal of Educational Research, 31(8).
 O’Neill, S. A., & Senyshyn, Y. (2011). How learning theories shape our
understanding of music learners. MENC handbook of research on music learning, 1.
 Schunk, D. H. (2012). Learning theories an educational perspective. Pearson
Education, Inc.
 Scott, S. (2011). Contemplating a constructivist stance for active learning within
music education. Arts education policy review, 112(4).
 Shively, J. (2015). Constructivism in music education. Arts Education Policy
Review, 116(3).

Appendix 1

“National Curriculum England: programmes of study”: key stage 3 National Curriculum -

Music key stage 3 (publishing.service.gov.uk)

Appendix 2

Scheme of work for Year 7, key stage 3

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Appendix 3

School’s mission and vision Vision (diyafah.com)

Appendix 4

Unit Plan
Establishing Objectives

Title “Musical Marvels: Exploring Minuet in G with Year 7 Maestros!”

Topic Elements of the Music: Minuet in G by J.S.Bach.

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Time 5 weeks: 5 lessons of 45 minutes.

Subject Music

Year 7

 Recognise the Elements of Music when listening to and appraising

music from different times and different places.
 Satisfactory understanding and increasingly accurate application of key
words in response to music heard.
Objectives
 Able to describe few of the elements of music in the piece such as:
Melody, texture, tonality, tempo, sharp symbol, dynamics, etc.
 To practice naming music notes on the grand staff.

This unit delves into the intricate elements of music found in Minuet in G.
Building upon the previous unit focused on Ode to Joy, students will transition
from exploring Beethoven’s composition to examining Bach’s classical
Description
masterpiece, broadening their understanding of different musical styles and
composers. The teaching approach employed will be a combination of active
listening and interactive discussions.

Questions like “What are the key elements of the Baroque music style present in
the Minuet?”, “How does Bach’s use of melody and harmony contribute to the
piece’s emotive impact?”, and “What historical context influenced Bach’s
composition?” will foster inquiry and critical thinking. By engaging with these
Essential questions
questions, students will gain a deeper appreciation of Bach’s artistry and the
historical significance of the Minuet. By the end of the unit, students should be
able to articulate the essential elements of Baroque music, analyse the structure
of Minuet in G, and explain how musical techniques shape emotional expression.

Students will be introduced to the topic through an engaging introductory video

that showcases excerpts of the piece, along with visuals highlighting its historical
background and significance. The purpose of this unit is to deepen students’
understanding of music’s fundamental elements, as they explore Bach’s
masterpiece. By delving into themes, structures, and musical techniques,
Introduction students will gain a richer appreciation for the Baroque era and its impact on
music history. This unit is not only relevant but also authentic to student learning
as it encourages active listening and analysis, enabling students to connect with
classical music on a personal level. By studying a renowned composition and
grasping its intricacies, students will develop a more profound understanding of
music’s power to evoke emotions and its lasting relevance across generations.

Gathering Evidence

Throughout the unit, various low-stakes formative assessments will provide

continuous feedback to gauge student progress and understanding such as:

 Questioning during class discussions

Formative Assessment
 Short quizzes to be completed at the end of the lesson.
On the other hand, to prepare for summative assessments, students will engage
in deliberate practice exercises, practice quizzes, and practical activities. Study
materials will be provided to support their efforts.

Summative Assessment End of unit Summative test including 3 Sections out of 50 points.

Throughout the unit, students will have opportunities for self-assessment, where
they can reflect on their own progress and identify areas for improvement.
Other Assessment
Additionally, peer assessments will be encouraged, allowing students to provide
feedback and support each other’s learning journey.

Formative Assessment: 50%

Evaluation
Summative Assessment: 50%

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Final Grade: Conversion in a Grade 9 scale as per school standards.

Assessment criteria:

The criteria will be shared at the beginning of the unit with the students, this
includes:

 Accuracy, demonstrating a thorough understanding of musical

concepts.
 Creativity showcasing original and innovate ideas.
 Presentation exhibiting clear communication and organization of their
work.

Students will receive feedback through various channels, such as written

comments, verbal discussions, and peer assessments. They will use this
Feedback feedback to identify strengths and areas for improvement, applying it to enhance
subsequent assignments and assessments. This iterative process will foster
continuous improvement.

Teaching and Learning

Teaching Methods:

 Active listening and discussion

 Inquiry-based learning
Teaching Method Content scaffolded:

 Breaking down musical elements.

 Contextual understanding.
 Guided analysis.
This unit includes a variety of activities that encourages active listening, critical
thinking, use of technology, and inquiry-based learning, allowing to students to
explore and appreciate the music of Minuet in G from various perspective:
Sequence of activities
 Active listening session.
 Group discussions.
 Inquiry questions.
 Independent research.
 Google Form quiz based on Musical Terminology.
 Creative Expressions.
The following materials will be needed for this unit:

 Notebooks.
 Pencils.
Materials and resources  Music staff paper for music notation.
 School online library access to students.
 Iterative whiteboards.
 iPads or laptops.
 References materials such as worksheets.
Ensuring accessibility and inclusivity is a top priority in this unit. All materials and
resources will be made readily accessible to students, taking into account their
needs and preferences. The assessments, activities, materials, and resources
will be diverse and inclusive, encompassing various learning styles and cultural
Accessibility and Inclusivity
backgrounds. To support all learners, differentiated instruction will be employed,
catering to individual strengths and areas for improvement. Collaborative
learning opportunities and peer support will foster an inclusive classroom
environment, allowing students to learn from each other

Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5

Learning Learning how Understanding of Introduction of Analysing the Revision

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objectives to describe the the musical the Baroque Era music score of lesson for
elements of context of Minuet and the Minuet in G. Summative
music in Minuet in G and the characteristic of assessment
in G. importance of the music in the preparation.
Johan Sebastian century.
Bach as a
composer.

Appendix 5 Formative-Summative assessment.

Figure 1: Formative vs. Summative Assessment. (1222) Pinterest

Appendix 6 Self-Assessment Process

Figure 2: Self-Assessment Process. How to implement Riskwatch Solutions. Self-Assessment

Portal - RiskWatch

Appendix 7 Constructivist process

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Figure 3: Schematic constructivist teaching-learning process: Schematic constructivist

teaching-learning process. | Download Scientific Diagram (researchgate.net)

Appendix 8 Cognitivism

Figure 4: Cognitivism in the Science classroom Cognitivism Learning Theory

Appendix 9

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Behaviourism

Figure 5: Behavioural Theory: Operant Conditioning (1222) Pinterest

Appendix 10 Qualitative Research Method

Figure 6: Different Types of Qualitative Research Method Qualitative V/S Quantitative

Research Method: Which One Is Better? (globalassignmenthelp.com)

Appendix 11 Quantitative Research Method

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Figure 7: Different Types of Quantitative Research Method Qualitative V/S Quantitative

Research Method: Which One Is Better? (globalassignmenthelp.com)

Appendix 12
Summative Assessment examples of Students A, B and C
Student A

Student B

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Student C

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Appendix 13
Lesson plans: Lesson 1
CD: Culturally diverse/relevant and accessible materials HL: Home Language used PK: Activating Prior Knowledge VS:
Visual Support – multi media,artefacts,pictures,puppets,checklists R: Repetition of language items or processes S+L
speaking and listening activities V: Topic specific vocabulary identified and taught – work banks, checklists, picture
prompts, home language TM/PM Teacher or peer modelling GO: Graphic organizer – key visual to organize
information SR/SW/ST: Scaffolding reading, writing, thinking p- sequencing, visualizing questions, oral rehearsal,
whiteboard rehearsal, writing frames, thinking aloud OQ: open questioning DDQ: Directed differentiated questioning
CA: Collaborative activity PW: Paired work MAG: Mixed ability groups AR: Adult roles clearly defined D: Drama –
role play, hot seating,. Freeze frame, mime, puppets TP: talk partners: WW: Work put on working wall.

My Identity: My Culture My Language My Community My Citizenship My History

My Language

Life Skill/Values: Communication - Collaboration- Critical Thinking - Self-confidence –– Initiative and Self-direction –
Creativity – –Digital Competence- Problem Solving -Cultural Awareness – Citizenship – Effort – Teamwork – Respect –
Pride with Humility – Patience – Environmentalism– Appreciation – Tolerance and Integrity – Helpfulness – Compassion
– Social Responsibility – Global and Environmental Awareness – Resilience – Curiosity – Sharing –– Honesty – Courtesy
– Responsibility – Leadership – Courage -Organization- Flexibility – Friendship – Care – Attentiveness – Cooperation-
Common Sense –

Teacher: Ms. Aylin Class: Date: Time: Number of Students: Boys:

Year 7 Girls: POD:
Emirati:

Subject: Music Unit: “Music Marvels: Exploring Curriculum Link: Listen and apprise.
Minuet in G with Year 7
Cross curricular link: History, by learning about
Maestros!”
the Baroque Era, XVII Century

Learning Objective: Learning how to describe the elements of Success Criteria: I can describe a few of the
music in Minuet in G. elements of music in Minuet in G.

I can describe some of the

elements of music in Minuet in G using accurate
keywords.

I can describe most of the elements

of music in Minuet in G using accurate keywords.

Blooms Taxonomy: Remember – Understand – Apply – Analyze - Evaluate – Create.

Real-life applications:

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Input including Differentiated Activities to include EAL, SEN and G&T Resources: PPT, worksheet,
starter/recap: (7 minutes) audio.
Lower Ability (LA) Starting to get familiar with the
Students will create a mind name of the elements of music.
map with the elements of
Medium Ability (MA) Expected to name some of the
music previously learned,
elements of music.
using definitions and
keywords. Higher Ability (HA) Expected to use accurate vocab to
describe the elements and their definitions.

More Able/ G & T: Expected to explain how the Key Vocabulary:

elements are combined in the piece of music.
Melody, harmony, tempo,
Differentiation by questioning. Open and critical performing forces, tonality,
thinking questions for High Ability students. ornamented, texture.

Differentiation by support: definitions and keywords

displayed on the board to support LA students.

AFL: though questioning, rubric display on the board

for low ability students.

Main Activity
Students will listen to the piece of music Blue Danube
and analyse the elements of music.

Differentiation by questioning. Open and critical

thinking questions for High Ability students.

Plenary: Steps to success displayed for students reflect about AFL Strategies:
their learning, the areas of strength and development and next
Open and directed questioning with different level
steps.
of difficulty.

Highlight: Teacher-led Student-led

Evaluation/Reflection: Steps to success displayed for students

reflect about their learning, the areas of strength and
development and next steps.

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Appendix 14 Lesson Plans: Lesson 2

CD: Culturally diverse/relevant and accessible materials HL: Home Language used PK: Activating Prior Knowledge VS:
Visual Support – multi media,artefacts,pictures,puppets,checklists R: Repetition of language items or processes S+L
speaking and listening activities V: Topic specific vocabulary identified and taught – work banks, checklists, picture
prompts, home language TM/PM Teacher or peer modelling GO: Graphic organizer – key visual to organize
information SR/SW/ST: Scaffolding reading, writing, thinking p- sequencing, visualizing questions, oral rehearsal,
whiteboard rehearsal, writing frames, thinking aloud OQ: open questioning DDQ: Directed differentiated questioning
CA: Collaborative activity PW: Paired work MAG: Mixed ability groups AR: Adult roles clearly defined D: Drama –
role play, hot seating,. Freeze frame, mime, puppets TP: talk partners: WW: Work put on working wall.

My Identity: My Culture My Language My Community My Citizenship My History

My Language

Life Skill/Values: Communication - Collaboration- Critical Thinking - Self-confidence –– Initiative and Self-direction –
Creativity – –Digital Competence- Problem Solving -Cultural Awareness – Citizenship – Effort – Teamwork – Respect –
Pride with Humility – Patience – Environmentalism– Appreciation – Tolerance and Integrity – Helpfulness – Compassion
– Social Responsibility – Global and Environmental Awareness – Resilience – Curiosity – Sharing –– Honesty – Courtesy
– Responsibility – Leadership – Courage -Organisation- Flexibility – Friendship – Care – Attentiveness – Cooperation-
Common Sense –

Teacher: Aylin Aguila Class: Date: Time: Number of Students: Boys:

Year 7 Girls: POD:
Emirati:

Subject: Music Unit: “Music Marvels: Exploring Curriculum Link: Listen and apprise.
Minuet in G with Year 7
Cross curricular link: History, by learning about
Maestros!”
the Baroque Era, XVII Century

Learning Objective: Understanding of the musical context of Success Criteria: I can name the composer of
Minuet in G and the importance of Johan Sebastian Bach as a Minuet in G
composer
I can provide some information
about the life of the composer.

I can explain the importance of

the composer Johan Sebastian Bach and his
musical context.

Blooms Taxonomy: Remember – Understand – Apply – Analyze - Evaluate – Create.

Real-life applications

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Input including Differentiated Activities to include EAL, SEN and G&T Resources: PPT, worksheet,
starter/recap: (7 minutes) video.
Lower Ability (LA) Starting to get familiar with
Students will describe the keywords and use their own words to describe what
elements of music learned they hear.
last music lesson, applying
Medium Ability (MA) Expected to use mostly accurate
the keywords learned last
keywords and give some information about the
week.
musical context of the composer of Minuet in G.

Higher Ability (HA) Expected to use accurate vocab to

Key Vocabulary:
describe the elements and provide valuable
information about the musical context of the Composer, baroque era,
composer. polyphonic texture,
ornamented melody.
More Able/ G & T: Expected to explain their use of
keywords and explain the importance of the composer
and how is this related with the music characteristics
and elements in the piece.

Differentiation by questioning. Open and critical

thinking questions for High Ability students.

Differentiation by support: definitions and keywords

displayed on the board to support LA students.

AFL: through questioning, rubric displayed on the

board.

Main Activity Students will watch a video about Johan Strauss and
answer questions to check their understanding.

Differentiation by questioning. Open and critical

thinking questions for High Ability students.

AFL: Formative assessment at the end of the class,

quizzes in Google form.

Plenary: Steps to success displayed for students reflect about AFL Strategies:
their learning, the areas of strength and development and next
Open and directed questioning with different level
steps.
of difficulty.

Highlight: Teacher-led Student-led

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Evaluation/Reflection: Steps to success displayed for students

reflect about their learning, the areas of strength and
development and next steps.

Appendix 15 Lesson Plans: Lesson 3

CD: Culturally diverse/relevant and accessible materials HL: Home Language used PK: Activating Prior Knowledge
VS: Visual Support – multi media,artefacts,pictures,puppets,checklists R: Repetition of language items or processes
S+L speaking and listening activities V: Topic specific vocabulary identified and taught – work banks, checklists,
picture prompts, home language TM/PM Teacher or peer modelling GO: Graphic organizer – key visual to organize
information SR/SW/ST: Scaffolding reading, writing, thinking p- sequencing, visualizing questions, oral rehearsal,
whiteboard rehearsal, writing frames, thinking aloud OQ: open questioning DDQ: Directed differentiated
questioning CA: Collaborative activity PW: Paired work MAG: Mixed ability groups AR: Adult roles clearly defined
D: Drama – role play, hot seating,. Freeze frame, mime, puppets TP: talk partners: WW: Work put on working wall.

My Identity: My Culture My Language My Community My Citizenship My History

My Language

Life Skill/Values: Communication - Collaboration- Critical Thinking - Self-confidence –– Initiative and Self-direction
–Creativity – –Digital Competence- Problem Solving -Cultural Awareness – Citizenship – Effort – Teamwork –
Respect – Pride with Humility – Patience – Environmentalism– Appreciation – Tolerance and Integrity – Helpfulness
– Compassion – Social Responsibility – Global and Environmental Awareness – Resilience – Curiosity – Sharing ––
Honesty – Courtesy – Responsibility – Leadership – Courage -Organisation- Flexibility – Friendship – Care –
Attentiveness – Cooperation- Common Sense –

Teacher: Aylin Aguila Class: Date: Time:

Year 7

Subject: Music Unit: 1 “Music Marvels: Exploring Minuet in G with Year 7 Maestros!”

Learning Objective: Introduction of the Baroque Era and the characteristic of the music in the century.

Blooms Taxonomy: Remember – Understand – Apply – Analyze - Evaluate – Create.

Real-life applications:

Input including Differentiated Activities to include EAL, SEN and G&T

starter/recap: ( 7 minutes)
Lower Ability (LA) Starting to get familiar with the musical eras..
Students will create a time
Medium Ability (MA) Expected to provide information about the Baroque Era.
line with the different eras
that they learnt about. Higher Ability (HA) Expected to describe how was the music in the epoque and
mention some important composers.

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More Able/ G & T: Expected to explain the importance of the Baroque Era and make
comparison with music from other Eras.

Differentiation by questioning. Open and critical thinking questions for High Ability
students.

Differentiation by support: definitions and keywords displayed on the board to

support LA students.

AFL: though questioning, rubric display on the board for low ability students.

Students will watch a video with music from the Baroque Era and they will
describe the different characteristics of the elements and composers.

Differentiation by questioning. Open and critical thinking questions for High Ability
students.
Main Activity AFL Peer assessment: student will receive feedback from their partners when
describing the music of the Baroque Era.

Plenary: Steps to success displayed for students reflect about their learning, the areas of strength and
development and next steps.

Highlight: Teacher-led Student-led

Evaluation/Reflection: Steps to success displayed for students reflect about their learning, the areas of strength
and development and next steps.

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