Watch Video 4a during which the teacher models two aspects of the processes involved in composing a blues melody. Pupils have previously learned about the context of blues, and the basic structure of the traditional blues sequence.

Using the observation sheet below as a prompt, identify the ways in which the teacher ‘talks through’ the conventions, processes and devices of a blues song, in order to bring clarity to the modelling sequence. You will need to watch both aspects of the process in order to identify all the features listed on the prompts. Compare your notes with the analysis in Appendix 1 of this unit.

Observation sheet  37kb

Using the findings from Task 1 (Talking through the process), and reflecting on the other opportunities listed above, consider ways of developing the use of some of the thinking aloud strategies in your teaching.

Choose a class that you feel confident with and a lesson where modelling a particular convention or skill needed to access a tradition would be useful.

Plan to use a new strategy in this lesson, keeping the demonstration short and focused.

Reflect upon the outcomes from the lesson.

Have pupils gained a clear understanding of the skill or concept being developed and can they carry out the task successfully on their own?

Which aspects of the modelling episode could you improve next time?

Choose a modelling situation during which it would be appropriate for pupils to generate their own questions and develop a sense of what they need to know to realise the task. Create a KWL grid with their prior learning already identified in column 1 and the expected pupil outcomes in column 3.

During the active modelling session, ask the pupils to complete column 2 recording questions relating to any aspects that need further clarification in order for them to successfully approach and realise the task. Support this process with prompts and reinforcements along the way. This information should then be either fed back to the teacher so that the process can be repeated (focusing on these specific aspects) or retained by the pupils for clarification on an individual basis later on.

Reflection

After the lesson, identify and jot down your thoughts concerning how successful the use of this strategy was, and ways in which you might improve its use. Plan to develop the strategy in other modelling opportunities.

For one lesson or in a modelling episode within a lesson that you teach, write down or make an audio recording of all the questions you ask. You may consider forming a partnership with another teacher to monitor the use of questioning within your lessons.

Analyse the questions you have asked, using a grid like the one below.

Match the types of questions against Bloom’s cognitive objectives and make comments in column 3 as to the impact made upon learning.

Think about the ways in which you scaffold the learning experiences for a particular class. When you are next modelling how to improve a particular skill, develop a range of support materials that will accommodate a range of learning styles (visual, auditory, kinaesthetic).

After the lesson, identify the impact on different groups of pupils. Notice which version of the materials had the greatest impact on most pupils.

What does this tell you about the preferred learning styles of your pupils, and what sort of resources you might develop next?

Plan a modelling opportunity where you are able to demonstrate the use of aspects of subject-specific vocabulary. It could be related to numerous learning activities, such as how to use compositional processes from a specific style, how to evaluate a performance, or how to identify features and conventions within a listening and reviewing and evaluating task.

Consider the following points when planning an effective modelling session designed to encourage an evolving musical language base for the pupils.

• Use short, clear sentences for maximum effect and identify in advance the subject-specific key words and phrases that you want pupils to learn.
• Provide a spoken commentary on the process of how to develop your own performance or composition or that of a group in order to inform, explain or evaluate.
• Make the commentary coherent by considering the sequence of ‘how to’ points and how they can be linked.

Evaluate the success of the modelling session identified in Task 6 (Teaching sequence for modelling the use of a musical vocabulary) by using one of the strategies for encouraging group talk from Literacy in music (DCSF 0261-2004).

For example, use a spokesperson strategy to organise group discussion. A member from each group is appointed as spokesperson to summarise how they have been developing the use of a particular convention, process or device within a composing task. The spokesperson is required to feedback using subject-specific vocabulary, each group being asked in turn to add something fresh to the discussion.

Develop a structured plan, to gather evidence from the pupils.

Which examples of musical vocabulary that you modelled did you hear the pupils use?

Did the pupils use the musical terms precisely and cogently in order to articulate their understanding of how to improve?

What problems did the pupils encounter, especially in using language to describe their work?

What could be done in the next modelling session to overcome these problems?

Prepare a modelling episode for Year 8 pupils that will help them acquire a specific performance or composing skill. For example, it could be a modelling episode involving how to improvise successfully a melody within a big band style while performing to a sequenced MIDI file accompaniment.

Consider the following points as you prepare the modelling session

• Anticipate where pupils are likely to struggle and plan to address those specific points.
• Keep the modelling short and fully focused on the expected pupil outcomes.
• Encourage pupils to feel secure in the learning environment and therefore able to begin to take risks and accept making mistakes (e.g.  foster confidence by slowing down the modelling of keyboard techniques).
• If appropriate use peers to model effective work. Make sure that these pupils can not only demonstrate but also explain what they are doing and why – by talking about the steps they have taken to reach a successful outcome.
• Involve pupils in the decision making, allowing them to have ownership of the learning (e.g. encourage pupils to decide the length of the improvised sequence, the tempo of the backing MIDI file, the selection of the timbre or sound sources they are to use).
• Allow pupils to engage quickly with the task after the modelling process has finished – have resources already prepared for immediate interaction once the modelling is over.
• Break the learning down into small tasks and encourage pupils to practise small steps until their confidence grows.
• Plan to repeat the modelling sequence whenever necessary in order to demystify a skill or technique – this can be achieved in a variety of ways such as during a whole-class plenary, or as small-group or individual intervention.

You may want to watch Video 4b. It shows a teacher modelling how to create a ‘characterful’ melodic motif for use in a more extended ’programme music’ composition. The pupils have already explored the principles of programme music, the poem ‘Danse Macabre’, and the nature of the main characters in the poem – ‘Death’ and ‘Skeletons’. They are now about to create a motif that musically represents their view of the character ‘Death’ (the descriptive words on the board were suggested by pupils earlier in the lesson). When observing the sequence, consider the effectiveness of the episode and the ways in which the teacher builds confidence and demonstrates expectations.

Reflection

Consider the effectiveness of the planned modelling session developed in this task. Monitor the engagement of pupils and recognise any improvements in their motivation and application towards the task. Consider how you could apply the same modelling techniques to a different musical challenge.

Once musicians willing to participate in modelling have been identified within the local community, their use has to be carefully planned and negotiated in order to meet the learning needs of the pupils.

The modeller will need to be briefed and informed about:

• making explicit the processes, devices, skills and techniques to be shared;
• providing an oral commentary (if appropriate) while modelling;
• repeating the process;
• illustrating key points and slowing down complex techniques.

Design a generic form, such as the example provided below with fictional data included, which will be used to provide information to the modeller.

Modelling session based on improvisation techniques

Musician: David Brown Date: 25/1/2006 Class: 9HB

Use the next departmental meeting to agree which examples of pupils’ work represent outcomes at, below or beyond expectations for a given unit.

Make sure that recordings are either mastered onto one disc or organised into discrete computer files, and that there are agreed statements about what each example demonstrates and the reason why each is a model of a satisfactory or good musical outcome.

Plan how these examples can be used as models with pupils the next time this unit is taught.