Sharon Cho

EdTPA: Task 1, Part E

Planning Commentary
1.
Central Focus
a.
Describe the central focus and purpose for the content you will teach in the learning
segment.
My central focus of this learning segment is to guide students to connect, internalize and
understand musicality in relation to the given text. At the end of the unit, students will walk away
with the knowledge to connect the text and notes on a piece of music using Dynamics, and by
selecting certain syllables, or words to stress. Additionally, students will understand that a story
can be told without words and that a visual analysis beyond the ink can tell us much about the
character(s) of a piece.
b.

Given the central focus, describe how the standards and learning objectives within your
learning segment address creating, performing, or responding to music/dance/theater by
applying
artistic skills (e.g., self-expression, creativity, exploration/improvisation)
knowledge (e.g., tools/instruments, technical proficiencies, processes, elements,
organizational principles)
contextual understanding (e.g., social, cultural, historical, global, personal reflection)
This learning segment incorporates opportunities for students to analyze not only their
individual singing, but the ensembles sound as well as other recorded examples. The students
learn how to listen for elements like dynamics, phrasing, articulation, breath support, vowel
shape, and how the singers stress certain words. This skill allows students to describe music,
as well as apply it into their own rehearsals and performances. The students also dive into how
the notes, rhythm, text and contour of lines relate to the history, story and culture at the time.
The students are given the history, translation and story of Matona mia cara, but they also get to
dive into why it is unaccompanied, or why it is sung in cut time, with no real bar lines.
This unit also includes opportunities for the students to reflect how they would portray
certain emotions, like falling in love, bragging, or pleading for someone through elements
beyond singing the correct text, rhythm and notes. This in turn helps the students incorporate
self-expression and tie their ideas into the music. In addition, the students will build onto their
Academic Language with terms like, legato, staccato, crescendo, decrescendo, word stress,
Madrigal, Articulation, etc.
Through it all the students will walk away with the knowledge to incorporate these
analysis skills to any new music they will get. The students will begin to understand how to
decode the text and parallel it to the notes they sing. An added bonus is that the students get a
glimpse of the Renaissance, how poetry and music align together, and the expressive literature
the composers arrange to tell a story.
c.

Explain how your plans build on each other to help students in creating, performing, or
responding to music/dance/theater and in making connections to artistic skills, knowledge,
and contextual understandings.

Each day scaffolds their learning in terms of note reading, building their knowledge of
the elements discussed, or through analyzing music and performance. The students not only
get the chance to evaluate their own individual sound, but they also begin to understand their
voice as part of an ensemble and begin to realize that importance to the music and story telling

aspect of performing. In addition, through the lessons the students will be asked to make
connections between different songs, between how they feel an emotion to how they would sing
it, and between how music and poetry work and respond to each other. There are also sections
in the piece that ask them to think about how the character is moving and dancing. This gives
them a mental idea of how light and short the notes should be to correspond the characters
dancing movements.
The students are constantly asked how the text parallel the notes. Through this students
get a deeper glimpse into the purpose behind different articulations. They also get the chance to
visually connect the notes to the story. For instance, by pointing out the sections where there is
word/ text painting, the singers get a better idea of how to phrase certain lines.
2.

Knowledge of Students to Inform Teaching

For each of the prompts below (2a-b), describe what you know about your students with
respect to the central focus of the learning segment.
Consider the variety of learners in your class who may require different strategies/support (e.g.,
students with IEPs or 504 plans, English language learners, struggling readers,
underperforming students or those with gaps in academic knowledge, and/or gifted students).
a.

Prior academic learning and prerequisite skills related to the central focus-Cite
evidence of what students know, what they can do, and what they are still
learning to do.

The students already have a vast bank of music theory knowledge. They are able to
sight read the notes fairly well, while also understand when the singers miss the rhythms. The
student, do not, however pay much attention to the articulation, or the dynamics written in.
Which is why I wanted to guide them to see the bigger picture beyond the ink. The singers have
no problem reading the notes, intervals, and rhythm measure to measure, but are still learning
to think of the notes as phrases. Much of their reading is very vertical, moving one note to the
next, instead of looking at the line horizontally to predict where the next movement will be. The
students already know the term crescendo, legato, dynamics, and other element terms I will
use. However, they are still beginners in applying these elements and techniques when reading
through a piece. I believe if the singers understand why certain dynamics are there, or why a
word is stressed differently, they will not only remember it more, but they will also put a purpose
behind their sound. This will also help develop good habits and will guide the students into
analyzing the next new piece of music.
b.

Personal/cultural/community assets related to the central focus-What do you know

about your students everyday experiences, cultural backgrounds, practices, and
interests?

Many of the students in Chamber Choir are involved in one, two, or three extra music
curricular ensembles like Marching Band, Symphonic Band, the Musical, A cappella, or the Jazz
bands. They use these interests to stay knit in the music community at the school. Thus many of
their personal assets come from their interests in other types of music and performance
opportunities. For instance, many students in Chamber Choir are involved in both the Marching
band and the A cappella group. This allows the students to connect musical ideas learned in
one group and apply it to other genres of music. For example, students in A cappella learn that
singing phrases in their heads before sight reading it and looking ahead greatly impacts the
overall sound and attempt. These students then apply this in band, where they can sing their

parts in their head and look forward to the next measures and what their instrument is doing, or
telling with the band.
In addition, the students receive and learn a wide span of cultural pieces and listen to a
diverse collection of music. The pieces we do in Chamber Choir do not overlap with Band, or A
cappella pieces, however many of the same techniques can apply to their practice. For
instance, the students learn how to decode music: how to view, or insert dynamics and
articulation to tell a story, and how to incorporate their individual sound to tell a story with the
ensemble. The students can go back and apply this when reading pieces with the band.
With this lesson, the students will grab the tools necessary to help dive into any new
music. Finally, I have noticed that because many of the students play one or more instrument(s),
their note reading skills are very high. Their practices include drilling scales, rhythms, as well as
sigh reading band pieces. These are all skills they use to read music in choir. However, as
mentioned above, there is room to grow and build on their sight reading abilities. Now with the
added lessons of decoding the meaning behind pieces, my hope is that the students will apply
this in their band pieces and think about the overall phrases, rather than reading music measure
by measure. Also, as mentioned above, I hope that the students hear their part as an important
voice to tell the overall story with the ensemble they are playing with.
3.
Supporting Students Performing Arts Learning
Respond to prompts below (3a-c). To support your justifications, refer to the instructional
materials and lesson plans you have included as part of Task 1. In addition, use principles
from research and/or theory to support your explanations.
a.

Justify how your understanding of your students prior academic learning and
personal/cultural/community assets (from prompts 2a-b above) guided your choice or
adaptation or learning tasks and materials. Be explicit about the connections between the
learning tasks and students prior academic learning, assets, and research/theory.

As mentioned above, the students already knew a lot of music theory and terms I have
inserted for the lesson plans. However, there is room to grow in terms of musicality and learning
how to look at new music. The students are preparing for the Madrigal concerts and this
requires them to sight read and learn a lot of music in not a lot of time, all the while making them
sound meaningful. Because many of the students play an instrument and have much prior
knowledge as to how to sight read, the notes and rhythms come together fairly simply. Thus, my
choice to do a unit on identifying the reasons behind articulations, dynamics, and understanding
the connection between notes, text and these articulations is a try to introduce reading music
like they are not used to.
This type of note reading and learning is parallel to the benefits of the Universal Design
of Learning approach. The UDL approach takes into account multiple learning styles and aims
to be an all-inclusive method of teaching. Students will be able to experience music reading and
analyzing through multiples means of representation, like vocal modeling, viewing videos, and
through analyzing their own recordings. Another principle the UDL offers is providing multiple
means of action, expression and engagement. By offering a deeper view into reading music,
students who do struggle with reading the notes straight across can view the overall movement
and contour of melody, while also reading the text and understanding the emotion of the piece
first. This information and skill will help the students predict the movement of their notes and will
help them set their minds into the correct mood of the piece.
These lessons will help students of all different levels view and interpret music a bit
differently. This new skill of connecting the text, notes, and dynamics will help the musicians
express their personal take on the story. The students get the opportunity to create an individual
voice and also the opportunity to discuss how their voice and section can contribute to the

overall ensemble and story. These skills can be transferred to band, the Musical, A cappella, or
other ensembles these students are in.
b.

Describe and justify why your instructional strategies and planned supports are
appropriate for the whole class, individuals, and/or groups of students with specific
learning needs.

Though this ensemble does not have any students with specific learning needs, there
are multiple levels of musicians: intermediate to highly advanced. These learning segments,
however, will cater to all of the different learning levels and ask students to interpret and read
the music beyond the notes and rhythms. The learning segments are also designed to have the
singers listen to three different things: their individual sound, the section, and the whole
ensemble. The students will discuss how their individual voice adds to the meaning of the
music, how their section adds to the story, and what the ensemble is trying to say. All of these
things ask the singers to interpret their notes beyond what it written. It also gets them to start
thinking about why the dynamics are placed there, and what the purpose is behind what they
are singing. Because the intention and purpose is more about understanding the context and
meaning behind a piece rather than the notes and accuracy of measures, the students get to
focus more on the dynamics and flow of the piece. This will challenge the singers across the
different levels present in the class.
Consider students with IEPs or 504 plans, English language learners, struggling readers,
underperforming students or those with gaps in academic knowledge, and/or gifted students.
c.

Describe common student errors, weaknesses, or misunderstandings within your

content focus and how you will address them.

Some related misconceptions singers have is that the ensemble must read through the
notes and rhythms correctly before addressing the dynamics and articulations. Many times
these things are viewed as an extra component to better the sound, however, I believe that the
dynamics, where to stress words, written accents, and etc. are all synonymous and work in
relation to the notes and rhythm to tell a story. Identifying these elements even before sight
reading, will greatly benefit and enhance the ensemble sound. This will also guide the singers to
think about why the dynamics are placed there and what the meaning of the text is before
putting the notes on. It is true that a story can be told through just notes and rhythm, but without
the text it becomes difficult to understand the meaning and purpose. Thus, in program music we
see a lot of expressive ideas using dynamics and the listed elements throughout the lesson
because the words arent there for the music to rely on. Similarly, with text and lyrics in music, a
story can be guided through the movement of the pitches and rhythm. I want the singers to
begin connecting why the notes, rhythms, and the musical elements are there, the purpose, and
intention behind the writing.
Matona mia cara is not only a piece they must learn for the Madrigal concerts, but also a
perfect piece to guide these ideas. The students begin to understand the text and the character
of the piece by just reading the translation. In addition, by seeing how the rhythms and notes are
written students can visually see where the legato sections might be and what sections might be
short and staccato. By combining all of these aspects, students dive deeper into why Lassus
had arranged the words to be accented in spots that arent proper to the Italian language, and
why it is important that we address these elements from the beginning stages of note learning.
A second misconception is that a singer and ensemble must sing what is exactly written
on page. I believe text and stories have multiple angles. The way it is arranged is a view and
opinion of the arranger and the ensemble should honor these decisions and print. However,

during the rehearsal stages, I believe it is wise to ask the students for their opinions and have
them try out different dynamics and phrasing to support why the arranger had chosen these
decisions and what different decisions do to the story. Thus, I will show a recording of this piece,
go through and ask students what the emotion is of a section and what dynamic would work,
and also think of the overall impression of the piece and where the climax of the piece should be
put and why. This way students have their own opinions and are able to express their
interpretation of the piece while also comparing it to a recording that is done meticulously well.
Finally, a more technical misconception is that piano, or quieter sections require the
singers to sing with less air and a smaller mouth. This is especially true with newer singers. I
like to think of dynamics as intensity. The air flow should stay the same when executing piano,
or forte, however, the intensity as to which the air is spun differs between the different dynamics.
When I had the chance to run warm ups, I addressed this misconception through having them
sing the Don Don section on different dynamics. The rule was that they could not change the
height of their mouths, and that they had to support their sound with the proper amount of air.
4.
a.

Supporting Performing Arts Development Through Language

Language Function. Identify one language function essential for students to learn the
performing arts knowledge within your central focus. Listed below are some sample language
functions. You may choose one of these or another more appropriate for your learning
segment

The language function that best fits these learning segments, is Express. This term
parallels the concept that I am striving to hit with these segments. The key is for students to
walk away with the ability to express the emotion and story behind a piece and how the
dynamics and other elements aid in that process.
b.

Identify a key learning task from your plans that provides students with opportunities to
practice using the language function. Identify the lesson in which the learning task occurs.
(Give lesson/day number.)

The language function, express, can be seen throughout all 5 days and lessons. The
days where it is practiced more and highlighted are days 1 and 4 (Lesson 1 and 4). On day 1,
lesson 1, the students are introduced with the new tune. Instead of immediately sight reading
the notes on a neutral syllable, or on solfge like they are used to, they are asked to review and
learn certain terms and focus on different musical elements, like word painting, dynamics, word
stress, legato, etc. They are then asked to just visually look at the notes and rhythms and
identify the relationship with the text and elements. How do these 4 things work together to tell
the story? The students are given time to identify certain emotions with the translations and
phrases, and how they would individually portray that through the speed of their notes, style,
pace, phrasing, dynamics, etc. This gives them the chance to express their interpretation of the
piece before identifying what the ensemble as a whole will execute it.
On day 4, lesson 4, the students are asked to watch and listen to a group that NPR
featured singing Matona mia cara. The students are then not only listening to the performance,
but also analyzing certain elements that we had been discussing and how to put that in context
with our run through. This gives the students a chance to build on their performance and
express their notes with more of the context knowledge identified. The students also get to
comment on what they thought was well done, and how we can implement them. Sharing their
opinions and ideas are just another way to express music.

Additional Language Demands. Given the language function and learning task
identified above, describe the following associated language demands (written or oral)
students need to understand and/or use:
Vocabulary and/or symbols
Plus at least one of the following:
- Syntax
- Discourse
c.

Consider the range of students understandings of the language function and other demandswhat do students already know, what are they struggling with, and/or what is new to them?
The vocabulary the students will need to use and understand are Dynamics, Crescendo,
Decrescendo, Secular, Madrigal, Word Painting, Downbeat, Word Stress, Legato, and Staccato.
These terms are all given in their Introduction sheet and the students will be using them
throughout the week to solidify and deepen their understanding. Through listening to a
recording, verbally discussing our evaluations, discussing the essential questions throughout
the week, the students are given opportunities to demonstrate their knowledge of the Element
terms. The ways in which students can communicate are through their writing on the
Introduction sheet and through the Assessment worksheet, Individual notation on their music,
verbal communication to essential questions and other prompts opened in discussion, or
through comments shared throughout the lessons. All of these demonstrate the discourse in
which students demonstrate understanding.
All but two students are in Band, A cappella, Jazz Band, and/or the Musical. Thus, the
majority of the class are already familiar with the terms. However, because we do have students
who may be asked to define it and apply it to their language for the first time, I am providing a
sheet with the definitions and asking everyone to start on the same page. This provides the
students to understand the term with a concise definition that the whole class can agree on. In
addition, this will allow the students to form examples while discussing each term to
demonstrate their understanding. Through applying it to new music, each student will build their
knowledge and will be challenged to answer these questions no matter what level they are
starting out with. Something that may be new to the students is analyzing music like this before
sight reading the notes and rhythms. Many times choir teachers have the students learn the
notes and rhythm, then apply the elements like dynamics. I am asking the students to think
about why a certain dynamic might be written, or why the words are accented in certain parts
before the students sing a note, so that it prepares them mentally of what the piece is about.
d.
-

Language Supports. Refer to your lesson plans and instructional materials as needed
in your response to the prompts below.

Describe the instructional supports (during and/or prior to the learning task) that help
students understand and successfully use the language function and additional language
demands identified in prompts 4a-c.

As mentioned above, the class and I will go through the meaning of the terms, how it is
used in the music, and how to use it in context when evaluating other music. Additionally, I use
these terms to express, introduce and discuss how sections are written. The students will be
using these same terms and elements throughout the week and will use them to assess a
recording and themselves. The students are given multiple opportunities to understand and
learn the terms as they are being woven throughout the entire learning segment.
5.

Monitoring Student Learning

In response to the prompts below, refer to the assessments you will submit as part of the
materials for Task 1.
a.

Describe how your planned formal and informal assessments will provide direct
evidence of students creating, performing, or responding to music/dance/theater by applying
artistic sills, knowledge, and/or contextual understandings throughout the learning segment.

The informal assessment will be done through verbal feedback, vocal modeling, and
through discussion throughout the learning segment. In addition, students will be assessing
themselves daily by participating in answering the essential questions, and by singing through
the pieces. The formal assessment is done through the recording and evaluation the students
will fill out. I will then use the rubric to give them a grade based on two concepts: Participation
throughout the week/ Use of Academic Language in conversation and quality work submitted
through student assessment worksheet.
Evidence of their improvement and understanding is done through the natural
progression of the students learning the new sections, discussing their analysis of the recording,
as well as through the end of the week assessment the students will fill out. Not only do I get to
hear an informal assessment through them verbally, but I can see the start and end process of
their understanding of this segment through their note taking on the Introduction sheet and
comparing it to the Assessment worksheet.
b.

Explain how the design or adaptation of your planned assessments allows students with
specific needs to demonstrate their learning.

Consider all students, including students with IEPs or 504 plans, English language learners,
struggling readers, underperforming students or those with gaps in academic knowledge, and/or
gifted students.
The planned assessments do cater in favor of students who demonstrate knowledge
better through writing. However, the students are also writing in a number to share where they
think they are in their understanding. In addition, the students are recording their voice, so they
are given the opportunity to demonstrate their understanding through their performance. This
ensemble does not have any students with specific learning needs and adjustments, however
there are different levels of musicians. The newest musician has been in Chamber choir for 2
years, thus, there are no true beginners. With that being said, the assessment at the end of the
week takes into consideration all of the different levels and the grade system is based on their
want to improve, understanding and role as part of an ensemble, not necessarily how many
notes and rhythms they got correct. The grades are given for thorough explanation of why they
gave themselves that grade, and for how adaptable, achievable, and clear their solutions are.