Differentiation in Music

The goal of the differentiated classroom is maximum growth and individual success. In lessons, the
teacher can differentiate:

Content – The knowledge and skills students need to explore music

 Students play drones or simple ostinati on melodic instruments to accompany songs

 Boomwhackers and glockenspiel (or keyboard) to be used for students who have fine motor
problems
 Limited range patterns (2 or 3 notes) can be substituted as an alternative to more complicated
melodic patterns
 Sol-fa patterns can be transposed into different keys and chords added (extension)
 Compositional activities as extension
 Performance opportunities offered during lessons for gifted students
 Extension worksheets for early finishers e.g. AMEB theory papers
 Vocal extension can include individual canon and part singing
 Accelerated sequence of content to extend gifted students

Process – The activities or alternate ways students learn the content

 Tiered tasks e.g. some students perform beat whilst others do rhythm or ostinato patterns
 Excerpts of songs used (with reduced range) for some students-instrumental and written work
 Learning behaviors (independent/ cooperative)
 Vary duration/ pace of tasks
 Memorized sol fa patterns can be performed on a variety of melodic instruments (link to
instrumental program)
 Individual students act as leaders in performances of canons and ostinato patterns
 Felt staff boards and counters, paddle pop sticks and large size staff font to assist those with
writing difficulties

Product – The ‘end’ product or documented evidence of learning

 Vary mode for presenting learning e.g. some sing, some play simple tuned instruments, some
play other melodic instruments
 Vary duration/ pace of tasks
 Tiered tasks e.g. students play different pieces in performance tasks and use different
instruments according to ability
 Flexible groupings to complete tasks
 Negotiated assessment to suit needs and abilities, written tests modified to suit ability levels
 Self-monitoring using explicit criteria
 Student self-reflection and self-assessment
Environment – The physical space of the classroom and how it looks and influences feelings

 Lesson routine on board to help students anticipate change of activities

 Creation of set routines for distribution of books, pencils, instruments to ensure security
 ‘Time out’ zone for students who are stressed from noise levels e.g. use of cushions,
headphones, books, soft toys
 Peer tutoring
 Some choice of activities
 Varied use of ICTs (e.g. music software)
 Supportive classroom

Checklist Headings for Differentiation

Below Year Level At Year Level Above Year Level

Learning Profiling Tools: ‘How do I get to know my students?’

 discussions with classroom teachers

 list of students with verified disabilities
 list of students in instrumental and choral program
 goal setting and reflection activities
 anecdotal observations of students in singing games and activities
 check lists and test results from previous years and Selmer Music Test
 surveys/ questionnaires of students’ prior experience and interests
 DIFFERENTIATION IN THE MUSIC
CLASSROOM
https://www.mrsmiraclesmusicroom.com/2018/11/differentiation-in-music-classroom.html

The term "differentiation" has been used more and more often in education
lately. What does it mean? How does it apply to the music room?
According to Carol Ann Tomlinson--an expert on differentiation-- differentiated
instruction is defined as factoring students’ individual learning styles and levels
of readiness first before designing a lesson plan (from this blog post from
Concordia University- Portland.) So what does this look like in the music
classroom?

I've heard many music teachers say that differentiation happens naturally in the
music room. I agree...to a degree. There IS a lot of differentiation that happens
organically in music, but there are also differentiation strategies that we can
employ with thought and intention. Here are my favorite ways to differentiate:

Include lots of variety

By including lots of variety in your lessons, including activities that cover the
gamut of Bloom's Taxonomy, you can help address each student's ability. For
example, in one lesson, you could ask students what these rhythms are called
(i.e. ta and ti-ti, which would be remembering), you could have students apply
their knowledge of rhythms by playing rhythm patterns on non-pitched
percussion, and you could have students create using ta and ti-ti. This variety
would not only lead to an active, engaging lesson, but would allow students
opportunities to showcase their knowledge at their ability level.

Plan for extensions and simplifications

Let's say you've given your students the chance to figure out how to play
"Bounce High" on barred instruments, with G as sol. If a child is able to figure it
out sooner than other students, you could have them figure it out with C' as sol,
or A as sol (if you add a F# bar.)

If a student is struggling with figuring it out, you might write in the note letters for
them, or give them a simpler song without la, such as "See Saw."

Have students self-differentiate

If you've given students a few tasks at different levels (different ostinati, for
example) you could have students choose which one they'd like to do. If one of
the ostinati is simpler than the others and one is more difficult, this can be a
great way for students to perform at their ability level and feel comfortable.
This could work with Orff arrangements, as well. After teaching a more difficult
part, I've sometimes looked for students who could perform the body percussion
to assign that part, and I've also simply asked students who wanted to try it.
Students who are ready for the challenge will volunteer, and those who are not
quite ready likely won't.

Differentiate during centers

This has been new for me this year. I've created at least two centers during
centers lessons that are differentiated. At these centers, students complete the
task for the color they've been given. I've taken pre-test data, and have sorted
students into three groups (level 1/ basic= blue, level 2/ proficient= green, and
level 3/ advanced= pink.) Before students start doing centers, I hand them a slip
of paper with their color, so they know which task to complete at those centers.

One example of this is rhythm flashcards. At this center, students play patterns
on non-pitched percussion. The blue flashcards at that center have simpler
patterns, the green flashcards have middle-of-the-road patterns, and the pink
flashcards have more challenging patterns. If a student has been given a green
slip of paper, they play the green flashcards. I've also combined this idea with
having students choose their own centers, like in this blog post, where students
can float from center to center and change whenever they want, but at the
centers with differentiation, they do that color task.

Looking for more ideas for differentiation with centers? Check out this bu ndle;
individual sets can be bought separately.
https://www.teacherspayteachers.com/Product/Differentiated-Music-Rhythm-Centers-Bundled-Set-
4144268?utm_source=MMMR%20Blog&utm_campaign=Differentiated%20centers
Also, check out this post by Debbie from Crescendo Music with more
differentiation strategies.

What's your favorite way to differentiate in the music room? Feel free to
comment below, and happy teaching!