Running head: MUSIC WORKSHOP 1

EDID 6505 Mini-Project 1

Music Development Workshop for Royal Anguilla Police Community Band

Jiva Niles

320037892

University of the West Indies- Open Campus Anguilla

Dr. L. Hill
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Executive Summary 4
Needs Assessment 5
Background 5
Overall Course Goal 5
Objective 5
Selected Audience 6
Topic of Instruction 6
Formats 6
Information Sets 6
Data Collection 9
TASK ANALYSIS 11
Procedural Analysis-Task 1 11
Scales Procedure 11
Procedural Analysis Task 2 13
Procedure for Transposing an Orchestral Instrument to Concert Pitch 13
Prerequisite Analysis-Task 1 15
Prerequisite Analysis-Task 2 16
Transposing Instruments 16
Performance Objectives 17
Assessment of Student Learning 18
Performance Rubric 18
Application Assessment Items 20
Learner Contextual Analysis 24
INSTRUCTIONAL STRATEGIES AND LESSONS 25
Instructional Strategies 25
Lesson 1 Scales 25
Lesson 2- Transposing 30
Reflections 33
References 36
Appendix A 37
Appendix B 41
Contextual Analysis Worksheet 41
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Appendix C 45
Answers to Application Assessment Items 45
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Executive Summary

This Mini-Project is aimed at using the Instructional Systems Designs process to plan,

design, develop, deliver and evaluate two instructional units. Included in the document is a

Needs Assessment for identifying actual performance, noting performance gaps, pinpointing

causes and devising solutions. This is followed by two Task Analyses methods that breakdown

the instructional units for the purpose of making them more comprehensible. Of note, this is

complemented by a Task Analysis Worksheet that is included for noting relevant priority

instructional topics (see Appendix A). Instructional objectives, assessments and rubrics

developed are then shown. Subsequently, a lesson plan detailing the progression of instruction

and instructional strategies used is shown. The same was based on a Contextual Analysis process

(see Appendix B). This Contextual Analysis steered the process of making suitable design

decisions and determining factors impacting the success or failure of the planned instructional

event. Finally, a Reflection is shown at the end of the exercise to highlight both the writer’s

growth and learning throughout the process.

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Needs Assessment

Background

The writer periodically assists with the delivery of instruction for adult learners at the

Royal Anguilla Police Community Band. These learners play at various national and

international events. Of note, the band leadership has received mixed feedback from the public

about the quality of sound heard at events. By the same token, scores of band members grapple

with playing songs selected. The band leadership feels that problems in musical performance

stem from some members having little or no formal music theory background. While this

particular feedback from band leadership is important, the actual cause of the problem is not

certain. Nevertheless, the band leadership is exploring pathways for resolving the issue of

substandard music production by members.

Overall Course Goal

To develop a 2-day training workshop for improving the technical music skills of band

members at the Royal Anguilla Police Community Band.

Objective

To design a needs assessment plan aimed at determining vital areas to focus instruction

on in the 2-day music development workshop.

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Selected Audience

The targeted audience comprises 25 adult learners who are musicians at the Royal

Anguilla Police Community Band. The musical experience of these band members span from

beginner to advanced levels. These learners have varied experience in music theory and/or

practical music. Of note, scores of learners have no formal certification in music and learned

music without the guidance of a formal instructor.

Topic of Instruction

The topic for instruction selected is music development. Though seemingly broad, core

areas, associated with development of music skills, would be covered in this workshop.

Formats

The workshop would take place over a period of two days. Here, direct instruction and

discussion approaches would be adopted. Laptops, speakers and projectors would be used to

illustrate PowerPoint aid content. Even too, audio-visual content would be demonstrated using

the aforementioned equipment.

Information Sets

What you need to know?.

Optimals. Rossett (1995) maintains that instructional designers use standards, texts, tests and

specifications, among other measures, to determine optimals (p. 186). In like manner, obtaining

information about the ideal or standard performance, gives the designer, instructor and students a
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performance target to work towards. The standard to be adopted for this workshop would be that

of the Associated Board of the Royal Schools of Music (ABRSM). Therefore, optimals for the

Royal Anguilla Police Community Band ensue:

● Participants use general theory principles as per guidelines of the ABRSM

● Participants transpose melodies as per guidelines of the ABRSM

● Participants perform practical material that matches their ABRSM grade level

Actuals. Anonymous (n.d.) purports that actuals refer to the learners’ current knowledge or

capabilities. Hence, information obtained from an assessment of actuals can facilitate

determining current performance. This information is critical as it may help the designer and

other stakeholders determine how the target audience deviates from the optimal or desired

performance. Identification of this deviation in knowledge fosters planning instruction in a way

that narrows or eliminates these gaps in performance. Actuals that should be uncovered via

scientific inquiry include the following:

● Students’ current knowledge level of music theory and practice

● Students’ characteristics that may facilitate or hinder knowledge acquisition about music

theory and performance.

● Students’ learning preferences

● Students’ past experiences

Causes. Causes refer to reasons that promote the existence of the problem. In line with this

position, Morrison, Ross, Kemp and Kalman (2013) reveal that the causes for the gap between

optimal and actual performance should be assessed for determining the intervention needed (p.
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30). Of note, this intervention may or may not be instruction. Considerations for assessing causes

ensue:

● Participants’ time available to dedicate to subject matter

● Students’ motivation and readiness to learn musical concepts

● Availability of instruments and musical stands for members

● Availability of learning materials (e.g. past examination papers, textbooks,

manuscripts, music scores, rulers, pencils, white board markers and white boards)

● Conditions of the learning and band room environment (e.g. seating, availability of desks,

noise level, temperature level, e.t.c.)

● Teaching experience of band instructors

Feelings. Rossett (1995, as cited in Anonymous, n.d.) mentions that this component involves

finding out about the learners' feeling about subject matter and training, its priority level,

confidence level about subject matter. Notably, feelings about any of these aspects may affect

attitudes and subsequent behaviours surrounding the same. These behaviours may promote or

impede subsequent attendance and/or learning at organized instructional events.

● Participants’ self-concept about teaching music in a(n) small or large group context

● Participants’ and perceptions of about practical music and theory of music

● Participants’ feelings about attending and/or actively participating in a workshop

exercise

Solutions. While determining the causes for the performance problem observed is imperative,

Rossett (1995) reminds reading audiences that they lead to the path of finding solutions (p. 188).
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● Theory instruction

● Approach songs by chunking musical sections

● Select and/or arrange songs that match members’ playing ability

● Increase practice hours

Data Collection

Who knows?.

Information for actuals would be collected from both instructors and students at the

Royal Anguilla Police Community Band. This is so as these groups have first-hand experience

about the operations of this school of music. Similarly, assessment of feelings would be obtained

from band instructors and students.

In contrast, primary data for optimals would be collected from qualified musicians on the

island. These are persons who would have attained a grade 5-8 certificate from ABRSM and/or a

baccalaureate degree or higher in Music Education. Secondary data for the same would be

retrieved from ABRSM print materials. Additionally, band instructors, band students and local

music education experts would have insight about causes and solutions for the problem.

Therefore, these groups should be targeted for sourcing this information. Secondary data about

causes and solutions may be obtained using print and online materials.
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How will you get the information?.

Qualitative data may be obtained using interviews, focused groups and surveys. Quantitative data

may be obtained using surveys, questionnaires and band records. Secondary qualitative and

quantitative information may also be retrieved using book, online and journal sources.

How will you use the information?.

Information obtained would be used to determine the needs of this particular target population. A

thorough understanding of their needs supports the design of learner-centred instruction.

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TASK ANALYSIS

The tasks selected for course development inclusion were derived from prioritising content found

on the Task Analysis Sheet (see Appendix A). Here, use of rating scales, based on

pre-determined needs criteria, guided this process. Tasks were ranked based on the numerical

scores they received and the highest tasks were chosen. These tasks were Scales Development

and Transposing Instruments.

Procedural Analysis-Task 1

Scales Procedure

8 note Diatonic Major Ascending Scale with Worked Example.

1. Identify the key signature of the named scale. In an example D Major Scale, the key

signature is F sharp (F#) and C sharp (C#).

2. Write down the first note name of the scale. The exact letter name of the named scale is

the first note in that scale. For example, D Major Scale will start with the letter D, E

Major with the letter E, and the like.

3. Using the ascending order of the musical alphabet, write the note names of notes one

to eight. Take note that the first and last letter name of the scale are the same. In the

example D Major Ascending Scale, notes one to eight would read D, E, F, G, A, B, C, D

4. Refer to step one and substitute accidentals (sharps, flats, naturals) of the key identified at

notes that have the same alphabetical name. For example, in D Major scale replace F with

F sharp (F#) and C with C sharp (C#).

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5. Using the key signature identified in step 4, write out all eight notes of the ascending

major scale format. In D Major Ascending Scale, the notes are D, E, F#, G, A, B, C#,

D.

6. Play the scale on respective instruments.

8 note Diatonic Major Descending Scale with Worked Example.

1. Identify the key signature of the named scale. In an example D Major Scale, the key

signature is F sharp (F#) and C sharp (C#).

2. Write down the first note name of the scale. The exact letter name of the named scale is

the first note in that scale. For example, D Major Scale will start with the letter D, E

Major with the letter E, and the like.

3. Using the descending order of the musical alphabet, write the note names of notes eight

to one of the scale. Take note that note eight and one has the same letter name. In the

example D Major Descending Scale, notes eight to one would read D, C, B, A, G, F, E,

D.

4. Refer to step one and substitute the key identified at notes that have the same

alphabetical name. For example, in D Major scale replace F with F sharp (F#) and C with

C sharp (C#).

5. Using the key signature identified in step 4, write out all eight notes of the descending

major scale format. In D Major Descending Scale the notes are D, C#, B, A, G, F#, E, D

6. Play the scale on respective instruments.

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Procedural Analysis Task 2

Procedure for Transposing an Orchestral Instrument to Concert Pitch

1. Determine if the orchestral instrument being transposed is a C, F, A, B Flat or E Flat

instrument.

2.0 Find the interval between the note name of the type of orchestral instrument (C, F, A, B Flat

or E Flat) and the note C

2.1 Starting at the alphabetical letter name of the type of orchestral instrument, count the interval

between this alphabetical letter name of the type of orchestral instrument and the note middle C,

by assigning the number 1 to the alphabetical letter name of the type of orchestral instrument.

For example, if the orchestral instrument is a E Flat instrument, count the distance between the

alphabetical letter name of that orchestral instrument, E, and the note C. This would be the

distance between E-C; accordingly, this is E (1), F (2), G (3), A (4), B (5), C (6).

2.2 Determine that the distance counted between the alphabetical letter name of the type of

orchestral instrument and the note C is the interval. Therefore, the distance between an E Flat

instrument and the note C is a 6th.

2.3 Categorise the interval identified as major, minor or perfect.

2.4 For major intervals, determine if the lowest note of that interval has the highest note in the

major form of that scale.

2.5 For minor intervals, determine if the lowest note of that interval has the highest note in the

minor form of that scale.

2.6 For perfect intervals (4th, 5thand 8th intervals), determine if the lowest note in that interval

has the highest note in the major form of that scale.

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3.0 Select any note on the type of orchestral instrument in possession (C, F, A, B Flat or E Flat

instrument)

4.0 Using the musical alphabet, count the major, minor or perfect interval, determined in steps

2.4, 2.5, or 2.6, respectively, backwards from the note selected in step 3.0, starting with the note

selected as position 1. For example, if the note G was selected on an E Flat instrument, and a

major 6th interval was determined in step 2.4, count a major 6th backward, starting at the note G.

This would be G (1), F (2), E (3), D (4), C (5), B Flat (6).

5.0 Select or play the note arrived at in step 4.0. This would be B Flat in the worked example.
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Prerequisite Analysis-Task 1

Scales Performance

Figure 1

Scales Prerequisite Analysis

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Prerequisite Analysis-Task 2

Transposing Instruments

Figure 2

Transposing to Concert Pitch

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Performance Objectives

Terminal Objective-Task 1

To illustrate the procedure for playing the diatonic major scale

● Learners will describe the steps for arriving at scales with 90% accuracy

● Using orchestral instruments, learners will demonstrate how to play diatonic major

scales as per ABRSM guidelines with 90% accuracy

Terminal Objective-Task 2

To solve for melodic equivalent notes among orchestral instruments playing in unison

● Learners will transpose music for non-concert orchestral instruments with 90% accuracy
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Assessment of Student Learning

Performance Rubric

Task 1.

Table 2

Rubric for Scale Construction and Performance

Score Scales-8 Note Diatonic Major Scale

5 Performance of Major Scales is exceptional

4 Performance of Major Scales is above expectation

3 Performance of Major Scales meets expectations

2 Performance of Major Scales needs improvement

1 Performance of Major Scales does not meet expectations

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Task 2.

Table 3

Rubric for Transposing Instruments

Rating Melody Neatness & Accuracy

4 90%-100% of notes and accidentals 90%-100% of clefs, time signatures, notes

shown are correct. 90%-100% of key and accidental signs are written clearly in the

signatures represented are accurate. correct line and/or space of the musical staff.

Note stems are drawn straight with a ruler

and are at correct length and are in the

correct direction.

3 80%-90% of notes and accidentals 80%-90% of clefs, time signatures, notes and

shown are correct. 80%-90% of key accidental signs are written clearly in the

signatures represented are accurate. correct line and/or space of the musical staff.

80%-90% of note stems are drawn straight

with a ruler and are at correct length and are

in the correct direction.

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2 70%-80% of notes and accidentals 70%-80% of clefs, time signatures, notes

shown are correct. 70%-80% of key and/or accidental signs are written clearly in

signatures represented are accurate. the correct line and/or space of the musical

staff. 70%-80% of note stems are drawn

straight with a ruler and are at correct length

and are in the correct direction.

1 Less than 70% of notes and Less than 70% of clefs, time signatures,

accidentals shown are correct. Less notes and/or accidental signs are written

than 70% of key signatures clearly in the correct line and/or space of the

represented are accurate. musical staff. Less than 70% of note stems

are drawn straight with a ruler and are at

correct length and are in the correct

direction.

Application Assessment Items

Below are eight objective test items to be assessed immediately after completion of instruction.

Four questions pertain to objective 1 and four questions pertain to objective 2. Answers for the

same are shown (see Appendix C). Answers to these questions would equip facilitators with

summative judgments about band member learning. However, to measure the impact of this

training on improving the longstanding problem of substandard performance of band members, a

confirmative assessment would have to be conducted over a period of time following the

training. Items for the latter are not included in this project.
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1. You determine that your colleague has played the F Major Scale correctly when he or she

does the following to the identified key signature note:

a. Play a B Flat note in the ascending and descending form

b. Play a B Natural note in the ascending and descending form

c. Play a B Flat note in the ascending form and not descending form

d. Play a B Natural note in ascending form and not descending form

2. The trumpeter realizes that a section player under his guidance understands how to play

the E Major Scale, ascending form when she utters:

a. ‘‘I will play 4 sharps in this scale’’

b. ‘‘I will play 3 sharps in this scale’’

c. ‘‘I will play 3 flats in this scale’’

d. ‘‘I will play 4 flats in this scale’’

3. A new band member plays C Major Scale. You ask the class to applaud her when she:

a. Ends the scale on the leading tone note

b. Ends the scale on the tonic note

c. Ends the scale on the supertonic note

d. Ends the scale on the dominant note

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4. Before playing scales, which of the following is most important for the band instructor to

do first?

a. State the key signature

b. Indicate the dynamics

c. Cue in the horn section

d. Mention the notation

5. To transpose a piece of music for a B Flat instrument to concert pitch, the band member

realizes that she should

a. Count a major 2nd interval up from the note selected

b. Count a major 2nd interval down from the note selected

c. Count minor 7th interval up from the note selected

d. Count a minor 7th interval down from the note selected

6. If the interval for an E Flat instrument is a major 6th lower when played at concert pitch,

determine which note would be equivalent in sound for a G played on a E Flat Horn:

a. B Flat

b. E Flat

c. A Flat

d. D Flat
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7. A student transposing a piece of music written for an F instrument does which of the

following first when attempting to find out the first note:

a. He determines the distance between the first note and F

b. He determines the distance between the first note and C

c. He determines the distance between F and the note C

d. He determines the distance between C and the note F

8. When transposing from an F instrument to concert pitch, the band member knows that

he must

a. Raise the note by a perfect 5th degree

b. Raise the note by a perfect 4th degree

c. Lower the note by a perfect 5th degree

d. Lower the note by a perfect 4th degree

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Learner Contextual Analysis

Details of the Learner Context Analysis are laid out (see Appendix B). Summaries of the

orienting, instructional and transfer context are shown here.

Orienting Context.

This learning exercise would include a mix of young and middle-aged adult learners with

various educational backgrounds and different experience in music theory and practice. Notably,

only 24% of learners have musical theory and practical experience at the ABRSM Grade 2-8

level. 20% of these individuals are instructors.

Instructional Context.

The actual instructional context has a mix of factors that both promote and hinder

instructional events. For example, there is a blackboard and desks. Even too, band related costs

are footed by the Government of Anguilla. In contrast, the room is hot and has poor lighting.

Transfer Context.

Knowledge and skills learned can be employed at national and international events.

Furthermore, there is ongoing support to help develop and advance these skills. For example, the

immediate band leadership and government are supportive of instructional initiatives.

Additionally, there are community resources such as book stores that import resources to help

musicians grow in theory and practical components of music

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INSTRUCTIONAL STRATEGIES AND LESSONS

Instructional Strategies

The following strategies would be used during lesson 1 and/or lesson 2 to aid student learning.

● Advanced organisers

● Discussion

● Role play

● Collaboration

● Games

Lesson 1 Scales

Terminal Objective

To illustrate the procedure for playing the diatonic major scale

Materials

Equipment and resources that were obtained for instruction include a:

● Band and/or orchestral instruments

● Whiteboard markers

● Whiteboard duster

● Laptop with CD Player

● Projector

● Speakers
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● Worksheets

Pre-instructional activities

The lesson would start with providing an advanced organiser as shown (see Figure 3).

Figure 3

Advanced Organiser for Diatonic Major Scales

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Pre-assessment

Accordingly, students would listen to a Diatonic Major Scale and record the following data:

● Type of scale

● Number of notes

● Similarities and differences between ascending and descending scale forms

Instructional Activities

Demonstration for Ascending Diatonic Major Scale.

Step 1. To demonstrate the instruction, the instructor would explain the steps for devising the

notes of the ascending Diatonic Major Scale. This information is illustrated in the procedural

analysis.

Step 2. The instructor would provide a worked example where descriptions outlined in the

procedural analysis are clarified.

Step 3. The instructor would play the ascending form of the scale to promote processing and

discrimination of sounds.

Step 4. The instructor would reiterate content taught in step 3. This would be done by showing a

YouTube video of this form of the scale to students.

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Demonstration for Descending Diatonic Major Scale.

Step 1. To demonstrate the instruction, the instructor would explain the steps for devising the

notes of the descending Diatonic Major Scale. This information is illustrated in the procedural

analysis.

Step 2. The instructor would provide a worked example where descriptions outlined in the

procedural analysis are clarified.

Step 3. The instructor would play the descending form of the scale to promote processing and

discrimination of sounds.

Step 4. The instructor would reiterate content taught in step 3. This would be done by showing a

YouTube video of this form of the scale to students.

Practice for Writing and Playing Diatonic Major Scales (Both Forms).

Step 1. Assign students practice examples on a worksheet.

Step 2. Ask students verbally and respectfully to discuss similarities and differences noted

between both forms of the scales.

Step 3. Ask students to join groups of 4, select a group lead, and practice playing scales together

on their respective instruments.

Step 4. Divide students into two groups, namely faculty and performers. In a role play exercise,

ask performers to play scales, individually. Scale selection would be accomplished by asking
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performers to dip a paper detailing a scale from a hat. The second group would comprise faculty

members at a prestigious university who makes admission decisions. Faculty would give verbal

feedback about students’ performance on scales played.

Formative Feedback.

1. Respond to students’ questions posed

2. Walk around the room during practice activities and give constructive feedback as

needed.

3. Respond to students’ request for assistance and provided relevant feedback.

Post-instructional Activities

Evaluation.

To assess student learning and achievement of outcomes, students would be asked

questions found in the application assessment items. Additionally, students’ perception of the

workshop and use of instructional methods and strategies, would be assessed using a form to

evaluate these components of the workshop. A confirmative evaluation process would take place

at a period following the training. The scope of what would be covered in that period is not

included in this project.

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Lesson 2- Transposing

Terminal Objective

To solve for melodic equivalent notes among orchestral instruments playing in unison

Materials

● Whiteboard markers

● Whiteboard duster

● Laptop with CD Player

● Projector

● Speakers

● Musical manuscripts

● Worksheets

● Rulers

● Pencils, erasers, sharpeners

Pre-instructional activities

Pre-test on Transposing
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Instructional Activities

Demonstration of transposing E Flat instrument melodies to concert pitch.

Step 1. Use face-to-face direct instruction sessions to show students steps for transposing notes

and whole melodies from the example E Flat instrument pitch to concert pitch. See steps in the

2nd procedural analysis.

Step 2. Show and explain worked examples on the white board.

Step 3. Highlight differences in the relationships of note intervals in the music before and

after transposition. Emphasize that intervals of each note written should remain the same

as the original music. This information can guide students in assessing accuracy of the

notes transposed.

Step 4. Illustrate to students that the key signature changes when the music is transposed

to sound like the equivalent note at concert pitch.

Practice of transposing E Flat instrument melodies to concert pitch.

Step 1. Divide students into groups of two. Carry out a short competitive exercise whereby group

members are asked to determine the first note of music if music written for E Flat instruments

was transposed to concert pitch.

Step 2. As per the band director’s request, students are asked to transpose well-known,

individually assigned, passages of music, written for the French horn (an E Flat instrument) to

concert pitch. This music would be played by the French horn section at the next practice.

Step 3. Provide students with a worksheet to complete exercises.

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Post-instructional Activities

Formative Feedback. Give feedback as necessary to promote conceptualization and

understanding of content.

Evaluation.

Step 1. Administer application assessment items to students and analyse performance scores.

Step 2. Allow students to voice their perceptions of content, learning and instructional strategies

used.

Step 3. Use all information obtained from evaluation procedures to plan instruction in the future.
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Reflections

During the course and pursuit of this project, I was reminded of the importance of

Merrill's First Principles. Here, I was able to practice and integrate learning post a period of

demonstration and receiving feedback from the course instructor and peers. For this I was very

grateful, as the exercise helped me to gain experience I need for developing quality instruction.

With this support, I was able to assess the disconnect between different components, and was

able to make necessary adjustments in a non-linear fashion. Here, I am beginning to synthesize

knowledge acquired. This ability to bring together ideas has aided my ability to grasp the ‘bigger

picture’. Additionally, as I work and volunteer in areas where instruction is critical, I feel that

systematically working through the design process is crucial for knowledge acquisition, transfer

and production of deliverables.

The Royal Anguilla Police Community Band comprises adult musicians who join the

band after receiving invitations from existing members. Many of these musicians have no formal

training background in music, and their experience is variable. Of note, the audience identified

for this project is one that is willing to learn music theory and practical music as determined by

their thoughts and feelings verbalized. However, barriers of adulthood hinder their full

engagement in actions that promote revising content during non-contact periods (T. Carty,

personal communication, March 14, 2020). Simultaneously, <5% of learners have literacy

challenges. These challenges may have affected the interpretation of written content by some

members. Written content was understood by many members when explained orally.

Improper assessment of students’ baseline literacy and knowledge level of subject matter may

have impacted their thorough understanding of the transposing topic. Though the majority of

students produced correct responses, weaknesses were seen in determination of major, minor and
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perfect intervals (not the numerical interval itself). Additionally, though this topic is essential for

members of a band to understand, this topic may have been too complex for some members of

this audience as some prerequisite knowledge should have been established.

Instructional strategies used in each lesson were advanced organisers, group collaboration

and role play. A games was used in Lesson 2. Learning is promoted by activation of cognitive

structures Reigeluth & Carr-Chellman (2009, p. 50). By the same token, Driscoll (2013)

elucidates that advanced organizers, used at the start of instruction, reduce knowledge gaps by

forcing learners to access earlier knowledge and experience (p. 138). Therefore, use of advanced

organizers, seen at the beginning of Lesson 1 were used primarily to help learners make stronger

links between prior learner and new content presented in the lessons on scales and transposing.

The role play strategy is seen in Lesson 1, Practice Step 4, and Lesson 2, Practice Step 2.

Similarly, collaborative activities are seen in Lesson 1, Practice Step 3, and Lesson 2 Practice

Step 1. Both role play and collaboration instructional strategies were used as a means to help

learners gain practice necessary for shaping and reinforcing learning behaviours desired.

However, using collaborative activities was perceived by the writer to have an additional benefit.

Here, the group context may have created a secure and supportive environment for adult learners

as they set out to fulfill the same goal together. The game used in Lesson 2 may have had a

motivational quality.

This workshop allowed learners to learn and play additional scales. Past experience with the

general construction of the basic Diatonic Scale Structure may have added to this finding.

However, students sometimes needed a probe to determine key signatures in a scale. Perhaps, if

students had a strong schema for the same, they would have reached the same successful

outcome more efficiently. Nevertheless, writing the order of sharps and/or flats aided their
MUSIC WORKSHOP 35

identification of the correct key signature. Even too, teaching mnemonics for remembering the

same also proved beneficial. In contrast, about 60% of students were successful in transposition

exercises. This may have amounted from not having a sound understanding of rudimentary

requisites.

If the writer carries out a similar exercise in the future, the following considerations

and/or changes would be made.

● Improved search on learner prerequisite skills

● Carry out a series of sessions whereby students are divided into beginner, intermediate

and advanced groups and receive instruction based on their skill

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References

Alberta Learning. (2002). Instructional strategies [PDF file]. Retrieved from

https://education.alberta.ca/media/482311/is.pdf

Anonymous. (n.d.). Needs assessment. Retrieved from http://www.personal.psu.edu/

wxh139/Needs.htm

Driscoll, M. P. (2013). Psychology of learning for instruction. Harlow, GB: Pearson

Education.

Harmonioushistorian. (2014, June 18). Why study music history. Retrieved from

https://www.harmonioushistorian.com/why-study-music-history/

Morrison, R. G., Ross, M. S., Kalman, K. H., & Kemp, E. J. (2013). Designing Effective

Instruction (7th ed.). Hoboken, NJ: John Wilet & Sons.

Reigeluth, C. M., & Carr-Chellman, A. A. (2009). Instructional-Design Theories and Models:

Building a Common Knowledge (Vol. 3). New York, NY: Taylor and Francis.

Rossett, A. (1995). Needs assessment [PDF file]. Retrieved from http://www.edtech2.com/

Needs%20Assessment.PDF

Spanswick, M. (2012, March 7). Scales, arpeggios-love them or hate them? 6 reasons why

you need to practice them

 MUSIC WORKSHOP 37

Appendix A

Task Analysis Worksheet

Table 1

Rating of Tasks

Criteria for Criticality Universality Frequency Standardization Difficulty Total Notes Priority

Task 40 pts 10 pts 10 pts 10 pts 30 pts 100 pts

Selection

Worksheet

TASKS #1 #2 #3 #4 #5 #6 #7 #8
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History 30 5 5 5 10 55 Harmonioushistorian #5

(2014) notes that

knowledge of music

history would improve

the quality of music

written/heard; and, that

many musical works are

inspired by earlier

works.

Theory-Trans 40 8 8 5 25 86 Band members play #1

posing different instruments that

Instruments do not sound the same if

they were to play a note

with the same letter

name. These notes

 MUSIC WORKSHOP 39

should be transposed to

avoid clashing of sound

Scales 35 7 3 10 25 80 Spanswick (2012) #2

Development reports that scales aid the

development of memory

of note positions on

instruments and

coordination.

Aurals 35 3 3 5 15 61 Listening to musical #4

Instruction content can enhance

playing as players

become familiar with

different elements of

music.
 MUSIC WORKSHOP 40

InstrumentTe 40 9 3 3 20 75 Different techniques #3

chniques should be applied for

quality sound production

when using different

instruments.

Additionally, each

instrument has different

finger positioning.
MUSIC WORKSHOP 41

Appendix B

Contextual Analysis Worksheet

Directions: Identify relevant factors in categories (only where and when appropriate) and indicate

the effect they will have by circling appropriate number.

-2 Greatly impedes

-1 Slightly impedes

+1 Slightly facilitates

+2 Greatly facilitates

Orienting Context

Learner Factors

25 adults -2 -1 +1 +2

Different cultural backgrounds -2 -1 +1 +2

Varying experience in playing music -2 -1 +1 +2

24% of group has certifications in Grade 2 or above Music Theory -2 -1 +1 +2

20% of group has experience in instruction -2 -1 +1 +2

MUSIC WORKSHOP 42

Varying careers -2 -1 +1 +2

Immediate Environment Factors

Social Support -2 -1 +1 +2

Organizational Factors

Funding received at some events -2 -1 +1 +2

Sponsored instruments -2 -1 +1 +2

Sponsored trips -2 -1 +1 +2

Culture of learning -2 -1 +1 +2

Instructional Context

Learner Factors

Motivated to learn about the subject -2 -1 +1 +2

Immediate Environment Factors

Hot room temperature -2 -1 +1 +2

Dimmed lighting -2 -1 +1 +2

White board, markers and eraser -2 -1 +1 +2

No projectors, speakers and surround sound equipment availability -2 -1 +1 +2

Laptops with CD port -2 -1 +1 +2

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Seating capacity for 30 persons -2 -1 +1 +2

Chair and table availability -2 -1 +1 +2

Personal vehicles required for access -2 -1 +1 +2

Good outdoor parking -2 -1 +1 +2

Instructor as facilitator to learning -2 -1 +1 +2

Two 4 hour Sessions -2 -1 +1 +2

Organizational Factors

Greater prestige -2 -1 +1 +2

Production costs footed -2 -1 +1 +2

Teaching materials sourced by organization -2 -1 +1 +2

Transfer Context

Learner Factors

Band instructors perceive instruction to be useful for teaching beginners, intermediate

and advanced students -2 -1 +1 +2

Immediate Environment Factors

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Local book stores with textbooks, past papers and manuscripts for students

-2 -1 +1 +2

Pool of seasoned music instructors for support -2 -1 +1 +2

Organizational Factors

Supportive of change -2 -1 +1 +2

Clan culture -2 -1 +1 +2
MUSIC WORKSHOP 45

Appendix C

Answers to Application Assessment Items

1. A

2. A

3. B

4. D

5. D

6. A

7. C

8. C