Teaching Music Theory: In The Choral Classroom White 0

Teaching Music Theory: In the Choral Classroom

Jordan V. White
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Table of Contents

Goal Statement.......................................................................................................................2
Preface...................................................................................................................................4
Needs Assessment Survey........................................................................................................5
Needs Assessment Data...........................................................................................................6
Analysis of Learning Context..................................................................................................8
Analysis of the Performance Context......................................................................................9
Analysis of the Content (Flow Diagram)...............................................................................10
Rationale..............................................................................................................................11
Learning Objectives..............................................................................................................13
Matrix of Objectives..............................................................................................................16
ARCS Table..........................................................................................................................17
Instructor Guide...................................................................................................................19
Lesson Plan............................................................................................................................................................... 19

Learning Material.................................................................................................................23
Formatives & Summative Assessment Materials...................................................................25
Evaluation............................................................................................................................26
The Kirkpatrick’s Four-Level Evaluation Model.......................................................................................................26
Subject Matter Expert (SME).....................................................................................................................................26
Evaluation Rubric......................................................................................................................................................27
SME Review...............................................................................................................................................................27
Comments on Change................................................................................................................................................28

Reflective Synthesis Paper.....................................................................................................30

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Goal Statement

The goal of this instruction is to excel in the musical theoretical knowledge of High

School Choral students in a Blended/ Flipped format. Upon successful completion of this

instruction students in the High school choral program will be able to justify and/or evaluate

musical concepts in a given piece of choral music.

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This Instructional Design paper is intended for High School Choral Students or students

who participate in vocal music at the high school level to develop their musical literacy skills.
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Preface

The situation for the Choral Program at this North Carolina high school is a bit different

from others in the county due to the loss of the choral program at the feeder middle school. Even

though there is a well-working Band program some students rather sing than play an instrument.

So, when kids enter the high school Choral program they have very little to no music literacy

skills. Missing out on three years of building musical knowledge not only hinders the high school

choral program, but also the creative outlets for the students at the middle school.
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Needs Assessment Survey

After being hired, the instructor noticed gaps in their musical knowledge after working

with the students for a while. Their music literacy knowledge was limited to either Elementary

General music or one year in a Middle School music program.

The music theory pre-assessment was distributed via the learning management system

Canvas. The music theory pre-assessment was targeted to test students’ Music Literacy skills in

Note names and values, Key Signatures, Major & Minor scale discrimination, Music Interval

discrimination, and Spelling Chords.

In this selected population of students, sixteen students took the music theory pre-

assessment. There were twenty-eight assigned questions which are all multiple choice. The

survey instrument and results data can be viewed here or

https://drive.google.com/file/d/14zfQ74G29w8EmVRAIZtU2logP6COF2Hr/view?usp=sharing
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Needs Assessment Data

This survey, shown below, shows the working music theory knowledge that 16 students

have (number of students on Y-axis and grade percentage on X-axis). The survey stands to

highlight the vast difference between students and their understanding of music theory.

Interestingly, students in the same level ensemble do not have the same level of musical

knowledge. As the above graph shows that this top ensemble averages fifty-nine percent. When

you think of a top-performing ensemble you would want the ensemble average to be eighty-five

percent or higher.

Questions one through eight and the last of the pre-assessment focus on the learners’

ability to recognize key signatures and provide their major and minor names. Which from the

data shows that some learners do not the difference between Major and Minor key signatures or
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how to differentiate between the two. For the results of these questions, the average number of

kids that can tell the difference between key signatures is about fifty-three percent.

Questions nine through twenty-two are focused on the learners’ ability to distinguish the

interval type and interval quality. The data from those fourteen questions about interval quality

and type tells us that only half of the students understand the “how-to” when figuring out the

identity of any given interval.

The following set of questions goes back to the general basics of music education. How

many quarter notes are in a dotted half-note? Which of the following tempi is a fast tempo? Or

which time signature represents a compound meter? These questions here highlight a learners’

previous knowledge once more. Overall the learners scored about eighty-five present on their

previous knowledge.

Please refer to here for the question and results.

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Analysis of Learning Context

The instruction of the course is through a learning management system (LMS) modular

format with hands-on application in person. The modules are self-paced to make efficient use of

the learner’s time while allowing the fullest amount of flexibility on their path to success. The

learner can complete the modules at their desired location on their preferred electronic device.

The flipped classroom design where the learner learns the information on their own and the

application happens in-class benefits the learner greatly either the learner comes to class

knowing or the learner gets a hands-on practice first then can apply it to the modules. The

classroom would be set up with seats set up in a semi-circle. The room will consist of a piano,

Smartboard or Smart TV, and music theory reference posters.

Each module begins with a breakdown of what the learner is going to learn in each

section, music vocabulary words, and clarifying objectives. The modules are designed in a way

where the learners have to proceed one page at a time. This ensures that the learner is actively

participating with the readings on the page and grasping the knowledge on the page. The

asynchronous learning format gives the learner a new way to learn the material and ask the

instructor or peers questions. While placing information directly and readily in the learners’

hands gives them a sense of ownership and lets them create their working schedules with

adequate timeframes.
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Analysis of the Performance Context

With adequate music literacy skills, students would be able to rehearse their music by

themselves. Students could also take these skills to the Professional Recording Music world. The

skills gained would be beneficial to students who decide to pursue music at the collegiate level

and pursue a life in Professional Academic Music.

For the Middle and High School educators, it would provide an opportunity to teach

music theory at an accelerated rate while reinforcing concepts learned in the classroom setting.

This could also be used for collegiate educators teaching a fundamentals music theory course.

Both Choral and Instrumental music educators would be able to use this method to help better

boost music literacy skills across grade levels.

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Analysis of the Content (Flow Diagram)

*As a note of reference to the flow chart above. The floating thoughts are markers of what
should be happening while you are going through the modules and key reminders.
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Rationale

This method of instruction was selected based on a professional development conference

held by the North Carolina Music Educators Association and experts in music curriculum and

instruction. A lot of choral directors find it relatively hard to teach music theory in the choral

classroom. With choral music educators preparing for concerts, choral festivals, and auditions for

nationally accredited choirs and ensembles. Many choral directors have mixed opinions about

the validity and accessibility of current resources for teaching music theory in the choral

classroom.

The most appropriate pedagogical approach would be Social Constructivism to reach the

mandated learning objectives. The social constructivism approach blends two priorities: one

being teacher-guided and the other being student-centered. Cognitive psychologist, Lev

Vygotsky developed social constructivism, building on the work of Piaget, but argued against the

ideas of Piaget that learning could only happen in its social context, and believed that learning

was a collaborative process between student and teacher. This would allow the instructor to be

able to monitor students’ progress while in an organized method to deliver feedback and measure

readiness and comprehension. Instructors from various backgrounds would be able to adapt the

approach in a way that suits their classroom and classroom needs. So, the social constructivist

approach will best guide learners through portions of content with direct, indirect, and interactive

instruction. Each of the learning segments is data-driven with incremental assessments for each

module of content and provides immediate feedback to inform and justify to learners of the need-

to-know information.

Direct, indirect, interactive, and chunking instruction are the main ways for instructional

delivery. The direct instruction will help in-class portion of questioning and explicit teaching,
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rehearsals, and demonstration with an explanation. Indirect instruction happens when the

students are working on the modules asynchronously with them reading for meaning and the

instructor just becoming facilitator and resource. The interactive instruction occurs both during

the direct and indirect instruction with the learners being engaged and actively participating in

instructors’ activities and activities provided in the modules. Chunking occurs only during the

modules to break up the material into easy-to-digest portions.

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Learning Objectives

All learning objectives come from the North Carolina Essential Standards. The learning

objectives listed here will reflect the North Carolina music standards for Advanced Music.

Music Literacy

Essential Standard Clarifying Objectives

A.ML.1 Apply the elements of music A.ML.1.1 Use refined tone and consistent pitch while

and musical techniques in performing music alone and collaboratively.

order to sing and play music A.ML.1.2 Use advanced technical and interpretive skills to sing

with accuracy and or play difficult literature, which requires the ability

expression. to perform music with complex rhythms and meters,

attention to phrasing and interpretation, and subtle

dynamic changes.

A.ML.1.3 Exemplify independence and collaboration as a

musician.

A.ML.2 Interpret the sound and A.ML.2.1 Interpret a variety of note and rest durations in simple

symbol systems of music. duple, simple triple, simple compound, triple

compound and mixed meters.

A.ML.2.2 Interpret at sight standard notation symbols for pitch

and rhythm in appropriate clefs, using extended

staves and some non-standard notations.

A.ML.2.3 Use standard notation symbols for pitch, rhythm,

dynamics, tempo, articulation, and expression to

notate personal musical ideas and the musical ideas of

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others.

A.ML.2.4 Analyze how the elements of music are used,

including the use of transpositions and clefs, in works

of music.

A.ML.3 Create music using a variety A.ML3.1 Use improvisation to create original melodies over

of sound and notational given chord progressions, each in a consistent style,

sources. meter, and tonality.

A.ML.3.2 Create original music using imagination and technical

skill in applying the principles of composition.

Musical Response

A.MR.1 Understand the interacting A.MR.1.1 Execute the gestures of the conductor, including

elements to respond to music meter, tempo, dynamics, entrances, cut-offs, and

and music performances. phrasing, to elicit expressive singing or playing.

A.MR.1.2 Analyze musical works using correct music

terminology, in terms of the interaction of elements

that make the works unique, interesting, and

expressive.

A.MR.1.3 Critique music in terms of aesthetic qualities,

including how music is used to evoke feelings and

emotions.

A.MR.1.4 Evaluate music performances, including one’s own,

by comparing them to exemplary models.

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Matrix of Objectives

Objective Number Revised Bloom’s Scaffolding Strategy Type of Assessment

Taxonomy to be employed to

Classification teach objective

A.ML.1 Apply Supplantive Formative

A.ML.1.2 Use/Perform Modeling Summative

A.ML.1.2 Use/Interpret Supplantive Summative

A.ML.1.3 Demostrate Modeling Summative

A.ML.2 Interpret Supplantive Formative

A.ML.2.1 Interpret Chunking Summative

A.ML.2.2 Interpret Chunking Summative

A.ML.2.3 Use Modeling Summative

A.ML.2.4 Analyze Chunking Summative

A.ML.3 Create Supplantive Formative

A.ML.3.1 Use Supplantive Summative

A.ML.3.2 Create Modeling Summative

A.MR.1 Understand Supplantive Formative

A.MR.1.1 Execute Chunking Summative

A.MR.1.2 Analyze Supplantive Summative

A.MR.1.3 Critique Chunking Summative

A.MR.1.4 Evaluate Chunking Summative

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ARCS Table

Attention

A1. Perceptual Arousal Visual representation to provide examples for

different music is performed with pitches.

A2. Inquiry Arousal Ask learners why music theory is important or

how it can benefit their musical growth?

What do they like about music?

A3. Variability Instructional format changes from face-to-

face to online asynchronous.

Relevance

R1. Goal Orientation Define clear objectives for each module and

the importance it plays in a musician’s

mission.

R2. Motive Matching Make connections from modules to in-class

rehearsals.

R3. Familiarity Draw on connections of everyday life music

and past musical experience.

Confidence

C1. Learning Requirements Assign modules with standards and required

grades to pass modules

C2. Success Opportunities Set clear expectations for each module. Start

with simpler material to build confidence and

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foundational knowledge and skills.

C3. Personal Control Allow learners to work on modules at their

own pace. And use reference tools as needed.

Satisfaction

S1. Natural Consequences Perform better in public venues. School

auditorium in front of school peers.

S2. Positive Consequences Consistent reinforcement through feedback,

and rewards/prizes for top scores.

S3. Equity Variance in instructional format allows

instruction to be done online or in-person.

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Instructor Guide

This guide will serve as a direct tutorial through the process of teaching high students

music theory in the choral classroom. It does not include instruction on other aspects of

delivering the instruction or the task involved associated. When the instructor decides to

implement the instruction, it can be used with a flow diagram. Even though the bulk of

instruction should be remote learning and self-paced, the instructor should be available to

provide support, feedback, and face-to-face examples.

Lesson Plan
1) Introduction

a) While kids are entering the classroom have popular music playing.

b) After the bell has rung; Think about your favorite song. What do you like about that

song?" (call on maybe 4 to 5 students for responses). Teachers should sing a song

everyone knows (ex. Mary Had a Little Lamb, Jingle Bells (Jingle Bells Rock), a popular

song on the radio, or teach a song by rote. After singing say " All music has the same

fundamental aspects, and that fundamental building block is the names of pitches. Each

pitch that you hear has a corresponding Letter Name."

i) Key terms to be looking for from students: Melody, Pitch, and Harmony

2) Body

a) Introduce to the students what they will be focusing on in the lesson. " Today we will be

learning about the names of pitches in music."

b) Activity #1

i) Have the students sing scales on numbers or solfege

(1) Do this activity in cannons

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c) On your tablet or laptop, you can cast/mirror/screen the module reading for the Pitch

name and class. While showing the reading, tell them where the reading is located. "This

reading on pitch naming and pitch class are located in your canvas in the modules labeled

as Chapter 1 Pitch name and class." At this point, selected students read the paragraphs.

i) After the first paragraph then perform activity #2 with the 7 letters of the musical

alphabet.

(1) Activity #2

(a) Performing singing scales in different keys while singing the scale on pitch

names

(2) Continue with the readings

d) After the readings another activity #3

i) Using the instructions from the formal assessments in the modules.

(1) Also utilizing the Image from the reading perform a series of exercises from the

above example

(a) Example: 3 above A:C (A-B-C)

(i) 5 below A: D (D-E-F-G-A)

ii) "Remember from the reading to go up /above a given pitch name you have to go the

right of the circle and to go down/below a pitch name you have to go the right of the

circle.

e) “Take out your chrome books (laptops, tablets, or other mobile devices) and go to our

canvas page. Once there, go to modules and select the Music Theory module labeled

“Pitch Names & Class.”

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i) After they have gotten to the canvas module this would be the time to walk through

the module format of how there is a reading of pitch names and class (the same

reading that the instructor presented earlier) ad how following the reading there is a

formal assessment quiz following the readings.

ii) Have students with a large sum of time re-read the readings and then take the

formative assessment. “All right class now you are going to work independently on

this task. Re-read the pitch name & class readings and then take the quiz that follows

after. You will have 45 minutes to complete this. You can ask me if you have any

questions and not your neighbor.”

3) Conclusion

(1) Summarize Learning

(a) Critical Thinking questions after they complete the assessment.

(i) What are the seven-pitch letter names?

1. Have students quiz each other in the same manner as the assessments

on the modules and the activity after the readings.

(ii) Why are pitch names & class so important to choral music

1. Answers to look for:

a. Knowing part to sing; finding your pitch to sing on any instrument;

(2) Transfer Learning

(a) How can knowing the pitch names be beneficial for musical growth?

(i) Key points should be reading music, playing other instruments, and how

music is arranged.

(b) How can understanding the musical alphabet be applied to your everyday life?

(i) Have them take a minute before responding.

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(3) Motivation/Remediation

(a) Activities 1 and 2 should have a reward of either a homework pass or extra

credit.

(i) Remediation

1. Is built into the lesson plan from Activity 1 to the formal assessments

on canvas.

(4) Assessment Evaluation

(a) Activities 1-3 are designed for informal assessments. The formal assignment

is presented in the module after the reading.

(5) Feedback & Closure

(a) After completing the formal assessment feedback is provided immediately

with built-in comments for each wrong answer.

(i) Example: Wrong answer – “Remember that the given pitch is 1and you

need to count backwards or forwards from the pitch”

(b) Set up the students where the next lesson after this would be looking at

instruments preferably the piano with labels of pitch names.

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Learning Material

Learning material for the module comes from The Musician’s Guide To Theory and

Analysis by Jane Piper Clendinning & Elizabeth West Marvin.

They include but are not limited to the items below. The instructor may add their own

supplemental information, textbook, repertoire,

Materials

1. LMS preferred and recommend Canvas, but others can be used.

2. Music repertoire

1.1.2.1. This varies from instructor to instructor. Selections should be based on

classroom instructional needs and skill levels in the class.

3. Required Textbook: The Musician’s Guide To Theory and Analysis

1.1.3.1. Chapter 1 reading

1.1.3.1.1.

1.1.3.2. Pitch Name & Class Assessment

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1.1.3.2.1.

1.1.3.2.1.1. Also, to be used for Activity #3

4. Recommended Piano or other musical instruments with the ability to differentiate

between pitches.

5. Other music theory books or choral books are highly encouraged to use in addition to

the materials presented, but not required.

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Formatives & Summative Assessment Materials

Both formative and summative assessments are used on fixed-interval that is consistent

through the instructional training. Formative assessments are used for the completion of a

module, while summative assessments are used constantly during the face-to-face portion of

instruction. The formative assessments must be accessed through the LMS. Answers are

submitted directly there to ensure feedback in a timely manner. Here is a link to the formative

assessments with a answer key.

Technology Tools

Technology Tool Purpose

Laptop or Tablet To streamline instruction and communication

Smartboard or Smart Tv It will be used to broadcast the instructional

reading and walk throughs.

LMS (Canvas) To allow flexibility in time-management and

primary delivery method

Electronic Musical Instrument Alternative instrument to differentiate pitches

Other Music theory learning websites (up to To provide examples in face-to-face

teachers’ discretion to either use websites or instruction.

create their own)

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Evaluation

The Kirkpatrick’s Four-Level Evaluation Model

Level Purpose Questions and Measurement

Lvl.1 Learner Reaction A class discussion will be
held to gauge the learners’
reactions to instruction. The
discussion will not only
assess their understanding,
but it will also help assess
learner receptiveness. It is
important for learners to have a
positive learning experience to
keep them engaged, interested,
and willing to learn.
In what ways did the module
keep you motivated?
What is something the
modules have gotten you
interested in?
What could be added and/or
removed to make this a more
positive learning outcome?

Lvl. 2 Learning To ensure the learners acquired

the knowledge and skills
required, continued assessment
will occur during the workshop,
relying heavily on the lesson
template learning material to
gauge acquired knowledge and
skills. The instructor will also
use time devoted to discussion
and questions after each
learning activity to ensure
objectives are being met.
Successful completion of the
lesson template, or lack thereof,
will help reveal the overall level
of understanding. Utilizing the
data collected from the closing
survey will also reveal if the
learners acquired the required
knowledge and skills.
Lvl. 3 Behavior Monitoring the progress of What are some advantages
the modules shows an and/ or disadvantages when
important aspect of the using the module course
performance context, but lessons?
arguably even more important
is evaluating the Briefly describe the in-class
implementation of the flipped activity you used that was
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lessons. To assess the most successful / most
implementation have a class memorable.
discussion.

Lvl. 4 Results A class discussion after the
instruction is vital for
ensuring the desired
outcomes have been met. To
assess the efficacy of the
instructional design class
discussion or survey to help
evaluate classroom
engagement.
Are you devoting time to
independent learning?
Have you noticed an increase
in musical knowledge?
How much time do you spend
on independent learning?

Subject Matter Expert (SME)

Dr D. Brett Nolker is an associate professor of Music Education, specializing in choral

and secondary-level general music education. Prior to joining the faculty at UNCG, Dr. Nolker

served as the Director of Music Education and conductor of the Collegiate Chorale and Jenny

Lind Women’s Ensemble at Augustana College in Rock Island, Illinois. Dr. Nolker has also held

the position of Director of Music at Westminster College in Fulton, Missouri, where he was

music director for the Festival Choir of the Winston Churchill Memorial and St. Mary

Aldermansbury Chapel. He is active in music education research, with areas of interest including

music teacher development, and promoting music reading skills for the choral ensemble. Active

in professional organizations such as the American Choral Directors Association and MENC: the

National Association for Music Education, he is presently serving as Teacher Education Chair

for the North Carolina Music Educators Association. His frequent workshops and teacher

development presentations include serving on faculty for the Music Education Centers of

America at VanderCook College of Music in Chicago, Illinois. Dr. Nolker has taught

instrumental and vocal music in the public schools of Colorado and Missouri and appears

frequently as a guest conductor, clinician, and festival adjudicator. He holds degrees from
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Central Methodist College, Fayette, Missouri, The Wichita State University in Wichita, Kansas.

and a Ph.D. in Music Education from the University of Missouri-Columbia.

Evaluation Rubric

The following image is a rubric designed by myself and approved by Dr. Nolker.

This rubric severs to highlight four main of this instructional design parts Introduction,

Visual Design, Instruction, and Technical Accuracy. We decided to modify a rating system that

all North Carolina choir directors are familiar with. The highest rating is a Superior where the

content meets or exceeds expectations of description, Fair/ Developing, and No Marks.

SME Review

The results of the rubric are here in the image shown below.
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The comments from the SME were straightforward and mostly positive with suggestions

for improvement even on a larger scale. Dr. Nolker felt as though the learning goal and

objectives were clear and achievable.

More of his comments lay with the instruction portion of the instructional design. He

stated, “Think about how can this reach the students who do not have access to the module. He

did agree with the chosen method of delivery. Implementing a blended format where students

would be able to cultivate their own learning. He stated that since one of his research interests is

reading music at the high school level.

Comments on Change

Overall Dr. Nolker provided great and positive feedback supporting the current model

with minor suggestions. I agree with him on having more options including a varied palette of

differentiated learning. So, as a part of my lesson plan, I have added an optional printed pack-it

for students without internet or needing a physical thing to hold.

Other additions as he mentioned would be added if and when this instructional design

goes to a state-level conference for a panel of other music educators. So, for instance, the
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addition of multiple lesson plans with a detailed format of how this instruction would work in the

average classroom.

I did go ahead and added the print off of a module pack-it along with making a Fillable

PDF as well as possible ways of differentiation of instruction.

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Reflective Synthesis Paper

Being a first-year choral music educator, this was rigorous work. Having spent almost six

years becoming the person delivering instruction to the person who develops the instructional

method to be delivered by an instructor was a massive switch for my brain.

I have always had a passion for music theory and how music works also combining it

with my profession of choral music it was only just that I did an instructional design based on

choral music and music theory. Even in today’s climate with Choral teaching jobs either being

eliminated or being cut to part-time positions we are still expected to produce students with

quality music literacy skills and knowledge of their instruments. So, as a way to expedite the

process of learning music literacy skills while trying to build, cultivate, and grow a choral

program.

One of the challenges I faced was with students that have IEPs and 504 plans were

noticing that students with IEPs and 504 plans excelled in the independent work, but fell short

when it came to doing in-class group participation work. On the other hand, a small minority of

students who do not have IEPs or 504s had a bit of a challenge comprehending the reading

material and assessments but excelled in the face-to-face instruction with class participation.

Another challenge with this instructional design is starting with the end in mind. Larson

and Lockee express the need to accomplish this early on, and I can honestly say this project has

helped me improve in this aspect. I often create lessons or an activity starting with an idea and

then build on it without considering what resources I would use the delivery system, or the

evaluation at first. I understood these are essential parts and needed to be designed, thinking

about them so far in advance would often stifle my design process. Although my method has
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worked, and I consider lessons and activities I developed successful, obtaining knowledge in the

use of the ADDIE process and focusing on the end in mind seem to make the process easier, and

more effective. I look forward to using what I have learned to not only create more through

lessons for my students but to create professional developments for my professional learning

community. My end goal is to use my knowledge in Instructional Technology to be some type of

advocate of choral music education and implement new and insightful ways of introducing a

wide variety of skill sets to others in my profession. And be able to be a part of Curriculum and

Instruction meetings for school districts as another voice on how to be able to help solve

problems when it comes to Choral Music Education and other Performing and Visual Arts as

well.