Northern State University

Student Teaching Experience

MUSIC Teacher Work Sample
Candidate Name Megan Dockter
Semester/Assignment (elementary or Spring ’24 (Elementary & Secondary)
secondary)
Candidate ID Number 101013313
Cooperating School(s) Ipswich Elementary, MS/HS

Subject/Content Area General Music/Band

Grade Level(s) K-2nd & 4th-12th
Date Submitted 04/28/24

I understand that obtaining, or attempting to obtain, a passing grade on a TWS by falsification or misrepresentation
may result in a failing grade in a course or expulsion from the teacher education program.

I grant permission for the Northern State University Department of Music and School of Education to use my
Teacher Work Sample as an exemplary (outstanding) model for teacher candidate and university supervisor training
purposes in the future. I understand my name will remain on the document for proper credit.

Electronic Signature of Candidate Submitting the TWS: Megan Dockter

Portfolio Active Link: https://megandockter.weebly.com/

Task I: Professional Goal Setting

Knowledge of Self as an Individual
Goal: During this experience, I will continue to grow as a musician. I wish to be a
positive role model for my students by exhibiting a strong work ethic and attitude toward
my goals as a student and teacher.
Procedure: I will accomplish this goal by consistently asking for feedback from my
cooperating teacher, students, and university supervisor on how I can improve my
pedagogy techniques and general musicianship.
 Evaluation: I will evaluate this goal by documenting my growth throughout the semester
including my comfort in teaching each instrument and musicality on the podium.

Knowledge of the Learner

Goal: During this experience, I learn the names of all the students in K-2 general music
and 4-12 band. I will work to learn their interests outside of music and a little about their
background to better serve them as their teacher.
Procedure: I will accomplish this goal by asking students how their break was and what
they enjoyed doing while they put their instruments together/away each day. I will test
myself on remembering names by trying to name each student as they walk in for class at
the midpoint of my experience.
Evaluation: I will evaluate this goal by my ability to greet each student by name and
remember a small fact about them by the end of my student teaching experience.

Knowledge of Content
Goal: During this experience, I learn what to look for in appropriate repertoire for each
age level. Furthermore, I intend to compile and organize resources to assist me in my first
job as a music educator.
Procedure: I will accomplish this goal by asking my cooperating teacher what she looks
for in pieces for each grade and individual instrument. I will assess where students are at
in their playing in each grade and record what is appropriately challenging for them. I
will ask my CT what she expects of each level in range, rhythmic and melodic
complexity, and meter shifting.
Evaluation: I will evaluate this goal by having my cooperating teacher assess my ability
to select appropriate repertoire for each age level (elementary, middle school, and high
school) throughout my student teaching experience.

Knowledge of Pedagogy
Goal: During this experience, I will refine my rehearsal technique. I will grow in my
delivery of instruction to a large ensemble and engagement of students.
Procedure: I will accomplish this goal by observing the procedures and processes of my
cooperating teacher. I will ask for feedback from my CT on my rehearsal technique and
how I can better meet the needs of the students in each class/ensemble throughout my
experience.
Evaluation: I will evaluate this goal by my ability to run several productive rehearsals by
the end of my experience.

Knowledge of Self as a Teacher and Member of a Learning Community

 Goal: During this experience, I will develop a strong relationship with my cooperating
teacher, other teachers, administrators, and staff members. Through these relationships, I
will gain valuable insight into successful educational practices.
Procedure: I will accomplish this goal by presenting myself professionally each day. I
will be a reliable member of the music teaching team. At every available opportunity, I
will communicate and collaborate with my cooperating teacher and other members of the
learning community at my cooperating school.
Evaluation: I evaluate this goal by reflecting on my collaboration with other teachers. I
will document the beneficial information I gain from interactions with my learning
community.

Task II: Contextual Information

X School District is settled in a rural area in the Midwest. According to the 2020 U.S.

Census, the town's total population is 928 people. More recently the school district lists the town

as having a population of 943. The median household income is $81,406, which is well above

the median household of the state. 21.8% of residents have obtained a bachelor’s degree or

higher, and the employment rate is 63.4%. The poverty rate is 4.1%, but six percent of residents

live without health care coverage. There are 371 family living arrangements. The community is

overwhelmingly white, with only seven American Indian/Alaska Native residents, six Asian

residents, two Black/African American residents, 21 Hispanic or Latino residents, 13 residents of

some other unidentified race, and 20 residents who claim to be of two or more races. 2.1% of

residents speak a language other than English at home. 79.9 percent of the population in the

community are enrolled in school K-12.

X School District serves a 535 square mile area with a $600 million tax base. Over 400

students are served Pre-K through 12th grade, including three Hutterite communities, each with

an attendance center. The area is blessed with rich farmland with farming, ranching, and

agribusiness dominating the economics of the area. Recent additions to the school include middle

school classrooms, vocal music, and instrumental music additions in 2000, and a high school
addition in 2015, including seven high school classrooms, a K-12 library, an auxiliary gym, and

a 500-seat performing arts theatre. In 2009, Smart Boards were installed in each classroom. All

students in grades 1st-12th were given personal laptops to use for their daily studies. The South

Dakota Department of Education outlines that students in X district outperform the state average

in English Language Arts, Mathematics, and Science standardized tests. The attendance rate is

95 percent. The chronic absenteeism rate is 9 percent, which the district is working to improve.

The graduation rate in the district is 97 percent, with 91 percent graduating on time. X School

District boasts a 12.8-1 student-to-teacher ratio. The district serves approximately 40 students

with disabilities through special education and 72 English Learners. Seventy students were

identified as being economically disadvantaged. The large majority of learners in this district are

White/Caucasian. Approximately 14 students are Hispanic/Latino. The other races are not

reported on the Department of Education website to prevent individual student identification.

My cooperating teacher instructs K-2 general music and 4-12 instrumental music. In X

School there are 30 middle school students and 67 high school students involved in band. The

4th-5th band is preparing for a performance at the South Dakota Bandmasters Association

Conference in February, a very exciting honor for the talented young musicians. My CT is

working to expose the middle school and high school students to more diverse musical

experiences. They are working in small group ensembles and performing for each other. Since

they enjoy marching band so much, it has been difficult to get the ensembles excited about

concert band. Also, they are continuing to build up their pep band songs. K-2 general music

classes are focusing on creating a solid foundation in music with lessons on steady beat,

dynamics, melody, and harmony. They are energetic and fun. There are a handful of students in
kindergarten through 2nd grade that are having their behavior evaluated by each of their teachers

as documentation for a potential behavior IEP.

Task III: Instructional Design and Implementation (Lesson Plans)

Common Lesson Plan Template

Music Education
Teacher Candidate Name: Megan Dockter
Grade Level: 4th – 5th Grade
Subject: Band
Date: 1/18/2024

PLAN
STATE STANDARDS
Responding:
 3-5.MU.Re.8.1 Demonstrate and describe through verbal, kinesthetic, written, or
artistic means how expressive qualities are used in performances to reflect expressive
intent.
Performing:
 3-5.MU.Pr.6.1 Demonstrate expressive qualities in performance to convey meaning and
intent.
 3-5.MU.Pr.5.1 Rehearse, identify, and apply strategies to address interpretive,
performance, and technical accuracy of music in varied ensembles.
LEARNING/BEHAVIORAL OBJECTIVES
Students will be able to:
 Play through the end of Night Fury with more correct notes and rhythms
 Play through Tamboura with better accents and counting, plus greater dynamic
contrast
 Play through Abide with Me, improving their breath support and phrasing
RATIONALE
According to Music Learning Theory (MLT), students should engage in learning tonal
sequences and rhythmic sequences separately. Students must learn to audiate tonal and
rhythmic content separately. Often, they are combined too soon. Dr. Gordon (2010) suggests,
“It is patterns, not scales, that represent music content, and it is patterns that are naturally
combined in audiation with music context” (p. 18). Additionally, the context of the tonality,
meter, and tempo must be established for children to be able to discern between patterns in
music. Gordon (2010) concludes, “[D]ifference, not sameness, is important for expanding
audiation ability particularly as it relates to development of the music listening vocabulary” (p.
4). The five stages of sequential development for musicians in order are listening, singing and
chanting, improvisation, reading, and writing. Students will revisit each stage multiple times as
they progress, expanding their knowledge of each (p. XII). Vygotsky’s research finds that
students should be operating in their “zone of proximal development.” The concept suggests
that students should be challenged to learn outside of their own current abilities. Although the
learner should not be pushed too far, learning skills that well beyond their capabilities
independently, with the teacher’s guidance, students can broaden their knowledge and tackle
more difficult material than they could on their own. The piece Night Fury is a perfect example
of students operating in their zone of proximal development.

In this lesson, students will work through the end of Night Fury. We will improve the rhythmic
integrity and accuracy of notes. We will smooth out the transition between the 4/4 and 3/4
sections and continue to create 4-bar phrases. Adding dynamic contrast into the piece is also a
goal for this rehearsal. Next, we will look at Tamboura and work on getting it up to tempo. We
will prioritize counting and coming in on time, especially with entrances on beat 2 and beat 4. I
would like greater contrast in dynamics and for the countermelody in the low brass to be more
prominent. If there is time, we will run through Abide with Me, focusing on bringing out the
melody among the whole notes, specifically at m. 3 in the clarinet.

Reference:
Gordon, E. E. (2010). Essential Preparation for Beginning Instrumental Music Instruction.
GIA Publications.
MATERIALS
Students will need their instruments, music, and a pencil.
TECHNOLOGY
Smart Board and computer.
ACCOMMODATIONS
There is student in the band that has a hearing impairment, so a wireless microphone is used by
the director to amplify their voice over the band.
CLASSROOM MANAGEMENT
I believe every student should be treated as if they have the highest potential in the class. I am
committed to appropriately challenging my students to become better learners and community
members. Relationships are at the forefront of my approach to classroom management. Students
must know they are valued and cared for to do their best in school. I insist on students treating
each other with respect. Students must collaborate with their peers and director to provide a safe
and encouraging classroom environment. Students should push themselves to realize their
potential, and they should assist others in doing the same. They should bring their best selves
to class while understanding that someone’s best looks different every day. As the director, I
will ensure that the student's needs are met to the best of my ability.

Procedures for entering the classroom, treating instruments and other music classroom material
with respect, collaborating with others, getting student attention quickly, responding to director,
using proper singing posture, and effective breathing will be implemented and reinforced from
the beginning of the school year. To ensure success in the music classroom, I will work to meet
specific student academic needs. The routine in my classroom will be a consistent as possible
and students will be aware of learning objectives.

Expectations:
Make responsible choices
Use kind words
Show respect to classmates, director, equipment, and music
Involve yourself in activities
Collaborate with others
 IMPLEMENT
LESSON OPENING (hook)
 What is the most mysterious and powerful dragon in the movie How to Train Your
Dragon? Answer: A Night Fury
 How can we apply this to what we are playing in Night Fury? What parts could be made
more mysterious or triumphant?
TEACHING PROCEDURES
Warmup:
 Bb Scale in whole notes
 Bb scale with articulation patterns
Night Fury
 Start at m. 11 in Night Fury for review
 Section at m. 29  confidence in the melody
 Section at m. 37  syncopated rhythms
 Percussion at mm. 43-47 (especially timpani rhythm)
 Play through the end of the piece and go back to fix (entrance on beat 2 for flute,
clarinet, sax in m. 54)
 Continue work on 4-bar phrases throughout the piece
Tamboura
 Space between the accents at the beginning (and throughout the piece)
 Entrances on beat 2 and beat 4
 Entrance at m. 14  Trombone, Euphonium, and Tuba
 m. 21  sudden change in dynamic to piano and alternating eighth notes
 mm. 23-24  huge crescendo to forte
 m. 31  Softer entrance, so there is room to grow with the next crescendo
Run through Abide with Me if there is extra time
 Start from the beginning with the melody in the clarinet. Work on bringing the melody
out of the texture
LESSON CLOSING (transition)
 Put instruments away in their cases and line up for their next class.
Analyze
PRE/POST ASSESSMENT or EVALUATION
Pre-Assessment: I predict that the students will struggle to stay on their own part when the full
band rehearses together. The 4th and 5th grade rehearse separately all week and combine on
Fridays. They have not yet run through the entire piece without stopping.
Post-Assessment: There were some issues with being on the right partial or having the right
fingering for the low brass and horn. The trumpets are doing much better with their notes since
the last combined rehearsal! The clarinets are still working on getting the notes over the break
to sound, but they have been making good progress in their lessons. We made it to the end of
some of the pieces which was exciting and good practice for the with their performance soon.
 REFLECT
One thing I need to work on is being so familiar with the score that I can “listen with my eyes.”
I am much better on picking out things to improve when I am moving around and watching the
students play. Moving around the room is something that my cooperating teacher does that I
really like. It engages the students more in the process of rehearsal and you can hear more by
moving around to the different sections. You can better assist them when they have questions
this way too.
With more work in warmups, I think we can create an even more beautiful sound. We did some
wonderful work on dynamics today. Their rhythms are getting better, but we are still working
toward maintaining the speed of the tempo. They did really well with the dotted rhythms in
Night Fury. They are becoming much clearer, especially in the saxophone section. We are
getting closer with difference between accented and non-accented notes.
I tried just give them just a prep beat and a breath to start instead of counting them off every
time. This prepares them for their performance. They did well with this most of the time. It was
something relatively new to the 4th graders yesterday, but they caught on quickly.
I was worried about filling up a whole 45 minutes of rehearsal. There were definitely notes that
I should have gone back to fix in both Night Fury and Tamboura. I am still learning and
refining my rehearsal technique. It gets better each time that I am in front of the kids. I now feel
comfortable in front of the students, that I can provide positive, productive feedback and keep
students mostly engaged. The students were extremely well behaved. I was so impressed with
their hard work today. I think the best thing that I can do with rehearsal is to keep a quick pace.
Students don’t have time be off task when they are always playing.
CT Suggestion: Review with students what we worked on in their pieces to help the
information stick. Ask something like “What is one thing we worked to improve in Night
Fury?”
 Common Lesson Plan Template
Music Education
Teacher Candidate Name: Megan Dockter
Grade Level: 4th Grade
Subject: Band
Date: 4/9/24
PLAN
STATE STANDARDS
Performing, Presenting, and Producing:
 3-5.MU.Pr.4.2 Demonstrate by reading, singing, or playing an instrument the musical
elements of a selected work.
 3-5.MU.Pr.5.1 Rehearse, identify, and apply strategies to address interpretive,
performance, and technical accuracy of music in varied ensembles.
 3-5.MU.Pr.6.1 Demonstrate expressive qualities in performance to convey meaning and
intent.
LEARNING/BEHAVIORAL OBJECTIVES
Students will be able to:
 Refine their performance of Daydreams
 Perform with good tone and accurate notes/rhythms
 Improve dynamic contrast and phrasing
RATIONALE
According to Music Learning Theory (MLT), students should engage in learning tonal
sequences and rhythmic sequences separately. Students must learn to audiate tonal and
rhythmic content separately. Often, they are combined too soon. Dr. Gordon (2010) suggests,
“It is patterns, not scales, that represent music content, and it is patterns that are naturally
combined in audiation with music context” (p. 18). Additionally, the context of the tonality,
meter, and tempo must be established for children to be able to discern between patterns in
music. Gordon (2010) concludes, “[D]ifference, not sameness, is important for expanding
audiation ability particularly as it relates to development of the music listening vocabulary” (p.
4). The five stages of sequential development for musicians in order are listening, singing and
chanting, improvisation, reading, and writing. Students will revisit each stage multiple times as
they progress, expanding their knowledge of each (p. XII). The Gordon Institute for Music
Learning (GIML) suggest that students learn music best when the material is processed through
a whole-part-whole framework. Gordon (2023) asserts, “The first whole stage (Synthesis) is an
introduction, an overview that establishes basic familiarity with what the topic is about. The
second stage (Analysis) consists of detailed study of the parts of the topic. On returning to the
whole (the second Synthesis) students have a more sophisticated understanding of how the parts
fit together to form a unified whole” (GIML). The context of the musical ideas presented (such
as pitch, rhythm, articulation, and dynamics) is of the utmost importance.

In the lesson, we will talk about the procedures for solo/ensemble contest on Saturday since it
will be the be the 4th graders first experience. Students will have the opportunity to ask
questions about the day and what it will be like when they go to perform their solos. As an
ensemble we will warm-up, trying to create the best and fullest sound we are capable of. We
will work on polishing Daydreams. I would like to focus on maintaining the tempo throughout
the piece and feeling more comfortable in the transitions. Once this is achieved, I would like
students to become more conscious of their phrasing and contrasting dynamics.

References:
Gordon, E. E. (2010). Essential Preparation for Beginning Instrumental Music Instruction.
GIA Publications.

The MLT Approach: The Whole/Part/Whole Curriculum (2023). The Gordon Institute for
Music Learning. https://giml.org/mlt/methodology/
MATERIALS
Students will need their instruments, music, and a pencil.
TECHNOLOGY
Smart Board and computer.
ACCOMMODATIONS
There is a student in the band who has a significant reading disability. This also affects her
comprehension of music notation. To assist her, we may color code her notes to improve her
ease and efficiency of reading. If necessary, we will re-write her part to be less cumbersome,
but she has been doing well playing the same music as her peers with extra assistance in
lessons.
CLASSROOM MANAGEMENT
I believe every student should be treated as if they have the highest potential in the class. I am
committed to appropriately challenging my students to become better learners and community
members. Relationships are at the forefront of my approach to classroom management. Students
must know they are valued and cared for to do their best in school. I insist on students treating
each other with respect. Students must collaborate with their peers and director to provide a safe
and encouraging classroom environment. Students should push themselves to realize their
potential, and they should assist others in doing the same. They should bring their best selves
to class while understanding that someone’s best looks different every day. As the director, I
will ensure that the student's needs are met to the best of my ability.

Procedures for entering the classroom, treating instruments and other music classroom material
with respect, collaborating with others, getting student attention quickly, responding to director,
using proper singing posture, and effective breathing will be implemented and reinforced from
the beginning of the school year. To ensure success in the music classroom, I will work to meet
specific student academic needs. The routine in my classroom will be a consistent as possible
and students will be aware of learning objectives.

Expectations:
Make responsible choices
Use kind words
Show respect to classmates, director, equipment, and music
Involve yourself in activities
Collaborate with others
IMPLEMENT
LESSON OPENING (hook)
 We will discuss contest coming up on Saturday, and students will have to opportunity to
ask questions about the day. I want the students to feel confident in the process and
know what to expect.
TEACHING PROCEDURES
Warm-up
 Bb Concert Scale in whole notes  focusing on watching the director and moving
together as an ensemble, not breathing after each note
Daydreams
 We will work toward maintaining the initial tempo given throughout the song.
 Confidence of entrances (especially the trumpet section)
 Balance – always being able to hear the melody
 Breathing together and changing notes together in time
 Entrance for trumpets at m. 17 – coming in on beat 4
 Matching articulations (slurs vs. tongued notes)
 Clarinet and saxophone melody at m. 39
 Listen to each other across the ensemble
 Get closer to being performance ready for contest!
LESSON CLOSING (transition)
 The students will transition to work on Night Fury with my CT.
Analyze
PRE/POST ASSESSMENT or EVALUATION
Pre-Assessment: I predict that the 4th grade will have a tough time with tempo at the beginning
of Daydreams without their 5th grade comrades.
Post-Assessment: Having the students memorize the first two bars of the song helped us to
have a more solid start. They are doing well without the 5th grade today! My goal with this
group next time is to play through the entire song without stopping twice.
REFLECT
This group of students is the most willing to put in the work to become better. As first year
band students, they have shown a wonderful drive to improve and a love for music. They will
try nearly anything that I throw at them. Watching their progression from the beginning of the
semester has been amazing. Their enthusiasm is contagious even as their teacher.
I felt like I kept the rehearsal fun, yet productive. We did some good work on breathing
together before our entrances and watching the director. We still have quite a bit of work to do
at the end of the song, which we didn’t get to today, but they do just fine when they have the
older kids with them as leaders. Although sometimes this group outshines the 5th grade. They
have been wonderful for pushing the older students to keep up with their practicing. I have been
challenging myself to come up with more fun and engaging rehearsal strategies to make
working on the same thing repeatedly not seem mundane. If I present a musical concept as a
game or dare to tackle, the students give it their all to prove to me they are capable.
Link to Video Lesson: https://drive.google.com/file/d/1uM48I9bGaaM4iZbkWhk-
BMJ_r0Z6xk5x/view?usp=sharing
 Common Lesson Plan Template
Music Education
Teacher Candidate Name: Megan Dockter
Grade Level: 8th-12th Grade
Subject: Band
Date: 3/31/24
PLAN
STATE STANDARDS
Performing, Presenting, and Producing:
 HSi.MU.Pr.5.1 Apply collaboratively developed criteria for self-reflection and peer
feedback to refine and evaluate individual and ensemble musical work of diverse
repertoire.
 HSi.MU.Pr.4.2 Analyze how musical elements, performance practices, and purpose
inform musical work.
LEARNING/BEHAVIORAL OBJECTIVES
Students will be able to:
 Perform Hunger Games and Coldplay
 Respond to instructor feedback and make adjustments to sound
 Observe dynamic changes and articulation
 Improve rhythmic integrity
RATIONALE
According to the Gordon Institute for Music Learning (GIML), students learn music best when
the material is processed through a whole-part-whole framework. Gordon (2023) asserts, “The
first whole stage (Synthesis) is an introduction, an overview that establishes basic familiarity
with what the topic is about. The second stage (Analysis) consists of detailed study of the parts
of the topic. On returning to the whole (the second Synthesis) students have a more
sophisticated understanding of how the parts fit together to form a unified whole” (GIML). The
context of the musical ideas presented (such as pitch, rhythm, articulation, and dynamics) is of
the utmost importance. Furthermore, Gordon (2010) concludes, “[D]ifference, not sameness, is
important for expanding audiation ability particularly as it relates to development of the music
listening vocabulary” (p. 4). It is through the development of audiation skills that students will
learn to understand music and predict musical changes.

In this lesson, students will improve their performance of their Pops Concert pieces. In Hunger
Games, we will exaggerate the dynamic changes to create a more dramatic and suspenseful
opening that draws in the listener. Developing greater rhythmic integrity is our focus on this
piece today. Also, we will work to create more clean articulations that match what the
composer suggests. In Coldplay, I would like to improve the confidence in entrances
throughout. We will start to focus on the transitions, so we can put the whole piece together.
Since we did a lot of work on the beginning in sectionals earlier this week, I am hoping that we
will be able to play through it closer to tempo. At m. 61, I would like to improve the balance
and timing of the accompaniment figures in the clarinet. In coming rehearsals, we will move to
focus on articulation once the rhythms become more familiar and comfortable.

References:
Gordon, E. E. (2010). Essential Preparation for Beginning Instrumental Music Instruction.
GIA Publications.

The MLT Approach: The Whole/Part/Whole Curriculum (2023). The Gordon Institute for
Music Learning. https://giml.org/mlt/methodology/
MATERIALS
Students will need their instruments, music, and a pencil.
TECHNOLOGY
Tuner, metronome, computer, and smartboard.
ACCOMMODATIONS
There is one student in the high school band who has ADHD. Having a consistent routine is
important for student success, especially for those with ADHD or other mental health
conditions. Because it is difficult for students with ADHD to maintain focus on tasks that do
not interest them, alternating between problem areas instead of spending an extended period of
time on one section would be beneficial for students with ADHD. The content needs to be in
the sweet spot between interest/novelty and appropriate challenge for this student to stay
engaged in rehearsal.
CLASSROOM MANAGEMENT
I believe every student should be treated as if they have the highest potential in the class. I am
committed to appropriately challenging my students to become better learners and community
members. Relationships are at the forefront of my approach to classroom management. Students
must know they are valued and cared for to do their best in school. I insist on students treating
each other with respect. Students must collaborate with their peers and director to provide a safe
and encouraging classroom environment. Students should push themselves to realize their
potential, and they should assist others in doing the same. They should bring their best selves
to class while understanding that someone’s best looks different every day. As the director, I
will ensure that the student's needs are met to the best of my ability.
Procedures for entering the classroom, treating instruments and other music classroom material
with respect, collaborating with others, getting student attention quickly, responding to director,
using proper singing posture, and effective breathing will be implemented and reinforced from
the beginning of the school year. To ensure success in the music classroom, I will work to meet
specific student academic needs. The routine in my classroom will be a consistent as possible
and students will be aware of learning objectives.

Expectations:
Make responsible choices
Use kind words
Show respect to classmates, director, equipment, and music
Involve yourself in activities
Collaborate with others
 IMPLEMENT
LESSON OPENING (hook)
 Play the Coldplay songs (Clocks, Lost, Viva La Vida) that we will be working on in the
“Coldplay On Stage” arrangement the students are working on for the Pops Concert.
Many of the students do not know the song “Lost.”
TEACHING PROCEDURES
Warm-up
 Bb Scale in whole notes, Articulation on F Concert Scale (working toward 144 bpm)
 Range: each note matching the note before it in tone, block of sound from the first note
to the last note, baby crescendo the whole way through the scale
 Remind students about percussion assignment – get set up ahead of time.
Hunger Games
 Have one person in each section play the whistling parts at the beginning of the piece.
Must be scattered throughout the band to have the effect of the being spread out in the
battle arena.
 Focus on dynamic contrast at the beginning! Exaggerate the crescendos!
 Articulation and accidentals in “Horn of Plenty” at m. 29
 Trumpet  Fanfare rhythms and clarity of articulation
 Key change to Concert F at m. 48
 Be working toward performance tempo
Coldplay (Clocks, Lost, Viva La Vida)
 m. 2-7 sixteenth notes runs
 Eighth notes in “Clocks” (clarinet and flute)
 Bring out the descending lines in the low brass and woodwinds
 “Lost” – 1st clarinets and 2nd/3rd clarinet do not play together (build each part, then add
the flute melody)
 “Viva La Vida” – soli sections for counting (alto and tenor sax)
 Eighth note runs starting in m. 141 (clarinets, alto and tenor sax, horn, and baritone)
 Work on the ending today! Getting softer at the piano with a steady crescendo into the
coda section.
 m. 155 = recap of Clocks at a slower tempo
 Start playing through the whole song to work on transitions!
Uptown Girl
 If there is time with 8th-Sophomores
LESSON CLOSING (transition)
 Jazz Band sets up for rehearsal, and I will take the snares for a sectional on the “Tiger
Trail” cadence.
 The rest of the juniors and senior are dismissed to lunch.
Analyze
PRE/POST ASSESSMENT or EVALUATION
Pre-Assessment: I predict that the students will struggle with some of the rhythms in Hunger
Games and Coldplay. They are not confident in entrances that are not on the beat. The
transitions will probably be areas of concern.
Post-Assessment: We will have to continue working on subdivision for the tricky entrances in
both pieces. Once they played out a little more, I could hear some more mistakes in the trumpet
line of Hunger Games. The dynamics in Hunger Games are really coming along. Now, we need
to work on some balance and blending in both pieces.
REFLECT
I wish I would have involved the other students more in rehearsal when I am working with
specific sections. It is easy for me to just fix the problem and move on, but I need to get the
ensemble to listen more critically to each other’s playing. This way they can grow more as
individual musicians and mature as an ensemble. In the future, I would like them to provide
more feedback on how they are doing and what they need help with instead of me always
telling them.

In the coming weeks, we will need to spend more time on the section at m. 61 in Coldplay. This
section is the weakest in the entire song. I was impressed that the ensemble came together at m.
80. The woodwinds have really improved their tone here from previous rehearsals. There are
still quite a few rhythmic figures in the trumpets that need to improve in Hunger Games. The
band gets really excited for Viva La Vida, so they tend to rush it quite a bit. We will work on
locking into a tempo together.

If this were my band, I would spend more time in warmups to work on articulation and
blending of sound. I recently added the articulation exercise that I did with them this morning,
and I am seeing improvement across the board. Although it isn’t perfect, it was worse before
believe it or not. I would also add in the chromatic scale. I am continually shocked by how
many of them don’t know their fingerings for accidentals.

I am feeling more confident in front of this age group. I feel that we have built a trust in each
other now that we are making progress more quickly than when I first started working with
them. Classroom management has been tough though, keeping everyone accountable for
playing. I will start warmups without them if they are late getting to their spots. They need to
learn to be ready in their chairs right away. My CT has a rule that they are allowed to go to the
bathroom in either the first five or last ten minutes of class. I personally don’t like them
straggling into rehearsal because it does not set us up for focused work. I would rather them
excuse themselves quickly while I was working with another section. There are a few
saxophone and trumpet players that like to see how long they can get away without playing, so I
have started to be firmer with them. I actually took away a solo from the first saxophones for
this reason. Ideally, I would like to just give the ensemble a breath and go without counting
them off, but that has proven to be unsuccessful with this group. Even after I have left people
behind, they will not be ready to go when I’m ready. They like to wait until the last second to
get their instruments up, so I am continually reminding them that we don’t have time to waste.

Link to Video: https://drive.google.com/file/d/1XUR4z1y2zi6jUkIrFo2vh3p-yzlqjL_e/view?

usp=drive_link
 Common Lesson Plan Template
Music Education
Teacher Candidate Name: Megan Dockter
Grade Level: 8th-12th Grade
Subject: Band
Date: 4/22/24
PLAN
STATE STANDARDS
Performing:
 HSi.MU.Pr.5.1 Apply collaboratively developed criteria for self-reflection and peer
feedback to refine and evaluate individual and ensemble musical work of diverse
repertoire.
 HSi.MU.Pr.6.1 Present musical work with refined technical accuracy and expressive
qualities through individual and ensemble performances of a diverse repertoire.
Responding:
 HSi.MU.Re.8.1 Identify and explain how musical elements and performance practices
are used for expressive intent by creators and performers.
LEARNING/BEHAVIORAL OBJECTIVES
Students will be able to:
 Perform Hunger Games with better balance, blend, and dynamic contrast
 Refine the transitions and syncopated rhythms in Coldplay
 Perform with a sense of how their part fits in with the musicians around them,
connecting with the musical intent
RATIONALE
According to the Gordon Institute for Music Learning (GIML), students learn music best when
the material is processed through a whole-part-whole framework. Gordon (2023) asserts, “The
first whole stage (Synthesis) is an introduction, an overview that establishes basic familiarity
with what the topic is about. The second stage (Analysis) consists of detailed study of the parts
of the topic. On returning to the whole (the second Synthesis) students have a more
sophisticated understanding of how the parts fit together to form a unified whole” (GIML). The
context of the musical ideas presented (such as pitch, rhythm, articulation, and dynamics) is of
the utmost importance. Furthermore, Gordon (2010) concludes, “[D]ifference, not sameness, is
important for expanding audiation ability particularly as it relates to development of the music
listening vocabulary” (p. 4). It is through the development of audiation skills that students will
learn to understand music and predict musical changes.

In this lesson, students will refine their performance of their Pops concert pieces. The ensemble
will improve their blending and balance in various sections. Increasing dynamic changes in the
second section of Hunger Games will make the piece more interesting and exciting for the
audience to listen to. In Coldplay, students will work on creating smoother transitions between
songs. We will improve the balance in “Viva La Vida,” especially in the denser section at m.
131. I aim for the band to get better at listening to each other both within their section and
throughout the band.

References:
Gordon, E. E. (2010). Essential Preparation for Beginning Instrumental Music Instruction.
GIA Publications.
The MLT Approach: The Whole/Part/Whole Curriculum (2023). The Gordon Institute for
Music Learning. https://giml.org/mlt/methodology/
MATERIALS
Students will need their instruments, music, and a pencil.
TECHNOLOGY
Tuner, metronome, computer, and smartboard.
ACCOMMODATIONS
There is a student in the high school band with a hearing impairment, partially deaf in one ear.
She does really well now that she has a hearing aid but may struggle to hear certain high
pitches. We use a microphone in the band room to amplify the director’s voice. We must be
sure to make eye contact when talking to her because she may not realize that we are trying to
get her attention if her head is turned away from us.
CLASSROOM MANAGEMENT
I believe every student should be treated as if they have the highest potential in the class. I am
committed to appropriately challenging my students to become better learners and community
members. Relationships are at the forefront of my approach to classroom management. Students
must know they are valued and cared for to do their best in school. I insist on students treating
each other with respect. Students must collaborate with their peers and director to provide a safe
and encouraging classroom environment. Students should push themselves to realize their
potential, and they should assist others in doing the same. They should bring their best selves
to class while understanding that someone’s best looks different every day. As the director, I
will ensure that the student's needs are met to the best of my ability.
Procedures for entering the classroom, treating instruments and other music classroom material
with respect, collaborating with others, getting student attention quickly, responding to director,
using proper singing posture, and effective breathing will be implemented and reinforced from
the beginning of the school year. To ensure success in the music classroom, I will work to meet
specific student academic needs. The routine in my classroom will be a consistent as possible
and students will be aware of learning objectives.

Expectations:
Make responsible choices
Use kind words
Show respect to classmates, director, equipment, and music
Involve yourself in activities
 IMPLEMENT
LESSON OPENING (hook)
 Students will gather the materials that need for the day after reading the agenda on the
board.
TEACHING PROCEDURES
Warm-up
 Bb Scale in whole notes, Articulation on F Concert Scale (working toward 144 bpm)
 Continue to improve consistency of sound throughout the range
 Remind students about percussion assignment – get set up ahead of time.
 Ask students as we are going through each piece if I missed something that they don’t
feel as confident in or have any suggestions for how to improve a section
Hunger Games
 Bigger crescendo into m. 28 – balance of the chords leading up to this point
 Difference in dynamics of entrances in section at m. 29 – trumpets enter softer then
crescendo up
 Observe the different articulation at m. 48 – more separated!
 Balance: long notes softer to hear the moving lines, especially at m. 92
Coldplay
 Balance in the introduction – passing off important parts between instrument sections
(trumpet – sax – tuba)
 Confidence of accompaniment part at m. 61
 Entrance of bari sax and baritone at m. 69
 Blending in “Viva La Vida”  knowing when your part is important and when it is not
 Measure 131 is the first time that everyone is playing, so balance is important there.
There are four different things going on at once.
 Run saxophones and horn together four before m. 147  hear that they are passing off
their eighth notes to each other, work on cohesiveness of this line
 Work through the ending section a few times for confidence in tempo changes and
dynamic contrast.
LESSON CLOSING (transition)
 Transition to working with drumline or jazz band
Analyze
PRE/POST ASSESSMENT or EVALUATION
Pre-Assessment: I predict that it will take several repetitions for the student to understand and
achieve the blending that I am asking of them. It will take some increased focus that they have
not had in the past couple of weeks.
Post-Assessment: The potential to achieve the blend that I am asking of them is there, but the
focus and self-discipline in not. Listening and applying verbal directions is not a strength of this
ensemble. Keeping them playing with short, direct feedback seems to work the best.
REFLECT
Although I have added to the high school’s warmup routine to fix some articulation issues, it is
hard to get them going right away. I need to better about making music with them from the first
notes that they play instead of just going through the motions. They tend to do better when we
get into the pieces with their focus, but it would be even better if we started off rehearsal with a
greater intention of creating a wonderful musical product. With it being Monday, the group was
even more talkative than usual. Daily, I have trouble with them staying focused during rehearsal
and not having side conversations at every opportunity. Unfortunately, this is case for my CT as
well. I have tried using the podium as an indicator of when it is okay to talk, but this procedure
needs some heavy reinforcement.
I have found that playing through a section first before offering suggestion for improvement
works best. I tried starting with directions first today, and this was not successful. I would have
liked to do more work with balance today in Coldplay, but I didn’t have the attention to detail
that I needed from the students. Monday rehearsals are tough, coming off a weekend where the
students have not seen each other for a few days. With my own ensemble, I would like to create
a more structured rehearsal procedure, where students are ready to work from the moment they
sit down for band. Although this ensemble is not mine, I really want to push them in the coming
weeks before their Pops concert because I know that they are capable of so much more.
Task IV: Student Learning Objective (SLO) and Analysis

NAME: _________________________

Write the counting below each measure

Define molto rallentando

a. slowing down a little
b. gradually speeding up
c. slowing down a lot
d. twice as fast

Define A Tempo
 a. at the same tempo
b. at the original tempo
c. at half tempo
d. slightly faster

Define tenuto (ten.)

a. held, sustained for full value
b. short and detached
c. too much
d. with force, strength

The middle school band creates a wonderful sound. They are really on their way to great

performances, but one thing holding them back is their accuracy of rhythm and observance of
written directions in the music. With my student learning objective, it was my goal to improve

this area. To measure where the students were starting from, I designed an assessment that

included rhythm counting in several different time signatures and musical directives from their

concert band music. I recorded the scores to use as a baseline for the growth of the students. The

period of instruction on this material was over the course of a few weeks, where we worked

through counting rhythms on the board together during warmup and during rehearsal in their

music, and we talked through musical terms that we came across. This learning objective

connects to two of the state standards for middle school ensembles.

Standards:

 6-8.MU.Pr.4.3 Read and identify standard symbols for musical elements.

 6-8.MU.Pr.6.1 Perform repertoire with technical accuracy, and expressive qualities,

intent to convey meaning and intent.

Both the pre-test and post-test was documented as a score out of 55 points. The result of

the pre-test showed a wide range of performance throughout the band. The mean score on the

pretest was 27 out of 55, with outliers on both sides. Because there were very few students who

exhibited proficiency on the pre-test, I set growth target of every student achieving at least a 40

out of 55 on the post-test. I felt that this was manageable goal given the short amount of time for

instruction with also preparing for large group contest, the pops concert, and graduation. The

students made significant progress with the average post-test score being a 45 out of 55. The

lowest score on final assessment was above the pre-test score at 32. Twenty-four of the thirty-

one students in middle school band met the growth target. Of those who did not meet the target,

most were within a couple of points, and all the students made significant improvement from

their pre-test scores. I really pushed the middle school with difficult rhythms, so this explains the
testing results to an extent. Having the students at the end of the day, it is tough to keep them

engaged in activities that do not require them to play their instrument.

If I were to do this student learning objective again, I would have conducted a midpoint

assessment to gauge where students were at in meeting the learning objective more often.

Instruction-wise, it would be beneficial in the future to break students off into groups to work

together in counting different rhythms and helping each other. I could have given each group a

set of rhythm flashcards that they would write the counting on and perform accurately as a

group. Incorporating manipulatives to show the subdivision of beats could be valuable for visual

learners. I found in my elementary experience that students enjoy this type of collaboration to

solve problems. They are more engaged in their learning when it is hands-on.
Pre-Test Results (scored out of 55)

Post-Test Results (scored out of 55)

Individual Student Growth
Task V: Analysis of Focus Students (Case Studies)

Case Study:
Elementary STE

Megan Dockter

Northern State University

ELED 488: K-8 Student Teaching

March 25, 2024

 Case Study: Elementary STE

Josh is a 6-year-old kindergarten student. The kindergartners have music twice a week for

half an hour. Josh will regularly not sit still in music and intentionally crowd other students’

personal space to annoy them. He moves from his spot frequently to mess with the smart board,

or he will try to play the piano while I am singing with the class. There have been instances

where the student was barking like a dog at his classmates. Before he was moved to the front of

the classroom, he would play with the music stands and crawl under the chairs to the point where

I had to physically remove the chair for him to return to his spot. On a typical day, it will take

several redirections to achieve one task. There are days when Josh’s behavior is wonderful. He is

capable of staying in his spot, listening, and participating/singing. Lately, he has been acting out

more often in search of attention from the teacher and his classmates.

In talking with Josh’s general classroom teacher, she has not had as many behavioral issues

since implementing an intervention plan, but she has heard that he has been having trouble in

“extras” (music, P.E., etc.). Josh’s home life is typical. He lives on a farm with his parents and

two younger siblings. His general classroom teacher said she has not had issues with Josh since

meeting with his parents at the beginning of the school year and putting a plan in place, specific

to him. Each day, she records his behavior on a weekly chart that goes in his take-home folder.

She either circles the happy face, straight face, or frowning face and provides reasoning for why

she chose it for that day. Based on this, he is either rewarded or disciplined at home. Josh’s

general classroom teacher said that this system has made a world of difference. She has started

attaching notes from his “extra” teachers, indicating his recent trend of unproductive behavior to

his parents. She encouraged me to remind Josh that I will be reporting his behavior to her and
that my notes will also be shared with his mom and dad. She believes that reporting behavior

consistently across the board with all his teachers will lessen his behavior problems significantly.

Josh’s retention of the material in music is affected by his behavior. In learning our songs

for the musical, he is behind his peers in committing the words and actions to memory. He

disrupts the learning of others. Although he is not the only student in the class with behavior

issues, he is often a distraction for his peers. The change in the environment from his regular

classroom and the different routine may throw him off, causing him to act out. Behavior is a

form of communication. Having a conversation with the student about why he is acting out in

music may yield some results. We can work together to come up with a solution that helps both

of us be successful.

To prevent negative behavior in young students, educators should focus on rewarding

positive behavior. Praising on-task behavior can go a long way in creating a positive classroom

environment. Giving attention to negative behavior may cause an increase in unwanted

behaviors. In many cases, planned ignoring can be effective as long as the teacher addresses the

behavior one-on-one with the student later. It is important to model what it looks like to be calm

and regulated for students, especially when they become escalated. An escalated adult cannot

help a dysregulated student as successfully. McGibbon (2018) writes, “The most important

behavior management tool a teacher has is their language. The teacher should use reflective and

responsive statements, which means commenting on efforts and interests versus empty praise and

evaluating products” (para. 4). In communicating with Josh, it may be beneficial to provide

choices while being careful not to ask open-ended questions that present an opportunity for him

to say “no” to what you are asking. For example, “You may either find your way back to your

spot or I can help you find your spot.” would be better than asking, “Can you find your spot,
please?” With the first statement, Josh will need to find his spot with either option, but it

provides him with the choice of how he will do so. The second option would allow Josh to refuse

to go back to his spot. Furthermore, redirecting Josh with clear, straightforward, positive

language would help him stay regulated. Instead of saying “Don’t play with the piano.”, I could

instead choose to say, “Walk back to your spot and sing with us, please.” The second phrase tells

Josh exactly what I expect of him and is not harsh. Additionally, giving notice for transitions is

an effective behavior management strategy. This way, the student is not surprised and can

prepare for a change in activity.

Implementing a calm corner in the music room may be another way to manage behavior

outbursts. I can encourage Josh to excuse himself to the calm corner when he is feeling big

feelings and rejoin the class after a set amount of time (2-5 minutes) or before then if he feels

ready to actively participate. Whole Child Counseling (2023) suggests, “Learning to regulate

your emotions isn’t something that comes naturally for anyone – it is a skill that needs to be

taught and then practiced! The Calm Corner teaches students how to utilize healthy coping

strategies to calm themselves down when they are feeling stressed, upset, or distressed in class.

It’s a method that allows students to stay in the classroom to self-regulate, allowing them to have

less disruptions in their learning time” (paras. 3-4). I have a student in 2nd grade who will remove

himself from a situation if he feels the urge to be a distraction for others or act out. When he

realizes that he is bothering his peers and preventing others from participating in music, he will

move to the side of the classroom to quietly regroup for a few minutes. From this spot, the 2nd

grader may even continue to participate. The act of putting distance between himself and a

student who tempts him to be off task is enough to solve the issue. We typically talk after class to

ensure that everything is okay. Putting in place a procedure for each elementary music class that
it is okay to step out if you feel overwhelmed may help students feel safer. Music can be an

overstimulating experience for young students because the routine is different, and the noise

level may get higher than in the general classroom. This procedure will help the student learn

how to ask for help, an important skill that is often overlooked by teachers. An article in The

Resilient Educator states, “If they feel comfortable coming to you when they’re lost, upset or

overwhelmed, they’re not as likely to have an outburst” (2017, para. 8).

 References

McGibbon, Z. (2018). Guiding Children’s Behavior. Kindergarten Cafe, LLC.

https://kindergartencafe.org/guiding-childrens-behavior/

Strategies for Teaching Students With Behavioral Problems. (2017, December). Resilient

Educator. https://resilienteducator.com/classroom-resources/strategies-for-teaching-

students-with-behavioral-problems/

Successful Calm Corner Ideas for Classrooms. (2023, November 15). Whole Child Counseling.

https://www.wholechildcounseling.com/post/successful-calm-corner-ideas-for-

classrooms
 Case Study:
Secondary STE

Megan Dockter

Northern State University

SEED 488: 7-12 Student Teaching

March 25, 2024

 Case Study: Secondary STE

Mia is a 17-year-old junior in the high school band. I noticed at the beginning of my

student-teaching that Mia was not engaged in rehearsal. She was frequently on her smartwatch

either texting or playing games. She was continuously slow to get organized before warmups and

would not join until halfway through. For example, she would be repairing her college songbook

with tape during warmup instead of before or after class. Also, Mia would not have her concert

pieces in order despite them being displayed on the agenda when the band walked in the door for

rehearsal. The student would sometimes disappear during rehearsal without telling me or my

cooperating teacher where she went. I also noticed that Mia would get visibly frustrated during

rehearsal and stop playing for an extended time. Initially, it just looked like she did not care or

did not want to participate, but I could tell that something deeper was going on. Because

proximity usually encourages students to be more on task, I started standing on her side of the

band room. Mia started to ask me questions and voice her concerns. As time went on and we

formed a trusting relationship, her participation was more consistent, and we were able to read

each other better. Once I took over teaching the high school band, she was a very vocal

participant in rehearsal. To a teacher walking in without context, her dialogue toward me

(blurting) could have been viewed as disrespectful, but my cooperating teacher and I knew that

was her becoming more comfortable and exhibiting her personality. I became the teacher she

would go to when she needed support. Mia does care about the class and doing well despite her

behavior. She is trying to get the attention that she is not getting at home. Simply put, she wants

to be loved. Mia’s home life is rocky. Mia has an older sister, but she is in college. Her mom is

not very involved, so Mia is left to fend for herself a lot. Because of this, she has made some
poor choices in the past. She was suspended (ISS) for a week in December for having substances

in her car on school property.

It is apparent that Mia is pushing to make herself better, but some of her teachers and peers

do not support her. It seems that when she is on a streak of doing well in school, someone tries to

knock her down. Her peers have been unkind, calling her names and telling her that she should

“not exist.” These concerns have been brought to administration by both the student and other

teachers. I have also voiced these concerns to my cooperating teacher after talking with the

student. We have had a few deep conversations about things that are going on at school and

going on at home. Both students and teachers have been active participants in bullying Mia. I

have talked with her about counseling, and she has been seeking help in that way. We have also

talked about how to come back from mistakes. She has expressed that it feels like she is

continually being beaten down into the ground every time she tries to become better. She has

also said that it has been really hard to come to school because she doesn’t feel safe. I told her

that if she ever feels like that to come to the band room as her safe space and I will be more than

happy to find her the help she needs from there. Her attendance has been better this semester in

comparison to the past few semesters. Grades from the third quarter are a mixture of A’s through

C’s, with one D in English. Up until semester tests, her fourth quarter grades were A’s and B’s.

Not having any preconceived notions about the student, we formed a strong bond from the

first week of my student teaching. I think Mia really needed a fresh restart. She needed someone

who would see her for her, not for the things that she had become known for at school. Mia

comes into my office every morning to see me and talk to me for a few minutes before the bell

rings for class. She had started coming to the elementary band rehearsals during her study hall,

and she will help me with anything that I need her to or play with the students. I have not
required her to come help me. She chooses to come and spend her free time in the band room.

She has also come to assist with kindergarten music because she is doing her junior career

exploration with one of the kindergarten teachers.

Mia has been diagnosed with ADHD and anxiety and is on medication for both conditions.

She has a 504 Plan as well. This explains her tendency to have difficulty getting started in

rehearsal, with her executive function lagging. It also explains her reaction to challenging tasks

being met with increased frustration. On the other hand, if something doesn’t interest her, she

will become quickly unengaged. The content needs to be in the sweet spot between

interest/novelty and appropriate challenge for Mia to stay engaged in rehearsal. According to

Doerries and Grosser (2017), “Students with ADHD often have the most trouble attending during

drill-and-practice assignments because of the repetitive nature of the tasks” (p. 5). This statement

is eye-opening as a music educator because much of band rehearsal is isolating problems and

drilling them until they are fixed and then reintegrating them into the whole. This process of

repetition may not be as beneficial for students with ADHD. To combat this, we can diversify the

strategies we use in rehearsal to maintain active participation. The article goes on to outline

learning strategies that are more effective for students with ADHD. These include peer tutoring,

cooperative learning, and gamifying learning. Alternating between problem areas instead of

spending an extended period of time on one section would be beneficial for students with

ADHD. Additionally, getting students more involved in the rehearsal process helps students learn

how to collaborate and take constructive criticism. Having one section listen for rhythm, pitch, or

dynamic expression while others are playing keeps students invested. When their feedback is

valued, students take more pride in their work, and they improve more rapidly as an ensemble.

Additionally, a more active warmup routine would lead to greater commitment in rehearsals. The
warmup should serve multiple purposes: center and refocus the musician, warm up the technical

aspects of playing, and challenge students’ thinking and skillset. Including a sight-reading game

in warmups could be one way to help this student and others in the band focus more quickly. I

have also seen other bands perform long tones to an upbeat backing track. This makes the long-

tones more exciting and less monotonous. I have applied this to my own practice at times when I

am slow to get started. For students like Mia, this shift in the rehearsal process might make the

difference between her losing interest in band altogether or choosing to continue in music.

Measures must be taken to protect Mia’s feeling of safety in the classroom. There must be

changes made to maintain a safe learning environment for all students across the school. All of

Mia’s teachers need to be involved in encouraging positive self-talk and assisting the student in

creating a positive and resilient self-image. Having a consistent routine is important for student

success, especially for those with ADHD or other mental health conditions. Surprises should be

limited. The Trauma Response Educational Practices (TREP) Project suggests, “Investing in

consistency and predictability will substantially reduce the likelihood that students will become

dysregulated because they are anxious and uncertain about what comes next. Predictable

schedules make it easier for students to internalize the progression and to shift from one

task/activity to the next” (para. 4). Giving and specific amount of time to complete a task, such

as getting instruments out and being in their chair two minutes after the bell, is a way to create

consistency and encourage immediate action. Furthermore, educators can make transitions easier

for Mia by providing notice before they happen. For example, we will work on this section for a

couple more minutes before transitioning to the next piece. I like to put where we are starting in

each piece, so students can focus in more quickly on what we will be working on. Implementing

a “Take-a-Break” pass in the band room may be one way to prevent her from disappearing
without letting a teacher know where she has gone. Additionally, continuing to frequently check

in with the student will prevent small problems from escalating unnecessarily.

References
Doerries, D. & Grosser, D. (2015). Classroom Interventions for Attention Deficit/ Hyperactivity

Disorder Considerations Packet (2nd ed). William & Mary: Training & Technical

Assistance Center. https://education.wm.edu/centers/ttac/documents/packets/adhd.pdf

TREP Project. (2023). Consistency And Predictability. TREP Project LLC.

https://www.trepeducator.org/consistency-and-predictability

Task VI: Reflection, Self-Evaluation, and Goals Achievements

 My student teaching was an extremely positive experience. My cooperating teacher let

me take the reins and learn by doing. I got to direct the ensembles at elementary, middle school,

and high school band contests. Not only did I get to conduct them, but I also got to prepare the

pieces from start to finish with the students. This was an invaluable experience, as I was able to

learn my true strengths and weaknesses in the rehearsal process. I got the opportunity to develop

my teaching style and build confidence on the podium. I was very proud of the musical products

that my students and I created together. I also played a huge role in preparing the elementary and

middle school students for solo contests. For a few weeks, I took over teaching all the individual

lessons and band rehearsals. The best part of my student teaching was getting to know the

students and supporting them in becoming better musicians. I felt that I created a lot of

excitement for band, making rehearsals and lessons much more productive and fun. My

cooperating teacher and school staff were my biggest cheerleaders. I am very thankful for the

feedback, encouragement, and support that I received from my cooperating teacher. She will be

one of my greatest resources going forward in my teaching career.

This semester was my first experience teaching elementary general music. Because I had never

worked with this age group, I learned on the go. I did really well teaching the structured lessons

with activities such as learning to play instruments and having students respond to musical

excerpts. I felt very comfortable teaching them short songs with solfege. Classroom management

became quite a bit harder when we started the musical with them. I struggled to keep their

attention for longer periods, doing repetitions of the songs. Ultimately, their performance of the

musical was great, and I did end up directing it. It was both the most stressful and rewarding part

of my student teaching. I learned that I have to be even more prepared for elementary music to

keep the pace of instruction fast. If there is too much downtime, I lose them.
During my student teaching, I challenged myself to continue to grow as a musician and be a

positive role model for my students. I aimed to let my strong work ethic and optimistic outlook

be a guiding light for my students. Throughout my experience, I put my best self forward and

tried to learn as much as I could. I showed my students that you must persevere to achieve your

goals and that you never stop learning even as a teacher. I always took responsibility for my

mistakes, which showed my students that we were a team that works together to become

successful. I asked my cooperating teacher for feedback often and applied as many of her

suggestions as I could. I became much more comfortable teaching low brass, which was one of

my personal goals for this semester. Also, I grew in my musicianship and scholarship this

semester by auditioning for graduate school, earning a teaching assistantship, and completing my

honors thesis.

I challenged myself to learn all my students’ names K-12 and a little bit about them and their

interests. Although I am quite terrible at remembering names, I came up with systems for

learning them and I can almost name every student. It was much easier to connect with the 4 th-7th

graders because I have them in lessons each week. I am proud that I connected with nearly every

student in band and elementary music. It was a little tougher with the high school band because

there were 65 students in the room at once, but I was able to get to know them better in

sectionals and before rehearsal as they were putting their instruments together and getting settled.

I believe that relationship-building is one of the most important things we do as teachers.

Students who feel safe and respected will be more engaged in the classroom.

Another goal for my student teaching experience was to be able to pick appropriate

repertoire for each age level and compile a resource base for my first year of teaching. I was

fortunate enough to have a more hands-on experience in selecting pieces for each ensemble.
With the guidance of my cooperating teacher, I picked a march for high school contest and the

pieces for the Pops Concert. I sightread through multiple pieces with the ensemble and chose the

pieces that fit them best. I also made percussion assignments for the pieces that I directed. When

solo contest came around, I made a list of the solos that each grade level was playing, so I have it

for future reference. I asked my cooperating teacher what she looks for in repertoire and any

resources that she pulls from to find new music. Although every ensemble is different, I learned

that I could push these students a little harder with more challenging repertoire than I expected I

could. It was awesome to see the 4th-5th grade band tackle some difficult music.

I achieved my goal of improving my rehearsal technique. By the end of my experience, I

was very confident on the podium and capable of providing positive, actionable feedback. I was

constantly asking my cooperating teacher for ways that I could improve the effectiveness and

efficiency of my rehearsal process. Since I was fortunate enough to spend a lot of time in front of

all the ensembles, I was able to grow more than I expected I would. It was great to go through

the whole process of getting the ensemble ready for their performances at contest. This is

something that not many student teachers get the opportunity to do.

My last goal for this experience was to develop strong relationships with my cooperating

teacher, colleagues, administrators, and staff members. I really got to know everyone in the

building through putting on Music March Madness. This was a district-wide event I coordinated

that involved every student, even if they weren’t in band or choir. To celebrate March being

“Music in Our Schools Month,” the entire school voted between two songs every day of the

month to determine the winner of Music March Madness. I collaborated with the administration

and the general classroom teachers to make this event a huge success. The students were really
invested, and it created some more excitement around the music department at our school. I was

fortunate to walk into a very tight-knit community of educators who support each other.

I was fortunate enough to get to go with the 4th-5th grade band for their performance at the

South Dakota Bandmasters Conferences and attended SD Middle School All-State Band with

one of my students. I got to sit in on some professional development sessions and watch the

guest conductor, Randall Standridge, work with the honor band. I took away a lot from watching

him work with both bands. He had some cool and engaging ways of describing musical concepts

that connected with the students, so I put those in my arsenal of teaching tools. One of the best

things I did this semester was keep a very detailed journal of everything that I did and learned, so

I can look back on it in my first years of teaching for guidance and advice. The most valuable

lesson I learned during student teaching was to treat each day as a new day. Every student

deserves a clean slate walking into your classroom in the morning.