EDED20491 Assessment 3 - eLearning Design

Integrated eLearning Design

'If literature is likened to a ‘tree of knowledge’ about a particular subject the dire need for more eLearning theory becomes clear. Practice based research can be likened to the branches of the tree, those parts that are readily visible and most easily appreciated. Theoretical principles can be likened to the roots; they do not provide any practical things for people like shade or fruit and neither are they aesthetically pleasing. However it is the root system that determines the health of the tree and also the extent to which it can grow. Unless attention is given to eLearning theory, the branches cannot stretch out for fear of toppling the entire structure. Unless attention is given to eLearning theory, eLearning practice cannot develop fully. Without further debate and development in the theoretical underpinnings, we will be left with bonsai eLearning.'  (Nichols, 2003, p.1)

            The application of Integrated eLearning Design (a framework developed and uploaded previously) is recommended for secondary music education settings.  Accordingly, during my recent embedded professional learning experience I had the opportunity to teach and assist a class of Year 8 music students.  The school is one where technologically enhanced teaching practices are being applied and deserve recognition for the role in enhancing music learning achievement.  The application of information-communication-technologies (ICTs) within the school’s music program actually demonstrates the great potential of eLearning practice.  Informing the theoretical underpinning of the Integrated eLearning design framework (see illustration below) of the selected unit of work is the learning theory of constructivism.    

Above: An integrated eLearning framework, Adapted by Paul Hilder

from ‘Engagement Theory’(Kearsley & Shneiderman, 1999) & ‘Bloom’s Taxonomy of Learning Domains’ (Bloom, 1956)

Unit of Work:             Composition

1. What your learners will be learning and demonstrating at the end.

- the processes of creating and presenting an 8 bar composition.

- understanding of how music and ICT technologies can be used to enhance composition and critical music literacy skills

- how to work collaboratively and individually, using skills learnt during participation and observations from group contexts.

- how to compose for piano keyboard.

- reflect recorded composition works on audio or video

2. What the learners will be doing.

- pre-composition and composition activities (inc. ICT) on rhythm elements, bass clef notation, chords, & melody.

- engaging collaborative in aural deconstruction and construction of rhythms, treble and bass notation, chords & melody.

- working individually to create their composition

- using ICT to collaborate on recording and publishing individual compositions 

3. How they will be doing it.

- participating in class exercises including aural modelling and deconstruction of musical elements

- teacher supplies information and knowledge - students put declarative knowledge from pre-composition exercises into procedural practice of the composition task assessment

4. How ICT is embedded into the unit/learning sequence and what it is used for.

            - Electronic MIDI keyboard & MIDI interface

            - Headphones

            - Auralia for module theory activities

            - Sibelius 6 for pre-composition activities (scaffolded: rhythm, bass notation, chords)

            - Sibelius 6 for composition activity

            - Digital recording – handheld or Audacity or Q-base

            - Data projector and computer for visual projections of activities

            - Virtual whiteboard for visual and interactive projected activities.

            - Reflective practice blog

5. What the final product will be and who it will be for.

- Students will create a composition (written assignment) that should:

• demonstrate the correct use of music notation including notes and rests, clefs and time signatures
• be able to be performed on the piano keyboard
• be clear and legible so a performer could read the composition
• minimum of 8 bars in length
• be published both in print form and in an online reflective blog

6. How will you align your unit with Bloom's Taxonomy to support a focus on higher order thinking?

- Learners use all of Bloom's taxonomy in order to create an original artwork, as composition is a process which utilizes all higher order thinking processes:  knowledge, comprehension, application, analysis, evaluation and synthesis (Hughes, 2005, pp.87-88).  Learners will do so by using new information and knowledge, and exploring previously introduced information and knowledge.      Evaluations are in the form of assessment (8 bar composition).  Creating an 8bar composition suitable for piano/keyboard demonstrating some command of entry level music elements – an indicator if knowledge has been retained

Class Profile

#1 Class Profile of Learners (KLA Music)

Name of Class:      8 MUS-E                Subject Area:        MUSIC                   Numbers of students:         15

Age range: 12 to 13 years                                                  Gender:                  Female- 8              Male- 7

 Identified Learning needs of Class/Year Level or Group –

This group of students has a limited mixture of music study or experience.  Most of the group are absolute beginners in music study.  Two students are suspected of having some form of learning impairments but not verified as such, and I suspect that some musical aptitudes exist therein still, judging from prior results and current work .  One student is regularly supported by the Inclusive Learning Practices teacher-aides, but not usually during music class.

 Socio-economic circumstances which may affect some or all of these students’ learning in this subject –

Recent floods have left many families disrupted and some student’s are suspected as suffering forms of post-traumatic stress disorder.

 Cultural influences and/or issues that may need to be considered – Catholic school ethos

 Geographical considerations (e.g. travel ‘long’ distances to get to school each day; boarders; other)  - many children travel long distances to school            

 Extra-curricular activities that may impact upon some or all of the students’ learning in general –

Some students take private music lessons for piano and singing

 Physical environment/s in which these students are learning in this subject  - Music room

 Learning Resources used  - keyboards, headphones, music stands, keyboard guides, composition and practical workbooks

 Timetable – in portfolio

 Other issues unique to this group of learners – some students may exhibit occasional challenging or off-task behaviour which is the school encourages teachers address within class and best done through lesson engagement.

eLearning Design Rationale

            A knowledge and skills audit on the Year 8 music class of 15 students was primarily formed using observations and informal discussion with students on an incidental basis.  Individual profiles were not permitted at the school for legal protection of student privacy and confidentiality.  However, the results of the audit demonstrated the cohort had a range of music skills and individual exposure to music making.  However, all students in the class were invariably absolute beginners in composition.  Most student prior learning in critical music literacies (such as notation or music theory) consisted of one or two terms of music study. Conversely, my mentor teacher remains absolutely convinced of the importance in the role composition plays in enhancing music studies and development of music knowledge and skills, regardless of the generalized beginner’s level of the cohort.  The variety of preferred learning styles would also inform the pedagogy so as to engage visual, aural, and kinesthetic learners in the group.  The scaffolding is designed around individual music learning outcomes and the autonomous processes of composition, but enabled by the application of music ICTs such as MIDI keyboards and Sibelius 6.   Time at end of each lesson is also set aside for a reflective blog entry.

            In terms of the KLA of music, a determination was made that students music learning outcomes would be enhanced through an introductory composition unit which was augmented by music ICTs.  This determination was informed by the following benchmarks from the Queensland Studies Authority:

- Essential Learnings (curriculum framework):
- create and shape arts works by manipulating arts elements to express meaning in different contexts
- make decisions about arts elements, languages and cultural protocols in relation to specific style, function, audience and purpose of arts work
- Reflect on and learning applying new understandings and justify future applications
- Knowledge & understanding (Years 1 – 10):
- Duration, beat, time values and metre are used to create and vary rhythm
- Pitch, tonalities, scales and intervals are used to create and vary the horizontal arrangement of sound (melodic phrases)

- Tonalities and harmonies are used to organize music in different vertical arrangements
- Ways of Working (Years 1 – 10):
- Create and shape arts works by manipulating arts elements to express meaning in different contexts

- Reflect on learning, apply new understandings and justify future applications.

(Queensland Government- QSA, 2007)

Further, the assessment was made that the learners needed to develop critical music literacy and numeracies of notation and basic piano keyboard playing skills (performance).  The assessment of this unit is a short composition (8bars) and the students are all considered as being capable of carrying out the problem solving and self-directed learning required of this task.  Scaffolding language used throughout the lesson is aimed towards developing the music literacies so that their compositional knowledge transforms from a low declarative level to a procedurally comprehensive.  That would imply that the composition is of a standard so as to reflect student’s retention of the compositional process.  
It is important to acknowledge the learning environment, because as Lee states:
 ‘…the most favourable setting would be a dedicated music laboratory equipped with hardware of the computer workstation configuration. In such a setting, a whole class of students can work simultaneously on a range of activities such as keyboard literacy,  computer-aided instruction, scoring, sequencing, arranging, and multimedia CD-ROM applications, either individually or in pairs, depending on the quantity of computer workstations and the nature of activities.’ (2010, p.6)

Below: UNIT OVERVIEW YEAR 8:  MUSIC

Introduction to Composition	Knowledge & Understanding	Ways of working	Purpose of Assessment		Type of and timing  of Assessment
	·   Duration, beat, time values and metre are used to create repeated rhythmic patterns ·   Pitch and intervals are used to create melodic phrases and sequences ·   Repetition is used to structure music ·   Tonalities and harmonies are used to organize music in different vertical arrangements ·   Relative softness and loudness of sounds are used to change the dynamic level of music	·   Make decisions about arts elements, language and cultural protocols in relation to specific style, function, audience and purpose of arts works. ·   Create and shape arts works by manipulating arts elements to express meaning in different contexts. ·   Present arts works to particular audiences for a specific purpose, style and function, using genre-specific arts techniques, skills, processes and cultural protocols. ·   Reflect on and learning applying new understandings and justify future applications.	To identify student knowledge and understanding of duration, pitch, structure, timbre and dynamics in presenting, creating and responding to the use of technology in music works.		Knowledge and Understanding, Presenting, Reflecting - Composition Blog - Use music recording and publishing software/technology (ICTs) to create a composition (written assignment) Responding, Knowledge and Understanding Ongoing in class theory and learning activities Creating, Knowledge and Understanding Minimum 8 bar composition for the piano keyboard
	Core Content
Terminology	Duration Beat and Tempo Counting, Composing, Performing and Aurally identifying rhythms using semibreves, minims, crotchets, quavers and semiquavers and rests. 2/4, 3/4 and 4/4 metre. Pitch Notes names on the piano Note names in the treble clef Note names in the bass clef Chords C, G7 and F Hand placement for left and right hand on piano Structure Repeat signs 1st and 2nd time endings DA Capo al Fine Dynamics Fortissimo (ff) Forte (f) Mezzo Forte (mf) Mezzo Piano (mp) Piano (p) Pianissimo (pp) Crescendo Diminuendo Timbre Orchestral String Instruments Tuned and Un-tuned Percussion Brass Instruments Woodwind Instruments Focus
		What students need to be able to do	Resources		Adjustments for needs of learners
Terminology  - Music terms relating to duration including beat, tempo, metre, rhythm, largo, andante, moderato, allegro, presto, time signature, semibreve, minim, crotchet, quaver, semiquaver. ·   Music terms relating to pitch including staff, stave, treble clef, bass clef, chords. ·   Music terms relating to dynamics including pianissimo, piano, mezzo piano, mezzo forte, forte, fortissimo ·   Music terms relating to timbre including brass, strings, tuned percussion, un-tuned percussion, woodwind and individual instrument. Learning Sequence		Knowledge and Understanding: Use knowledge and understanding of music to compose, perform and respond to music in recorded and notated form. Creating: Use duration, pitch, structure, dynamics and timbre to record and create musical ideas. Presenting: Prepare and present musical works for performance that demonstrates technical skills and reading notation. Responding: Responding to music listening examples and scores to identify composition techniques and musical elements. Reflecting: Reflecting to solve performance and compositional problems to find solutions. Proposed Learning Activities	Year 8 Piano, Theory and Composing Worksheets (or digital version)  Class set of MIDI Piano Keyboards Sibelius 6, Auralia, Q-Base, Audacity software on composition computers. Computer printers. Handheld Digital recorder Headphones & Monitor Speakers USB flash drives or CDR to store digital works		Information is supplied to students as worksheets/booklet (paper and digital version made available) Learning activities use a combination of aural, theory, performance (playing)  and composition to encourage and assess student learning Learning activities are completed as a member of a group and individually Ongoing scaffolding used to extend advanced students and support student experiencing difficulties with composition work. ICTs for proposed activities
Lesson 1 Lesson 2 Lesson 3 Lesson 4	Rhythm elements Bass Notation Chord Progression Melody	-          Echo clap rhythms -          Aurally identify rhythms and metre -          Add bar lines to a given rhythm/metre -          Play rhythmic patterns contained in songs being from models. -          Write French time names or counting for rhythms -          Performing rhythmic patterns using body percussion or voice -          Write rhythmic notation onto score -          Compose rhythmic patterns in a given metre -          Auralia (music theory software): rhythm module  -       reflective blog -          Compare & contrast treble & bass stave notes -       Musical Cloze activity for bass (new) & treble (recap) -          Play music from treble and bass clef notation -          Compose pitch notation onto a score in the treble and bass clef -          Identify pitches on the piano keyboard and in treble and bass clef notation -       reflective blog -          Play chordal accompaniment using chords in Key of C Major -          Deconstruct & construct chords -          Play and notate chord progressions -          Identify chord quality (major/minor/diminished)  -      write chord progression (8bar) using Sibelius for draft  of written assignment -       reflective blog -          Perform melodies with chordal accompaniment using chords in Key of C -          Compose short melodies in 2/4, 3/4, 4/4 metre -          Perform melodies on an instrument -           Perform and identify first and second time endings and repeat signs. -           Perform music using staccato and legato -           Identify symbols used to represent dynamics in notation -           Identify changes in dynamics in sample models -       write melody (8bar) to accompany chord progression from previous lesson (final draft written assignment)  -       reflective blog		Auralia Sibelius MIDI Keyboard MIDI interface Headphones Computer/s Blog – composition reflection Sibelius MIDI Keyboard MIDI interface Auralia Computer/s Blog – composition reflection Sibelius MIDI keyboard MIDI interface Data projector or virtual whiteboard Computer/s Handheld digital recorder Audacity/Q-base recording software Blog – composition reflection Sibelius MIDI Keyboard MIDI interface Computer/s Blog – final reflection and publish composition

The application of the eLearning Design to this unit overview informed the planning as a constructivist framework.  This action is well supported by Lee, who states: ‘ICT can best support constructivist approach to music learning, particularly activities of creative nature such as composing, improvising and creative music making’ (Lee, 2010, p.1).

             Rusinek found that when constructivist learning was removed by curriculum changes (in Spain) and replaced with a return to a more traditional encyclopedic approach to music study, the students emphatically rejected that manner of music teaching (2007, pp.323-325).  However, composition is a highly regarded music teaching medium as the process uses all the higher order thinking processes of: knowledge, comprehension, application, analysis, evaluation and synthesis (Hughes, 2005, pp.87-88).  As thus, excellent for music eLearning design in its capacity for parallel learning outcomes and constructivist pedagogy.

            Accordingly, the serious problem solving involved in the individual construction of the rhythms, notation, chords and melody for student’s own composition cannot be overlooked in how it informs the scaffolding language used. The teaching-learning cycle (Department of Education – South Australia, ND) in this unit design effectively provides flexibility and responsive scaffolding language to be adapted throughout all teaching opportunities. Once modelling, deconstruction and joint construction occurs, the individual construction process can be observed and assessed for learning.  The beauty of the ICTs of recording software or a handheld digital recorder is such that the construction can be scaffolded by student’s self-assessment.  Playback functionality provides the amateur composer with the opportunity for reflective practice and consolidation of the procedural knowledge which brought the learner to that compositional outcome (whether an idea, draft or final submission).  This practical functionality of playback is an invaluable teaching tool for aural learners, but also for the kinesthetic learners who may also play along to the playback of their composition.  The process of composing with the assistance of recording technology is therefore very promising.  

            The role of music ICTs in this unit design needs to be seen in light of the aural connection of music.  Aural skills are a vital part of music study and skill development.  Musicians learning to play be ear is a legitimate music learning process and incorporates activities of listening, practicing and playing (Sedden & Biasutti, 2010, p.155).  So, this informs the scaffolding for the students who attain (or struggle with) the knowledge, analytical and evaluative thinking skills in learning and composing with notation.  Many musicians are not proficient readers, and so, notation and music language skills (music reading and writing) are not a prerequisite to musicianship.  However, the inclusion of recording ICTs or using Sibelius playback means that aural rendition of the written notation of students is heard.  This reinforces in students both the syntax of music (Sutcliffe, ND) as well as the relationship aural manifestation of the language.  As such student’s listening and music reading skills are decoding each sound and notation as part of the graphophonic relationship between (Winch, et al, 2010, p.696).    

            It is important that the unit be designed with a sequence which enables students to grasp the process of composition and retain it for their own music writing, but so too the resources and the physical area of learning:

The sequential language patterns of music teachers can support students as they take control of their learning in constructivist environments, particularly when the teachers’ language affirms students’ progress and encourages autonomy (Gallimore and Tharp, cited in Freer, 2008, p.108).

But the learning environment at the school (the music room) is actually well resourced, and could be described similarly to this illustrated ideal learning environment:

‘…the most favourable setting would be a dedicated music laboratory equipped with hardware of the computer workstation configuration. In such a setting, a whole class of students can work simultaneously on a range of activities such as keyboard literacy, computer-aided instruction, scoring, sequencing, arranging, and multimedia CD-ROM applications, either individually or in pairs, depending on the quantity of computer workstations and the nature of activities.’ (Lee, 2010, p.6)         

                 King further illustrates the importance of the technology-environment relationship in developing a learning technology interface (or LTI) for music composition teaching (2008, p.423).  However, King also identifies under-development of recording as a teaching context where an appropriate LTI could enhance the learning outcomes of students (ibid).
                The cognitive processes which are experienced by students whilst participating in composition lessons are well described  by Fautley (2005, p.42), who refers to them as cognates, coming from the same origin in all compositional experiences.  Because these processes are abstract, 12-13 year old students are unlikely to be able to speak to them in any depth.  Therefore, although reflective blogs may provide some insight into how each student understands the process they use procedurally in their composition task, it is more seen in this case as a tool for assessment and refining of scaffolding language.. 

            
Below: Cognates in the Composing Process (adapted from Fautley, 2005, p.42) & additional Integrated eLearning augmentations.

Table 1: Cognates in the composing process			Associated with:		Augmentations with Integrated eLearning
Aspect	Description	Discussion		Classroom examples
External	This section refers to those aspects of the composing process that lie beyond the control of the pupils.	Including, inter alia, the starting point for the composing task, availability of instruments, time-frame, classroom environment.		e.g. ‘Compose a piece of music about the sea, using keyboards and percussion instruments. You have two lessons to do this, and can spread out and work around the building.’	Students have four lessons to complete learning activities and an 8bar composition using a combination of MIDI keyboards, music publishing software and digital audio recording technology.
Subconscious	This section involves aspects of the composing process that lie within the pupils, but that are, to varying degrees, intangible.	This involves matters that are likely to impinge upon the composing process, but to which the teacher will not be able to have direct access.		Musical aptitudes; general musical knowledge; repertoire of compositional devices; aesthetic sensitivity; judgements.	Auralia modules and Cloze Notation activities on Sibelius. Reflective blog by students on composition exercises and lessons.
Conscious	This section refers primarily to cognitive aspects of the composing process.	These will be evidenced in the ways in which the pupils work, and are amenable to a degree of teacher intervention.		Musical ideas; thematic material*/rhythm/melody/ harmony; form and structure.	Recording compositional ideas and composition draft for reflection and development.
Sensory -motor	Group composing by novices tends to take place directly onto instruments; some aspects of the composing process relate to physical matters such as muscular movement, or technique.	This is likely to involve evidencing of prior learning, particularly instrumental/vocal skills.		Instrumental technique; control of resources; practical ability; craftsmanship.	Students play along to Auralia modules Students use Sibleius to play back composition drafts and ideas
Activity	This is a ‘doing’ section. Observable actions by the pupils can be directly accessed by the teacher.	It is at this stage that pupils are visibly working, and where direct teacher intervention becomes possible.		Generating ideas; planning; organising; modifying; performing; re-visiting ideas.	Students independently create and print out an 8bar composition using Sibelius. Students independently record completed composition using digital recording technology

It is therefore comprehensible that the opportunity in this unit is for best of the student's and the teacher's knowledge and skills may be brought into the constructivist composition lessons.

In summary, in order for composition to be maximized both as a music skill and as a learning experience is dependent upon an LTI which is engaging and operates through visual, aural and kinesthetic dimensions of learning.  In order for music programs to continue to engage 21st century learners, the pedagogy applied must be transmitting as much practical knowledge with broadening music ICTs.  Integrate eLearning will be a

pathway to effectively impart the higher order processes of music composition to students of different levels of music ability.    

REFERENCES

Department of Education – Queensland Studies Authority, (2007), The Arts – Essential Learning by end of             Year 9, accessed at:

            http://walloonss.eq.edu.au/wcmss/images/stories/CURRICULUM/ESSENTIALS/YEAR_9

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Fautley, M, (2005) 'A new model of the group composing process of lower secondary school

            students', in Music Education Research, 7: 1, 39 — 57, accessed at:              

            http://dx.doi.org/10.1080/14613800500042109 [cited 12 May 2011]

King, A (2008) 'Collaborative learning in the music studio', Music Education Research, 10: 3, 423— 438,         accessed at: http://dx.doi.org/10.1080/14613800802280167 [cited 19 May 2011]

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           http://www.ied.edu.hk/cca/apjae/Vol8_No4.pdf            [cited at 21st May 2011]

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           Available at: http://ifets.ieee.org/periodical/6-2/1.html [cited 12 May 2011]

Rusinek, G (2007) 'Students' perspectives in a collaborative composition project at a Spanish

            secondary school', Music Education Research, 9: 3, 323 — 335, accessed at:                         

            http://dx.doi.org/10.1080/14613800701587670 [cited 19 May 2011]

Seddon, F & Biasutti, M, (2010) ‘Strategies Students Adopted When Learning to Play an Improvised Blues

           in an E-Learning Environment’, in Journal of Research in Music Education; Jul 2010; 58, 2;   

           accessed at http://search.proquest.com.ezproxy.cqu.edu.au/docview/753561964/fulltextPDF

           /1300CD7D72EB84EC56/1?accountid=10016 [cited 28^th May 2011]

Sutcliffe T, ND, ‘The Role of Syntax in Music’ [online], accessed at:    

            http://www.harmony.org.uk/book/syntax_music.htm [cited 18th May 2011]

Winch, G, Johnston, R R, March, P, Ljungdahl, L, Holliday, M, 2010, Literacy: Reading, Writing, &  

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