Rachel+Sheldahl+RASH

While I did not get to meet with my cooperating teacher before our experience started, I think my orientation to the school has been good overall. I received an email before the experience from Tami and she was excited to have Melissa and I entering her classroom and she even offered her cell phone number if I had any questions. Tami Sellner is a very busy teacher right now. She is directing a musical (“Peter Pan”) and is at the school literally all day every day but Sunday (7:30am-9:30pm). I was not expecting her to take special time to meet with us, although she did reschedule a lesson today to discover exactly what we need to be doing for our experience to be positive. She is passionate about students and I find her enthusiasm and energy contagious! I requested information from Tami concerning class lists and profiles along with getting or making copies of the literature she is currently using in both the concert choir and the smaller ensemble 2nd hour for girls. I received the literature for the high school today and also a pamphlet that will help me pick out warm-ups for the choirs next week. I’m hoping to get copies of the class lists on Monday so that I can do a better job of getting to know all the students. I really want to teach the smaller ensemble first as they are all eager to learn and engaged the entire time, plus there are only 15 girls to manage compared to probably 70 in the choir. Tami is open to letting me teach as much as I want to so I plan to take advantage of the opportunity. The large group is impressive, a bit chatty, and full of talent. I plan to attend 2nd-4th hours every MWF and if I can arrange getting to Mankato by first hour I will. Observing a nightly session of her musical rehearsals would also be extremely fun and enlightening. I would LOVE to help with musicals when I become a teacher so next week I plan to squeeze that in somewhere, hopefully Monday or Wednesday night. I’m hoping that with all the great things Tami is doing in class, I can contribute in a positive way throughout the experience to enhance what she is already doing so well.
 * __Journal Entry #1: Orientation to School (date 11/4/11)__**

After this first week of class, I decided I want to get as much experience as I possibly can in the time I have allotted for field experience. I hope to glean as much information as I can to take with me into my future experiences and student teaching. In a choir setting, the environment is totally different than in many other classrooms. The students have to work as a group to succeed and that can either work for them or against them in their musical learning. High school students are easily distracted by each other. The choir setting can be a setting of total mayhem and talking when not handled correctly. Tami does a good job for the most part of controlling the chatter and “squirrelly” attitudes of the students, while still allowing the students to enjoy music class and the "social" aspect of music. Usually, the students will calm down and listen when Tami counts backwards from 5 to 1. The boys in general are more unruly and unfocused than the girls. There are a couple girls that think they are better than everyone else (one is going to be on “American Idol” I guess) and do not need to participate in class activities. Tami is aware of the situation, as I pointed out 2 girls left the sectional rehearsal with the accompanist when we split up in concert choir today. Another girl has approached me rather annoyed that the girls do not try harder in class and participate in the activities. I was glad that she felt like she could talk to me about the situation already. Tami informed me that I can feel free to go and "capture" the girls that leave, because I was unsure of what to do about the situation and my "authority". Classroom management is one area that I hope to improve throughout my experience this month. I am so used to one-on-one tutoring that I tend to forget what 70 students together can entail. Assessment is sometimes tricky in a vocal music setting, especially choir, but Tami has some very good strategies in place to keep students motivated and yet monitoring their progress. Tami has students participate in sectional practice outside of rehearsal times 3 times a semester. She has a checklist for getting an “A” in choir and the students are fairly motivated to accomplish the tasks on the list. Tami does individual lessons, records sight singing and short song phrases for each student to assess progress, and she has small group additional sectionals outside of class. She constantly is assessing students formatively as a group and as individuals. Using SmartMusic software, students can sight sing out loud while the computer records what they sing compared to what is accurate rhythmically and tonally. She uses this program for the groups as well as for her individual tests of a student’s musical progress. I really like some of her assessment ideas and plan to use them in my future teaching. She also has students create a project every quarter as a group, writing or analyzing music to create a musical of their own. She finds that leaders step up and she can discover qualities about her students that she would be unaware of otherwise. I never experienced any of these techniques when I was in high school. I think I could have developed my abilities even further given the opportunities that Tami implements in her classroom. She makes music more than “just an elective”!
 * __Journal Entry #2: Interview with Cooperating Teacher 11/4/11__**


 * Task 1. **** Context for Learning Information **

Provide the requested context information for the class selected for this assessment. This format is designed to be completed electronically. Use as much space as needed to respond.

= About the school where you are teaching =


 * 1) Where are you teaching?

Middle school ___x_ High school__

__Other (please describe)__


 * 1) List any specialized features of your school or classroom setting (e.g., themed magnet, classroom aide, bilingual, team taught with a special education teacher) that will affect your teaching in this learning segment. none


 * 1) Describe any district, school, or cooperating teacher requirements or expectations that might impact your planning or delivery of instruction, such as required curricula, pacing plan, use of specific instructional strategies, or standardized tests. I am working with the literature provided by the teacher and also leading some breathing and warm-up exercises that the teacher uses while implementing some of my own ideas.

= About the subject area/course you are teaching =


 * 1) What is the name of the course you are documenting? _Voce Choir__


 * 1) What is the length of the course? o one semester X one year o other (describe) _


 * 1) What is the class schedule (e.g., 50 minutes every day, 90 minutes every other day)? 50 minutes every day


 * 1) Is there any ability grouping or tracking in mathematics? If so, please describe. The group is made up of girls that did not make the audition for the concert choir.


 * 1) Identify any textbook or instructional program you primarily use for mathematics instruction. If a textbook, please provide the name, publisher, and date of publication. I will be using literature that Tami Sellner has picked out for the group. The pieces I will be conducting are //Jeannette, Isabella// and //Canon Gloria//
 * 2) List other resources (e.g., SmartBoard, graphing calculators, on-line resources) you use for mathematics instruction in this class. Tami uses the Smartboard to play music while she leads stretching and she also posts the days activities up on the Smartboard after the stretching. She also uses the program SmartMusic to teach ear training and sight singing every day.

= About the students in the class featured in this assessment =


 * 1) Grade level composition of the class __ 10-12 grade girls __


 * 1) Number of:


 * 1) students in the class 11 _


 * 1) males __females__ 11 ___


 * 1) English language learners _ 0 _

__d. students identified as gifted and talented _ 0 __

__e. students with Individualized Education Plans (IEPs) or 504 plans _ 0 ____


 * 1) Complete the chart below to summarize the required accommodations or modifications for special education students or gifted and talented **students that will affect your mathematics instruction in this learning segment**. As needed, consult with your cooperating teacher to complete the chart. The first row has been completed in italics as an example. Use as many rows as you need.

//Learning Disability// || //Example:// //4// || //Example:// //Close monitoring, follow up, and Resource Room// ||
 * **Special Education Category** || **Number of Students** || **Accommodations/Pertinent IEP Objectives** ||
 * //Example://
 * None of the girls have special education concerns ||  ||   ||

** Lesson Template (for 11/16) **


 * ** Desired Results ** ||
 * **Relevant Minnesota or Nat’l Content Standards:**

1. Content standard: Singing alone and with others, a varied repertoire of music. |||| **Learning Objective: Key Understanding(s) you intend students to obtain:** Students will understand the importance of learning two-part harmony. Students will understand the correlation between breath, warm-ups, and singing literature. || Students will know how to sing a part with a few other girls. Students will know how to breathe to support the sound and the value of stretching before singing.. Students will know how to use the techniques of warm-ups in the songs. |||| **What do you want students to be able to __do__?** Students will be able to demonstrate singing with a group. Students will be able to sing new warm-ups as a group. Students will be able to demonstrate proper breathing techniques. || Students will sing individual parts together as a group. Students will sight sing as well as participate in warm-up vocalizes. Students will stretch and perform breathing exercises together. |||| **__Individual Accountability (Summative)__** Singing their individual part alone and as part of the group. || Breathing from the belly Staying on their part (pitch and notation accuracy) |||| **How will you teach this key vocabulary to enable students to meet the learning objective?** Why is breathing and practicing vocalizes important to being a good singer? |||| **How will you differentiate for all the learners (ELL, Sp. Ed., poverty, gifted, etc.) in your class?** Have some static and dynamic stretches prepared for the two girls that don’t like back rubs. || (What will you do? What do you expect students to do? Include set induction and closing.) || ** Time Allotment ** || 2. Move to the rhythm so teach phrasing and the musical line 3. Sing the two-parts together and assess for improvement Jeannette, Isabella – walk around the room to get the “dance-like” feeling, pick a partner to dance with while singing (10 minutes) Hava Nashira – Work on the legato line and keeping the phrasing together and beautiful – teach singing through the text instead of singing to certain notes. (13 minutes) || 33 minutes || My experience teaching almost the entire hour of the Voce Choir by myself was AWESOME!! While I know there are things that I can improve on, I thought the lesson went well and the girls were responsive to what I had to say. My initial reaction to teaching alone (Melissa and I did not communicate clearly and I didn’t pick her up) was a little panicky; however, I realized that I have taught many vocal techniques over the years and could teach this small group of girls. Tami was great when I had 5 minutes at the end (Melissa would have had more time had we both taught) and she just took over. I realized that I need to have more instruction prepared just in case something unexpected does happen in class. The girls were responsive to most of my teaching tools. There were a couple of girls who did not want to touch their faces to relax the jaw while singing, but otherwise, everyone tried everything. I probably had them do some exercises that they were not accustomed to doing (I am fairly kinesthetic in my vocal teaching techniques). After stretching and breathing exercises (which I tried to keep similar to what Tami has implemented), we did warm-ups (taught a new articulation warm-up called “Double Bubble Gum Bubbles Double” and gave the girls a piece at the end of class, that was a HIT J ) and I taught the Canon Gloria and Hava Nashira pieces as planned. I had the girls walk to the rhythm of their part while speaking and then singing the line. I noticed that this technique was a bit advanced for some of the girls so I said that they could “walk the beat” if that was easier for them. Really feeling like you are a part of the music makes a huge difference in musical phrasing and shaping the line of the text. Movement also keeps the students engaged in the learning process. I probably spent a bit too much time on Canon Gloria so next time I will just review the walking of the text and move on to another song more quickly. Monitoring the time and how long I am taking on a given part of the lesson is tricky. I will need to practice this segment a little more extensively for the next time I teach. Assessment for an upcoming concert is pretty much formative (auditory on the part of the teacher) and with the concert quickly approaching (the 2nd), I believe that will be the only form of assessment for this experience. I have been second guessing myself lately as to whether going back to college to teach was the right thing for me to do (probably because I have been having troubles with my feet, no more running for a while). This experience today made me realize how much joy I find in teaching and how much I love working with adolescents. No matter what struggles or stress I have to go through, I truly want to teach. I hope that I will be the best teacher that I possibly can be for my students.
 * ** Assessment Evidence ** ||
 * **What do you want your students to __know__?**
 * **__Group Accountability (Formative)__**
 * How will you check to see whether your class has met your learning objectives?**
 * How will you check to see if individuals have acquired the knowledge/skills you expected them to learn?**
 * ** Learning Plan ** ||
 * **What key vocabulary/language will students need to know to meet the learning objective?**
 * Direct Instruction – demonstration and then practice by the student.** ||
 * **What is the Essential/Guiding Question(s) for this Lesson? (It should correlate to your learning objective.)** How does singing a part help with pitch accuracy and musical ability?
 * Differentiation Options: questions, stems, sentence frames, strategies, etc.**
 * **Materials/Resources Required:** SmartBoard, pinwheels, Double Bubble Gum ||
 * **SCHEDULE OF ACTIVITIES** ||
 * ** Method/Strategy **
 * Stretching Exercises: Side Stretch, Bend over body alignment, roll shoulders, back rubs || 4 minutes ||
 * Breathing Exercises: Farinelli Exercise, Pinwheel exercise, Hee-Hee-Hee-Hee-Hee (4 short and 1 Long at the end) || 4 minutes ||
 * Vocalises: Mim, Mum, Mim, Mum, Mim/ Mee-may-mah-moh-moo/ Ee-yoh-ee-yoh-ee (5 note repeat and arpeggio) / Double Bubble gum/ Nine note scale introduction || 7 minutes ||
 * Literature: Canon Gloria – work on parts separately and then as a group, conduct/ Melissa plays piano? (10 minutes) 1. First have altos sing alone to solidify their part
 * I plan to use this template on 11/21 as all I lead last time were warm-ups and one song, Canon Gloria ||  ||
 * Journal Entry #4 (11/21 teaching experience, above lesson plan)**
 * Journal Entry #4 (11/21 teaching experience, above lesson plan)**
 * Journal Entry #4 (11/21 teaching experience, above lesson plan)**

** Lesson Template (last time 11/17, over the course of the last weeks, lead sectionals 3 times) **


 * ** Desired Results ** ||
 * **Relevant Minnesota or Nat’l Content Standards:**

Students will understand the importance of singing their part as a soloist (breathing, pitch accuracy and vowel formation). || Students will know their individual soprano part by the end of the session. Students will know the rhythm and pitches of their part. |||| **What do you want students to be able to __do__?** Students will be able to sing their individual part with pitch and rhythmic accuracy. Students will be able to place the vowels correctly for their part. || Listening to the girls singing together Assessing who is singing on pitch and who is not |||| **__Individual Accountability (Summative)__** If necessary, have individuals schedule a private time to come in to Tami’s sectionals for further study || Direct Instruction Method || (What will you do? What do you expect students to do? Include set induction and closing.) || ** Time Allotment ** || Voce Choir: Jeannette, Isabella and Canon Gloria Work on shaping vowels, pitch accuracy: play their individual notes while they sing Give tips for shaping the vowels with more space and resonance || 20 minutes || Concert Choir: Speech of Angels, Deck the Halls, Requiem, Angel’s Carol Pitch accuracy and allowing the high notes to be free from any unnecessary tension || 20 minutes || Having lead sectionals on three different occasions now, I decided that I would journal about that experience since it is a part of a choral classroom’s success. I find that the smaller group of girls is more susceptible to trying new ideas and learning new techniques than the large choir. Maybe the large group feels superior as they all made the audition cut, but the attitude of some of the girls is not amicable to learning. I know this will be true in any school district and music is rather “talent” driven, so learning to work with the vast differences in attitude is essential to becoming a quality teacher. The Voce Choir (group of 11 girls) is shy and uncertain of their abilities, but so receptive to new techniques. There are a couple girls who look at you like you are from another planet, but we are dealing with teenagers right? For the most part, I have a lot of fun working with these girls. I need to constantly be coming up with new ideas or ways to explain a technique so that everyone understands the material. This group needs more work on basic technique than the big choir. I use a lot of mental imagery in my private studio vocal lessons and find that the same types of images work in a large group setting as well. I look forward to continued work with this choir over the next two weeks. The Concert Choir sopranos are fun to work with in that they are a bit more advanced in their technique; however, with that advancement comes an “I’m better than you” attitude with some girls. There were a couple girls who simply left the sectional rehearsal and I found out later that one of them was accepted to appear on “American Idol”. While I admire her ability, I hope to see her attitude and stamina for the school choir improve over my time there. Classroom management will probably be my biggest area that I want to discover and work on over the course of my time back in college. I have taught privately for years, but one-on-one learning is quite different from a group of 60 students in one room at the same time. Tami is fairly effective with the chatter and still allowing music to be fun, but boy, some days they are really squirrelly J ! I am a bit more apprehensive to get in front of the large group, but I plan to conquer my fear and lead warm-ups next week.
 * Singing alone and in a group** |||| **Learning Objective: Key Understanding(s) you intend students to obtain:**
 * ** Assessment Evidence ** ||
 * **What do you want your students to __know__?**
 * **__Group Accountability (Formative)__**
 * How will you check to see whether your class has met your learning objectives?**
 * How will you check to see if individuals have acquired the knowledge/skills you expected them to learn?**
 * ** Learning Plan ** ||
 * **What key vocabulary/language will students need to know to meet the learning objective?**
 * Vowel Placement**
 * Relaxing the jaw** |||| **How will you teach this key vocabulary to enable students to meet the learning objective?**
 * **What is the Essential/Guiding Question(s) for this Lesson? (It should correlate to your learning objective.)**
 * Why is singing my individual part accurately so important to the whole ensemble’s success?** |||| **How will you differentiate for all the learners (ELL, Sp. Ed., poverty, gifted, etc.) in your class?**
 * Differentiation Options: questions, stems, sentence frames, strategies, etc.**
 * Gifted: Help assist in learning to those having some trouble** ||
 * **Materials/Resources Required:**
 * Piano, Literature** ||
 * **SCHEDULE OF ACTIVITIES** ||
 * ** Method/Strategy **
 * Sectional work with the sopranos:
 * Sectional with sopranos:
 * Sectional with voce choir during assessment of individual students: Work on all the literature with both parts. || 15 minutes ||
 * Marti- I thought I would include these sectional rehearsals that I lead as an extra lesson plan so you can see some of what I have been helping with at West. I am also going to journal about these particular experiences and express what I learned professionally.. ||  ||
 * Journal Entry #3**
 * Journal Entry #3**
 * Journal Entry #3**
 * Journal Entry #3**

** Lesson Template (11/28) **


 * ** Desired Results ** ||
 * **Relevant Minnesota or Nat’l Content Standards:**

1. Content standard: Singing alone and with others, a varied repertoire of music. - what a standard, eh? I would love to work with this much flexibility. |||| **Learning Objective: Key Understanding(s) you intend students to obtain:** Students will understand the importance of the correlation between breath, warm-ups, and singing literature.

For your TPA, if you say this, you must DO it! If you're going to say that students will understand this...you have to show how you've made sure they understand this. I would talk with the students about the importance of this correlation. I heard a lot of talk about the importance of communicating the composer's work through dynamics and how you can express what he/she intended but little talk about breath, warm-ups and singing literature and how they are intertwined. Maybe your understanding could be, "Students will understand how important it is to correctly use dynamics while singing literature in order to accurately express the message behind the music." This, I believe, you have taught in a measurable way. ||
 * ** Assessment Evidence ** ||
 * **What do you want your students to __know__?**

Students will know how to breathe to support the sound and the value of stretching before singing. Again, did you talk with them about this value? I just saw you do it with them. Kids will do anything you want them to. They're expert students. They know how to "do" what the teacher wants, especially in classes they like. They will not understand the value of stretching unless you tell them why it is valuable. How do you know they know this? Students will know how to use the techniques of warm-ups in the songs. Did you make this connection for them? I did not see this. Students will know why movement helps with phrasing and musical line in music. Did you talk with them about how movement helps with phrasing today? Again, if you're going to put it into your lesson plan, you're going to have to address it.

All of these things are very good and could be easily connected to what you're doing |||| **What do you want students to be able to __do__?** - demonstrate singing with a group. - sing new warm-ups as a group. - demonstrate proper breathing techniques. Did you ask them to do this? You asked them to use certain breathing techniques during the lesson. You did not ask them to employ these during your instruction. - move with the beat of the music or move their arm to create musical line. I could make this work for the 'walking' to the music. But did not see you ask them to create musical line with their arm. If you're not going to explicitly address one of these points, do not include it; for the benefit of a successful TPA. || Students will sing individual parts together as a group. Students will sight sing as well as participate in warm-up vocalizes. Students will stretch and perform breathing exercises together. How will you make sure the individuals understand the "values" and "importances" you've indicated they're supposed to understand. |||| **__Individual Accountability (Summative)__** Singing their individual part alone and as part of the group.
 * **__Group Accountability (Formative)__**
 * How will you check to see whether your class has met your learning objectives?**
 * How will you check to see if individuals have acquired the knowledge/skills you expected them to learn?**

For the TPA, if you've said you're going to make them sing it alone, you should make sure you do it. || Direct Instruction || Why are stretching, breathing, warm-ups an important part of becoming a good singer? Did you make this clear to the students? I did not see this or hear this asked. |||| **How will you differentiate for all the learners (ELL, Sp. Ed., poverty, gifted, etc.) in your class?** (What will you do? What do you expect students to do? Include set induction and closing.) || ** Time Allotment ** || I wonder that students would benefit from you challenging them to do the motions with you. If you are going to move your hand in the circular motion, why shouldn't they do the same thing?
 * ** Learning Plan ** ||
 * **What key vocabulary/language will students need to know to meet the learning objective?** |||| **How will you teach this key vocabulary to enable students to meet the learning objective?**
 * **What is the Essential/Guiding Question(s) for this Lesson? (It should correlate to your learning objective.)**
 * Differentiation Options: questions, stems, sentence frames, strategies, etc.** ||
 * **Materials/Resources Required:**
 * CD player or computer to play a background song while stretching (Christmas songs)** ||
 * **SCHEDULE OF ACTIVITIES** ||
 * ** Method/Strategy **
 * Welcome! Stretching: Side stretch, roll shoulders back and forward, reach to sky then to floor (slowly roll up to 10 counts, hug self and roll head), back rubs || 4 minutes ||
 * Breathing exercises: review swing breath (in for 4 hold 4 and out 4), short hee-hee-hee, say sh-sh-sh, sh-sh-sh-k-k-k-p-p-p. || 4 minutes ||
 * Warm-ups: Mim-mum-mim, hee-slide 5 note scale, ee-yoh arpeggio, mee-may-mah-moh-moo, double bubble gum

Second warmup (ee-oh) you did/they did, without you saying. Should they have faced a friend to "throw their sound?" Could they throw their sound to someone across the room from them or to a certain point on the wall in front of them so that they have a focus point to send their sound through the nose bridge between their eyes? Everything we can do to get kids to focus more than what they normally would, will benefit their abilities and sound..

"you guys talk about that a lot, I assume." Never assume anything. Pretend they know nothing and let them tell you, "We've done this before". Or "We know this already."

I love the zinga-mama-zinga-mama. They weren't sure that they should've started. Always cue them (verbally or visually) that you want them to start. You'll have to lead them in everything. They rely on you to do this. Cue them with a move of your hand or big eyes and a nod.

Double-Bubble-gum-bubble-Scubble - when they get going faster and more tense about it, they'll forget to open their mouths like they should to create the best, most mature sound. Consider reminding them of the need to articulate consonants while having open and mature tone.

What brought about the change of order of songs?

. || 10 minutes ||
 * Literature work: Jeannette, Isabella-Melissa - I need you two to inform my ignorance. What is the range away from your body that you're allowed to/supposed to conduct? I would

"That was really good for the most part" Then you speak of their abilities with dynamic contrast (praising them). Then you challenge them to show more contrast in two specific areas. Good. How might you encourage these decrescendos and crescendos through your conducting? There, you put your finger over your mouth for "hush, hush" and they responded. You also broadened your beat pattern (I don't know the technical term for the 3/3 pattern with your hand (sorry)) when you wanted them to crescendo. They need to see you lean back and forth, the width and depth of your arm strokes to change as you want them to change their singing. If you move and grow with what you want the music to __do__, they will too!

Be ready to SHOW them with your mouth in an exxagerated fashion what you want them to do with the A on "hasten." They can hear you talk with them about it and feel it but will forget when in the middle of the song. Would you consider having them all practice it three to five times before putting in back into the context of the phrase and then go back to three or four measures before or even the whole line before (12 measures) so that they can have the opportunity to "forget" and then be reminded by you as you show them your face before you get to that specific spot.

"I know that we're at the end of the raise here." No, don't give them a reason to underperform. You say, "this is exciting, this is the end of the race the most important part. we need to finish this strong...even as a decrescendo, we have to make the audience feel the peaceful sleep that the baby is experiencing in the care of his mother and the manger (baby Jesus, right?).

. || 7 minutes ||
 * Canon Gloria- Rachel: review the movement exercise from last week. Sing through entire song

I was taking notes up above while you were doing this song. You've now moved to the Grinch Song (I don't know how to spell daro dorey.

Never begin talking about a song until you've had all of their attention.

Check the girls' posture. As you're singing the Grinch song...notice Tammy's posture vs. the girls. Keep them accountable so that their success with music creation is most at their disposal. They can place their own roadblocks in their way. Don't let them do this. - Melissa you just made a comment about the importance of breath support (and how you practice it during warm-ups) in order to hit the high f's and g's. If you did this much more intentionally throughout the entire lesson, your objectives would be much more fitting! || 7 minutes ||
 * Fah who Foraze – Melissa: - Is this the GRINCH song? That's what they sing there? HOLY COW!

Would you ever consider making them sing the lines as individuals?

Hava Nashira – Rachel: Move arm throughout the melody line, use your whole body - Thank you for giving explanation for why the students need to practice walking. They may have never thought that they would walk differently, slowly, sadly or in an uninteresting manner.

Student says, "Ok, wai-, where do I go?" They'll always need your direction. Yet, give them a path and let them walk. If you're walking in front of them, how well are you able to see them to know whether or not they're walking as they should?

Coach them on their facial expressions, their posture and commitment to outward expression of the music. Girls are looking down and uninterested in the song as they walk. (1) They don't want to trip (he he), (2) They don't know how they look. They've not looked at themselves in a mirror or videoed themselves while singing this song.

"What you want to do is inform your face." - Ask them to show you that they can do this. Hold them accountable for this request. "I know you'll probably get in front of people and probably ....bleeeh." Expect them to perform as best as they possibly can. Don't afford them the opportunity to do any less.. || 7 minutes 7 minutes || The majority of the students understood what I was trying to teach in this lesson. Music is so repetitive that to teach a new concept every day, wastes valuable rehearsal time. Occasionally a new technique or concept needs to be implemented, but voice study is a process and rehearsal time is so necessary when a concert is quickly approaching. Concepts need to be taught in the midst of learning the music which is a challenging task. In this particular lesson I was trying to reinforce phrasing and singing with “tall” vowels. At least, that was my plan going in to the teaching session but with the concert in a week, Tami wanted to make sure we ran through as many songs as possible. I changed some of what I was going to originally do in order to accommodate the needs of the class. I think that allowed for some of the confusion as to the responses on this survey. In the future, I will be sure to specifically state what our goals are for the day. I think if we go into a rehearsal with an overall goal, we can still veer a little off the plan when issues arise throughout the course of the rehearsal that needs to be addressed (pitch, vowel placement, breath support, etc.). I was fairly happy at least half of the girls stated content objectives that I was trying to teach! I am a perfectionist and must admit that I wanted a higher percentage of understanding, but I have to realize I am still growing and improving every day. Teaching is a constant assessment to improve and grow as an individual to be a better example for my students. I was also very pleased that every girl (except for one) knew that we are studying literature for the Christmas concert. At least the concepts of better vowel shaping, dynamics, and breathing were significant attributes for the “unit” of study (question #2). I also discovered after teaching this lesson that I have much to learn in regards to teaching a group vs. the individual student. While I have come a long way, I think the day we stop learning and trying to improve is the day we should stop being a teacher.
 * __INFORMAL ASSESSMENT__**
 * __Unit Topic:__** Students are in the process of learning literature for a concert on December 5th.
 * __Learner Outcomes:__** Students will learn phrasing and feeling the music through using dynamic contrast. Students will know how to sing “tall” vowels while communicating the text to their audience.
 * __Question #1:__**
 * Students that matched learner outcomes (44%)
 * Reviewing the music for concert (44%)
 * Learning to sing “tall” vowels (30%)
 * __Question #2:__**
 * Better vowel shaping (66%)
 * Dynamics (22%)
 * How to breathe properly (30%)
 * __Question #3:__**
 * Work on songs for Christmas concert (88%) all but 1 blank answer.
 * __Question #4:__**
 * Walking around (56%)
 * Work on vowel shape (44%0
 * Be happy and have fun (11%)
 * __Reflection:__**
 * __Reflection:__**

In this journal I am going to focus more on classroom management strategies. Throughout my experience, I have noticed that classroom behavior (talking mostly when not singing) has gotten fairly lax since I attended high school. While I remember instances of chatting and talking in the choir rehearsal, I never remember just blatant talking even when the teacher is standing in the front quietly waiting for everyone’s participation. Even though I like this tactic, I fear that the students could continue talking for a very long time. I want to develop enough respect and trust with my students that hopefully will foster good behavior. Developing rules and procedures at the beginning of the school year will also help decrease the amount of ineffective time as well. During my recent lesson, I tried to keep the listening issue lighthearted and wait for students to pay attention. I tend to just talk over people and get louder, but as I will need to conserve my voice for teaching I need to learn to stop doing that and simply be quiet. Remaining quiet is difficult for my personality type, but necessary to learning. I discovered the necessity of remaining quiet in the large choir setting because if you talk over them, everything just gets progressively louder. Since my last lesson dealt with “running” the Christmas concert literature (concert in one week), my teaching strategy was once again geared toward direct instruction. Sometimes I think with the pressure of a performance right around the corner, learning “standards” can be put on the back burner. However, I think a good teacher can still implement the standards into this “high-stress” atmosphere. I feel like I should have implemented the concepts I wanted my students to learn into the curriculum even more than I did with limited time. Keeping my goals and objectives in the forefront of the lesson will allow for learning to take place even when preparing for a concert. I think this is even more important with the young group of girls that I taught today. They have so much “technique” of singing to still learn. I do not want to sacrifice their potential to be great musicians because of my desire to perform well at the concert for the public. This experience has opened my eyes to teaching high school students. I have always wanted to focus more on elementary in a school classroom setting, but I think I would be happy with any age group as long as I get to work with students. SO FUN!!!
 * __Journal #5__**

While I have taught private lessons for 15 years, the individual tutoring experience is much different from a classroom situation. Classroom management becomes an issue the more students you add into the equation. Since choirs are very large “classes”, that aspect of teaching was a bit overwhelming when I first decided to come back to school to finish my degree. This experience made me realize that some days the students may be chatty, but if I develop guidelines and rules with the students early, the mutual respect between us will foster better behavior. I also discovered that my teaching strategies need to include technology and be ever changing and improving. I liked how Tami uses the SmartBoard to post her daily lesson expectations. She also uses SmartMusic to teach sight singing and rhythm patterns. Playing music while the students are stretching and breathing calms the atmosphere and diminishes the chatter. I think I will be incorporating more and more technology to advocate for music in our economy that seems to be cutting programs in different school districts because they are “not necessary”. Music helps in many other capacities besides the simple learning of what music is. I hope to revolutionize the way music is taught so that parents and students WANT music to remain in the schools. Relating to the students is crucial to connecting with them and therefore, creating meaningful music together. I try to remember students’ names and something significant about them so that they feel like I care about them. Talking about the student’s interests like the football team going to state or the school’s production of “Peter Pan” gave me a venue and common ground to discuss and build trust. I think my personality attracts people for the most part and I think that quality will help me relate and recognize my student’s needs in the future. My assessment strategies would be somewhat different if the choirs were actually under my direction. I like how Tami uses a required number of sectionals and sight singing tests every quarter along with the concert performances to assess her students. I think she also does group projects on occasion (just not while we were there as she was preparing for the Holiday Concert and finishing the “Peter Pan” production) which I would also implement to expand student’s thinking about music. Many times I think that student’s sign up for music as an easy “A” or their required fine arts credit without the expectation of participating at all or learning anything. Music can truly change a person’s life, as it has mine, and I hope to convey that reality and show my passion for music through my teaching. While student needs will always surpass daily progress needs, I hope to transform the dwindling programs into thriving programs once again. In conclusion, I am very grateful that the program at MSU gets the students into the schools a great deal before even student teaching takes place. I feel much more prepared and confident in my abilities to effectively teach adolescents after this experience. Hopefully each and every field experience will build, empower, and grow me as a person so that I can be an even better influence on students in my future career!
 * __Journal #6:__** My overall experience at West High School was positive. I feel like I made a good impression on the faculty and staff, including my cooperating teacher, Tami Sellner. This teaching experience made me very excited to embark on this new career path! I found the people very encouraging and enthusiastic about having students in the building. Volunteering for years in my children’s schools, I have never felt so welcomed by teachers which was pleasant. I must admit that I was anxious about how this experience would turn out at first as I couldn’t get a hold of Tami, Melissa informed me that she would need a ride the majority of the experience, and I was apprehensive that we would get enough hours in the time frame allotted. While at times I did find different aspects frustrating or stressful, I realized that I will need to work with people that have different personalities than me all the time. I need to relax at times and not be quite so much of a perfectionist or I am going to get an ulcer! I am not saying that I shouldn’t try my hardest and do my absolute best on every project, but sometimes things happen that are outside of my control (I hurt my foot and then developed some sort of arthritis during this month that the doctors are still trying to diagnose).

Teaching a choir rehearsal is a bit different than teaching a regular class curriculum. The students are aware that they are practicing certain songs for an upcoming concert, but I did let them know that they would be taking a survey at the end of class concerning my teaching approaches. My objectives are in line with what Tami is expecting right before a Holiday concert. I did not want to simply teach some song that I know to the girls when they are trying to prepare for a concert. Melissa and I decided to split the literature and each work on two pieces with the girls in this period along with the basics of stretching, breathing, and warm-up exercises. We were able to stay on task and I felt like we were thoroughly prepared with the material. I am always striving to be a better piano player to help with vocal study and can feel that pressure to do better at times in rehearsal. Tami wanted us to run entire songs after the initial work with sections of the piece to assess understanding and progress. Since this lesson has fallen towards the end of this field experience, I feel comfortable in front of these girls by this point. I feel like I have developed good rapport with Tami and also a healthy respect from the students. Behavior issues have not really been an issue because I think the students like MSU students to come in and are anxious to see what we try to accomplish with them. The environment is susceptible to learning partially because Tami has come into the school (I think 3 years ago is all) and has energized the methods of teaching. She is very willing to work with each and every student and makes extra time in her frantic schedule to talk to students or listen to problematic issues even when the issues have nothing to do with choir. I tried to implement movement and “intermingling” of the students into my lesson because sometimes the categories of “soprano, alto, tenor and bass” can create little clicks and cause disruption. I want students to get to know more than just their section and really have cohesion amongst the entire group. My procedures were verbally communicated. I will definitely have a clear goal and plan of action for every rehearsal that I will state at the beginning. I think that vocal study is a process and any given technique might be understood by the students but might not be implemented effectively right away due to ability level. Creating warm-ups and exercises that are age appropriate and can be successfully accomplished by the students is sometimes challenging. I tried to create meaningful activities that the girls could accomplish and yet learn and grow from. I noticed that I could single students out more for positive feedback. I tend to just generalize to the whole group that they are doing a good job. I learned from this video critique that I am very facially engaged in my teaching (I don’t know what I think of that yet). I hope that I am not too expressive and scary looking, but I think relaxing my expressions will come with more experience teaching. If I could do this lesson again, I would definitely monitor time more efficiently, state my objectives clearly, and I would not sing so much of the rehearsal (I will lose my voice quickly that way and I can’t listen as much to the group). Explaining a concept (like the walking during Hava Nashira) needs to be taught rather than my leading them because then no one is at the piano (if I had my own classroom). I think I need to move into new literature more quickly and not spend so much time on one piece or warm-up. The couple of alto girls that seem to become immediately bored with anything “different or new” would be beneficial to incorporate some routine activities that they are used to which I tried to do more this lesson. We used music playing during the stretching just like Tami uses music and we also did a couple of the same warm-ups that Tami regularly uses to try to appease the personalities that like routine and structure. Professionally, I think that I made a positive impression. I have developed good relationships with Tami, the accompanist in concert choir, and other staff that I have come in contact with throughout the experience. Sometimes being outgoing and personable works to my advantage because I am not afraid to meet new people. I think my outgoing personality was also an advantage in the classroom. If we as teachers are not excited about what we are teaching, how do we expect our students to find joy in learning?
 * __Video Critique Reflection 11/28__**

Minnesota State University, Mankato LEVEL II Field Experience – Initial Licensure


 * ||  || Rachel Sheldahl ||   ||   ||   || 10167279 ||   ||   ||   || Fall ||   ||
 * ||  || Rachel Sheldahl ||   ||   ||   || 10167279 ||   ||   ||   || Fall ||   ||


 * Teacher Candidate ­­­­­­ Tech ID# _ Semester___ **


 * ||||  ||   || 10-12 Vocal Music ||   ||
 * ||  || Mankato West High School ||   ||^   ||
 * ||  || Mankato West High School ||   ||^   ||


 * School/Location_ Grade and Subject___ **


 * || Mrs. Tami Sellner ||  ||


 * || Mr. Marti Sievek ||  ||
 * Cooperating Teacher_ University Faculty ___ **


 * Field Experience Level: II-Field Experience **
 * Note: This evaluation document acknowledges that Teacher Candidates should be assessed as beginning teachers, not experienced educators. **

** (Danielson-Basic) ** || -knowledge of content and structure of the discipline; prerequisite relationships; content-related pedagogy ||  ||   || **x** || -knowledge of child and adolescent development; learning process, students’ skills, knowledge, and language proficiency; students’ interests and cultural heritage; students’ special needs ||  || **x** ||   || -value, sequence, and alignment; clarity; balance; suitability for diverse learners ||  ||   || ** x ** || -resources for classroom use; extend content knowledge and pedagogy; resources for students ||  || **x** ||   || -learning activities; instructional materials and resources; instructional groups; lesson and unit structure ||  || **x** ||   || -congruence with instructional outcomes; criteria and standards; design of formative assessments; use for planning ||  || **x** ||   || ** (Danielson-Basic) ** || - teacher interactions with students; student interactions with other students ||  ||   || ** x ** || - importance of the content; expectations for learning and achievement; student pride in work ||  ||   || ** x ** || - expectations for learning; directions and procedures; explanations of content; use of oral and written language ||  || ** x ** ||   || - quality of questions; discussion techniques; student participation ||  || ** x ** ||   || - activities and assignments; grouping of students; instructional materials and resources; structure and pacing ||  || ** x ** ||   || - lesson adjustment; response to students; persistence ||  || ** x ** ||   || ** (Danielson-Basic) ** || - accuracy; use in future teaching ||  || ** x ** ||   || - student completion of assignments; student progress in learning; non-instructional records ||  || ** x ** ||   || -information about instructional program and individual learners; engagement of families in the instructional program ||  || x ||   || - relationship with colleagues; involvement in a culture of professional inquiry; service to the school; participation in school and district projects ||  || ** x ** ||   || - integrity and ethical conduct; service to students; advocacy; decision-making; compliance with school and district regulations; professional dispositions ||  ||   || ** x ** ||
 * == Domain 1: Planning and Preparation == || ** Unsatisfactory ** || ** Developing ** || ** Meets Expectations **
 * ** a. Demonstrating Knowledge of Content and Pedagogy **
 * ** b. Demonstrating Knowledge of Students **
 * ** c. Setting Instructional Outcomes **
 * ** d. Demonstrating Knowledge of Resources **
 * ** e. Designing Coherent Instruction **
 * ** f. Designing Student Assessments **
 * ** Domain 2: The Classroom Environment ** || ** Unsatisfactory ** || ** Developing ** || ** Meets Expectations **
 * ** a. Creating an Environment of Respect and Rapport **
 * ** b. **** Establishing a Culture for Learning **
 * ** c. Managing Classroom Procedures **
 * - ** management of instructional groups; transitions, materials and supplies; non-instructional duties; supervision of volunteers and paraprofessionals ||  || x ||   ||
 * ** d. Managing Student Behavior **
 * - ** Expectations; monitoring of student behavior and misbehavior ||  || ** x ** ||   ||
 * ** e. Organizing Physical Space **
 * - ** Safety and accessibility; arrangement of furniture; use of physical resources ||  || ** x ** ||   ||
 * ** Domain 3: Instruction ** || ** Unsatisfactory ** || ** Developing ** ||  ||
 * ** a. **** Communicating with Students **
 * ** b. Using Questioning and Discussion Techniques **
 * ** c. **** Engaging Students in Learning **
 * ** d. Using Assessment in Instruction **
 * - ** assessment criteria; monitoring of student learning; feedback to students; student self-assessment and monitoring of progress ||^  ||^   ||   ||
 * ** e. Demonstrating Flexibility and Responsiveness **
 * == Domain 4: Professional Responsibilities == || ** Unsatisfactory ** || ** Developing ** || ** Meets Expectations **
 * ** a. **** Reflecting on Teaching **
 * ** b. Maintaining Accurate Records **
 * ** c. Communicating with Families **
 * ** d. Participating in a Professional Community **
 * ** e. **** Growing and Developing Professionally **
 * - ** enhancement of content knowledge and pedagogical skill; receptivity to feedback from colleagues; service to the profession ||  || ** x ** ||   ||
 * ** f. Showing Professionalism **


 * ** Overall Comments (additional page(s) may be attached: ** ||


 * Teacher Candidate Acknowledgment **

I have reviewed this document and discussed the contents with the evaluator (cooperating teacher or university supervisor). My signature means that I have been advised of the contents and does not necessarily imply that I agree with the results.

_

A member of the Minnesota State College and Universities System. MSU is an Affirmative/Action/Equal Opportunity University. This document is available in alternative format to individuals with disabilities by calling the Office of Field Experience at 507-389-1517(V), 800-627-3529 or 711(MRS/TTY).

** Minnesota **** State University, Mankato ** ** Showing Professionalism ** Teaching Candidate Progress Monitoring Sheet

Name:Rachel Sheldahl Tech ID: 10167279 MSU Program: K-12 Vocal Music Education Teacher Candidates receiving an “unsatisfactory” must have a professional concern submitted to the College of Education.


 * Field Experience Level: 1 2 3 || ** Unsatisfactory ** || ** Meets Expectations ** || ** Exceeds Expectations ** || ** Not observed ** ||
 * **// Respectful relationships //** || SP1. Interacts with students, co-workers, parents, and community in a positive, professional manner ||  || x ||   ||   ||
 * ^  || SP2. Perceives and respects the physical, emotional, and social boundaries of others ||   ||   || x ||   ||
 * ^  || SP3. Perceives and respects diversity among groups of people and individuals based on age, ethnicity, race, socioeconomic status, gender, exceptionalities, language, religion, sexual orientation, and geographical area ||   ||   || x ||   ||
 * ^  || SP4. Listens and values others’ ideas ||   ||   || x ||   ||
 * **// Integrity //** || SP5. Adheres to the guidelines for ethical conduct as described by Minnesota Bd. Of Teaching ||  ||   || x ||   ||
 * ^  || SP6. Maintains confidentiality standards ||   ||   || x ||   ||
 * ^  || SP7. Values and demonstrates honesty ||   ||   || x ||   ||
 * **// Responsibility and work ethic //** || SP8. Arrives on time and completes assigned tasks on schedule ||  ||   || x ||   ||
 * ^  || SP9. Accepts personal responsibility for one’s own actions ||   ||   || x ||   ||
 * ^  || SP10. Arrives ready and able to support students’ intellectual, academic, social, and emotional growth ||   ||   || x ||   ||
 * **// Commitment to teaching and professionalism //** || SP11. Engages in professional growth: reading, scholarly work, conferences, workshops and further coursework ||  ||   || x ||   ||
 * ^  || SP12. Uses proper grammar and vocabulary in written and oral communication ||   ||   || x ||   ||
 * ^  || SP13 .Maintains personal hygiene ||   ||   || x ||   ||
 * ^  || SP14. Dresses appropriately ||   ||   || x ||   ||

Filled out by: _Rachel Sheldahl__ Position: q MSU Faculty Member q Cooperating Teacher x MSU Teacher Candidate

A member of the Minnesota State College and Universities System. MSU is an Affirmative/Action/Equal Opportunity University. This document is available in alternative format to individuals with disabilities by calling the Office of Clinical & Field Experience at 507-389-1517(V), 800-627-3529 or 711(MRS/TTY).

Self-Assessment: MSU Level 2 (KSP 330) Clinical Experience


 * Name**:_Rachel Sheldahl__________________ **Section:** _01____

In order to judge the effectiveness of the KSP 330 field experience, please answer the statements below which indicate your part in the success of your clinical experience. Indicate your success by using the continuum of Strongly Agree (5) to Strongly Disagree (1) by circling the appropriate number for each statement.

1. I prepared for the initial visit by having an appropriate **SA A U D SD**

nametag, providing an autobiography, dressing

appropriately, and arriving punctually. x 4 3 2 1

2. I prepared for the field experience by thoroughly reading

the clinical packet materials x 4 3 2 1

3. I clarified the requirements of the field experience

by rereading the materials provided and/or by asking

questions of the KSP 330 professors. x 4 3 2 1

4. I made arrangements for a lesson observation by

emailing my KSP 330 professor in a timely manner. 5 x 3 2 1

5. I took the initiative in talking to my clinical teacher about

the requirements for the experience, specifically preparing

and teaching lessons, videotaping a lesson, and completing

a class profile for classes I taught. x 4 3 2 1

6. I contacted my MSU professor with concerns and

obstacles after trying to solve the problem myself. x 4 3 2 1

7. I attended the field experience on each of the days

required. If I was unable to do so, I called the clinical

teacher and made arrangements to attend on alternate

days. x 4 3 2 1

8. I asked my clinical teacher to provide feedback on

lessons taught. 5 x 3 2 1

9. I made copies of the seating chart, wrote in my journal,

designed and taught lessons, wrote a thank you note,

and completed other requirements that were listed on

the checklist. x 4 3 2 1

10. I completed my clinical packet and handed it in on time.x 4 3 2 1