Professional Growth Plan – Part 1

Kelly Wildermuth

1a. What data are you using to guide the development of your professional learning goal (e.g.
reflections on teaching, teaching observations, mid-program evaluations, student feedback)?

To guide my professional development, I am using my own reflections on my teaching

experiences in addition to my professors’ reflections of my teaching. I plan to use the
results from the students’ assessment unit to evaluate the effectiveness of my instruction.
Debriefing with Dr. LeFils after his observation of my teaching helps guide my
evaluation of my professional learning goals.

1b. What do the data tell you?

The data have shown that my strengths include professional responsibility, designing
instruction, and communicating with students. I typically do well in these areas and my
teaching reflects my thorough planning prior to instruction. The data tell me I need to
work on engaging students in learning and using assessment in instruction. I need to be
sure the material is challenging for the students. They need to be actively engaging in
intellectual thought during the rehearsal, rather than just following my instructional
prompts. With assessment in instruction, I need to be sure to give specific and related
feedback after each direction and the formative assessment judgements I make
throughout a rehearsal need to continually inform my future instruction.

2. Using the information from question 1, what is your focus area (write both the Danielson
domain and the component that you have identified as having the greatest potential for
increasing student learning below)?

Domain: 3: Instruction

Component: 3c: Engaging Students in Learning

3. What goal will enable you to strengthen your practice (write your goal statement below)?

I plan to work on my ability to present challenging material in every rehearsal and keep
the students actively intellectually engaged.

4. Describe what will you do to build professional background knowledge related to the
domain and component that you have selected in order for you to achieve your goal (e.g.
what articles/books will you read, what Internet resources will you use, what workshops will
you attend, will you interview or observe teachers)?

I will continue working with my professors to learn from them and improve my teaching
ability. I will also improve through evaluating my own self-reflections as well as my
professors’ feedback. I have read several articles on the NafME website as well as in the
 Music Educator’s Journal and will continue to do so to enhance my knowledge on how to
continually engage students in learning. I will also look for more music education
resource books that can further my knowledge of the subject, such as The Choral
Program by James Jordan. I attended the American Choral Director’s Association
National Convention in February and I plan to continue attending conferences such as
this one to keep building my professional knowledge.

5. What specific activities/actions will you implement to help attain your goal (e.g.
administer a student interest inventory, develop lessons that include multiple project options
for students, include the use of formative assessments during instruction, video tape and
critique one’s practice, establish procedures for the distribution and collection of materials
and supplies)?

To help attain my goal, I plan to develop lessons that include challenging content for the
students to intellectually engage in the lesson. This includes incorporating transfer and
critical thinking opportunities into the lessons and making sure the students are truly
thinking rather than just following directions during the rehearsal. Along with this, I will
video tape myself to critique my teaching and evaluate my improvement.

6. How will you collaborate with other professionals to meet your goal?

I plan to collaborate with my professors, colleagues, and cooperating teachers. These

professionals will offer advice and guidance formed from their own experiences and
training that will help guide my improvement and professional development.

7. What evidence/artifacts will you collect to demonstrate that your goal is being met?

I will collect video recordings of my teaching experiences to help show my progress in

achieving my professional goal. Watching and critiquing these videos will allows me to
evaluate my ability to keep the students engaged throughout the lesson. I will also use the
observations and feedback from my professors and cooperating teachers.

REVISED Professional Growth Plan Final Report – Part 2

Kelly Wildermuth
1. What did you do to build your professional background knowledge related to the domain
and component that you selected? Did you add any new professional learning
opportunities during your internship?

When building my professional background knowledge related to engaging

students in learning, I reflected on my own teaching after every lesson. I also used the
feedback and guidance of my supervisor, Dr. LeFils, and sought feedback from my
education professors Dr. Tichenor and Dr. Heins relating to specific issues and events
 happening in the classroom. I also used the results from my every day formative
assessments of the students to evaluate the effectiveness of my instruction. I occasionally
received feedback from my cooperating teacher about my teaching and my professional
goals that helped guide my development as well.

I also used various resources to help me develop ideas and methods to try out in
the classroom to improve student engagement. I utilized the James Jordan The School
Choral Program, Teach Like a Champion, and the Comprehensive Classroom
Management texts to research student engagement and how to improve lessons to focus
on engagement. During my internship, I was also able to discuss topics like student
engagement with my peers during our weekly class meetings. Sharing struggles and ideas
with my fellow interns was a very productive way to get new ideas and problem-solve
together.

2. What specific activities/actions did you implement to help attain your goal? Describe at
least 4 specific activities.

Activity 1: Implemented a new keyboard curriculum: To help with student

engagement, I changed the keyboard curriculum to include three types of activities each
class period, rather than 50 minutes of only one instructional activity.

Activity 2: Differentiated keyboard assignments for each student: In addition to

the curriculum change, I also differentiated assignments (product) for the keyboard
students. Because each class had three different skill-levels among the students, there
needed to be differentiated assignments for each skill-level group, especially when trying
to increase student engagement. This also included giving the students an opportunity to
pick their own piece to learn for the last recital before spring break. Students do not stay
engaged if their assignments are either too easy and boring or too difficult and
overwhelming.

Activity 3: Implemented new procedures before and during choir rehearsal: To

help keep students focused and engaged during rehearsal, I began introducing new
procedures into the classroom: arriving on time, grabbing materials before the bell,
beginning warm-up immediately after the bell-rings, moving announcements to after
warm-ups before sight-reading, and decreasing transition time to ten seconds.

Activity 4: Increased pacing of every class: Combined with changing the

procedures of choir rehearsals, I also increased the pacing of rehearsals and keyboard
classes. By increasing the instructional pacing, the students have less opportunity to
become disengaged during a lesson or rehearsal.

3. Did you meet your intended goal? Describe the evidence and artifacts that demonstrate
the professional learning goal was met (include at least four descriptions of evidence).
One piece of evidence must be the focused observations by your cooperating teacher in
your selected area of growth (attach the feedback provided by your cooperating teacher).
 Label and describe each piece of evidence and explain why each piece helps meet
your intended goal. Attach the artifacts to the end of the report.

Yes. I did meet my intended goal of improving my abilities in my focus area:

Engaging Students in Learning.

Artifact 1: PGP-focused Observation by CT – This observation occurred during a

lesson I completed with my three keyboard classes. I formed this lesson specifically to
engage the students in an educationally relevant active game! It was a lot of fun and the
students were engaged throughout the class period. The game involved the students
passing a rhythm cube among their team members to create an accurate rhythm on the
white board using notes and rests they were currently studying. This helped me achieve
my goal of engaging students by receiving feedback from my cooperating teacher on my
performance.

Artifact 2: Keyboard Recital pieces – This artifact includes evidence of the

differentiation in the keyboard classes to help students achieve instructional goals and
stay engaged during lessons with appropriate skill-level assignments. This shows the
wide variety of recital pieces the students were studying right before spring break. Not
only were the pieces at varying difficulty levels, but some of the students even got to
choose their own piece to work on (following certain guidelines of course)! This helped
them stay engaged because not only were the pieces within each of the students’ ability
levels, but they were also excited to learn the piece they chose!

Artifact 3: Lesson Plan with Vocal Ensemble 2/19 – This lesson/artifact shows the
integration of my attempts and plans to change the procedures of the typical rehearsal to
cut down on start time and transitions. This lesson was planned down to using every
single minute of rehearsal time productively, without the typical 5-7-minute waste time at
the beginning of class. Also, my reflections in this lesson explain the lesson’s success in
decreasing the amount of waste time and transition time – a good sign that rehearsals
were becoming more efficient! Efficient rehearsals = engaged students. Typically, in
choir rehearsals, when you give students time to waste (instructional time lacking active
singing, engaging instruction, or challenging tasks) they are NOT engaged. By making
lessons like this one, where start time and transitions are very low, I was working to
achieve my goal of increasing student engagement.

Artifact 4: Lesson Plan with Vocal Ensemble 2/26 and Supervisor Observation
Feedback – This lesson provides an example of the adjustment I made in the typical
pacing of lessons and rehearsals. This lesson was very productive – the students were
focused and well-behaved throughout. The pacing was very quick and left no room for
students to lose focus, talk, or disengage. I also included my supervisor’s comments on
my evaluation in component 3c: Engaging Students in Learning. Dr. LeFils rated me
proficient in this component for this observation. Increasing pacing in lessons like this
was the most efficient way to keep the choir classes engaged and on task.

4. How did you collaborate with other professionals to meet your goal?
 I collaborated with other professionals by getting ideas and advice from my
professors, my cooperating teacher, other professionals at Seabreeze, and my peers. I
received feedback and advice from my professors throughout my internship and shared
my struggles and successes. My professors were very helpful in offering ideas and
strategies throughout my internship.

5. What new learning did you acquire as a result of the professional learning opportunities
in which you engaged?

Through my professional learning opportunities, I learned techniques and

methods to keep students engaged as well as problem-solving skills to determine how to
improve engagement if problems continue. These skills continued to be essential to my
success in achieving my goal of improving my performance in component 3c.

6. What impact did the changes in instructional practice have on you as a professional?

The changes I made in my instructional practice throughout my internship showed

me how to think like a professional educator and problem-solve to directly affect my
students in a positive way. Despite its challenges and frustrations, the overall internship
experience helped me figure out what kind of teacher I am, and the kind I want to be
someday soon! I only wish it had not been cut short!

7. What impact did the changes in instructional practice have on your students’ learning?

The changes I made in my instructional practice benefitted my students’ learning

significantly. Nearly all my students in the keyboard classes began achieving at a higher
level – and many of them seemed visibly more interested in progressing in the class. In
choir, the students began coming to rehearsals on time and more excited to work hard to
improve their performances. They especially worked very hard and improved drastically
in the two weeks after MPA preparing for their Carnegie Hall performance.

8. How will you continue to develop in this area?

I will continue working to develop my performance in engaging students in

learning by using the resources available to me as a professional educator, reaching out to
my peers and mentors for advice, and continuing to self-reflect on my lessons, planning,
teaching, and student relationships.
Artifact 1
 Artifact 2

Student Name Recital Piece 3/12 Cameron Raindrop Chopin Prelude in D flat
Adam Littleroot Town
Alyssa Let Her Go Student Name Recital Piece 3/12
Taylor Amazing Grace Angelica Chinese Dance
Kavonn Nelson Peacherine Rag
Blake Allan Canon in D Ariah Let It Go
Damian Drift Away Michael Grandma
Gawasi Kahn Journey to Skyhold Samuel Underwater Mario Theme
Blake Stinson All of Me Tanner Scherzo (Book 2)
Emilee Sweden Donovan Stairway to Heaven
Anthony Everything Stays Kendal French piece
Jordan Prelude 2 Sarah Canon in D
Trevor Dance of the Sugar Plum Fairy Aisha Slur and Legato (Book 1)
Collin Claire de Lune Mariah
Jayden Scherzo (Book 2)
 Student Name Recital Piece 3/12
Max Sweden Minecraft
Luis Disney's UP Theme
Damiana Mad World
McKenzie This is Gospel
Parice Stay With Me
Lily
Adriana Moonlight Sonata
Noah Maiden Voyage
Natalia Dawn (Pride and Prejudice)
Ted Duel of Fates - Star Wars
Grant Clocks
Charles Star Wars Theme
Matthew Faden Alan Walker
Cayley All of Me
Tyler The Duck Song
Brianna Tocatta in D minor
Keniya Ocean Eyes
Lance Mary Had A Little Lamb

Artifact 3

Name: Kelly Wildermuth Date: 2/19/20 Period: 6

Ensemble or Class: 6th Period – Vocal Ensemble Lesson Topic: Warm-Ups, Sight Reading, Sisi ni moja,
Dirait-on
Standards: (CCSS/NGSSS) MU.912.S.3.2 MU.912.S.3.4 MU.912.S.3.5 MU.912.C.2.2

Long Term Goal: Receive at least Excellent or Superior at District MPA in March

Instructional objectives(s): Students will improve resonance during the warm-up. Students will perform rhythm #6 (pg. 3)
measures 9-16 with 90% accuracy. Students will perform melodic sight reading #28 (pg. 22) measures 9-16 with 90%
accuracy and without stopping. Students will perform accurate accents in Sisi ni moja in sections A and B of the piece.
Students will sing accurate pitches and rhythms from letter D to the end of Dirait-on.
Key Vocabulary (are you using any new or important Instructional Materials/Resources/Technology:
musical vocabulary terms today?) 2012 FVA Sight Reading Packet
Piano
Syncopation
Accent
Triplets: Quarter vs. Eighth note
D flat Major
 Critical Thinking: Lesson Structure:
1. What measure will be most difficult in the rhythmic sight Warm-Ups, Sight Reading, Rehearsal
reading and why?
2. How can we make sure the choir does not stop and
always keeps going even if mistakes are made?
3. Which buzzing feels more comfortable to you? The ng or
the v? Why?
4. Why did the composer insert accents on the particular
notes/words in Sisi?
ESE Modifications CPLAMS Access Points http://www.cpalms.org/Standards/AccesspointSearch.aspx
(identify access point, if needed)
Independent: MU.912.S.3.In.a,b,c.

Supported: MU.912.S.3.Su.b,c.

Participatory: MU.912.S.3.Pa.b

Lesson/Rehearsal Procedures:
Pacing: Assessment:
Highlight Differentiated Instruction in Yellow
Introduction Procedures:
1 minute Have students grab a 2012 FVA Packet before class starts. Make sure the students have their
packets.
Lesson/Rehearsal Procedures:
Warm-Ups:
1 min 1. Stretch to activate the body – shoulders, neck, back and hips. Watch for participation in stretches.
1 min 2. Consonant exercise: t’s and k’s – I will model a rhythmic Listen for clear, succinct, and unison
sequence of these aspirate consonants and the students will consonants on the appropriate beats.
mimic me. Listen for proper resonance on the buzz.
1 min 3. V buzz S-D-S starting in D flat major. Listen for proper resonance in the ng
1 min 4. Hung-ee S-F-M-R-D starting in B major. and compare to the v buzz.
5. Yah-yah exercise starting in D major working up to the upper Listen for proper vowel placement and
1 min register (at least a high A). upper register tone.
Total: 6
min Sight Reading:
1. Looking at #6 on page 3, we will review the difference between Assess student responses to CT
2 min quarter note and eighth note triplets along with the CT questions questions and retention of concept of
and perform measures 9, 13, and 15 is isolation as a class. triplets and syncopation.
2. Then, the students will perform #6 measures 9-16 singing on an Listen for accurate rhythms.
2 min A flat.
3. After the performance, the students will repeat any measures Listen for accurate rhythms.
2 min with issues or errors in isolation.
4. Then, students will transition from A flat to D flat and sing a D Listen for proper intonation and blend.
2 min flat major scale, repeating intervals fa to la, do to fa, and do to la.
5. Students will identify the starting pitches of #28 measure 9 on Listen for accurate rhythms and pitches
2 min page 22 and sing the example, measures 9-16 WITHOUT stopping. in each part. Assess if students keep
Ask the students how we can ensure this – CT. going.
6. We will work parts in isolation that are having difficulty – Listen for accurate pitches and rhythms
2 min probably measures 11 for altos and basses, 13 for tenors, and 14 and improvement in these elements.
for sopranos. Everyone will sing the part we are fixing together in
their octave. Listen for accurate pitches and rhythms
7. Then, we will sing the example again, this time focusing on in each part.
3 min both accuracy and continuation. After the second performance, I Assess student responses and evaluate
Total: 15 will ask the students to compare and rate their performances. ability of students to self-reflect.
minutes
Sisi ni moja:
2.5 min 1. Students will perform Sisi Ni Moja with the track from the Listen for proper pitches and rhythms
beginning until page 9. and if the accents are being observed.
1 min 2. Then, we will discuss the purpose of the accents throughout Assess student responses to CT
the piece and how the students will be able to correctly execute discussion about accents in the music.
them.
2 min 3. The sopranos will sing, a capella, from the beginning of the Listen for proper execution of the
piece, correctly observing the accent marks throughout the accent marks.
section up until square A. The other parts will assess the
soprano’s execution of the accents.
2 min 4. Then the tenors and basses will sing their part from square A to Listen for proper execution of the
square B, correctly observing the accent marks. The other parts accent marks.
will then assess the tenor/basses’s execution of the accents. Altos
will select the best section.
2 min 5. Then, everyone will sing at letter B, focusing on observing the Listen for accents and blend in the
accent marks throughout. homophonic section.
2.5 min 6. Finally, the students will all sing from the beginning to the Listen for improvement in performance
bottom of page 9, observing the accents. The students will then of the accent throughout the first half of
Total: 12 self-evaluate the accuracy of their accents using the 3-thumbs the piece.
minutes scale.

Dirat-on:
1 min 1. Sopranos will sing their melody at letter D to letter E on text. Listen for accurate pitches and rhythms.
1 min 2. Then, altos and tenors will sing their parts at letter D together Listen for accurate pitches and rhythms.
while I play the parts along on the piano.
1 min 3. Finally, the basses will sing their part at letter D as well, along Listen for accurate pitches and rhythms.
with the piano.
1 min 4. Then, all four parts will sing together from letter D to letter E Listen for accurate pitches and rhythms,
on text. balance, and independence.
3 min 5. Any parts with errors or issues will be isolated and fixed Listen for accurate pitches and rhythms.
through repetition.
1 min 6. Starting at letter E, sopranos and altos will sing their parts Listen for accurate pitches and rhythms.
together to letter F.
1 min 7. Then, tenors and basses will do the same. Listen for accurate pitches and rhythms.
4 min 8. Next, all four parts will sing together from letter E to letter F on Listen for accurate pitches and rhythms,
text. Any parts with errors or issues will be isolated and fixed balance, and independence.
through repetition.
30 sec 9. Sopranos will sing their part from letter F to the end. Listen for accurate pitches and rhythms
30 sec 10. Altos, tenors, and basses will sing their parts together at letter Listen for accurate pitches and rhythms
F still on text.
2 min 11. Then, all four parts will sing from letter F to the end. Any Listen for accurate pitches and rhythms,
issues will once again be fixed with isolation and repetition. balance, and independence.
2.5 min 12. All the students will sing from letter D to the end of the piece Listen for accurate pitches and rhythms,
on text. balance, and independence.
4-5 min 13. If time allows, I will work with the students on lightening the Listen for improvement in lightening the
low A in the reappearing melodic figure – the students will listen tone of the low A in the melodic figure.
as I model and then work to lighten the low note.

Closure Procedures:
1 min 1. Congratulate students on a successful rehearsal (if it is) and
encourage students to (continue) to work hard during rehearsal
as MPA is fast approaching.
 Post Rehearsal or Lesson Reflections

Content Adjustment: Based on diagnostic and formative assessments during today’s lesson/rehearsal, list any repertoire
or activities that were omitted from the plan. Why? Will the omitted items need to be included in tomorrow’s
lesson/rehearsal?

Nothing was omitted from the rehearsal, although the section of rehearsal for Sisi ni moja was shortened to allow more
time on the other parts of rehearsal. The students know the piece very well, so they get burnt out working on that
particular piece of literature too long during rehearsal.

Rehearsal or Lesson Adjustment: If you were going to re-teach today’s lesson/rehearsal, how would you have done it
differently.

I would have wanted to move through the sight-reading more quickly and possibly given the students an opportunity to
practice the example on their own prior to the class performance. This would mimic the procedure at MPA, which the
students will need to get more familiar with as MPA approaches.
Also, I would like to try moving the students around more during rehearsal. I noticed about three-quarters of the way
through my lesson that even though the students are engaged, they have not moved from their assigned positions in the
room other to stand or sit. I would like to incorporate part circles, mixing up, or even one big circle to introduce spatial
variety into the rehearsals.
Reflection on Teaching: Analyze and evaluate your lesson/rehearsal and classroom management.

I thought this lesson went VERY well. The students were successful with the sight-reading example that had been giving
them A LOT of trouble for the past few days. Breaking down the example into a smaller chunk helping the students
significantly. Also, stating the objective to the students as completing the excerpted example without stopping was
successful in getting the students to make mistakes and move on from them, rather than getting frazzled and stopping the
ensemble from continuing. The discussion about the resonance of the v buzz and the ng were also very productive and
most of the students seemed engaged in the conversation and wanted to understand how the two resonance exercises
differ in technique and feeling. This group of students are good at self-reflecting as a group, but I would like to see more
individuals speak up during these discussions. It seems that the same students always answer the self-reflecting questions. I
would like to try just calling on people rather than letting the students raise their hands. Their work on Sisi was productive
and they achieved the objective in section B while section A (the soprano melody) could still use more work on the accents.
The ‘h’ accent on ‘heja’ was much improved and exactly what I wanted, but the sopranos and altos did not achieve the
accuracy of their accents in section A of the piece yet. They will continue working on this concept, probably with Ms. Hood
next rehearsal. My goal for Dirait-on today was to get through learning the end of the piece with correct pitches and
rhythms. That objective was achieved, and the students focused well today. The sequencing of the lesson was effective,
and the students responded well to the scaffolding. They still need to work on pronunciation and expression among other
things.
As far as classroom management, I think the class was well-behaved during rehearsal. Although the start time is still not
where I would like for it to be, there was improvement today. I started warm-ups even though not all the students were
ready to begin, and that quickly brought the students to their assigned positions and singing. Transitions are also still too
long but have seen significant improvement. There was some background chatter, especially in the Soprano section, but
most of the time, it did not interfere with rehearsal, so I did not hound on the talking too much. I addressed the talking a
couple of times by just being silent and waiting for students to stop talking and interrupting (with teacher face of course). I
also asked the soprano section a question about the rehearsal when they were not listening and talking instead.
 Artifact 4

Name: Kelly Wildermuth Date: 2/26/20 Period: 6

Ensemble or Class: 6th Period – Vocal Ensemble Lesson Topic: Warm-Ups, Sight Reading, Rehearsal

Standards: (CCSS/NGSSS) MU.912.S.3.2 MU.912.S.3.4 MU.912.S.3.5 MU.912.C.2.2 MU.912.C.1 MU.912.O.3.1

Long Term Goal: Receive at least Excellent or Superior at District MPA in March

Instructional objectives(s): Students will improve resonance during the warm-up. Students will perform rhythm #4 (pg. 3)
with 100% accuracy. Students will perform melodic sight reading #26 (pg. 20) with 95% accuracy and without stopping.
Students will perform Sisi ni moja with accurate pitches and rhythm, improved accents, and crescendos over long notes.
Students will perform Dirat-on from the top of page five to letter D with 100% accuracy in pitches and rhythms and 90%
accuracy in diction. Students will make improvements in tempo expression in Dirait-on.
Key Vocabulary Instructional Materials/Resources/Technology:
2011 FVA Sight Reading Packet
Syncopation Piano
Accent
Triplets: Quarter vs. Eighth note
F major
Nasal vowels
Critical Thinking: Lesson Structure:
1. What measure will be most difficult in the rhythmic sight Warm-Ups, Sight Reading, Sisi ni moja, Dirait-on
reading and why?
2. How can we make sure the choir does not stop and 1:03-1:44
always keeps going even if mistakes are made? 1:03-1:08
3. What can we do to help our brains anticipate skips in 1:08-1:17
melodic sight reading? 1:17-1:26
4. Which performance of the melodic sight-reading was 1:26-1:44
more accurate? Why?
5. Why are the accents placed where they are in Sisi?
6. How can we transfer our knowledge of French diction
from one area of Dirait-on to another?
ESE Modifications CPLAMS Access Points http://www.cpalms.org/Standards/AccesspointSearch.aspx
(identify access point, if needed)
Independent: MU.912.S.3.In.a,b,c.
Supported: MU.912.S.3.Su.b,c.
Participatory: MU.912.S.3.Pa.b

Lesson/Rehearsal Procedures:
Pacing: Assessment:
Highlight Differentiated Instruction in Yellow
Introduction Procedures:
1 minute Have students grab a 2011 FVA Packet before class starts. Make sure the students have their
packets.
Lesson/Rehearsal Procedures:
Warm-Ups: Listen for hissing and watch for proper
1 min 1. Breath exercise with hissing – breathe in for four counts, hold breathing technique: ribs expand,
for four, and hiss for hour – then extend hissing to 8, 12, and 16 shoulders do not move, etc.
1 min 3. V buzz S-D-S starting in D flat major. Listen for proper resonance on the buzz.
1 min 4. Yah yah yah starting in E major (up an octave) Listen for proper vowel placement and
1 min 5. Zing-a-mama exercise starting in D major. Tell students to space in the upper register.
Total: 5 activate their breathe and use the ‘z’ consonant. Listen for active breath and consonants.
minutes
Sight Reading:
2 min 1. Looking at #4 on page 3, we will discuss the possible difficulties Assess student responses to CT
in the example and perform measures 4 and 8 in isolation as a questions and listen for accurate
class. (CT) rhythms.
1 min 2. Then, the students will perform #3 singing on A. Listen for accurate rhythms.
1 min 3. After the performance, the students will repeat any measures Listen for accurate rhythms.
with issues or errors in isolation.
1 min 4. Then, students will sing an A major scale. We will discuss Listen for proper intonation and blend
techniques for the students to successfully sing the example and and assess responses to CT questions.
how to navigate skips (CT).
2 min 5. Then, have the students circle up in part circles around the Listen for accurate rhythms and pitches
piano. Students will identify the starting pitches of #26 on page in each part. Assess if students keep
20 and sing the example WITHOUT stopping. Have the students going.
rate their performance via the 3-thumbs method.
2 min 6. If needed, we will work parts in isolation that are having Listen for accurate pitches and rhythms
difficulty – possibly measures 5-6 for sopranos, 13-15 for altos, in each part, listening for
and 6-7 for basses. Everyone will sing the part we are fixing improvements.
together in their octave. Then, we will sing the example again,
this time focusing on both accuracy and continuation.
30 sec 7. After the second performance, I will ask the students to Assess student responses and evaluate
Total: 9.5 compare and rate their performances. ability of students to self-reflect.
minutes
Sisi Ni Moja:
2 min 1. Ask students the two main places we need to accent in this Assess student responses to knowledge
piece. WHY? learned from previous rehearsals.
5 min 2. Students will sing through the piece without stopping, focusing Listen for accurate pitches and rhythms
on improving accents throughout. and improved accents.
2 min 3. Then, beginning on page 10, the choir will sing again, this time Listen for effective dynamics, specifically
focusing on crescendo-ing through every long note until the end the crescendos through long notes.
Total: 9 of its full value. I will model this in measure 39. Students will sing
minutes this section once again.

Dirait-on: Listen for accurate pitches, rhythms,

2-4 min 1. Students will sing from the top of page 5 to the top of page 7, and diction.
focusing on the French diction. I will model the word Dirait-on for
them before they begin. If any rhythm, pitch, or diction issues
arise, those will be addressed and fixed through isolation and
repetition. Listen for improvements in tempo
2 min 2. The choir will sing that section again, this time working on expression and assess if students watch
stretching the tempo at the ritardando and immediately picking and follow the conductor.
the tempo back up at the a tempo. Listen for accurate pitches, rhythms,
2-4 min 3. At the top of page seven, sopranos and tenors will sing their and diction.
verse together, focusing on the diction. If any rhythm, pitch, or
diction issues arise, those will be addressed and fixed through
isolation and repetition. Listen for accurate diction and
2 min 4. Then, the choir will sing this section again, adding basses and improvements in tempo expression.
altos, focusing both on diction and tempo expression. Listen for accurate pitches, rhythms,
5. Basses and altos will sing their verse from the top of page eight and diction.
2-4 min to letter D, focusing on the French diction. If any rhythm, pitch,
or diction issues arise, those will be addressed and fixed through
isolation and repetition. Listen for accurate diction and
6. Then, the choir will sing this section all together, adding improvements in tempo expression.
2 min sopranos and tenors, focusing both on diction and tempo
expression. Listen for accurate pitches, rhythms,
7. If time allows, students will sing from the top of page five to diction, and assess if students are
2.5 min the end of the piece with the accompaniment to get through to following the conductor.
the bigger picture.
Total: 14.5
minutes Closure Procedures:
1. Thank students for taking our conversation yesterday to heart
30 seconds and improving rehearsal efficiency!

Post Rehearsal or Lesson Reflections

Content Adjustment: Based on diagnostic and formative assessments during today’s lesson/rehearsal, list any repertoire
or activities that were omitted from the plan. Why? Will the omitted items need to be included in tomorrow’s
lesson/rehearsal?
The adjustments I made to my lesson plan included adding more instructional components to the rehearsal of
Dirait-on. Because of the students better-than-normal behavior and hyper-focus, we got through my lesson plan
much more quickly than we normally do. As a result, I continued rehearsal based on my formative assessment of
the students’ performance.

Rehearsal or Lesson Adjustment: If you were going to re-teach today’s lesson/rehearsal, how would you have done it
differently.

I would have had the students work on intonation in Sisi ni moja. This is one aspect of the piece I have not
addressed with the group that should be. Also, I would have addressed balance in Dirait-on, having the basses sing
the root of the chords louder and altos and tenors back off their parts in the chords. This would help the chords
tune better as well.

Reflection on Teaching: Analyze and evaluate your lesson/rehearsal and classroom management.

My instructional delivery was very effective today. The activities were varied, and the rehearsal was well-organized and
structured. The discussions were informative and required the students to use their critical thinking skills. Most of the
students were involved somehow in various critical thinking activities throughout the rehearsal. The students were
engaged throughout the lesson because of the fast pacing and appropriately challenging material. The movement around
the classroom also helped keep the students engaged throughout the rehearsal. From this lesson, I would rate myself as
Proficient in 2a, 2b, 3b, and 3c. The environment and culture of the classroom and positive and conducive to learning. The
students respect and like me and behaved very well for me because they wanted my observation to go well, which is a
great sign! My use of critical thinking questions and discussions were effective and involved most of the students. Nearly all
the students were engaged throughout the entire rehearsal – they stayed focused and achieved the objectives for the
rehearsal! I would rate myself as Developing for 3a: Communicating with Students because while all my communication is
kind, supportive, and professional, I think my communication with the students during rehearsal could still be more specific
and related to the actual objectives. I also want to improve my communication my making sure the students clearly
understand the objectives for the day and how the choir will achieve those goals.

The classroom procedures worked very well today. The students took my talk with them the day before to heart: they
arrived on time, started class on time, and quickly transitioned between activities and sections of rehearsal. This was a
HUGE improvement from the past couple of weeks, where students do not start class on time, and transitions take way
too long. The students were also very focused and refrained from chatting and talking throughout the entire class period.
This is another improvement from this class’s normal behavior, which typically includes a lot of background chatter
throughout rehearsal. I am suspicious these improvements might have been a result of Dr. LeFils being in the room, but it
might have also had something to do with our class period the day before and the discussion we had about behavior and
 rehearsal efficiency. This positive, productive environment made student learning very effective. The students were able
to achieve much more in today’s rehearsal because of their conduct and following of proper procedures. I would rate
myself a Proficient in both 2c: Managing Classroom Procedures and 2d: Managing Student Behavior from today’s lesson.
The students’ behavior and classroom procedures were efficient and never disrupted the flow or success of rehearsal.
However, since this rehearsal was somewhat of an unusual situation, normally, I would rate myself Developing for 2c,
because the procedures are still not where I would like them to be on an everyday basis. Typically, transitions are still too
long, and the classes waste too much time at the start of class. I will continue working on improving classroom
procedures and efficiency throughout my internship, even though today’s rehearsal did not have any issues with
procedures or behavior.
I think the lesson was very successful for all the students. The students achieved all the objectives for the lesson. I
know this from my formative assessment of the students’ performance throughout the rehearsal. I was actively listening
to the students’ singing throughout the rehearsal and making decisions on how to continue through the rehearsal based
on their level of achievement and qualities of their performance. I would rate myself at Developing for 3d: Using
Assessment in Instruction. Although I was constantly assessing the students’ performance and making instructional
decisions based on those assessments, I still need to improve my specific and related feedback. I am working on this
aspect of my teaching every day, and I have improved significantly, but there is still room for more improvement and
specific feedback to the students every time rather than just most times.

Supervisor Evaluation #2: