Sarah Wagner

MUSE 375

HAT Journal 6

Huh?

 If you are revising an old curriculum from a previous teacher, how do you change it

without changing the pacing of what was done in the past?

 If changing the process of grading was necessary, how can you adapt the older students to

the new structure of the class?

 What should the balance be of assessment versus feedback and grading? Informal and

formal assessment?

Aha!

 The “spiral curriculum” is something that I wish was emphasized when I was in general

music courses. I remember having units on types of rhythms and the recorder, but I am

not sure how the concepts transitioned to one another. Throughout my curriculum, I will

create benchmarks and clearly identify learning objectives.

 I did not realize that you would need to list all of your required materials when you

initially submit your curriculum. Because the lessons may be altered, I feel that creating a

list of the general materials is easier than forcing all of the lesson plans to be completed

prior to classes starting.

Transfer

 The importance of declarative, procedural, and conceptual learning is immense. All

factors should be considered when teaching all age groups in any subject. Music is seen

as a creative class, and many do not know how to measure skill or achievement. In my
future classrooms, I will clearly identify my objectives weekly. Younger students may

find it easier to be aware of the teaching if it is identified on the board. This will help

visual learners as well. For example, the term “crescendo” may be a part of the

declarative learning for the week. For the procedural learning aspect, students should be

able to sing a crescendo. Lastly, students will understand different ways a crescendo is

used, and can identify them in pieces. The different types of learning create well-rounded

students. Not only will students be able to identify the concept being presented, but will

also be able to use the information in context.