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+ What You Think Your Students Are Learning But Aren’t: Collaboration as Eye-Opener Camille Kingman Orem Junior High School (UT)

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Presentation on theme: "+ What You Think Your Students Are Learning But Aren’t: Collaboration as Eye-Opener Camille Kingman Orem Junior High School (UT)"— Presentation transcript:

1 + What You Think Your Students Are Learning But Aren’t: Collaboration as Eye-Opener Camille Kingman Orem Junior High School (UT) NAfME National In-Service Conference 2014

2 +

3 + What You Think You Are Teaching But Aren’t: Delusions Revealed

4 + Confessions of a Collaboration Hater: Learning to Love Group Work

5 + What You Can Learn from What Your Students Aren’t Learning

6 + Goals Tools and resources What collaboration looks like: a professional learning community of music educators in action How to collaborate How to use data How collaborative work ties into new National Core Music Standards

7 + Tools

8 + Tools

9 + Scope Page

10 + Assessments Page

11 + Data Page

12 + Formative Assessments Pages

13 + Tools

14 +

15 + PLC by the Numbers 4 years of high-functioning collaboration 11 junior high schools 17 choral educators 0 district administrators 3500+ students each fall 3 levels of curriculum 46 common assessments created to date

16 + How We Got Started Monthly meetings Summer grant in 2011 Unpacked our state core curriculum Created specific benchmarks for 7 th Grade Choir, focusing on music notation skills Divided into sub-groups to complete work Wrote a comprehensive pre-test and post-test Made a SMART goal Gave the assessment and collected student data

17 + Unpacking “Identify and define standard notation terms and symbols for pitch, rhythm, dynamics, tempo, articulation, and expression.”

18 + Beginning Pre-Test, 2011-2012

19 + Beginning Post-Test, 2011-2012

20 + How Did We Do? We finally knew where we stood. We made some progress, 347 more students showed proficiency. We did NOT meet our SMART goal and we were SHOCKED. We had taught the basics. We had been more meticulous about our teaching than ever. We had talked about teaching more than ever. How many years had we been in denial about what our students were learning?

21 + Why Didn’t We Give Up? Inexperienced Mistakes Unrealistic goals Didn’t know how to write quality assessments Difficult to collect data Didn’t know how to use data Worked so hard and still had many failing students We didn’t receive a collaboration grant for 2012

22 + Why Didn’t We Give Up? Greater organization Heightened team collegiality Accountability to members of the team Improved teacher instruction Increased student learning Access to resources Getting over the delusion “I taught it, they got it.”

23 + Beginning Pre-Test, 2012-2013

24 + Beginning Post-Test, 2012-2013

25 + Beginning Assessments, 3-Year Comparison

26 + This Year’s Baseline Proficiency Data

27 + Where We Are Now Meet 2-3 times a month Beginning, Intermediate, Advanced Curricula Collect common data on formative assessments, not only summative post-tests Unified use of Mastery Connect software for data collection Teacher website Student website

28 + How do we collaborate?

29 + Collaborate with those who share your same discipline. Specialize within music disciplines (band, choir, orchestra) if you can You will need to have the support of your administrators Reach out beyond your physical school site Use technology to collaborate Increase your collaboration proficiency, then collaborate with other educators who might not teach what you do New national standards will help in collaboration amongst diverse arts educators

30 + Collaboration is NOT Cooperation Event Planning Collegiality

31 + Collaboration IS Shared values and vision centering on students’ learning Collective teacher learning and application of learning Shared personal practice Action and experimentation orientation Shared leadership

32 + What do we want our students to know? What do we want a 7 th grade student leaving my choir class to be able to know and do? Intended, enacted, assessed, and learned curricula Do we want our students to learn how to sing and interpret a piece of music they just picked up? Do we want our students to memorize symbols and definitions? Do we want our students to learn how to take multiple choice tests? Do we want our students to learn that music reading skills are separate from the “fun” music-making they enjoy outside of the classroom?

33 + What is essential? Must know Good to know Nice to know Ultimately, only you know what is essential for your students in your situation. Your list of essentials will evolve, and probably shrink, as time passes.

34 + What is essential? Facility in solfegeLetter names on the staff

35 + What is essential? Aural skillsTerminology

36 + Start small. The “easy” project will be far more difficult than you realize. Choose one unit in one level of curriculum. Choose concepts/objectives that are easily assessed. In large PLCs (5+ teachers) divide work amongst subgroups. Be patient with yourself and others.

37 + How will we know if they learned it? Answers are more elusive than you think This is the course in assessment writing that you never had. You have to write an assessment. It will take longer to create than you predict. You’ll finally finish, and you’ll be proud. You have to actually give the assessment. Once you have used the assessment, you’ll hate it. Repeat.

38 + How will we know if they learned it? Moment of truth Nothing will be scarier than the first batch of data Checkups versus autopsies Assessments are just as much for the teacher as for the student Allow a minute for you and your students to adjust, logistically and psychologically

39 + Common Assessment Assessment is not common until data is collected and shared. Be very specific about data collection. When Where What How Use technology: the computer is better at grading than you anyway.

40 + Avoid the DRIP syndrome. Data Rich Information Poor What do we do with data once we have it?

41 + Pre-Test Data Establish a baseline Adjust curriculum for the classroom Adjust curriculum for individual students Inform assignment of students to teams for group work Fix mistakes in assessment

42 + Formative Data Assessment FOR learning Not for the purpose of putting assignments in the grade book Provide immediate feedback to students You will need help Extra time in the day Student teachers and college students Students who are already proficient Technology

43 + Formative Data Dialogue with students “How did you get this answer?” Validate students’ problem-solving skills Learn how to think as your students think Adjust future teaching to align with the styles of your students

44 + Item Analysis

45 + Beginning 7th BoysBeginning 7th Girls

46 + Item Analysis What is the content of Questions 20 & 21? Is there a better way to assess the content of Questions 20 & 21? What is Question 24 asking? How did my colleagues teach that content? Is Question 23 too easy? Entire DistrictQuestions I Should Ask

47 + Item Analysis

48 + Formative Data Reflect: What did I do to teach this the first time? Re-teaching does not mean to repeat the teaching you did the first time. Provide experiential learning before assigning verbal terms. Take another look at the question. Is it assessing what you think it is? Is it unnecessarily tricky? Is it worded in student-friendly language? Is the graphic clear? Are the answer choices too similar to one another? Is it simply a bad question?

49 + Item Analysis Questions 1-5 are terms matching. Question 6: Give the note names for mi, sol, ti, do’ in G Major. Critical thinking Abstract Many skills needed to answer this one question Advanced Formative #1For Your Consideration

50 + Formative Data Which measure is louder, m. 39 or m. 41? True or False: The steady beat is faster in m. 39 than in m. 46.

51 + Formative Data Unpack all of the skills needed to answer the question in order to foresee incorrect student transfer of knowledge. Measures Beat versus rhythm Dynamic markings Articulation markings

52 + Teach each other how to teach. Reflect on your personal students’ data. What do you learn about your own teaching? Reflect on the data of your students versus the student data from another school. What do you and your students do well? What can you share with your colleagues? At what do your colleagues excel? What can you learn from them? Reflect on your team’s collective data. What is working? What is not working and how are we going to fix it? Do not tell people how they must teach.

53 + Summative Data Assessment OF learning Accountability to the collaborative team Celebrate student (and teacher) progress Plan and revise for the next group of students in your class This kind of data provides only one limited perspective

54 + Agree to disagree. Consensus comes only after lengthy debate. Disagreements are inevitable. Your ego will heal. You will learn little if you are more concerned with avoiding conflict. Create group norms. Starting and ending on time Providing thoughtful agendas before meetings Not interrupting, allowing each member to speak REALLY listening and considering all ideas Bringing treats Celebrate all of your team’s efforts, even the failures.

55 + Revelations RIP: “I taught it, not my problem if they didn’t learn it.” Brilliant, unassuming students are hiding in your classes. The “Why do we have to learn this?” question is less terrifying. The initial investment of time to teach curriculum at the beginning of the year leads to quicker learning of repertoire, more singing as the year continues. There is no more your students and my students. They are our students. Process versus product Group construction of knowledge in the PLC

56 + New Standards The Artistic Processes are Creating, Performing, Responding, and an overarching Connecting. There is no Reading (music in notational systems) Process. Can you still create, perform, respond, and connect to music if you cannot read notation? Does reading notation help in the creation, performance of, response and connection to music? Standard notation is explicitly mentioned in AS2 (Creating) & AS4 (Performing).

57 + Where Notation Fits in the New Standards Specifically mentioned in: AS2: MU:Cr2.1.E.8b AS4: MU:Pr4.1.E.8a, MU:Pr4.2.E.8a Implied in: AS1: MU:Cr1.1.E.8a AS2: MU:Cr2.1.E.8a AS3: MU:Cr3.1.E.8a, MU:Cr3.2.E.8a AS4: MU:Pr4.3.E.8a AS5: MU:Pr5.1.E.8a AS6: MU:Pr6.1.E.8a AS7: MU:Re7.2.E.8a AS8: MU:Re8.1.E.8a AS9: MU:Re9.1.E.8a

58 + New Standards Understanding by Design Stage 1: Big Ideas Stage 2: Real-World Performance Assessments Stage 3: Skills and Knowledge Required 1994 National Standards now constitute the Stage 3 skills and knowledge of the 2014 Standards. Shift from behavioral objectives to constructivist objectives The majority of our PLC work historically has focused on basic skills and knowledge. A powerful conversation led us to develop performance assessments this summer.

59 + New Standards: What’s the Big Idea? For this PLC work currently? Big Idea? Enduring Understanding? Essential Questions for Anchor Standards 4 & 5 How do performers select repertoire? How do performers interpret musical works? How do people pass music on from one to another? Culture to culture Throughout history This question could be asked fruitfully over and over and over… There are multiple answers and multiple avenues for students to make meaning.

60 + PLC Practice: An Analogy to New Standards Music - Traditional and Emerging Ensembles Strand Anchor Standard 3: Refine and complete artistic work. Enduring Understanding: Musicians evaluate, and refine their work through openness to new ideas, persistence, and the application of appropriate criteria. Performance Assessment (MU:Cr3.1.E.8a): Evaluate and refine draft compositions and improvisations based on knowledge, skill, and collaboratively-developed criteria. This is what you are doing with curriculum and assessment within a PLC!

61 + What now? Use assessments with us; share and analyze data with us.

62 + What now?

63 + Use assessments with us; share and analyze data with us. Use assessments within your own PLC; share data amongst yourselves to inform your teaching practice. Use assessments as a starting point in your own PLC, and then adapt/create assessments that better meet the needs of you and your students. Will you share them with us? Begin working in a PLC of music educators on curriculum of your choosing. Please share your journey with us.

64 + Camille Kingman ckingman@

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