4/27/2018
Topic:
Tools and Strategies
Wendell Simmons
|
In my orchestra classes, I have sections of string, woodwind, brass, and percussion. In order to provide high level instruction and reach a high level of success, I have selected individual students as section leaders. After working with me before a class, these leaders pass on to the rest of the students the ideas and techniques I have shown them. This is done in a scaffolding process, starting with small sections, or individual measures, gradually adding more material together until the entire passage is worked thoroughly to the highest level. I am very careful to pick section leaders that are highly respected by their peers and are sensitive and compassionate in the way they deal with their classmates. This has worked very well for me for many years. This creates close, supportive, reltionships among the students and fosters the great teamwork necesarry for achieveing a very high level of success. |
4/27/2018
Topic:
Tools And Strategies
Wendell Simmons
|
Option 1. Peer partnering with section leaders and section members has proved very successful in my music classes. Occasionally, I have had talented students with learning disabilities who take a littler longer than other students to reach a high level of success. Since making music is a communal activity, and everyone benefits from each member of the ensemble performing on a high level, all of my students want everone to succeed in learning difficult and challenging music. Sometimes I actually assign individual students students to work together ( 2-3 students) to help each other work out a difficult passage. At other times I have the section leaders help the entire section attain a high level of success. |
5/10/2018
Topic:
Students with Disabilities
Wendell Simmons
|
I have a student with ADHD -Hyperactive/Impulsive Type, Tourette Syndrome. He is a talented member of one of my Orchestra and Instrumental Techniques classes in the Performing Arts School in which I teach. Although he has certain modifiations related to testing in his academic classes, I have found that he tests quite well as a music student, as long as he is thoroughly prepared and completely understands the directions prior to the test. So, before any testing situation, I make sure to carefully explain the testing, and I make sure he understands or has any questions about the test. He usually does quite well. Sometimes, I have him test on required repertoire in a separate room, and I videorecord his test. This young man consistenly earns an "A" in my classes, and is a pleasure to teach.
edited by Wendell Simmons on 5/12/2018 |
5/12/2018
Topic:
Tools and Strategies
Wendell Simmons
|
Option I: I have often used Tiered lesson strategies when working with whole class as well as smaller group instruction.
When working on difficult passages in repertoire we plan to perform in concert, I often break the passages into several components that cover techniclal, musicality, articulation, and tone. Depending on the class or group, I start by breaking down one aspect, such as bow-stroke (articulation) or intonation, and modeling for the students the desired result. Breaking down articulation and precision by starting with small sections, (sometimes one note at a time, and gradually increasing to part of a passage, and finally the entire passage). Depending on the students, this sometimes starts with review of basic articulations and bowing techniques, sometimes repeating a single note or pitch. Gradually, I add notes and subtract the repetition. (Mediated Scaffolding) Usually, the difficult passage can be effectively learned in a relatively short amount of total time. For students who don't immediately grasp the technique, I offer extra time to cover any particularities that may be interfering with their success. For intonation problems, I often break students into small groups of various size and guide them through problematic passages by having them sing, or play over a drone pitch, (dividing students between the melody and drone, switching their roles often) and then finally, playing the pasage together slowly, gradually getting to the proper tempo. These strategies (Conspicious Strategies, Strategic Instruction, Judicious Review) I use often, and have found that they unfailingly work for students of all levels, whether or not they have disabilities.
Differentiated Learning-Level of complexity can be varied to allow all students (with or without disabilities) to demonstrate mastery. Different levels of steps necesarry to complete assignments, combined with a reaonable time frame to successfully complete and master all facets for an upcoming performance, insures success for all students. I often have students perform difficult sections for me independently during non class times, coaching them through many of the tiered methods mentioned above. When I do this, I feel they raise their level of independence for that repertoire, which often leads to higher levels in subsequent assignments. |
5/12/2018
Topic:
Students with Disabilities
Wendell Simmons
|
An adaptive assessment I have used for students with disabilities is to assess often, small sections of music, instead of assessing an extended piece of repertoire as a whole. This has proven to be very successful for my students. In the end, my students with disabilities have performed well, and receive good grades. |