I ve Got The Blues! Grade 7 Music. Contents. Purpose of Unit. How to Use this Resource. Curriculum. Instructional Trajectory

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1 I ve Got The Blues! Grade 7 Music Contents Purpose of Unit How to Use this Resource Curriculum Instructional Trajectory Summary of Literacy Strategies

2 I ve Got The Blues! Grade 7 Music Purpose of the Unit This unit develops knowledge and skills required for composing and performing in the 12-bar Blues form. The lessons: support the revised Ontario curriculum (See The Arts, Grades 1-8, 2009) integrate literacy strategies (See Think Literacy, 2003) highlight sound assessment practices (See Growing Success, 2010) imbed environmental education standards (See Acting Today, Shaping Tomorrow, 2009). Writers attended particularly to the following: identifying learning goals, critical learning, and guiding questions based on the expectations. The lessons focus on big ideas and important learning. aligning expectations, learning goals, performance tasks, assessment checkpoints, and instruction applying the gradual release model (modelling, shared and guided practice, independent practice) incorporating self-assessment and reflection as students gradually assume the role of a composer of the 12-bar Blues applying the elements of music to create a composition in the 12-bar Blues form introducing the Creative Process as it occurs in cooperative learning developing a learning trajectory for the Critical Analysis Process using Literacy strategies as learning routines that provide coherence across lessons, e.g., Think-Pair-Share, and scaffold skills development, such as ability to respond to particular types of Critical Analysis questions. Logistical considerations included: using a design back approach to deliberately build an instructional trajectory in which each lesson builds on previous lessons to move students toward successful achievement of the expectations integrating musical elements, the Creative Process, the Critical Analysis Process, 12-bar Blues form

3 I ve Got The Blues! Grade 7 Music How to Use this Resource This resource was developed collaboratively by Ontario teachers and instructional leaders in cooperation with the Ministry of Education. The intention was to use a problem-solving approach to instructional design for tackling authentic instructional issues. How do we unpack expectations? How do we incorporate assessment for learning? How do we align expectations, assessment, and instruction strategies? How do we integrate effective literacy instruction into the music classroom? What does the gradual release model look like in music? What does a creative process look like? Like all models, these lessons are drafts that capture the best of the writers thinking at a particular moment in their professional learning. They are intended to show the muscle of a lesson, how parts are coordinated to strengthen instruction and learning. They are shared neither as an ideal instructional sequence nor as prescription for instruction, but rather as a support and as an invitation to engage professional learning and rich conversation. The basic approach in this unit provides many opportunities for an experienced teacher to extend learning experiences. Computer programs, e.g., Finale or Band in the Box, can facilitate the writing of the melody and accompaniment. Educators can: implement the unit, adjusting lessons as necessary to context and students use the lessons as sources of instructional ideas and approaches for the development of similar lessons use the lessons as springboards for collaborative discussion and planning use the lessons as platforms for professional conversation and study, e.g., teacher inquiry, lesson study, coaching, professional learning teams, demonstration/host classrooms develop records of practice connected to these lessons, e.g., samples of student work, samples of teacher-created resources such as interactive whiteboard notebooks, videos of classrooms-in-action modify the lessons to integrate various initiatives, e.g., differentiated instruction and assessment, critical thinking, questioning, strategy instruction focus on design and instructional components, e.g., three-part lesson structure, assessment for learning, big ideas, unpacking expectations to identify learning goals, and alignment of expectations, learning goals, assessment, and instructional strategies.

4 Curriculum What will students learn? Overall Expectations C1. creating and Performing: apply the creative process (see pages 19 22) to create and perform music for a variety of purposes, using the elements and techniques of music; C2. reflecting, Responding, and Analysing: apply the critical analysis process (see pages 23 28) to communicate their feelings, ideas, and understandings in response to a variety of music and musical experiences; C3. exploring Forms and Cultural Contexts: demonstrate an understanding of a variety of musical genres and styles from the past and present, and their sociocultural and historical contexts. Unit Guiding Questions How does learning change who we are? For example, how has creating and performing the 12-bar Blues affected us as future listeners, performers, and audience members? How is the structure of the 12-bar Blues form both accessible and challenging? How can a composer make effective connections between musical elements and composition? What are the benefits and challenges of composing on our own and of composing with classmates? How can we recognize and leverage the Creative Process in our schooling and in our daily life? Assessment How will students demonstrate their learning? Assessment of Learning Students knowledge of key concepts, e.g., elements of music, musicality, Jazz rhythms, and articulation are assessed. Students perform lyrics, an accompaniment and a Blues melody in an ensemble. Students reflect in writing in their Reflection Logs on their strengths and next steps as composers, performers, and audience members. Performance, melody and reflection rubrics are included in this unit. A rubric is not provided for Knowledge and Understanding as this assessment of learning may take a variety of forms. Assessment for Learning Students achievement of learning goals is monitored during learning. Ongoing assessment strategies, e.g., traffic light, are built into lessons. Assessment tools, primarily Observation Checklists, are used at assessment checkpoints. Written and oral feedback opportunities are frequent.

5 Instructional Trajectory What might be an optimal learning sequence? Lesson 1 What is The Blues? Assessment Checkpoints After hearing about the historical period through a read-aloud and listening to examples, students learn the lyrical form of the 12-bar Blues and its connection to the element of rhythm. Students generate environmentally-related topics to inspire their lyrics. They then create their own lyrics using the 12-bar Blues form, and begin practising and performing their lyrics with the 12-bar Blues progression. The teacher begins to create a model of the Creative Process on the wall, adding relevant elements throughout the unit as students move through the Creative Process. In this lesson Challenging and Inspiring, Exploring and Experimenting, Imaging and Generating stages are placed on the wall. The teacher introduces the unit s performance task, and Reflection Log Self- Assessment Checklist and Reflection Log Reflection Questions. Students make their first entry in this lesson. Lesson 2 Getting into The Blues Assessment Checkpoints Students respond in their Reflection Log Reflection Questions to a recording of the 12-bar Blues and share their initial responses with classmates. Prompts are based on the Initial Reaction stage of the Critical Analysis Process. This activity validates personal responses and helps students make personal connections and activate prior knowledge. The focus of this lesson is on the musical element pitch and the 12-bar Blues chordal progression. The first 5 notes of a major scale are used to connect students prior knowledge to the 12-bar Blues chordal progression that is the accompaniment. Students create their own accompaniment, which they use throughout the unit Activities are explicitly linked to the Creative Process model on the wall. The Presenting, Performing and Sharing stage is added to the Creative Process model. Observation Checklist (Lessons 2 & 3) Ensure that students are sufficiently comfortable with the 12-bar Blues accompaniment. If necessary, provide additional practice and support. Observation Checklist (Lessons 2 & 3) Ensure that students are able to play and/or sing at least three notes from The Blues scale and are improvising. If necessary, provide additional practice and support. Lesson 3 Improvising with The Blues Assessment Checkpoints Students develop conceptual understanding of improvisation through a daily life analogy and a listening activity. They experiment with Jazz rhythms, e.g., playing them in combinations and with articulation. Students review terminology and relationships between concepts by creating a 12-bar Blues Word Wall. Examples of 12-bar Blues, in audio form, are given to expand students awareness of the 12-bar Blues possibilities. Students are given The Blues scale and are led through a series of activities that introduce some Jazz rhythms and articulations. They improvise on The Blues scale, one note at a time, using the Jazz rhythm examples provided. The Planning and Focusing stage is added to the Creative Process model. Students reflect in their Log after discussing Reflection Rubric Success Criteria. Observation Checklist (Lessons 2 & 3) Ensure that students are sufficiently comfortable with the 12-bar Blues accompaniment. If necessary, provide additional practice and support. Observation Checklist (Lessons 2 & 3) Ensure that students are able to play and/or sing at least three notes from The Blues scale and are improvising. If necessary, provide additional practice and support.

6 Instructional Trajectory What might be an optimal learning sequence? Lesson 4 Composing The Blues (1) Assessment Checkpoints Students respond to an audio recording of a 12-bar Blues performance using question prompts from the Description stage of the Critical Analysis Process. They use a graphic organizer to compare The Blues recording to a contrasting recording, using the description stage questions as a guide. The description and graphic organizer activity is an introduction to analysis and to writing an informed and supported point of view. After reviewing previous learning in a warm-up, students discuss success criteria and with the teacher complete the Melody Rubric focusing particularly on balanced melodic line. Individually or in pairs, students begin composing a piece in 12-bar Blues form. This process continues for 4 classes. Students compare their melodies to the recording s melody, considering how they might revise and refine their own work (assessment as learning) Lesson 5 Composing The Blues (2) Assessment Checkpoints Students respond to an audio recording of the 12-bar Blues performance using question prompts from the Analysis and Interpretation stage of the Critical Analysis Process. Students compare The Blues recording to a contrasting video recording using the Analysis and Interpretation stage questions as a guide. They compare their own melody to the melody in the recording, considering how they might apply their learning to refine their own melody. Comparison is the primary strategy for analysis, in which students have an opportunity to use a more complex graphic organizer. After the review warm-up, the Melody Rubric is clarified and success criteria are demonstrated for each level. Examples of and guidelines for effective feedback are recorded on an anchor chart. The corresponding stage of the Creative Process is added to the wall model. Students continue the process for melody composition established in Lesson 4. After listening to/and viewing the 12-bar Blues recording again, students form a Value Line on which they take a position in response to the recording. After the teacher models how to support a position with evidence, students take and support their position in writing in their Reflection Log Reflection Questions. Feedback is provided on success criteria (assessment for learning). Reflection Students write a response, making personal connections, providing evidence, organizing their ideas, and writing clearly (success criteria).

7 Instructional Trajectory What might be an optimal learning sequence? Lesson 6 Composing The Blues (3) Students listen to/and view a video recording of a Blues performance and respond to question prompts from the Expression of an Informed Point of View Stage of the Critical Analysis Process. They compare the recording to another contrasting piece, using question prompts for the Expression of an Informed Point of View stage of the Critical Analysis Process. Students then compare their own melodies and lyrics to those of the 12-bar Blues recording. They use a different graphic organizer for their analysis. After a warm-up, students continue the composing work begun in Lesson 4. The teacher continues systematic assessment for learning, using the Observation Checklist: Assessment for Learning Checkpoint Lessons 5 & 6 (based on the Melody Rubric), identifying students requiring additional guided practice and providing feedback. Students are encouraged to provide feedback to each other as well, using the anchor chart as a guide. Students should have an opportunity to demonstrate their learning again, if necessary, before the unit evaluation (assessment of learning). Students take a position on the Value Line in response to whether or not their responses to the12-bar Blues piece has shifted and share their reasons with a partner. Incorporating feedback from the previous Reflection Log entry, students take and support a position on the 12-bar Blues piece. Feedback is provided on success criteria (assessment for learning). Lesson 7 Composing The Blues (4) In a jigsaw, students analyze the 12-bar Blues form by responding to guiding questions from the Consideration of Cultural Context stage of the Critical Analysis Process. They compare the 12-bar Blues to a contrasting form using a graphic organizer and compare their own melodies to the recording in order to revise and refine their compositions. After a warm-up, the teacher clarifies and demonstrates success criteria on the Performance Rubric. As students continue composing and practising, provide feedback. Students knowledge and understanding are evaluated. No rubric is provided as this assessment may take a variety of forms, e.g., mix and match, that are inappropriate for a rubric. Assessment Checkpoints Melody Lesson 6 Teachers use an observation checklist to assess melody success criteria while students are engaged in composing and practising. Success Criteria Uses standard notation when composing with considerable accuracy Creates a balanced melodic line in 12-bar Blues form with considerable -logical, follows scales and patterns, and avoids large, awkward leaps Articulates (staccato, accent, tenuto) Jazz rhythms with considerable appropriateness Applies elements (Blues form, pitch, rhythm, articulation) when performing an improvised melody with considerable Reflection Students write a personal analytic response in their Reflection Log Reflection Questions. (2nd opportunity). Assessment Checkpoints Knowledge and Understanding See lesson for suggested assessment tools. Success Criteria Knows the elements of music, elements of musicianship, and other key concepts Knows the historical context in which The Blues form emerged Understands how elements of music and elements of musicianship apply to the 12-bar Blues Understands the qualities of the 12-bar Blues that distinguish this from other forms

8 Instructional Trajectory What might be an optimal learning sequence? Lesson 8 Collaborative Composition After warming up and reviewing success criteria on the Performance Rubric, students develop an anchor chart of collaborative skills for ensemble work. Ensemble members share their individual compositions, one student playing the melody and another the accompaniment. After collaboratively determining the composition and role of each member, the ensemble practises its composition. Teacher and students co-construct an anchor chart for effective feedback. Ensembles practise, providing feedback to each other. The teacher facilitates a discussion, e.g., in a community circle, about the Creative Process. Lesson 9 Performing and Reflecting After warming-up and connecting the lesson s agenda to the Creative Process, teacher and students develop an anchor chart for performer and audience behaviours. The next part of the lesson focuses on assessment for and as learning. Ensembles from Lesson 8 pair up. After reviewing criteria for giving effective feedback, ensembles take turns performing and providing feedback to each other. Ensembles then revise and refine performances based on feedback, and self-assess using the Performance Rubric. For their assessment of learning, ensembles perform for the class. Students discuss, e.g., in a community circle, the unit s big question: Does learning change who you are? Students then complete their Self-Assessment Checklist and respond to the Reflection Log prompts for Lesson 9. These are evaluated (assessment of learning). Assessment Checkpoints Performance Student ensembles perform a collaboratively composed work. Success Criteria Sings or plays in tune with considerable accuracy Performs pitches Performs rhythms with considerable accuracy Performs a balanced melodic line in 12-bar Blues form Performs with a steady tempo Performs Jazz rhythm articulations (staccato, accent, tenuto) Uses posture and instrument playing position Applies most elements (Blues form, pitch, rhythm, articulation). Assessment Checkpoints Ensemble Performance of the collaborative composition. (Melody Rubric and Performance Rubric) Reflection in response to prompts: self-assessment of strengths and weaknesses, and taking a stand on whether learning changes the learner. (Reflection Rubric)

9 Knowledge and Understanding Teachers will ensure that students demonstration of their achievement is assessed in a balanced manner with respect to the four categories of the achievement chart. (Growing Success, 2010, p. 28)

10 Success Criteria Co-creation of rubrics and analysis of exemplars contribute to transparency and to building shared understanding of criteria and standards. This work also supports development of peer and self-assessment skills. See Differentiated Instruction Cards, Identifying Success Criteria and Sharing and Clarifying Success Criteria.

11 Assessment for Learning Students interest in learning and their belief that they can learn are critical to their success. After reviewing the impact of testing on students motivation to learn, Harlen and Deakin Crick (p. 203) recommended the use of assessment for learning and as learning including strategies such as sharing learning goals and success criteria, providing feedback in relation to goals, and developing students ability to self-assess as a way of increasing students engagement in and commitment to learning. (Growing Success, 2010, p. 29) The three processes, as identified by Ramaprasad in Black and Wiliam (p. 7), are: establishing where the learners are going in their learning; establishing where they are in their learning; establishing what needs to be done to get them to where they are going. (Growing Success, 2010, p. 32) This unit outline incorporates the following aspects of sound assessment practice: Engineering effective classroom discussions and other learning tasks that elicit information about student learning Providing descriptive feedback that moves learners forward (i.e., outlining what was done well, what needs improvement, and how to improve) Engaging students as learning resources for one another Empowering students to become owners of their own learning (Growing Success, 2010, p. 32)

12 Feedback As part of assessment for learning, teachers provide students with descriptive feedback and coaching for improvement. Teachers engage in assessment as learning by helping all students develop their capacity to be independent, autonomous learners who are able to set individual goals, monitor their own progress, determine next steps, and reflect on their thinking and learning. (Growing Success, 2010, p. 28) Teachers can gather information about learning by: designing tasks that provide students with a variety of ways to demonstrate their learning; observing students as they perform tasks; posing questions to help students make their thinking explicit; engineering classroom and small-group conversations that encourage students to articulate what they are thinking and further develop their thinking. (p. 34)

13 Achievement Category Application of knowledge and skills (1.1) Application Transfer of knowledge and skills (application) (1.3) (1.4) I ve Got The Blues! Performance Rubric: 12-bar Blues Criteria Level 1 Level 2 Level 3 Level 4 Singing and/or playing in tune from musical notation: being in tune, performing pitches and rhythms Performing a composition in 12- bar Blues form Performing musicianship techniques, e.g., tempo, articulation, posture and position Sings and/or plays in tune with limited accuracy Performs pitches with limited accuracy Performs rhythms with limited accuracy Performs a partially balanced melodic line in 12-bar Blues form with limited Performs with an unsteady/inconsistent tempo Articulates Jazz rhythms (staccato, accent, tenuto) with limited Performs with limited correctness posture and instrument playing position Sings and/or plays in tune with some accuracy Performs pitches with some accuracy Performs rhythms with some accuracy Performs a balanced melodic line in 12-bar Blues form with some Performs with a some steady/consistent tempo Articulates Jazz rhythms (staccato, accent, tenuto) with some Performs with moderate correctness posture and instrument playing position Sings and/or plays in tune with considerable accuracy Performs pitches with considerable accuracy Performs rhythms with considerable accuracy Performs a somewhat balanced melodic line in 12-bar Blues form with considerable Performs with a considerable steady/ consistent tempo Articulates Jazz rhythms (staccato, accent, tenuto) with considerable Performs with considerable correctness posture and instrument playing position Sings and/or plays in tune with a high degree of accuracy Performs pitches with a high degree of accuracy Performs rhythms with a high degree of accuracy Performs a balanced melodic line in 12-bar Blues form with a high degree of Performs with a highly steady and consistent tempo Performs articulation (staccato, accent, tenuto) found in Jazz rhythms with a high degree of Performs with a high degree of correctness posture and instrument playing position Communication (1.2) Application of the elements of music when performing an improvised melody over a Jazz rhythm Applies elements (Blues form, pitch, rhythm, articulation) with limited Applies some elements (Blues form, pitch, rhythm, articulation) with some Applies some elements (Blues form, pitch, rhythm, articulation) with considerable Applies elements (Blues form, pitch, rhythm, articulation) with a high degree of

14 I ve Got The Blues! Melody Rubric: 12-bar Blues Achievement Category Application of knowledge and skills (1.1) Criteria Level 1 Level 2 Level 3 Level 4 Use of standard notation when incorporating the elements of music during composition Uses standard notation when composing with limited accuracy Uses standard notation when composing with some accuracy Uses standard notation when composing with a considerable accuracy Uses standard notation when composing with a high degree of accuracy Application Transfer of knowledge and skills (application) (1.3) (1.4) Creation of a melodic line in 12-bar Blues form using the Blues scale, i.e., the melodic line is logical follows scales and patterns avoids large, awkward leaps Use of musicianship techniques, i.e., captures the essence of Jazz Blues through appropriate use of techniques, e.g., articulation (staccato, accent, tenuto) Creates a partially balanced melodic line in 12-bar Blues form with little Articulates (staccato, accent, tenuto) Jazz rhythms with a limited degree of appropriateness Creates a balanced melodic line in 12-bar Blues form with some Articulates (staccato, accent, tenuto) Jazz rhythms with a some degree of appropriateness Creates a balanced melodic line in 12-bar Blues form with considerable Articulates (staccato, accent, tenuto) Jazz rhythms with a considerable degree of appropriateness Creates a highly effective balanced melodic line in 12-bar Blues form Articulates (staccato, accent, tenuto) Jazz rhythms with a high degree of appropriateness Communication (1.2) Application of the elements of music when improvising a Blues melody over a Jazz rhythm, i.e., combining and balancing the elements to develop the musicality of the piece Applies the elements (Blues form, pitch, rhythm, articulation) when performing an improvised melody with limited Applies elements (Blues form, pitch, rhythm, articulation) when performing an improvised melody with some Applies elements (Blues form, pitch, rhythm, articulation) when performing an improvised melody with considerable Applies the elements (Blues form, pitch, rhythm, articulation) when performing an improvised melody with high degree of

15 I ve Got The Blues! Reflection Rubric: 12-bar Blues Achievement Category Use of critical/ creative thinking processes Criteria Level 1 Level 2 Level 3 Level 4 Reflects on growth as a composer, performer, and audience member with respect to achievement of learning goals changes in self Reflects on personal growth as a composer, performer and audience member with limited thoughtfulness Reflects on personal growth as a composer, performer and audience member with some thoughtfulness Reflects on personal growth as a composer, performer audience member with considerable thoughtfulness Reflects on personal growth as a composer, performer and audience member with a high degree of insight Use of critical/ creative thinking processes Creation of a melodic line in 12-bar Supports reflection with relevant personal connections, e.g., feelings, experiences examples reasons Gives limited relevant personal connections, examples and reasons Gives somewhat relevant personal connections, examples and reasons Gives considerably relevant personal connections, examples and reasons Gives highly relevant personal connections, examples and reasons Communication Expresses and organizes ideas clearly and logically Expresses and organizes ideas with limited clarity and logic Expresses and organizes ideas with some clarity and logic Expresses and organizes ideas with considerable clarity and logic Expresses and organizes ideas with a high degree of clarity and logic Name Successes: Date Next Steps:

16 I ve Got The Blues! Observation Checklist Assessment Checkpoint Lessons 2 & 3 Student Is sufficiently comfortable with the accompaniment Can play and/ or sing at least 3 notes of The Blues scale Is improvising Feedback provided Date

17 I ve Got The Blues! Observation Checklist Assessment Checkpoint Lesson 8 Student In tune Jazz rhythms Pitch Articulation Tempo Posture & instrument position Balanced melodic line Feedback provided Date

18 I ve Got The Blues! Observation Checklist Assessment for Learning Checkpoint Lessons 5 & 6 Student Use of standard notation Creation of a balanced melodic line Use of musicianship, e.g., articulation Application of the elements of music when improvising a melody over a rhythm Feedback provided Date Suggested symbols: approaching achieving exceeding

19 I ve Got The Blues! Summary of Literacy Strategies READING ORAL COMMUNICATION INITIATING THINKING VISUAL ANCHORS METACOGNITION COMPARISON WRITING Read Aoud Shared Reading Reading Strategies Think/Pair/Share Inside-Outside Circles Jigsaw Community Circle Collaborative Skills Active Listening K-W-L Question Prompts Value Line (Take a Stand) Both Sides Now Anchor Chart Word Wall Metacognition Reflection Self-Assessment Think Aloud T-Chart Comparison Matrix Venn Developing & Organizing Ideas Proofreading without Partners Lesson 7.1 þ þ þ þ þ þ þ Lesson 7.2 þ þ þ þ þ Lesson 7.3 þ þ þ Lesson 7.4 þ þ þ þ Lesson 7.5 þ þ þ þ þ þ Lesson 7.6 þ þ þ þ þ þ Lesson 7.7 þ þ þ þ þ þ Lesson 7.8 þ þ þ þ Lesson 7.9 þ þ þ þ

20 Name: I ve Got The Blues! Reflection Log Self-Assessment Checklist Indicate progress with a coloured sticky dot (beginning- red; approaching - yellow; achieving - green). Update progress on learning goals throughout the unit. When you have completed this log, hand it in to your teacher. Lesson Learning Goals Progress Dots 1 I can identify/sing and/or play a rhythm. I can write my own lyrics in an AAB form. I am playing /singing my notes accurately. 2 I can identify scale degrees I IV and V and play them in the context of the blues progression. I can play/sing the first 5 notes of the major scale. I can identify/sing and/or play I IV V in a scale. 3 I can improvise using 3 notes with a Jazz rhythm. I have explored various rhythms in my improvisations. I am beginning to use articulation that is stylistically appropriate to the Blues form. 4-7 I have tried improvising using all the notes of the Blues scale. I know the 12-bar Blues form. Write form in Roman numerals on the line. I know the notes (I, IV, V) on my instrument in 12-bar Blues form. Write form in note names for your instrument on the line. I wrote 2 bars of melody and it was checked by (partner). I wrote 8 bars of melody and it was checked by (partner). I wrote 12 bars of melody and it was checked by (teacher).

21 I ve Got The Blues! Reflection Log Reflection Questions Name: Date: Lesson 1: What is the Blues? 1. List at least three descriptions or explanations that would help someone understand what the Blues is. 2. List some benefits and challenges of using a strict structural form like the 12-bar Blues when composing.. Benefits: Challenges:

22 I ve Got The Blues! Reflection Log Reflection Questions Name: Date: Lesson 2: Getting into the Blues page 1 of 2 1. What is your initial reaction to the 12-bar Blues? Jot notes in response to four of the prompts in the space provided as you listen. What is my first impression? Of what does this work remind me? What do I like or not like about what I hear? How does what I hear make me feel? What do I find interesting about what I hear? What puzzles me about what I hear? What do I visualize?

23 I ve Got The Blues! Reflection Log Reflection Questions Name: Date: Lesson 2: Getting into the Blues page 2 of 2 2. Write 3-4 sentence responses to two of the prompts on the previous page. Write complete sentences with details. Include part of the question in your first sentence. Prompt #1: Response: Prompt #2: Response:

24 I ve Got The Blues! Reflection Log Reflection Questions Name: Date: Lesson 5: Taking a Stand 1. What is your response to the 12-bar Blues piece you heard/saw today? Organize your ideas and state your position clearly in complete sentences. Support your position with personal connections feelings, experiences, knowledge. Support your position with examples and reasons. You could make comparisons to other musical forms.

25 I ve Got The Blues! Reflection Log Reflection Questions Name: Date: Lesson 6: Taking a Stand 1. Is the example of the 12-bar Blues you heard today an important work? Why? Organize your ideas and state your position clearly in complete sentences. Support your position with personal connections feelings, experiences, knowledge. Support your position with examples and reasons. You could make comparisons to other musical forms. Incorporate the feedback you received on Lesson 5. At the bottom of your page, indicate which level of the Reflection Rubric you think your response is. Give a reason for your self-assessment.

26 I ve Got The Blues! Reflection Log Reflection Questions Name: Date: Lesson 9: Performing and Reflecting on the 12-Bar Blue page 1 of 2 This entry is evaluated. 1. Reflect on your composition and performance. What are your strengths and areas for improvement? Refer to your self-assessment checklist. Write complete sentences. Include detail and examples. Include reasons. Strengths In my written composition I was successful at. In my performance I was successful at. Improvement In my written composition I had difficulty with. In my performance I had difficulty with.

27 I ve Got The Blues! Reflection Log Reflection Questions Name: Date: Lesson 9: Performing and Reflecting on the 12-Bar Blue page 2 of 2 2. Take a stand: Does learning change who you are? For example, how has creating and performing the 12-bar Blues affected you as a future performer and audience member? Organize your ideas and state your opinion clearly in 6-10 complete sentences. You may wish to brainstorm a point-form list before you begin to write. Describe how and if you ve changed. Discuss both being a performer and an audience member. Support your opinion with connections to your feelings and experiences. Include details, examples, and reasons.

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