Teaching Portfolio

Spring Experiences
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Peer Teaching 

For this peer teaching assignment, we were to teach a short song, a capella, by rote using a specific formula.  

Task Analysis for Peer Teaching #1 

Featured section:

11. Entire Song ­ - T sings & S sing in head  
     T: I’m going to sing the whole song again.
        This time, sing in your head and give me
        that resting tone at the end.  
        (sing) Spring, spring, what a glorious feeling!  
        All the little lambs on the hillside squealing  
        Tighten up your braces, tuck in your shirt.  
        All the little green things growing in the dirt!  

12. Students sing resting tone  
     T: (cue resting tone)  
     S: Bum  

13. Ready, sing!  
     T:  Now let’s do the whole song!  
     T:  (On rhythm and melody of 1st phrase)
         “one, two, and a’ ready sing!”  
     S: ​(sing) Spring, spring, what a glorious feeling!   
         All the little lambs on the hillside squealing  
         Tighten up your braces, tuck in your shirt.  
         All the little green things growing in the dirt!

Full detailed task analysis below.

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This section was the culmination of the lesson: one last model, and the students' opportunity to put it all together. I appreciated their participation and the effort they put into listening and returning. For my part, I would like to have slowed down and made sure everyone knew exactly what the words were. Generally, my singing is clear, but my speaking voice tends to get lost when it is not my focus. I am also working to use my cues to more clearly communicate my expectations. When I cue an entrance but leave wiggle room for stragglers, it sends the message that my cue is a suggestion. Both my projection while speaking and my conducting will improve as I become more and more confident in this particular setting.



Case Study: Four-year-old Adam


At the beginning of the term, I was tasked with choosing a child to observe for half of a 10-week Pre-K music program at a local child care center. I was to make general observations and note any and all progress. I have interpreted this to mean any kind of development, musical or otherwise.

On my first day observing the class, I saw Adam*. Around four years old, he had a caregiver close to him, giving him personalized attention by guiding him, encouraging him, and demonstrating to him the various movements that the class was doing. Adam sat still and watched. He watched the music leader, he watched his peers. Egg shakers were passed out to each child and adult. Adam held his loosely while everyone else shook theirs to the music. He soon started smiling. Most of the time he did not make any obvious signs of participation, but had hints of hand movements during “Open, Shut Them,” and when the class did a big owl “Whoooooo,” his mouth formed an “ooh” shape. He touched his nose on the final round of the snowman song, and, towards the end of class, was doing song movements more frequently.

Over the weeks that I watched Adam, I noticed some consistencies. He spent several minutes quietly watching the class. His focus rarely left the activity within the music circle. He smiled often. The times he did the movements were always the simplest or most straightforward ones. For example, waving goodbye with a finger was much more likely than with a shoulder. This was true until week 7 when, with the group, he waved goodbye with his eyebrows! Week 9 saw him throwing his scarf into the air and laughing, having mouthed “blue” during the color song. And during the last class, he held out his arm for Wise Old Owl to land. When it did, Adam gave a glissando of “Whooo,” which was audible from my spot across the room.

Adam transitioned from observer to participant during each class but became involved more and quicker every week. The structure of the class enabled him to participate at his own developmental level and at his own comfort level. It was wonderful to see Adam grow throughout the term,


*For confidentiality, the pseudonym Adam is being used.