Teaching and Learning Insights from an Onsite Observation Episode

In one of our EDUC-3 classes, we had the invaluable opportunity to witness teaching in action within a real classroom environment. This provided us with deep insights into various teaching methods and strategies. Below, I share my key takeaways and observations from this enriching experience

1. How did the teacher begin the lesson?
The teacher began the lesson with a rehearsed greeting and an opening prayer. This was followed by a recall stage where the students sang "Rabiya," a song from the previous session, helping to set a familiar and engaging tone for the lesson.

2. How did the teacher communicate the lesson objectives?
The teacher clearly communicated the lesson objectives at the beginning of the lesson. She stated that by the end of the lesson, students should be able to define ostinato, appreciate other cultures through their songs, and perform the Jewish folksong "Olive Trees Are Standing" with the ostinato. These objectives were reiterated throughout the lesson to keep students focused on the goals. The teacher also explained the relevance of these objectives to the students' overall musical education and cultural appreciation (Jewish and Korean culture).

3. What content/topic did the teacher develop in the lesson?
The teacher developed the topic of "Ostinato," a repeated rhythmic pattern used as an accompaniment to a song. The lesson included an introduction to rhythmic patterns and repeat marks, with students practicing these concepts by clapping and singing. Additionally, the teacher used the Korean and Jewish folksong titled “Nabiya” and "Olive Trees Are Standing" respectively to illustrate how ostinato can be applied in music. The rhythmic patterns were introduced using visual aids and interactive activities, such as clapping and body percussion, to reinforce learning. The teacher also incorporated questions about the melody, like “How many beats…?” and “What kind of notes?” to engage students in critical thinking about the music.

4. How did the teacher implement/carry-out the activities in the following:

(A) Lesson Introduction/Introductory Part
The teacher started with a prayer and greeting, followed by the opening song "Rabiya". She introduced the lesson by recalling the 2/4 time signature, discussing the types of notes in rhythmic patterns, and introducing repeat marks. The teacher engaged students with a treasure hunt for musical notes flashcards pasted around the room, emphasizing that music is incomplete without these "treasures". This activity kept students highly engaged.

(B) Lesson Development
The lesson developed with students clapping rhythmic patterns and singing "Nabiya" while incorporating these patterns. The teacher introduced the concept of ostinato, using a mixture of auditory and kinesthetic learning by having students create beats with different body parts. Questions were posed to the students to reflect on their performance and understanding of rhythmic patterns. The teacher scaffolded learning by building on students’ prior knowledge and guiding them through progressively more complex tasks.

(C) Culminating/Closure
In the culminating activity, the teacher applied the concept of ostinato for a song, practiced it with the students, and then taught the Jewish folk song "Olive Trees Are Standing" using the Rote Method. The boys and girls were separated to perform different parts, with boys singing the bass line and girls the melody. The class used desks as drums for percussion, and the performance task (that is to be performed the following week) with its criteria were defined clearly. The lesson concluded with a comprehensive review and a rehearsed goodbye to visitors.

5. What teaching approaches/methods did the teacher use?

• The teacher applied direct instruction, where she explained the concept of ostinato and its musical application.
• The teacher also did demonstrations, since she demonstrated rhythmic patterns, clapping them out, and showed the class how to integrate it with singing.
• There was also the rote method: The teacher taught the Jewish folksong through repetition, first singing the song and then having students follow.
• Group work was also done since the teacher divided the students into groups to practice and perform "Olive Trees Are Standing" with the ostinato.
• Along with visual learning through flashcards and PowerPoint, the teacher also applied kinesthetic and auditory learning. Different body parts were used to create beats and songs, engaging students physically in learning.
• Along the lesson proper, the teacher used scaffolding as she built on students' existing knowledge and skills, providing support as they learned new concepts. In one instance during oral recitations, when defining ostinato, the teacher first called on a student whose answer was incomplete, then called another to help, and finally, a third to state the full definition.
• The teacher also did gamification during the first part of the lessons. She integrated a ‘treasure hunting’ activity for musical notes by the use of visual aids scattered across the classroom walls. This kept students actively involved.

6. What instructional materials including technology were used by the teacher?

• A PowerPoint Presentation was used to display rhythmic patterns and the definition of ostinato.
• An electronic keyboard/piano was also used for musical accompaniment and to demonstrate melodies. School desks were also used in the lesson as an alternative percussion instrument.
• There were also visual aids and markers on the whiteboard and a pointer used to guide students' attention to specific points on the board.
• Flashcards were used in a treasure hunt activity where students found and identified musical notes around the room.

7. How did the teacher assess the attainment of the lesson objectives?
The teacher assessed the attainment of the lesson objectives through a performance test scheduled for the next meeting. Students were divided into groups, with each group tasked to perform "Olive Trees Are Standing" with the ostinato, sung and played using percussion instruments. The assessment criteria included synchronization (30%), teamwork (30%), creativity (20%), and stage presence (20%). The teacher defined these criteria in simple terms to ensure students understood the expectations. Additionally, throughout the lesson, the teacher asked questions to check for understanding and provided immediate feedback. The lesson concluded with a review of the day's activities, ensuring students recalled what they had learned and offering an opportunity for any remaining questions.

Reflecting on my recent observation of a music class has given me valuable insights that I can apply to my own teaching practice. When I was in high school, music classes were not very engaging. However, the lesson I observed last week was a stark contrast, with every student actively participating. The teacher made music interesting by not just discussing musical theory but also applying it in real-life contexts.

One of the most striking aspects of the lesson was the variety of teaching approaches used. For example, the teacher incorporated kinesthetic learning by using students' body parts to create beats and rhythms and their desks as alternative drums due to the limited space. This adaptability made me think about how I can employ similar strategies in my physics classes.

As a first-year teacher, I'm often concerned with how to make complex subjects like physics more accessible and less overwhelming for my students. Observing this music class inspired me to reflect on my own pedagogy, particularly how I can incorporate differentiation to meet the needs of all students, including those with special educational needs (SEN). Currently, my lessons are predominantly direct instruction, and I realize the need to shift towards a more student-centered approach, focusing on inquiry and concept-based learning.

Along with those thoughts, the observation also highlighted the importance of classroom engagement and active participation. During the session, the teacher used a treasure hunt with musical notes flashcards to keep students engaged. Students were eager to participate, raising their hands to be chosen. This level of engagement is something I aspire to achieve in my own classes.

Additionally, the observation noted the significance of structured yet flexible lesson planning. The teacher's lesson was well-organized, yet she was able to adapt to the needs of the class, such as (again) using body percussion instead of a piano and simplifying complex concepts with relatable analogies like "Imagine you are going down the staircase" for singing techniques. This adaptability is important because not everything in a lesson plan goes as expected. Lesson plans should serve as guides, allowing for flexibility to address any issues that arise during the lesson.

Scaffolding was another key element observed. The teacher effectively used scaffolding to support students' understanding of new concepts. For instance, when defining ostinato, she called on multiple students to build the correct definition collaboratively. This step-by-step approach can be incredibly beneficial in my physics classes, where complex concepts often require gradual introduction and reinforcement.