While designing the lesson, begin with a behavioral objective that addresses who will learn, the musical concept that they will learn, the action that will demonstrate their learning, and under what conditions they will be learning (Mark & Madura, 2009). The objective must be clear, concise, focused, observable, measurable, and contextualized. Continue with assessment techniques, then the procedures. After these three steps, outline a short activity or two, called the anticipatory set, to introduce the students to the content of the lesson, and an activity to conclude the lesson and articulate the goals for the next class, called the conclusion. Separately, list all materials required to execute the lesson, and all of the national, core, and state standards addressed by the content. The rationale is an explanation of the relevance and importance of the course content. When writing a plan for Colorado State University, the order of these elements should be as follows: setting, rationale, standards, objective, materials, anticipatory set, procedures, assessment, and conclusion. An effective lesson includes at least one complete teaching cycle, which consists of five steps: engagement, framing, acquisition, elaboration, and memory strengthening. Engagement and framing are incorporated within the anticipatory set, and acquisition, elaboration, and memory strengthening make up the procedures. The latter may also be part of the conclusion (Johnson, 2017).
When leading a rehearsal, ensemble music teachers often seem as though they are making things up as they go. While this is partially true, and directors must be reactive to the specific strengths and weaknesses of their students, there is certainly planning involved. Teachers walk into all types of music classes with specific goals in mind, and carefully selected activities and approaches that will effectively convey the content. This is an area in which I have greatly improved, and in which there remains much room for growth. At least until I gain more experience, I will enter into lessons and rehearsals with three primary objectives, and many ideas to achieve them so that I will become less flustered and discombobulated when difficulties arise.
In what situations is it most effective to use the "I do, We do, You do together, You do alone" acquisition and elaboration process?
What research is there on the benefits and drawbacks of teaching history, theory, and performance separately, and imbedding all three domains into the study of actual pieces of music?
Mcnergney, R., Medley, D., Aylesworth, M., & Innes, A. (1983). Assessing Teachers' Planning Abilities. The Journal of Educational Research, 77(2), 108-111.
Scott, S. (2008). Exploring an Inquiry-Based Stance for Planning and Instruction in General Music Education. General Music Today, 21(3), 13-17.