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When students are rehearsing, have them set a timer to help them remember to take a video and when to tidy up.

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Planning concerts and performance opportunities to enrich learning

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The students always pick a bandleader when rehearsing.

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Using pitch in a simple way:

Introduce Natural Musical Alphabet

Continue with the English alphabet in columns under NMA pitches

Spell real words and connect them to musical pitches to generate compositional ideas (melody, each word implies a chord, etc)

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Get students to have short-term, mid-term and long-term goals from the outset. Something achievable to begin with, spanning to much larger ones. Set deadlines with these.

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Group discussin at the beginning of the rehearsal period:

Icebreakers

What's the difference between an argument and debate?

What do you like about group work?

What do you hate about group work?

Write up a group agreement. Then when/if there is a problem refer to the group agreement.

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Students benefit from creating their own timeline throughout the course and for each component.

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What do we need to do today? What went well last time and what challenges did occur? how did/do we fix them?

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An good topic for presentations is students choosing pieces that were put on the "Golden Records" and presenting their research to the class. This can be linked to AoIs and context as well.

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Introduce modes and scales through their web addresses - w being a whole step, h - a half step. Thus, major's web address is wwhwwwh. Etc

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Developing a range of questioning strategies

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Developing a range of questioning strategies

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including how, why, when, who, explain your decision, discuss in pairs, become the spokesperson for your group - deepening understanding and rationalising

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Students map music for themselves as each individual's context will be different

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Students plan their own concerts.

They also decide which parts of their arrangements they are going to play.

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At the beginning of the lesson, pupils state what they would like to achieve (writing a new section, adding chords to a melody, amending the piano writing), but also how it relates to their overall vision for the piece. At the end of the lesson, pupils will report back to say whether they achieved their targets, but also what barriers they faced, which helps both themselves and their peers to evaluate their learning

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Early in the course, students need to put together their intended repertoire - fully labelled with AoI, Context. Key, Tempo, Style etc. During the course, they refer back to it on a regular basis.

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Keep a list of upcoming gigs/concerts across all(?!) genres - rock, pop, jazz, classical that students may enjoy. Not all need to be a planned school event, though a termly Music dept (staff & students) outing is great!

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Using a standard format for all music that we study which clearly identifies the AoI and context at the start (context varying from student to student)

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Brainstorm in a circle - everyone plays a small motif, sets of notes or rhythms. Improvisation and creating without putting it on the spot!

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Spending time surfing the net finding new music and new composers to share with the students in class and outside the classroom.

Check out Christian Sinding's 1st symphony - it's fantastic!

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Students MUST see a really good example - actually seeing what a difference it makes if the musical examples are relevant and within the text.

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Identifying common features in music across the world

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Identifying common features in music across the world

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Through research students identify musical structures, rhythmical and melodic features, textures that are similar across different countries and try to explain how common elements are used differently.

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We use this as a summary of what the guide is asking to be able to know/understand about any music that a student will explore in their research

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Was a requirement at my last school, but I have continued to always put a list of the activities of the day on the board before students walk in. I think it's more comfortable for students to have a basic understanding of everything they will do that day on a regular basis.

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Very regular check ins with students- What is going well, where are you struggling, what is your most recent success...

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Group Work - Group agreement Protocol Cont

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Group Work - Group agreement Protocol Cont

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When doing group work, the students decide who does what, based on what they are good at also sometimes what they need to work on.

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In analysis tasks (but others could work), using the speed-dating model (although I don't call it that....!) - pupils share ideas in pairs before one pupil rotates to the next pair to share ideas. The result is a really effective osmosis of ideas, and pupils get the opportunity to be both learners and teachers

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Encouraging students to adding relevant sources to topics in google classroom in the comment section

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Small creating task (4 bars of a melody) The students creates it and then switches with each other. The students know have to analyze/comment/question each others work.

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Working with/alongside students

Small group collaborations, practical experimentations or research

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Group work is important in my classes, the students are encouraged to share and talk about their likes and dislikes—also the meaning of music to them.

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In my MYP classes (Grades 6-8), I try to spend a lot of time creating a classroom culture of understanding and having students clearly define their comfort zones at the beginning of the semester.

I will often ask students to write in actionable language to describe what classroom behaviours/procedures they need to be successful. I will then generate a list of the top 5 behaviours and keep it visible throughout the semester.

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I stole this from you Jim....

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Log here the listenings/readings done in class

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Everyone must work with the same song. Divide students in to groups - someone works with melody, harmony, groove, etc. Joined analysis in class. Next time switch the focus for the groups.

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I created/in the process of creating a google site for my entire curruiculm. All activites etc...Rather than endless keynotes or ppts.

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Class overview
Everything is based around research, creating and performing.
The first half of DP 1 is about creating the skills to enable you to do the different aspects of the course. Your class will also be expected to share work that is incomplete with each other and give meaningful feedback

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These are still a work in progress

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Everything in MYP 1-5 Music is designed to get to you excited about playing music as quickly as possible. It is designed to prepare you for the DP M usic course if you choose to do it. Everything uses research skills, performance skills and creating skills.

Everything works towards completing the arts criterion for IB MYP.

Reflecting on the creating process.

Reflecting on the finished performance or composition.

Reflecting on how you have improved as an artist over the unit.

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Everything in MYP 1-5 Music is designed to get to you excited about playing music as quickly as possible. It is designed to prepare you for the DP Music course if you choose to do it. Everything uses research skills, performance skills and creating skills. Everything works towards completing the

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Encourage students to connect and collaborate with local musicians from their age. Visiting events that feature local music, dance, and art schools.

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Taking students on a virtual trip around the world - connecting the music with the geographical, cultural etc

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Often times in concert band rehearsals, I will say to students "I will start you and then stop conducting. Please continue to play." This forces students to actively listen and become more active in a large group rehearsal.

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Helpful to check out pieces, internet links and start the students off on a process of discovery with music outside their comfort zone. I've found it super beneficial to have them already well versed in what musical elements are and sufficiently well versed in music theory.

Directing them to certain areas that I had prepared they found really helpful.

I did once have a short 'foundation course' as I had a set which couldn't really read music with any speed or accuracy. This proved ultimately really useful but it took the entire course for many pennies to drop.

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Have students leave exit tickets to track understanding.

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Let students work around the feedback given and they can decide if they want to work harder on something.

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Like literature circles help define the roles each student takes.

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Asking students to communicate specifically what they want from a rehearsal, from individuals and the ensemble as a whole. Verbal communication between playing, non-verbal whilst playing.

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Analysing how the piece communicates the programmatic elements,

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Present your artistic choices and the creative ideas for your compositions or performances in written programme notes.

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Improvisation tasks within a structured framework

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Preparing scores for accompanists, planning rehearsals, working on communication during rehearsals. Deciding on common goals and working towards them in the session.

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Provide constructive feedback to your peers on their musical works.

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Students present their own research to the class

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Students present their own research to the class

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Peer evaluation of student performance/work

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Peer evaluation of student performance/work

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Guided discussion around the protocol for peer evaluation/reflection/encouragement. What this achieves. How it can be received. How to successfully navigate it. And then practice.

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participation in events, such as a choir or band

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Encouraging/guiding students within co-curricular to consider the context, style and features of a piece, and how it links to AOI.

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Students take ownership of planning own rehearsals, working backwards from a given deadline which might be a concert/performance/event. Accountability is that they do it in small ensembles so if they don't turn up their ensemble are disappointed!

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Students learn to plan their learning and polishing of works for presentation over time, planning practice performances.

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Students collect program notes from performances they attend

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Students collect program notes from performances they attend

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I will ask my students (when in the middle of a composition/arrangement/drafting a CMM video script) how I can help to support them. I find it helps for them to set their own goals, realise the timescales they work in, without prescribing how they go about a project.

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Remaining focussed during rehearsal/ practice time, setting clear attainable goals, breaking the music down into smaller manageable sections.

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(HL CMM Project) Encourage students to have a central document in which they note any research, source used and date accessed.

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Having students work with experts in other countries or creating works using digital tools to work with peers across the world.

Can also be linked to communication.

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I had a great results when IB and IGCSE students worked on a successful performance for a school concert. Engaging with the community towards the same idea had great impact on learning and speaking from my side teaching.

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Particularly great as an AOI 1 task. Discuss pupil's national anthems, the text, the composer, culture, what does the anthem mean to them? Some pupils have never lived in the country they affiliate with do they know about their anthem. Connects with Communication and Social Skills too.

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We should guide students how to research properly with different AI tools

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Students are encouraged to research and artist or band and come up with a presenation. These presentations are shared with the class and later on the best three are scheduled as Corner Talks across different sections in the school.

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Introducing Soundscapes and Foley Technique

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Introducing Soundscapes and Foley Technique

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In my Film Music Unit, I have added the concept of Soundscapes and Foley Technique, the students love to create this environments and sounds, and learned how to understand sound and how to integrated their music with other sound components. They loved it.

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I set hard limits for their creating exercise when doing video game music. I insist they take the 8 bit approach, where composers were limited to 4 monophonic voices (one of them being percussion). This makes them think and question every note choice as notes are limited and spelling out the harmony plus melody and percussion becomes a lot harder.

This can also be used as an approach for other creating tasks. Later on, this creating exercise can be expanded, but this will ensure they have a very strong foundation.

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Power of celebrating each other's effort as a starting point of sending and receiving peer feedback

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Power of celebrating each other's effort as a starting point of sending and receiving peer feedback

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The majority of my G10 students were not experienced in instruments at all - we started to create a culture of performance being a celebration rather than a "scary moment" by being an active audience as if they were at a live concert of a band to really empower students to perform, and that actually led students in being more caring for each other and feeling at ease in delivering and recieving constructive criticism later on

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Participation in school shows - either as a member of the cast, orchestra or production team.

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How to ensure students use 'A.I.' as inspiration rather than as a 'crutch' or 'crib...'

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Gave a song under Explore to do research - Coltrane Giant Steps. Student figured the Coltrane changes and came back with a document notated and worded. It was amazing what our students can do.

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Having a central location where all things can be shared - where students can comment on pieces of work, performances etc but also where deadlines can be shared. I use Teams and Padlet.

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With questions that they have about things. They can answer for one another and if they don't know, they can find out by researching or asking me.

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Based on the podcast, students collaborate to create their own class playlist. Teacher to start with a piece of music (eg. Stravinsky Rite of Spring) and students take it in turn each lesson to add a song to the playlist that is linked to the previous piece in some way (eg. same key, structure, instrumentation etc). The students can then link it to their global, local and personal contexts and is an effective way to develop wider listening.

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I like to set one of my pupils up with a contentious or controversial viewpoint, from which they have to debate with other pupils in the class. Topics have included the supremacy of composers from certain countries or backgrounds, why brass players are always male, and how singing hymns in schools is important regardless of faith or religious standpoint. It makes pupils think about and research topics in advance of the lesson regardless of their side of the argument.

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Several musical artists have voiced concerns https://www.youtube.com/watch?v=iGJcF4bLKd4

Worth discussing among IB Music educators and students

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Stephen Fry reads Nick Cave's stirring letter about ChatGPT and human creativity

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Teach students to identify what needs to be worked on during a rehearsal (solo or ensemble) and give them the tools to be able to work on that element/area whether it be a tempo issue, or lack of dynamics etc. They will become more independent and get more out of their rehearsal time.

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Partnering with local elementary and middle school programs to create engaging performances. Students perform music of similar genre/style and learn the history. They then perform this music to demonstrate mastery.

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Use connection diagrams (such as this one from "The School of Rock") to help students to get away from their set in stone path.

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Music of the week: Present your latest music examples every week (even "embarrassing" pieces!) and open a window for students to present their music preferences. Works fine!

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When working on the musical, we have the DP students working with the music director and helping with sectionals and playing.

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I like to explore what it means with my students to think IN music as well as thinking ABOUT music and how this can ben just as valuable and allow them to demonstrate their understanding.

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Check with students how accurate their knowledge about music styles is. Ask them to research and give music example to support their argument. I find this very important to address the differences in Western Classical Music and Jazz, for example.

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We hold several school concerts every year and use this as a chance for DP students to take a leadership role to get some "real world experience". This has included DP Students collaborating with younger students and leading the rehearsal process, taking assistant director roles within choirs or getting involved with the sound engineering side of things to help build an AOI4 skillset.

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Give the chance to every student to start the IB course by selecting the most appropriate component (e.g. Exploring, Experimenting), rather than the teacher following the designated 2 year curriculum plan for the whole class.

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Yearly songwriting trip which spans a weekend. Workshops with teachers/guests in the morning, then free time until an evening performance. Students are encouraged to present an original song of some kind and learn to balance their time and expectations with committing to ideas and working to a deadline.

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Students create a short music playlist that represents their life in various categories. Then they apply 2 compositional elements to each song and learn through the music they have chosen. Final step is presenting one song to the class, explaining what they learned and why the song is meaningful and represents them.

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Throughout various studies of Music, ask students to reflect and elaborate on how harmony functions with respect to their understanding of harmony.

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When listening to an extract, display 20 analytical statements of which only 8 apply. Students work through the statements and justify how they know which ones are true by expanding on the statement based on what they hear. Extension: write a false statement and a true statement (make the false statement convincing!)

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Encouraging students to question and listen to the sound found in silence.

- Build further with Foley, Sampling - NATURAL WORLD

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E.g. a Haydn symphony: "this house believes the piece is dull due to its monothematicism” - students debate this.

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Transfer the knowledge of what we do in the fundamentals part of rehearsal to the actual music in the rehearsal, then talk about WHY it is that way.

For example: in our fundamentals we may play certain notes detached and with emphasis. As we transition to our music (a March for example) we begin transferring what we did in fundamentals into the music we are doing. Then we take it a step further and connect it to why a March sounds that way. Its connection to the military, keeping people in step, keeping up morale in times of war, etc.

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Students have 1 minute to add a layer to a piece of music, typically using Logic/Ableton. Goes around the room until everyone has contributed a musical layer.

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I use the students councils activities for IBDP concerts and CMM 

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I use the students councils activities for IBDP concerts and CMM 

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Every week a student presents a song/piece which had an impact in the world - rebellious punk music, critical lyrics about regimes, pieces that were far ahead of their time - the students share new songs and pieces to the class but also engage in the importance of music and its meaning today

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School bands orchestras, conservatory function as a pool for collaborative projects  

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School bands orchestras, conservatory function as a pool for collaborative projects  

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Creating a Feedback Culture for Fastest Learning 

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Creating a Feedback Culture for Fastest Learning 

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Students give feedback and coaching to each other, in pairs. Feedback is about the past: what happened, what worked, what did not. Coaching is about the future: what they can try to create new results, an experiment, a small shift.

This can be applied to every are of the work.

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Embedded specification guidance within a table which means students direct their thinking into justifying their Experiment projects (shared as a OneNote page for them to complete). Many students use it as a multi-media platform to embed YouTube videos, reading etc.