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Michael Cartwright (Yio Chu Kang Secondary School)

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13: How are students thinking about their involvement in the assessment process through co-creating rubrics?

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13: How are students thinking about their involvement in the assessment process through co-creating rubrics?

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Hello Michael, I really love the part where the area experts come together to work on the rubric rather than in their own group. I am curious of the products of the students. Do you think they performed better? I also like the multimodal aspect where students get to also come up with a dance to their project!

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Tan Han Liang Shawn (Yuhua Secondary School) and Truman See (Nan Chiau High School)

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11: Technologies for Listening: Harnessing Digital Platforms to Enhance AfL in O-Level Music Studies

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11: Technologies for Listening: Harnessing Digital Platforms to Enhance AfL in O-Level Music Studies

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09: What is the effectiveness of two strategies in facilitating the learning of chord progressions for students of different readiness?

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09: What is the effectiveness of two strategies in facilitating the learning of chord progressions for students of different readiness?

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This is "Diana Teoh, Fuhua Primary" by MOE STAR on Vimeo, the home for high quality videos and the people who love them.

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Hello Diana, thank you for sharing this. It is heartening to hear that for Teacher B, the students are more empowered and also more interested to have more practices and are more forgiving to their peers!

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I had never heard of Parlay before (and only briefly looked at EdPuzzle), so thank you Truman and Shawn! I appreciated how you thought about teacher wellbeing too - by looking into digital tools that could not just support students, but support teachers (e.g improve turnaround time for marking).

For Truman: your student mentioned that Parlay could have been conducted as a homework activity. Was there a reason why you decided to spend your lesson time to use Parlay?

For Shawn: I thought that the function that prevents fast-forwarding addresses a very real issue that I faced with my own students. Separately, have your found yourself using any of the EdPuzzle analytics data to inform your TnL? (E.g Has knowing how many times a student had to replay an extract / knowing how long they took to answer the question, made an impact on your teaching after the assignment?)

Also, in the midst of so many tech tools at our disposal to explore, I appreciated your conclusion inviting us to consider the bigger questions about tech and humanity.

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Thank you for the sharing, Michael!
Love the idea of the authentic task- the secret to my success. Thinking of how I can implement this in my primary music lessons. What are some considerations when planning for this co-creation task?

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Thank you for the insightful presentation. I’ve tried co-creating rubrics myself and it was rather time consuming. My question is how Co-creation of rubrics affect students’ perspective of assessing their own learning?

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Neo Shiwei (Methodist Girls' School (Primary)

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01: How effective is Project-Based Learning in Music?

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01: How effective is Project-Based Learning in Music?

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Ng Eng Kee (Paya Lebar Methodist Girls' School (Secondary))

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Hi Shiwei, thank you for your sharing! I've enjoyed the 2 videos produced by the little youtubers and I could see the effort that they have put in to produce it. It's also a great way to assess them in a fun and engaging manner, and allowing them to develop lots of skills in the process!

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Hi Eng Kee, I appreciate your detailed analysis of the data you collected from the students' responses. I also faced the same problem with you in collecting authentic data in which the students could answer the questions posted to them properly. The SES in my school has also greatly affected their music experiences and the types of music that they are exposed to. I enjoy your clear presentation of data and how the students are benefiting from your teaching! Keep it up!

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15: Empowering Students in the Teaching and Learning of Music Arrangement

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15: Empowering Students in the Teaching and Learning of Music Arrangement

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Empowering Students in the Teaching and Learning of Music Arrangement - Seah Cheng Tat [Final]

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Indeed it is heartening to know that you took so much effort to help your students. I just wonder how are you going to do live demonstration for your students

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14: Using Students' Work (Drawings) and Peer Feedback to Understand Students' and Teachers' Thinking in Graphic Notation

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14: Using Students' Work (Drawings) and Peer Feedback to Understand Students' and Teachers' Thinking in Graphic Notation

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Peng Boon Yen (Queenstown Secondary School)

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Peng Boon Yen (Queenstown Secondary School)

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Thank you Rachel for the presentation. It was insightful. I used to use similar method (without drawing) to let students understand the melodic contour.

Your lesson indeed inspire me. I think I would start to implement 'draw what they hear' in my future lesson.

Thank you.

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Hi ChengTat! I love you taking time to sit and analyze what the students are thinking + trying to bridge the gaps so that they can better learn. Indeed understanding where our students start is so important. The eureka moment must be encouraging for them too as students! I wonder has any students came back to feedback to you about how they have gotten better or if you had a chance to see them being more aware BEFORE even approaching you now..?

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Lee Yue Zhi and Noella Yee (Commonwealth Secondary School)

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10: Fostering Learning through Social Diversity in a Music Classroom

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10: Fostering Learning through Social Diversity in a Music Classroom

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Thank you for the interesting presentation. Just wondering how do you ensure diverse groupings in a mixed class? Will there be any tendencies of groupings where students from the same stream congregate together for their projects?

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Thank you both for sharing your findings - very insightful!

Alas, race, gender and stream are the same in my school. Any thoughts on other methods of injecting social mixing?

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Jeremy Lim Liangcai (Clementi Town Secondary School)

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12: So what's the big deal about Padlet?

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12: So what's the big deal about Padlet?

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Thank you for the sharing, Jeremy! I am also a fan of Padlet for T&L. It is a wonderful platform to support T&L inside and outside of the classroom.

Just wondering if you have faced any issue using the audio recording function on Padlet for your music modules? Some of my students were not able to record their voice over an audio file that I have posted on the same Padlet. Maybe there is certain setting on Padlet that I am not aware of. Have you encountered similar issues before?

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Hi Truman and Shawn, thank you for the rich sharing - particularly enjoyed your sharing of authentic examples of assignments and how students responded.

Just wanted to share some thoughts that your sharing inspired:

1. As music teachers, we're teaching our students how to listen. Perhaps it's good to expose students to a variety of ways of listening - focused listening to specific segments in the case of EdPuzzle, listening out for stylistic features in the Parlay example, and tapping along and scribbling on a physical score in the case of a physical exam paper. All of these are different ways of "externalizing" our experience and understanding of music, and it's great to give students different options to expand their possibilities of how they can engage with music.

2. Seeking students' feedback on the platforms used. It's great to see students writing about the aspects of the lessons that they enjoyed / enjoyed less and what worked / didn't work for them. Ultimately, we want students to take ownership of their own learning, and I hope to be more intentional about this in the future!

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Hi Jeremy, thank you for the insightful sharing about the use of padlet.

I find that getting students to leave constructive and encouraging feedback on their friends' posts is a challenge for me, despite providing them with a feedback template. Do you face similar problem with secondary school students?

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Hello Shawn and Truman! I really like the reduction in the time needed to provide AfL and also see how the students improved after going through the Parlay and EdPuzzle. They do give a lot of student agency in their learning. It is good for differentiate instruction too!

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Hi Cheng Tat, thank you for walking us through the process of how you guided your students on music composing. I felt like I benefited from a PD crash course on music arrangements too! Definitely walking away with tips for teachers to:

Generate possibilities for them but let the students decide

Increase awareness of instrumental roles

Affirm their creative intentions, thoughts, dispositions

Be aware of the affordances of the tech tool and hardware

Get them to clarify their decisions

Know our students well and harness their strengths

Empower students so they grow in confidence

Break down the creation into different stages so students can taste continual success

Jiayou for your work for I’m sure you are inspiring and nurturing many budding composers!

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Chan Pei Gee, St. Anthony's Canossian Primary School

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02: How do the informal musical experiences in a non-formal context at St. Anthony's Canossian Primary School enhance the musical learning of the students?

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02: How do the informal musical experiences in a non-formal context at St. Anthony's Canossian Primary School enhance the musical learning of the students?

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Hi Pei Gee, thank you for sharing about the Music Mornings and the process of the girls' learning and performances! The diary also enabled to have a glimpse of your thoughts and it was really heartwarming to see the girls enjoying themselves too. It's great that they get to reflect on their performances and identify areas of improvement through the videos recorded, and that you created a safe space for them to share and learn from each other.

1. Building upon Diana's question, do the students stay back in school (2-4 sessions) to practice or do they practice during recess, and what is the duration of each session?

2. Is Music Mornings opened to all levels or only specific levels?

Thank you for your sharing!

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Peng Boon Yen (Queenstown Secondary School)

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Peng Boon Yen (Queenstown Secondary School)

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Hi Jeremy, the statement 'students do not really revisit the materials on Padlet' resonates me very much. I did use Padlet in some of my modules and it's indeed quite difficult to ask the students to review their works. Thanks for the presentation.

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Hi Cheng Tat. I think you are very brave to open up live teacher composing sessions for your students! But I resonate with showing the composer perspective to music being made. I prefer to re-engineer compo problems that masters have already solved. This way, I would also have a 'model answer' at hand too! :)

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Thank you Cheng Tat for sharing ways to question so as to draw out the thinking process of the students. I notice this is based on individual consultation. How different would your approach be in a group composition setting?

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05: Encouraging Self-Directed Learning of Philippines Kulintang Music through Learning Stations and Substitute Instruments

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05: Encouraging Self-Directed Learning of Philippines Kulintang Music through Learning Stations and Substitute Instruments

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Love how you use SLS to incorporate student learning circles. With SLS, it became very self-directed as the students can learn at their own pace. Love the substitute instruments as well.

Can students look at the SLS content after music lessons? or they are only meant to look at it during music lessons?

Will like to find out from you how to re-create those substitute instruments too.

After the 3 weeks, do they get to combine to form a little ensemble of what they have learnt in the past 3 weeks?

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Peng Boon Yen (Queenstown Secondary School)

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Peng Boon Yen (Queenstown Secondary School)

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The  materials used in the lesson is interesting, especially the water bottles that imitates the kulintang.

I would like to check with you, what is the method you used to set the pitch to each water bottle? The water bottles almost sound the same as the kulintang played in the video.

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Hi Cheng Tat, thanks for your helpful presentation! I was wondering, how has this impacted the way students approach future/new compositional tasks? Thank you!

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Ronald, Pasir Ris Crest Secondary School

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Ronald, Pasir Ris Crest Secondary School

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Hi Cheng Tat, I absolutely love the work that you do and I wish I could sit-in during your composition classes to see how it's like at A-Level!

I wonder if it's common for other teachers/schools to embark in similar workflows with regards to T&L of music creation, or yours is a unique case?

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I am inspired by how crucial good questioning techniques are to help our students be reflective learners and in turn, understand themselves better as musicians.

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Rachel Tham Chin Xin (Boon Lay Garden Primary School)

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03: Learning Experiences of Students Beyond the Music Classroom

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03: Learning Experiences of Students Beyond the Music Classroom

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Peng Boon Yen and Ng Kiat Ee Stella (Queenstown Secondary School)

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06: How Lower Secondary Ukulele Group Performances Can Boost Self-Esteem and Social Awareness in Students

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06: How Lower Secondary Ukulele Group Performances Can Boost Self-Esteem and Social Awareness in Students

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Ronald Lim (Pasir Ris Crest Secondary School)

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04: How Can Processes that Led to the Success of the Diffusion Model in Text-to-Image Generation be Applied in the Facilitation of Music Coursework

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04: How Can Processes that Led to the Success of the Diffusion Model in Text-to-Image Generation be Applied in the Facilitation of Music Coursework

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I really like the parallels you've drawn between the diffusion model and deconstruction tasks in DAWs. It does align quite closely to the concept of ZPD and scaffolding in asynchronous and independent creative tasks. I'm wondering if this project/ concept has already been implemented in your classrooms or if not, how do you intend to apply it in your T&L (NT/O music or LS music)?

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Hi thank you for sharing your lesson on peer assessment. They are valuable ideas that I would like to bring to my P2 classroom when i teach them Graphic notation :)

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Hey Ronald, this is wonderful! I like how filling-in-the-blanks would help the students arrange a full piece eventually.
With regards to students acting like Student C then, what would you say might be a baseline knowledge for students to participate effectively?

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Wonderful idea in using sentence starters to guide the young ones in framing their feedback.

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Hi, thanks for sharing your findings on using Padlet as a learning and assessment tool. I will definitely bring some of your ideas back to my classroom!

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Thank you for sharing, Rachel!
I am currently doing soundscape with my lower primary. Your teaching ideas in scaffolding musical elements are very helpful :)
-Did you implement any DI in the peer feedback form that you prepared for the students? E.g. more open ended for the high ability students? If yes, how was the experience?
-Have you tried co-creating success criteria with students during the peer feedback sessions?

Just wondering, as the students progress to creating their soundscape composition later on, were they able to produce creative yet reasonable drawings after going through the scaffolding activities?
What are some considerations when you craft the assessment rubrics for soundscape, given the subjectiveness of the topic?
Thank you!

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08: Accommodations in Music Lessons to Improve the Engagement of an SEN Student

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08: Accommodations in Music Lessons to Improve the Engagement of an SEN Student

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1) As you watch the presentations, please post your comments/questions under the specific presenters' columns. Please watch and post responses to 4-7 presentations.

2) You could view the presentation in Vimeo (for a smoother viewing experience) instead of here in padlet by clicking on the bottom right icon of the video to open in a new window.

3) Click on (+) to add a new comment/question, or (Add comment) to respond to an existing comment/question. It's also useful to summarise your key takeaways as a form of reflection and also for sharing with other participants. You could also chat with a presenter in a breakout room on Zoom. The breakout room number is the same as the presentation number.

4) Please state your NAME and SCHOOL when posting. (See below for example)

5) Due to time constraints during the symposium, the presenters will respond to all questions by Fri, 20 Oct 5pm.

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Hi, Thank you for your presentation. I really enjoyed...I was wondering why...

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Hi Cheng Tat, thanks for sharing! Rather inspiring work with your kids! A couple of questions:

1. How long do you spend on consultations? How would you structure these so that they don't become like private music tuition?

2. It seems that some students would need quite a lot of hand-holding at the beginning. Is it because of a lack of exposure to different genres, or other reasons?

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I can see that the students are really engaged! Thinking of how I can apply this learning station to my lessons. Thank you for answering my questions in the breakout room! (:

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Zoom (Rejoin at 5.10pm):
https://moe-singapore.zoom.us/j/83798453636
Meeting ID: 837 9845 3636
Passcode: CINLC2023

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Venue: Online
Date(s)/Time: 13 Oct 2023, 1430hrs - 1730hrs

The Critical Inquiry mini-symposium features presentations by CI NLC participants who have completed their projects. The theme for 2023 is 'Envisioning the Future of Teaching and Learning'.

The mini-symposium features presentations by members of the CI NLC on their projects, which are based on their current teaching contexts and classroom practices.

The presentation topics include:

How students experience DI strategies such as differentiating the learning environment, differentiating according to readiness, allowing student choice in friendship groups, and learning stations.

The effectiveness of Project-Based Learning in Music, and students' play experiences as they prepare for pre-assembly performances

Developing students' SEL and growth mindset through music learning in FSBB classes

The effectiveness of peer feedback using Affirm-Queston-Suggest, and how students experience the AfL process of 'back-mapping'

Using digital technology to improve AfL in an FSBB class, and for the O-Level Music listening component

How A-Level Music students can be empowered to understand their music creative processes

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Venue: Online Date(s)/Time: 13 Oct 2023, 1430hrs - 1730hrs The Critical Inquiry mini-symposium features presentations by CI NLC participants who have completed their projects. The theme for 2023 is 'Envisioning the Future of Teaching and Learning'. The mini-symposium features presentations by members of the CI NLC on their projects, which are based on their current teaching contexts and classroom practices.

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Very strategic moves to encourage student's confidence in showcasing their work through harnessing on the community partner's and school platform. This really provides students with small successes that grows into bigger ones in future! Bravo!

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Was the final performance better than previously? Were there students who did not discuss at all?

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Hi Ronald, this is totally mind-blowing! Makes me rethink what I have been doing with my students. I am just wondering whether there were challenges introducing this way of guiding students who are in the Syllabus T Music program? What were some of the scaffolds that you did? How long did it take to get students to do up a new coursework with this method of scaffolding?

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YiHan, Rivervale Primary

Hi Rachel, thank you for sharing on your process of using drawing and peer feedback for a P2 class. I agree with you that it is challenging to have a fixed answer to the drawings as the students have may other creative ideas on how they want to represent the sounds that they hear. Just wondering, what are some other drawing examples from the students that you find interesting? And also, did the students provide any feedback on their learning process (e.g. it is fun to use drawings to represent sounds)? Thank you :)

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Hi Diana, thank you for the detailed sharing on the different modes of learning. May I ask - for you personally, what would be your preference especially for this module of chord learning? What are the challenges you face when is student-directed learning?

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After watching your presentation, I am inspired to conduct 'Music Morning' in my school. Currently, my school has a programme called 'Recess Recitals' for students to showcase their talents in performing arts.

I will like to find out about the following:
a) How many of the training sessions do the Music Champions attend before they showcase their performance?

b) How often is 'Music Morning' conducted?

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Dear Jeremy, I love your research content and the humour you have in your presentation. This is definitely a very encouraging study outcome that will encourage more music teachers to explore using Padlet. I will like to ask, how will you handle those students who shared their concerns with unwillingness to share their work on this platform? And also, are the submissions of students' work individual or some in groups? How differently are your feedback processes if any?

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Hi Shi Wei 👋
Love the project 👏👏. It's great to see so many common themes amongst the responses of your students and coming out in your results: working together, cooperating, teamwork, bonding, as well as peer to peer learning. I can definitely sympathise with the difficulties you faced as well, many of the ones you listed I also face when doing these projects. Good to know we are not alone!
You are building up quite a resource bank of student lead tutorials 👏. Will you be using them as exemplars in future years for new students starting the project?

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Hi Shawn and Truman, I really enjoyed your detailed presentation on both tools and have learned a lot from it! I was wondering, since you guys have used these tools to help students in the Music Studies component of OLM, would these tools also have potential to to be used for the other components - Creating and Performing? Thank you!

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INteresting and definitely tr need to believe in the development of the growth mindset of the students

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HI Shi Wei, this is really a creative way to engage students in a real-world trend that is happening. In addition, this could be an alternative way of assessing students' learning. Bravo!

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Hi! Thank you for all these. I teach the NT upper sec music programme and I see a similarity in how my students have a problem of answering questions too. Both platforms are new to me, thanks for sharing, will explore! I like that peers come on board for Parlay and its anonymity function.. its almost SLS, but.... perhaps better haha. How many periods/lessons was this over for the students? Would you both want to use these platform again? Why/Why not?

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Thanks for sharing the accommodation strategies you used with AJ. How do the other students react to AJ and the accommodative strategies you used with him?

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Interesting use of the plastic bottles as substitute instrument.

How were the students grouped for the learning station activities (mixed level of readiness?)

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So amazed to see how the questions you ask also come from both 1) a very deep pedagogical knowledge of the compositional process, and 2) a very personal relationship with the students' compositional styles and struggles. I am sure many of us (myself included!) are inspired to have such fruitful consultations with our students, and how we can do so with intentional questioning :)

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Thank you Rachel for sharing such successful and encouraging moments of music education. Besides opportunities to perform, what are the musical objectives that you hope to achieve in this experience for the selected group of students?

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Hi Michael

Thank you for the rich insight to co-creating rubrics in music lessons. I supposed there's a lot of thinking/planning on your end as different classes have different dynamics/needs? It definitely brings on the student-directed learning and greater ownership in their learning as they have a clearer goal (criteria) in mind.

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Thank you, Diana for your sharing on teacher-directed learning and student-directed learning for different groups of students. Great ukulele resources to accompany the self-directed learning too!

It is certainly interesting to note that students of high readiness actually prefer frontal teaching for harder concepts/skillsets e.g. changing from F to G chords, so what you said about being flexible and knowing what we want from the lesson is important.

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Interesting and creative ways to help pupils identify the long, short note. I can see students are able to give feedback due to the given success criteria. I was thinking whether there are possibilities to have a set of minimum criteria for drawing certain length of note yet giving them enough space for their creativity?

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I really liked how you thought about Padlet as a tool for engagement and adopting the use of it from the students' perspectives. I also agree very much with the potential of Padlet in student-student feedback. In my classroom, I have managed to use Padlet to increase student-student feedback for their performances and provide opportunities to exchange (and even to ride on each others') ideas - there's so much potential in using tech besides aiding organisation of materials. Thank you for sharing, Jeremy!

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Interesting pre-survey that demonstrates that the students value Learning dispositions and abilities when choosing their group members, and thank you for offering the perspective that teacher-chosen grouping could alleviate students' stress to make choices about their groupmates (including the popular ones!).

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Hi Eng Kee, thank you for your sharing, and distilling the importance of the 4Es in encouraging a growth mindset, especially in the case of LSM which is not examinable for the students.

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Thank you Eng Kee for the interesting sharing. I like how you highlight the 4Es as attributes to develop growth mindset in students' music learning.

It's interesting to note that there is seemingly a rather high percentage of "unclear / irrelevant / no responses", which might affect the data.

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Hi Shawn & Truman, Bravo! I can see how Parlay will be great in focusing students in answering specific types of question types especially with a round of peer review. I was also very taken with the possibilities in using the time-stamping feature of EdPuzzle to pinpoint specific parts of the audio excerpt that students can re-play with ease. Thank you for sharing!

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Thanks for sharing your strategies.

You mentioned that the change of groupings depends on AJ's readiness, enable AJ to learn from different peers.

But sometimes such student will only want to stick to a certain group, as they feel more welcome in a group.

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Hi Shiwei, This PBL is really a good way to allow students to learn not just a musical instrument/skill but many aspects. I think this is what we need to prepare our students for the future. Problem-solving, building resilience when things don't go their way and collaboration among team members.

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Very impressed by your sharing, and really applaud your efforts in making the substitute instruments to simulate the actual Kulintang (it does sound legit!). The students looked very engaged, and the tasks are very doable even at P2. Thank you!

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Hi Rachel, Thank you very much for your sharing! It's very heartening to hear how the leadership opportunities along with the presentation and showcasing of student work can really benefit student's character and self-esteem.

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Hi Diana, i like how the learning is very structured and the resources are very effective in facilitating independent learning.

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interesting observations and how tr chosen group is better for students

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Thank you Eng Kee for your sharing. It's great to hear how Growth Mindset can be used to encourage attributes like self sufficiency in our students. One comment from your students that stood out for me was: 'Not songs that I get bored of, or have no personal connection with me'. If our students are learning a lot of diverse songs in class we need them to be self sufficient at least part of time. With your growth mindset survey, did you use a pre-existing one, or construct it yourself?

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Thank you Truman and Shawn for sharing so generously. Your presentation is very comprehensive and I can see that you've both thought hard on the impact of these tools on both pedagogy and students' learning. I have some clarifying questions which I hope to hear your views.
- How often would you use these tools for listening exercisese?
- How would you compare Parlay with SLS?
- For EdPuzzle, when the work is returned to the students, would they be able to annotate on their work?
- While the timestamp function is very effective in guiding the students to focus on the listening, do you see students focusing on answering the questions rather than understanding music?
Thank you so much!

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Thank you Shiwei! I enjoyed seeing your students’ personalities come alive in their ‘YouTube’ tutorials. Sometimes when I think of PBL it often feels like the project has to be big and extravagant, and I thought The Little YouTuber Project is such a doable project that all teachers can explore.

1) How did you manage the whole class when students recording at various recording locations? (Was it done outside of music lessons?)

2) I liked that the styles of hosting their videos were so different. Were students given examples of existing music YouTubers to be inspired by various potential hosting styles? (4stringboy comes to mind!)

3) Was this PBL part of any Summative assessment? I was curious to know what your rubrics looked like (if any), and if (beyond technical skills) assessing musicality was important to you!

4) How did these students compare to past cohorts of students who did not go through such a PBL assignment for ukulele?

Thank you again! ☺️

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Thank you Anna for sharing your strategies! I was wondering how the other classmates reacted. This rhythm beats were amazing, I hope he felt a great sense of accomplishment. I also like the "ask 3 before me" strategy, it allows the students to develop communication skills and also for teachers to know if they are really paying attention in class.

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Wow! i love the scaffolding on SLS and learning stations ideas. Any thoughts about doing replacement instruments for band instruments?

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Thank you for the sharing - very interesting findings!

Were musical abilities also considered when assigning the students into assigned groups?

Perhaps the class sociogram could also be another data point to refer to to see their interactions among their classmates. Just a thought. :)

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Hi Eng Kee, I personally find the Qualitative portion very insightful in letting teachers view music-learning from the students’ perspective. I appreciate the verbatim you organized. Perhaps we could use these phrases to encourage students in the future (i.e., in their words). e.g. We are going to try a 2nd song that is slightly challenging because we can improve our skills and you are able to do it as long as you have ample practice!

Another valuable point you raised is in the question: what does success look like from students’ perspective. I love how your students focused on the learning progress and also connecting with the music (beautiful point!) I would be curious to learn how the students would explain what would consider as 'connect' in their terms!

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Hi Shawn and Truman, thank you for sharing how you encouraged metacognition, which is a current need for my school!

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Thank you, Shi Wei for the very comprehensive and detailed sharing. This made me think how we can turn their instrumental playing skills into something more authentic and tangible (though I totally agree with you about the time factor).

Perhaps for the coming year, you can give the students more scaffolding, for e.g. restricting the song list (with the 4 chords), and also putting in some of their suggestions for improvement in the activity sheet as pointers (e.g. write a script for your youtube video). This might cut down on unnecessary exploration to save time.

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Thank you for your presentation, very thought provoking! I find that gender in particular can be an issue for some of the immature boys in our classes. Sometimes just asking a sec 1 class to stand in a circle can be fun to watch 😂. I had a case recently when I sent two boys who needed help on a project to a group of capable girls for assistance, and they did really not want to go. Maybe intentional grouping from the start might help these situations 🤔

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Thank you Eng Kee for the rich sharing. Though the results may not show positive impact in the short term, I am sure constant reinforcement of the growth mindset will help students find their self-worth and belief in their own abilities. But hey, for starters, it's heartening that your students now see that Music can be learnt by anyone! ;)

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Hi Ronald, loved your EDR arrangement of Jupiter! In your experience, would an average NT student be able to reach the level of extracting a secondary theme and what guidance was given for that step?

BTW, would love to work with you both as practitioner and/or collaborator (would be interested in trying to convert projects to Mixcraft)

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Love how you brought a new perspective to the deconstruction model - and I think it really helps that the diffusion model allows teachers the flexibility on how much 'noise' can be introduced based on our observation the student's readiness, and if we do it right, we can achieve very high motivation for the students because they are able to finish a task that they can be proud of (in your words - regardless of how much of it is actually their own input). Would love to chat more and see how I can learn from you to 1) improve my own DAW knowledge and application, and 2) see how I can learn more from what you are doing to improve my own pedagogy in my teaching context !

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Hello Ronald! I love how you integrated the Diffusion Model to the coursework. I have also been thinking about interdisciplinary application of ideas. What are the reactions of the students? Did they have less struggles in completing their work? Thank you!

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Love how you have conducted your arrangement lessons based on the deconstruction model. I teach very simple film scoring and basic pop song arrangement/jamband to primary school children and I relied on the Computational thinking framework:
Analysis: what can you hear in this song/section? Why do you think you feel this way?
Decomposition: What are the sections in this piece, how can we break it down in bitesize?
Pattern Recognition: Is there anything repeating? (same chord structure, same hook)
Abstraction: Are we able to recreate the ideas presented in this piece? Do we have any other ideas that you think might be good?
Algorithm Design: Let us create/cover another pop song based on the same algorithm design (same structure, same chord, how about we do a cover in the same feel, same beat)

I find that once the students are able to get  the structure, everything is just repeating and its always a work in progress, children will be more confident once they have "been there done that" so in my regard is just performing in class with their band, showing each othe what I have done.

Thanks for sharing!

Regards
Z

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Thank you Ronald for your very rich sharing! Very interesting ideas too! Thinking how I can bring this to my Lower Sec Music class doing something similar (scaled down) on BandLab...

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Thank you for the insightful sharing of the deconstruction vs diffusion approach to facilitating coursework.

I wonder if you have found differences in the outcome of the projects between these two approaches in terms of student's motivational/autonomy levels as well as the levels of creativity in the final product?

I was also wondering if you would consider incorporating both approaches in a differentiated classroom.

Again, thank you so much for the sharing! I learnt a lot!