Edtpa Pfa Planning Commentary

Performing Arts
Task 1: Planning Commentary
TASK 1: PLANNING COMMENTARY

Respond to the prompts below (no more than 9 single-spaced pages, including prompts) by typing your responses within
the brackets. Do not delete or alter the prompts. Pages exceeding the maximum will not be scored.
1. Central Focus
a. Describe the central focus and purpose for the content you will teach in the learning
segment.
[
The central focus for this learning segment is ensemble balance. I will address how
each guideline of range, melodic function, and phrasing affect the volume one should play at to
achieve great ensemble balance. Once students are aware of their role in creating a balanced
ensemble sound and hearing the other parts, they will learn how to use their ears to balance
their sounds to other members of the ensemble.
The first guideline that students use to determine how loud they should play is range.
Using McBeth's Pyramid of Sound [Effective Performance of Band Music, Southern Music
Company, 1972] the lowest instruments should play strongest and middle and higher
instruments should play softer and within the low sounds. The lowest instruments are on the
bottom of the Pyramid and highest instruments at the top. The width of the Pyramid determines
the relative volume the instrument should be playing. This encourages students to listen down
to the players below them and play within the ensemble sound. Within each section, there
needs to be a miniature Pyramid so that the 2nd and 3rd parts play stronger than the 1st part
players. In addition to each individual instrument, the range that the instrument plays in
determines the volume they should play. As they play higher, students should play softer to
preserve the balance of the ensemble.
The second guideline is melodic function. This is the idea that different parts have
different functions including melody, countermelody, background, and bassline. The melody
should usually be the most prominent voice followed by countermelodies, backgrounds, and the
bassline. This hierarchy makes sure the listener can always hear the melody in the foreground
and leads their ear to the part that need to be heard above others. Some may say that the
melody is therefore more important. However, this would mean that all other parts are not as
important, which is not true at all. In order to promote an inclusive classroom environment, this
lesson sequence emphasizes that every part and student is important. Instead of supporting
parts being less important, they are playing a different role to support the other players in the
band.
The last guideline is phrasing. Students should make musical phrases out of lines by
adding volume or shape where needed. Students tend to play everything at the same volume
but should bring out their moving notes and back off long, held notes to make way for other
parts. While there are dynamic changes written in the music, these are only suggestions as
musical phrasing and expression should determine the shape of these changes. Phrasing is
very organic and is different in every situation.
The purpose of this lesson sequence is to guide students to play with better ensemble
balance. By learning the three guidelines and how they affect each individual part and the
balance of the entire band, students are able to use the guidelines in any situation. Students
will practice applying the guidelines and analyzing how they interact. The end goal for future
learning is to allow students to make more autonomous decisions and balance the ensemble
using their own knowledge and artistic skills. ]
b. Given the central focus, describe how the standards and learning objectives within your
learning segment address creating, performing, or responding to music/dance/theater by
applying
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Performing Arts
artistic skills (e.g., self-expression, creativity, exploration/improvisation)

knowledge (e.g., tools/instruments, technical proficiencies, processes, elements,
organizational principles)
contextual understandings (e.g., social, cultural, historical, global, personal reflection)
[
The learning objectives in my segment address artistic skills by guiding students to
express themselves through musical phrasing and by exploring ways their playing changes the
ensemble sound. During Lesson #3, students explore ways that phrasing effects the balance of
an ensemble. In order for the right musical lines to be heard in the context of the larger
ensemble, students are encouraged to bring out moving notes and back off longer, held notes.
Simply playing moving notes louder would not be very musical, so students are encouraged to
crescendo into and diminuendo away from them in the context of the phrase that they are
playing. A quantitative explanation of how to do this would not result in the organic and
expressive phrase that is required. The teacher must prompt the students to take the
opportunity to express something personal through their playing to make it truly organic and
meaningful.
Throughout the lesson sequence, the class applies their knowledge of range, melodic
function, and phrasing to create a more balanced ensemble sound. Students must know where
instruments belong in the Pyramid of Sound so that they know who to listen to and which
sounds to match and fit into. Many are versed in the process of listening down to players below
them, but this lesson sequence will seek to deepen this understanding by determining why we
do this and what the result is. Students must know the hierarchy of melodic function and how
this relates to ensemble balance. Once they know the function of each individual part, they can
apply this to performing music for this concert and in the future.
My lessons guide students to apply contextual understandings in a variety of ways. One
critical idea is that every part of the ensemble is important and necessary. By examining the
band in this social context, the teacher can show that not only is each part important, but that
every player has a role in creating the band sound and that others are depending on them to
play that role. Sometimes, members of the ensemble get to play the role of a leader and
everyone else makes way and listens to their playing. In most cases, students must listen to
others, fit inside the band sound, and act as one part of the larger ensemble. ]
c. Explain how your plans build on each other to help students in creating, performing, or
responding to music/dance/theater and in making connections to artistic skills,
knowledge, and contextual understandings.
[
In Lesson #1, students learn about how principles of range affect ensemble balance.
This idea is the sole focus of the entire lesson because it is applicable at all times and in every
situation. In Lesson #2, students learn the hierarchy of melodic function and how they can
apply this knowledge to play at different volumes to make sure the right parts are heard at the
right volume. In addition, the principle of range is also applied together with melodic function.
The second lesson builds off the first by analyzing how these two guidelines work together to
maintain a balanced ensemble sound while making sure the melodic hierarchy is upheld. One
example of this is when students analyze how each balance factor affects their part and other
parts. They must consider how factors from the first lesson interact with factors from the second
lesson and the relative influence they should have on the students' volumes. Students must
also integrate the contextual understanding that they are part of a larger team working together
to create a band sound. This encourages them to listen to and appreciate other students'
sounds and hard work. Throughout the lesson sequence, students are constantly guided to
actively listen and adjust their own playing to play their role in the ensemble. Lesson #3 takes
ideas from the previous two lessons and adds another layer, phrasing. Within the context of
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analyzing one's range and melodic function, students now need to phrase their musical lines so
that the audience can hear all the moving notes and to breathe life and personal expression into
the music. In contrast to the relatively mechanical and formulaic applications of the first two
lessons, phrasing is all about saying something personal through playing musical lines.
Students learn to make their phrases expressively ebb and flow while maintaining ensemble
balance based on range and melodic function. Starting with structural concepts in Lesson #1
and adding layers in the next two lessons deepens understandings of the interactions between
these balance factors as each lesson builds off the previous lessons. Ending the lesson
sequence with work on expressive playing provides an opportunity for students to apply their
previous knowledge and explore their artistic abilities. In order to get a complete understanding
of balance, students must apply their knowledge about different guidelines and factors to their
playing using the artistic skills of listening and volume control in the context of playing their part
in the larger ensemble.
]
2. Knowledge of Students to Inform Teaching
For each of the prompts below (2ab), describe what you know about your students with
respect to the central focus of the learning segment.
Consider the variety of learners in your class who may require different strategies/support
(e.g., students with IEPs or 504 plans, English language learners, struggling readers,
underperforming students or those with gaps in academic knowledge, and/or gifted
students).
aa Prior academic learning and prerequisite skills related to the central focusCite
evidence of what students know, what they can do, and what they are still
learning to do.
[
Most students know the very basic concepts of balance. They have been given
instruction on the topic in previous rehearsals and are familiar with some of the corrections that
most ensembles at this level frequently receive. These corrections include: assorted high
voices play softer, alto saxophones play softer (there are 11 in the ensemble), tubas and low
brass play louder, melody play louder, background parts play softer, bring out moving notes, etc.
Most of the ensemble's knowledge of balance stems from these frequent corrections. From
these corrections, they know the three-tiered Pyramid of Sound, that the melody is the most
important part, and that they should bring out moving notes.
From this basic understanding and common rehearsal techniques, the class can balance
their ensemble sounds at a basic level by themselves. The tubas and low brass tend to play
louder than the upper woodwinds and the melody tends to be heard relatively well. These
actions are not automatic yet, but students are passively using their ears. When the conductor
brings attention to a common problem, the students usually know what to do and how to fix it.
When told that the flutes are too loud on a background part, they have heard this many times
before and know to play softer, although usually not enough the first time. When told that the
melody is being covered up, students playing the melody know to play out and other students
know to back off. Students apply their knowledge inconsistently on their own, but are more
successful when focusing on applying a specific concept.
Students are still learning to apply their knowledge consistently and in more complex
situations. There are moments where the band plays with good ensemble balance on their own,
especially when thoughtful scoring makes their job easier. However, there are often problems
when playing in extreme registers or when certain instruments have unfamiliar melodic
functions. Trumpets and flutes are used to playing out when they have the melody, so they tend
to overplay background parts. However, it is evident that some players recognize this and play
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softer so they can hear the melody. When the ensemble is learning the notes and rhythms of a
piece, they are usually listening only to themselves or their part. Once students are more
comfortable with the music, balance tends to get better as they start to listen to other parts and
instruments. This shows that most students are learning to use their ears all the time, an
essential skill for balance. ]
b. Personal/cultural/community assets related to the central focusWhat do you know
about your students everyday experiences, cultural backgrounds, practices, and
interests?
[
While in a fairly affluent school district, this high school is one of the more economically
disadvantaged schools in the district. There are a high percentage of Hispanic students at the
school, although this is less evident in the music program. Parental support and involvement
ranges widely from student to student usually in conjunction with their family's means. The
school subsidizes private lessons and summer camps so that any student that wants more
intensive or individualized instruction is given the opportunity. This is a large part of why the
music program is so successful despite the economic considerations of many students. Many
students are involved in athletics, especially track and baseball. Towards the end of the Spring
semester, more and more students had conflicts because of athletics. My students' interests
range from science and technology, Japanese manga and comics, chess club, school plays,
show choir, and religious studies. The entire district is known for how many students take AP
classes and Wheeling is no exception. The school is advertised as a STEM focused school, so
there are many technology and math initiatives. During the month of May, time is taken out of
each day for the entire school to spend 10 minutes reading as part of the Million Minutes of
Reading initiative. ]
3. Supporting Students Performing Arts Learning
Respond to prompts below (3ac). To support your justifications, refer to the instructional
materials and lesson plans you have included as part of Task 1. In addition, use
principles from research and/or theory to support your explanations.
a. Justify how your understanding of your students prior academic learning and
personal/cultural/community assets (from prompts 2ab above) guided your choice or
adaptation of learning tasks and materials. Be explicit about the connections between
the learning tasks and students prior academic learning, assets, and research/theory.
[
Most students know the basic concepts of balance and this knowledge ranges greatly
between advanced and less experienced students. Because of this wide range, I decided that
my lessons would start with basic discussions, deepen understanding through analyzing how
factors relate to balance, and then focus on how to apply this to our music. Students are
comfortable with simple balance ideas like low voices playing louder and high voices playing
softer. My lesson starts with this basic knowledge and then prompts students to analyze why
these guidelines exist and how they apply to each instrument and part. Once all students
develop a more complete understanding of the theory behind these concepts, we focus on
applying them to the music we are playing. By applying concepts to many different areas in the
music, students learn to extrapolate this learning to other instances where they have similar
situations or responsibilities. A great example of this is the analyzing activity from Lesson #2.
By analyzing many other students' listening and playing responsibilities, students can apply this
knowledge whenever they play in a similar environment.
Many students are in competitive athletics or other school activities. These activities
emphasize working as a team and the value of being part of a team. To relate to all students
and especially these ones, my lessons emphasize that every member of the ensemble has an
important part to play. Students can relate to this and it motivates them that others are counting
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Performing Arts
on them to play their role. In Lesson #2, I made a point to stress that there is no such thing as a
player or part being more important. Instead, players play different roles at different times and
that a supporting role is just as important as any because every student contributes to the
band's sound. While there may be various home situations or life experiences that make
students feel like they are not important, it is crucial to make sure students know that they are a
very important part of the team in this classroom and in life. ]
b. Describe and justify why your instructional strategies and planned supports are
appropriate for the whole class, individuals, and/or groups of students with specific
learning needs.
Consider students with IEPs or 504 plans, English language learners, struggling readers,
underperforming students or those with gaps in academic knowledge, and/or gifted
students.
[
The pre-assessment and final assessment were appropriate for all students because
they were given in a traditional quiz format. This familiarity is especially important for students
with IEPs because they recognize this format from their core classes and no students in the
class are struggling readers. In fact, some of the highest scores in the class were from students
with IEPs. One student with an IEP scored a 25/28, in the top 10% of class. While the
expectations of playing assessments are changed to fit student proficiency on their instrument,
no accommodations were needed for this assessment.
The strategy of guided discussion is appropriate for the class as a whole because
everyone has a chance to participate and contribute. Students think about the information in a
collaborative environment and are active learners instead of passive. This is appropriate for
individuals who are knowledgeable about the topic because it gives them a chance to share
their ideas with their classmates. For students are unfamiliar with the topic, this gives them a
chance to better complete their knowledge and is more engaging than a traditional one-way
lecture. Students with IEPs are given opportunities to test the waters of class participation and
observe models of good class participation and behavior. One student with an IEP responded
to the relatively simple prompt to classify instruments in the Pyramid of Sound during Lesson #1
and was rewarded with a contribution to the class and validation of their ideas and value to the
community.
Scaffolding helps students apply information while giving support and guidance so that
their experiences are positive and consistent with the learning objectives. This occurs in all
three lessons as students explore how each guideline applies to their music and how to go
about implementing their new listening responsibilities and methods of organizing their sounds.
At first, the teacher must explicitly show the ensemble what to listen for and what these sounds
are in a given context. When the ensemble can apply these concepts more consistently, the
teacher can give opportunities for the class to balance themselves with less and less support
until this starts to happen automatically. While autonomy is the end goal, this will likely take
much more time than one lesson sequence and must be constantly reinforced.
My lessons start with a basic understanding of each concept first to make sure all
students have the underlying knowledge. This may seem boring or repetitive to more advanced
students, but it is important to have all students on the same page and fill in any possible gaps
in their knowledge. One example of this is labeling all the instruments in the Pyramid of Sound.
While some students had probably heard of this information before, many had an incomplete
understanding of how it works and how instruments are classified based on the errors in the
pre-assessment. The advanced students are challenged when applying concepts or exploring
deeper understandings. While advanced students did not struggle with the basic knowledge, all
students in the class were not applying their knowledge to their instruments consistently. Most
did too little to change the way they were playing or played safe when applying concepts. One
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tenor saxophone player was doing a great job of phrasing and taking musical risks so I had him
model. The advanced students caught on to this model and the positive reinforcement that
came with it and more students started playing more musically and less safe. ]
c. Describe common student errors, weaknesses, or misunderstandings within your
content focus and how you will address them.
[
One of the most common errors students make relating to balance in not using their ears
enough. These mistakes manifest themselves in students playing too loud or soft for the part
they are playing and the players around them. At this point in their education, they are used to
playing roughly the dynamics on the page, but have trouble taking these suggestions and
making informed decisions to change their volume. I stress in all three lessons to trust their
ears once they have the basic understandings of how they should organize their sounds and
who they should be listening to. Students know what good balance sounds like and when
instructed to listen for another part, they usually change their dynamic appropriately.
Another common misconception is that the conductor has to do all the work in balancing
an ensemble. This is evident in this band as well, as around a third answered that they should
use the conductor to know what dynamic they should be playing instead of their ears. In Lesson
#2, the lesson starts by assigning different melodic functions to woodwinds and brass and
having them make adjustments to their volume accordingly. Without any volume input from the
conductor, the band makes one part more prominent than the other and achieves great balance
using only their knowledge and their ears. By teaching students how to make themselves better
on their own, they can accomplish more without the conductor.
Students playing 2nd and 3rd parts tend to underplay while 1st part players tend to
overplay. Based on auditions, the strongest players are typically given the highest parts and the
less experienced players are given lower parts. This is usually because higher parts have
extended range and are more difficult. However, this leads to common problems related to
balance. In order to have a balanced section sound, students playing the lower notes usually
have to play louder than those with higher notes. In reality, the less experienced players tend to
use less air and produce less sound than they need to. To remedy this, part of the discussion
on the Pyramid of Sound includes how this applies to each section. The trumpets demonstrate
this concept by playing in three different octaves. The class gives suggestions on how to
balance a section whose notes are so spread out and we make the conclusion that every
section needs to use a smaller version of the Pyramid to balance their sounds.
Students at this age level are learning what phrasing is, but usually play everything in a
line at the same dynamic unless very explicitly shown with a written or conducted crescendo.
Most students know that they should bring out moving notes, but rarely do so on their own or
do not know what that should sound like. In Lesson #3, the teacher instructs students to bop
(play only the beginning of each note) a chorale-like section of the piece. Not only does this
improve the ensemble's time and counting during long notes, this lets students hear very clearly
where other parts have moving notes. By showing them these moving notes that they should
be listening to and how they interact with each individual part, students can make room to hear
these notes by backing off. The other part of the equation is making sure that students phrase
the moving notes so the audience can hear them better. This is done by modeling and showing
phrasing with conducting. Once students are able to phrase a line with the conductor or a
model's help, they can start applying this skill elsewhere. ]
4. Supporting Performing Arts Development Through Language
Language Function. Identify one language function essential for students to learn the
performing arts knowledge within your central focus. Listed below are some sample
language functions. You may choose one of these or another more appropriate for your
learning segment.
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Performing Arts
Analyze
Compare/contrast
Describe
Explain
Express
Identify
Interpret
Perform
Summarize
Synthesize
[ One language function essential to this lesson sequence was analyze. Analyzing, evaluating,
and creating are high-order thinking skills from the cognitive domain of Bloom's taxonomy.
These skills go beyond simple mental functions and involve critical thinking to deepen
understanding of the subject matter. ]
b. Identify a key learning task from your plans that provides students with opportunities to
practice using the language function. Identify the lesson in which the learning task
occurs. (Give lesson/day number.)
[
In Lesson #2, students practice analyzing how their melodic function and the range they
are playing in affect their dynamic and the ensemble's balance. When applying melodic function
concepts to the music, the teacher asks students to identify all the different factors that
determine the volume their part should be playing. Once students identify factors, they are
prompted to analyze which factors have the most influence on their part and how this changes
how they should play. After applying these changes, they are prompted to analyze how factors
influence other parts in the ensemble. After evaluating how well other parts are playing with
these factors in mind, students have a chance to give suggestions to the rest of the ensemble.
This is incredibly important because the entire class thinks about what each member of the
ensemble should be thinking about and listening to. When they have a similar situation or
responsibilities as the parts they just analyzed, they can relate back to this experience in the
future. Students also learn other differing perspectives and ways of analyzing the same
information. ]
c. Additional Language Demands. Given the language function and learning task
identified above, describe the following associated language demands (written or oral)
students need to understand and/or use:
Vocabulary and/or symbols
Plus at least one of the following:
Syntax
Discourse
Consider the range of students understandings of the language function and other
demandswhat do students already know, what are they struggling with, and/or what is
new to them?
[
Using specific vocabulary in a music class is an essential part of music education.
These musical terms are used universally throughout the country and students must be familiar
with them in order to discuss, understand the teacher, and understand each other when talking
about music. The vocabulary words or phrases students need to understand the lesson
sequence are: balance, blend, range, Pyramid of Sound, low voices, high voices, melodic
function, melody, countermelody, background, foreground, phrasing, moving lines, prominent,
more important, listener, section, part, dynamic.
Students need to understand the way musical ideas are organized into words. They first
learn this by using the teacher as an example of the way we talk about music. By practicing
talking about balance concepts in guided discussion and suggestions to other sections from
Lesson #2, students practice using content-specific vocabulary and the way we use it. Every

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question that the teacher asks the class involves this vocabulary and is framed so that students
who answer are practicing proper music-related discourse. ]
d. Language Supports. Refer to your lesson plans and instructional materials as needed
in your response to the prompt below.
Describe the instructional supports (during and/or prior to the learning task) that help
students understand and successfully use the language function and additional
language demands identified in prompts 4ac.
[
Students practice analyzing and using content-specific language throughout the lesson
sequence. During guided discussions, students review their prior knowledge, discuss new
ideas being presented, and analyze how they can apply to their specific situations. The teacher
can guide students to effectively use language concepts and provide support where needed.
For example, during the melodic function discussion, if a student say that the melody is more
important, the teacher can guide the student and class to a more complete understanding that
every part is important but that some need to be heard more prominently than others. In Lesson
#2, students practice analyzing how balance factors affect each part differently. The teacher
can provide support by guiding students to think of every factor that affects them and to what
degree this applies to them. For example, if a student says that the trumpets should play louder
because they have the melody, the teacher can ask who else has the melody and how the
trumpets can balance with that section as well. The result is a more complex and accurate
understanding of the ways that many factors affect the balance of the ensemble in very different
ways. ]
5. Monitoring Student Learning
In response to the prompts below, refer to the assessments you will submit as part of the
materials for Task 1.
a. Describe how your planned formal and informal assessments will provide direct
evidence of students creating, performing, or responding to music/dance/theater by
applying artistic skills, knowledge, and/or contextual understandings throughout the
learning segment.
[
Throughout the lesson sequence, I have planned many informal assessments to monitor
student learning and understanding. The most basic type is a series of questions or guided
discussion. This allows the teacher to assess how individual students respond to music and
demonstrate their knowledge. During a class discussion, the teacher can assess where the
class is as a whole by listening to their comments. In Lesson #2, the class practices analyzing
how different factors determine their dynamic. The teacher can assess understanding and how
students are analyzing the subject matter from student responses and suggestions to one
another. For example, if a student suggested that the flutes play softer because they are too
loud, the teacher would know that this student needs more support on applying his knowledge
of why they are too loud in this context. From there, the teacher can prompt the student and the
class to further investigate exactly why the flutes are too loud and come to more meaningful and
useful conclusions. A student with a more complete understanding of balance would say, the
flutes are too loud because they have background parts, are at the top of the Pyramid of Sound,
and are playing in their upper register.
Another invaluable form of informal assessment is listening to the ensemble. This is the
most common type in a band classroom and for good reason. A good teacher will constantly
assess the sounds the ensemble is making and in context of this lesson, the relative dynamics
of various students or sections. A student or section that is overplaying either does not have
enough understanding to know they should play softer, they think they are playing the right
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dynamic, they are not listening to themselves or others, or often a combination of these. The
teacher can then make a mental note of this and give constructive feedback or use this
information later. Adding one student, part, or instrument at a time provides a great opportunity
to assess smaller groups of players or individuals. Especially in this lesson sequence, the
teacher can listen to each player as they are added and listen to how the sound of the ensemble
changes. If students blend into the sounds before them when they are added in, they are
applying their knowledge and listening skills. This is also true when playing through music. The
ensemble's balance and attention to range, melodic function, and phrasing indicate their level of
understanding for these concepts and their ability to apply them consistently and in diverse
situations.
Formal assessments in the form of a quiz are given at the start and end of the lesson
sequence. I tried to keep the quiz fairly traditional to make sure that the format was familiar and
was not a barrier to any students. The first part of the assessment was multiple choice. This
section assessed basic knowledge of balance concerning why instruments play at different
volumes, what students should use to determine their volume, and the melodic function
hierarchy. The next two questions were less structured and gave insight into what students
know about the interactions of the different factors that affect balance. Question 6 shows
student knowledge of the factors that affect balance. Question 7 allows students to
demonstrate their knowledge of how these factors interact. For example, trumpets and
trombones both have the melody so they should play stronger than the other sections, but the
trumpets play higher so they should play under the trombones. Question 8 gives the students
an empty Pyramid of Sound and asks them to fill the instruments in. This lets the students
demonstrate which instruments should play stronger and which should blend into that sound.
The last question provides an opportunity for students to show what rehearsal techniques
they've observed or can think up themselves. This is more open-ended and therefore provides
the most insight into how a student thinks about the subject matter and what they believe are
important concepts to rehearse. ]
b. Explain how the design or adaptation of your planned assessments allows students with
specific needs to demonstrate their learning.
Consider all students, including students with IEPs or 504 plans, English language
learners, struggling readers, underperforming students or those with gaps in academic
knowledge, and/or gifted students.
[
This class does not have any struggling readers or language learners, so written
assessments work very well. Some students with IEPs scored very high on assessments and
this is evidence that a traditional written quiz is a useful format. When adding one part or
section at a time, the teacher can informally assess all student understanding, including those
with IEPs, based on how well the players apply balance concepts. In this class, students with
IEPs have adjusted goals of sound quality and tone production based on their ability and
proficiency on their instruments, but still have expectations for understanding balance concepts
and how they apply to the music. While some students may not make the most blended sounds,
they can still learn how to control their volume and how their sound fits into the rest of the
ensemble. The easy way out would be to underplay everything so that no mistakes can be
heard, so informal assessments on a small enough scale where the teacher can pick out each
individual's sound is crucial. ]

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Performing Arts

Task 1: Planning Commentary

TASK 1: PLANNING COMMENTARY

artistic skills (e.g., self-expression, creativity, exploration/improvisation)

Copyright 2014 Board of Trustees of the Leland Stanford Junior University.

Copyright 2014 Board of Trustees of the Leland Stanford Junior University.

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